Pictorial Shakespeare, 1880-1890 - eTheses Repository - University ...

1912, and had witnessed the work of Poel and Harley Gr;.nville-
Barker: despite his suspicion of Pool's extreme bareness of
staging, he was no longer hoppy to accent a realistic mode
which constantly reminded s-occtators of its artificial okillc,
CQ
and iiich reduced orrrnp "to the level of the cinematograph 1* •
Bv,b Irving's methods of oroOuction, however outmoded,
had contributed to the new movement in the theatre. Craig
adiaired the actor-manager's authority and the artistic unity
of his ,;orl:, as is clc'-r from his short account of it in
Henry Irvinff (1930). "Io miglit reject the realism and the
concentr; tion on one or two centr-1 chiractors, but the rbrjtr ot
qualities of the Lyceum settings influenced his o,.-n monumental
concept! no. Ellen Terry noticed this, ond remcrl:ed in her
autobiography that Or; i ;- 's set for the church-r.cene in the
1903 Much Ado About lioiain/; shared enclitics oi1 ''vcistness and
1 •••-' —— •"-- - — 51
s .aciousness" with the tenole of Arteaiu iu The Cup. There
was aloo a ; inil rity Lictv.'cen Irvinfc-'s tendencjr to-wv-rdc nonliturr.ry
ofioctn and Craig 1 c ambitions - - ! tL.o theatre", he
v/rote in tiic fir:/i; v-ialogue Qn the; -'yi't of tlic ;A *» tro, "aunt
not forevor rely upon Ii vin;; a jl. y to p rfom, but nu:,t in
tr.ie perform pieces of itc> o.vn nrt i:
5?
.
The ne. t Lit op v/as the Gctr.bliohi-jciit of a nev; .-i^ure in
the tna.Litre, the independent C.iroctor, v/ho neit.ior \vroto nor
acted in tiio -Iryc to be porf-.ifiacC 1 . -Tho ctor, the u;.nr;x-r
and the author wore : Iroacly pre-Mjiat, their cl; ii.is to bo the
supervisor DI the tli rtricpl cv^.'it, and by tlio oi;:htoGn-ei ;-lities
a fourth contcnocr w is beginning to assort hi. .:;clfi the decigiior.