The Wichita daily eagle. [volume] (Wichita, Kan.) 1890-1906, 1895-12-26
FOOTLIGHTs ARE NO GOOD
Scenic Artist Declares That They should be
Thrown Out

London, Dec. 25.-Mr. Herkomer, r.
A, read a paper last night at the Archi-
tectural association, Conduit street, on
the subject Of Scenic Art" Mr.. Caroe,
the president, occupied the chair. Mr.
| Herkomer said that, though he did not
set himself up as an architect, there
were many reforms that could be sug-
! geSted in the matter of the theater; and
though he gave those present the bene-
fit of his thoughts and reflections, and
might suggest many changes, he was
hut a. worker, and not a refOrmer, In
this field of art Treating the subject
| of senic art from the point of view
first, of the auditorium; second, realism
on the stage; and third, lighting of the
stage-he pointed out that the semicir-
cular shape of the auditorium of the
present theater had its prototype in
pre-Christian structures where the au-
ditorium was scooped out of the rock.
Then there was a change in the we'll
like shape of the theater in the middle
ages owing to the temporary accommo-
dalton needed by the Strolling players.
The deep, well-Shaped theater had thus
been bred into our natures for many
hundreds of years, and ii would neces-
Sarily take some time to breed ii out;
and in looking at its conveniences and
jnconvenieces he argued that the prin-
ciple attending its construction should
be to provide seats from which the full
intention of both the actor and the
senic artist could be perfectly seen by
the audience. How was it possible to
make the movements of the actor con-
vey the right meaning to persons who
sat above him and at the same time to
persons who sat lower than his feet?
He showed that the artists at the Roy
al academy, in criticising the drawing
and paining of a picture, had the pict-
ure placed in front of them, and ac-
cording ito their position in the semicir-
Gle the views of the onlookers with re-
gard to the drawing of the subject var
led The reasonable placing of the
spectator at the theater was OF equal
Importance in judging, not only of the
movements Of the actor, but of the eff
forts of the scenic artist.
Positive realism on the stage was an
impossibiliIy. The foundation OF scenic
art was artificiality, and open-air plays
could never be satisfactory. The act
uality of nature and the artificiality OF
the actors situation could never blend.
The real secret of perfect scenic art lay
in Illusion, in deception. in not allow
ing the eye Of the spectator 10 see the
means by which the semblance of real
ity was obtained. Thus the makeup
of the background should be held 10 be
OF equal Importance with the actors
personal makeup; il they dispensed
with the one. they might as well dis
pense with the other. He looked upon
the stage as a medium through which
the greatest truths in nature could be
brought most direct TO the minds and
D., ~ -,
their fullest capacity could be united
in this form OF expression. He bore
testimony 10 the valuable work OF Sir
Henry Irving in the direction Of scenic
on the stage, and remark
ed that the scenic work. even as they
saw IL az its best. was still on the old
lines. and hence the greatest capabili-
ties Of art could not be reached The
scenic artist must be 4 born expert
menter. with the faculty Of seiZing ar
tistic accident; the inventor Of ways
and means: he must be OF an magma
tive as we'll as OF \ practical turn OF
mind. strong in body and Indefatiga-
bic in his energy. and wfthal a first
rate artist Il was 20 the scenic artist
that the actor should look for the com
pletion OF his dramatic situation: me
scenic mood should be constant with 1
the play. and IL should reflect THAI %
the actor. or strengthen i by fore % /
contrast The lighting OF the stage was /
4 momentous question, but here again /
traditions stuck % the stage more than
70 any form Of art. n this department /
he did not undervalue the enormous l
difficulties which beSet the theate- su- ]
thOr.ties IN pleasing 2 mysterious con
Stituted public
Yet some radical changes could be |
made in the lighting % the stage. Take 4
the sacred fooclights. The foa-Isgh-s /
were simply the survival OF a PERIOD in 4
which the lights had 20 b. given ws-b 4
but poor material Fc0tI.chcs were /
but Shey wee chiefly ., i
blame for the false and unnatural a. 4
pect Of the stage Il discussing WHERE
- place the lights. he mentioned MS
Own experiments a. his tras-a- e. 4
Bushey when engaged u The ----5r,>- 4
ton OF his PASTORAL music Tlsv. He
found ;hat The shadows on ~ a.
Of the actors could p sos.e-ef nv
group % lights placed a. a sAo-- d.
lance az the side and level Ts.b --a
acco7s' faces lie admitted taat u
This pan more -e1eraliv -
DE judtcs=S n ne ac-o-s che1seIy-ss
would have 20 BE- 80 Over. vhtie -ba
amount 90 illuminating power and ~ 4
height - the Iig1ts from rhe r-,u-5
would have n - adjusted tv c7-esn7
experiment - each sta-e A-.f- -
p-osceu.Grn SHOULD - "a r. s-srs
picture wast the frame was 60 The esEes
picture; IL should separate The r,E--,,-a
rom the surroundings or tie STAG