New-York tribune., 1921-05-01
Colors Vil)rate
Same as Music,
Designer Says
p. Dodd Ackerman Explains
How Scenic Art Is an
Accessory to the Drama

Accessory to the Drama
"There have been more radical
changes in scenic painting for the stage
in the last three years than in ffty
years previous" says r. Dodd Acker-
man, who painted and designed the
scenery for "The Broken Wing" now
running at the Forty-eighth Street Tho.
ater..
where in the past color was thrown
indiscriminately on canvas and shadow
lines were employed to give the outline
of figure, all of which seemed to pro-
duce the illusion of naturalness. this
situation no longer holds. Psychology,
that science Of mind which but q few
years ago was understood by only the
elect but to-day is understood by mill
ions, has exerted an influence on the
painting Of scenery for theatrical use.
It has brought about realization that
color affects human beings and syn
chronizes with human emotions If prop
erly applied, and by this same token
can create a disturbing element that
makes for discord.
"Colors vibrate the same as music
tones. The effect of color on the emo
tions Of an audience is a subject that
has long been a problem for serious
study by the producer of plays, the cos
tuner and the scenic artist. Why red
oh kn ha - l..
or green safety no one knows, but still
the fact remains that such is the case.
Whether red, with its suggestion of
fire, or green, Of verdant fields. has any
thing to do with this still remains
matter Of speculation. The emotional
vibration sent out by the red of the
| prismic ray is known to scientists to be
! the most powerful and excitative, while
the blue and violet are the most seda-
tive. Luniere, the greatest Of all au-
thorities on color influence, after =
series Of tests covering many years, de-
scribed the effects of color as the
engine that propelled the various
phases Of human emotion to a perfect
contamination Of desired results.
with the stage production reaching
its present state Of artistic perfection,
the scenic artist can no longer paint
his scenery merely to represent the
J outward appearance Of the require
| ments of the manuscript. He must read
the manuscript as carefully as the pro-
ducer, who determines on his reading
whether he is willing to make pres-
entation of it. The artist must make
serious and analytical study Of the
script and determine the predominant
ing emotion of each act and choose
his color scheme for the scenery in
order to attain a perfect synchroniza-
tion Of color and emotion. By this
means alone can a happy blending of
scenery and dialogue, together with the
acting Of the company, produce the ef~
feet hoped for by the author and the
manager to obtain complete success for
their efforts.
Speaking in an elementary way, for
the purpose Of providing simple ex-
periments Of color influence, the reader
can easily determine the effect Of
amber in creating depression. By the
rse Of pink exhilaration is promoted.
4 room done entirely in green stimu-
lates morbidity, while On the other
hand blue is soothing. 1t has been
discovered that the deeper and darker
the tones of blue used as decorative
color scheme the more soothing and
reaceful and calm is the influence on
the human emotion. Brown is a nom
emotional color. 1t creates a sense Of
irmness and soliditv. These sugges-
tions can be utilized to as good ad-
vantage in home decoration as they
have been in stage scenery. A sombre
setting. with a fash Of color, upsets
synchronization of emotion with the
color scheme of setting, just as
awkward words clash in q musical
score with notes intended to be COM
Elementary thereto.
lighting is so closely allied with
stage settings that if there is not
; unity Of purpose between the two
the audience gets the discord, which
in this instance is unpleasing to the
eye. In consequence thereof the play
fails to satisfy and good acting ID
| curtailed of effect.