New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-07-24
lnpressionistic
Settings Tell
Tale of sColern'
Artist Gives Atmosphere
cf Personality to the
Houses of the Ghetto


A question which has received much
discussion recently is whether stage
settings can be made to speak
whether they, like the actors, can voicc
certain theme or motif. It is an in
teresting question; for to invest set.
sings with life means the enrichment of
both stage and screen, complete har-
mony of all the elements, bringing tho
arts to their fullest power. Not as
frame to set off an actor, but as cor
related expression--this is the, aspect
IL which the modern producer Of stage
plays and screen productions is study
ing his settings.
In Europe interesting contributions
sre being made by Max Reinhardt and
Gordon Craig. The work of the former
kas found it's way to Broadway, Not
alone have some of the dramatic art
principles of Reinhardt made them
selves felt in the field Of scenery, but
also in acting, as, for instance, in "De-
certion," which Hugo Riesenfeld
showed for an extended engagement at
the Rivoli Theater recently, and in
''The Golem,S the current film attrac-
ton at the Criterion Theater, where
it begins its sixth week to-day.
Influence of
Max Reinhardt
While Reinhardt was not directly
connected with the production of these
two screen masterpieces, his influence
has been brought to Broadway by some
OF the actors, disciples of the European
master. Emil Jannings, who played
Henry VIII in Deception" is an
American actor who studied with Rein
hardt and was for several years his
assistant director, playing leading
leles in Reinhardt's productions. Paul
Wegener, who wrote the film story of
"The Golem." directed the production
and played the title role, is another
brilliant exponent OF Reinhardt's
spirit. Albert Steinbrueck and Ern-
est Deutsch, who play the rabbi and
his assistant in "The Golem," are also
1iOIu hSlHnaTuCS LneaCer.
But in the field of stage investiturs
interest turns to another man-an
architect, one of the leaders of the art
movements of the European theater.
His name is Hans Poelzig. Poelzig, in
collaboration with Josef Hoffman,. of
Vienna, has been commissioned to
make plans and sketches for the new
Salzburg FestspieIhaus which Rein
hardt proposes building in the Aus
trian Alps. Herman George Schef-
fauer writes about this theater in the
current issue of the Theater Arts
Magazine:
1.-The Salzburg Festspielhaus Com
munity' was founded in August, 1917,
and chose this art afointed spot for
the erection of theater which was to
be free from the tyranny of the box
ofhce, the mere amusement-mad, the
metropolitan mob" says Schetfauer.
can art council was appointed to
take initial steps-among it's members
were Hugo Won Hoffmanstahl, Austria's
most distinguished poet; Richard
Strauss, the composer; Max Reinhardt,
franz Shalk and Alfred Roller"
In discussing the plans designated bv
Professor Poelzig, the writer declares
that throughout the work there is ga
core of immense vitality, the glamour
OF the creative, the fascination of the
fanciful. We have to deal here with
new architectural harmonies evolved
out OF the Intuition of great express
ssionlstic artist, revolutionary, a
trans-valuer of value Occidental and
Oriental, one who is working to make
a petr1fled art become fluid once more.
His association with Reinhardt is of
great significance and may become
very fruitful
Poelzig Creator
Of "Golem" Settings
1t was this same art rebel who
created the settings for 1.-THE Golem."
one of the most striking examples of
the modern art movement So fasci-
mating is the investiture that students
OF the theater, artists and the more
progressive patrons of stage and
screen productions haunt the Criterion
Theater. 1t is to them both revela
ton and realization-one of the few
recent exemplifications of the modern
theater-art movement. Thousands of
patrons, of course, 60 to see the
INSTALLATION of the famous old legend
about the rabbi who created a figure
OF clay and imbued it with life to save
the people of the ghetto, yet even the
so-called "movie fan" has fallen under
the influence of the settings as we'll
as the dramatic story.
In "The Golem" Professor Poelzig
has solved the difficult problem of max
ing scenery live. His narrow, cobbled
streets of the ghetto, the pointed roofs
Of the slightly leaning houses, the
touch of grass here and there upon the