The Swiss theatre designer and theorist Adolphe Appia (1862-1928) has long been acclaimed in Europe as the most important innovator in the concept and use of stage lighting. Many of his ideas were extremely advanced for his time and have now been widely accepted and put into practice. Yet much of his important theoretical work has been difficult to obtain in English. This account, analysis and critical evaluation of the work of Appia demonstrates how his far-sighted imagination also embraced the fundamental reform of scenic design, the use of theatrical space, and a greatly expanded conception of the nature and possibilities of theatrical art.
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Editorial Reviews
Review
...the first major study of Appia in twenty years...it is a clear-eyed examination of Appia's many innovations.
–Theatre Journal
Excellent and well written, this study is well focused, and will reward anyone interested in the development of the modern theatre.
–Alan Andrews of Essays in Theatre History
–Theatre Journal
Excellent and well written, this study is well focused, and will reward anyone interested in the development of the modern theatre.
–Alan Andrews of Essays in Theatre History
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First Sentence:
Adolphe Appia has for many years been duly recognized as the most important turn-of-the-century innovator in the use of theatrical lighting, but his ideas and practical investigations went far beyond that to encompass fundamental changes in the use of stage setting, theatrical space, the concept of the role of the director, and ultimately the very definition of theatrical art. Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
New Presence, Gordon Craig, Hellerau Institute, First World War, Richard Wagner, Jaques-Dalcroze Institute New!
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Adolphe Appia has for many years been duly recognized as the most important turn-of-the-century innovator in the use of theatrical lighting, but his ideas and practical investigations went far beyond that to encompass fundamental changes in the use of stage setting, theatrical space, the concept of the role of the director, and ultimately the very definition of theatrical art. Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
New Presence, Gordon Craig, Hellerau Institute, First World War, Richard Wagner, Jaques-Dalcroze Institute New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 12
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64
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- Adolphe Appia: Essays, Scenarios, and Designs (Theater and Dramatic Studies) by Richard C. Beacham on 6 pages
- Twentieth-century Stage Decoration, Vol. 2: Illustrations (v. 2) by W.R. Fuerst on page 110, page 116, and Back Matter
- Tristan and Isolde: English National Opera Guide 6 (English National Opera Guides) by Richard Wagner on page 10, and page 18
- On the Art of the Theatre (An HEB paperback) by Edward Gordon Craig in Back Matter (1), and Back Matter (2)
- Rhythm, Music and Education by Emile Jaques-Dalcroze in Back Matter
See all 12 books this book cites
- Adolphe Appia: Artist and Visionary of the Modern Theatre (Contemporary Theatre Studies) by R. Beacham on 13 pages
- Twentieth Century Theatre: A Sourcebook by Richard Drain on 4 pages
- Twentieth Century Theatre: A Sourcebook by Richard Drain on 4 pages
- The Twentieth-Century Performance Reader by Michael Huxley on page 21, page 22, and Back Matter
- The Twentieth-Century Performance Reader by Noel Witts on page 31, page 32, and Back Matter
See all 64 books citing this book
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