Title
Beyond The Mask: Gordon Craig, Movement, And The Actor,Used
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EynatConfino goes beyond the usual consideration of Craigs purported theories of the actor, scenery, and the scene painter to get at the heart of Craigs idea of theater.She draws not only on the research of contemporary Craig scholars but on material hitherto unavailablehis writings and daybooks and the writings of friends. She ties Craigs encounter with Isadora Duncan to a decisive modification in his notion of movement. To have an instrument more controllable than the actor, he invented the bermarionette, a giant puppet. Craig also invented the Scene, a kinetic stage, the screens that brought him worldwide fame were simply an adaptation of this concept.EynatConfino argues that a scenario Craig wrote in 1905, here published for the first time, reveals a theosophical system like that of Blake, a system that was the main force motivating Craigs artistic quest. In her final chapter, she carefully examines the psychological, aesthetic, and circumstantial factors that kept Craig from completing his work to bring friendlinesshumorloveeasepeace to the world.
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