This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1921 edition. Excerpt: ...into other entrances to the forestage. The stage itself is, after all, only an extension of the floor of the auditorium, rising by a few steps to the higher level of the forestage and the inner scene. Littmann, the most ingenious and philosophic of the German theatre architects, has spent much time ...
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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1921 edition. Excerpt: ...into other entrances to the forestage. The stage itself is, after all, only an extension of the floor of the auditorium, rising by a few steps to the higher level of the forestage and the inner scene. Littmann, the most ingenious and philosophic of the German theatre architects, has spent much time upon the problem of the proper relations of such an auditorium and such a stage. He has worked out the harmonious relations of its parts and he has also devised methods of combining this intimate stage with the ordinary form of remote, framed picture still needed for realistic productions. His solution, which he arrived at fifteen years ago, he calls the variable proscenium. It is adaptable to three types of plays--realistic dramas or modern comedies, poetic pieces, and music-dramas. The heart of the device is a rather deep proscenium frame into which doors and windows may be let. For realistic plays or old-fashioned operas this frame is plain and unobtrusive; there is the ordinary gap of the orchestra pit between the audience and the footlights. When the house is to be used for Wagnerian music-drama, the walls of this proscenium frame come out and the orchestra pit is sunken and half-arched over by a sounding board, creating the "mystic abyss" between the auditorium and the stage which Wagner demanded. For Shakespearean and imaginative plays the walls of the proscenium are used with doors let in; the stage is extended out over the orchestra pit, making a forestage; steps lead down to the auditorium floor, where two or three rows of seats have been removed to make more playing space for the actors; finally, doors in the normal walls of the auditorium next to the proscenium are used for added entrances. With this modification of the...
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Add this copy of The Theatre of Tomorrow to cart. $12.00, fair condition, Sold by Pepper's Old Books rated 3.0 out of 5 stars, ships from Hanson, KY, UNITED STATES, published 1921 by Boni & Liveright.
Add this copy of The Theatre of Tomorrow to cart. $21.42, new condition, Sold by Ingram Customer Returns Center rated 5.0 out of 5 stars, ships from NV, USA, published 2022 by Legare Street Press.
Add this copy of The Theatre of Tomorrow to cart. $31.73, new condition, Sold by Ingram Customer Returns Center rated 5.0 out of 5 stars, ships from NV, USA, published 2022 by Legare Street Press.
Add this copy of The Theatre of Tomorrow to cart. $33.60, new condition, Sold by Ria Christie Books rated 4.0 out of 5 stars, ships from Uxbridge, MIDDLESEX, UNITED KINGDOM, published 2022 by Legare Street Press.
Add this copy of The Theatre of Tomorrow to cart. $49.67, good condition, Sold by Bonita rated 4.0 out of 5 stars, ships from Santa Clarita, CA, UNITED STATES, published 2013 by Hardpress Publishing.
Add this copy of The Theatre of Tomorrow to cart. $50.00, poor condition, Sold by Princeton Antiques Bookservice rated 3.0 out of 5 stars, ships from Atlantic City, NJ, UNITED STATES, published 1921 by BONI AND LIVERIGHT.
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Seller's Description:
POOR. 6.50X9.50. Front and back cover shows staining, mold and possible water damage, fading, spine and pages are tight, previous owner markings inside front cover NOTE: additional postage required _PAB_
