<br>Design for the costume of <i>Narcisse</i> by Bakst
<p><b>Identifier</b>: newspiritindram00cart (<a class="external text" href="https://commons.wikimedia.org/w/index.php?title=Special%3ASearch&amp;profile=default&amp;fulltext=Search&amp;search=insource%3A%2Fnewspiritindram00cart%2F">find matches</a>)<br><b>Title</b>: <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookidnewspiritindram00cart">The new spirit in drama &amp; art</a><br><b>Year</b>: <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookyear1912">1912</a> (<a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookdecade1910">1910s</a>)<br><b>Authors</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookauthorCarter__Huntly">Carter, Huntly</a><br><b>Subjects</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/booksubjectTheater">Theater</a> <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/booksubjectImpressionism__Art_">Impressionism (Art)</a><br><b>Publisher</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookpublisherLondon___F__Palmer">London : F. Palmer</a><br><b>Contributing Library</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookcontributorUniversity_of_California_Libraries">University of California Libraries</a><br><b>Digitizing Sponsor</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/booksponsorInternet_Archive">Internet Archive</a><br><br><b>View Book Page</b>: <a rel="nofollow" class="external text" href="https://archive.org/stream/newspiritindram00cart/newspiritindram00cart#page/n84/mode/1up">Book Viewer</a><br><b>About This Book</b>: <a rel="nofollow" class="external text" href="https://archive.org/details/newspiritindram00cart">Catalog Entry</a><br><b>View All Images</b>: <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookidnewspiritindram00cart">All Images From Book</a><br>
Click here to <a rel="nofollow" class="external text" href="https://archive.org/stream/newspiritindram00cart/newspiritindram00cart#page/n84/mode/1up"><b>view book online</b></a> to see this illustration in context in a browseable online version of this book.<br><br><b>Text Appearing Before Image:</b><br><i>ll pass freely and unadulteratedwithout being exhausted in the process. Thus the philosophical, artistic, and literary value of theintuitional idea of the assertion of personality and the deathof dogmatism is being fully emphasised. As an instance ofhow the idea itself is being expressed in artistic aims andmethods I may take the Paris production of The Blue Bird,the work of the Theatre des Arts, and the Russian Ballets.The former is an expression of the intuitional movement ; andthe peculiar beauty of the Moscow stage version of The BlueBird is fed and nourished by the spirit which is vitalisingeverything, and giving even to the most opaque things anew significance. The Blue Bird arrived in Paris by way ofLondon, after running for two years at the Artistic Theatreof Moscow. The Paris production was on the whole moreartistic and more interesting than the London one. It wasstaged by the Moscow producers themselves, who, thoughunable to reproduce the original effects, managed very skil-</i><br><b>Text Appearing After Image:</b><br><i>DK.-U.N Kllk THKCOSTIME OF NARCISSKBV BAKST. THE NEW SPIRIT IN PARIS 49 fully to suggest how beautiful those effects were. One verynoticeable feature of the production was an attempt, consciousor otherwise, to apply the new Post-Expressionist principlesof continuity (i) by lines all composed to suggest rhythmicalmovement, (2) by colour distribution to suggest movement,(3) by space suggesting infinity, (4) by light and atmospheresuggesting mystery. The search for rhythm and vibration andcontinuity was certainly remarkable. Rhythm and vibrationwere got by cloths and columns fretted with innumerable linesin such a way as to give them the appearance of circlingand swaying. This rhythm was, in one scene, caught upand repeated by the nicely related lines of the sweeping stepsand the circular arches of the two rostrums down stageL. and R., as well as by the flowing draperies of the children.The Kingdom of the Future was, in fact, a very successfulexample of the application of rhythmic design</i><br><br><b>Note About Images</b><br></p>
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1912
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<ul><li>Source book page: <a rel="nofollow" class="external free" href="https://archive.org/stream/newspiritindram00cart/newspiritindram00cart#page/n84/mode/1up">https://archive.org/stream/newspiritindram00cart/newspiritindram00cart#page/n84/mode/1up</a></li></ul>