Theatre Design & Technology - Summer 2014 - 43

Edward Gordon Craig (1872-1966) was one of the most
important personages of the modern European theatre. Over the
course of his long career as a stage designer, director, and author, Craig developed a body of artistic work and writings that
inform Western theatre practice to this day. The son of the revered Victorian actress Ellen Terry and the celebrated Victorian
architect E.W. Godwin, Craig had strong bloodlines for work in
both the theatre and the visual arts. Craig's childhood and early
adult years were spent as a successful actor, most notably at London's famous Lyceum Theatre, the star of which was his mother's
longtime theatrical partner, Sir Henry Irving. By 1890, Craig was
hailed as the most promising English actor of his generation.
Despite such acclaim, Craig gradually turned away from acting
and began the process of dynamic transformation into a stage
designer and director. This transformation led in turn to his assumption of the self-appointed role of outspoken prophet for a
radically innovative theatre of the future.(Innes 2004)
Count Harry Kessler (1868-1937) was a a compelling figure in early twentieth-century European culture. Born into a
minor aristocratic family of German, French, and Anglo-Irish
descent, Kessler was an exceptionally cosmopolitan man. A
lawyer by training, he was both a sophisticated connoisseur
of art and literature and an unfailing supporter and friend of
numerous artists and writers. When Kessler's planned vocation
as a career diplomat failed to come to fruition, he used his
cultural connections to obtain the position of director of the
Museum for Arts and Crafts in Weimar, the post-Imperial political and cultural center of Germany after World War I.
Kessler began the publication of fine art books at Weimar
in 1913. Despite publishing only a handful of books, Kessler's
Cranach Press quickly established itself as one the most important constituents of the German Book Art movement of the early
twentieth century. This group of book artists was greatly influenced by the private press movement, which flourished in England during the late Victorian and early Edwardian eras. Closely
aligned with the English Arts and Crafts movement, the private
press movement and its German counterpart had developed in
response to the proliferation of poorly designed, mass-printed
books that occurred after the Industrial Revolution. This new
generation of book artists called for the design of books to
be as aesthetically pleasing as any work of art. They harkened
back to the time when nearly all books were exceptionally well
designed, handmade of the highest quality materials, and lavishly illustrated.
The Cranach Press strived to emulate this model of the
book as an aesthetic object in all of its publications. To this end,
Kessler employed some of the most important book designers
of his day and commissioned drawings and illustrations from
prominent artists. New typefaces were designed and cut, and
the books were printed on specially made paper and bound
with intricately crafted bindings. The high standards sought by
Kessler are clear in the Cranach Press Hamlet and in its striking
companion volumes, The Eclogues of Virgil (1926), illustrated
by the French artist and sculptor Aristide Maillol, and The Song

of Songs of Solomon (1931), designed and illustrated by the
English artist Eric Gill. (Brinks 2005)
Craig and Kessler first began their collaboration on the
Cranach Press Hamlet in London in November 1911. At the
time, Craig was in the midst of planning his production of Hamlet for Konstantin Stanislavsky's Moscow Art Theatre, which was
produced the following year.
Kessler called on Craig, who showed him both the model
for Hamlet (fig. 4), based on Craig's newly developed system
of movable screens and the proposed costume designs for the
production. Kessler was greatly impressed:
The effects which Craig showed on the stage [model] were
manifold and grand. Magnificent, however, and truly inspired
were the drawings and prints he produced afterwards. He has
made prints of his woodcuts on paper that can be placed next
to the most beautiful woodcuts of the Quattrocento, so perfect
is their balance between line and meaning, between inner fire
and fascinating decorative effect. (Kessler 1911)

Two days later Kessler again called on Craig, this time to
discuss possible joint projects with the Cranach Press:

n Figure 5. "Scene" by Edward Gordon Craig, illustrating his system of mobile screens.
(Craig 1923, 43)

summer

2014

theatre design

& technology

43



Theatre Design & Technology - Summer 2014

Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 2014

Contents
Theatre Design & Technology - Summer 2014 - Cover1
Theatre Design & Technology - Summer 2014 - Cover2
Theatre Design & Technology - Summer 2014 - 1
Theatre Design & Technology - Summer 2014 - 2
Theatre Design & Technology - Summer 2014 - Contents
Theatre Design & Technology - Summer 2014 - 4
Theatre Design & Technology - Summer 2014 - 5
Theatre Design & Technology - Summer 2014 - 6
Theatre Design & Technology - Summer 2014 - 7
Theatre Design & Technology - Summer 2014 - 8
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Theatre Design & Technology - Summer 2014 - Cover3
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