Set Model
1921 (made)
| Artist/Maker | |
| Place of origin |
Edward Gordon Craig (1872-1966), designer, director and theorist, was a controversial figure whose writings have had a great influence on 20th century theatre. Craig reacted against the stage realism of his day, believing that painted scenery and a naturalistic interpretation of characters distracted attention from the essence of the play. His designs, most made for productions which never took place, were simple and non-illusory. They were characterised by towering vertical masses and were intended as a background for actors who would subordinate themselves to the drama. It was the beginning of what came to be called Director's Theatre, in which director and designer offered a strong co-ordinated interpretation of each work.
In 1908 Constantin Stanislavsky, director of the Moscow Art Theatre, invited Craig to direct and design Hamlet. Craig's model suggests a static, monumental setting of stark white walls, but these represent a series of moveable screens, to be used to change the shape of the acting area. Colour was to be provided by the lighting. In practice Craig's vision was beyond the technology of the Moscow Art Theatre, although Stanislavsky spent two years endeavouring to find a way of realising the designer's intentions. Craig wanted his tall screens to glide into position in front of the audience but the problems of keeping them mobile, upright and stable could not be resolved and the scenes had to be changed behind traditional stage curtains. They were still able to create memorable images: in his book, My Life in Art, Stanislavsky described a curving corridor of screens coloured in gilt paper in which the solitary figure of Hamlet was reflected.
This plaster model made by Teddy Craig is a re-construction, created in 1921 to illustrate Edward Gordon Craig's theories of set design based on original ideas for Hamlet. As Craig wrote the model is 'different to any I have yet shown...its rather good.' It arrived at the V&A in January 1922 but is not one of the three models of Hamlet included in the International Theatre Exhibition in Amsterdam which was brought to the Victoria and Albert Museum in 1922.
In 1908 Constantin Stanislavsky, director of the Moscow Art Theatre, invited Craig to direct and design Hamlet. Craig's model suggests a static, monumental setting of stark white walls, but these represent a series of moveable screens, to be used to change the shape of the acting area. Colour was to be provided by the lighting. In practice Craig's vision was beyond the technology of the Moscow Art Theatre, although Stanislavsky spent two years endeavouring to find a way of realising the designer's intentions. Craig wanted his tall screens to glide into position in front of the audience but the problems of keeping them mobile, upright and stable could not be resolved and the scenes had to be changed behind traditional stage curtains. They were still able to create memorable images: in his book, My Life in Art, Stanislavsky described a curving corridor of screens coloured in gilt paper in which the solitary figure of Hamlet was reflected.
This plaster model made by Teddy Craig is a re-construction, created in 1921 to illustrate Edward Gordon Craig's theories of set design based on original ideas for Hamlet. As Craig wrote the model is 'different to any I have yet shown...its rather good.' It arrived at the V&A in January 1922 but is not one of the three models of Hamlet included in the International Theatre Exhibition in Amsterdam which was brought to the Victoria and Albert Museum in 1922.
Object details
| Categories | |
| Object type | |
| Materials and techniques | Modelled and painted plaster |
| Brief description | Set model for the Moscow Art Theatre production of Hamlet, 23 December 1911, recreated by Teddy Craig under the supervision of Edward Gordon Craig (1872-1966). Painted plaster, 1921 |
| Physical description | Plaster model, painted white, shaped at the front as a proscenium featuring a single central opening in front of which are two blocks serving as a bench and chair. Seen from above, the model reduces sharply from the front opening by slanted sides to a 'waist' area, opening out again to a diamond shape before sloping in again at each side to a narrow back opening. |
| Dimensions |
|
| Marks and inscriptions | 'MADE 1921 PAPALLO' (Incised on the top in capital letters.) |
| Gallery label | 2
SET MODEL FOR HAMLET
About 1911 (reconstructed 1922)
Early 20th-century theatre audiences expected plays to be performed in naturalistic settings. Edward Gordon Craig, however, reacted against this stage realism. For his own production of Hamlet he designed an abstract setting of movable screens, lit from above by coloured light. Owing to technical problems the screens were never used, but Craig’s ideas have influenced many directors and designers.
Play by William Shakespeare, 1600–1
Moscow Art Theatre
Plaster
Designed by Edward Gordon Craig (1872–1966)
Museum no. E.146-1922(March 2009) |
| Credit line | Given by Edward Gordon Craig |
| Object history | Edward Gordon Craig directed and designed Hamlet for the Moscow Art Theatre (opening 23 December 1911).. He produced a number of set models for the production. This one was reconstructed in 1921 for the International Exhibition of Theatre Design in Amsterdam. The exhibition was seen by Martin Hardie, the Keeper of the V&A's Department of Engraving, Illustration and Design, who suggested that it be transferred to the V&A. Craig, who had been involved in the creation of exhibition's creation, gave strong support, as did the Society of West End Theatres, the British Drama League, the Actors' Association and members of the theatrical profession. The exhibition was presented at the V&A, 3 June - 16 July 1922, and then toured to Manchester and Bradford. The model was subsequently acquired for the V&A's collections. |
| Summary | Edward Gordon Craig (1872-1966), designer, director and theorist, was a controversial figure whose writings have had a great influence on 20th century theatre. Craig reacted against the stage realism of his day, believing that painted scenery and a naturalistic interpretation of characters distracted attention from the essence of the play. His designs, most made for productions which never took place, were simple and non-illusory. They were characterised by towering vertical masses and were intended as a background for actors who would subordinate themselves to the drama. It was the beginning of what came to be called Director's Theatre, in which director and designer offered a strong co-ordinated interpretation of each work. In 1908 Constantin Stanislavsky, director of the Moscow Art Theatre, invited Craig to direct and design Hamlet. Craig's model suggests a static, monumental setting of stark white walls, but these represent a series of moveable screens, to be used to change the shape of the acting area. Colour was to be provided by the lighting. In practice Craig's vision was beyond the technology of the Moscow Art Theatre, although Stanislavsky spent two years endeavouring to find a way of realising the designer's intentions. Craig wanted his tall screens to glide into position in front of the audience but the problems of keeping them mobile, upright and stable could not be resolved and the scenes had to be changed behind traditional stage curtains. They were still able to create memorable images: in his book, My Life in Art, Stanislavsky described a curving corridor of screens coloured in gilt paper in which the solitary figure of Hamlet was reflected. This plaster model made by Teddy Craig is a re-construction, created in 1921 to illustrate Edward Gordon Craig's theories of set design based on original ideas for Hamlet. As Craig wrote the model is 'different to any I have yet shown...its rather good.' It arrived at the V&A in January 1922 but is not one of the three models of Hamlet included in the International Theatre Exhibition in Amsterdam which was brought to the Victoria and Albert Museum in 1922. |
| Collection | |
| Accession number | E.146-1922 |
About this object record
Explore the Collections contains over a million catalogue records, and over half a million images. It is a working database that includes information compiled over the life of the museum. Some of our records may contain offensive and discriminatory language, or reflect outdated ideas, practice and analysis. We are committed to addressing these issues, and to review and update our records accordingly.
You can write to us to suggest improvements to the record.
Suggest feedback
You can write to us to suggest improvements to the record.
Suggest feedback
| Record created | March 20, 2008 |
| Record URL |
Download as: JSONIIIF Manifest
