Scenery
Sack fly the scenes, and enter foot and horse.
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1
ك
to
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—
scenes flourished on the I'Ondon stage in the seeond quarter of
،
the admiration or provoking the witticisms of tile
elici
:
lengthy accounts of these ornate and elaborate scenes were
awed by tliem.
visitors, who were e
؛
At (!);') by various
scene designers were John DeVoto
Lane theatre t
٥٢
and iq
Fields and at tl١e
G00
a
sc
؛ه:ل ع- ح
New
device of scene
years later. One sign
Halla
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design
scenes."i77
called "slan
p.r tiT the development. of what Aaron
repr;;; ?:،action of Hill’s Merope, writes Kalman Burnim, "tile temple was
by wings and sliutterj some oftlie'side wings depicted columns
;
and
So skilfully
stand between the columns
؛؛
who seeme
؛س ى
to be painted that the people on them would be scarcely
:ت:لالل ل
tlie real life in. the forward area and around tile altar. "17R
angular asymmetrical
were techniques of pa
؛ :
pergpe
the per continues Burnim, “which Gcrdi;
؛'ئاًةاً ح
introduced in Italy during the last decade of tlie seven
؛[
teenth ,!!>ie
he departed from the central axis, and substituted a more
٠
resulting in the impression of diagonal placement of scenic
,
to previously undreamed of
opening the st
ي
’'79 These scenic arrangements used for operatic productions
in Italy
J^hn
of th^ public theatres, f
audience
Londo
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7
ً
been employing tliese techniques. The scenegrapilic sketcltes
.
by Dey
survive reveal liis affinity and talent for the scena per angolo,
and E
points out that DeVoto’s earliest known drawing
for the
dated about 1719, employs the technique..».
٥g
0
panto: Gt٩rd’s most ambitious productions at Goodman’s Fields was
mime King Arthur , for which DeVoto was the scene designer. It
ل,
p 7١8. e otO) Society for Theatre Rescarcli, Pamphlet Series, No. 2 (London
in
cxxi