Distance from the accidents of real life, atmosphere, the space for a
new, fairer world to form itself, being of the essence of Wagner's
representation, it is worth noticing how adroitly he throws back this
world of his, farther and farther into the background, by a thousand
tricks of lighting, the actual distance of the stage from the
proscenium, and by such calculated effects, as that long scene of the
Graal, with its prolonged movement and ritual, through the whole of
which Parsifal stands motionless, watching it all. How that solitary
figure at the side, merely looking on, though, unknown to himself, he is
the centre of the action, also gives one the sense of remoteness, which
it was Wagner's desire to produce, throwing back the action into a
reflected distance, as we watch someone on the stage who is watching it!
The beauty of this particular kind of acting and staging is of course
the beauty of convention. The scenery, for instance, with what an
enchanting leisure it merely walks along before one's eyes, when a
change is wanted! Convention, here as in all plastic art, is founded on
natural truth very closely studied.
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