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Article

Paule Thévenin

[Antoine Marie Joseph]

(b Marseille, Sept 4, 1896; d Ivry-sur-Seine, March 4, 1948).

French writer, draughtsman, stage designer, actor and director . He learnt to draw and paint in 1918–19 while staying in an establishment near Neuchâtel where he had been sent suffering from a nervous complaint that had begun in 1914. There he was prescribed opium in May 1919. He arrived in Paris in the spring of 1920 and visited salons, galleries and studios, produced art criticism (see Oeuvres complètes, ii), continued to sketch small portraits of himself or his family and composed poems. In the atelier of Charles Dullin (1885–1949), where he trained as an actor, he was asked to design the costumes for several performances. Nevertheless, after an attempt in 1923 to paint the portrait of a young friend and her father, he abandoned painting and drawing. Through the painter Elie Lascaux (b 1888), whom he knew from Max Jacob’s circle, he met the art dealer Daniel-Henry Kahnweiler and the artists of his gallery. He became a friend of André Masson in particular and soon became a regular visitor at Masson’s studio in the Rue Blomet, then also frequented by other painters such as Joan Miró, Jean Dubuffet and Georges Malkine and visited by writers Robert Desnos (...

Article

Leland M. Roth and Gordon Campbell

(John)

(b Vienna, Sept 22, 1890; d New York, Dec 27, 1965).

American architect, stage designer, furniture designer and writer of Austrian birth. In 1920 he worked with Adolf Loos in Vienna. He was also in contact with the artists associated with De Stijl and began experimenting with innovative theatre designs. In 1924 he produced the Endless Theatre design. The ‘Endless’ was a double-curved shell of reinforced concrete that could enclose any irregularly traditional divisions into floor, wall, and ceiling but offered the inhabitant an open interior that could be modified at will. For the theatre he adapted the ‘Endless’ by devising a double-spiral stage interconnected by ramps and rings of spectator seats. Kiesler believed that the Endless Theatre, without proscenium or curtain, projecting out into the audience, with perpetually moving walls bathed in light of ever changing colour, would promote greater interaction between actors and audience.

For the celebrated Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris in 1925...