ABSTRACT
This chapter describes Craig's natal scene and its theatricalization of the Genesis myth, returns to an originary space opened up by modernist doubt. It reveals a gap between the two disciplines. Craig's architectural sensibility opens this gap in his refusal to collaborate, and Appia closes it in his subsequent collaboration on the Hellerau Festspielhaus. The chapter considers how architects collaborated with theatre-makers to formulate machines for action. It discusses how Wagner undermined the role played by architects in shaping his auditorium. However, architects based in Germany who straddled the 19th and 20th centuries, such as Max Littman, Henry Van de Velde, Hans Poelzig, Peter Behrens and Bruno Taut, were interested in a more in-depth exploration of theatre architecture and collaborated with communities and artists to establish new forms. As these architects demonstrate, scenography's transformative techniques for creating mutable, fictive space has much to inform the built environment.
