By Foster Hirsch
E-book by means of Hirsch, Foster
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Extra resources for A Portrait of the Artist: The Plays of Tennessee Williams
Prior to Einstein’s classification of the fourth dimension as purely temporal, the Russian philosopher P. D. Ouspensky had posited the existence of a purely spatial fourth dimension. In his two theses on the nature of the spatial-temporal relationship (The Fourth Dimension, written in 1905, and Tertium Organum, written in 1911, see Ouspensky  1971; [1911, 1916] 1922; Henderson 1983), Ouspensky developed a theory of the fourth dimension that turned time into space, claiming that an experience of time in the third dimension is in actuality a distorted experience of a fourth spatial dimension.
16 The scope of Meyerhold’s experience as a viewer of artworks, and the influence of artworks on his theatre making is highlighted in notes by the trio of caricaturists Mikhail Kupriyanov, Porfiri Krylov and Nikolai Sokolov, known collectively as the Kukryniksy, who worked with Meyerhold on his production of The Bedbug in 1929: Having conversations with Meyerhold in the theatre, at home and later during occasional meetings we found out that he was greatly interested in the fine arts. Once he asked us to bring him monographs by the painter Daumier, especially a series of his lithographs ‘Robert Macaire’.
Apollinaire’s emphasis is on the creative work of the artist, rejecting the realist imitation of nature as the role of the photographer not the painter, and asserting the geometric basis of visual art and consequently the influence of the emergence of non-Euclidean (fourth-dimensional) geometry on the modern artists. He identifies cubism as the new movement in painting, and provides a brief history of the development of the style, as well as his own taxonomy of cubist approaches, which identifies four forms of cubism: Scientific, Physical, Orphic, and Instinctive (Apollinaire, trans.
A Portrait of the Artist: The Plays of Tennessee Williams by Foster Hirsch