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Marc Chagall

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‘There you are’, said Efros (Granovsky, director of the State Jewish Chamber Theatre, 1920, fh), leading me into a dark room, ‘These walls are all yours, you can do what you like with them’. It was a completely demolished apartment that had been abandoned by bourgeois refugees. ‘You see”, he continued, ‘the benches for the audience will be here; the stage there.’ To tell the truth, all I could see there was the remains of a kitchen.. ..And I flung myself at the walls. The canvases were stretched out on the floor. Workmen, actors walked over them. The rooms and corridors were in the process of being repaired; piles of shavings lay among my tubes of paint, my sketches. At every step one dislodged cigarette-ends, crusts of bread.
--
My life, Marc Chagall, 1922; as quoted in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 38

 
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I covered the walls of both basement rooms with Milino,a cheap substitute for canvas,stretched string backwards and forwards across the rooms and attached widths of packing-paper to them,so that they reached down to the floor and as far as the walls that I wanted to paint. I wanted to create a labyrinth which would somehow help to prevent a compositional idea from establishing itself all too quickly. I had the idea of working on all the walls pretty well at the same time,as if they were one large painting completely surrounding me. By constantly wandering in the labyrinth I sought to realise a form of “de-composition”.

 
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The predominant colour of the kitchen -- its walls, cupboards, floor, shelves -- with all the ancillary rooms -- pantries, larders, cold stores, and sculleries, is green -- Hooker's dark green, leaf-green, emerald, faded turquoise, and eau-de-nile -- like the colours of a dark wet jungle.

 
Peter Greenaway
 

Only in the theatre was it possible to see the performers and to be warmed by their personal charm, to respond to their efforts and to feel their response to the applause and appreciative laughter of the audience. It had an intimate quality; audience and actors conspired to make a little oasis of happiness and mirth within the walls of the theatre. Try as we will, we cannot be intimate with a shadow on a screen, nor a voice from a box.

 
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I believe in neither a director’s nor a writer’s theatre, but a theatre of intelligent audiences. I count myself as a member of an intelligent audience, and I wrote to you as such. That you should disagree with me I can understand, but that you should resent my expressing my opinions is something that frankly amazes me. I thought we had outgrown the idea of theatre as a mystic rite born of secret communion between author, director, actors and an empty auditorium.

 
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With the present importance of the city [of Rome] and the unlimited numbers of its population, it is necessary to increase the number of dwelling-places indefinitely. Consequently, as the ground floors could not admit of so great a number living in the city, the nature of the case has made it necessary to find relief by making the buildings high. In these tall piles reared with piers of stone, walls of burnt brick, and partitions of rubble work, and provided with floor after floor, the upper stories can be partitioned off into rooms to very great advantage. The accommodations within the city walls being thus multiplied as a result of the many floors high in the air, the Roman people easily find excellent places in which to live.

 
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