Influence On American Theatre
Belasco is recognized for bringing a new standard of naturalism to the American stage. Supposedly he put appropriate scents to set scenes in the ventilation of the theaters, while his sets paid great attention to detail, and sometimes spilled out into the audience area. In one play, for instance, an operational laundromat was built onstage. In The Governor's Lady, there was a reproduction of a Childs Restaurant kitchen where actors actually cooked and prepared food during the play. He is even said to have purchased a room in a flop-house, cut it out of the building, brought it to his theater, cut out one wall and presented it as the set for a production. Belasco's original scripts were often filled with long, specific descriptions of props and set dressings. Interestingly, though, he has not been noted for producing unusually naturalistic scenarios.
Belasco was further known for his advanced lighting techniques and use of color to evoke mood and setting. He was one of the first directors to eschew the use of footlights in favor of follow spots and realistic lighting. Often, Belasco tailored his lighting configurations to complement the complexions and hair of the actors. In his own theatres, the dressing rooms were equipped with lamps of several colors, allowing the performers to see how their makeup looked under different lighting conditions.
Belasco also embraced existing theatre technology and sought to expand on it. Both of Belasco's New York theatres were built on the cutting edge of their era's technology. When Belasco took over the Republic Theatre he drilled a new basement level to accommodate his machinery; the Stuyvesant Theatre was specially constructed with enormous amounts of flyspace, hydraulics systems and lighting rigs. The basement of the Stuyvesant contained a working machine shop, where Belasco and his team experimented with lighting and other special effects. Many of the innovations developed in the Belasco shop were sold to other producers.
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