Nordisk and Tableau aesthetics

评语：in Edward Schnedler-Sørensen’s A Modern Girl (Vor Tids Dame, 1912) these slight movements become dramatically significant.

评语：Just before the hero of The Clown (Klovnen, 1916) casts out his wife, we have seen his assistant bustling around in the dressing room, so we know he’s present. But at the moment Joe rejects Daisy, his body conceals the servant, and our attention fastens on the interplay between husband and wife

评语：August Blom sets the stage performance in the distance and the offstage action in the foreground...In The Ballet Dancer, Camilla, portrayed by Asta Nielsen, is about to perform for a society soirée. The hostess Yvette passes among her guests, her reflection caught in the angled mirror

评语：As she coyly undresses behind a screen, the image becomes a play of shadow, central positioning, and architectural framing.

评语：Robert Dinesen used several cues to highlight Elly as she enters the Harem.

评语：Using Nordisk’s vast circus set, Edward Schnedler-Sørensen encloses his protagonist in a series of central frames to highlight his stunt.

评语：director Hjalmar Davidsen fills the frame with parallel layers of figures.

评语：August Blom’s copycat version for Nordisk, relies on distant and lateral staging, often employing quite simple symmetry.

评语：a self-consciously anachronistic reworking of a tradition that the young director had once repudiated.

评语：already very American

评语：an extraordinary display of the possibilities of ensemble staging. Almost any scene could be studied closely for its finesse in playing out the dramatic issues through the actors’ movements in space.