{"numero_id": "bm-bmtnaau-1908-03-01", "volume": "bmtnaau_1908-03_01", "ocr_sha256": "742251273b10ecc50f84300cda175be175ee582e897279348cc83f470b36db56", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1908/03_01/bmtnaau_1908-03_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1908/03_01/bmtnaau_1908-03_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01", "articles": [{"article_id": "bm-bmtnaau-1908-03-01-c002", "article_bluemountain": "bmtnaau_1908-03_01#c002", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1", "page_fin": "1", "image_debut": 5, "image_fin": 5, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.2", "titre_corps": "THE CONTENTS OF THE FIRST NUMBER", "titre_sommaire": "THE CONTENTS OF THE FIRST NUMBER", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.5", "debut_caractere": 141, "fin_caractere_exclue": 677, "texte": "THE CONTENTS OF THE FIRST NUMBER INCLUDE:\nAFTER THE PRACTISE THE\nGEOMETRY. £> THE ARTISTS OF THE THEATRE OF THE FUTURE by GORDON CRAIG.\nA NOTE UPON MASKS by JOHN THEATRE IN ITALY; A TRANSLATION.\nUS' MADAME ELEONORA DUSE. - THE REAL DRAMA IN SPAIN by EDWARD HUTTON. &\nBOOK REVIEWS. EDITORIAL NOTES. jSf ANNOUNCEMENTS. £>\nILLUSTRATIONS.^THREE SCENE DESIGNS AND TWO PLANS FOR A THEATRE FROM THE\nTREATISE ON PERSPECTIVE OF SEBASTIANO SERLIO. A DESIGN FROM THE BOOK OF\nVITRUVIO. 0 THREE DESIGNS FOR MASKS by E. THESLEFF. & VIGNETTES, ETC."}]}, {"article_id": "bm-bmtnaau-1908-03-01-c004", "article_bluemountain": "bmtnaau_1908-03_01#c004", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1", "page_fin": "2", "image_debut": 5, "image_fin": 6, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.3", "titre_corps": "GEOMETRY", "titre_sommaire": "GEOMETRY", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.5", "debut_caractere": 679, "fin_caractere_exclue": 1179, "texte": "GEOMETRY.\nBeauty.... or Divine Demonstration, knows no confusion. & It\nhas the perfect balance. It remains true once and for ever . ...\nneeds no proof .... can reveal itself without words or arguments, and when* we see i\nwe again see Paradise. It is the dear Heaven. & Science,... or Human\ncontinually calling upon proof, trusting in many words, is as a restless Balance which\ncontinually rises and falls with the uncertainty of the centuries . . . the restless Terror; has\nbecome the only Evil. & £?"}, {"page_pdf": 6, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.6", "debut_caractere": 13, "fin_caractere_exclue": 3624, "texte": "To be beautiful Religion must not ask for pr00f.... must not rest upon Knowledge nor\nupon the Word. & Three Arts . . . Music, Architecture and Movement, together form the one'\ngreat and perfect Religion in which we may see and hear all the Revelations of Truth . . .\nIt is the Evil prophesied long ago in Babel which has separated these three Arts and which\nleaves the world without a Belief - dividing the Occident from the Orient, state from state and\nman from man . . . When these three Arts shall once again be united, concord shall come\nagain. Oh, then what a Renaissance! . . . the first and final Renaissance! JZ?\n& Look then with your eyes upon these diagrams and let them show what they will to\nyour imagination; but call for no proof as to their construction, for at night in the midst\nof Proof comes unnoticed a little error no bigger than a grain of sand and the whole building\nis then annihilated. & But if you look upon them as lines of Strength and lines of Qrace\nyou can have Faith until the end .... you will not be deceived nor even disappointed.\nFor truly, is a circle merely \"a plane figure bounded by one line called the circumference\nand such that all straight lines drawn from a certain point within it called the centre to\nthe circumference are equal\"? Is it not less than this less intricate? and is it not far more\nmore round? Is it not indeed Beauty's perfection? ... And a square? is it not the Strength\nof that perfection?\n& Yet though Words tell us that a square is \"a quadrilateral figure all of whose sides are\nequal and one of whose angles is a right angle\", look upon the diagram above and you will\nsee that it is something more than that. & It is the Word which has destroyed each\nreligion in its turn, and it is the Word, that restless atom of Knowledge, which begins to\neat into Beauty to destroy it if it can. For pure Beauty is a Silent Beauty, and Silence must\nreturn and surround the Arts before they shall become whole again.\nAnd have we done Words some injustice? That must not be. Is speech so wholly evil?\nHave words failed utterly in their trust? have they sold Love for the value of an argument?\nLet it be seen by the issue that this is not wholly so. Let Silence and Divine Imagery heal\nall; give back even to Knowledge its wholesomeness by restoring the just value of its beau-\ntiful words,\nTHE BETTER PART OF SILENCE, Walt Whitman sings... & & &\nI think I could turn and live with animals, they are so\nplacid and self-contained,\nI stand and look at them long.\nThey do not sweat and whine about their condition,\nThey do not lie awake in the dark and weep for their sins,\nThey do not make me sick discussing their duty to God.\nAnd so it seems to me also .... yet I think that if they could speak it would be more\noften to complain, to whine, weep and discuss than to sing and accept. For if they could\nspeak, a dangerous power would inhabit them. But whatever we may believe, we know that their\nsilence produces the impression of content; and what an impression in created,... . what\ninspiration we receive from the impression! At all times and in all places it is the animals\nthat continually impress us; the effect is instantaneous and we are always convinced by\ntheir seeming wisdom, their Beauty. <£? & JZ?\nJZ/ It may be truthfully said of man too that when he is most impressed he is silent, and\nthat when he is silent he impresses us most. &\n& We will surround the people with symbols in silence; in silence we will reveal the\nMovement of Things ... this is the nature of our Art. JZ?\nThe perfect\nReligion,\n/I silent Beauty\nThe hotter part\nof silence, &"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c006", "article_bluemountain": "bmtnaau_1908-03_01#c006", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "3", "page_fin": "5", "image_debut": 7, "image_fin": 9, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.4", "titre_corps": "THE ARTISTS OF THE THEATRE OF THE FUTURE", "titre_sommaire": "THE ARTISTS OF THE THEATRE OF THE FUTURE", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 4445, "texte": "THE ARTISTS OF THE THEATRE OF THE\nFUTURE\nby Gordon Craig\nDEDICATED TO THE YOUNG RACE OF ATHLETIC WORKERS IN ALL THE THEATRES.\nSECOND THOUGHTS. I DEDICATE THIS TO THE SINGLE COURAGEOUS INDIVIDUALITY IN\nTHE WORLD OF THE THEATRE WHO WILL SOME DAY MASTER AND REMOULD IT. &\nHphey say that second thoughts are best. They also say it is good to make the best of a\n* bad job, and it is merely making the best of a bad job that I am forced to alter my first\nand more optimistic dedication to my second. Therefore the second thoughts are best. What\na pity and what a pain to me that we should be obliged to admit it! No such race of athletic\nworkers in the Theatre of today exists; degeneration, both physical and mental, is round\nus. How could it be otherwise? Perhaps no surer sign of it can be pointed to than that\nall those whose work lies in the Theatre are to be continually heard announcing that all\nis well and that the Theatre is today at its highest point of development.\nBut if all were well no desire for a change would spring up instinctively and continually as\nit ever does with those who visit or ponder on the modern Theatre. It is because the\nTheatre is in this wretched state that it becomes necessary that some one shall speak as I\ndo; and then I look around me for those to whom I can speak and for those who will\nlisten, and, listening, understand; and I see nothing but backs turned towards me . . . .\nthe backs of a race of unathletic workers. Still the individual, the boy or man of\npersonal courage, faces me. Him I see, and in him I see the force which shall create the\nrace to come. Therefore to him I speak and I am content that he alone shall understand\nme. It is the man who will, as Blake says, \" leave father, mother, houses and lands if they\nstand in the way of his art\"; it is the man who will give up personal ambition and the\ntemporary success of the moment he who will cease to desire an agreeable wealth of\nsmooth guineas, but who shall demand as his reward nothing less than the restoration of\nhis home, its liberty.... its health.... its power.... It is to him I speak.\nVTou are a young man; you have already been a few years in a theatre, or you have been\n* born of theatrical parents; or you have been a painter for a while but have felt the\nlonging towards movement; or you have been a manufacturer. Perhaps you quarrelled with\nyour parents when you were eighteen, because you wished to go on the stage, and they\nwould not let you. They perhaps asked why you wanted to go on the stage, and you could\ngive no reasonable answer because you wanted to do that which no reasonable answer\ncould explain; in other words you wanted to fly. And had you said to your parents \"I\nwant to fly \", I think that you would have probably got further than had you alarmed them\nwith the terrible words, \" 1 want to go on the stage. \" & JZ> &\nMillions of such men have had the same desire, this desire for movement, this desire to\nfly, this desire to be mqjrged in some other creature's being, and not knowing that it was\nthe desire to live in the imagination, some have answered their parents, \" I want to be an\nactor; I want to go on the stage\". &\nIt is not that which they want; and the tragedy begins. I think when walking, disturbed\nwith this newly awakened feeling, a young man will say, \"perhaps I want to be an actor\";\nand it is only when in the presence of the irate parents that in his desperation he turns\nthe •* perhaps \" into the definite \" I want. \"\nThis is probably your case. You want to fly; you want to exist in some other state, to be\nintoxicated with the air, and to create this state in others.\nTry and get out of your head now that you really want \" to go on the stage. \" If unfortunately\nyou are upon the stage, try and get out of your head then that you want to be an actor and\nthat it is the end of all your desires. Let us say that you are already an actor; you have been so\nfor four or five years, and already some strange doubt has crept upon you. You will not admit\nit to anyone; your parents would apparently seem to have been right; you will not admit\nit to yourself for you have nothing else but this one thing to cheer yourself with. But I'm\ngoing to give you all sorts of things to cheer yourself with, and you may with courage and\ncomplete good spirits throw what you will to the winds and yet lose nothing of that which\nyou stood up for in the beginning. You may remain on, yet be above the stage."}, {"page_pdf": 7, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.7", "debut_caractere": 4489, "fin_caractere_exclue": 4518, "texte": "Dedication.\nu I want to fly\"."}, {"page_pdf": 8, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.8", "debut_caractere": 0, "fin_caractere_exclue": 5703, "texte": "I shaH give you the value of my experience for what it is worth, and maybe it will be of\nsome use to you. 1 shall try to sift what is important for us from what is unimportant; and\nif while I am telling you all this you want any doubts cleared or any more exact explanations\nor details you have only to ask me for them and I am ready to serve you. &\nTo begin with, you have accepted an engagement from the manager of the Theatre. You\nmust serve him faithfully, not because he is paying you a salary but because you are\nworking under him. And with this obedience to your manager comes the first and the\ngreatest temptation which you will encounter in your whole work.\nBecause you must not merely obey his words but his wishes; and yet you must not lose\nyourself. I do not mean to say you must not lose your personality because it is probable\nyour personality has not come to its complete form. But you must not lose sight of that\nwhich you are in quest of, you must not lose the first feeling which possessed you when\nyou seemed to yourself to be in movement with a sense of swinging upwards.\nWhile serving your apprenticeship under your first manager listen to all he has to say and\nall he can show you about the theatre, about acting, and go further for yourself and search\nout that which he does not show you. Go where they are painting the scenes; go where they are\ntwisting the electric wires for the lamps; go beneath the stage and look at the elaborate\nconstructions; go up over the stage and ask for informations about the ropes and the wheels;\nbut while you are learning all this about the Theatre and about acting be very careful to\nremember that outside the world of the Theatre you will find greater inspiration than inside\nit: 1 mean in nature. The other sources of inspiration are music and architecture.\nI tell you to do this because you will not have it told you by your manager. In the Theatre\nthey study from the Theatre. They take the Theatre as their source of inspiration, and if\nat times some actors go to nature for assistance, it is to one part of nature only, to that\nwhich manifests itself in the human being.\nThis was not so with Henry Irving, but I cannot stop here to tell you of him, for it would\nmean letter upon letter to put the thing clearly before you. But you can remember that as\nactor he was unfailingly right, and that he studied all nature in order to find symbols for\nthe expression of his thoughts.\nYou will be probably told that this man whom I hold up to you as a peerless actor, did such\nand such a thing in such and such away; and you will doubt my counsel; but with all\nrespect to your present manager you must be very careful how much credence you give to\nwhat he says and to what he shows, for it is upon such tradition that the Theatre has\nexisted and has degenerated.\nWhat Henry Irving did is one thing; what they tell you he did is another. I have had some\nexperience of this. I played in the same Theatre as Irving in Macbeth, and later on I had\nthe opportunity of playing Macbeth myself in a theatre in the North or the South of England.\nI was curious to know how much would strike a capable and reliable actor of the usual\nfifteen years experience, especially one who was an enthusiastic admirer of Henry Irving.\nI therefore asked him to be good enough to show me how Irving had treated this or that\npassage; what he had done and what impression he had created because it had slipped my\nmemory. The competent actor thereupon revealed to my amazed intelligence something so\nbanal, so clumsy, and so lacking in distinction, that I began to understand how much value\nwas in tradition; and I have had several such experiences.\nI have been shown by a competent and worthy actress how Mrs Siddons played Lady\nMacbeth. She would move to the centre of the stage and would begin to make certain\nmovements and certain exclamations which she believed to be a reproduction of what\nMrs Siddons had done. I presume she had received these from someone who had seen Mrs\nSiddons. The things which she showed me were utterly worthless in so far as they had no\nunity, although one action here, another action there, would have some kind of reflected\nvalue; and so I began to see the uselessness of this kind of tuition; and it being my nature\nto rebel against those who would force upon me something which seemed to me unintelligent,\nI would have nothing to do with such teaching. £/\nI do not recommend you to do the same, although you will disregard what I say and do as\nI did if you have much of the volcano in you; but you will do better to listen, accept and\nadapt that which they tell you, remembering that this your apprenticeship as actor is but\nthe very beginning of an exceedingly long apprenticeship as craftsman in all the crafts which\ngo to make up the art.\nWhen you have studied these thoroughly you will find some which are of value and you\nwill certainly find that the experience as actor has been necessary. The pioneer seldom find\nan easy road and as your way does not end in becoming a celebrated actor but is a much\nlonger and an untrodden way leading to a very different end, you will have all the\nadvantages and the disadvantages of pioneering; but keep in mind what I have told you;\nthat your aim is not to become a celebrated actor, it is not to become the manager of a\nso-called successful theatre; it is not to become the producer of elaborate and much talked\nof plays; it is to become an Artist of the Theatre; and as a base to all this you must, as I have\nsaid, serve your term of apprenticeship as actor faithfully and well. If at the end of five years\nas actor you are convinced that you know what your future will be; if, in fact, you are"}, {"page_pdf": 8, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.8", "debut_caractere": 5747, "fin_caractere_exclue": 5864, "texte": "Obedience to\nyour master.\n& Obedience to\nnature. .£? £?\nHenryr Irv in g\nIncorrect\nt r a d it i o 11.\nThe end in view."}, {"page_pdf": 9, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 581, "texte": "succeeding, you may give yourself up for lost. Short cuts lead nowhere in this world. Did\nyou think when the longing came upon you and when you told your family that you\nmust go upon the stage that such a great longing was to be so soon satisfied? Is satisfaction so\nsmall a thing? Is desire a thing of nothing, that a five year's quest can make a parody of it? But\nof course not. Your whole life is not too long, and then only at the very end will some small\natom of what you have desired come to you. And so you will be still young when you are full\nof years. (To be continued) &"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c009", "article_bluemountain": "bmtnaau_1908-03_01#c009", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "5", "page_fin": "8", "image_debut": 9, "image_fin": 12, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.5", "titre_corps": "THE REAL DRAMA IN SPAIN", "titre_sommaire": "THE REAL DRAMA IN SPAIN", "signature_source": "Edward Hutton", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 9, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.9", "debut_caractere": 620, "fin_caractere_exclue": 4762, "texte": "THE REAL DRAMA IN SPAIN\nby Edward Hutton\nThe Art of the Theatre, the drama that of old was so racy of the soil in Spain, springing\nup everywhere in the strangest blossoms, the Autos of Lope de Vega, of Calderon, of many\nan unknown poet, might seem in any hurried visit to that poor but virile and beautiful\ncountry almost to have passed away. And yet we may still discover it, if we have eyes to\nsee, in many a humble booth or cafe in Castile or Andalusia, even yet instinct with life;\nbased as all Spanish art has been on reality, that spiritual passion of the Spanish people;\nexpressing itself no longer in the work of Morales, of Velasquez, of Murillo, in the lucid\nand perfect syllables of Calderon, the pathos and humour of Cervantes, the eloquence of Lope\nde Vega, the life of S. Teresa, but in the perfect and almost terrible gestures of the dance,\nthe beauty and pathos of the folk song, born there before your eyes in some dim cafe of the\npeople.\nThose strange songs, half chant, half love-song, lyrical so sullenly, so sadly almost, and with\na new sort of rhythm that is in reality but the oldest music of all, greet you everywhere\nin Southern Spain; and strangely enough, as we may think of anything so difficult for the\nmodern ear, are more popular than the national songs, are indeed fast taking their place\nwith the people even in so conservative a country as La Mancha. Malaguenas they call them,\nsongs of Malaga; and indeed in Malaga you hear almost nothing else. Sung to the guitar, the\nstrings have often a more important place in them than the voice itself; for after a long\nintroduction in which you learn, perhaps for the first time, the extraordinary beauty that\nmay be drawn by skilful fingers from an instrument seemingly so limited, the voice breaks\nin suddenly, on a high note long drawn out, almost startling in its fierceness, its profound\nand passionate sadness. It is like some tragic thing that has befallen in the desert, like a\nmood of the soul that has at last become unbearable agony, that must express itself: like\na sudden apprehension of fate which is about to overwhelm everything. Gradually, with many\nswift or reluctant turns, the voice descends into the melody itself, almost a Gregorian tone,\nand yet without the assurance, the precision of that chant which is the foundation of everything\nthat has been accomplished in music since the sixth century, and it may be even before that,\nand which in its perfect intervals assured Europe of her musical future. But while something\nmay be found in the simpler Malaguenas, certainly, of the third Gregorian tone, it is really\na music more primitive than the plainsong that you come upon, quite by chance, in the\ncities of Andalusia. That it has much in common with Greek music, perhaps through the\nMoor, perhaps through the Phoenician, is, I think, capable of proof; but whether it be more\nthan the common likeness that is to be found in all primitive music, in the resemblance,\nfor instance, that you may discover in so northern a thing as an old Scottish air to the Eastern\nmusic of swords and gongs accompanying a plaintive sort of chant, in the likeness of the\ncurious wail of the bagpipe itself to much Arab music, it is difficult to determine; for indeed\nalmost nothing has been written, by musicians at any rate, of the Malaguena, and it is only\nwith difficulty you may find one noted down truly, or as truly as may be, in modern\nnotation, (i)\nYou come upon this music quite by chance, I said, in speaking of the Malaguena; and indeed\nthat is one of its greatest delights; it is almost always by chance that you hear them. Here\nin Malaga, for instance, not one traveller in a thousand ever discovers the Chinitas, that\nlittle caf6 in the Caleta, which is certainly, in its irresponsible perverse way, the one real\nschool of art in Spain. There, it is true, you may hear the Malaguena sung or danced or\n\nSongs of Malaga\nA primitive\nmusic.\n\n(1) Grove, Dictionary of Music and Musicians, under 'Song' says that P. Lacome has noted a Malaguena in Echos\nd'Espangne (Durand et flls, Paris); For me, at least, it is a poor specimen, anaemic and attenuated."}, {"page_pdf": 10, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.10", "debut_caractere": 25, "fin_caractere_exclue": 5231, "texte": "played by artists, unconscious of their perfection, anxious it may be to better themselves, to goto\nMadrid, to Paris, to Berlin, where in a minute they will be quite spoiled by the vulgarity\nof the music-hall that will take the place of the racy freedom and robustness of the little\ndancing hall of Malaga. Yes, within those dingy, disreputable walls, something seems to have\nbeen expressed, to have escaped from its captivity; and yet, while you have still all the\ncolour and passion of so rare a thing, some nuance, I know not what, I know not why, seems\nto have vanished away, to have lost itself in that narrow room, so that really the song is\nless beautiful there than when sung on the quays or in some patio at midday.\nThere are other arts besides those of singing and dancing that you will find at the Chinitas,\nbetter almost than anywhere else in Spain: the art of poetry, for instance, really, in its\nprimitive form, a kind of impromptu wrung from the poet half intoxicated by music, by the\ncurious giddy madness of the castanets. Peculiar, it might seem, to a land so languid about\nart as Spain, so little aware of anything that it has not made its own, so indifferent to mere\nbeauty, so anxious for life, these curiously fascinating moments in which you may see, as\nit were, the very art of the poet practised before you, the delicate handling of words that\nhave really been born out of a vision, are to the Spaniard in their excitement, in their\nrather terrible energy, their extraordinary promise of beauty, much akin to the more brutal\nbut not less eager moments of the bull-fight, when some extraordinarily beautiful feat of\nsword play or daring is about to take place. &\nThrough a frankly noisy crowd full of laughter, amid all the freedom of the cafe, two women\nand an old man thread their way to a sort of platform at the end of the room. One of the\nwomen, old and ugly, and yet not without that distinction which seems always to wait on\nold age here in Spain, sits beside the old man, who tunes his guitar at the back of the stage;\nthe other, still young, with a sad and eager face, sits before them on a chair, alone, facing\nthe noisy crowd. For a minute or two the old man continues to tune his guitar, and then\nquite suddenly he strikes a beautiful and suggestive chord that dies away into a kind of\nchant, played with much art on that instrument, so little known out of Spain. The old woman\nbeats time with her foot, clapping her hands, and from time to time uttering strange cries:\ncries that, in some way 1 cannot explain, seem to excite that motley crowd, which has\nsuddenly grown so silent, till they, too, are full of eagerness, of energy. Now and again\nfrom among them some one cries out in answer. The girl seated alone in the midst of the\nstage seems to be asleep, a sort of drowsiness has overwhelmed her; her arms hang listessly at\nher sides, her head has fallen on her breast. Still the old woman beats her hands together\npassionately, angrily almost; her cries seem to burst from a heart, full of rage and fury, that\nis about to break. Now and then the girl rocks a little in her chair, the old man continues\nhis endless melody, passionate and sad, on the guitar. An immense seriousness has fallen\nupon the crowd. Near me is a woman, her hand lying in the hand of a man, still young,\nwho sits beside her; there are tears in her eyes, and his fingers have ceased to press hers;\nhe has forgotten her, he is waiting almost with anxiety for something to declare itself, for\nrevelation, it might seem. Everywhere around me are eager faces, that for a moment seem\nto have lost the harshness that daily life has pressed upon them, that have forgotten\neverything, and have attained to a sort of simplicity that you may often find in the faces\nof those who are sleeping. The figure in the midst of the stage seems almost to have collapsed,\nto have fallen on to itself, and then, suddenly, as the old woman furiously cries out, and\nin frenzy beats her hands together with a kind of menace, almost threatening in its intensity,\na shiver passes over the girl, the red carnation in her black hair trembles, in a moment a\nmask seems to have fallen from her face; her eyes are wide open, dilated, her mouth widens,\nbecomes almost immense, almost terrible in its effort of articulation; closes a little, and\nbecomes beautiful as she is about to utter the beautiful words; and then, as it were, thrusting\nback the excited, panting crowd with her hands, at last she speaks: &\n44 Thou art dead who wast my love but yesterday,\n1 am alone, alone, in the world that has lost thee,\n1 am a flower born in the shadow of a sepulchre\nAh, let me die!\nThe lamentable cry of the old woman bears the last note away; a splendid and beautiful chord\nthrobs on the guitar; the girl is transfigured, her eyes are burning in her pallid face, she\nleans forward, and again in a higher and more passionate melody, slowly like falling rose-\nleaves, the words drop from her lips:\n4 Let me press my mouth to the wound of thy mouth,\nFor my arms ache for thee, and thou shalt come between them,\nAnd our souls shall be confounded in a kiss....\nAh, let me die.'\n\nThe art of poetry\nIn the Cafe\nAn iniprov is a*\ntrice. &"}, {"page_pdf": 11, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 5642, "texte": "Gradually the melody falls again into the lower key; like an immense curtain falling over\nlife, the last words come to us; her eyes are dying, her lids are so heavy that she can hardly\nhold them open:\n' Neither with thee can I live, nor without thee,\nAnd for my trouble there is no remedy,\nWhen I was with thee thou killedst me-without thee I shall die.\nAh, let me die.'\nWith an immense shout of applause the audience hurl hats, pence, and flowers on to the\nstage at her feet/but she seems to be sleeping; the old woman grovels for the halfpence,\nslowly the guitar sobs into silence. j® j® j® j® j® j® j®\nThat melancholy simplicity which we have so little understood is to be found almost everywhere\nin Seville; life is naked, and if it is unashamed it is only because it is too proud and too\nunconscious to be aware, till we with our strange eyes remind it of our vulgarity. And since\nit is chiefly of women that the traveller is compelled to think in this beautiful city that is\nfull of them, where in the narrow streets you feel the wind of their shawls, on the Triana\nbridge where you are caught by the sensuous and profound rhythm of their movement, in\nTriana itself where you are surprised by their sullen smouldering beauty, a little stupified\nby dust and sun, in the Palacios where you feel the cold passion of every gesture, every\nglance, or in the Alcazar where you are overtaken by the memory of one who walked or\nbathed there long and long ago, and plucked the flowers and was much beloved, and even\nin the Cathedral where on all sides Murillo's Madonnas, full of a distracting and sensual\nloveliness, smile, and smile pathetic in temptation; it is at last as a divine woman, sufficient\nfor us and yet so unsatisfying, full of sweetness that is about to become wearying, that you\ncome to think of the city herself. If you go to the Alcazar, for instance, expecting some great\nand stern beauty, some altogether strong and lovely thing, you will be disappointed;\neverywhere you will find flowers that whisper together as though some one had but just passed\nby, and as you enter room after room, court after court, patio after patio, full of silence and\nsunlight, you will almost hear the footsteps of someone who has but just gone out, leaving a faint\ntrace of some presence in an inexplicable trouble on the threshold, a suggestion of scent in\nthe air, the trembling of a curtain that has just felt the touch of a hand, a fading breath\non the window-pane through which some one has glanced a moment before, a blossom fallen\non the pathway, the fluttering of a leaf on a tree where some one has just plucked a fruit.\nAnd you remember that Maria Padilla often passed through these gardens, that under these\nvery trees she trembled in the arms of her lover, that these cold pavements have felt the\ntenderness of her feet, this marble the wealth and sweetness of her body. j® j®\nAnd seeing that Seville is so full of the memory of women, of women's laughter like the\nsong of a bird full of delight, that you may often hear in the evenings in Triana, of the\nvoices of women singing children to sleep, of their hands that float like lilies in the Sevillana\ndance, of their movements full of languor and grace, it is after all just their delight which\nis the charm of the city herself, an infinite variety in which you will find everything you\ndesire. Something pensive, spell-bound, but half-real in the strait, winding Moorish streets,\nthe delicate, sleeping patios, through which the moonlight creeps like a ghost, combines\ninconsequently but not unfortunately at all with the melancoly of the Fabrica or the Pottery\nsheds, the romance of the busy Guadalquivir, the noise and beauty of the quays, the groups\nof foreign sailors you may see there; while the freedom of the sulky gipsies of Triana, who\nseem ever about to cry out at you or to spring upon you, contrasts strangely enough with\nthe dignity and seclusion of the women of Andalusia, their immense ennui and calmness, as\nit were, their look of exhausted delight, stupefied by their own stupidity. j® j®\nAnd so in the spring or autumn evenings, and in winter too, if after the strangely elaborate\nfrugality of the Spanish dinner you enter the Cafe de Novedades, for instance, you may see\nthe Andalusian women dancing very beautifully, though a little wearily, to the clapping of\nhands, the throb of the guitar, the eagerness of the castanets. Just there, I think, you will\nfind the most perfect and the most natural expression of life in Andalusia. It is not a joyful\nthing at all, this strange, vivid struggle, in a dance that is like a battle in the soul that\nhas communicated itself to the flesh. It is really a passianate, almost a religious, expression\nof life, full of an extraordinary seriousness that will produce tears rather than laughter. It\nis as though in those few subtle movements of the body an art very racy and national a\ndying art, it is true, but the only one left in Spain that is even yet alive, had sought to\nsum up and express, as it were, in a beautiful allegory, the fundamental truths of life, of love,\nof the creative enthusiasm of man, so pitiful, so involuntary. The dancer stands before her\nfellows who are seated in a semicircle behind her; she wears a long dress that falls infolds\nto the ground. After a time, while some sing intermittently, some now and then play a guitar,\nsome beat time with their hands and stamp with their feet, she begins to dance to the\nmaddening thunder of the castanets. It is a dance of the body, of the arms, of the fingers,\nof the head, in which the feet have almost no active part. At first she stands there like a"}, {"page_pdf": 11, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.11", "debut_caractere": 5670, "fin_caractere_exclue": 5731, "texte": "In Seville. j®\nMaria Padilla.\nThe Women of\nj®\nA dying art. j®"}, {"page_pdf": 12, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.12", "debut_caractere": 25, "fin_caractere_exclue": 2402, "texte": "flower that is almost overcome by the sun, sleepy and full of languor; her arms seem like\nthe long stalks of the water-lilies that float in the pools. Suddenly she trembles, something\nseems to have towered in her heart and to be about to burst into blossom. Her whole body\nis shaken in ecstasy; wave after wave of emotion, of pure energy, as it were sweeps over\nher limbs; she is like a rose at dawn that, gazing at the sunrise, has shaken the dew from\nthe cup of its petals, trembling with adoration. Her head leans on her shoulder, she is\nawakening, the castanets have awakened her; she undulates her hips almost imperceptibly.\nLife has caught her in his arms, he has strained back her head; slowly she has opened her\neyelids, she rounds her arms as though to embrace him, she holds out her mouth heavy\nwith an ungiven kiss. Without moving her feet, without bending her knees, slowly she turns\nher body to follow him. At first she dances gravely, intermingling her beautiful arms; her soul\nsuffers in her her body suffers in its sheath, she breathes deeply, she cannot close her\neyelids, and her mouth is like a red rose about to fall. She strains voluptuously, she is free; her\nbody is all joyful, is overwhelmed by the splendour of joy; it is as though she were caught\nin a profound and serious laughter. With an immense energy life possesses her, wrings from\nher cries that are as lamentable as those of women at child-birth, cries that are drowned\nin the thunder of innumerable hands, hands that seem to stretch forth eagerly to touch\nlife as it passes. Slowly she seems to subside into herself, the undulations of her body grow\nless and less violent; she seems to be weeping, she seems about to fall, she is quite still;\nit is finished. In a fierce frenzy, serious, grave, and passionate, the thunder of applause,\nmingled with extraordinary and beautiful cries, grows and dies away into silence in the\nshabby room.\nJust there it seems to me Seville is in her most characteristic mood, finding in so trivial a\nthing as the dance seems to us to be, a means of expression for the most profound simplicities\nof Nature; dancing being, indeed, the only expression of life for which she cares, since it\nsums up, as it were, all the rest in its symbolism, and in its perfect marriage of matter and\nform shadows forth in a mortal minute the whole activity of man. &\nt\n\nThe Dance."}]}, {"article_id": "bm-bmtnaau-1908-03-01-c010", "article_bluemountain": "bmtnaau_1908-03_01#c010", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "8", "page_fin": "8", "image_debut": 12, "image_fin": 12, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.6", "titre_corps": "THE PHILOSOPHY OF ACTORS", "titre_sommaire": "THE PHILOSOPHY OF ACTORS", "signature_source": "Friedrich Nietzsche", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 12, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.12", "debut_caractere": 2404, "fin_caractere_exclue": 3896, "texte": "THE PHILOSOPHY OF ACTORS.\nFriedrich Nietzsche.\n\"jt is the blissful illusion of all great actors that the historical person represented by them\n* really felt as they do during their performance; but in this they are greatly mistaken\nTheir power of imitation and divination which they are desirous of representing as clear=\nsighted faculty, only penetrates far enough to explain gestures, accents, and looks in\nshort, the exterior; that is, they grasp the phantom soul of a great hero, statesman, warrior,\nof an ambitious, jealous, desperate person; they come pretty near the soul, but fail to\narrive at the spirit of their objects. It would, indeed, be a truly valuable thing to discover\nthat, instead of thinkers, discerners, experts, we only required clear-sighted actors to throw\nlight upon the essence of any condition. Whenever such presumptuous notions become\nprevalent, we should never forget that the actor is nothing but an ape, indeed so much of\nan ape that he is utterly unable to believe in \"nature\" and \"essence\"; all he aims at is\nacting, accent, gesture, stage, scenery and audience \". & ag? &\nFrom the translation of Johanna Volz.\n\" atura.l To be natural at least in his deficiencies is perhaps the highest eulogium\nA that can be bestowed on an artificial and in all other respects theatrical and ungenuine\nartist. For this very reason he will boldly display his deficiencies \". & &\nFriedrich Nietzsche.\n\"ALL ART CONSTANTLY ASPIRES TOWARDS THE CONDITION OF MUSIC\"\nWalter Pater."}]}, {"article_id": "bm-bmtnaau-1908-03-01-c012", "article_bluemountain": "bmtnaau_1908-03_01#c012", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "9", "page_fin": "12", "image_debut": 13, "image_fin": 16, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.7", "titre_corps": "A NOTE ON MASKS", "titre_sommaire": "A NOTE ON MASKS", "signature_source": "John Balance", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 13, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 4834, "texte": "A NOTE ON MASKS\nby John Balance\nA Imost all ISie things which had to do\nr% w|th the Theatre of the ancients have so\ndegenerated to tine ludicrous that it Is\nImpossible to speak of these tilings of the\nancient Theatre without evoking laughter,...\nlaughter in the common people and a\nparticular kind of bored drawl in many of\nthe educated. It seems to me that I shall\nnever forget trying to explain to a certain\nDoctor T.... that a piece of work which a\nfriend of mine had Just Invented for the\nTheatre was to be given without the use\nof words. He could not permit (I remember\nhis gravity) that a serious subject should be\ntreated on the stage without long discourses\nIn words. And when I assured him of nay\nfriend ?$ resolve to do this, how strange was the tone with which Doctor T.... shot out the\none word, i& Ah, Pantomime? \"\nDancing, Pantomime, Marl©lunettes, Masks; these things so vital to the ancients, all parts of\ntheir respected Art of the Theatre at one time or another, have been all turned into a Jest.\nDancing « a straight toe like an Icicle, strapped In like a 6 Bambino % in an over-pink tight;\nsomething on the top of it like a powder puff, and the whole tiling sent whirling at an\nenormous rate like a teetotum, . . . . It is the modern public dancer. & & &\nOr two persons like bears hugging one another, and slowly and heavily as bears growling\ntheir way round a room, plod, plod, plod, bump, plod bump, .... this is the modern private\ndancer. & And it is permitted. &\nThese things being permitted and being so obviously ridiculous, and being labelled as the\ndance, it stands to reason that when the word 64 Dance \" Is mentioned seriously one of these\nridiculous pictures is conjured up by the listener. Indeed, people are even prevailed upon to\nsmile on reading In the Bible that King David danced among the women before the Ark. They\npicture to themselves a fancy King David attired either as a powder puff or a bear, whirling\nor lumbering round on a dusty road .... probably uphill. Why, the thing is inconceivable!\nIt Is no use for the Royal Academicians to draw a picture of the famous Artist-King as\nsedately advancing with a harp In his hands like a courtier of the time of Louis XIV.\nHere again the thing becomes inconceivable; and as the imagination of man is not very\nbrilliant, It stands to reason that people give up the Idea of serious and beautiful dancing\nas having really existed, and fall back Into the modern distortion. & &\njg? The case Is even worse with Pantomime. At the best the world conceives pantomime to\nfoe what the French actors are so good at and at the worst they think it is Clown and\nPantaloon. French actors are amusing and delightful; Clown and Pantaloon are entrancing,\nhut these beings are undoubtedly not the exponents of the Art of Pantomime. & &\nSo if you point out the case of Buddah teaching symbolic gesture or 45 Pantomime \" to his\npupils the world will Instantly think of Harlequinade or of 44 L'Enfant Prodigue and,\ndressing Buddah, (in their mind's eye) In coloured, diamond-patterned tights or the loose\nwhite costume of Pierrot, will giggle as they try to foe serious about it all. & jg?\nThe Marionnette, too; mention him in good society, even in learned society, and the rewill\nfoe an awkward moment or two. It seems that he has become one of those things that one\nmust not mention; - like the novels of Dumas, he Is only for boys and girls; and if you remind\nanyone that he figured In the Feast of Bacchus when the Egyptians celebrated these rites,\npeople will instantly think of a poor doll tied to a stick and resembling nothing so much\nas Aunt Sally. If you remind people of what Mr Anatole France writes of these strange and\nwonderful beings, the Marionnettes, they will probably put Mr Anatole France down as an\neccentric gentleman. He happens to be an artist and knows about what he is speaking, so\nlet us hear what he sayss .. . & J& <&?\n44 J'ai vu deux lots fes marionnettes de la rue Vivienne, et j'y ai pris un grand plaisir. Je leur\nsals un gre infihi de remplacer les acteurs vivants. S'il faut dire toute ma pensee, les acteurs\nme gatent la comedie. J'eraterads les boras acteurs. Je m' accommoderais encore des autres! Mais\nce son! les artistes excellents, corrsme il se trouverat a la que decidement\nje rae puis souffrir! Leur talent est trop grand; il couvre tout! II n'y a qtT eux\". And again: \"J'era\nai d»eja fait V aveu, j'aime Ses marionnettes, et celles de M. Signoret me plaisent singulierement.\nCe sont des artistes qui les taillent; ce sont des poetes qui les montrent. Ellas out une grace\nnaive, une gaucherie divine de statues qui consentent a fair© Ses poupees, et Ton est ravi de\nvoir ces petites idoles jouer la com6die.... Ces marionnettes ressemblent a des hierogliphes\n\nDancing & &\nPantomime. &\nThe Marionnette\nMr Anatole\n& & France."}, {"page_pdf": 14, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.14", "debut_caractere": 0, "fin_caractere_exclue": 5358, "texte": "Egyptiens, c'est-a-dire a quelque chose de mysterieux et de\npur, et, quand elles reprise intent un drame de Shakespeare\nou d'Aristophane, je crois voir la penstfe du poete se dcrouler\nen caracteres sacrtfs sur les murailles d'un temple\". And\nfinally: \" II y a une heure a peine que la toile du Petit Theatre\nest sur le groupe harmonieux de Ferdinand et de\nMiranda. Je suis sous le charme et, com me dit Prospero, \" je\nme ressens encore des illusions de cetie ile\". L'aimable\nspectacle! Et qu'il est vrai que les choses exquises, quand\nelles sont naives, sont deux fois exquises \". (La \" Vie\nLitteraire\" et \"Le Temps\").\nSo much then for Dancing, Pantomime, the Marionnette;\nand now for Masks. JZ? &\njg/ Used by the savages when making war at a time when\nwar was looked on as an art; used by the ancients in their\nceremonies when laces were held to be too weak and disturbing an element; used by those\ngreat artists of the theatre, /Eschylus, Sophocles and Euripides; rejected later on by the\nvanity of the actors, and relegated by them to the toy-shop and the fancy-dress ball, the Mask\nhas sunk to the level of the Dance, of Pantomime and of the Marionette. From being a\nwork of art carved in wood and ornamented with precious metals, it has frittered itself away\ninto a piece of paper, badly painted or covered with black satin, & & &\nI shall not here deal historically with the Mask, as this will be fully gone into in another\nnumber and my particular wish is not to confuse the reader with the point at issue, which\nis the importance of the mask to the Life of the Theatre of today and of tomorrow. It is\nas important now as it was of old and is in no way to be included among the things we\nhave to put aside as old fashioned, must in no way be looked upon merely as a curiosity,\nfor its existence is vital to the Art of the Theatre.\nThe historical study of this question will only assist those who already perceive the value\nand importance of reviving in the Theatre the famous and beautiful vitality of its earlier\ndays. To those who know nothing of this spirit the historical study of the Mask is valueless,\nfor like antiquaries they will but collect material for the sake of collecting, and any old\nthing, provided it be of good craftsmanship and excessively rare, will attract them.\nGordon Craig, in his writings on the Theatre, speaks for the Mask over and over again.\nHe sees the gain to the Theatre which is attached to this thing. What he tells us is not new,...\nit is what all artists know, but there lies intrinsic value today in hearing it definitely from\nthe mouth of an artist sprung from one of the most productive families of the English Stage.\nHe tells us that human facial expression is for the most part valueless, and that the laws\nof his Art tell him that \" It is better, provided it is not dull, that instead of six hundred\nexpressions, but six expressions shall appear upon the face\". Later on he gives an example:\n\" The Judge sits in Judgment upon the Prisoner, and he shall display but two expressions,\neach of which is in just proportion with the other. He has two masks and on each mask one\nmain statement, these statements being tempered by Reflections,... the hopes and fears and\nthe rest of not merely the Judge, but of Justice and Injustice \". &\nCraig \"aims at taking us beyond reality; he replaces the pattern of the thing itself by\nthe pattern which that thing evokes in his mind, the symbol of the thing \". In saying this\nArthur Symons recognises in Craig a descendent of the family of the ancient artists of the\nTheatre, for his aim was theirs, and the Mask a part of their strength, the Mask, the\nsymbol of the Human face. & & & & &/\nIt is this sense of being beyond reality which permeates all great art. We see it in the\nlittle clumsily painted pictures of those periods when the true beyond was of more importance\nthan a right perspective, when the perspective of thought and feeling held its true value.\nWe see it in the marvellous little Etruscan figures of but an inch high! one faces me as\nI write, a tiny little piece of bronze, charged with an overwhelming spirit, but which\nwould be refused at the Royal Academy of today because its hand is as big as its head and\nthe toes of the feet are not defined; because it does not wriggle itself into a pose, but is\npoised with firm conviction,... conviction, a thing detested by committees and hence refused\nadmission in Academies. jg? jg? &\nMasks carry conviction when he who creates them is an artist, for the artist limits the\nstatements which he places upon these masks. The face of the actor carries no such\nconviction: it is over full of fleeting expression,.... frail, restless; disturbed and disturbing,\nand, as Craig says elsewhere, on this account not material with which to make a work of art.\nJZ? It is doubtful whether the actor will ever have the courage to cover his face with a mask\nagain having once put it aside, and it is doubtful whether he shall see that it would serve as\nhis gain. If it can be proved that it would be to the actor's loss and not his gain it will\nprove that the Actor and the Art of the Theatre are divided at the outset, and one of three\nthings will happen: either the Actor will drift further from the Art, or he will be destroyed\nin battling against the Art, or, finally, he will, like the phoenix, destroy himself to re form"}, {"page_pdf": 14, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.14", "debut_caractere": 5377, "fin_caractere_exclue": 5457, "texte": "Masks. & <£?\nGordon Craig on\nMasks, £?\nkittle Etruscan\nfigures &\nMask or faces ?"}, {"page_pdf": 15, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 5149, "texte": "himself, and so in a new shape advance with the Art for which\nhe has sacrificed himself.\nThe mask will return to the Theatre; of that one seems\nto be assured; and there is no very great obstacle in the\nway although there is some slight danger attached to a\nmisconception of its revival. First of all it is not the\nGreek mask which is going to be resuscitated; rather is it\nthe English mask which is going to be created. There is\nsomething very depressing in the idea of groping among ruins\nfor the remains of the past centuries. It is a great trade today,\nbut not for the purposes of the Theatre. They dig for the\nmarbles and the bronzes and the statuettes: they unearth\ntombs; they rummage even for crinolines of i860; they admire\nthese things.\nThe Theatre may admire the old Greek masks, but it must\nnot dig in the ground for them; it must not collect them; it\nmust not waste what power it has as a creator, attending to its fads; it must not play the\nantiquary.\nThat such a danger as this exists and needs guarding against is most evident. Some time\nago, we do not know how far back, (the collector knows) the world became tired of creating\nand took unto itself the rage for the old fashioned.\n\"Pictures.... away with the young painters: let us fill our houses with the old paintings; drag\nthem out of the churches, dig them out of the niches, scrape them off the walls; what does\nit matter! Hateful young men! Lovely old masters!\"\n\"Sculpture.... quick, fly to Greece! Now's the time! Nobody's looking,... occupied with\naffairs,... no money in the country; a lot of money in the ground; dig it all up; let sculpture\ngo to the dogs, and let the old remains come back from Athens to fill our collections \".\n\"Music.... some young musician wants his symphony played. Nonsense, costs too much; have\ndiscovered splendid new piece in little old shop for one fife and a drum; never heard anything\nlike it before! Wonderful discovery! Tell the young man to take up chemistry\".\nAnd so on and so on. & This craze for the antique has become a general habit, and the\nmore antique the more the craze. Old furniture, houses packed with old furniture; books,\ntapestries, all sorts of metal work, even down to coins, though here the true collector,\nthe millionaire, is careful to keep as modern as he can. And this love of the antique is growing\nso petty to-day that it is positively eating into the very people themselves and they are becoming\nas antique as that which they collect: with this difference, that the old stuff has life in it\nand they have none. This love of the antique has come into the Theatre now and then; it\nentered into England with William Poel and his Elizabethan Stage Society. Those who know\nMr Poel know him to be a man of distinction, cultivated, and an authority upon the stage\nof the 16th century. But what is that for the purpose of the living Theatre? All those connected\nwith the stage should be distinguished and cultivated, and authorities on all questions\npertainining to the stage; but they should possess that only as a basis, and on that basis\nthey should build anew and not merely exhibit the basis itself, saying, \" Lo, the ruins of\nthe 16th century! tickets 6d; plan of excavation, 2d extra\". There have been others besides\nMr Poel. There have been the revivalists of the so-called Greek Theatre,... a dreadful thing\nentirely in Greek; and so on.\nIt would be a sad thing, therefore, if masks, sham-Greek in idea, sham-Greek in their\nmanufacture, should be brought into the Theatre, appealing to the curious only by creating\na subject for small talk. No! the Mask must return to the Stage to restore expression, .. .\nthe visible expression of the mind.\nThere is a second danger, ... the danger of the innovator. As Art must not be antique,\nneither can it be up-to-date. I think it is Mr Whistler who points out that Art has no period\nwhatever. It has only vitality or affectation, and under 4 affectation' come both the imitation\nof the antique and the up-to-date. jgr &\nThe vitality of the Art depends upon its artists and their willingness to work under the Laws\nwhich have ruled their Art from the commencement. Not Laws put down by committees to\nsuit a period, but the commandments unspoken and uninscribed, the ever-living Law of\nBalance which is the heart of perfect Beauty and from which springs Freedom,.... that\nFreedom which we hope and believe is the soul of Truth. To move incessantly towards this\nis the aim of artists, and those of the Theatre must not lag behind. & &\nAs has been said many times before, this will be nothing new. It is what the men of the\nTheatre began thousands of years ago: it is what the men of the Theatre a few hundred years\nago relinquished as beyond their strength. When we shall resume this we shall not be\nmerely repeating: it will be no echo of a past century: the inspiration which led men to use\nthe mask in past ages is the same now as it ever was and will never die. It is this inspiration\nthat we shall act under and in which we trust. Therefore let no one attempt to put this\nthing aside as being of the antique, or an eccentric explosion of 44 I'Art Nouveau \". I anticipate"}, {"page_pdf": 15, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.15", "debut_caractere": 5170, "fin_caractere_exclue": 5242, "texte": "Not revival but\ncreation.\nThe rage for the\nold fashioned,\nThe innovator."}, {"page_pdf": 16, "page_imprimee": "12", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.16", "debut_caractere": 17, "fin_caractere_exclue": 1001, "texte": "the charges so as to call attention to the class of person who is sure to have something to\nsay against us. We all know the kind of individual who is continually heard laughing to-scorn\nthe vitality of his country and his age. He is an unhealthy creature and I am glad to find that\nin England lie is already beginning to die out. For the last seven years a new spirit has\nawakened in England and everything is coming under its influence. There is a gaiety abroad\nand a sense of freedom which loosens the Joints of our island and which gives to our dignified\nand solemn people an added grace of which they were much in need. Let the young men\nof the Theatre remember this and stand at ease, for there is a protective spirit abroad whom\nthey can look to when they need support. No longer a stiff courtesy reigns in the Court,\nbut a genial one;... one which I believe is friendly to all things young and vital,... which\n3 hope is not to forget the young and vital Art of the Theatre. & &"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c017", "article_bluemountain": "bmtnaau_1908-03_01#c017", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "12", "page_fin": "13", "image_debut": 16, "image_fin": 17, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.8", "titre_corps": "TO MADAME ELEONORA DUSE", "titre_sommaire": "TO MADAME ELEONORA DUSE", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 16, "page_imprimee": "12", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.16", "debut_caractere": 1003, "fin_caractere_exclue": 4555, "texte": "TO MADAME ELEONORA DUSE\n\nNo, not an actress, but something more; not an artist, but something less; a personality;\nand then something far more than all these three. & &\nIZJirst of all I shall treat of the scenes and the theatres of our time, and it will be rather\ndifficult to understand where we must place the line of sight, mine being a different\nmethod from former ones. & &\nI have chosen to design the above section first. By the aid of the ground-plan it will be better\nunderstood. Therefore study the ground-plan first and if there are some things which are\nnot quite clear in it, then it will be better to refer to the section. &\nI first begin with the foreground which shall be on a level with the eye, and which is flat,\nand marked C. And from. B. to A. let the ground rise in the direction of A. The thicker of\nthe two upright pieces, that which is marked M., denotes the outside wall which is at the\nextremity of the hall. The thinner upright piece marked P. denotes the extremity of the\nstage; (1) the joint marked O. is the line of sight, and the joint where the line runs from\nL. to O. and meets the upright piece P. becomes the line of sight, but which is to serve\nonly for that plane ; and this line will always be the line of sight for facades\" of buildings\nwhich face us: but those parts of buildings which are not facing will have their line of sight\nmarked O.: and it stands to reason that if the buildings show two fronts they shall have two\nlines of sight: so much for the section of the scene.\nWe now proceed with the section of the auditorium. The Proscenium is marked D.; The\nOrchestra which is marked E. is raised one half foot from the ground. F. indicates the seat\nreserved for the nobility. The first steps which are marked G. are to be at the disposition\nof the most noble ladies, and higher up the less noble shall be set. The broader steps\nmarked H. and I. are passages; between these two passages are the seats reserved for the\nnoble men. On the four steps above I. the middle class shall find place. That large space\nmarked K. shall be for the populace, and shall be lesser or greater in size according to the\nsize of the hall. The theatre and the scene that I made in were somewhat in the\nmanner I have described. From one end of the auditorium to the other it measured 80 feet;\nand it was erected in a great courtyard where 1 found more room for it than for the stage,\nthis latter being built against a loggia. The construction and joints of the wood-work were\nin the manner I have shown in the previous chapter, and since this theatre was without\nany extra support whatever, for its greater strength I made it a Scarpa.\nTHE STAGE <£? Few things may be contemplated with greater pleasure to the eye or more\nrest to the spirit than the unveiling to our view of a stage setting. By means of the art of\nperspective one receives an impression of superb palaces, vast temples and other splendid\nbuildings, and near and far spacious piazzas ornamented by various lofty turrets; long streets\ncrossed by other streets - triumphal arches - pyramids - obelisques, - and a thousand other\nbeautiful forms ornamented by innumerable lights of different strengths - large, medium,\nsmall, in proportion, which are at times so cunningly arranged that they seem like so many\nsparkling diamonds, rubies, sapphires, emeralds, and other &\nHere one sees the horned and lucent moon rising slowly so slowly that the eye of the\nspectator does not see her move; in other scenes the rising of the sun is represented with\nsuch art that one remains lost in wonder. By like means one is enabled to see the descent\nof a God from on high, or the passage of some planet through the air. We may also see upon\nthe stage various intermedii beautifully decorated, and figures strangely and fantastically"}, {"page_pdf": 18, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.18", "debut_caractere": 3894, "fin_caractere_exclue": 3985, "texte": "The line of sight.\nThe auditorium.\nThe charm to the\neye.\n\n(1) backcloth of Modern Theatre)."}, {"page_pdf": 19, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 5092, "texte": "clothed, both dancers and musicians. Sometimes one\nsees men and children in the strange disguises of\nanimals who play tricks leap, vault and caper so\nwell that it fills the spectators with amazement. uZ?\nAll these things give so much pleasure to the eye\nand to the intelligence that we imagine nothing\nmade by man can be more beautiful \" Di quelle cose\npoi che siamo in proposito delTarte della perspettiua:\n10 ne trattarb alquato. Pure quatuque questo modo\ndi perspettiua di ch'io parlarb sia diuerso dalle regole\npassate per essere quelle imaginate sopra li parieti\npiani: & questa per essere materiale & di rilieuo e\nben ragione a tenere altra strada. Primieramente per\n11 comune uso si fa un suolo leuato da terra quanto\nTocchio nostro, cioe dalla parte dauanti & di dietro\nsi fa piu alto la nona parte, partendo in noue parti\ntutto il piano, & una di quelle. Sia leuato il detto\nsuolo dalla parte di dietro uerso TOrizonte, & sia\nben piano, &. forte per causa delle moresche, questa\npendentia io Tho trouata commoda con la esperientia\nperche in Vicenza (citta molto ricca & pomposissima\nfra I'altre d'ltalia) io feci uno Theatro: & una scena\ndi legname, perauentura, anzi senza dubbio, la mag=\ngiore che a nostri tempi si sia fatta, doue per li\nmarauigliosi intermedii che ui accadeuano, come\ncarette, Eletanfi, & diuerse moresche, io uolsi che\ndauanti la scena pedente: ui fosse un suolo piano, la latitudine del quale fu piedi xii & in\nlongitudine piedi Ix done io trovai tal cosa ben commoda, & di grande aspetto. Questo primo\nsuolo essendo piano il suo pauimento non übidiva a I'Orizonte, ma li suoi quadri furono\nperfetti, & al cominciare dal piano pendente, tutti quei quadri andavano a TOrizonte il che\ncon la sua debita distantia sminui. Et perche alcuni han posto TOrizonte a Tultimo pariete\nche termina la scena, il qual e necessario metterlo sul proprio suolo al nascimento di esso\npariete, doue dimostra che tutti li casamenti se adunano : io mi sono imaginato di trapassare\npiu oltre con TOrizonte, la qual cosa mi e cosi bene riuscita, che a fare tal cose ho sempre\ntenuto questa strada, & cosi consiglio coloro che di tal arte se diletteranno a tener questo\ncamino, come nella seguente carta dimostraro. & come ne ho trattato qui a dietro nel\nprofilo del Theatro, & della Scena. & & &\nEt perche gli apparati delle comedie sono di tre maniere, cioe la Comica, la Tragica, & la\nSatirical io trattarb al presente della Comica, i casamenti della quale uoglion essere di\npersonaggi priuati, li quali apparati per la maggior parte si fanno al coperto in qualche sala,\nche nel capo di essa ui sia camere per la commodita dei dicitori, & iui si fa lo suolo come\nqui piu a dietro io dissi, e ne dimostrai Io suo profilo, & qui auanti dimostrerb la pianta.\nPrimieramente la parte C, e quel suolo piano & poniam caso che un quadro sia due piedi\n& medesimamete quelli del piano pendente son due piedi per ogni lato, & e segnato B,e\n(come ho detto nel profilo) io non intendo di mettere TOrizonte al pariete ultimo della scena,\n111a quanto sara dal principio di esso piano B, fin al muro sia trapassato altro tanto di la dal\nmuro con TOrizonte, & quelle due linee di punti dinotano il muro in capo di essa sala &\ncosi tutti li casamenti, & altre cose haueranno piu dolcezza ne i scurtii, doue tirati tutti li\nquadri ad esso Orizonte: & diminuiti secondo la sua distantia, si leuaran sii li casamenti\nli quali son quelle linee grosse sul piano, per diritto: & per traverso, & questi tai casamenti\n10 li ho sempre fatti di telari, sopra Si quaii ho poi tirato tele, facendogli Se sue porte in\nfaccia & in scurtio secondo le occasioni, & anco ci ho fatto alcune cose di basso rilievo di\nlegnami che ha aiutato molto le pitture, come al suo loco ne trattarb. Tutto lo spacio da li\ntelari al muro segnati A, seruiranno per li dicitori, & sempre lo pariete ultimo uuol essere\ndiscolto dal muro airmen due piedi, accib li dicitori possino passar coperti, di poi quanto si\ntrouera alto TOrizonte, sia tanto alzato un termino al principio del piano B, che fara L, &\nda li a TOrizonte sia tirata una linea che e di punti; la quale sara al livello, & dove questa\nferira ne Tultimo pariete: iui fara TOrizonte di esso pariete: & non seruiraperb ad altro telaro:\nma la detta linea sia una cosa stabile, perche questa sernira a tutti quei telari che faranno\nin maiesta, per trovare le grossezze di alcune cose, ma il primo Orizonte di la dal muro seruirk\na tutti li scurtii de i casamenti. Et perche a far questo saria necessario a rompere esso muro\n11 che non si puo fare, io ho sempre fatto uno modello piccolo di cartoni & legnami, ben\nmisurato & traportato poi in grande, di cosa in cosa giustamente con facilita. Ma questa lettione\nforsi ad alcuno sara difficile, nondimeno sara necessario faticarsi nel far de modelli &\nesperientie, che studiando trouara la uia. Et perche le sale (per grande che siano) non son\naapaci di Theatri: io nondimeno per accostarmi quanto io posso a gli antichi: ho uoluto di\nesso Theatro fame quella parte che in una gran sala possi capire, perb la parte D, servira"}, {"page_pdf": 20, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.20", "debut_caractere": 57, "fin_caractere_exclue": 2572, "texte": "per proscenio. La parte circolare segnata E, farii I'orchestra leuata uit grado dal proscenio,\nintorno la quale son sedie per li piu nobili, che son F, Si gradi primi G, son per le donne\npiu nobili, la parte H, e strada, & cosi Sa parte I, G, Si altri gradi son per Si uomini men nobili,\nper li quali ui son scale per salire piu agiatamente. Quei luoghi spaciosi segnati K, saran poi\nper la plebe & saranno maggiorl o minor! secondo Si Suochi, & come 11 Suoco fara maggiore\nlo Theatro prendera piu delSa sua perfetta forma. &\nTHE COMIC SCENE I have already treated of the theatre and the stage and I shall now go\ninto details as to the scenes, which I have also said shall be of three different kinds. The\nComic Scene, for representing Comedies: the Tragic Scene, for the Tragedies: and the Scena\nSatyrica for the Satires. & JZ/ <£? &\nThe first, the Comic Scene, shall represent the exterior of the dwellings of private persons\nsuch as citizens, lawyers, merchants, parasites and other like men.\nThe house of the Procuress must not be lacking nor must the Scene be without a tavern.\nA Church is also very necessary. The method for setting these buildings in position 1 have\nalready given: \" si nel levare i casameti sopra li piani, come nella pfanta delle scene massime,\ncome & done si dee porre 1' Orizonte. Nientedimeno accio che I'huomo sia meglio instrutto\ncirca alle forme dei casamenti: io ne dimostro qui a lato una figura la quale potra, essere\nun poco di luce a chi di fa! cosa uorra dillettarsi. Pur in quesia essendo cosi piccola non\nho potuto osseruare tutte le misure. Ma solamente ho accennato alia inuentione per avvertir\nI'huomo a saper fare elettione di quei casamenti che posti in opera habbino a riusciur bene\ncome faria un portico traforato: dietro del quale si uegga un'altro casamento come quesfo\nprimo, li archi del quale son di opera moderna. & & &\nThe balconies which some call Pergole, others Renghieri are well adapted to perspective;\nso are cornices whose ends project from the corners of the building, cleverly intermingled\nwith others that are merely painted, which produce an excellent effect. Those houses too,\nwhich have a heavily projecting upper story are of great use: you may see one in the Hostelry\nof the Moon in the accompanying engraving. One must take especial care to remember to\nplace the smaller houses in the foreground, in order that the others which are behind\nmay be visible, as, for instance, the house of the Procuress, (Rufiana) whose sign, the three\n\nThe scenes."}, {"page_pdf": 21, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.21", "debut_caractere": 60, "fin_caractere_exclue": 2864, "texte": "Hooks, may be seen in the illustration \" onde per tal superiority della casa piu a dietro, uiene\na rappresentar grandezza, & riempisse meglio la parte della scena, che non farebbe diminuendo\nse le summita delle case diminuissero Tuna dopo I'altra. £?\nAnd although the things here designed have their shadows painted on one side, still they\nshow to better advantage when they are illuminated from the middle of the stage: therefore\nlet the strongest Sights hang high up above the centre of the stage. The circular or square\npanes shown in the windows are transparent and of various colours, and the means for\nilluminating these I will give at the end of this book. &\nIt will be well to put lights behind the windows which are facing, whether they be of glass,\nof paper or of painted linen. But were I to give you all the hints I could about these things\nI should be held to be tedious. Therefore I will leave them for the invention of those who\nwish to exercise their intelligence. & & &\nTHE TRAGIC SCENE & The Tragic Scene will be for the representation of the Tragedies.\nThe Buildings which we shall show must be only those inhabited by Great Persons. For the\namorous adventures, strange intrigues and violent and cruel deaths such as those we read\nof in ancient and modern tragedies, have always befallen in those places where Dukes and\nPrinces dwell and even in the Palaces of Kings. Therefore we must not in such scenes present\nbuildings which have not nobility in them, but shall proceed as I have done in the following\ndesign, tho' alas! being so limited for space I have not been able to show on it all those great\nand royal edifices which it were more possible for me to present with greater space at my\ndisposal. But it will be enough if the architect who has the handling of these matters shall\nhave a glimmering of what I mean. He will then know how to adapt himself according to the\nplace and the subject. It is the same here as in the Comic Scene. In this scene it will also\nbe best to put a small building in front of a large one for the reason I have already given.\nMy scenes have been made on frames and therefore it is very necessary to avail oneself of\nthe support of wood reliefs for the sake of strength for instance in that building on the\nright side of the design where the pilasters rest on a solid base, through which some steps\npass. In this case the base must be solidly built, and upon the floor of this base the two\nframes can be placed, the one facing the audience and the other in receding perspective.\nThese frames will extend to the summit of the parapet (to the point A.) The upper part of the\nhouse which rests upon these arches recedes slightly and will be made in like manner to\nthat on which it rests. What I say of this particular building at the right of the design"}, {"page_pdf": 22, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.22", "debut_caractere": 59, "fin_caractere_exclue": 2420, "texte": "is to be applied also to the other buildings when the upper part recedes, especially of those\nbuildings which are in the foreground. When such a building is placed far back at a greater\ndistance from the audience, one frame well drawn and painted will suffice. As regards the\nartificial lights, what we have said in the Comic Scene applies to this scene also. All\nsuperstructure such as chimneys, belfries and such like things, although I show none in the\nengraving, shall be designed on thin boards and cut in profile. They must be both drawn\nand coloured with skill and when you wish to make some imitation statues of marble or bronze\nyou will use a thin board or even a thick cardboard cut in silhouette and shaded properly.\nWhen placing them in position you must be careful to affix them far enough from the spectators\nlest a side view be obtained. &&&&?<£/\nIn these scenes, although at times some artists have painted certain figures representing living\ncreatures, for example a woman in a balcony or seen within a half-open door, or have pictured\nsome running animal, I do not counsel that these things be done because they have not actual\nmovement and are yet an imitation of actual beings. On the other hand it would be quite\nappropriate to represent some sleeping figure or some dog or other animal asleep, for this\nstate has no movement. I will speak again on this point at the end of this book and give\nsome idea as to the making of these things. & &\nOF THE SATIRIC SCENE The Satiric Scene is that used for the representation of Satiric\nPlays in which all those who live licentiously and without regard are reproved. In the\nancient satires vicious and ill-living men were almost named by the players, and one\ncan believe and understand also that such licence could only be permitted if it came from\nthe mouths of half-witted persons or ill-educated rustic*; and it is for this reason that Vitruvio,\ntreating of this scene, wishes that it may be ornamented with trees, rocks, hills, mountains,\nherbs, flowers and fountains, and desires also that there may be some rustic huts shown;\nand this we have done. And because these performances for the most part take place in our\nland during the winter when but few herbs or flowers are to be found, you will have to\nmake such, artificially, with silk, and this you can do so well that they will be even more"}, {"page_pdf": 23, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 5917, "texte": "praised than those made by nature. Also as in the Comic and Tragic Scenes we imitated\nhouses and other buildings by means of painting, so again in this scene we shall not do ill\nto imitate herbs and flowers by the same means. And the more costly these things shall be,\nby so much will they be the more effective, and, truly, should be, in the hands of rich and\nmagnanimous lords who are the enemies of stinginess. This lavishness my eyes beheld in\nsome scenes ordered from the architect Girolamo Genga by his patron Francesco Maria, Duke\nof Urbino; and I noted as great liberality in the Prince, as taste and skill in the architect.\nIn no other example of the art have I seen so much beauty. Oh Immortal Gods! What\nexhilaration lay in the sight of so many beautiful trees and fruits, so many herbs and sweet\nflowers fashioned from the finest silk of various colours; the little cliffs and rocks richly\ncovered with many sea shells of great beauty, with snails and other little animals, with\nbranches of coral of many colours, with mother of pearl, with sea crabs and with so great\na variety of beautiful things that to attempt to write of them here would take too\nNeither will I attempt to tell of the satyrs, the nymphs, the syrens, and other monsters\nwhich were made with so much skill and then fitted over the bodies of men and children\naccording to their size, and these set walking or running according to the nature of the\nanimal, which they performed to the very life. And were it not that I fear to be tedious I\nwould tell of the superb costumes of certain shepherds made of rich cloth of gold and of\nsilk, and lined with the choicest fur of wild animals. I would tell, also, of the fishermen\nwhose vestments were not less rich than the others and whose nets were made of fine golden\nthread even as all their other implements were in like manner made of gold. I would tell\nof certain shepherdesses and nymphs whose robes were made regardless of cost, but I\nleave it to the intelligence of all skilful architects to do such things when they shall find\nsuch patrons who generously open their hands to them that they may execute that which\nthey desire.\nOF THE ARTIFICIAL LIGHT FOR THE SCENE. In the treatise upon the Comic Scene I\npromised to explain later the means of producing artificial lights of various colours, and\nfirst I will tell of the colour blue, \" II quale rappresenta il zafiro e anco assai pio bello \".\nTake a piece of sal ammoniac and have at hand a barber's basin or another vessel of brass\nand pour into it a very little water. Let this piece of salt be well ground in the basin until\nit be entirely dissolved, ever adding a little more water the while.\nIf you would have more of such a dye and if you would have the tone more intense you must\nadd more sal ammoniac. Now having mixed a basinful of this water, strain it through felt\ninto another vessel and a most beautiful azure blue will be produced. Wishing to make it lighter,\nadd more pure water: thus of the same colour you will be able to make as many shades,\nlight or dark, as you may wish. And if out of this same sapphire-tinted water you should\nwish to produce the colour of the emerald, add some saffron, more or less, according as you\nshall desire it, darker or lighter. Of these things I give no proportions, but by experience\nyou will learn to make all the various shades whether light or dark. &\nTo produce the colour of the ruby, should you be in a place where rich=coloured red wines\nare made, by means of these you may produce this colour.\nAnd if you should have no wines, take some virgin wax and cut it in little pieces - place\nit, together with as much rock alum, in a cauldron of water let it boil skim it, and\nthen strain it through felt. After this, if you wish for a lighter colour you must add pure\nwater. If you wish to produce the exact colour of a Balas Ruby a mixture of white and red\nwine will give it to you. Thus white wines of lighter or deeper tone can be used to produce\nthe colour of Topaz or Chrysophrase. \"Ma (senza dubbio alcuno) I'acqua pura passata pel\nfeltro, contra fara gli diamanti \". Moreover to project the lights it will be necessary to make\nuse of some lenses, therefore some bottles must be made at the glass furnace in a special\nform, and these must be filled with water. & &\nThese will be placed behind the scenes, and where the lamps are required a long board\nmust be fixed in such a manner that it will divide these lamps. Underneath and at right\nangles, there will be another board to support the glass bottles containing the coloured water.\nThe bottles shall be placed with the rounded parts fitted into these holes, and be sure to\nsee that they be well fixed that thay may not fall with the romping of the Morris dancers.\nBehind each of the bottles its own lamp will be placed so that each light shall be of equal\nstrength. That part of the bottle which faces the lamp shall be flat or convex the better\nto concentrate the light so that the colours shall be more brilliant. The same treatment\nshall be applied to the windows seen in receding perspective. &\nIt is sometimes necessary that there be a very large and fierce light. To produce this, you\nmust place a torch behind the bottles and behind the torch must be fixed a barber's basin\nfurbished very bright, the reflection from which will cast certain gleams like the rays of\nthe sun. And if some of these openings be square or diamond shaped, you had best take\nsome panes of glass of various colours and place them in position with a light behind them.\nBut these lights will not be the sole illumination, for a large candelabra will hang in front of\nthe stage. Suspended above this candelabra let there be a great vase full of distilled water\nwherein a piece of camphor shall be dropt and set on fire. This floating light makes a beautiful\neffect and creates a sweet aroma. When it is needful to represent some burning thing, you"}, {"page_pdf": 23, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.23", "debut_caractere": 5959, "fin_caractere_exclue": 6024, "texte": "The costumes. &\nAzure Blue.\nHuh y.\nProjectors. &\nRe flee tor s. &"}, {"page_pdf": 24, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 3133, "texte": "will use strong spirits of wine in which you will soak whatever you wish to envelope in\nflames, and set fire to it with a taper, when it will burn for some time. And although\nregarding the lights one might say far, far more, this shall be sufficient for the moment.\nLet us touch upon a few more things which are of great delight to the spectators. To fill\nin that time when the actors are not upon the scene, the Architect will have prepared some\nprocessions of small figures, of a size proportionate to the arches through which they pass;\nthese figures will be made of thick cardboard and cut in profile and may be painted. They\nwill be fixed to a strip of wood which shall be made to run in a groove or swallow-tail\nmortise, and this mortise may be placed across some archway. A workman standing behind\nthis arch can manipulate these figures so as to make them appear to move past the spectators.\nLet these figures sometimes be made to represent musicians playing upon instruments, and\nothers singing with their throats: to assist this illusion let there be gentle music played\nbehind the scenes. Besides this you can fashion groups or crowds, some on foot and some\non horseback, and as they pass let some voices be raised in imitation of murmurs, and let\nthere be a faint clamour of drums and blare of trumpets, for these things ever charm the\nspectators.\nIf a planet or some other heavenly body is to be seen passing in its course through the air,\nlet the same be well painted on cardboard, and cut in silhouette. Then stretch some fine\nwires from one side of the stage to the other at the furthest extremity from the spectators,\nand on the said wire let the painted cardboard be attached by small rings, and besides this\na fine black thread is to be attached to the cardboard and the thread held by a workman who\nwill draw the cardboard very slowly towards him. But all this must be very distant from\nthe spectator in order that neither the wire nor the thread may be seen. jg>\nPeals of thunder, and flashes of lightning and also thunder-bolts may sometimes be required;\nso you will produce the thunder as follows.\nThe stage being that part of the theatre which is always erected at the end of a hall, above\nwhich there is always a floor, you will but have to roll a large stone ball upon this floor.\nYou will imitate lightning as follows: a workman will be placed in a high position behind\nthe scenes, holding in his hand a little box containing resin. The lid of the box shall be\npierced by many holes and in the centre of the lid shall be a lighted taper, so that by jerking\nthe hand which holds the box the powder will fly up and take fire when it comes in contact\nwith the lighted taper. As for the thunder-bolts, let a wire be stretched at the back of the\nstage from above, on which a rocket or squib, adorned with sparkling gold, shall run. While\nthe thunder is rumbling and towards the end of the peal, let the fuse be ignited which will\nset fire to the squib and produce a good effect. & 44 Ma s'io volessi trattare di quante cose\nsimili mi abbondano, io saria troppo lungo, peri) faccio fine quanto alia perspettiva \"."}, {"page_pdf": 24, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.24", "debut_caractere": 3175, "fin_caractere_exclue": 3424, "texte": "Figures.\nThe star s.&\nThe thunder\n\nNote. \" Above were a cornice, architrave and a frieze, with glass balls full of distilled water and lights behind to render\nthe apartment luminous\". From Vasari's \"Life of Cristofano Gherardl\" 1508: 1556. & & & & &"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c019", "article_bluemountain": "bmtnaau_1908-03_01#c019", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "14", "page_fin": "14", "image_debut": 18, "image_fin": 18, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.9.1", "titre_corps": "SECTION SHOWING CONSTRUCTION OF STAGE AND AUDITORIUM", "titre_sommaire": "SECTION SHOWING CONSTRUCTION OF STAGE AND AUDITORIUM", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 18, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.18", "debut_caractere": 3840, "fin_caractere_exclue": 3892, "texte": "SECTION SHOWING CONSTRUCTION OF STAGE AND AUDITORIUM"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c021", "article_bluemountain": "bmtnaau_1908-03_01#c021", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "16", "page_fin": "16", "image_debut": 20, "image_fin": 20, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.9.3", "titre_corps": "THE COMIC SCENE", "titre_sommaire": "THE COMIC SCENE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 20, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.20", "debut_caractere": 40, "fin_caractere_exclue": 55, "texte": "THE COMIC SCENE"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c022", "article_bluemountain": "bmtnaau_1908-03_01#c022", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "17", "page_fin": "17", "image_debut": 21, "image_fin": 21, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.9.4", "titre_corps": "THE TRAGIC SCENE", "titre_sommaire": "THE TRAGIC SCENE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.21", "debut_caractere": 40, "fin_caractere_exclue": 58, "texte": "THE TRAGIC SCENE\nA"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c023", "article_bluemountain": "bmtnaau_1908-03_01#c023", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "18", "page_fin": "18", "image_debut": 22, "image_fin": 22, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.9.5", "titre_corps": "THE SATIRIC SCENE", "titre_sommaire": "THE SATIRIC SCENE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 22, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.22", "debut_caractere": 40, "fin_caractere_exclue": 57, "texte": "THE SATIRIC SCENE"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c024", "article_bluemountain": "bmtnaau_1908-03_01#c024", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "20", "page_fin": "22", "image_debut": 24, "image_fin": 26, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.10", "titre_corps": "BOOK REVIEWS", "titre_sommaire": "BOOK REVIEWS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 24, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.24", "debut_caractere": 3426, "fin_caractere_exclue": 5549, "texte": "BOOK REVIEWS\n\nIBSEN, THE MAN, HIS ART AND HIS SIGNIFICANCE. By Haldane Macfall. Eondon.\nE• Grant Richards. 1907. &\nThis is a book which contains, as well as much that is of universal interest, certain passages\nwhich have a peculiar interest and importance from especial points of view. Of these we\ncan but briefly notice two: first, Ibsen's dislike of seeing his dramas acted, and second,\nthe financial difficulties which beset him throughout almost his whole life. &\nReferring to his shrinking from witnessing the representation of his own pieces Mr Macfall\nwrites, \" He detested to see his own plays on the stage. The actors came between him and\nhis conception of the characters, often distorting them for ever \". And how could this be\notherwise? For, from the moment when the last word was written, and the play, going forth\nto the world, left the poet 4 Lonely, as though he had been robbed of intimate friends ',\nit was complete, perfectly rounded as a work of art. Further addition was more than\nsuperfluous, it was encumbering; in that it blurred the conception of the author and confused\nthe minds of those to whom he spoke, since for one actor who could interpret so subtle\nand elusive a thing as the spirit of a play, five hundred would only obtrude their own\npersonality as a barrier between the audience and the poet. &\nThis significant fact about Ibsen suggests the question whether this is not a matter upon\nwhich many poets and playwrights, could their real feeling be ascertained, would agree\nwith him, thereby confirming the theory, from the point of view of the literary men themselves,\nthat the Art of Literature has nothing to do with the Art of the Theatre; that any invasion\nby one of the territory of the other only ends in the mutilation, if not destruction, of\nthem both.\nThe other point to which we would draw attention is important as relating to a fact which\nwe are too apt only to associate with the great artists long dead who have become romantic\nfigures of the imagination, or with young artists, struggling and starving at the outset\nof a career; that is to say, Ibsen's financial position."}, {"page_pdf": 25, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 2199, "texte": "Consider it! He who was in our midst onJy yesterday; the great Ibsen, Ibsen, whose name\nprinces and nobles felt it to be an honour to mention—this great spirit, the bearer of this\ngreat name, had hardly enough money to pay for the barest necessities, and is obliged to\naddress 4 a humble petition' to the king of his country three times before he can obtain the\ngrant of L. 90 which should set him free for a few months from the vexations of the butcher,\nthe baker and candlestick maker to study literature and art. & &\n4 His lack of money' we read, 4 was terrible '. 4 He had to fall back on money lenders of the\nvilest kind'; and learning this of a great man who was with us but yesterday suggests at\nonce the idea, is it possible that the great of today are in the same position? That the great\nsculptor has not sufficient money to buy his marble, that Ibsen's successor and the young\nRussian and others whose words or works go out across the world are fretted and hindered\nby the same paltry and ignoble cares?\nAnd if this be so in the present. and Judging from the case of Ibsen we may believe that\nit is so frequently,— is it ever to be so in the future? Is the artist, the freest sou! on earth,\nto be perpetually bound in that most sordid of prisons, poverty? to be forced to come down\nfrom communing with the gods to pacify the duns on his doorstep? to turn himself from his\nbeautiful task to struggle for bare existence, and at last, perhaps, to lose heart under what\nVasari describes as 44 the necessity of fighting against famine rather than for fame \" ?\nIt is a significant fact that the Jewish church in olden days made provision for its priesthood,\nthat it might, without distraction by worldly cares, perform the temple service, and that\nthis was, and is customary with almost all religious cults. &\nThis being so, when shall we in this Twentieth century, instead of stoning or starving the priests\nof our Art, be wise enough to set them free by some adequate and organised system from crippling\nanxieties about daily bread or weekly rent, so that, issuing from a place of silence and calm\nwhich are the conditions of revelation, they may show to the people that which they have seen?"}, {"page_pdf": 25, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.25", "debut_caractere": 2216, "fin_caractere_exclue": 5762, "texte": "PAPERS OP A PARIAH. Robert Hugh Benson. (Eondon. Smith, Eider & Co. igof).\nA volume of thoughtful and original studies, written with a good deal of charm and distinction\nof style is the 44 Papers of a Pariah \", to which Mr Benson has acted as literary sponser.\nIn an introductory chapter Mr Benson gives us some outline of the character and condition\nof the writer, an actor, who, deeply attracted by the ritual, the symbolism and romance\nof the Roman Church (into which, just before his death, he was received), by the dignity\nof its ceremonies, its poignant silences, its profound mysteries, its rigorously proscribed\nmovements and gestures, made these his study not merely from a spiritual or dogmatic point\nof view but aesthetically; and witnesses to the close alliance in ancient times between the\nTheatre and the religious cult; to the days when, indeed* they were not two but one.\nIn such a point of view there is nothing new to those who have studied the history of the\nTheatre and know something of its origin, rooted deep in the religions of all lands; but\ncertain details of the subject have been seldom better dealt with than in this little book.\nOne of the most interesting and suggestive chapters is that which, entitled 44 The Religious\nDance traces the survival of this in the Roman ceremonial of the Mass.\nSuch a connection may come as a surprise to many; and yet it is very beautiful, very logical,\nand if it is strange to us it is only because of the strange views we have come to hold as\nto the real position and significance of dancing, views based usually upon imperfect\nknowledge and false ideals. We too often slur over, rather as a lapse of dignity, the fact\nthat King David danced before the ark: we accord a kind of contemptuous pity to the dances\nof Fijians and Hottentots before their idols: we read, a little doubtfully, George Meredith's\n44 Jump-to-Glory-Jane\"; and all the time it would never occur to us that some survival of\nthe fervour and emotion which seek and find expression in beautiful and rythmic movement\nyet exist within the Roman Catholic Church. A dance in a Christian Church! The idea is at\nonce repudiated as unseemly; and yet read the words of this writer: —44 It was during\nHigh Mass, not in France but in England, that the thought first came into my mind that\nperhaps here was a survival of the ancient religious dance; that stately, magnificent series\nof slow movements which surely may express devotion of the most solemn and reverent kind,\nas well as can the colour of vestment or sanctuary or the sounds of melody.\" 44 Observe \"\nhe goes on, 44 with me the motions of those three men in green at the foot of that lighted\nfragrant altar, and see how orderly and exquisite is the whole affair. It is no less than a\nsacred dance, and there is hardly one religious emotion that does not find its representative\nthere.\nThe passage which follows is of especial interest and significance, so emphatically does it\nenforce the necessity for the suppression of individual personality in any work of art or\nact of worship, recalling the days when not the persons of men but the symbols of Man were\nused in all religious rites. &\n44 The actors in this drama, let us say a father and his two sons, are so swathed as to present\nthe least possible resemblance to men. Their humanity, their corporal defects or advantages,\nthe lines of their bodies, even their passions, their stupidities, all are obliterated as far\nas possible beneath the stiff folds of an antique dress; for they are not there as the Rev."}, {"page_pdf": 26, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.26", "debut_caractere": 0, "fin_caractere_exclue": 1031, "texte": "Smith, Jones or Brown, but as performers in a stupendous drama, figures in a sacerdotal\nact done primarily to God, and secondarily with as little distraction as possible before men.\nThey resemble giant images of which the mechanism is studiously concealed.\" JZ? &\nSo, step by step, the writer follows every movement and gesture, describes every figure of\nthe dance, every beautiful symbolic detail, until all is fulfilled; and then, \" Even to me,\nProtestant as I am, it did seem completely suitable that an event so stupendous could scarcely\nbe approached by any other process than that of a sacred dramatic dance, with an accompaniment\nof rigid and minute Court etiquette\" human outlines must be obliterated by some\noverpowering uniform, personal tastes and methods of behaving must be rigidly supplanted\nby set movements and gestures for 44 Originality in the sanctuary, as has been well observed,\nis the greatest vulgarity known to men. \" And may not much of what has been here said\nof the sanctuary hold good upon the stage? a&"}, {"page_pdf": 26, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.26", "debut_caractere": 1048, "fin_caractere_exclue": 3034, "texte": "HENRI EOUIS EE KAIN, HE EA CO ME HIE FRANCAISE Jean Jacques Olivier,\nParis, igoy. Societe Francaise d'hnprimerie A: de Eihrairie. & & &\nA book for the interest of which the names of subject and author are sufficient guarantee\nis the Life of Henri-Louis le Kain by Jean-Jacques Olivier. jg? &\nMonsieur Olivier has, in this volume, added to his well-known series of writings on the\nFrench actors of the 18th century a valuable study on the 4 Garrick of France ' who won\nthe praise of Voltaire as having transformed the lifeless tragedy of the period into a 4 living\npicture ' and of giving lessons in the art of acting which others would be obliged 4 henceforth\nto imitate.' jg? jg? jg/ & jZ?\nOne of the most interesting chapters in the book is that which deals with the reforms in\ncostume, in recitation and in the staging of plays introduced by le Kain, and which also\ndescribes his project, submitted to King Louis XV, for the foundation and endowment of a\ntraining school for the stage. jg?jg?jg?Jg?\nThe volume is illustrated with a large number of plates taken from portraits and contemporary\nprints and documents, and is supplied with carefully arranged indexes and reference tables.\n\nD. N. L.\n\"ARGUS\" is the name of a new fortnightly magazine, which appeared at the beginning of\nthis year in Helsingfors, Finland. gc>jg?jg?jg?j£?jg?jg?j&\nIt is the organ of Literature, Art and general culture of a circle of young literary and scientific\nmen. The third number contains an article, \" The Renaissance of the Theatre \" by the eminent\nyoung Finnish writer, Torsten Soderhjelm. In his article the author dwells at great length\non the aims of Edward Gordon Craig and his work for the Renovation of the Theatre. Jg?\nThe Editors of \" The Argus \" are: Gunnai Castren, Gustaf Matteson and Emil Zilliacus. -£?\nArgus Redaktion, Helsingfors. Price 7 francs yearly. & & jg?\n\nThe Editor is glad to receive for review copies of any books dealing seriously with the Art\nor History of the Theatre. &"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c025", "article_bluemountain": "bmtnaau_1908-03_01#c025", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "20", "page_fin": "21", "image_debut": 24, "image_fin": 25, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.10.1", "titre_corps": "IBSEN, THE MAN, HIS ART AND HIS SIGNIFICANCE by Haldane Macfall", "titre_sommaire": "IBSEN, THE MAN, HIS ART AND HIS SIGNIFICANCE by Haldane Macfall", "signature_source": "Haldane Macfall", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 24, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.24", "debut_caractere": 3440, "fin_caractere_exclue": 5549, "texte": "IBSEN, THE MAN, HIS ART AND HIS SIGNIFICANCE. By Haldane Macfall. Eondon.\nE• Grant Richards. 1907. &\nThis is a book which contains, as well as much that is of universal interest, certain passages\nwhich have a peculiar interest and importance from especial points of view. Of these we\ncan but briefly notice two: first, Ibsen's dislike of seeing his dramas acted, and second,\nthe financial difficulties which beset him throughout almost his whole life. &\nReferring to his shrinking from witnessing the representation of his own pieces Mr Macfall\nwrites, \" He detested to see his own plays on the stage. The actors came between him and\nhis conception of the characters, often distorting them for ever \". And how could this be\notherwise? For, from the moment when the last word was written, and the play, going forth\nto the world, left the poet 4 Lonely, as though he had been robbed of intimate friends ',\nit was complete, perfectly rounded as a work of art. Further addition was more than\nsuperfluous, it was encumbering; in that it blurred the conception of the author and confused\nthe minds of those to whom he spoke, since for one actor who could interpret so subtle\nand elusive a thing as the spirit of a play, five hundred would only obtrude their own\npersonality as a barrier between the audience and the poet. &\nThis significant fact about Ibsen suggests the question whether this is not a matter upon\nwhich many poets and playwrights, could their real feeling be ascertained, would agree\nwith him, thereby confirming the theory, from the point of view of the literary men themselves,\nthat the Art of Literature has nothing to do with the Art of the Theatre; that any invasion\nby one of the territory of the other only ends in the mutilation, if not destruction, of\nthem both.\nThe other point to which we would draw attention is important as relating to a fact which\nwe are too apt only to associate with the great artists long dead who have become romantic\nfigures of the imagination, or with young artists, struggling and starving at the outset\nof a career; that is to say, Ibsen's financial position."}, {"page_pdf": 25, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 2199, "texte": "Consider it! He who was in our midst onJy yesterday; the great Ibsen, Ibsen, whose name\nprinces and nobles felt it to be an honour to mention—this great spirit, the bearer of this\ngreat name, had hardly enough money to pay for the barest necessities, and is obliged to\naddress 4 a humble petition' to the king of his country three times before he can obtain the\ngrant of L. 90 which should set him free for a few months from the vexations of the butcher,\nthe baker and candlestick maker to study literature and art. & &\n4 His lack of money' we read, 4 was terrible '. 4 He had to fall back on money lenders of the\nvilest kind'; and learning this of a great man who was with us but yesterday suggests at\nonce the idea, is it possible that the great of today are in the same position? That the great\nsculptor has not sufficient money to buy his marble, that Ibsen's successor and the young\nRussian and others whose words or works go out across the world are fretted and hindered\nby the same paltry and ignoble cares?\nAnd if this be so in the present. and Judging from the case of Ibsen we may believe that\nit is so frequently,— is it ever to be so in the future? Is the artist, the freest sou! on earth,\nto be perpetually bound in that most sordid of prisons, poverty? to be forced to come down\nfrom communing with the gods to pacify the duns on his doorstep? to turn himself from his\nbeautiful task to struggle for bare existence, and at last, perhaps, to lose heart under what\nVasari describes as 44 the necessity of fighting against famine rather than for fame \" ?\nIt is a significant fact that the Jewish church in olden days made provision for its priesthood,\nthat it might, without distraction by worldly cares, perform the temple service, and that\nthis was, and is customary with almost all religious cults. &\nThis being so, when shall we in this Twentieth century, instead of stoning or starving the priests\nof our Art, be wise enough to set them free by some adequate and organised system from crippling\nanxieties about daily bread or weekly rent, so that, issuing from a place of silence and calm\nwhich are the conditions of revelation, they may show to the people that which they have seen?"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c026", "article_bluemountain": "bmtnaau_1908-03_01#c026", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "21", "page_fin": "22", "image_debut": 25, "image_fin": 26, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.10.2", "titre_corps": "PAPERS OF A PARIAH.", "titre_sommaire": "PAPERS OF A PARIAH.", "signature_source": "Robert Hugh Benson", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.25", "debut_caractere": 2216, "fin_caractere_exclue": 5762, "texte": "PAPERS OP A PARIAH. Robert Hugh Benson. (Eondon. Smith, Eider & Co. igof).\nA volume of thoughtful and original studies, written with a good deal of charm and distinction\nof style is the 44 Papers of a Pariah \", to which Mr Benson has acted as literary sponser.\nIn an introductory chapter Mr Benson gives us some outline of the character and condition\nof the writer, an actor, who, deeply attracted by the ritual, the symbolism and romance\nof the Roman Church (into which, just before his death, he was received), by the dignity\nof its ceremonies, its poignant silences, its profound mysteries, its rigorously proscribed\nmovements and gestures, made these his study not merely from a spiritual or dogmatic point\nof view but aesthetically; and witnesses to the close alliance in ancient times between the\nTheatre and the religious cult; to the days when, indeed* they were not two but one.\nIn such a point of view there is nothing new to those who have studied the history of the\nTheatre and know something of its origin, rooted deep in the religions of all lands; but\ncertain details of the subject have been seldom better dealt with than in this little book.\nOne of the most interesting and suggestive chapters is that which, entitled 44 The Religious\nDance traces the survival of this in the Roman ceremonial of the Mass.\nSuch a connection may come as a surprise to many; and yet it is very beautiful, very logical,\nand if it is strange to us it is only because of the strange views we have come to hold as\nto the real position and significance of dancing, views based usually upon imperfect\nknowledge and false ideals. We too often slur over, rather as a lapse of dignity, the fact\nthat King David danced before the ark: we accord a kind of contemptuous pity to the dances\nof Fijians and Hottentots before their idols: we read, a little doubtfully, George Meredith's\n44 Jump-to-Glory-Jane\"; and all the time it would never occur to us that some survival of\nthe fervour and emotion which seek and find expression in beautiful and rythmic movement\nyet exist within the Roman Catholic Church. A dance in a Christian Church! The idea is at\nonce repudiated as unseemly; and yet read the words of this writer: —44 It was during\nHigh Mass, not in France but in England, that the thought first came into my mind that\nperhaps here was a survival of the ancient religious dance; that stately, magnificent series\nof slow movements which surely may express devotion of the most solemn and reverent kind,\nas well as can the colour of vestment or sanctuary or the sounds of melody.\" 44 Observe \"\nhe goes on, 44 with me the motions of those three men in green at the foot of that lighted\nfragrant altar, and see how orderly and exquisite is the whole affair. It is no less than a\nsacred dance, and there is hardly one religious emotion that does not find its representative\nthere.\nThe passage which follows is of especial interest and significance, so emphatically does it\nenforce the necessity for the suppression of individual personality in any work of art or\nact of worship, recalling the days when not the persons of men but the symbols of Man were\nused in all religious rites. &\n44 The actors in this drama, let us say a father and his two sons, are so swathed as to present\nthe least possible resemblance to men. Their humanity, their corporal defects or advantages,\nthe lines of their bodies, even their passions, their stupidities, all are obliterated as far\nas possible beneath the stiff folds of an antique dress; for they are not there as the Rev."}, {"page_pdf": 26, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.26", "debut_caractere": 0, "fin_caractere_exclue": 1031, "texte": "Smith, Jones or Brown, but as performers in a stupendous drama, figures in a sacerdotal\nact done primarily to God, and secondarily with as little distraction as possible before men.\nThey resemble giant images of which the mechanism is studiously concealed.\" JZ? &\nSo, step by step, the writer follows every movement and gesture, describes every figure of\nthe dance, every beautiful symbolic detail, until all is fulfilled; and then, \" Even to me,\nProtestant as I am, it did seem completely suitable that an event so stupendous could scarcely\nbe approached by any other process than that of a sacred dramatic dance, with an accompaniment\nof rigid and minute Court etiquette\" human outlines must be obliterated by some\noverpowering uniform, personal tastes and methods of behaving must be rigidly supplanted\nby set movements and gestures for 44 Originality in the sanctuary, as has been well observed,\nis the greatest vulgarity known to men. \" And may not much of what has been here said\nof the sanctuary hold good upon the stage? a&"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c027", "article_bluemountain": "bmtnaau_1908-03_01#c027", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "22", "page_fin": "22", "image_debut": 26, "image_fin": 26, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.10.3", "titre_corps": "HENRI LOUIS LE KAIN, DE LA COMEDIE FRANCAISE. Jean Jacques Olivier", "titre_sommaire": "HENRI LOUIS LE KAIN, DE LA COMEDIE FRANCAISE. Jean Jacques Olivier", "signature_source": "Jean Jacques Olivier", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 26, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.26", "debut_caractere": 1048, "fin_caractere_exclue": 2235, "texte": "HENRI EOUIS EE KAIN, HE EA CO ME HIE FRANCAISE Jean Jacques Olivier,\nParis, igoy. Societe Francaise d'hnprimerie A: de Eihrairie. & & &\nA book for the interest of which the names of subject and author are sufficient guarantee\nis the Life of Henri-Louis le Kain by Jean-Jacques Olivier. jg? &\nMonsieur Olivier has, in this volume, added to his well-known series of writings on the\nFrench actors of the 18th century a valuable study on the 4 Garrick of France ' who won\nthe praise of Voltaire as having transformed the lifeless tragedy of the period into a 4 living\npicture ' and of giving lessons in the art of acting which others would be obliged 4 henceforth\nto imitate.' jg? jg? jg/ & jZ?\nOne of the most interesting chapters in the book is that which deals with the reforms in\ncostume, in recitation and in the staging of plays introduced by le Kain, and which also\ndescribes his project, submitted to King Louis XV, for the foundation and endowment of a\ntraining school for the stage. jg?jg?jg?Jg?\nThe volume is illustrated with a large number of plates taken from portraits and contemporary\nprints and documents, and is supplied with carefully arranged indexes and reference tables."}]}, {"article_id": "bm-bmtnaau-1908-03-01-c028", "article_bluemountain": "bmtnaau_1908-03_01#c028", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "22", "page_fin": "22", "image_debut": 26, "image_fin": 26, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.10.4", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "D. N. L", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 26, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.26", "debut_caractere": 2237, "fin_caractere_exclue": 2912, "texte": "D. N. L.\n\"ARGUS\" is the name of a new fortnightly magazine, which appeared at the beginning of\nthis year in Helsingfors, Finland. gc>jg?jg?jg?j£?jg?jg?j&\nIt is the organ of Literature, Art and general culture of a circle of young literary and scientific\nmen. The third number contains an article, \" The Renaissance of the Theatre \" by the eminent\nyoung Finnish writer, Torsten Soderhjelm. In his article the author dwells at great length\non the aims of Edward Gordon Craig and his work for the Renovation of the Theatre. Jg?\nThe Editors of \" The Argus \" are: Gunnai Castren, Gustaf Matteson and Emil Zilliacus. -£?\nArgus Redaktion, Helsingfors. Price 7 francs yearly. & & jg?"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c029", "article_bluemountain": "bmtnaau_1908-03_01#c029", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "22", "page_fin": "22", "image_debut": 26, "image_fin": 26, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.10.5", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 26, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.26", "debut_caractere": 2914, "fin_caractere_exclue": 3034, "texte": "The Editor is glad to receive for review copies of any books dealing seriously with the Art\nor History of the Theatre. &"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c031", "article_bluemountain": "bmtnaau_1908-03_01#c031", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "23", "page_fin": "24", "image_debut": 27, "image_fin": 28, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.11", "titre_corps": "EDITORIAL NOTES", "titre_sommaire": "EDITORIAL NOTES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 27, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 5255, "texte": "EDITORIAL NOTES.\n\n\" After the Practise the Theory\".\nEurope and America do not lack theatrical\njournals. There are, to mention but a few,\" The\nStage \" and \"The Era\" in England; the smaller\n\" Beltaine \", and \" Samhain \" the organs of\nthe Irish Literary Theatre in Ireland; \" El\nTeatro \" in Spain; the Theater Courier \" and\nthe \"Schauhuhne\" in Germany; the \" Musik &\nTheater Zeitung\" and the \"Oesterr Theater\nZeitung \" in Austria;\" L' Art du Theatre \" and\n\" Le Theatre \" in France; \" La Rivista Teatrale \"\nin Italy;4 The Dramatic Mirror' in America and\nmany others too numerous to name; while in\naddition to these larger journals, there are\nthe daily or weekly announcement sheets\nwhich, though hardly to be called 4 papers ' at\nall, yet serve their practical purpose. The motto\nof our journal is not, however, that of any\nof these. With them the Theory is first; is,\nindeed, everything: with us it follows upon\nthe Practise. Let us explain what we mean.\nWe take it that their papers contain merely\na record of what is being done; and in speaking\nthus we do not for a moment undervalue or\ndoubt the usefulness of these journals. On\ntheir own lines they serve many excellent\npurposes, mainly professional; while at times,\nas in the 4 Schaubuhne' and the 4 Art du\nTheatre', other, and more progressive matters,\nare gone into very seriously. But the value of\na journal should not end there. It, like all\nother things, reflects the idea or the personality\nbehind it, and, if we may be critical to our\ncontemporaries, all the weakness of these\ntheatrical journals lies in the fact that nine\ntimes out of ten their guiding spirit is a\ngentleman without any practical experience of\nthe ropes of a theatre, and with but little\nknowledge of that far more vital and important\nthing,... the Art of the Theatre. Lacking both\nknowledge and convictions; knowing little\nof the vessel they are guiding and without\nany fixed idea as to the port toward which\nthey steer, such men keep no direct course,\nbut hesitatingly tack from side to side. In\ntheir indecision they invite into their ship, as\nit were, many persons from different countries,\neach eager to turn the vessel's head and win\nhis way across the ocean to some desired haven\nof his own. The result of this is obvious. Where\nthere is 110 unity of purpose each individual\nstrives to accomplish some purpose of his\nown; to seize the helm and guide the vessel\nwhere he will. &\nNow the object of a journal is twofold. It\nshould not only announce what has been but\nwhat is to be. The first task is a light one;\nthe second hazardous, and only those who\nhave practised an art can without danger\nspeak of the developments of the near or far\nfuture. Therefore a journal, if its record of\nthe past, its annunciation of the future, are to\nfoe of value, needs an experienced leader, and\nthis we have found in Mr Gordon Craig, who,\nnot only with his pen and pencil but with, his\nadvice, will guide the fortunes of this magazine.\nHis guidance wiil foe valuable in that he has\nhimself practised what we shall preach, and\nwe, preaching what he has practised and what\nothers may add to that practise, shall by so\ndoing attempt to show where lies the future\nof the Theatre. Moreover, in securing Mr\nCraig's guidance we may claim to have secured\nthat of the head of a movement which has\nactually taken place, which is spreading far\nand wide in the European Theatre, and of\nwhich the Theory now needs to foe definitely\nand clearly stated so that convictions may foe\nstrengthened, scattered forces united, and\nall move forward with stability and unity of\npurpose towards one object, the re=\nestablishment in its original dignity of a\nbeautiful and ancient Art. &\nExtract from letter from Mr: H. P. Home,\nto the illustration on page I. &\n\" Your cut is reproduced from fol. recto, of\nthe \" Vetruvio, in volgar lingua riportato\njjer Gianbatista Caporali cli Perugia. \"\nprinted at Perugia in 1531. &\nCaporali, however, cribbed it with a few\nalterations from the large cut on fol. XLIX\nrecto of \" Zt} Opera praedara de\nVitruvio Pollione de Architectura: traducta\nde latino in vulgarey \" by Caesare Caesariano\nof Milan, and printed at Como, in large folio\nin 1525. Leonardo had then been dead some\nyears. Caesariano does not say that he took\nit from Leonardo, but he says that such\nprinciples of proportion were observed by\nu molti pictori Mediolanensif nostri com-\npagni, \" and goes on to mention by name\nseveral disciples of Leonardo. That the design\nis Leonardesque, (that indirectly, it was\nderived from Leonardo,) there can be no doubt.\nIn Caesariano's version, the cut bears the\nfollowing superscription on a beatiful'cartello,.\nHumani corporis mensura et ah eo omnes\nsymmetrias enrythmiatas & proportiones\ngeometrico schemate invenire ut adesi\nfigura& &\nCaesariano's explanation of the cut is terribly\nabstruse& &\nlH|/ii@n Mr H. Beerbohm Tree visited Berlin\nin the spring of last year with his\nShakespearian plays and horses the critics of\nBerlin handled him rather severely.\nAdverse criticism has but little effect upon\nthe man who does his best, and Mr Tree,\nbeset by all the petty annoyances which the\nGerman under»official is able to create,\nnevertheless did his best. Most of the scenes\nwere in position at the appointed time which"}, {"page_pdf": 28, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.28", "debut_caractere": 0, "fin_caractere_exclue": 5363, "texte": "speaks highly in praise of his chief of staff.\nThe Germans are enthusiastic theatre-goers\nand enjoy a good show as well as anyone else.\nWe were not therefore .surprised to see their\nenthusiasm at the close of each performance.\nIn the German theatres it is the custom at\nthe end of the performance for all parts of the\nhouse to press towards the stage in the same\nmanner as the Matinee ladies do at a concert\nwhen Paderewski, Pachmann or another public\nfavourite Is appearing. They like to get as\nmuch for their money as possible and often\nobtain half a dozen encores and get a good\nclose view of the strange being who is\nentertaining them. 4 4 4\nIn England, as we know, it is far different,\nthere being a barrier between the pit and\nthe stage. 4 4 4 4 4\nIt might be a curious experiment to remove\nthis barrier. 4 4 4 4\nnphose people who are interested at all times\nin creating what is called \" A Literary\nTheatre\" would do well to remember the\ndangers which beset such unnatural efforts.\nUnfortunate has been the end of all such\nattempts. 4 4 4 4 4\nFor nearly thirty years Goethe struggled in\nconjunction with Schiller to create for the\nGermans a new Theatre. Although Goethe was\nmore than poet, he was more poet than any-\nthing else, was first a poet, and everything\nelse in him kept time to the words which he\nsang. He set out to create a literary stage;\nhe would not have it that the stage should be,\nas he rather weakly calls it, \" The reflection\nof natural life in amusing mirrors\". And so\nhe marshalled his army of words all of them\nto assault the Theatre, stood in the midst\nand watched his veritable Thirty Years War,\nhis battle of words against visions sacked\nthe Theatre, razed it to the ground, and then,\nscanning the horizon, was surprised that the\nTheatre was no more to be seen. In fact the\ngreatest man of his age utterly failed to\nunderstand what the Art of the Theatre\nwas. 4? 4 4 4 4 4\nAnd now there are others, if not the greatest\nmen of their age, talented in great measure,\nwho court the same failure in attempting\nthis impossible and fantastic thing. 4?\nWe should have thought that the artists would\nhave understood the charming separation\nwhich must ever exist between the arts. We\nhave no fear for the Theatre: we do not\nbelieve that it can suffer any harm by even\nan assault such as that made upon it by\nGoethe; but we, wishing to see less confusion\nin the public mind as to what the Art of the\nTheatre is and what it is not, shall ever\nprotest against the unnecessary deception\nof the public in this, to us, most important\nmatter. 4 4 4 4 4\nWhen literary men shall be content and\npatient enough to study the Art of the Theatre\nas an art separate from the Art of Literature,\nthere is nothing to prevent us then from wel-\ncoming them into the house. 4\n'lphe idea of a long play is becoming daily\nmore unbearable to us. It is a burden to\nthink of a play with three, four, or five acts, and\ncontinual speech duringthese acts: intolerable\nto the audience to hear for their ears refuse\nthe strain; intolerable for the artists to write\nbecause it has become a strain. No longer is\nthere impulse to hear or to write\nTurn and regard the audience as they sit\nbefore the out-pourings of Wotan: his\nwhole conversation so interesting if it were\nonly in a book for reference and published\nby subscription.\nTurn and regard the audience as they listen\nto the long soliloquies of Hamlet, Macbeth or\nKing &\nindeed, are they not bored to death ?—then\nno longer can it be right to teaze them in this\nway. Art, if not an entertainment, is surely\na refreshment... No ? jg? & 4?\n| n Berlin, where the Theatre is particularly\nenergetic and in man}' ways excellent,\nand where new theatres are continually\nspringing up, a little box of a theatre was\nopened last year which contains nothing but\ntwo or three hundred large and comfortable\narm chairs with new soft springs and red\nleather coverings made for the few wealthy\ntheatre goers who pay high prices for these\nample seats. 4? 4? 4 4?\nIt also happens to contain a little stage. It\nis really as well to point this out as many\npeople coming into the theatre would not\nperceive it at first, for it is very small, and\nthe actors appear like large dolls upon\n\" Kammerspiel, \" or chamber pieces, are given\nin this theatre and are generally of a gruesome\nnature. They are what is called realistic pieces,\nand guaranteed to teach. We witnessed in one\npiece a succession of murder, seduction and\nburial scenes; a couple of lectures and a\nmost unpleasant sick bed. 4 4 4\nNothing either beautiful or distinguished\nentered into the theatre that evening, and,\nwatching the faces of the audience, we were\nunable to detect anything but a hopeless\ndespair on each, such as one sees on the faces\nin the hospitals. 4 4 4 4\nThe play was by a modern German author.\nSo far as we know the poetry of Goethe and\nSchiller has not yet been invited into this\ntheatre. Certainly Germany is a strange land!\nBut it would be unkind to judge it by what\nwe see in such theatres, 4 4 4\nWe shall have something to say next month\nabout the manager of this and another theatre,\nthe other theatre.... the Deutches Theatre,\nbeing quite a serious affair, quite modern,\nfull of good intentionus, and energetic, ener-\ngetic to an extent which London does not\nat all realise. Unfortunately, however, in Art\nit is not always the elbow which counts most."}, {"page_pdf": 28, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.28", "debut_caractere": 5439, "fin_caractere_exclue": 5444, "texte": "J. S."}]}, {"article_id": "bm-bmtnaau-1908-03-01-c033", "article_bluemountain": "bmtnaau_1908-03_01#c033", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "23", "page_fin": "24", "image_debut": 27, "image_fin": 28, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.11.2", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 27, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.27", "debut_caractere": 18, "fin_caractere_exclue": 5255, "texte": "\" After the Practise the Theory\".\nEurope and America do not lack theatrical\njournals. There are, to mention but a few,\" The\nStage \" and \"The Era\" in England; the smaller\n\" Beltaine \", and \" Samhain \" the organs of\nthe Irish Literary Theatre in Ireland; \" El\nTeatro \" in Spain; the Theater Courier \" and\nthe \"Schauhuhne\" in Germany; the \" Musik &\nTheater Zeitung\" and the \"Oesterr Theater\nZeitung \" in Austria;\" L' Art du Theatre \" and\n\" Le Theatre \" in France; \" La Rivista Teatrale \"\nin Italy;4 The Dramatic Mirror' in America and\nmany others too numerous to name; while in\naddition to these larger journals, there are\nthe daily or weekly announcement sheets\nwhich, though hardly to be called 4 papers ' at\nall, yet serve their practical purpose. The motto\nof our journal is not, however, that of any\nof these. With them the Theory is first; is,\nindeed, everything: with us it follows upon\nthe Practise. Let us explain what we mean.\nWe take it that their papers contain merely\na record of what is being done; and in speaking\nthus we do not for a moment undervalue or\ndoubt the usefulness of these journals. On\ntheir own lines they serve many excellent\npurposes, mainly professional; while at times,\nas in the 4 Schaubuhne' and the 4 Art du\nTheatre', other, and more progressive matters,\nare gone into very seriously. But the value of\na journal should not end there. It, like all\nother things, reflects the idea or the personality\nbehind it, and, if we may be critical to our\ncontemporaries, all the weakness of these\ntheatrical journals lies in the fact that nine\ntimes out of ten their guiding spirit is a\ngentleman without any practical experience of\nthe ropes of a theatre, and with but little\nknowledge of that far more vital and important\nthing,... the Art of the Theatre. Lacking both\nknowledge and convictions; knowing little\nof the vessel they are guiding and without\nany fixed idea as to the port toward which\nthey steer, such men keep no direct course,\nbut hesitatingly tack from side to side. In\ntheir indecision they invite into their ship, as\nit were, many persons from different countries,\neach eager to turn the vessel's head and win\nhis way across the ocean to some desired haven\nof his own. The result of this is obvious. Where\nthere is 110 unity of purpose each individual\nstrives to accomplish some purpose of his\nown; to seize the helm and guide the vessel\nwhere he will. &\nNow the object of a journal is twofold. It\nshould not only announce what has been but\nwhat is to be. The first task is a light one;\nthe second hazardous, and only those who\nhave practised an art can without danger\nspeak of the developments of the near or far\nfuture. Therefore a journal, if its record of\nthe past, its annunciation of the future, are to\nfoe of value, needs an experienced leader, and\nthis we have found in Mr Gordon Craig, who,\nnot only with his pen and pencil but with, his\nadvice, will guide the fortunes of this magazine.\nHis guidance wiil foe valuable in that he has\nhimself practised what we shall preach, and\nwe, preaching what he has practised and what\nothers may add to that practise, shall by so\ndoing attempt to show where lies the future\nof the Theatre. Moreover, in securing Mr\nCraig's guidance we may claim to have secured\nthat of the head of a movement which has\nactually taken place, which is spreading far\nand wide in the European Theatre, and of\nwhich the Theory now needs to foe definitely\nand clearly stated so that convictions may foe\nstrengthened, scattered forces united, and\nall move forward with stability and unity of\npurpose towards one object, the re=\nestablishment in its original dignity of a\nbeautiful and ancient Art. &\nExtract from letter from Mr: H. P. Home,\nto the illustration on page I. &\n\" Your cut is reproduced from fol. recto, of\nthe \" Vetruvio, in volgar lingua riportato\njjer Gianbatista Caporali cli Perugia. \"\nprinted at Perugia in 1531. &\nCaporali, however, cribbed it with a few\nalterations from the large cut on fol. XLIX\nrecto of \" Zt} Opera praedara de\nVitruvio Pollione de Architectura: traducta\nde latino in vulgarey \" by Caesare Caesariano\nof Milan, and printed at Como, in large folio\nin 1525. Leonardo had then been dead some\nyears. Caesariano does not say that he took\nit from Leonardo, but he says that such\nprinciples of proportion were observed by\nu molti pictori Mediolanensif nostri com-\npagni, \" and goes on to mention by name\nseveral disciples of Leonardo. That the design\nis Leonardesque, (that indirectly, it was\nderived from Leonardo,) there can be no doubt.\nIn Caesariano's version, the cut bears the\nfollowing superscription on a beatiful'cartello,.\nHumani corporis mensura et ah eo omnes\nsymmetrias enrythmiatas & proportiones\ngeometrico schemate invenire ut adesi\nfigura& &\nCaesariano's explanation of the cut is terribly\nabstruse& &\nlH|/ii@n Mr H. Beerbohm Tree visited Berlin\nin the spring of last year with his\nShakespearian plays and horses the critics of\nBerlin handled him rather severely.\nAdverse criticism has but little effect upon\nthe man who does his best, and Mr Tree,\nbeset by all the petty annoyances which the\nGerman under»official is able to create,\nnevertheless did his best. Most of the scenes\nwere in position at the appointed time which"}, {"page_pdf": 28, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.28", "debut_caractere": 0, "fin_caractere_exclue": 5363, "texte": "speaks highly in praise of his chief of staff.\nThe Germans are enthusiastic theatre-goers\nand enjoy a good show as well as anyone else.\nWe were not therefore .surprised to see their\nenthusiasm at the close of each performance.\nIn the German theatres it is the custom at\nthe end of the performance for all parts of the\nhouse to press towards the stage in the same\nmanner as the Matinee ladies do at a concert\nwhen Paderewski, Pachmann or another public\nfavourite Is appearing. They like to get as\nmuch for their money as possible and often\nobtain half a dozen encores and get a good\nclose view of the strange being who is\nentertaining them. 4 4 4\nIn England, as we know, it is far different,\nthere being a barrier between the pit and\nthe stage. 4 4 4 4 4\nIt might be a curious experiment to remove\nthis barrier. 4 4 4 4\nnphose people who are interested at all times\nin creating what is called \" A Literary\nTheatre\" would do well to remember the\ndangers which beset such unnatural efforts.\nUnfortunate has been the end of all such\nattempts. 4 4 4 4 4\nFor nearly thirty years Goethe struggled in\nconjunction with Schiller to create for the\nGermans a new Theatre. Although Goethe was\nmore than poet, he was more poet than any-\nthing else, was first a poet, and everything\nelse in him kept time to the words which he\nsang. He set out to create a literary stage;\nhe would not have it that the stage should be,\nas he rather weakly calls it, \" The reflection\nof natural life in amusing mirrors\". And so\nhe marshalled his army of words all of them\nto assault the Theatre, stood in the midst\nand watched his veritable Thirty Years War,\nhis battle of words against visions sacked\nthe Theatre, razed it to the ground, and then,\nscanning the horizon, was surprised that the\nTheatre was no more to be seen. In fact the\ngreatest man of his age utterly failed to\nunderstand what the Art of the Theatre\nwas. 4? 4 4 4 4 4\nAnd now there are others, if not the greatest\nmen of their age, talented in great measure,\nwho court the same failure in attempting\nthis impossible and fantastic thing. 4?\nWe should have thought that the artists would\nhave understood the charming separation\nwhich must ever exist between the arts. We\nhave no fear for the Theatre: we do not\nbelieve that it can suffer any harm by even\nan assault such as that made upon it by\nGoethe; but we, wishing to see less confusion\nin the public mind as to what the Art of the\nTheatre is and what it is not, shall ever\nprotest against the unnecessary deception\nof the public in this, to us, most important\nmatter. 4 4 4 4 4\nWhen literary men shall be content and\npatient enough to study the Art of the Theatre\nas an art separate from the Art of Literature,\nthere is nothing to prevent us then from wel-\ncoming them into the house. 4\n'lphe idea of a long play is becoming daily\nmore unbearable to us. It is a burden to\nthink of a play with three, four, or five acts, and\ncontinual speech duringthese acts: intolerable\nto the audience to hear for their ears refuse\nthe strain; intolerable for the artists to write\nbecause it has become a strain. No longer is\nthere impulse to hear or to write\nTurn and regard the audience as they sit\nbefore the out-pourings of Wotan: his\nwhole conversation so interesting if it were\nonly in a book for reference and published\nby subscription.\nTurn and regard the audience as they listen\nto the long soliloquies of Hamlet, Macbeth or\nKing &\nindeed, are they not bored to death ?—then\nno longer can it be right to teaze them in this\nway. Art, if not an entertainment, is surely\na refreshment... No ? jg? & 4?\n| n Berlin, where the Theatre is particularly\nenergetic and in man}' ways excellent,\nand where new theatres are continually\nspringing up, a little box of a theatre was\nopened last year which contains nothing but\ntwo or three hundred large and comfortable\narm chairs with new soft springs and red\nleather coverings made for the few wealthy\ntheatre goers who pay high prices for these\nample seats. 4? 4? 4 4?\nIt also happens to contain a little stage. It\nis really as well to point this out as many\npeople coming into the theatre would not\nperceive it at first, for it is very small, and\nthe actors appear like large dolls upon\n\" Kammerspiel, \" or chamber pieces, are given\nin this theatre and are generally of a gruesome\nnature. They are what is called realistic pieces,\nand guaranteed to teach. We witnessed in one\npiece a succession of murder, seduction and\nburial scenes; a couple of lectures and a\nmost unpleasant sick bed. 4 4 4\nNothing either beautiful or distinguished\nentered into the theatre that evening, and,\nwatching the faces of the audience, we were\nunable to detect anything but a hopeless\ndespair on each, such as one sees on the faces\nin the hospitals. 4 4 4 4\nThe play was by a modern German author.\nSo far as we know the poetry of Goethe and\nSchiller has not yet been invited into this\ntheatre. Certainly Germany is a strange land!\nBut it would be unkind to judge it by what\nwe see in such theatres, 4 4 4\nWe shall have something to say next month\nabout the manager of this and another theatre,\nthe other theatre.... the Deutches Theatre,\nbeing quite a serious affair, quite modern,\nfull of good intentionus, and energetic, ener-\ngetic to an extent which London does not\nat all realise. Unfortunately, however, in Art\nit is not always the elbow which counts most."}, {"page_pdf": 28, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.28", "debut_caractere": 5439, "fin_caractere_exclue": 5444, "texte": "J. S."}]}, {"article_id": "bm-bmtnaau-1908-03-01-c035", "article_bluemountain": "bmtnaau_1908-03_01#c035", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.13", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.2", "debut_caractere": 1830, "fin_caractere_exclue": 2394, "texte": "EX LI BR IS.\nAre you a Book Lover? I!\nso, you will want all which\ncan add ,to the beauty\nand completeness of your\nbooks, and yeu cannot\ndo without. &\nA BOOK PLATE\nIn design your Book Plate must be grave\nyet charming, for its duty is to act as\nwatchman at the doors of all books, whether\nreligious or profane. If you would possess\nsuch a Book Plate, simple, charming and\ndistinguished, write to the Wood Engra«\nvers of san Leonardo, directing your letter\nto 5 Piazza Donatello, Studio 9, Florence,\nItaly, and you will receive all the infor-\nmation you desire. & & &"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c036", "article_bluemountain": "bmtnaau_1908-03_01#c036", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.14", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.2", "debut_caractere": 2396, "fin_caractere_exclue": 2752, "texte": "Premiato Studio*\n* * Grafico\nfounded in xBBi by G. VASORI *\nThis Studio makes a speciality of the\nproduction, for typographical illustra-\ntions, of cliches taken from drawings,\nphotographs, and from life, on zinc\nand copper, and capable of resisting\nthe strongest pressure * *! *\n* Well executed work at moderate\nprices ******\nVia dei Panzaniy i - FLORENCE"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c037", "article_bluemountain": "bmtnaau_1908-03_01#c037", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.15", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.2", "debut_caractere": 2754, "fin_caractere_exclue": 3298, "texte": "EDITION DE LUXE.\nSPECIAL NOTICE TO BOOK LOVERS\n15 copies of \" The Mask \" will be printed,\nMonthly upon a yellow hand-made deckle-\nedged paper identical in appearance and\ntexture with that made in the same district\nof Fabriano in the year 1315. This edition\nwill contain Etchings and other prints\nsigned by the artist, which will not be\nincluded in the popular edition. jr\nYearly subscrlplon: England, L. 3.5.0 Post Free\n„ „ „ Germany, Marks 67,00 „ „\n„ ~ ~ America Dollars 16.00 „ „\n~ )) ' ft Italy Lire 82.00 ~ ~\n„ „ „ Russia Roubles 30.00 ~ „"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c039", "article_bluemountain": "bmtnaau_1908-03_01#c039", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 3, "image_fin": 3, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.17", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.3", "debut_caractere": 68, "fin_caractere_exclue": 232, "texte": "oukmre vfIYNICH\nAND & £2 y vx M 1 y Jo. * »\nMODERN -<£> oF LONDON HAS ACQUIRED & & ENTRANCE OF\nTHE LIBRERIA POPOLARE BARGEEEO &\nBOOKS PIETRO FRANCESCHINI & FEORENCE"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c040", "article_bluemountain": "bmtnaau_1908-03_01#c040", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 3, "image_fin": 3, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.18", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.3", "debut_caractere": 234, "fin_caractere_exclue": 437, "texte": "Die Schaubiihne\nA weekly Theatrical Journal\nEdited by Siegfried Jacobsohn.\nVerlag Oestreheld & Co.\nLietzenburgerstrasse 60.\nBerlin W. 15.\nSingle copy . . . . M. pf. 30\nQuarterly 3. ~ 50\nYearly „ 12. ~ 00"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c041", "article_bluemountain": "bmtnaau_1908-03_01#c041", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 3, "image_fin": 3, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.19", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.3", "debut_caractere": 439, "fin_caractere_exclue": 755, "texte": "Philosophical\nLending Library\n5000 volumes 011 Philosophy, Reli-\ngion, Mysticism, Occultism, ecc.\nEnglish philosophical Books & Re-\nviews. Reading and lecture room.\nJfectures every Sunday free for sub-\nscribers Subscription terms very\nmoderate. Prospectus and catalogue\non application\nPIAZZA DONATELLO 5 - Tel. 15=30"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c042", "article_bluemountain": "bmtnaau_1908-03_01#c042", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 3, "image_fin": 3, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.20", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.3", "debut_caractere": 757, "fin_caractere_exclue": 996, "texte": "LA \" RIVISTA TEATRALE\"\nFIRST AND ONLY MONTLHY PUBLICA-\nTION IN ITALY DEVOTED TO THEA-\nTRICAL ART, LITERATURE, HISTORY,\nCRITICISM AND JURISPRUDENCE. &\nYEARLY SUBSCRIPTION. ITALY 6.00.\nABROAD 12.00. OFFICE, Via S. Am-\nbrogio, 8, FLORENCE & &"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c043", "article_bluemountain": "bmtnaau_1908-03_01#c043", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 3, "image_fin": 3, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.21", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.3", "debut_caractere": 998, "fin_caractere_exclue": 1177, "texte": "THE NEW YORK & jZ>\nMIRROR.\nThe organ of the American Theatrical\nProfession. Published weekly. One year\n4 dollars. Single copy 10 cents. 121 West\nForty = Second Street, New York. &"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c044", "article_bluemountain": "bmtnaau_1908-03_01#c044", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 3, "image_fin": 3, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.22", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.3", "debut_caractere": 1179, "fin_caractere_exclue": 1420, "texte": "Garages Riuniti\n* FIAT - ALBERTI - STORERO. *\nFLOREN6E &\n* * Via Luigi Alamanni, I\nGENERAL AGENCY FOR AUTOMOBILES\n> F. I. A. T.\n>? Chassis and cars complete >? >**\n>3® Motor cars for sale and on hire >3®\n*3® >3® >s® Telephone 916 *3® >3® >3®"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c045", "article_bluemountain": "bmtnaau_1908-03_01#c045", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "26", "page_fin": "26", "image_debut": 30, "image_fin": 30, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.23", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 30, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.30", "debut_caractere": 0, "fin_caractere_exclue": 288, "texte": "ANGLO-ITALIAN\nAGENCY &\n& FLORENCE - 28, Via della Vigna\nNuova, 28 = FLORENCE <£?\nFORWARDING & CUSTOM HOUSE & COM-\nMISSION AGENTS &&&£?£><&■£?\nCheap daily Service to England and to\nthe U. S. of America for Goods, Bag-\ngage, etc.\nRailway Tickets\nGoods Insured And Stored\n& TELEPHONE 933 & &"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c046", "article_bluemountain": "bmtnaau_1908-03_01#c046", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "26", "page_fin": "26", "image_debut": 30, "image_fin": 30, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.24", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 30, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.30", "debut_caractere": 290, "fin_caractere_exclue": 512, "texte": "The Casa Guidi\nArts & Crafts\n9, Piazza S. Felice FLORENCE\nJZ? J& Jewellery Decorative\nLeather Work Book Bindings\nTiles Metal Work Asolo Lace J&\nModern Paintings &\n•\nHours 9to 12y and 2to 5 & &\nClosed on Saturday afternoons"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c048", "article_bluemountain": "bmtnaau_1908-03_01#c048", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "26", "page_fin": "26", "image_debut": 30, "image_fin": 30, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.26", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 30, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.30", "debut_caractere": 514, "fin_caractere_exclue": 935, "texte": "The Butterffy_\nQuarterly\nIs a new publication, carefully printed\nfrom excellent type, on fine toned pa=\nper, Bxio in: in size, the edition being |\nlimited to 500 numbered copies. It con-\ntains verses, tales, translations, reprints,\ndrawings, wood-cuts, book-plates, and\nother matters of bookish interest.\nYEARLY SUBSCRIPTION DOLLARS 1.25\npost free.\nOFFICES\nThe Butterfly Quarterly\n1126 Walnut Street\nPhiladelphia\nU. S. A."}]}, {"article_id": "bm-bmtnaau-1908-03-01-c049", "article_bluemountain": "bmtnaau_1908-03_01#c049", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "26", "page_fin": "26", "image_debut": 30, "image_fin": 30, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.27", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 30, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.30", "debut_caractere": 937, "fin_caractere_exclue": 2365, "texte": "A PORTFOLIO OF ETCHINGS.\nBy Gordon Craig with a preface.\nthirty portfolios will be issued, although ten or twenty additional copies of some of\n\" the plates will be printed according to the condition of the plate. The plates will then\nbe destroyed. Each portfolio will be numbered. Each set consists of twelve designs loosely\nmounted on grey card and contained in a grey cloth box portfolio with fastenings. Each\nplate is signed by the artist.\nSize of portfolio 48x30 ctms.\nAverage size of plate. 14 2/3 x 15 2/3 ctms. The price for a portfolio will be L. 16. o. o, (400\nFrancs or 320 Marks).\n'Hphese etchings were made by the artist in the Spring of 1907 at Florence, and represent\nhis most serious work. Connected as they are with his dream of an Ideal Theatre, they\nin no way have anything in common with the modern stage. &\n\" Movement\", writes Mr Craig, \" was at the roots of the Ancient Theatre and will ever\nremain the very Essence of the Art. JZ?\n\" We must translate Movement through the medium of inanimate forms and thereby produce\n\" once more an Impersonal Art which shall take its place by the side of its two sister Arts=\n\" Music and Architecture\nORDER FORM\nTo The Publishers,\nThe Editorial Office of \" The Mask \" 2 Lung'Arno Acciaiuoli, Florence. Italy.\nPlease send me the Portfolio of Etchings by Edward Gordon Craig, in payment for which\nI enclose the sum of L. 16.0.0, (or 400 Francs or 320 Marks)\nSigned\nAddress."}]}, {"article_id": "bm-bmtnaau-1908-03-01-c050", "article_bluemountain": "bmtnaau_1908-03_01#c050", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "27", "page_fin": "27", "image_debut": 31, "image_fin": 31, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.28", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 31, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 429, "texte": "& LIBRAIRIE ANCIBNNE M\nT. DE MARINIS & Co. 5 Via Vecchiettl - FIRENZE\n3*4\n175\nRAT\nv*\nt\nI\n• ••\n*\n•••\n•«»\n••••a\nb»\n• a\nto\nis*\n• •• •\n0 a\nU\\\nm\nu'UJLJ\n/£\nMl\nS^si§S\n•If\no > o\n00 Jr.;\n(•••\n00\nIM\nm\noon\n111\nMMpPi\nfi\nui\nUk\nlltt\n• I\n»•<\ndo\n111\n• •\n• I\n•IM\n4*\nMi'\nMM'\nII\nM\nI I\n6\nHill\nIf\n>•*\nc*\n\" 81\n•MM\n• •0\na\not\n«••••\na\nm\nm\nFine Collection of MSS., Incunabula, rare and curious books XV-XIX cent\nIllustrated Catalogues free on application•"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c051", "article_bluemountain": "bmtnaau_1908-03_01#c051", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "27", "page_fin": "27", "image_debut": 31, "image_fin": 31, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.29", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 31, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.31", "debut_caractere": 431, "fin_caractere_exclue": 993, "texte": "LE INDUSTRIE\nFEMMINILI\nTHE FLORENCE CON MIT-\nTEE FOR THE WOMEN'S\nWORK SOCIETY & <0\nOFFERS A CHOICE OF ALL KINDS OF\nARTISTIC AND DECORATIVE NEEDLE-\nWORK 4> \n4» THE DESIGNS ARE COPIED FROM\nGENUINE ANCIENT ITALIAN MODELS\nBELONOINO TO LADIES OF THE COM-\nMITTEE. HOUSEHOLD LINEN.... LACES\nEMBROIDERED DRESSES 4» 4» 41\nAll orders received are promptly and\ncarefully executed & & &\nTHE SALE-ROOM IS\nOPEN DAiKY* * *\nGI ANNO TTI-FICI *\nLUNG'ARNO ACCIAIUOLI\nNi 10 * * * *\nCOMMITTEE ROOM, VIA PINT!, 51 *\n41 4» 4| 4» 4» FLORENCE"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c052", "article_bluemountain": "bmtnaau_1908-03_01#c052", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "27", "page_fin": "27", "image_debut": 31, "image_fin": 31, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.30", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 31, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.31", "debut_caractere": 995, "fin_caractere_exclue": 1394, "texte": "English & American\nPharmacy\nLate H. PROVES F. MUNSTERMANN\nr# Pt,OBISNCP • Piazzetta Goldoni #\n11 ' 1 1 '\nJ* MALTO-PEPTINE TABLETS containing\nthe physiologically purified gastric and\npancreatic juice with the addition of Pa-\npain and Diastasis, for complete digestion\nof all Kinds of food # M # . #\nANININE, CAWTHARIDIS & TABORANDI\nHAIRWASH; Refreshing, Stimulating and\nAntiseptic Hair Tonics # t # #"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c053", "article_bluemountain": "bmtnaau_1908-03_01#c053", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "27", "page_fin": "27", "image_debut": 31, "image_fin": 31, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.31", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 31, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.31", "debut_caractere": 1396, "fin_caractere_exclue": 1743, "texte": "' \" . ■ ' \"\" ' ■ ■■ I ' ' ■ ' ■ I\nH. Roberts & Co. &\n• dd M dp the well knows dd m dd\n* ENGLISH CHEMISTS &\nAMERICAN DRUGGISTS^\n* OP 17 VIA TORNABUONI. * 41\n*\nAND 417 ft 418, CORSO UMBBRTO\n* * # ROME\nhave pleasure In announcing that they have opened\na first-class and wellstocked Pharmacy at dd d&\n4» ai ft aa, VIA VITTORIA 4» 4»\n* * NAPLES\n' i■» ."}]}, {"article_id": "bm-bmtnaau-1908-03-01-c054", "article_bluemountain": "bmtnaau_1908-03_01#c054", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "28", "page_fin": "28", "image_debut": 32, "image_fin": 32, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.32", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 32, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.32", "debut_caractere": 221, "fin_caractere_exclue": 628, "texte": "iam\nPURVEYOR TO 10\nIMPERIAL & ROYAL\nFAMILIES 4? J0\nFLO RENC E\nVia dei Fossi 4\n& (ESTABLISHED i860)\nAWARDED PRIZES\nAT 48 NATIONAL &.\nINTERNATIONAL\nEXHIBITIONS\nThe largest Establish ment of Sculpture in\nMarble from the Antique &\nOriginal Works Ite Portraits. & Monuments,\nMantels, Pedestals, & Garden Seats,\nVases Fountains & Flower=stands, etc:\nESTIMATES GIVEN ON APPLICATION\nST L O UIS M O.\nGRAND PRIX\nJ 904"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c055", "article_bluemountain": "bmtnaau_1908-03_01#c055", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "28", "page_fin": "28", "image_debut": 32, "image_fin": 32, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.33", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 32, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.32", "debut_caractere": 630, "fin_caractere_exclue": 759, "texte": "THE \" MAN!FAT\nTURA Dt SIGNA\nArtistic Terra Cot=\nta for both interior\nand exterior deco\nration\nVia Vecchiettl, 2\n& FIRENZE (Italy)"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c056", "article_bluemountain": "bmtnaau_1908-03_01#c056", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "28", "page_fin": "28", "image_debut": 32, "image_fin": 32, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.34", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 32, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.32", "debut_caractere": 761, "fin_caractere_exclue": 1030, "texte": "DINI & CELLAS\nArtistic & Decorative Terra Cotta of\nSigna &\nVia dci Fossi IV. i - FZORENC&\n,♦ . i\nHepfodUGtion of sculptures of Old and\nJdodern masters - Statues ■** Busts M\nVases m fias-reliefs *. Fountain* « Doors\nChimneywpieees M Bases etc. ete. in\ny style & j& <& J&"}]}, {"article_id": "bm-bmtnaau-1908-03-01-c057", "article_bluemountain": "bmtnaau_1908-03_01#c057", "volume": "bmtnaau_1908-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "28", "page_fin": "28", "image_debut": 32, "image_fin": 32, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.2.35", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 32, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.32", "debut_caractere": 1032, "fin_caractere_exclue": 1284, "texte": "■& ON JUNE i W:\nTHE & J& J& j& J& j&\nPublishing, Bookselling and\nNews Agency Business\nof R. PAG QI (A. Rossini\n& Co. Ltd.) will be trans-\nferred from Via Tornabuoni\n15 to premises at 26 Via\nPanzani in the same buil-\nding as the Grand Hotel\nBaglioni. s®"}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.1", "texte": "Vol. One N.\" i. MARCH 1 9 o 8\n' . - _ ■ «. \" . ./ ' \" • \\ - > . •- , . ,y, «. ■ . ,- •\nEm IHB jg\nML / W HETT JSL MJPPK JFFI JHMB\nA MONTHLY JOURNAL OF THE\nART OF THE THEATRE\n■& EUROPEAN AGENTS. &\nLONDON. D. J. RIDER 36 St Martin's Court. Charing Cross Road. W. C.\nSOI,!} GERMAN AGENT ■ SCHUSTER & 31. W. BERLIN.\nAMSTERDAM. KIRBEROER & KESPER. 134 Rokin. J? J& £> 0 £f\nFLORENCE.\n& PRICE ONE SHILLING, NET: MONTHLY\n. 'A, . V ; \" - ' \" * ••• . /r • • . . i; . .. * • .v-, , :■ .. \" . - - ' t., - ... * , , ' , £ ' - ' ' > ' i . >"}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.2", "texte": "ANNOUNCEMENT TO OUR READERS:\nAMONG THE CONTENTS OF THE EARLY NUMBERS OF \" THE MASK \" WILL BE: ■& A\nNOTE UPON MARIONETTES by ADOLF FURST, j0 THE FRENCH TRAGEDY, 1689 to 1787,\nby JEAN-JACQUES OLIVIER. & INIOO JONES by J. RAUL COOPER. ■£> THE NEW THEATRE\nby GORDON CRAIG. 0 THE INDIAN THEATRE by LQUIS FULIP. ■£> YVETTE GUILBERT by\nHALDANE MACFALL. ■£> THE DANCE by ISADORA DUNCAN. £> JAVANESE MARIONETTES.\nAN ARTICLE REPRINTED FROM \"THE ARCHITECT \" THE \" SACRE RAPPRESEN-\nTAZIONI\" by EDWARD HUTTON. ■£> £> J0 A9\nTHE SECOND NUMBER OF \"THE MASK\" WILL CONTAIN A LONG AND IMPORTANT\nARTICLE BY GORDON CRAIG, ENTITLED \" THE ACTOR AND THE ÜBER MARIONETTE \"■\nEtchings, which will be issued from time to time with \" The Mask will be reserved for\nyearly subscribers only and not included in single cdpies of the magazine. Therefore it is\nto the advantage of all print collectors to send in their subscriptions at once.\nAny MSS, submitted to the Edit&r for consideration should bear the names and\naddresses of the authors, be type-written, and accompanied by stamps; otherwise they\nwill net be read or returned. It must be understood that they are sent at the Author's\nrisky and the Editor is not responsible for their safe custody or return. All communications\nshoulfl be addressed to the Editor of \" The Mask \" a Euhg'Arno Acciaiuoli, Florence.\nReaders of \" The Mask \" who wish to be sure of securing their copies each month regularly\nshould subscribe for the year, all that is necessary being to fill in the order form on Pg. 2$\nof this number, & post it to their Bookseller, or to the office of \" The Mask a Lung'Arno\nAcciaiuoli, Florence, <£> JP JET\n& FOR ADVERTISEMENTS ADDRESS TO \" THE MASK \" ADVERTISING OFFICE: 8 BORGO S. JACOPO &\n& & ,« & & & FLORENCE & ITALY * & & & 4*\n& & & & OR TO THE LONDON., GERMAN, OR DUTCH AGENTS & JP -P &\n\nEX LI BR IS.\nAre you a Book Lover? I!\nso, you will want all which\ncan add ,to the beauty\nand completeness of your\nbooks, and yeu cannot\ndo without. &\nA BOOK PLATE\nIn design your Book Plate must be grave\nyet charming, for its duty is to act as\nwatchman at the doors of all books, whether\nreligious or profane. If you would possess\nsuch a Book Plate, simple, charming and\ndistinguished, write to the Wood Engra«\nvers of san Leonardo, directing your letter\nto 5 Piazza Donatello, Studio 9, Florence,\nItaly, and you will receive all the infor-\nmation you desire. & & &\n\nPremiato Studio*\n* * Grafico\nfounded in xBBi by G. VASORI *\nThis Studio makes a speciality of the\nproduction, for typographical illustra-\ntions, of cliches taken from drawings,\nphotographs, and from life, on zinc\nand copper, and capable of resisting\nthe strongest pressure * *! *\n* Well executed work at moderate\nprices ******\nVia dei Panzaniy i - FLORENCE\n\nEDITION DE LUXE.\nSPECIAL NOTICE TO BOOK LOVERS\n15 copies of \" The Mask \" will be printed,\nMonthly upon a yellow hand-made deckle-\nedged paper identical in appearance and\ntexture with that made in the same district\nof Fabriano in the year 1315. This edition\nwill contain Etchings and other prints\nsigned by the artist, which will not be\nincluded in the popular edition. jr\nYearly subscrlplon: England, L. 3.5.0 Post Free\n„ „ „ Germany, Marks 67,00 „ „\n„ ~ ~ America Dollars 16.00 „ „\n~ )) ' ft Italy Lire 82.00 ~ ~\n„ „ „ Russia Roubles 30.00 ~ „"}, {"page_pdf": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.3", "texte": "& & IN REPLYING TO ADVERTISEMENTS PLEASE REFER TO \" THE MASK \" <0*\n\noukmre vfIYNICH\nAND & £2 y vx M 1 y Jo. * »\nMODERN -<£> oF LONDON HAS ACQUIRED & & ENTRANCE OF\nTHE LIBRERIA POPOLARE BARGEEEO &\nBOOKS PIETRO FRANCESCHINI & FEORENCE\n\nDie Schaubiihne\nA weekly Theatrical Journal\nEdited by Siegfried Jacobsohn.\nVerlag Oestreheld & Co.\nLietzenburgerstrasse 60.\nBerlin W. 15.\nSingle copy . . . . M. pf. 30\nQuarterly 3. ~ 50\nYearly „ 12. ~ 00\n\nPhilosophical\nLending Library\n5000 volumes 011 Philosophy, Reli-\ngion, Mysticism, Occultism, ecc.\nEnglish philosophical Books & Re-\nviews. Reading and lecture room.\nJfectures every Sunday free for sub-\nscribers Subscription terms very\nmoderate. Prospectus and catalogue\non application\nPIAZZA DONATELLO 5 - Tel. 15=30\n\nLA \" RIVISTA TEATRALE\"\nFIRST AND ONLY MONTLHY PUBLICA-\nTION IN ITALY DEVOTED TO THEA-\nTRICAL ART, LITERATURE, HISTORY,\nCRITICISM AND JURISPRUDENCE. &\nYEARLY SUBSCRIPTION. ITALY 6.00.\nABROAD 12.00. OFFICE, Via S. Am-\nbrogio, 8, FLORENCE & &\n\nTHE NEW YORK & jZ>\nMIRROR.\nThe organ of the American Theatrical\nProfession. Published weekly. One year\n4 dollars. Single copy 10 cents. 121 West\nForty = Second Street, New York. &\n\nGarages Riuniti\n* FIAT - ALBERTI - STORERO. *\nFLOREN6E &\n* * Via Luigi Alamanni, I\nGENERAL AGENCY FOR AUTOMOBILES\n> F. I. A. T.\n>? Chassis and cars complete >? >**\n>3® Motor cars for sale and on hire >3®\n*3® >3® >s® Telephone 916 *3® >3® >3®"}, {"page_pdf": 5, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.5", "texte": "W MM A O ¥ THE JOURNAL OF THE ART\nR~FI 8-~D <\\L\\ /\\LC 0F THE THEATRE.\nILL A-% VOLUME ONE, NUMBER ONE\nJL JL JL 1 \" JLI. M JL SA. MARCH 1908.\n\nTHE CONTENTS OF THE FIRST NUMBER INCLUDE:\nAFTER THE PRACTISE THE\nGEOMETRY. £> THE ARTISTS OF THE THEATRE OF THE FUTURE by GORDON CRAIG.\nA NOTE UPON MASKS by JOHN THEATRE IN ITALY; A TRANSLATION.\nUS' MADAME ELEONORA DUSE. - THE REAL DRAMA IN SPAIN by EDWARD HUTTON. &\nBOOK REVIEWS. EDITORIAL NOTES. jSf ANNOUNCEMENTS. £>\nILLUSTRATIONS.^THREE SCENE DESIGNS AND TWO PLANS FOR A THEATRE FROM THE\nTREATISE ON PERSPECTIVE OF SEBASTIANO SERLIO. A DESIGN FROM THE BOOK OF\nVITRUVIO. 0 THREE DESIGNS FOR MASKS by E. THESLEFF. & VIGNETTES, ETC.\n\nGEOMETRY.\nBeauty.... or Divine Demonstration, knows no confusion. & It\nhas the perfect balance. It remains true once and for ever . ...\nneeds no proof .... can reveal itself without words or arguments, and when* we see i\nwe again see Paradise. It is the dear Heaven. & Science,... or Human\ncontinually calling upon proof, trusting in many words, is as a restless Balance which\ncontinually rises and falls with the uncertainty of the centuries . . . the restless Terror; has\nbecome the only Evil. & £?"}, {"page_pdf": 6, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.6", "texte": "GEOMETRY. &\n\nTo be beautiful Religion must not ask for pr00f.... must not rest upon Knowledge nor\nupon the Word. & Three Arts . . . Music, Architecture and Movement, together form the one'\ngreat and perfect Religion in which we may see and hear all the Revelations of Truth . . .\nIt is the Evil prophesied long ago in Babel which has separated these three Arts and which\nleaves the world without a Belief - dividing the Occident from the Orient, state from state and\nman from man . . . When these three Arts shall once again be united, concord shall come\nagain. Oh, then what a Renaissance! . . . the first and final Renaissance! JZ?\n& Look then with your eyes upon these diagrams and let them show what they will to\nyour imagination; but call for no proof as to their construction, for at night in the midst\nof Proof comes unnoticed a little error no bigger than a grain of sand and the whole building\nis then annihilated. & But if you look upon them as lines of Strength and lines of Qrace\nyou can have Faith until the end .... you will not be deceived nor even disappointed.\nFor truly, is a circle merely \"a plane figure bounded by one line called the circumference\nand such that all straight lines drawn from a certain point within it called the centre to\nthe circumference are equal\"? Is it not less than this less intricate? and is it not far more\nmore round? Is it not indeed Beauty's perfection? ... And a square? is it not the Strength\nof that perfection?\n& Yet though Words tell us that a square is \"a quadrilateral figure all of whose sides are\nequal and one of whose angles is a right angle\", look upon the diagram above and you will\nsee that it is something more than that. & It is the Word which has destroyed each\nreligion in its turn, and it is the Word, that restless atom of Knowledge, which begins to\neat into Beauty to destroy it if it can. For pure Beauty is a Silent Beauty, and Silence must\nreturn and surround the Arts before they shall become whole again.\nAnd have we done Words some injustice? That must not be. Is speech so wholly evil?\nHave words failed utterly in their trust? have they sold Love for the value of an argument?\nLet it be seen by the issue that this is not wholly so. Let Silence and Divine Imagery heal\nall; give back even to Knowledge its wholesomeness by restoring the just value of its beau-\ntiful words,\nTHE BETTER PART OF SILENCE, Walt Whitman sings... & & &\nI think I could turn and live with animals, they are so\nplacid and self-contained,\nI stand and look at them long.\nThey do not sweat and whine about their condition,\nThey do not lie awake in the dark and weep for their sins,\nThey do not make me sick discussing their duty to God.\nAnd so it seems to me also .... yet I think that if they could speak it would be more\noften to complain, to whine, weep and discuss than to sing and accept. For if they could\nspeak, a dangerous power would inhabit them. But whatever we may believe, we know that their\nsilence produces the impression of content; and what an impression in created,... . what\ninspiration we receive from the impression! At all times and in all places it is the animals\nthat continually impress us; the effect is instantaneous and we are always convinced by\ntheir seeming wisdom, their Beauty. <£? & JZ?\nJZ/ It may be truthfully said of man too that when he is most impressed he is silent, and\nthat when he is silent he impresses us most. &\n& We will surround the people with symbols in silence; in silence we will reveal the\nMovement of Things ... this is the nature of our Art. JZ?\nThe perfect\nReligion,\n/I silent Beauty\nThe hotter part\nof silence, &"}, {"page_pdf": 7, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.7", "texte": "THE ARTISTS OF THE THEATRE OF THE\nFUTURE\nby Gordon Craig\nDEDICATED TO THE YOUNG RACE OF ATHLETIC WORKERS IN ALL THE THEATRES.\nSECOND THOUGHTS. I DEDICATE THIS TO THE SINGLE COURAGEOUS INDIVIDUALITY IN\nTHE WORLD OF THE THEATRE WHO WILL SOME DAY MASTER AND REMOULD IT. &\nHphey say that second thoughts are best. They also say it is good to make the best of a\n* bad job, and it is merely making the best of a bad job that I am forced to alter my first\nand more optimistic dedication to my second. Therefore the second thoughts are best. What\na pity and what a pain to me that we should be obliged to admit it! No such race of athletic\nworkers in the Theatre of today exists; degeneration, both physical and mental, is round\nus. How could it be otherwise? Perhaps no surer sign of it can be pointed to than that\nall those whose work lies in the Theatre are to be continually heard announcing that all\nis well and that the Theatre is today at its highest point of development.\nBut if all were well no desire for a change would spring up instinctively and continually as\nit ever does with those who visit or ponder on the modern Theatre. It is because the\nTheatre is in this wretched state that it becomes necessary that some one shall speak as I\ndo; and then I look around me for those to whom I can speak and for those who will\nlisten, and, listening, understand; and I see nothing but backs turned towards me . . . .\nthe backs of a race of unathletic workers. Still the individual, the boy or man of\npersonal courage, faces me. Him I see, and in him I see the force which shall create the\nrace to come. Therefore to him I speak and I am content that he alone shall understand\nme. It is the man who will, as Blake says, \" leave father, mother, houses and lands if they\nstand in the way of his art\"; it is the man who will give up personal ambition and the\ntemporary success of the moment he who will cease to desire an agreeable wealth of\nsmooth guineas, but who shall demand as his reward nothing less than the restoration of\nhis home, its liberty.... its health.... its power.... It is to him I speak.\nVTou are a young man; you have already been a few years in a theatre, or you have been\n* born of theatrical parents; or you have been a painter for a while but have felt the\nlonging towards movement; or you have been a manufacturer. Perhaps you quarrelled with\nyour parents when you were eighteen, because you wished to go on the stage, and they\nwould not let you. They perhaps asked why you wanted to go on the stage, and you could\ngive no reasonable answer because you wanted to do that which no reasonable answer\ncould explain; in other words you wanted to fly. And had you said to your parents \"I\nwant to fly \", I think that you would have probably got further than had you alarmed them\nwith the terrible words, \" 1 want to go on the stage. \" & JZ> &\nMillions of such men have had the same desire, this desire for movement, this desire to\nfly, this desire to be mqjrged in some other creature's being, and not knowing that it was\nthe desire to live in the imagination, some have answered their parents, \" I want to be an\nactor; I want to go on the stage\". &\nIt is not that which they want; and the tragedy begins. I think when walking, disturbed\nwith this newly awakened feeling, a young man will say, \"perhaps I want to be an actor\";\nand it is only when in the presence of the irate parents that in his desperation he turns\nthe •* perhaps \" into the definite \" I want. \"\nThis is probably your case. You want to fly; you want to exist in some other state, to be\nintoxicated with the air, and to create this state in others.\nTry and get out of your head now that you really want \" to go on the stage. \" If unfortunately\nyou are upon the stage, try and get out of your head then that you want to be an actor and\nthat it is the end of all your desires. Let us say that you are already an actor; you have been so\nfor four or five years, and already some strange doubt has crept upon you. You will not admit\nit to anyone; your parents would apparently seem to have been right; you will not admit\nit to yourself for you have nothing else but this one thing to cheer yourself with. But I'm\ngoing to give you all sorts of things to cheer yourself with, and you may with courage and\ncomplete good spirits throw what you will to the winds and yet lose nothing of that which\nyou stood up for in the beginning. You may remain on, yet be above the stage.\n\nTHE ARTISTS OF\nTHE THEATRE\nOF THE FUTURE\n\nDedication.\nu I want to fly\"."}, {"page_pdf": 8, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.8", "texte": "I shaH give you the value of my experience for what it is worth, and maybe it will be of\nsome use to you. 1 shall try to sift what is important for us from what is unimportant; and\nif while I am telling you all this you want any doubts cleared or any more exact explanations\nor details you have only to ask me for them and I am ready to serve you. &\nTo begin with, you have accepted an engagement from the manager of the Theatre. You\nmust serve him faithfully, not because he is paying you a salary but because you are\nworking under him. And with this obedience to your manager comes the first and the\ngreatest temptation which you will encounter in your whole work.\nBecause you must not merely obey his words but his wishes; and yet you must not lose\nyourself. I do not mean to say you must not lose your personality because it is probable\nyour personality has not come to its complete form. But you must not lose sight of that\nwhich you are in quest of, you must not lose the first feeling which possessed you when\nyou seemed to yourself to be in movement with a sense of swinging upwards.\nWhile serving your apprenticeship under your first manager listen to all he has to say and\nall he can show you about the theatre, about acting, and go further for yourself and search\nout that which he does not show you. Go where they are painting the scenes; go where they are\ntwisting the electric wires for the lamps; go beneath the stage and look at the elaborate\nconstructions; go up over the stage and ask for informations about the ropes and the wheels;\nbut while you are learning all this about the Theatre and about acting be very careful to\nremember that outside the world of the Theatre you will find greater inspiration than inside\nit: 1 mean in nature. The other sources of inspiration are music and architecture.\nI tell you to do this because you will not have it told you by your manager. In the Theatre\nthey study from the Theatre. They take the Theatre as their source of inspiration, and if\nat times some actors go to nature for assistance, it is to one part of nature only, to that\nwhich manifests itself in the human being.\nThis was not so with Henry Irving, but I cannot stop here to tell you of him, for it would\nmean letter upon letter to put the thing clearly before you. But you can remember that as\nactor he was unfailingly right, and that he studied all nature in order to find symbols for\nthe expression of his thoughts.\nYou will be probably told that this man whom I hold up to you as a peerless actor, did such\nand such a thing in such and such away; and you will doubt my counsel; but with all\nrespect to your present manager you must be very careful how much credence you give to\nwhat he says and to what he shows, for it is upon such tradition that the Theatre has\nexisted and has degenerated.\nWhat Henry Irving did is one thing; what they tell you he did is another. I have had some\nexperience of this. I played in the same Theatre as Irving in Macbeth, and later on I had\nthe opportunity of playing Macbeth myself in a theatre in the North or the South of England.\nI was curious to know how much would strike a capable and reliable actor of the usual\nfifteen years experience, especially one who was an enthusiastic admirer of Henry Irving.\nI therefore asked him to be good enough to show me how Irving had treated this or that\npassage; what he had done and what impression he had created because it had slipped my\nmemory. The competent actor thereupon revealed to my amazed intelligence something so\nbanal, so clumsy, and so lacking in distinction, that I began to understand how much value\nwas in tradition; and I have had several such experiences.\nI have been shown by a competent and worthy actress how Mrs Siddons played Lady\nMacbeth. She would move to the centre of the stage and would begin to make certain\nmovements and certain exclamations which she believed to be a reproduction of what\nMrs Siddons had done. I presume she had received these from someone who had seen Mrs\nSiddons. The things which she showed me were utterly worthless in so far as they had no\nunity, although one action here, another action there, would have some kind of reflected\nvalue; and so I began to see the uselessness of this kind of tuition; and it being my nature\nto rebel against those who would force upon me something which seemed to me unintelligent,\nI would have nothing to do with such teaching. £/\nI do not recommend you to do the same, although you will disregard what I say and do as\nI did if you have much of the volcano in you; but you will do better to listen, accept and\nadapt that which they tell you, remembering that this your apprenticeship as actor is but\nthe very beginning of an exceedingly long apprenticeship as craftsman in all the crafts which\ngo to make up the art.\nWhen you have studied these thoroughly you will find some which are of value and you\nwill certainly find that the experience as actor has been necessary. The pioneer seldom find\nan easy road and as your way does not end in becoming a celebrated actor but is a much\nlonger and an untrodden way leading to a very different end, you will have all the\nadvantages and the disadvantages of pioneering; but keep in mind what I have told you;\nthat your aim is not to become a celebrated actor, it is not to become the manager of a\nso-called successful theatre; it is not to become the producer of elaborate and much talked\nof plays; it is to become an Artist of the Theatre; and as a base to all this you must, as I have\nsaid, serve your term of apprenticeship as actor faithfully and well. If at the end of five years\nas actor you are convinced that you know what your future will be; if, in fact, you are\n\nTHE ARTISTS OF\nTHE THEATRE\nOF THE FUTURE\n\nObedience to\nyour master.\n& Obedience to\nnature. .£? £?\nHenryr Irv in g\nIncorrect\nt r a d it i o 11.\nThe end in view."}, {"page_pdf": 9, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.9", "texte": "succeeding, you may give yourself up for lost. Short cuts lead nowhere in this world. Did\nyou think when the longing came upon you and when you told your family that you\nmust go upon the stage that such a great longing was to be so soon satisfied? Is satisfaction so\nsmall a thing? Is desire a thing of nothing, that a five year's quest can make a parody of it? But\nof course not. Your whole life is not too long, and then only at the very end will some small\natom of what you have desired come to you. And so you will be still young when you are full\nof years. (To be continued) &\n\nTHE ARTISTS OF\nTHE THEATRE\npllTllDp\n\nTHE REAL DRAMA IN SPAIN\nby Edward Hutton\nThe Art of the Theatre, the drama that of old was so racy of the soil in Spain, springing\nup everywhere in the strangest blossoms, the Autos of Lope de Vega, of Calderon, of many\nan unknown poet, might seem in any hurried visit to that poor but virile and beautiful\ncountry almost to have passed away. And yet we may still discover it, if we have eyes to\nsee, in many a humble booth or cafe in Castile or Andalusia, even yet instinct with life;\nbased as all Spanish art has been on reality, that spiritual passion of the Spanish people;\nexpressing itself no longer in the work of Morales, of Velasquez, of Murillo, in the lucid\nand perfect syllables of Calderon, the pathos and humour of Cervantes, the eloquence of Lope\nde Vega, the life of S. Teresa, but in the perfect and almost terrible gestures of the dance,\nthe beauty and pathos of the folk song, born there before your eyes in some dim cafe of the\npeople.\nThose strange songs, half chant, half love-song, lyrical so sullenly, so sadly almost, and with\na new sort of rhythm that is in reality but the oldest music of all, greet you everywhere\nin Southern Spain; and strangely enough, as we may think of anything so difficult for the\nmodern ear, are more popular than the national songs, are indeed fast taking their place\nwith the people even in so conservative a country as La Mancha. Malaguenas they call them,\nsongs of Malaga; and indeed in Malaga you hear almost nothing else. Sung to the guitar, the\nstrings have often a more important place in them than the voice itself; for after a long\nintroduction in which you learn, perhaps for the first time, the extraordinary beauty that\nmay be drawn by skilful fingers from an instrument seemingly so limited, the voice breaks\nin suddenly, on a high note long drawn out, almost startling in its fierceness, its profound\nand passionate sadness. It is like some tragic thing that has befallen in the desert, like a\nmood of the soul that has at last become unbearable agony, that must express itself: like\na sudden apprehension of fate which is about to overwhelm everything. Gradually, with many\nswift or reluctant turns, the voice descends into the melody itself, almost a Gregorian tone,\nand yet without the assurance, the precision of that chant which is the foundation of everything\nthat has been accomplished in music since the sixth century, and it may be even before that,\nand which in its perfect intervals assured Europe of her musical future. But while something\nmay be found in the simpler Malaguenas, certainly, of the third Gregorian tone, it is really\na music more primitive than the plainsong that you come upon, quite by chance, in the\ncities of Andalusia. That it has much in common with Greek music, perhaps through the\nMoor, perhaps through the Phoenician, is, I think, capable of proof; but whether it be more\nthan the common likeness that is to be found in all primitive music, in the resemblance,\nfor instance, that you may discover in so northern a thing as an old Scottish air to the Eastern\nmusic of swords and gongs accompanying a plaintive sort of chant, in the likeness of the\ncurious wail of the bagpipe itself to much Arab music, it is difficult to determine; for indeed\nalmost nothing has been written, by musicians at any rate, of the Malaguena, and it is only\nwith difficulty you may find one noted down truly, or as truly as may be, in modern\nnotation, (i)\nYou come upon this music quite by chance, I said, in speaking of the Malaguena; and indeed\nthat is one of its greatest delights; it is almost always by chance that you hear them. Here\nin Malaga, for instance, not one traveller in a thousand ever discovers the Chinitas, that\nlittle caf6 in the Caleta, which is certainly, in its irresponsible perverse way, the one real\nschool of art in Spain. There, it is true, you may hear the Malaguena sung or danced or\n\nSongs of Malaga\nA primitive\nmusic.\n\n(1) Grove, Dictionary of Music and Musicians, under 'Song' says that P. Lacome has noted a Malaguena in Echos\nd'Espangne (Durand et flls, Paris); For me, at least, it is a poor specimen, anaemic and attenuated."}, {"page_pdf": 10, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.10", "texte": "THE REAL\nDRAMA IN SPAIN\n\nplayed by artists, unconscious of their perfection, anxious it may be to better themselves, to goto\nMadrid, to Paris, to Berlin, where in a minute they will be quite spoiled by the vulgarity\nof the music-hall that will take the place of the racy freedom and robustness of the little\ndancing hall of Malaga. Yes, within those dingy, disreputable walls, something seems to have\nbeen expressed, to have escaped from its captivity; and yet, while you have still all the\ncolour and passion of so rare a thing, some nuance, I know not what, I know not why, seems\nto have vanished away, to have lost itself in that narrow room, so that really the song is\nless beautiful there than when sung on the quays or in some patio at midday.\nThere are other arts besides those of singing and dancing that you will find at the Chinitas,\nbetter almost than anywhere else in Spain: the art of poetry, for instance, really, in its\nprimitive form, a kind of impromptu wrung from the poet half intoxicated by music, by the\ncurious giddy madness of the castanets. Peculiar, it might seem, to a land so languid about\nart as Spain, so little aware of anything that it has not made its own, so indifferent to mere\nbeauty, so anxious for life, these curiously fascinating moments in which you may see, as\nit were, the very art of the poet practised before you, the delicate handling of words that\nhave really been born out of a vision, are to the Spaniard in their excitement, in their\nrather terrible energy, their extraordinary promise of beauty, much akin to the more brutal\nbut not less eager moments of the bull-fight, when some extraordinarily beautiful feat of\nsword play or daring is about to take place. &\nThrough a frankly noisy crowd full of laughter, amid all the freedom of the cafe, two women\nand an old man thread their way to a sort of platform at the end of the room. One of the\nwomen, old and ugly, and yet not without that distinction which seems always to wait on\nold age here in Spain, sits beside the old man, who tunes his guitar at the back of the stage;\nthe other, still young, with a sad and eager face, sits before them on a chair, alone, facing\nthe noisy crowd. For a minute or two the old man continues to tune his guitar, and then\nquite suddenly he strikes a beautiful and suggestive chord that dies away into a kind of\nchant, played with much art on that instrument, so little known out of Spain. The old woman\nbeats time with her foot, clapping her hands, and from time to time uttering strange cries:\ncries that, in some way 1 cannot explain, seem to excite that motley crowd, which has\nsuddenly grown so silent, till they, too, are full of eagerness, of energy. Now and again\nfrom among them some one cries out in answer. The girl seated alone in the midst of the\nstage seems to be asleep, a sort of drowsiness has overwhelmed her; her arms hang listessly at\nher sides, her head has fallen on her breast. Still the old woman beats her hands together\npassionately, angrily almost; her cries seem to burst from a heart, full of rage and fury, that\nis about to break. Now and then the girl rocks a little in her chair, the old man continues\nhis endless melody, passionate and sad, on the guitar. An immense seriousness has fallen\nupon the crowd. Near me is a woman, her hand lying in the hand of a man, still young,\nwho sits beside her; there are tears in her eyes, and his fingers have ceased to press hers;\nhe has forgotten her, he is waiting almost with anxiety for something to declare itself, for\nrevelation, it might seem. Everywhere around me are eager faces, that for a moment seem\nto have lost the harshness that daily life has pressed upon them, that have forgotten\neverything, and have attained to a sort of simplicity that you may often find in the faces\nof those who are sleeping. The figure in the midst of the stage seems almost to have collapsed,\nto have fallen on to itself, and then, suddenly, as the old woman furiously cries out, and\nin frenzy beats her hands together with a kind of menace, almost threatening in its intensity,\na shiver passes over the girl, the red carnation in her black hair trembles, in a moment a\nmask seems to have fallen from her face; her eyes are wide open, dilated, her mouth widens,\nbecomes almost immense, almost terrible in its effort of articulation; closes a little, and\nbecomes beautiful as she is about to utter the beautiful words; and then, as it were, thrusting\nback the excited, panting crowd with her hands, at last she speaks: &\n44 Thou art dead who wast my love but yesterday,\n1 am alone, alone, in the world that has lost thee,\n1 am a flower born in the shadow of a sepulchre\nAh, let me die!\nThe lamentable cry of the old woman bears the last note away; a splendid and beautiful chord\nthrobs on the guitar; the girl is transfigured, her eyes are burning in her pallid face, she\nleans forward, and again in a higher and more passionate melody, slowly like falling rose-\nleaves, the words drop from her lips:\n4 Let me press my mouth to the wound of thy mouth,\nFor my arms ache for thee, and thou shalt come between them,\nAnd our souls shall be confounded in a kiss....\nAh, let me die.'\n\nThe art of poetry\nIn the Cafe\nAn iniprov is a*\ntrice. &"}, {"page_pdf": 11, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.11", "texte": "Gradually the melody falls again into the lower key; like an immense curtain falling over\nlife, the last words come to us; her eyes are dying, her lids are so heavy that she can hardly\nhold them open:\n' Neither with thee can I live, nor without thee,\nAnd for my trouble there is no remedy,\nWhen I was with thee thou killedst me-without thee I shall die.\nAh, let me die.'\nWith an immense shout of applause the audience hurl hats, pence, and flowers on to the\nstage at her feet/but she seems to be sleeping; the old woman grovels for the halfpence,\nslowly the guitar sobs into silence. j® j® j® j® j® j® j®\nThat melancholy simplicity which we have so little understood is to be found almost everywhere\nin Seville; life is naked, and if it is unashamed it is only because it is too proud and too\nunconscious to be aware, till we with our strange eyes remind it of our vulgarity. And since\nit is chiefly of women that the traveller is compelled to think in this beautiful city that is\nfull of them, where in the narrow streets you feel the wind of their shawls, on the Triana\nbridge where you are caught by the sensuous and profound rhythm of their movement, in\nTriana itself where you are surprised by their sullen smouldering beauty, a little stupified\nby dust and sun, in the Palacios where you feel the cold passion of every gesture, every\nglance, or in the Alcazar where you are overtaken by the memory of one who walked or\nbathed there long and long ago, and plucked the flowers and was much beloved, and even\nin the Cathedral where on all sides Murillo's Madonnas, full of a distracting and sensual\nloveliness, smile, and smile pathetic in temptation; it is at last as a divine woman, sufficient\nfor us and yet so unsatisfying, full of sweetness that is about to become wearying, that you\ncome to think of the city herself. If you go to the Alcazar, for instance, expecting some great\nand stern beauty, some altogether strong and lovely thing, you will be disappointed;\neverywhere you will find flowers that whisper together as though some one had but just passed\nby, and as you enter room after room, court after court, patio after patio, full of silence and\nsunlight, you will almost hear the footsteps of someone who has but just gone out, leaving a faint\ntrace of some presence in an inexplicable trouble on the threshold, a suggestion of scent in\nthe air, the trembling of a curtain that has just felt the touch of a hand, a fading breath\non the window-pane through which some one has glanced a moment before, a blossom fallen\non the pathway, the fluttering of a leaf on a tree where some one has just plucked a fruit.\nAnd you remember that Maria Padilla often passed through these gardens, that under these\nvery trees she trembled in the arms of her lover, that these cold pavements have felt the\ntenderness of her feet, this marble the wealth and sweetness of her body. j® j®\nAnd seeing that Seville is so full of the memory of women, of women's laughter like the\nsong of a bird full of delight, that you may often hear in the evenings in Triana, of the\nvoices of women singing children to sleep, of their hands that float like lilies in the Sevillana\ndance, of their movements full of languor and grace, it is after all just their delight which\nis the charm of the city herself, an infinite variety in which you will find everything you\ndesire. Something pensive, spell-bound, but half-real in the strait, winding Moorish streets,\nthe delicate, sleeping patios, through which the moonlight creeps like a ghost, combines\ninconsequently but not unfortunately at all with the melancoly of the Fabrica or the Pottery\nsheds, the romance of the busy Guadalquivir, the noise and beauty of the quays, the groups\nof foreign sailors you may see there; while the freedom of the sulky gipsies of Triana, who\nseem ever about to cry out at you or to spring upon you, contrasts strangely enough with\nthe dignity and seclusion of the women of Andalusia, their immense ennui and calmness, as\nit were, their look of exhausted delight, stupefied by their own stupidity. j® j®\nAnd so in the spring or autumn evenings, and in winter too, if after the strangely elaborate\nfrugality of the Spanish dinner you enter the Cafe de Novedades, for instance, you may see\nthe Andalusian women dancing very beautifully, though a little wearily, to the clapping of\nhands, the throb of the guitar, the eagerness of the castanets. Just there, I think, you will\nfind the most perfect and the most natural expression of life in Andalusia. It is not a joyful\nthing at all, this strange, vivid struggle, in a dance that is like a battle in the soul that\nhas communicated itself to the flesh. It is really a passianate, almost a religious, expression\nof life, full of an extraordinary seriousness that will produce tears rather than laughter. It\nis as though in those few subtle movements of the body an art very racy and national a\ndying art, it is true, but the only one left in Spain that is even yet alive, had sought to\nsum up and express, as it were, in a beautiful allegory, the fundamental truths of life, of love,\nof the creative enthusiasm of man, so pitiful, so involuntary. The dancer stands before her\nfellows who are seated in a semicircle behind her; she wears a long dress that falls infolds\nto the ground. After a time, while some sing intermittently, some now and then play a guitar,\nsome beat time with their hands and stamp with their feet, she begins to dance to the\nmaddening thunder of the castanets. It is a dance of the body, of the arms, of the fingers,\nof the head, in which the feet have almost no active part. At first she stands there like a\n\nTHE RE AL\nDRAMA IN SPAIN\n\nIn Seville. j®\nMaria Padilla.\nThe Women of\nj®\nA dying art. j®"}, {"page_pdf": 12, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.12", "texte": "THE REAL\nDRAMA IN SPAIN\n\nflower that is almost overcome by the sun, sleepy and full of languor; her arms seem like\nthe long stalks of the water-lilies that float in the pools. Suddenly she trembles, something\nseems to have towered in her heart and to be about to burst into blossom. Her whole body\nis shaken in ecstasy; wave after wave of emotion, of pure energy, as it were sweeps over\nher limbs; she is like a rose at dawn that, gazing at the sunrise, has shaken the dew from\nthe cup of its petals, trembling with adoration. Her head leans on her shoulder, she is\nawakening, the castanets have awakened her; she undulates her hips almost imperceptibly.\nLife has caught her in his arms, he has strained back her head; slowly she has opened her\neyelids, she rounds her arms as though to embrace him, she holds out her mouth heavy\nwith an ungiven kiss. Without moving her feet, without bending her knees, slowly she turns\nher body to follow him. At first she dances gravely, intermingling her beautiful arms; her soul\nsuffers in her her body suffers in its sheath, she breathes deeply, she cannot close her\neyelids, and her mouth is like a red rose about to fall. She strains voluptuously, she is free; her\nbody is all joyful, is overwhelmed by the splendour of joy; it is as though she were caught\nin a profound and serious laughter. With an immense energy life possesses her, wrings from\nher cries that are as lamentable as those of women at child-birth, cries that are drowned\nin the thunder of innumerable hands, hands that seem to stretch forth eagerly to touch\nlife as it passes. Slowly she seems to subside into herself, the undulations of her body grow\nless and less violent; she seems to be weeping, she seems about to fall, she is quite still;\nit is finished. In a fierce frenzy, serious, grave, and passionate, the thunder of applause,\nmingled with extraordinary and beautiful cries, grows and dies away into silence in the\nshabby room.\nJust there it seems to me Seville is in her most characteristic mood, finding in so trivial a\nthing as the dance seems to us to be, a means of expression for the most profound simplicities\nof Nature; dancing being, indeed, the only expression of life for which she cares, since it\nsums up, as it were, all the rest in its symbolism, and in its perfect marriage of matter and\nform shadows forth in a mortal minute the whole activity of man. &\nt\n\nThe Dance.\n\nTHE PHILOSOPHY OF ACTORS.\nFriedrich Nietzsche.\n\"jt is the blissful illusion of all great actors that the historical person represented by them\n* really felt as they do during their performance; but in this they are greatly mistaken\nTheir power of imitation and divination which they are desirous of representing as clear=\nsighted faculty, only penetrates far enough to explain gestures, accents, and looks in\nshort, the exterior; that is, they grasp the phantom soul of a great hero, statesman, warrior,\nof an ambitious, jealous, desperate person; they come pretty near the soul, but fail to\narrive at the spirit of their objects. It would, indeed, be a truly valuable thing to discover\nthat, instead of thinkers, discerners, experts, we only required clear-sighted actors to throw\nlight upon the essence of any condition. Whenever such presumptuous notions become\nprevalent, we should never forget that the actor is nothing but an ape, indeed so much of\nan ape that he is utterly unable to believe in \"nature\" and \"essence\"; all he aims at is\nacting, accent, gesture, stage, scenery and audience \". & ag? &\nFrom the translation of Johanna Volz.\n\" atura.l To be natural at least in his deficiencies is perhaps the highest eulogium\nA that can be bestowed on an artificial and in all other respects theatrical and ungenuine\nartist. For this very reason he will boldly display his deficiencies \". & &\nFriedrich Nietzsche.\n\"ALL ART CONSTANTLY ASPIRES TOWARDS THE CONDITION OF MUSIC\"\nWalter Pater."}, {"page_pdf": 13, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.13", "texte": "A NOTE ON MASKS\nby John Balance\nA Imost all ISie things which had to do\nr% w|th the Theatre of the ancients have so\ndegenerated to tine ludicrous that it Is\nImpossible to speak of these tilings of the\nancient Theatre without evoking laughter,...\nlaughter in the common people and a\nparticular kind of bored drawl in many of\nthe educated. It seems to me that I shall\nnever forget trying to explain to a certain\nDoctor T.... that a piece of work which a\nfriend of mine had Just Invented for the\nTheatre was to be given without the use\nof words. He could not permit (I remember\nhis gravity) that a serious subject should be\ntreated on the stage without long discourses\nIn words. And when I assured him of nay\nfriend ?$ resolve to do this, how strange was the tone with which Doctor T.... shot out the\none word, i& Ah, Pantomime? \"\nDancing, Pantomime, Marl©lunettes, Masks; these things so vital to the ancients, all parts of\ntheir respected Art of the Theatre at one time or another, have been all turned into a Jest.\nDancing « a straight toe like an Icicle, strapped In like a 6 Bambino % in an over-pink tight;\nsomething on the top of it like a powder puff, and the whole tiling sent whirling at an\nenormous rate like a teetotum, . . . . It is the modern public dancer. & & &\nOr two persons like bears hugging one another, and slowly and heavily as bears growling\ntheir way round a room, plod, plod, plod, bump, plod bump, .... this is the modern private\ndancer. & And it is permitted. &\nThese things being permitted and being so obviously ridiculous, and being labelled as the\ndance, it stands to reason that when the word 64 Dance \" Is mentioned seriously one of these\nridiculous pictures is conjured up by the listener. Indeed, people are even prevailed upon to\nsmile on reading In the Bible that King David danced among the women before the Ark. They\npicture to themselves a fancy King David attired either as a powder puff or a bear, whirling\nor lumbering round on a dusty road .... probably uphill. Why, the thing is inconceivable!\nIt Is no use for the Royal Academicians to draw a picture of the famous Artist-King as\nsedately advancing with a harp In his hands like a courtier of the time of Louis XIV.\nHere again the thing becomes inconceivable; and as the imagination of man is not very\nbrilliant, It stands to reason that people give up the Idea of serious and beautiful dancing\nas having really existed, and fall back Into the modern distortion. & &\njg? The case Is even worse with Pantomime. At the best the world conceives pantomime to\nfoe what the French actors are so good at and at the worst they think it is Clown and\nPantaloon. French actors are amusing and delightful; Clown and Pantaloon are entrancing,\nhut these beings are undoubtedly not the exponents of the Art of Pantomime. & &\nSo if you point out the case of Buddah teaching symbolic gesture or 45 Pantomime \" to his\npupils the world will Instantly think of Harlequinade or of 44 L'Enfant Prodigue and,\ndressing Buddah, (in their mind's eye) In coloured, diamond-patterned tights or the loose\nwhite costume of Pierrot, will giggle as they try to foe serious about it all. & jg?\nThe Marionnette, too; mention him in good society, even in learned society, and the rewill\nfoe an awkward moment or two. It seems that he has become one of those things that one\nmust not mention; - like the novels of Dumas, he Is only for boys and girls; and if you remind\nanyone that he figured In the Feast of Bacchus when the Egyptians celebrated these rites,\npeople will instantly think of a poor doll tied to a stick and resembling nothing so much\nas Aunt Sally. If you remind people of what Mr Anatole France writes of these strange and\nwonderful beings, the Marionnettes, they will probably put Mr Anatole France down as an\neccentric gentleman. He happens to be an artist and knows about what he is speaking, so\nlet us hear what he sayss .. . & J& <&?\n44 J'ai vu deux lots fes marionnettes de la rue Vivienne, et j'y ai pris un grand plaisir. Je leur\nsals un gre infihi de remplacer les acteurs vivants. S'il faut dire toute ma pensee, les acteurs\nme gatent la comedie. J'eraterads les boras acteurs. Je m' accommoderais encore des autres! Mais\nce son! les artistes excellents, corrsme il se trouverat a la que decidement\nje rae puis souffrir! Leur talent est trop grand; il couvre tout! II n'y a qtT eux\". And again: \"J'era\nai d»eja fait V aveu, j'aime Ses marionnettes, et celles de M. Signoret me plaisent singulierement.\nCe sont des artistes qui les taillent; ce sont des poetes qui les montrent. Ellas out une grace\nnaive, une gaucherie divine de statues qui consentent a fair© Ses poupees, et Ton est ravi de\nvoir ces petites idoles jouer la com6die.... Ces marionnettes ressemblent a des hierogliphes\n\nDancing & &\nPantomime. &\nThe Marionnette\nMr Anatole\n& & France."}, {"page_pdf": 14, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.14", "texte": "Egyptiens, c'est-a-dire a quelque chose de mysterieux et de\npur, et, quand elles reprise intent un drame de Shakespeare\nou d'Aristophane, je crois voir la penstfe du poete se dcrouler\nen caracteres sacrtfs sur les murailles d'un temple\". And\nfinally: \" II y a une heure a peine que la toile du Petit Theatre\nest sur le groupe harmonieux de Ferdinand et de\nMiranda. Je suis sous le charme et, com me dit Prospero, \" je\nme ressens encore des illusions de cetie ile\". L'aimable\nspectacle! Et qu'il est vrai que les choses exquises, quand\nelles sont naives, sont deux fois exquises \". (La \" Vie\nLitteraire\" et \"Le Temps\").\nSo much then for Dancing, Pantomime, the Marionnette;\nand now for Masks. JZ? &\njg/ Used by the savages when making war at a time when\nwar was looked on as an art; used by the ancients in their\nceremonies when laces were held to be too weak and disturbing an element; used by those\ngreat artists of the theatre, /Eschylus, Sophocles and Euripides; rejected later on by the\nvanity of the actors, and relegated by them to the toy-shop and the fancy-dress ball, the Mask\nhas sunk to the level of the Dance, of Pantomime and of the Marionette. From being a\nwork of art carved in wood and ornamented with precious metals, it has frittered itself away\ninto a piece of paper, badly painted or covered with black satin, & & &\nI shall not here deal historically with the Mask, as this will be fully gone into in another\nnumber and my particular wish is not to confuse the reader with the point at issue, which\nis the importance of the mask to the Life of the Theatre of today and of tomorrow. It is\nas important now as it was of old and is in no way to be included among the things we\nhave to put aside as old fashioned, must in no way be looked upon merely as a curiosity,\nfor its existence is vital to the Art of the Theatre.\nThe historical study of this question will only assist those who already perceive the value\nand importance of reviving in the Theatre the famous and beautiful vitality of its earlier\ndays. To those who know nothing of this spirit the historical study of the Mask is valueless,\nfor like antiquaries they will but collect material for the sake of collecting, and any old\nthing, provided it be of good craftsmanship and excessively rare, will attract them.\nGordon Craig, in his writings on the Theatre, speaks for the Mask over and over again.\nHe sees the gain to the Theatre which is attached to this thing. What he tells us is not new,...\nit is what all artists know, but there lies intrinsic value today in hearing it definitely from\nthe mouth of an artist sprung from one of the most productive families of the English Stage.\nHe tells us that human facial expression is for the most part valueless, and that the laws\nof his Art tell him that \" It is better, provided it is not dull, that instead of six hundred\nexpressions, but six expressions shall appear upon the face\". Later on he gives an example:\n\" The Judge sits in Judgment upon the Prisoner, and he shall display but two expressions,\neach of which is in just proportion with the other. He has two masks and on each mask one\nmain statement, these statements being tempered by Reflections,... the hopes and fears and\nthe rest of not merely the Judge, but of Justice and Injustice \". &\nCraig \"aims at taking us beyond reality; he replaces the pattern of the thing itself by\nthe pattern which that thing evokes in his mind, the symbol of the thing \". In saying this\nArthur Symons recognises in Craig a descendent of the family of the ancient artists of the\nTheatre, for his aim was theirs, and the Mask a part of their strength, the Mask, the\nsymbol of the Human face. & & & & &/\nIt is this sense of being beyond reality which permeates all great art. We see it in the\nlittle clumsily painted pictures of those periods when the true beyond was of more importance\nthan a right perspective, when the perspective of thought and feeling held its true value.\nWe see it in the marvellous little Etruscan figures of but an inch high! one faces me as\nI write, a tiny little piece of bronze, charged with an overwhelming spirit, but which\nwould be refused at the Royal Academy of today because its hand is as big as its head and\nthe toes of the feet are not defined; because it does not wriggle itself into a pose, but is\npoised with firm conviction,... conviction, a thing detested by committees and hence refused\nadmission in Academies. jg? jg? &\nMasks carry conviction when he who creates them is an artist, for the artist limits the\nstatements which he places upon these masks. The face of the actor carries no such\nconviction: it is over full of fleeting expression,.... frail, restless; disturbed and disturbing,\nand, as Craig says elsewhere, on this account not material with which to make a work of art.\nJZ? It is doubtful whether the actor will ever have the courage to cover his face with a mask\nagain having once put it aside, and it is doubtful whether he shall see that it would serve as\nhis gain. If it can be proved that it would be to the actor's loss and not his gain it will\nprove that the Actor and the Art of the Theatre are divided at the outset, and one of three\nthings will happen: either the Actor will drift further from the Art, or he will be destroyed\nin battling against the Art, or, finally, he will, like the phoenix, destroy himself to re form\n\nA NOTE ON\nMASKS\n\nMasks. & <£?\nGordon Craig on\nMasks, £?\nkittle Etruscan\nfigures &\nMask or faces ?"}, {"page_pdf": 15, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.15", "texte": "himself, and so in a new shape advance with the Art for which\nhe has sacrificed himself.\nThe mask will return to the Theatre; of that one seems\nto be assured; and there is no very great obstacle in the\nway although there is some slight danger attached to a\nmisconception of its revival. First of all it is not the\nGreek mask which is going to be resuscitated; rather is it\nthe English mask which is going to be created. There is\nsomething very depressing in the idea of groping among ruins\nfor the remains of the past centuries. It is a great trade today,\nbut not for the purposes of the Theatre. They dig for the\nmarbles and the bronzes and the statuettes: they unearth\ntombs; they rummage even for crinolines of i860; they admire\nthese things.\nThe Theatre may admire the old Greek masks, but it must\nnot dig in the ground for them; it must not collect them; it\nmust not waste what power it has as a creator, attending to its fads; it must not play the\nantiquary.\nThat such a danger as this exists and needs guarding against is most evident. Some time\nago, we do not know how far back, (the collector knows) the world became tired of creating\nand took unto itself the rage for the old fashioned.\n\"Pictures.... away with the young painters: let us fill our houses with the old paintings; drag\nthem out of the churches, dig them out of the niches, scrape them off the walls; what does\nit matter! Hateful young men! Lovely old masters!\"\n\"Sculpture.... quick, fly to Greece! Now's the time! Nobody's looking,... occupied with\naffairs,... no money in the country; a lot of money in the ground; dig it all up; let sculpture\ngo to the dogs, and let the old remains come back from Athens to fill our collections \".\n\"Music.... some young musician wants his symphony played. Nonsense, costs too much; have\ndiscovered splendid new piece in little old shop for one fife and a drum; never heard anything\nlike it before! Wonderful discovery! Tell the young man to take up chemistry\".\nAnd so on and so on. & This craze for the antique has become a general habit, and the\nmore antique the more the craze. Old furniture, houses packed with old furniture; books,\ntapestries, all sorts of metal work, even down to coins, though here the true collector,\nthe millionaire, is careful to keep as modern as he can. And this love of the antique is growing\nso petty to-day that it is positively eating into the very people themselves and they are becoming\nas antique as that which they collect: with this difference, that the old stuff has life in it\nand they have none. This love of the antique has come into the Theatre now and then; it\nentered into England with William Poel and his Elizabethan Stage Society. Those who know\nMr Poel know him to be a man of distinction, cultivated, and an authority upon the stage\nof the 16th century. But what is that for the purpose of the living Theatre? All those connected\nwith the stage should be distinguished and cultivated, and authorities on all questions\npertainining to the stage; but they should possess that only as a basis, and on that basis\nthey should build anew and not merely exhibit the basis itself, saying, \" Lo, the ruins of\nthe 16th century! tickets 6d; plan of excavation, 2d extra\". There have been others besides\nMr Poel. There have been the revivalists of the so-called Greek Theatre,... a dreadful thing\nentirely in Greek; and so on.\nIt would be a sad thing, therefore, if masks, sham-Greek in idea, sham-Greek in their\nmanufacture, should be brought into the Theatre, appealing to the curious only by creating\na subject for small talk. No! the Mask must return to the Stage to restore expression, .. .\nthe visible expression of the mind.\nThere is a second danger, ... the danger of the innovator. As Art must not be antique,\nneither can it be up-to-date. I think it is Mr Whistler who points out that Art has no period\nwhatever. It has only vitality or affectation, and under 4 affectation' come both the imitation\nof the antique and the up-to-date. jgr &\nThe vitality of the Art depends upon its artists and their willingness to work under the Laws\nwhich have ruled their Art from the commencement. Not Laws put down by committees to\nsuit a period, but the commandments unspoken and uninscribed, the ever-living Law of\nBalance which is the heart of perfect Beauty and from which springs Freedom,.... that\nFreedom which we hope and believe is the soul of Truth. To move incessantly towards this\nis the aim of artists, and those of the Theatre must not lag behind. & &\nAs has been said many times before, this will be nothing new. It is what the men of the\nTheatre began thousands of years ago: it is what the men of the Theatre a few hundred years\nago relinquished as beyond their strength. When we shall resume this we shall not be\nmerely repeating: it will be no echo of a past century: the inspiration which led men to use\nthe mask in past ages is the same now as it ever was and will never die. It is this inspiration\nthat we shall act under and in which we trust. Therefore let no one attempt to put this\nthing aside as being of the antique, or an eccentric explosion of 44 I'Art Nouveau \". I anticipate\n\nA NOTE ON\nMASKS &\n\nNot revival but\ncreation.\nThe rage for the\nold fashioned,\nThe innovator."}, {"page_pdf": 16, "page_imprimee": "12", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.16", "texte": "A NOTE ON\nMASKS\n\nthe charges so as to call attention to the class of person who is sure to have something to\nsay against us. We all know the kind of individual who is continually heard laughing to-scorn\nthe vitality of his country and his age. He is an unhealthy creature and I am glad to find that\nin England lie is already beginning to die out. For the last seven years a new spirit has\nawakened in England and everything is coming under its influence. There is a gaiety abroad\nand a sense of freedom which loosens the Joints of our island and which gives to our dignified\nand solemn people an added grace of which they were much in need. Let the young men\nof the Theatre remember this and stand at ease, for there is a protective spirit abroad whom\nthey can look to when they need support. No longer a stiff courtesy reigns in the Court,\nbut a genial one;... one which I believe is friendly to all things young and vital,... which\n3 hope is not to forget the young and vital Art of the Theatre. & &\n\nTO MADAME ELEONORA DUSE\n\nNo, not an actress, but something more; not an artist, but something less; a personality;\nand then something far more than all these three. & TO MADAME\nELEONORADUSE\n\nGordon Craig."}, {"page_pdf": 18, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.18", "texte": "CHAPTER FROM THE BOOK ON\nARCHITECTURE.\nBy Sebastian Serlio Bologna.\n\nA TREATISE UPON THE CONSTRUCTION OF A THEATRE IN WOOD: UPON SCENERY AND\nTHE DIFFERENT CONTRIVANCES FOR LIGHTING THE SCENE 1560. & £> &\nIZJirst of all I shall treat of the scenes and the theatres of our time, and it will be rather\ndifficult to understand where we must place the line of sight, mine being a different\nmethod from former ones. & &\nI have chosen to design the above section first. By the aid of the ground-plan it will be better\nunderstood. Therefore study the ground-plan first and if there are some things which are\nnot quite clear in it, then it will be better to refer to the section. &\nI first begin with the foreground which shall be on a level with the eye, and which is flat,\nand marked C. And from. B. to A. let the ground rise in the direction of A. The thicker of\nthe two upright pieces, that which is marked M., denotes the outside wall which is at the\nextremity of the hall. The thinner upright piece marked P. denotes the extremity of the\nstage; (1) the joint marked O. is the line of sight, and the joint where the line runs from\nL. to O. and meets the upright piece P. becomes the line of sight, but which is to serve\nonly for that plane ; and this line will always be the line of sight for facades\" of buildings\nwhich face us: but those parts of buildings which are not facing will have their line of sight\nmarked O.: and it stands to reason that if the buildings show two fronts they shall have two\nlines of sight: so much for the section of the scene.\nWe now proceed with the section of the auditorium. The Proscenium is marked D.; The\nOrchestra which is marked E. is raised one half foot from the ground. F. indicates the seat\nreserved for the nobility. The first steps which are marked G. are to be at the disposition\nof the most noble ladies, and higher up the less noble shall be set. The broader steps\nmarked H. and I. are passages; between these two passages are the seats reserved for the\nnoble men. On the four steps above I. the middle class shall find place. That large space\nmarked K. shall be for the populace, and shall be lesser or greater in size according to the\nsize of the hall. The theatre and the scene that I made in were somewhat in the\nmanner I have described. From one end of the auditorium to the other it measured 80 feet;\nand it was erected in a great courtyard where 1 found more room for it than for the stage,\nthis latter being built against a loggia. The construction and joints of the wood-work were\nin the manner I have shown in the previous chapter, and since this theatre was without\nany extra support whatever, for its greater strength I made it a Scarpa.\nTHE STAGE <£? Few things may be contemplated with greater pleasure to the eye or more\nrest to the spirit than the unveiling to our view of a stage setting. By means of the art of\nperspective one receives an impression of superb palaces, vast temples and other splendid\nbuildings, and near and far spacious piazzas ornamented by various lofty turrets; long streets\ncrossed by other streets - triumphal arches - pyramids - obelisques, - and a thousand other\nbeautiful forms ornamented by innumerable lights of different strengths - large, medium,\nsmall, in proportion, which are at times so cunningly arranged that they seem like so many\nsparkling diamonds, rubies, sapphires, emeralds, and other &\nHere one sees the horned and lucent moon rising slowly so slowly that the eye of the\nspectator does not see her move; in other scenes the rising of the sun is represented with\nsuch art that one remains lost in wonder. By like means one is enabled to see the descent\nof a God from on high, or the passage of some planet through the air. We may also see upon\nthe stage various intermedii beautifully decorated, and figures strangely and fantastically\n\nSECTION SHOWING CONSTRUCTION OF STAGE AND AUDITORIUM\n\nThe line of sight.\nThe auditorium.\nThe charm to the\neye.\n\n(1) backcloth of Modern Theatre)."}, {"page_pdf": 19, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.19", "texte": "clothed, both dancers and musicians. Sometimes one\nsees men and children in the strange disguises of\nanimals who play tricks leap, vault and caper so\nwell that it fills the spectators with amazement. uZ?\nAll these things give so much pleasure to the eye\nand to the intelligence that we imagine nothing\nmade by man can be more beautiful \" Di quelle cose\npoi che siamo in proposito delTarte della perspettiua:\n10 ne trattarb alquato. Pure quatuque questo modo\ndi perspettiua di ch'io parlarb sia diuerso dalle regole\npassate per essere quelle imaginate sopra li parieti\npiani: & questa per essere materiale & di rilieuo e\nben ragione a tenere altra strada. Primieramente per\n11 comune uso si fa un suolo leuato da terra quanto\nTocchio nostro, cioe dalla parte dauanti & di dietro\nsi fa piu alto la nona parte, partendo in noue parti\ntutto il piano, & una di quelle. Sia leuato il detto\nsuolo dalla parte di dietro uerso TOrizonte, & sia\nben piano, &. forte per causa delle moresche, questa\npendentia io Tho trouata commoda con la esperientia\nperche in Vicenza (citta molto ricca & pomposissima\nfra I'altre d'ltalia) io feci uno Theatro: & una scena\ndi legname, perauentura, anzi senza dubbio, la mag=\ngiore che a nostri tempi si sia fatta, doue per li\nmarauigliosi intermedii che ui accadeuano, come\ncarette, Eletanfi, & diuerse moresche, io uolsi che\ndauanti la scena pedente: ui fosse un suolo piano, la latitudine del quale fu piedi xii & in\nlongitudine piedi Ix done io trovai tal cosa ben commoda, & di grande aspetto. Questo primo\nsuolo essendo piano il suo pauimento non übidiva a I'Orizonte, ma li suoi quadri furono\nperfetti, & al cominciare dal piano pendente, tutti quei quadri andavano a TOrizonte il che\ncon la sua debita distantia sminui. Et perche alcuni han posto TOrizonte a Tultimo pariete\nche termina la scena, il qual e necessario metterlo sul proprio suolo al nascimento di esso\npariete, doue dimostra che tutti li casamenti se adunano : io mi sono imaginato di trapassare\npiu oltre con TOrizonte, la qual cosa mi e cosi bene riuscita, che a fare tal cose ho sempre\ntenuto questa strada, & cosi consiglio coloro che di tal arte se diletteranno a tener questo\ncamino, come nella seguente carta dimostraro. & come ne ho trattato qui a dietro nel\nprofilo del Theatro, & della Scena. & & &\nEt perche gli apparati delle comedie sono di tre maniere, cioe la Comica, la Tragica, & la\nSatirical io trattarb al presente della Comica, i casamenti della quale uoglion essere di\npersonaggi priuati, li quali apparati per la maggior parte si fanno al coperto in qualche sala,\nche nel capo di essa ui sia camere per la commodita dei dicitori, & iui si fa lo suolo come\nqui piu a dietro io dissi, e ne dimostrai Io suo profilo, & qui auanti dimostrerb la pianta.\nPrimieramente la parte C, e quel suolo piano & poniam caso che un quadro sia due piedi\n& medesimamete quelli del piano pendente son due piedi per ogni lato, & e segnato B,e\n(come ho detto nel profilo) io non intendo di mettere TOrizonte al pariete ultimo della scena,\n111a quanto sara dal principio di esso piano B, fin al muro sia trapassato altro tanto di la dal\nmuro con TOrizonte, & quelle due linee di punti dinotano il muro in capo di essa sala &\ncosi tutti li casamenti, & altre cose haueranno piu dolcezza ne i scurtii, doue tirati tutti li\nquadri ad esso Orizonte: & diminuiti secondo la sua distantia, si leuaran sii li casamenti\nli quali son quelle linee grosse sul piano, per diritto: & per traverso, & questi tai casamenti\n10 li ho sempre fatti di telari, sopra Si quaii ho poi tirato tele, facendogli Se sue porte in\nfaccia & in scurtio secondo le occasioni, & anco ci ho fatto alcune cose di basso rilievo di\nlegnami che ha aiutato molto le pitture, come al suo loco ne trattarb. Tutto lo spacio da li\ntelari al muro segnati A, seruiranno per li dicitori, & sempre lo pariete ultimo uuol essere\ndiscolto dal muro airmen due piedi, accib li dicitori possino passar coperti, di poi quanto si\ntrouera alto TOrizonte, sia tanto alzato un termino al principio del piano B, che fara L, &\nda li a TOrizonte sia tirata una linea che e di punti; la quale sara al livello, & dove questa\nferira ne Tultimo pariete: iui fara TOrizonte di esso pariete: & non seruiraperb ad altro telaro:\nma la detta linea sia una cosa stabile, perche questa sernira a tutti quei telari che faranno\nin maiesta, per trovare le grossezze di alcune cose, ma il primo Orizonte di la dal muro seruirk\na tutti li scurtii de i casamenti. Et perche a far questo saria necessario a rompere esso muro\n11 che non si puo fare, io ho sempre fatto uno modello piccolo di cartoni & legnami, ben\nmisurato & traportato poi in grande, di cosa in cosa giustamente con facilita. Ma questa lettione\nforsi ad alcuno sara difficile, nondimeno sara necessario faticarsi nel far de modelli &\nesperientie, che studiando trouara la uia. Et perche le sale (per grande che siano) non son\naapaci di Theatri: io nondimeno per accostarmi quanto io posso a gli antichi: ho uoluto di\nesso Theatro fame quella parte che in una gran sala possi capire, perb la parte D, servira\n\nCHAPTER FROM\nTHE BOOK ON\nARCHITECTURE."}, {"page_pdf": 20, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.20", "texte": "CHAPTER FROM\nTHE BOOK ON\nARCHITECTURE.\n\nTHE COMIC SCENE\n\nper proscenio. La parte circolare segnata E, farii I'orchestra leuata uit grado dal proscenio,\nintorno la quale son sedie per li piu nobili, che son F, Si gradi primi G, son per le donne\npiu nobili, la parte H, e strada, & cosi Sa parte I, G, Si altri gradi son per Si uomini men nobili,\nper li quali ui son scale per salire piu agiatamente. Quei luoghi spaciosi segnati K, saran poi\nper la plebe & saranno maggiorl o minor! secondo Si Suochi, & come 11 Suoco fara maggiore\nlo Theatro prendera piu delSa sua perfetta forma. &\nTHE COMIC SCENE I have already treated of the theatre and the stage and I shall now go\ninto details as to the scenes, which I have also said shall be of three different kinds. The\nComic Scene, for representing Comedies: the Tragic Scene, for the Tragedies: and the Scena\nSatyrica for the Satires. & JZ/ <£? &\nThe first, the Comic Scene, shall represent the exterior of the dwellings of private persons\nsuch as citizens, lawyers, merchants, parasites and other like men.\nThe house of the Procuress must not be lacking nor must the Scene be without a tavern.\nA Church is also very necessary. The method for setting these buildings in position 1 have\nalready given: \" si nel levare i casameti sopra li piani, come nella pfanta delle scene massime,\ncome & done si dee porre 1' Orizonte. Nientedimeno accio che I'huomo sia meglio instrutto\ncirca alle forme dei casamenti: io ne dimostro qui a lato una figura la quale potra, essere\nun poco di luce a chi di fa! cosa uorra dillettarsi. Pur in quesia essendo cosi piccola non\nho potuto osseruare tutte le misure. Ma solamente ho accennato alia inuentione per avvertir\nI'huomo a saper fare elettione di quei casamenti che posti in opera habbino a riusciur bene\ncome faria un portico traforato: dietro del quale si uegga un'altro casamento come quesfo\nprimo, li archi del quale son di opera moderna. & & &\nThe balconies which some call Pergole, others Renghieri are well adapted to perspective;\nso are cornices whose ends project from the corners of the building, cleverly intermingled\nwith others that are merely painted, which produce an excellent effect. Those houses too,\nwhich have a heavily projecting upper story are of great use: you may see one in the Hostelry\nof the Moon in the accompanying engraving. One must take especial care to remember to\nplace the smaller houses in the foreground, in order that the others which are behind\nmay be visible, as, for instance, the house of the Procuress, (Rufiana) whose sign, the three\n\nThe scenes."}, {"page_pdf": 21, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.21", "texte": "CHAPTER FROM\nTHE BOOK ON\nARCHITECTURE.\n\nTHE TRAGIC SCENE\nA\n\nHooks, may be seen in the illustration \" onde per tal superiority della casa piu a dietro, uiene\na rappresentar grandezza, & riempisse meglio la parte della scena, che non farebbe diminuendo\nse le summita delle case diminuissero Tuna dopo I'altra. £?\nAnd although the things here designed have their shadows painted on one side, still they\nshow to better advantage when they are illuminated from the middle of the stage: therefore\nlet the strongest Sights hang high up above the centre of the stage. The circular or square\npanes shown in the windows are transparent and of various colours, and the means for\nilluminating these I will give at the end of this book. &\nIt will be well to put lights behind the windows which are facing, whether they be of glass,\nof paper or of painted linen. But were I to give you all the hints I could about these things\nI should be held to be tedious. Therefore I will leave them for the invention of those who\nwish to exercise their intelligence. & & &\nTHE TRAGIC SCENE & The Tragic Scene will be for the representation of the Tragedies.\nThe Buildings which we shall show must be only those inhabited by Great Persons. For the\namorous adventures, strange intrigues and violent and cruel deaths such as those we read\nof in ancient and modern tragedies, have always befallen in those places where Dukes and\nPrinces dwell and even in the Palaces of Kings. Therefore we must not in such scenes present\nbuildings which have not nobility in them, but shall proceed as I have done in the following\ndesign, tho' alas! being so limited for space I have not been able to show on it all those great\nand royal edifices which it were more possible for me to present with greater space at my\ndisposal. But it will be enough if the architect who has the handling of these matters shall\nhave a glimmering of what I mean. He will then know how to adapt himself according to the\nplace and the subject. It is the same here as in the Comic Scene. In this scene it will also\nbe best to put a small building in front of a large one for the reason I have already given.\nMy scenes have been made on frames and therefore it is very necessary to avail oneself of\nthe support of wood reliefs for the sake of strength for instance in that building on the\nright side of the design where the pilasters rest on a solid base, through which some steps\npass. In this case the base must be solidly built, and upon the floor of this base the two\nframes can be placed, the one facing the audience and the other in receding perspective.\nThese frames will extend to the summit of the parapet (to the point A.) The upper part of the\nhouse which rests upon these arches recedes slightly and will be made in like manner to\nthat on which it rests. What I say of this particular building at the right of the design"}, {"page_pdf": 22, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.22", "texte": "CHAPTER FROM\nTHE BOOK ON\nARCHITECTURE.\n\nTHE SATIRIC SCENE\n\nis to be applied also to the other buildings when the upper part recedes, especially of those\nbuildings which are in the foreground. When such a building is placed far back at a greater\ndistance from the audience, one frame well drawn and painted will suffice. As regards the\nartificial lights, what we have said in the Comic Scene applies to this scene also. All\nsuperstructure such as chimneys, belfries and such like things, although I show none in the\nengraving, shall be designed on thin boards and cut in profile. They must be both drawn\nand coloured with skill and when you wish to make some imitation statues of marble or bronze\nyou will use a thin board or even a thick cardboard cut in silhouette and shaded properly.\nWhen placing them in position you must be careful to affix them far enough from the spectators\nlest a side view be obtained. &&&&?<£/\nIn these scenes, although at times some artists have painted certain figures representing living\ncreatures, for example a woman in a balcony or seen within a half-open door, or have pictured\nsome running animal, I do not counsel that these things be done because they have not actual\nmovement and are yet an imitation of actual beings. On the other hand it would be quite\nappropriate to represent some sleeping figure or some dog or other animal asleep, for this\nstate has no movement. I will speak again on this point at the end of this book and give\nsome idea as to the making of these things. & &\nOF THE SATIRIC SCENE The Satiric Scene is that used for the representation of Satiric\nPlays in which all those who live licentiously and without regard are reproved. In the\nancient satires vicious and ill-living men were almost named by the players, and one\ncan believe and understand also that such licence could only be permitted if it came from\nthe mouths of half-witted persons or ill-educated rustic*; and it is for this reason that Vitruvio,\ntreating of this scene, wishes that it may be ornamented with trees, rocks, hills, mountains,\nherbs, flowers and fountains, and desires also that there may be some rustic huts shown;\nand this we have done. And because these performances for the most part take place in our\nland during the winter when but few herbs or flowers are to be found, you will have to\nmake such, artificially, with silk, and this you can do so well that they will be even more"}, {"page_pdf": 23, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.23", "texte": "praised than those made by nature. Also as in the Comic and Tragic Scenes we imitated\nhouses and other buildings by means of painting, so again in this scene we shall not do ill\nto imitate herbs and flowers by the same means. And the more costly these things shall be,\nby so much will they be the more effective, and, truly, should be, in the hands of rich and\nmagnanimous lords who are the enemies of stinginess. This lavishness my eyes beheld in\nsome scenes ordered from the architect Girolamo Genga by his patron Francesco Maria, Duke\nof Urbino; and I noted as great liberality in the Prince, as taste and skill in the architect.\nIn no other example of the art have I seen so much beauty. Oh Immortal Gods! What\nexhilaration lay in the sight of so many beautiful trees and fruits, so many herbs and sweet\nflowers fashioned from the finest silk of various colours; the little cliffs and rocks richly\ncovered with many sea shells of great beauty, with snails and other little animals, with\nbranches of coral of many colours, with mother of pearl, with sea crabs and with so great\na variety of beautiful things that to attempt to write of them here would take too\nNeither will I attempt to tell of the satyrs, the nymphs, the syrens, and other monsters\nwhich were made with so much skill and then fitted over the bodies of men and children\naccording to their size, and these set walking or running according to the nature of the\nanimal, which they performed to the very life. And were it not that I fear to be tedious I\nwould tell of the superb costumes of certain shepherds made of rich cloth of gold and of\nsilk, and lined with the choicest fur of wild animals. I would tell, also, of the fishermen\nwhose vestments were not less rich than the others and whose nets were made of fine golden\nthread even as all their other implements were in like manner made of gold. I would tell\nof certain shepherdesses and nymphs whose robes were made regardless of cost, but I\nleave it to the intelligence of all skilful architects to do such things when they shall find\nsuch patrons who generously open their hands to them that they may execute that which\nthey desire.\nOF THE ARTIFICIAL LIGHT FOR THE SCENE. In the treatise upon the Comic Scene I\npromised to explain later the means of producing artificial lights of various colours, and\nfirst I will tell of the colour blue, \" II quale rappresenta il zafiro e anco assai pio bello \".\nTake a piece of sal ammoniac and have at hand a barber's basin or another vessel of brass\nand pour into it a very little water. Let this piece of salt be well ground in the basin until\nit be entirely dissolved, ever adding a little more water the while.\nIf you would have more of such a dye and if you would have the tone more intense you must\nadd more sal ammoniac. Now having mixed a basinful of this water, strain it through felt\ninto another vessel and a most beautiful azure blue will be produced. Wishing to make it lighter,\nadd more pure water: thus of the same colour you will be able to make as many shades,\nlight or dark, as you may wish. And if out of this same sapphire-tinted water you should\nwish to produce the colour of the emerald, add some saffron, more or less, according as you\nshall desire it, darker or lighter. Of these things I give no proportions, but by experience\nyou will learn to make all the various shades whether light or dark. &\nTo produce the colour of the ruby, should you be in a place where rich=coloured red wines\nare made, by means of these you may produce this colour.\nAnd if you should have no wines, take some virgin wax and cut it in little pieces - place\nit, together with as much rock alum, in a cauldron of water let it boil skim it, and\nthen strain it through felt. After this, if you wish for a lighter colour you must add pure\nwater. If you wish to produce the exact colour of a Balas Ruby a mixture of white and red\nwine will give it to you. Thus white wines of lighter or deeper tone can be used to produce\nthe colour of Topaz or Chrysophrase. \"Ma (senza dubbio alcuno) I'acqua pura passata pel\nfeltro, contra fara gli diamanti \". Moreover to project the lights it will be necessary to make\nuse of some lenses, therefore some bottles must be made at the glass furnace in a special\nform, and these must be filled with water. & &\nThese will be placed behind the scenes, and where the lamps are required a long board\nmust be fixed in such a manner that it will divide these lamps. Underneath and at right\nangles, there will be another board to support the glass bottles containing the coloured water.\nThe bottles shall be placed with the rounded parts fitted into these holes, and be sure to\nsee that they be well fixed that thay may not fall with the romping of the Morris dancers.\nBehind each of the bottles its own lamp will be placed so that each light shall be of equal\nstrength. That part of the bottle which faces the lamp shall be flat or convex the better\nto concentrate the light so that the colours shall be more brilliant. The same treatment\nshall be applied to the windows seen in receding perspective. &\nIt is sometimes necessary that there be a very large and fierce light. To produce this, you\nmust place a torch behind the bottles and behind the torch must be fixed a barber's basin\nfurbished very bright, the reflection from which will cast certain gleams like the rays of\nthe sun. And if some of these openings be square or diamond shaped, you had best take\nsome panes of glass of various colours and place them in position with a light behind them.\nBut these lights will not be the sole illumination, for a large candelabra will hang in front of\nthe stage. Suspended above this candelabra let there be a great vase full of distilled water\nwherein a piece of camphor shall be dropt and set on fire. This floating light makes a beautiful\neffect and creates a sweet aroma. When it is needful to represent some burning thing, you\n\nCHAPTER FROM\nTHE BOOK ON\nARCHITECTURE.\n\nThe costumes. &\nAzure Blue.\nHuh y.\nProjectors. &\nRe flee tor s. &"}, {"page_pdf": 24, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.24", "texte": "will use strong spirits of wine in which you will soak whatever you wish to envelope in\nflames, and set fire to it with a taper, when it will burn for some time. And although\nregarding the lights one might say far, far more, this shall be sufficient for the moment.\nLet us touch upon a few more things which are of great delight to the spectators. To fill\nin that time when the actors are not upon the scene, the Architect will have prepared some\nprocessions of small figures, of a size proportionate to the arches through which they pass;\nthese figures will be made of thick cardboard and cut in profile and may be painted. They\nwill be fixed to a strip of wood which shall be made to run in a groove or swallow-tail\nmortise, and this mortise may be placed across some archway. A workman standing behind\nthis arch can manipulate these figures so as to make them appear to move past the spectators.\nLet these figures sometimes be made to represent musicians playing upon instruments, and\nothers singing with their throats: to assist this illusion let there be gentle music played\nbehind the scenes. Besides this you can fashion groups or crowds, some on foot and some\non horseback, and as they pass let some voices be raised in imitation of murmurs, and let\nthere be a faint clamour of drums and blare of trumpets, for these things ever charm the\nspectators.\nIf a planet or some other heavenly body is to be seen passing in its course through the air,\nlet the same be well painted on cardboard, and cut in silhouette. Then stretch some fine\nwires from one side of the stage to the other at the furthest extremity from the spectators,\nand on the said wire let the painted cardboard be attached by small rings, and besides this\na fine black thread is to be attached to the cardboard and the thread held by a workman who\nwill draw the cardboard very slowly towards him. But all this must be very distant from\nthe spectator in order that neither the wire nor the thread may be seen. jg>\nPeals of thunder, and flashes of lightning and also thunder-bolts may sometimes be required;\nso you will produce the thunder as follows.\nThe stage being that part of the theatre which is always erected at the end of a hall, above\nwhich there is always a floor, you will but have to roll a large stone ball upon this floor.\nYou will imitate lightning as follows: a workman will be placed in a high position behind\nthe scenes, holding in his hand a little box containing resin. The lid of the box shall be\npierced by many holes and in the centre of the lid shall be a lighted taper, so that by jerking\nthe hand which holds the box the powder will fly up and take fire when it comes in contact\nwith the lighted taper. As for the thunder-bolts, let a wire be stretched at the back of the\nstage from above, on which a rocket or squib, adorned with sparkling gold, shall run. While\nthe thunder is rumbling and towards the end of the peal, let the fuse be ignited which will\nset fire to the squib and produce a good effect. & 44 Ma s'io volessi trattare di quante cose\nsimili mi abbondano, io saria troppo lungo, peri) faccio fine quanto alia perspettiva \".\n\nCHAPTER FROM\nTHE BOOK ON\nARCHITECTURE.\n\nFigures.\nThe star s.&\nThe thunder\n\nNote. \" Above were a cornice, architrave and a frieze, with glass balls full of distilled water and lights behind to render\nthe apartment luminous\". From Vasari's \"Life of Cristofano Gherardl\" 1508: 1556. & & & & &\n\nBOOK REVIEWS\n\nIBSEN, THE MAN, HIS ART AND HIS SIGNIFICANCE. By Haldane Macfall. Eondon.\nE• Grant Richards. 1907. &\nThis is a book which contains, as well as much that is of universal interest, certain passages\nwhich have a peculiar interest and importance from especial points of view. Of these we\ncan but briefly notice two: first, Ibsen's dislike of seeing his dramas acted, and second,\nthe financial difficulties which beset him throughout almost his whole life. &\nReferring to his shrinking from witnessing the representation of his own pieces Mr Macfall\nwrites, \" He detested to see his own plays on the stage. The actors came between him and\nhis conception of the characters, often distorting them for ever \". And how could this be\notherwise? For, from the moment when the last word was written, and the play, going forth\nto the world, left the poet 4 Lonely, as though he had been robbed of intimate friends ',\nit was complete, perfectly rounded as a work of art. Further addition was more than\nsuperfluous, it was encumbering; in that it blurred the conception of the author and confused\nthe minds of those to whom he spoke, since for one actor who could interpret so subtle\nand elusive a thing as the spirit of a play, five hundred would only obtrude their own\npersonality as a barrier between the audience and the poet. &\nThis significant fact about Ibsen suggests the question whether this is not a matter upon\nwhich many poets and playwrights, could their real feeling be ascertained, would agree\nwith him, thereby confirming the theory, from the point of view of the literary men themselves,\nthat the Art of Literature has nothing to do with the Art of the Theatre; that any invasion\nby one of the territory of the other only ends in the mutilation, if not destruction, of\nthem both.\nThe other point to which we would draw attention is important as relating to a fact which\nwe are too apt only to associate with the great artists long dead who have become romantic\nfigures of the imagination, or with young artists, struggling and starving at the outset\nof a career; that is to say, Ibsen's financial position."}, {"page_pdf": 25, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.25", "texte": "Consider it! He who was in our midst onJy yesterday; the great Ibsen, Ibsen, whose name\nprinces and nobles felt it to be an honour to mention—this great spirit, the bearer of this\ngreat name, had hardly enough money to pay for the barest necessities, and is obliged to\naddress 4 a humble petition' to the king of his country three times before he can obtain the\ngrant of L. 90 which should set him free for a few months from the vexations of the butcher,\nthe baker and candlestick maker to study literature and art. & &\n4 His lack of money' we read, 4 was terrible '. 4 He had to fall back on money lenders of the\nvilest kind'; and learning this of a great man who was with us but yesterday suggests at\nonce the idea, is it possible that the great of today are in the same position? That the great\nsculptor has not sufficient money to buy his marble, that Ibsen's successor and the young\nRussian and others whose words or works go out across the world are fretted and hindered\nby the same paltry and ignoble cares?\nAnd if this be so in the present. and Judging from the case of Ibsen we may believe that\nit is so frequently,— is it ever to be so in the future? Is the artist, the freest sou! on earth,\nto be perpetually bound in that most sordid of prisons, poverty? to be forced to come down\nfrom communing with the gods to pacify the duns on his doorstep? to turn himself from his\nbeautiful task to struggle for bare existence, and at last, perhaps, to lose heart under what\nVasari describes as 44 the necessity of fighting against famine rather than for fame \" ?\nIt is a significant fact that the Jewish church in olden days made provision for its priesthood,\nthat it might, without distraction by worldly cares, perform the temple service, and that\nthis was, and is customary with almost all religious cults. &\nThis being so, when shall we in this Twentieth century, instead of stoning or starving the priests\nof our Art, be wise enough to set them free by some adequate and organised system from crippling\nanxieties about daily bread or weekly rent, so that, issuing from a place of silence and calm\nwhich are the conditions of revelation, they may show to the people that which they have seen?\n\nBOOK REVIEWS.\n\nPAPERS OP A PARIAH. Robert Hugh Benson. (Eondon. Smith, Eider & Co. igof).\nA volume of thoughtful and original studies, written with a good deal of charm and distinction\nof style is the 44 Papers of a Pariah \", to which Mr Benson has acted as literary sponser.\nIn an introductory chapter Mr Benson gives us some outline of the character and condition\nof the writer, an actor, who, deeply attracted by the ritual, the symbolism and romance\nof the Roman Church (into which, just before his death, he was received), by the dignity\nof its ceremonies, its poignant silences, its profound mysteries, its rigorously proscribed\nmovements and gestures, made these his study not merely from a spiritual or dogmatic point\nof view but aesthetically; and witnesses to the close alliance in ancient times between the\nTheatre and the religious cult; to the days when, indeed* they were not two but one.\nIn such a point of view there is nothing new to those who have studied the history of the\nTheatre and know something of its origin, rooted deep in the religions of all lands; but\ncertain details of the subject have been seldom better dealt with than in this little book.\nOne of the most interesting and suggestive chapters is that which, entitled 44 The Religious\nDance traces the survival of this in the Roman ceremonial of the Mass.\nSuch a connection may come as a surprise to many; and yet it is very beautiful, very logical,\nand if it is strange to us it is only because of the strange views we have come to hold as\nto the real position and significance of dancing, views based usually upon imperfect\nknowledge and false ideals. We too often slur over, rather as a lapse of dignity, the fact\nthat King David danced before the ark: we accord a kind of contemptuous pity to the dances\nof Fijians and Hottentots before their idols: we read, a little doubtfully, George Meredith's\n44 Jump-to-Glory-Jane\"; and all the time it would never occur to us that some survival of\nthe fervour and emotion which seek and find expression in beautiful and rythmic movement\nyet exist within the Roman Catholic Church. A dance in a Christian Church! The idea is at\nonce repudiated as unseemly; and yet read the words of this writer: —44 It was during\nHigh Mass, not in France but in England, that the thought first came into my mind that\nperhaps here was a survival of the ancient religious dance; that stately, magnificent series\nof slow movements which surely may express devotion of the most solemn and reverent kind,\nas well as can the colour of vestment or sanctuary or the sounds of melody.\" 44 Observe \"\nhe goes on, 44 with me the motions of those three men in green at the foot of that lighted\nfragrant altar, and see how orderly and exquisite is the whole affair. It is no less than a\nsacred dance, and there is hardly one religious emotion that does not find its representative\nthere.\nThe passage which follows is of especial interest and significance, so emphatically does it\nenforce the necessity for the suppression of individual personality in any work of art or\nact of worship, recalling the days when not the persons of men but the symbols of Man were\nused in all religious rites. &\n44 The actors in this drama, let us say a father and his two sons, are so swathed as to present\nthe least possible resemblance to men. Their humanity, their corporal defects or advantages,\nthe lines of their bodies, even their passions, their stupidities, all are obliterated as far\nas possible beneath the stiff folds of an antique dress; for they are not there as the Rev."}, {"page_pdf": 26, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.26", "texte": "Smith, Jones or Brown, but as performers in a stupendous drama, figures in a sacerdotal\nact done primarily to God, and secondarily with as little distraction as possible before men.\nThey resemble giant images of which the mechanism is studiously concealed.\" JZ? &\nSo, step by step, the writer follows every movement and gesture, describes every figure of\nthe dance, every beautiful symbolic detail, until all is fulfilled; and then, \" Even to me,\nProtestant as I am, it did seem completely suitable that an event so stupendous could scarcely\nbe approached by any other process than that of a sacred dramatic dance, with an accompaniment\nof rigid and minute Court etiquette\" human outlines must be obliterated by some\noverpowering uniform, personal tastes and methods of behaving must be rigidly supplanted\nby set movements and gestures for 44 Originality in the sanctuary, as has been well observed,\nis the greatest vulgarity known to men. \" And may not much of what has been here said\nof the sanctuary hold good upon the stage? a&\n\nBOOK REVIEWS.\n\nHENRI EOUIS EE KAIN, HE EA CO ME HIE FRANCAISE Jean Jacques Olivier,\nParis, igoy. Societe Francaise d'hnprimerie A: de Eihrairie. & & &\nA book for the interest of which the names of subject and author are sufficient guarantee\nis the Life of Henri-Louis le Kain by Jean-Jacques Olivier. jg? &\nMonsieur Olivier has, in this volume, added to his well-known series of writings on the\nFrench actors of the 18th century a valuable study on the 4 Garrick of France ' who won\nthe praise of Voltaire as having transformed the lifeless tragedy of the period into a 4 living\npicture ' and of giving lessons in the art of acting which others would be obliged 4 henceforth\nto imitate.' jg? jg? jg/ & jZ?\nOne of the most interesting chapters in the book is that which deals with the reforms in\ncostume, in recitation and in the staging of plays introduced by le Kain, and which also\ndescribes his project, submitted to King Louis XV, for the foundation and endowment of a\ntraining school for the stage. jg?jg?jg?Jg?\nThe volume is illustrated with a large number of plates taken from portraits and contemporary\nprints and documents, and is supplied with carefully arranged indexes and reference tables.\n\nD. N. L.\n\"ARGUS\" is the name of a new fortnightly magazine, which appeared at the beginning of\nthis year in Helsingfors, Finland. gc>jg?jg?jg?j£?jg?jg?j&\nIt is the organ of Literature, Art and general culture of a circle of young literary and scientific\nmen. The third number contains an article, \" The Renaissance of the Theatre \" by the eminent\nyoung Finnish writer, Torsten Soderhjelm. In his article the author dwells at great length\non the aims of Edward Gordon Craig and his work for the Renovation of the Theatre. Jg?\nThe Editors of \" The Argus \" are: Gunnai Castren, Gustaf Matteson and Emil Zilliacus. -£?\nArgus Redaktion, Helsingfors. Price 7 francs yearly. & & jg?\n\nThe Editor is glad to receive for review copies of any books dealing seriously with the Art\nor History of the Theatre. &"}, {"page_pdf": 27, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.27", "texte": "EDITORIAL NOTES.\n\n\" After the Practise the Theory\".\nEurope and America do not lack theatrical\njournals. There are, to mention but a few,\" The\nStage \" and \"The Era\" in England; the smaller\n\" Beltaine \", and \" Samhain \" the organs of\nthe Irish Literary Theatre in Ireland; \" El\nTeatro \" in Spain; the Theater Courier \" and\nthe \"Schauhuhne\" in Germany; the \" Musik &\nTheater Zeitung\" and the \"Oesterr Theater\nZeitung \" in Austria;\" L' Art du Theatre \" and\n\" Le Theatre \" in France; \" La Rivista Teatrale \"\nin Italy;4 The Dramatic Mirror' in America and\nmany others too numerous to name; while in\naddition to these larger journals, there are\nthe daily or weekly announcement sheets\nwhich, though hardly to be called 4 papers ' at\nall, yet serve their practical purpose. The motto\nof our journal is not, however, that of any\nof these. With them the Theory is first; is,\nindeed, everything: with us it follows upon\nthe Practise. Let us explain what we mean.\nWe take it that their papers contain merely\na record of what is being done; and in speaking\nthus we do not for a moment undervalue or\ndoubt the usefulness of these journals. On\ntheir own lines they serve many excellent\npurposes, mainly professional; while at times,\nas in the 4 Schaubuhne' and the 4 Art du\nTheatre', other, and more progressive matters,\nare gone into very seriously. But the value of\na journal should not end there. It, like all\nother things, reflects the idea or the personality\nbehind it, and, if we may be critical to our\ncontemporaries, all the weakness of these\ntheatrical journals lies in the fact that nine\ntimes out of ten their guiding spirit is a\ngentleman without any practical experience of\nthe ropes of a theatre, and with but little\nknowledge of that far more vital and important\nthing,... the Art of the Theatre. Lacking both\nknowledge and convictions; knowing little\nof the vessel they are guiding and without\nany fixed idea as to the port toward which\nthey steer, such men keep no direct course,\nbut hesitatingly tack from side to side. In\ntheir indecision they invite into their ship, as\nit were, many persons from different countries,\neach eager to turn the vessel's head and win\nhis way across the ocean to some desired haven\nof his own. The result of this is obvious. Where\nthere is 110 unity of purpose each individual\nstrives to accomplish some purpose of his\nown; to seize the helm and guide the vessel\nwhere he will. &\nNow the object of a journal is twofold. It\nshould not only announce what has been but\nwhat is to be. The first task is a light one;\nthe second hazardous, and only those who\nhave practised an art can without danger\nspeak of the developments of the near or far\nfuture. Therefore a journal, if its record of\nthe past, its annunciation of the future, are to\nfoe of value, needs an experienced leader, and\nthis we have found in Mr Gordon Craig, who,\nnot only with his pen and pencil but with, his\nadvice, will guide the fortunes of this magazine.\nHis guidance wiil foe valuable in that he has\nhimself practised what we shall preach, and\nwe, preaching what he has practised and what\nothers may add to that practise, shall by so\ndoing attempt to show where lies the future\nof the Theatre. Moreover, in securing Mr\nCraig's guidance we may claim to have secured\nthat of the head of a movement which has\nactually taken place, which is spreading far\nand wide in the European Theatre, and of\nwhich the Theory now needs to foe definitely\nand clearly stated so that convictions may foe\nstrengthened, scattered forces united, and\nall move forward with stability and unity of\npurpose towards one object, the re=\nestablishment in its original dignity of a\nbeautiful and ancient Art. &\nExtract from letter from Mr: H. P. Home,\nto the illustration on page I. &\n\" Your cut is reproduced from fol. recto, of\nthe \" Vetruvio, in volgar lingua riportato\njjer Gianbatista Caporali cli Perugia. \"\nprinted at Perugia in 1531. &\nCaporali, however, cribbed it with a few\nalterations from the large cut on fol. XLIX\nrecto of \" Zt} Opera praedara de\nVitruvio Pollione de Architectura: traducta\nde latino in vulgarey \" by Caesare Caesariano\nof Milan, and printed at Como, in large folio\nin 1525. Leonardo had then been dead some\nyears. Caesariano does not say that he took\nit from Leonardo, but he says that such\nprinciples of proportion were observed by\nu molti pictori Mediolanensif nostri com-\npagni, \" and goes on to mention by name\nseveral disciples of Leonardo. That the design\nis Leonardesque, (that indirectly, it was\nderived from Leonardo,) there can be no doubt.\nIn Caesariano's version, the cut bears the\nfollowing superscription on a beatiful'cartello,.\nHumani corporis mensura et ah eo omnes\nsymmetrias enrythmiatas & proportiones\ngeometrico schemate invenire ut adesi\nfigura& &\nCaesariano's explanation of the cut is terribly\nabstruse& &\nlH|/ii@n Mr H. Beerbohm Tree visited Berlin\nin the spring of last year with his\nShakespearian plays and horses the critics of\nBerlin handled him rather severely.\nAdverse criticism has but little effect upon\nthe man who does his best, and Mr Tree,\nbeset by all the petty annoyances which the\nGerman under»official is able to create,\nnevertheless did his best. Most of the scenes\nwere in position at the appointed time which"}, {"page_pdf": 28, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.28", "texte": "speaks highly in praise of his chief of staff.\nThe Germans are enthusiastic theatre-goers\nand enjoy a good show as well as anyone else.\nWe were not therefore .surprised to see their\nenthusiasm at the close of each performance.\nIn the German theatres it is the custom at\nthe end of the performance for all parts of the\nhouse to press towards the stage in the same\nmanner as the Matinee ladies do at a concert\nwhen Paderewski, Pachmann or another public\nfavourite Is appearing. They like to get as\nmuch for their money as possible and often\nobtain half a dozen encores and get a good\nclose view of the strange being who is\nentertaining them. 4 4 4\nIn England, as we know, it is far different,\nthere being a barrier between the pit and\nthe stage. 4 4 4 4 4\nIt might be a curious experiment to remove\nthis barrier. 4 4 4 4\nnphose people who are interested at all times\nin creating what is called \" A Literary\nTheatre\" would do well to remember the\ndangers which beset such unnatural efforts.\nUnfortunate has been the end of all such\nattempts. 4 4 4 4 4\nFor nearly thirty years Goethe struggled in\nconjunction with Schiller to create for the\nGermans a new Theatre. Although Goethe was\nmore than poet, he was more poet than any-\nthing else, was first a poet, and everything\nelse in him kept time to the words which he\nsang. He set out to create a literary stage;\nhe would not have it that the stage should be,\nas he rather weakly calls it, \" The reflection\nof natural life in amusing mirrors\". And so\nhe marshalled his army of words all of them\nto assault the Theatre, stood in the midst\nand watched his veritable Thirty Years War,\nhis battle of words against visions sacked\nthe Theatre, razed it to the ground, and then,\nscanning the horizon, was surprised that the\nTheatre was no more to be seen. In fact the\ngreatest man of his age utterly failed to\nunderstand what the Art of the Theatre\nwas. 4? 4 4 4 4 4\nAnd now there are others, if not the greatest\nmen of their age, talented in great measure,\nwho court the same failure in attempting\nthis impossible and fantastic thing. 4?\nWe should have thought that the artists would\nhave understood the charming separation\nwhich must ever exist between the arts. We\nhave no fear for the Theatre: we do not\nbelieve that it can suffer any harm by even\nan assault such as that made upon it by\nGoethe; but we, wishing to see less confusion\nin the public mind as to what the Art of the\nTheatre is and what it is not, shall ever\nprotest against the unnecessary deception\nof the public in this, to us, most important\nmatter. 4 4 4 4 4\nWhen literary men shall be content and\npatient enough to study the Art of the Theatre\nas an art separate from the Art of Literature,\nthere is nothing to prevent us then from wel-\ncoming them into the house. 4\n'lphe idea of a long play is becoming daily\nmore unbearable to us. It is a burden to\nthink of a play with three, four, or five acts, and\ncontinual speech duringthese acts: intolerable\nto the audience to hear for their ears refuse\nthe strain; intolerable for the artists to write\nbecause it has become a strain. No longer is\nthere impulse to hear or to write\nTurn and regard the audience as they sit\nbefore the out-pourings of Wotan: his\nwhole conversation so interesting if it were\nonly in a book for reference and published\nby subscription.\nTurn and regard the audience as they listen\nto the long soliloquies of Hamlet, Macbeth or\nKing &\nindeed, are they not bored to death ?—then\nno longer can it be right to teaze them in this\nway. Art, if not an entertainment, is surely\na refreshment... No ? jg? & 4?\n| n Berlin, where the Theatre is particularly\nenergetic and in man}' ways excellent,\nand where new theatres are continually\nspringing up, a little box of a theatre was\nopened last year which contains nothing but\ntwo or three hundred large and comfortable\narm chairs with new soft springs and red\nleather coverings made for the few wealthy\ntheatre goers who pay high prices for these\nample seats. 4? 4? 4 4?\nIt also happens to contain a little stage. It\nis really as well to point this out as many\npeople coming into the theatre would not\nperceive it at first, for it is very small, and\nthe actors appear like large dolls upon\n\" Kammerspiel, \" or chamber pieces, are given\nin this theatre and are generally of a gruesome\nnature. They are what is called realistic pieces,\nand guaranteed to teach. We witnessed in one\npiece a succession of murder, seduction and\nburial scenes; a couple of lectures and a\nmost unpleasant sick bed. 4 4 4\nNothing either beautiful or distinguished\nentered into the theatre that evening, and,\nwatching the faces of the audience, we were\nunable to detect anything but a hopeless\ndespair on each, such as one sees on the faces\nin the hospitals. 4 4 4 4\nThe play was by a modern German author.\nSo far as we know the poetry of Goethe and\nSchiller has not yet been invited into this\ntheatre. Certainly Germany is a strange land!\nBut it would be unkind to judge it by what\nwe see in such theatres, 4 4 4\nWe shall have something to say next month\nabout the manager of this and another theatre,\nthe other theatre.... the Deutches Theatre,\nbeing quite a serious affair, quite modern,\nfull of good intentionus, and energetic, ener-\ngetic to an extent which London does not\nat all realise. Unfortunately, however, in Art\nit is not always the elbow which counts most.\n\nEDITORIAL\nNOTES\n& ALL RIGHTS RESERVED &\nGERENTE RESPONSABILE, GINO DUCCI\n\nJ. S."}, {"page_pdf": 29, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.29", "texte": "| The MASK\n| The object of the publication is to bring before\nI an intelligent public many ancient and modern\nH aspects of the Theatre's Art which have too long\nI Not to attempt to assist in the so~calIed reform\n§ of the modern Theatre = for reform is now too\nI late; not to advance theories which have not been\nI already tested, but to announce the existence of\n1 a vitality which already begins to reveal itself in\n1 a beautiful and definite form based upon an ancient\n| \" THE MASK.\" OFFICE § \" \" \" % R^b^s\nKBBBSaaHBBHSBBraBCinHaaaBHBaBaBBBnBBBnEEaSBBS9BBSBDEinRB? \" \" »» v v \" 99\nAMONG THE WRITERS & ARTISTS CONTRIBUTING TO « THE MASK \" ARE\nM. -£> <£? STEPHEN HA WE IS GEORGE NORMAN\nJOHN BALANCE ALEXANDER HEVESI JEAN JACQUES OLIVIER\nALLEN .d? H. von HOFMANNSTHAL WILL ROTHENSTEIN\nMICHAEL C. CARR JAN van HOLT & RUDOLPH SCHMERZ &\nFRANZ CLATON EDWARD HUTTON MARTIN SHAWi? &\nGORDON CRAIG ELLEN KEY ELLEN TERRY\nJ. PAUL COOPER JAN E.THESLEFF &\nISADORA DUNCAN & D. NEVILE LEES JAN C. de VOS\nLOUIS FULIP HALDANE MACFALL H. WILSON. &\nADOLF FURST & NEUWERT NOWACZYNSKI jgr HELEN ZIMMERN\nIVO HAUPTMANN C.NICHOLSON\n\"THE MASK\" HAS C O RRE S P O N D E NTS IN THE FOI/EOWING CITIES\nAMSTERDAM HELSINGFORS SAN FRANCISCO\nBERLIN & LONDON & & STOCKHOLM\nMADRID VIENNA\nDRESDEN MUNCHEN WARSAW\nDUBLIN PARISH <£? WEIMAR & &\nF L 0 R E N C PHILADELPHIA\nTHE HAGUE ROME\nSPECIAL NOTICE.\n\" REALISM AND THE ACTOR. \"AN INTERNATIONAL SYMPOSIUM.\nOn this theme three questions have been framed, and replies solicited from a large\nnumber of BRITISH, DUTCH, FRENCH, GERMAN, ITALIAN and other continental experts\nand authorities, whose lives have been passed in the study of the Drama or in the practise\nof the Stage. These replies will be published in \" THE MASK \" for May and June and will,\nwe feel assured, prove full of interest to the general reader and of value to the student.\nORDER F 0 RM\nEditor, (or) ...\nTo Mr. Bookseller\nAddress\nPlease put down my name as a subscriber to \"The Mask\" for one year, commencing with\nthe number, in payment of which subscription, including postage, I enclose the\nsum of Signed\nAddress"}, {"page_pdf": 30, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.30", "texte": "ANGLO-ITALIAN\nAGENCY &\n& FLORENCE - 28, Via della Vigna\nNuova, 28 = FLORENCE <£?\nFORWARDING & CUSTOM HOUSE & COM-\nMISSION AGENTS &&&£?£><&■£?\nCheap daily Service to England and to\nthe U. S. of America for Goods, Bag-\ngage, etc.\nRailway Tickets\nGoods Insured And Stored\n& TELEPHONE 933 & &\n\nThe Casa Guidi\nArts & Crafts\n9, Piazza S. Felice FLORENCE\nJZ? J& Jewellery Decorative\nLeather Work Book Bindings\nTiles Metal Work Asolo Lace J&\nModern Paintings &\n•\nHours 9to 12y and 2to 5 & &\nClosed on Saturday afternoons\n\nThe Butterffy_\nQuarterly\nIs a new publication, carefully printed\nfrom excellent type, on fine toned pa=\nper, Bxio in: in size, the edition being |\nlimited to 500 numbered copies. It con-\ntains verses, tales, translations, reprints,\ndrawings, wood-cuts, book-plates, and\nother matters of bookish interest.\nYEARLY SUBSCRIPTION DOLLARS 1.25\npost free.\nOFFICES\nThe Butterfly Quarterly\n1126 Walnut Street\nPhiladelphia\nU. S. A.\n\nA PORTFOLIO OF ETCHINGS.\nBy Gordon Craig with a preface.\nthirty portfolios will be issued, although ten or twenty additional copies of some of\n\" the plates will be printed according to the condition of the plate. The plates will then\nbe destroyed. Each portfolio will be numbered. Each set consists of twelve designs loosely\nmounted on grey card and contained in a grey cloth box portfolio with fastenings. Each\nplate is signed by the artist.\nSize of portfolio 48x30 ctms.\nAverage size of plate. 14 2/3 x 15 2/3 ctms. The price for a portfolio will be L. 16. o. o, (400\nFrancs or 320 Marks).\n'Hphese etchings were made by the artist in the Spring of 1907 at Florence, and represent\nhis most serious work. Connected as they are with his dream of an Ideal Theatre, they\nin no way have anything in common with the modern stage. &\n\" Movement\", writes Mr Craig, \" was at the roots of the Ancient Theatre and will ever\nremain the very Essence of the Art. JZ?\n\" We must translate Movement through the medium of inanimate forms and thereby produce\n\" once more an Impersonal Art which shall take its place by the side of its two sister Arts=\n\" Music and Architecture\nORDER FORM\nTo The Publishers,\nThe Editorial Office of \" The Mask \" 2 Lung'Arno Acciaiuoli, Florence. Italy.\nPlease send me the Portfolio of Etchings by Edward Gordon Craig, in payment for which\nI enclose the sum of L. 16.0.0, (or 400 Francs or 320 Marks)\nSigned\nAddress."}, {"page_pdf": 31, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.31", "texte": "& LIBRAIRIE ANCIBNNE M\nT. DE MARINIS & Co. 5 Via Vecchiettl - FIRENZE\n3*4\n175\nRAT\nv*\nt\nI\n• ••\n*\n•••\n•«»\n••••a\nb»\n• a\nto\nis*\n• •• •\n0 a\nU\\\nm\nu'UJLJ\n/£\nMl\nS^si§S\n•If\no > o\n00 Jr.;\n(•••\n00\nIM\nm\noon\n111\nMMpPi\nfi\nui\nUk\nlltt\n• I\n»•<\ndo\n111\n• •\n• I\n•IM\n4*\nMi'\nMM'\nII\nM\nI I\n6\nHill\nIf\n>•*\nc*\n\" 81\n•MM\n• •0\na\not\n«••••\na\nm\nm\nFine Collection of MSS., Incunabula, rare and curious books XV-XIX cent\nIllustrated Catalogues free on application•\n\nLE INDUSTRIE\nFEMMINILI\nTHE FLORENCE CON MIT-\nTEE FOR THE WOMEN'S\nWORK SOCIETY & <0\nOFFERS A CHOICE OF ALL KINDS OF\nARTISTIC AND DECORATIVE NEEDLE-\nWORK 4> \n4» THE DESIGNS ARE COPIED FROM\nGENUINE ANCIENT ITALIAN MODELS\nBELONOINO TO LADIES OF THE COM-\nMITTEE. HOUSEHOLD LINEN.... LACES\nEMBROIDERED DRESSES 4» 4» 41\nAll orders received are promptly and\ncarefully executed & & &\nTHE SALE-ROOM IS\nOPEN DAiKY* * *\nGI ANNO TTI-FICI *\nLUNG'ARNO ACCIAIUOLI\nNi 10 * * * *\nCOMMITTEE ROOM, VIA PINT!, 51 *\n41 4» 4| 4» 4» FLORENCE\n\nEnglish & American\nPharmacy\nLate H. PROVES F. MUNSTERMANN\nr# Pt,OBISNCP • Piazzetta Goldoni #\n11 ' 1 1 '\nJ* MALTO-PEPTINE TABLETS containing\nthe physiologically purified gastric and\npancreatic juice with the addition of Pa-\npain and Diastasis, for complete digestion\nof all Kinds of food # M # . #\nANININE, CAWTHARIDIS & TABORANDI\nHAIRWASH; Refreshing, Stimulating and\nAntiseptic Hair Tonics # t # #\n\n' \" . ■ ' \"\" ' ■ ■■ I ' ' ■ ' ■ I\nH. Roberts & Co. &\n• dd M dp the well knows dd m dd\n* ENGLISH CHEMISTS &\nAMERICAN DRUGGISTS^\n* OP 17 VIA TORNABUONI. * 41\n*\nAND 417 ft 418, CORSO UMBBRTO\n* * # ROME\nhave pleasure In announcing that they have opened\na first-class and wellstocked Pharmacy at dd d&\n4» ai ft aa, VIA VITTORIA 4» 4»\n* * NAPLES\n' i■» ."}, {"page_pdf": 32, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190803-01.1.32", "texte": "# Printed for the Proprietor by E. Morandl, Tipografia Bodonlana, Via Alfierl, Florence, and published at The Office,\n2 Lung'Arno Acclaluoll & & & & & & & & & & &\n- ■ >•\" . ■ ' . \" '■* •' ! - ' ' ' y- . \"v- ' . * - •' '\n\niam\nPURVEYOR TO 10\nIMPERIAL & ROYAL\nFAMILIES 4? J0\nFLO RENC E\nVia dei Fossi 4\n& (ESTABLISHED i860)\nAWARDED PRIZES\nAT 48 NATIONAL &.\nINTERNATIONAL\nEXHIBITIONS\nThe largest Establish ment of Sculpture in\nMarble from the Antique &\nOriginal Works Ite Portraits. & Monuments,\nMantels, Pedestals, & Garden Seats,\nVases Fountains & Flower=stands, etc:\nESTIMATES GIVEN ON APPLICATION\nST L O UIS M O.\nGRAND PRIX\nJ 904\n\nTHE \" MAN!FAT\nTURA Dt SIGNA\nArtistic Terra Cot=\nta for both interior\nand exterior deco\nration\nVia Vecchiettl, 2\n& FIRENZE (Italy)\n\nDINI & CELLAS\nArtistic & Decorative Terra Cotta of\nSigna &\nVia dci Fossi IV. i - FZORENC&\n,♦ . i\nHepfodUGtion of sculptures of Old and\nJdodern masters - Statues ■** Busts M\nVases m fias-reliefs *. Fountain* « Doors\nChimneywpieees M Bases etc. ete. in\ny style & j& <& J&\n\n■& ON JUNE i W:\nTHE & J& J& j& J& j&\nPublishing, Bookselling and\nNews Agency Business\nof R. PAG QI (A. Rossini\n& Co. Ltd.) will be trans-\nferred from Via Tornabuoni\n15 to premises at 26 Via\nPanzani in the same buil-\nding as the Grand Hotel\nBaglioni. s®"}]}