{"numero_id": "bm-bmtnaau-1908-04-01", "volume": "bmtnaau_1908-04_01", "ocr_sha256": "42d83d69b128d5b549606802a09683623c2814da4c498a08b7616c3ca0ab0af9", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1908/04_01/bmtnaau_1908-04_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1908/04_01/bmtnaau_1908-04_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01", "articles": [{"article_id": "bm-bmtnaau-1908-04-01-c002", "article_bluemountain": "bmtnaau_1908-04_01#c002", "volume": "bmtnaau_1908-04_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": 6, "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=bmtnaau190804-01.2.2", "titre_corps": "DESIGN FOR A STAGE SCENE", "titre_sommaire": "DESIGN FOR A STAGE SCENE", "signature_source": "Edward Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 6, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 37, "texte": "DESIGN FOR A STAGE SCENE GORDON CRAIG"}]}, {"article_id": "bm-bmtnaau-1908-04-01-c003", "article_bluemountain": "bmtnaau_1908-04_01#c003", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1", "page_fin": "1", "image_debut": 7, "image_fin": 7, "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=bmtnaau190804-01.2.3", "titre_corps": "CONTENTS", "titre_sommaire": "CONTENTS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.7", "debut_caractere": 127, "fin_caractere_exclue": 519, "texte": "CONTENTS\nJ& AFTER THE PRACTISE THE THEORY\n& RICHARD WAGNER, REVOLUTION AND THE ARTIST by JAN VAN\nHOLT. THE ACTOR AND THE UBER-MARIONETTE by GORDON CRAIG. * A VENICE\n& A ROME FOR THE CONSIDERATION OF YOUNG SCENE PAINTERS by ALLEN CARR1C.\nTHE ENERGY OF THE GERMAN THEATRE by GEORGE NORMAN. FOREION NOTES.\nELECTRA AND SALOME. & EDITORIAL NOTES. ILLUSTRATIONS; By GORDON CRAIG\nJULIUS OLIVER, ETC,"}]}, {"article_id": "bm-bmtnaau-1908-04-01-c004", "article_bluemountain": "bmtnaau_1908-04_01#c004", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1", "page_fin": "2", "image_debut": 7, "image_fin": 8, "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=bmtnaau190804-01.2.4", "titre_corps": "RICHARD WAGNER, REVOLUTION, AND THE ARTIST", "titre_sommaire": "RICHARD WAGNER, REVOLUTION, AND THE ARTIST", "signature_source": "Jan van Holt", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.7", "debut_caractere": 521, "fin_caractere_exclue": 4316, "texte": "RICHARD WAGNER, REVOLUTION, AND THE ARTIST\n\n\" I will destroy the existing order of things, which parts this one mankind into hostile\nnations, into powerful and weak, privileged and outcast, rich and poor: for it makes unhappy\nmen of all. 1 will destroy the order of things that turns millions to slaves of a few, and\nthese few to slaves of their own might, own riches. 1 will destroy this order of things, that\ncuts enjoyment off from lahor, makes labor a load, enjoyment a vice, makes one man wretched\nthrough want, another through overflow. 1 will destroy this order of things, which wastes\nman's powers in service of dead matter, which keeps the half of humankind in inactivity\nor useless toil, binds hundreds of thousands to devote their vigorous youth—in busy idleness\nas soldiers, placemen, speculators and money-spinners—to the maintenance of these depraved\nconditions, whilst the other half must shore the whole disgraceful edifice at cost of over-\ntaxing all their strength and sacrificing every taste of life. Down to its memory will I\ndestroy each trace of this mad state of things, compact of violence, lies, care, hypocrisy,\nwant, sorrow, suffering, tears, trickery and crime, with seldom a breath of even impure air\nto quicken it, and all but never a ray of pure joy. Destroyed be all that weighs on you and\nmakes you suffer, and from the ruins of this ancient world let rise a new, instinct with\nhappiness undreamt 1 Not hate, not envy, grudge nor enmity, be henceforth found among\nyou; as brothers shall ye all who live know one another, and free, free in willing, free in\ndoing, free in enjoying, shall ye attest the worth of life. So up, ye peoples of the earth 1\nUp, ye mourners, ye oppressed, ye poor! And up, ye others, ye who strive in vain to cloak\nthe inner desolation of your hearts by idle show of might and riches! Up, in miscellany\nfollow my steps; for no distinction can 1 make 'twixt those who follow me! Two peoples,\nonly, are there from henceforth; the one, that follows me, the other, that withstands me.\nThe one 1 lead to happiness; over the other grinds my path: for I am Revolution, 1am the\never-fashioning Life, 1 am the only Qod, to whom each creature testifies, who spans and\ngives both life and happiness to all that is! j® And lo! the legions on the hills, voiceless they\nfall to their knees and listen in mute transport; and as the sunbaked soil drinks up the\ncooling drops of rain, so their sorrow-parching hearts drink in the accents of the rustling\nstorm, and new life courses through their veins. Nearer and nearer rolls the storm, on its\nwings Revolution; wide open now the quickened hearts of those awaked to life and victory\nRevolution pours into their brains, their bones, their flesh, and fills them through and\nthrough. In godlike ecstasy they leap from the ground; the poor, the hungering, the\nbowed by misery, are they no longer; proudly they raise themselves erect, inspiration\nshines from their ennobled faces, a radiant light streams from their eyes, and with the\nheaven-shaking cry, I am a man! the millions, the embodied Revolution, the Qod become\nMan, rush down to the valleys and plains, and proclaim to all the world, the new gospel of\nHappiness.\" j® j® & & Richard Wagner.\nI wonder if the ladies and gentlemen who patronize the Opera Houses of Europe and America\n*■\nrealise what they are listening to when Wagner lets loose the notes of his soul in the great\noperas.... I wonder if they realise that he is then repeating even more passionately that which\nhe says here in words.... that he is crying out in the most subtle language things whieh they\ndetest,... that he is positively insulting them. He writes here of Revolution. Is it possible?\nIs it not some dream.... Wagner, to whose operas the nobility of Europe listen, to whose"}, {"page_pdf": 8, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.8", "debut_caractere": 0, "fin_caractere_exclue": 3153, "texte": "pleadings they yawningly listen. & Surely there must be some mistake. & ** With works of\nArt, as with Royalty, you have to wait until they speak to you before you can respond.\nso wrote a charming lady to me today. Is it possible that Royalty could have ever heard the\nvoice of Wagner aright. Is it possible that we have seen Royalty applauding the operas of\nWagner,... Monarchs applauding the Apostle of Revolution? Is it to be made inevitable that\nthe artists must enter the field of Politics, or lean fanatically from the pulpit? Is this to be\nforced upon them ? In the old times the artist was content..,, stood by.... watched the crowd,\nsketched the crowns, the swords and the spades..., recorded the sights and the sounds of\nhis time,,., added the note of love to it all, and left it as his legacy to the following century,\n& Is the artist to be changed? Is a discontent to be roused in him? Is his labour to be\nrespected or is he for ever to starve, is he for ever to be asked to compromise as the only\ncondition on which his country will listen to him? If this is so, then I fear that the far\noff likelihood of the artist finding comradeship with the Revolutionary is nearer probability\nthan we must hope. & Remember, the artists have ever loved and fought for King and\nRoyalty. And Royalty provided for these sons in the olden days,,., provided the means of\nlife,.,, and what is far more important, the recognition of Art as a factor in Life, the\nrecognition of the liberties of the Artist. & It would be curiously interesting to know how\nmany men today are following the profession of artist. They must number at least three\nmillion,,.. and the force of three million men of the calibre of the artist is not a thing to\nforget when reckoning the chances and changes of the State. We see also how the artist\nfeels about things, \" 1 will destroy the existing order of things which parts this one mankind\ninto hostile nations, etc. etc. \" He positively feels that lie too, is a privileged being and\ncan alter things for better or worse: that he is no less a force than a Prime Minister, and\nhe even becomes an Autocrat at times. Two questions still remain to be answered. Do\nBeethoven, Wagner, Strauss, Plato, Shakespeare, Shelley, Blake, Goethe, Rousseau, Nietzsche\nRaphael, Leonardo Velasquez, Van Dyke, really count as a force? Have they had any\ninfluence on people and things? & If the answer is in the affirmative, then why does the\npersecution of all modern artists continue? why but quite recently should the voice of\nBlake, Shelley, Wagner, Nietzsche, Rousseau, Beethoven and Strauss be raised with the cry\nabove quoted of, \"I., will destroy the existing order of things.\" It is an unwise police to\ndisregard the Ideal for which all artists live,... the freedom of their Art, and the recognition\n,of its power. It would be a wise policy to further that Ideal. & It would also be an\ninteresting task for some leader to organize all the European and American artists in a\nbody.... Curiously enough perhaps we should then hear less about Revolution.... Three\nmillion men, remember.... No? ....not worth considering?...,? ....No?\n\nJan van Holt."}]}, {"article_id": "bm-bmtnaau-1908-04-01-c007", "article_bluemountain": "bmtnaau_1908-04_01#c007", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "3", "page_fin": "15", "image_debut": 9, "image_fin": 23, "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=bmtnaau190804-01.2.5", "titre_corps": "THE ACTOR AND THE ÜBER-MARIONETTE", "titre_sommaire": "THE ACTOR AND THE ÜBER-MARIONETTE", "signature_source": "Edward Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 9, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 3944, "texte": "THE ACTOR AND THE ÜBER=MARIONETTE\nby Edward Gordon Craig.\n\nINSCRIBED IN ALL AFFECTION TO MY GOOD FRIENDS, THE ACTORS DE YOS AND HEVESI.\n\" npo save the Theatre, the Theatre must be destroyed, the actors and actresses must all die of the plague.... They make\nart Impossible. \" & ELEONORA DUSE. \" Studies In Seven Arts. \" Arthur Symons. (Constable).\njt has always been a matter for argument whether or no Acting is an art, and therefore\nwhether the actor is an Artist, or something quite different, There is little to show us\nthat this question disturbed the minds of the leaders of thought at any period, though there\nis much evidence to prove that had they chosen to approach this subject as one for their\nserious consideration, they would have applied to it the same method of enquiry as used\nwhen considering the arts of Music and Poetry, of Architecture, Sculpture and Painting.\nOn the other hand theref have been many warm arguments in certain circles on this\n• topic. Those taking part in it have seldom been actors, very rarely men of the theatre\nat all, and all have displayed any amount of illogical heat, and very little knowledge of the\nsubject. The arguments against acting being an art, and against the actor being an artist,\nare generally so unreasonable and so personal in their detestation of the actor, that I think\nit is for this reason the actors have taken no trouble to go into the matter. So now -\nregularly with each season comes the quarterly attack on the actor and on his jolly calling;\nthe attack usually ending in the retirement of the enemy. As a rule it is the literary or\nprivate gentlemen who fill the enemy's rank. On the strength of having gone to see plays\nall their lives, or on the strength of never having gone to see a play in their lives, they\nattack for spine reason best known to themselves. 1 have followed these regular attacks\nS\nseason by season, and they seem mostly to spring from irritability, personal enmity or\nconceit.... They are, illogical from beginning to end.... There can be no such attack\nmade on the actor or his calling. My intention here is not to join in any such attempt;\n1 would merely place before, you what seem to me. to be the logical facts of a curious case,\nand I believe that these admit of no dispute whatever. . & & .\nActing is not an art. It is therefore incorrect to speak of the actor as an artist. For\naccident is an enemy of the artist. & Art is the exact antithisis of Pandimonium, and\nPandimonium is created by the tumbling together of many accidents; Art arrives .only by\ndesign. Therefore in order to make any work of art it is clear we may only work in those\nV * - - * ( ■ J? ' \\\nmaterials with which cap calculate. Man is not one of these materials.\nThe whole pature of man tends towards freedopi; he therefore carries the proof in his own\nperson, that as material for the theatre he is useless. & In the modern theatre, owing to\nthe use of the bodies of men and women as their material, all which is presented there is of\nan accidental nature. The. actions of the actor's body, the expression of his face, the sounds\nof his voice, all are at the mercy of the winds of his emotions; these winds which must blow-\nfor ever round the artist, moving without unbalancing him. But with the actor, emotion\npossesses him; it seizes upon Jiis limbs moving them whither it will. He is at its beck and\ncall, he moves as one in av frantic dream or as one distraught, swaying here and there; his\nhead, his arms, his feet, if not utterly beyond control, are so weak to stand against the torrent\nof his passions, that they are ready to play him false at any moment. It is useless for\nhim to attempt to reason with himself.... Hamlet's calm directions (the dreamer's not the\nlogician's directions, by the way) are thrown to the winds. His limbs refuse, and refuse\n\nWhether acting\nis an art. &\nUnreasonable\nattacks,\nActing is not an\nart.\nJ£> Mantlet's di*\nrections disie-\ngarded."}, {"page_pdf": 10, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.10", "debut_caractere": 40, "fin_caractere_exclue": 5146, "texte": "again, td obey his mind the instant emotion warms, while the mind is all the time creating\nthe heat which shall set these emotions afire. As with his movement, so is it with the\nexpression of his face. The mind struggling and succeeding for a moment, in moving the\neyes, or the muscles of the face whither it will;... the mind bringing the face for a few\nmoments into thorough subjection, is suddenly swept aside by the emotion which has grown\nhot through the action of the mind. Instantly, like lightening, and before the mind has\ntime to cry out and protest, the hot passion has mastered the actor's expression. It shifts\nand changes, sways and turns, it is chased by emotion from the actor's forehead between\nhis and down to his mouth; now he is entirely at the mercy of emotion, and crying\nout to it: \"Do with me what you will!\" his expression runs a mad riot hither and thither,\nand lo! \" nothing is coming of nothing. \" It is the same with his voice as it is with his\nmovements. Emotion cracks the voice of the actor. It sways his voice to join in the\nconspiracy against his mind. Emotion works upon the voice of the actor, and he produces....\nthe impression of discordant emotion. It is of no avail to say that emotion is the spirit\nof the gods and is precisely what the artist aims to produce; first of all this is not true,\nand even if it were quite true, every stray emotion, every casual feeling, cannot be of\nValue. Therefore the mind of the actor, we see, is less powerful that his emotion, for\nemotion is able to win over the mind to assist in the destruction of that which the mind\nWould produce; and as the mind becomes the slave of the emotion it follows that accident\nupon accident must be continually occurring. So then, we have arrived to this point;....\nthat emotion is the cause which first of all creates, and secondly destroys. Art as we have\nsaid, can admit of no accidents. That then which the actor gives us, is not a work of art;\nit is a series accidental confessions. & In the beginning the human body was not used as\nmaterial in the art of the theatre. In the beginning the emotions of men and women were\nnot considered as a fit exhibition for the multitude. An elephant and a tiger in an arena\nsuited the taste better, when the desire was to excite. The passionate tussle between the\nelephant and the tiger gives us all the excitement that we can get from the modern stage,\nand can give it us unalloyed. Such an exhibition is not more brutal, it is more delicate;\nit is more humane; for there is nothing more outrageous than that men and women shoudl\nbe let loose on a platform, so that they may expose that which artists refuse to show except\nveiled, in the form which their minds create. How it was that man was ever persuaded\nto take the place which until that time animals had held Is not difficult to surmise.\nThe man with the greater learning comes across the man with the greater temperament.\nHe addresses him in something like the following terms :... 44 You have a most superb\ncountenance; what magnificent movements you make! Your voice, it is like the singing of\nbirds; and how your eye flashes! What a noble impression you give! You almost resemble\na god! 1 think all people should have pointed out to them this wonder which is contained\nin you. I will write a few words which you shall address to the people. You shall stand\nbefore them, and you shall speak my lines just as you will. It is sure to be perfectly right.,r\nAnd the man of temperament replies; \"Is that really so? Do I strike you as appearing\nas a god? It is the very first time I have ever thought of it. And do you think that by appearing\nv..\nin front of the people I could make an impression which might benefit them, and would\nfill them with enthusiasm? \" No, no, no, \" says the intelligent man; 44 by no means only\nby appearing; but if you have something to say you will indeed create a great impression. \"\n■j& The other answers, \" I think 1 shall have some difficulty in speaking your lines. I could\neasier just appear, and say, something instinctive, such as 4 Salutation to all men I feel\nperhaps that I should be able to be more myself if I acted in that way. \" \" That is an\nexcellent idea, \" replies the tempter, 44 that idea of yours,4 Salutation to all men. * On that\ntheme I will compose say one hundred or two hundred lines; you'll be the very man to\nspeak those lines. You have yourself suggested it to me. Salutation! Is it agreed then,\nthat you will do this? \" 44 If you wish it, \" replies the other, with a good-natured lack of\nreason, and flattered beyond measure. & jp\nAnd so the comedy of author and actor commences. The young man appears before the\nmultitude and speaks the lines, and the speaking of them is a superb advertisement for\nthe art of literature. After the applause the young man is swiftly forgotten; they even forgive\nthe way he has spoken the lines; but as it was an original and new idea at the time, the\nauthor found it profitable, and shortly afterwards other authors found It an excellent thing\n\n■Emotion conspi-\nres against Art*\n& Comedy of\nAuthor and Actor"}, {"page_pdf": 11, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 4581, "texte": "to use handspme and buoyant men as instruments. It mattered nothing to them that the\ninstrument was a human creature. Although they knew not the stops of the instrument,\nthey could play rudely upon him and they found him useful. & And so to-day we have the\nstrange picture of a man content to give forth the thoughts of another, which that other has\ngiven form to, while at the same time he exhibits his person to the public view. He does it\nbecause he is flattered,—and vanity—will not reason. But all the time, and however long\nthe world may last, the nature in man will fight for freedom, and will revolt against being\nmade a slave or medium for the expression of another's thoughts. The whole thing is a very\ngrave matter indeed, and it is no good to push it aside and protest that the actor is not the\nmedium for another's thoughts, and that he invests with Life the dead words of an author;\nbecause even if this were true (true it cannot be) and even if the actor was to present none\nbut the ideas which he himself should compose, his nature would still be in servitude; his\nbody would have to become the slave of his mind; and that as I have shown is what the\nhealthy body utterly refuses to do. & Therefore the body of man, for the reason which I have\ngiven, is by nature utterly useless as a material for an art. Iam fully aware of the sweeping\ncharater of this statement, and as it concerns men and women who are alive and who as a\nclass are ever to be loved, more must be said lest 1 give unintentional offence. <£? 1 know\nperfectly well that what 1 have said here is not yet going to create an exodus of all the actors\nfrom all the theatres in the world, driving them into sad monasteries where they will laugh out\nthe rest of their lives, with the Art of the Theatre as the main topic for amusing conversation.\nAs 1 have written elsewhere, the theatre will continue its growth and actors will continue\nfor some years to hinder its development. But 1 see a loop-hole by which in time the\nactors can escape from the bondage they are in. They must create for themselves a new\nform of acting, consisting for the main part of symbolical gesture. To-day they impersonate\nnnd interpret; to-morrow they must represent and interpret; and the third day they must\ncreate. By this means style may returu. To-day the actor impersonates a certain being.\nHe cries to the audience \" Watch me; I am now prentending to be so and so, and I am now\npretending to do so and so; \" and then he proceeds to imitate as exactly as possible, that\nWhich he has announced he will indicate. For instance, he is Romeo. He tells the audience\ntfyat he is in love, and he proceeds to show it, by kissing Juliet. This, it is claimed is a\nwork of Art: it is claimed for this that it is an intelligent way of suggesting thought. &\ntytyy...., why, that is just as if a painter were to draw upon the wall a picture of an animal\nWith Jopg ears, and then write under it • This is a donkey.' The long ears made it plain\naiiough one would think, without the inscription, and any child of ten does as much. The\ndifference befween the child of ten and the artist is, that the. artist is he who by drawing\ncertain signs and shapes creates the impression of a donkey; and the greater artist is he\nwho creates the impression of the whole genus of donkey, the spirit of the thing.\n& The actor looks upon life as a photo-machine looks upon life; and he attempts to make\narj>ipture to rival a photpgraph. He never dreams of his art as being an art such for instance\nas music. He tries to reproduce nature; he seldom thinks to invent with the aid of nature,\n$pd he never dreams of creating. As I have said, the best he can do when he wants to\nOPtch and convey the poetry of a kiss, the heat of a fight, or the calm of death, is to copy\nslavishly, photographically.... he kisses.... he fights.... he lies back and mimics death,... and\nWfren ypu think of it, is not all this dreadfully stupid? Is it not a poor art and a poor\nCleverness, which cannot convey the spirit and essence of an idea to an audience, but can\npfily Show,an artless copy, a facsimile of the thing itself. This is to be an Imitator not\nArtist. This is to claim kinship with the Ventriloquist, (i) £>\nThere is a stage expression of the actor \"getting under the skin of the part. \" A better one\nwou|d be getting \" out of the skin of the part altogether. \" \" What then, \" cryes the\nand flashing actor, \" is there to be no flesh and blood in this same art of the\ntheatre pf yours ?••• No life?\" It depends wlyat you call life, signor, when you use the word"}, {"page_pdf": 11, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.11", "debut_caractere": 4624, "fin_caractere_exclue": 5576, "texte": "Tragedy of\nAuthor and Actor\nThe way out.\nThe Actor Imi-\ntates.\nThe Actor would\nrival the Photo-\ngrapher\n\n•\" And therefore when anyone of these pantomimic gentlemen, who are so clever that they can Imitate anything comes to us,\nand makes a proposal to exhibit himself and his poetry, we will fall down and worship him as a sweet and holy and wonderful\nbeing; but we must also Inform him that In our State such as he are not permitted to exist; the law will not allow\nthem. And so, when we have annotated him with myrrh, and set a garland of wool upon his head, we shall lead him\naway toanotherclty. For we mean to emjjloy for our soul's health the rougher and severer poet or. story-teller, who will\nimitate the style of the virtuous only, aud will follow those models which we prescribed at first when we began the\neducation of our soldiers. \" Plato, (The whole passage being too long the print here, we refer te reader to The Republic,\nBook HI. 39|5)»"}, {"page_pdf": 12, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.12", "debut_caractere": 42, "fin_caractere_exclue": 5280, "texte": "in relation with the idea of art. The painter means something rather different to actuality\nwhen he speaks of Life in his art, and the other artists generally mean something essentially\nspiritual; it is only the actor the ventriloquist or the animal-stuffer who, when they speak\nof putting life into their work, mean some actual and lifelike reproduction, something blatant\nin its appeal, that it is for this reason I say that it wrould be better if the actor should get\nout of the skin of the part altogether. If there is any actor who is reading this, is there\nnot some way by which I can make him realise the preposterous absurdity of this delusion\nof his, this belief that he should aim to make an actual copy, a reproduction ? Iam going\nto suppose that such an actor is here with me as I talk; and I invite a musician and a\npainter to join us. Let them speak. I have had enough of seeming to decry the work of\nthe actor from trivial motives. I have spoken this way because of my love of the theatre,\nand because of my hopes and belief that before long an extraordinary development is to\nraise and revive that which is failing in the theatre, and my hope and belief that the actor\nwill bring the force of his courage to assist in this revival. My attitude towards the\nwhole matter is misunderstood by many in the Theatre. It is considered to be my attitude,\nmine alone; a stray quarreller I seem to be in their eyes, a pessimist, grumbling; one who\nis tired of a thing and who attempts to break it. Therefore let the other artists speak\nwith the actor, and let the actor support his own case as best he may, and let him listen\nto their opinion on matters of art. We sit here conversing, the actor, the musician, the\npainter and myself. I who represent an art distinct from all these, shall remain silent.\n&As we sit here, the talk first turns upon Nature. We are surrounded by beautiful\ncurving hills, trees, vast and towering mountains in the distance covered with snow; around\nus innumerable delicate sounds of nature stirring... Life. 44 How beautiful, \" says the\npainter, 44 how beatutiful the sense of all this! \" He is dreaming of the almost impossibility\nof conveying the full earthly and spiritual value of that which is around him on to his\ncanvas, yet he faces the thing as man generally faces that which is most dangerous. &\n& The musician gazes upon the ground. The actor's is an inward and personal gaze at\nhimself. He is unconsciously enjoying the sense of himself, as representing the main and\ncentral figure in a really good scene. He strides across the space between us and the view,\nsweeping in a half circle, and he regards the superb panorama without seeing it, conscious\nof one thing only, himself and his attitude. Of course an actress would stand there\nmeek in the presence of nature. She is but a little thing, a little picturesque atom;... for\npicturesque we know she is in every movement, in the sigh which, almost unheard by the\nrest of us, she conveys to her audience and to herself, that she is there 44 littie me, \" in\nthe presence of the God that made her!! and all the rest of the sentimental nonsense.\nSo we are all collected here, and having taken the attitudes natural to us, we proceed to\nquestion each other. And let us imagine that for once we are all really interested in\nfinding out all about the other's interests, and the other's work. (I grant that this is very\nunusual, and that mind-selfishness, the highest form of stupidity, encloses many a professed\nartist somewhat tightly in a little square box.) But let us take it for granted that there\nis a general interest; that the actor and the musician wish to learn something about the\nart of painting; and that the painter and the musician wish to understand from the actor\nwhat his work consists of and whether and why he considers it an art. For here they\nshall not mince matters, but shall speak that which they believe. As they are looking only\nfor the truth, they have nothing to fear; they are all good fellows, all good friends; not\nthin skinned, and can give and take blows. & 44 Tell us, \" asks the painter, 44 is it true\nthat before you can act a part properly you must feel the emotions of the character ybu\nare representing?\" Oh well, yes and no; it depends what you mean,\" answers the\nactor. ** We have first to be able to feel and sympathise and also criticise the emotions\nof a character; we look at it from a distance before we close with it: we gather as mueh\nas we can from the text and we call to mind all the emotions suitable for this character to\nexhibit. After having many times rearranged and selected those emotions which we consider\nof importance we then practice to reproduce them before the audience; and in order to do\nso we must feel as little as is necessary; in fact the less we feel, the firmer will our hold\nbe upon our facial and bodily expression. \" & With a gesture of genial impatence, the artist\nrises to his feet and paces to and fro. He had expected his friend to say that it had nothing\nwhatever to do with emotions, and that he could control his face, features, voice and all,\n\nConversation\nbetween Actor,\nArtist and Mu-\nsician. &\nTheir different\nattitudes.\nThe actress.\nThey shall speak\nthe truth."}, {"page_pdf": 13, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 5089, "texte": "just as if his body were an instrument. The musician sinks down deeper into his chair.\n\" But has there never been an actor, \" asks the artist, 44 who has so trained his body from\nhead to foot that it would answer to the workings of his mind without permitting the\nemotions even so much as to awaken? Surely there must have been one actor, say one\nout of ten million, who has done this ? \" 44 No, \" says the actor emphatically, 44 never,\nnever; there never has been an actor who reached such a state of mechanical perfection\nthat his body was absolutelyr the slave of his mind. Edmund Kean of England, Salvini of\nItaly, Rachel, Eleonora Duse, 1 call them all to mind and 1 repeat there never was an actor\nor actress such as you describe. \" & The artist here asks, 44 Then you admit that it would\nbe a state of perfection?\" & 44 Why of course! But it is impossible; will always be\nimpossible, \" cries the actor; and he rises.... almost with a sense of relief. £/ 44 That is as\nmuch as to say, there never was a perfect actor, there has never been an actor who has\nnot spoiled his performance once, twice, ten times, sometimes a hundred times during the\nevening? There never has been a piece of acting which could be called even almost perfect\nand there never will be? \" For answer the actor asks quickly,44 But has there been ever\na painting, or a piece of architecture, or a piece of music which may be called\n\"Undoubtedly,\" they reply, 44 The laws which control our arts make such a thing possible.\"\n44 A picture for instance, \" continues the artist, 44 may consist of four lines, or four\nhundred lines, placed in certain positions; it may be as simple as possible, but it is\npossible to make it perfect. That is to say, 1 can first choose that which is to njake\nthe lines; 1 can choose that on which 1 am to place the lines: 1 can consider this as long\nas 1 like; 1 can alter it; then in a state which is both free from excitement, haste, trouble,\nnervousness, in fact in any state 1 choose, (and of course 1 prepare, wait and select\nthat also) 1 can put these lines together.... so.... now they are in their place. Having my\nmaterial nothing except my own will can move or alter these; and as I have said my own\nwill is entirely under my control. The line can be straight or it can wave; it can be round\nif 1 choose, and there is no fear that when 1 wish to make a straight line 1 shall make a\ncurved one, or that when 1 wish to make a curved there will be square parts about it.\nAnd when it is ready.... finished.... it undergoes no change but that which Time, who finally\ndestroys it, wills.\" \"That is rather an extraordinary thing, \" replied the actor. 441 wish\nit was possible in my work.\" 44 Yes,\" replies the artist, %i it is a very extraordinary\nthing, and it is that which I hold makes the difference between an intelligent statement\nand a casual or haphazard statement. The most intelligent statement, that is a work of art.\nThe haphazard statement, that is a work of chance. When the intelligent statement reaches\nits highest possible form it becomes a work of fine art. And therefore 1 have always held,\nthough 1 may be mistaken, that your work has not the nature of an art. That is to say (and\nyou have said it yourself) each statement that you make in your work is subject to every\nconceivable change which emotion chooses to bring about. That which you conceive in your\nmind, your body is not permitted by nature to complete. In fact, your body, gaining the\nbetter of your intelligence, has in many instances on the stage driven out the intelligence\naltogether. Some actors seem to say, 44 What value lies in having beautiful ideas. To what\nend shall my mind conceive a fine idea, a fine thought, for my body which is so entirely\nbeyond my control to spoil? I will throw my mind overboard, let my body pull me and\nthe play through; \" and there seems to me to be some wisdom in the standpoint of such\nan actor. He does not dilly dally between the two things which are contending in him, the\none against the other. He is not a bit afraid of the result. He goes at it like a man,\nsometimes a trifle too like a centaur; he flings away all science.... all caution.... all reason\nand the result is good spirits in the audence,... and for that they pay willingly. But we\nare here talking about other things than excellent spirits, and though we applaud the actor\nwho exhibits such a personality as this, I feel that we must not forget that we are applauding\nhis personality... he it is we applaud, not what he is doing or how he is doing it; nothing\nto do with art at all, absolutely nothing to do with art, with calculation, or design.\n44 You're a nice friendly creature, \" laughs the actor gaily, 44 telling me my art's no art!\nBut I believe 1 see what you mean. You mean to say that before I appear on the stage and\nbefore my body commences to come into the question, 1 am an artist. \" & 44 Well yes, you\nare, you happen to be, because you are a very bad actor; you're abominable on the stage,\nbut you have ideas, you have imagination; you are rather an exception 1 should say."}, {"page_pdf": 13, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.13", "debut_caractere": 5128, "fin_caractere_exclue": 5228, "texte": "Perfect acting\nimpossible.\nThe will of the\nthe Artist.\nWork of art.\nWork of chance.\nThe brave actor."}, {"page_pdf": 14, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.14", "debut_caractere": 40, "fin_caractere_exclue": 5190, "texte": "have heard you tell me how you would play Richard III; what you would do; what strange\natmosphere you Would spread over the whole thing; and that which you have told me you\nhave seen in the play, and that which you have invented and added to it, is so remarkable,\nso consecutive in its thought, so distinct and clear in form, that if you could make your\nbody into a machine, or into a dead piece of material such as clay, and if it could obey\nyou in every movement for the entire space of time it was before the audience, and if you\ncould put aside Shakespeare's Poem, you would be able to make a work of art out of what\nwhich is in you. For you would not only have dreamt, you would have executed to perfection;\nand that which you had executed could be repeated time after time without so much\ndifference as between two farthings. 44 Ah, \" sighs the actor, 44 you place a terrible\npicture before me. You would prove to me that it is impossible for us ever to think of\nourselves as artists. You take away our finest dream and you give us nothing in its place. \"\n44 No, no, that's not for me to give you. That's for you to find, Surely there must be\nlaws at the roots of the Art of the Theatre, just as there are Laws at the roots of all true\nArts, which if found and mastered, would bring you all you desire? \" 44 Yes, the search\nwould bring the actors to a wall. \" 44 Leap it, then I \" & 44 Too high i \" & 44 Scale it,\nthen! \" 44 How do we know where it would lead? \" 44 Why, up and over. \" 44 Yes,\nbut that's talking wildly, talking in the air. \" 44 Well, that's the direction you fellows\nhave to go; ....fly in the air, live in the air. Something will follow when some of you begin\nto. * I suppose, \" continued he, 44 you will get at the root of the matter in time, and then\nwhat a splendid future opens before you I In fact I envy you, 1 am not sure Ido not wish\nthat photography had been discovered before painting, so that we of this generation might\nhave had the intense joy of advancing, showing that photography was pretty well in its way,\nbut there was something better I \" & 44 Do you hold that our work is on a level with\nphotography? \"& 44 No, indeed, it is not half as exact. It is less of an art even than\nphotography. 1st fact you and I who have been talking all this time while the musician has\nsat silent, sinking deeper and deeper into his chair, our arts by the side of his art, are jokes,\ngames, absurdities. \" At which the musician must go and spoil the whole thing by getting\nup and given vent to some foolish remark. The actor immediately cries out, 44 But 1\ndon't see that that's such a wonderful remark for a representative of the only art in the\nworld to make \" at which they all laughed, the musician in a sort of crest-fallen, conscious\nmanner. 44 My dear fellow, that is just because he is a musician. He is nothing except\nin his music. He is, in fact, somewhat unintelligent, except when he speaks in notes, in\ntones, and in the rest of it, He hardly knows our language, he hardly knows our world,\nand the greater the musician, the more is this noticeable; indeed it is rather a bad sign\nwhen you nteet a composer who is intelligent. And as for the intellectual musician, why\nthat means another....; but we mustn't whisper that name here.... he is so popular to-day.\nWhat an actor this man would have been, and what a personality he has. 1 understand\nthat all his life he had yearnings towards being an actor, and I believe he would have been\nan excellent comedian, whereas he became a musician.... or was it a playwright? Anyhow,\nit all turned out a great success.... a success of personality. \" 44 Was it not a success of\nart?\" asks the musician. 44 Well, which art do you mean?\" & 44 Oh, all the arts\ncombined, \" he replies, blunderingly but placidly. 44 How can that be? How can all arts\ncombine and make one art? It can only make one joke.... one theatre. Things which\nslowly, by a natural law join together, may have some right in the course of many years\nor many centuries to ask nature to bestow a new name on their product. Only by this means\ncan a new art be born. 1 do not believe that the old mother approves of the forcing process;\nand if she ever winks at it, she soon has her revenge; and so is it with the arts. You cannot\nco-mingle them and cry out that you have created a new art. If you can find in nature\na new materialy one which has never yet been used by man to give form to his thoughts,\nthen you can say that yon are on the high road towards creating a new art. For you\nhave found that by which you can create it. It then only remains for you to begin. The\ntheatre, as I see it. has yet to find that material. \" As so their conversation ended.\nFor my part I am with the artist's last statement. My pleasure shall not be to compete\nwith the strenuous photographer and I shall ever aim to get something entirely opposed\nto life as we see it. This flesh and blood life, lovely as it is to us all is for me not a\nthing made to search into, or to give out again to the world, even conventionalized. &\n\nSome *' IFS. \"\nJbaws of the Art\nof the Theatre.\nActing less exact\nthan Photogra-\nphy.\nA new hope."}, {"page_pdf": 17, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 5075, "texte": "I think that my aim shall rather be to catch some far off glimpse of that spirit which we\ncall death.... to recall beautiful things from the imaginary worid;... they say they are cold,\nthese dead things,... 1do not know.... they often seem warmer and more living than that\nwhich parades as life. Shades.... spirits seem to me to be more beautiful, and filled with\nmore vitality than men and women; cities of men and women packed with pettiness,\ncreatures in-human, secret.... coldest cold.... hardest humanity, JS/ For looking too long\nupon life, may one not find all this to be not the beautiful, nor the mysterious nor the\ntragic, but the dull, the melodramatic, and the silly; the conspiracy against vitality....\nagainst both red heat and white heat; and from such things which lack the sun\nof life it is not possible to draw inspiration. But from that mysterious, joyous, and superbly\ncomplete life which is called Death.... that life of shadow and of unknown shapes, where\nall can not be blackness and fog as is supposed, but vivid colour, vivid light, sharp cut form,\nand which one finds peopled with strange, fierce and solemn figures, pretty figures and\ncalm figures, and those figures impelled to some wonderous harmony of movement, all this\nis something more than a mere matter of fact; from this idea of death which seems a kind\nof spring, a blossoming—from this land and from this idea can come so vast an inspiration,\nthat with unhesitating exultation I leap forward to it and behold, in an instant, I find my\narms full of flowers.... 1 advance but a pace or two and again plenty is around me.... 1\npass at ease on a sea of beauty 1 sail whither the winds take me—there, there is no\ndanger. So much for my own personal wish;... but the entire theatre of the world is not\nrepresented in me, nor in a hundred artists or actors, but in something far different.\nTherefore what my personal aim may be is of very little importance. Yet the aim of the theatre\nas a whole is to restore its art and it should commence by banishing from the theatre this\nidea of impersonation, this idea of reproducing nature; for while impersonation is in the\nTheatre, the Theatre can never become performers should train under the influence\nof an earlier teaching (if the very earliest and finest principles are too stern to commence\nwith) and they will have to avoid that frantic desire to put \"life\" into their work; for\nthree thousand times against one time, it means the bringing of excessive gesture, swift\nmimicry, speech which bellows and scene which dazzles, on to the stage, in the wild and\nvain belief that by such means vitality can be conjured there. And in a few instances, to\nprove the rule, all this partially succeeds. It succeeds partially with the bubbling personalities\nof the stage, With them it is a case of sheer triumph in spite of the rules, in the very\nteeth of the rules, and we who look on, throw our hats into the air,... cheer, and cheer\nagain. We have to; we don't want to consider or to question;—we go with the tide\nthrough admiration and suggestion.... That we are hypnotised, our taste cares not a rap....\nWe are delighted to be so moved, and we literally jump for joy. The great personality has\ntriumphed both over us and the art. But personalities such as these are extremely rare, and\nif we wish to see a personality assert itself in the theatre and entirely triumph as an actor\nwe must at the same time be quite indifferent about the play, the other actors, and Beauty.\n& Those who do not think with me in this whole matter are the worshippers, or respectful\nadmirers, of the personalities of the stage. It is intolerable to them that I should assert\nthat the stage must be cleared of all its actors and actresses before it will again revive.\nHow could they agree with me? That would include the removal of their favourites.... the\ntwo or three beings who transform the stage for them from a vulgar joke into an ideal\nland. But what should they fear? No danger threatens their favourites—for were it possible\nto put an act into force to prohibit all men and women from appearing before the public\nupon the stage of a theatre, this would not in the least affect these favourites—these men\nand women of personality whom the playgoers crown. Consider any one of these personalities\nborn at a period when the s£age was unknown; would it in any way have lessened their\npower.... hindered their expression ? Not a whit. Personality invents the means and ways\nby which it shall express itself; and acting is but one, (the very least) of the means at the\ncommands of a great personality; and these men and women would have been famous at\nany time, and in any calling. But if there are many to whom it is intolerable that I\nshould propose to clear the stage of ALL the actors and actresses in order to revive the\nArt of the Theatre, there are others to whom it seems agreeable.\n\" The artist, \" says Flaubert, \" should be in his work like God in creation, invisible and\n\" all-powerful; he should be felt everywhere and seen nowhere. Art should be raised above"}, {"page_pdf": 17, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.17", "debut_caractere": 5114, "fin_caractere_exclue": 5196, "texte": "A mysterious\nBeauty,\nThe bubbling\npersonality,\nPersonality\nnever Wasted,\nFlaubert,"}, {"page_pdf": 18, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.18", "debut_caractere": 36, "fin_caractere_exclue": 5090, "texte": "\" personal affection and nervous susceptibility. It is time to give it the perfection of the\n\" physical sciences by means of a pitiless method. \" He is thinking mainly of the Art of\nLiterature; but if he feel this so strongly of the writer, one who is never actually seen, but\nmerely stands half revealed behind his work, how totally opposed must he have been to the\nactual appearance of the actor—personality or no personality.\nCharles Lamb says; \"To see Lear acted.... to see an old man tottering about with a stick,\n\" turned out of doors by his daughters on a rainy night, has nothing in it but what Is painful\n\" 1 and disgusting. We want to take him into shelter, that is all the feeling the acting of Lear\n\" ever produced in me. The contemptible machinery by which they mimic the storm which\n\" he goes out in, is not more inadequate to represent the horror of the real elements than\n\" any actor can be to represent Lear. They might more easily propose to personate the\n\" Satan of Milton upon a stage, or one of Michaelangelo's terrible figures.... Lear is essentially\n\" impossible to be represented on the stage. \" & & & &\n\" Hamlet himself seems hardly capable of being acted, \" says William Hazlitt.\nDante in \" La Vita Nuova \" tells us that in dream Love in the figure of a youth appeared\nto him. & Discoursing of Beatrice, Dante is told by Love \" to compose certain things in\n\" rhyme, in the which thou shalt set forth how strong a mastership I have obtained over thee,\n\" through her.... And so write these things that they shall seem rather to be spoken by a\n\" third person, and not directly by thee to her, which is scarce fitting. And again \" There\n\" came upon me a great desire to say somewhat in rhyme: but when I began thinking how 1\n\" should say it, methought that to speak of her were unseemly, unless I spoke to other ladies\n\"in the second person. \" We see then that to these men it is wrong that the living person\nshould advance into the frame and display himself upon his own canvas. They hold it as\n\" unseemly\".... \" scarce fitting. \"\nWe have here witnesses against the whole business of the modern stage. & Collectively they\npass the following sentence:... That it is bad art, or no art, to make so personal, so emotional\nan appeal that the beholder forgets the thing itself while swamped by the personality, the\nemotion, of its maker. J& And now for the testimony of an actress. &\nEleonora Duse has said: (i) \" To save the theatre, the theatre must be destroyed, the actors\nand actresses must all die of the plague. They poison the air, they make art impossible.\"\nWe may believe her. She means what Flaubert and Dante mean, even if she words it\ndifferently. And there are many more witnesses to testify for me, if this is held to\nbe insufficient evidence. There are the people who never go to theatres, the millions of men\nagainst the thousands who do go. Then, we have the support of most of the managers of\nthe theatre of to=>day. The modern theatre manager thinks the stage should have its plays\ngorgeously decorated. He will say that no pains should be spared to bring every assistance\ntowards cheating the audience into a sense of reality; he will never cease telling us how\nimportant all these decorations are; he urges all this for several reasons and the following\nreason is not the least.... He scents a grave danger in simple and good work; he sees that\nthere is a body of people who are opposed to these lavish decorations; he knows that there\nhas been a distinct movement, in Europe, against this display, it having been claimed that\nthe great plays gained when represented in front of the plainest background. This movement\ncan be proved to be a powerful one—it has spread from Krakau to Moscow, from Paris to\nRome, from London to Berlin and Vienna. The managers see this danger ahead of them;\nthey see that if once people came to realise this fact, if once the audience tasted of the\ndelight which a sceneless play brings, they would then go further and desire the play which\nwas presented without actors; and finally they would go on and on and on until they, and\nnot the managers, had positively reformed the Art. & &\nNapoleon is reported to have said. \"In life there is much that is unworthy which in art\nshould be omitted; much of doubt and vacillation; and all should disappear in the\nrepresentation of the hero. We should see him as a statue in which the weakness\nand tremors of the flesh are no longer perceptible. \" (2) & And not only Napoleon,\nbut Ben Jonson, Lessing, Edmund Scherer, Hans Christian Andersen, Lamb, Goethe,\n\nCharles L,amb.\nWilliam Hazlitt,\nDante, &\nDleonora Duse.\nThe wary than-\nger, &\nNapoleon,\n\n(1) Studies in Seven Arts;... Arthur Symons; Constable; 1906.\n(2) Of sculpture Pater writes.\n\" Its white light, purged from the angry, bloodlike stains of action and passion, reveals, not what is accidental In man,\nbut the god in him, as opposed to man's restless movement. \"\nAgain, \" The base of all artistic genius is the power of conceiving humanity in a new striking rejoicing way, of putting"}, {"page_pdf": 19, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 4664, "texte": "George Sand, Coleridge, Ruskin, Pater and 1 suppose all the intelligent men and women\nof Europe (one does not speak of Asia for even the unintellegent in Asia fail to\ncomprehend Photographs while understanding Art as a simple and clear manifestation) have\nprotested against this reproduction of Nature, and with it photographic and weak actuality;\nthey have protested against all this, and the theatrical managers have argued against them\nenergetically, and so we look for the truth to emerge in due time. It is a reasonable\nconclusion. Do away with the real tree, do away with the reality of delivery, do away\nwith the reality of action, and you tend towards the doing away with the actor.\nThis is what must come to pass in time, and 1 like to see the managers supporting the idea\nalready. Do away with the actor, and you do away with the means by which a debased\nstage»realism is produced and flourishes. No longer would there be a living figure to\nconfuse us into connecting actuality and art; no longer a living figure in which the weakness\nand tremors of the flesh were perceptible. &\nThe actor must go, and in his place comes the inanimate figure—the uber-marionette we may\ncal him, until he has won for himself a better name. £> Much has been written about the puppet\n—or marionette. There are some excellent volumes upon him, and he has also inspired several\nworks of Art. To-day in his least happy period many people have come to regard him as rather\na superior doll—and to think he has developed from the doll. This is incorrect. He is a\ndescendant of the stone images of the old Temples—he is to-day a rather degenerate form of\na God. Always the close friend of children he still knows how to select and attract his devotees.\nWhen anyone designs a puppet on paper, he draws a stiff and comic looking thing. Such\na one has not even perceived what is contained in the idea which we now call the Marionette.\nHe mistakes gravity of face and calmness of body for blank stupidity and angular deformity.\nYet even Modern Puppets are extraordinary things. The applause may thunder or dribble,\ntheir hearts beat no faster, no slower, their signals do not grow hurried or confused;\nand, though drenched in a torrent of bouquets and love, the face of the leading lady remains\nas solemn, as beautiful and as remote as ever. & There is something more than a flash of\ngenius in the Marionette, and there is something in him more than the flashiness of\ndisplayed personality. The Marionette.... appears to me to be the last echo of some noble\nand beautiful art of a past civilization. But as with all art which has passed into fat or\nvulgar hands, the Puppet has become a reproach. AH puppets are now but low comedians.\nThey imitate the comedians of the larger and fuller blooded stage. They enter only to fall\non their back. They drink only to reel, and make love only to raise a laugh. They have\nforgotten the counsel of their Mother, the Sphinx. Their bodies have lost their grave grace,\nthey have become stiff. Their eyes have lost that infinite subtlety of seeming to see; now\nthey only stare. They display and jingle their wires and are cock-sure in their wooden\nwisdom. They have failed to remember that their art should carry on it the same stamp of\nreserve that we see at times on the work of other artists, and that the highest art is that\nwhich conceals the craft and forgets the craftsman. Am 1 mistaken, or is it not the old\nGreek Traveller of 8oo B. C. who, describing a visit to the TempIe»Theatre in Thebes, tells\nus that he was won to their beauty by their 44 noble artificiality.\" 44 Coming into the\n44 House of Visions I saw afar off the fair brown Queen seated upon her throne.... her\n44 tomb.... for both it seemed to me. 1 sank back upon my couch and watched her\n44 symbolic movements. With so much ease did her rhythms alter as with her movements\n44 they passed from limb to limb; with such a show of calm did she unloose for us the\n44 thoughts of her breast; so gravely and so beautifully did she linger on the statement of\n44 her sorrow, that with us it seemed as if no sorrow could harm her; no distortion of body\n44 or feature allowed us to dream that she was conquered; the passion and the pain were\n44 continually being caught by her hands, held gently, and viewed calmly. & Her arms and\n44 hands seemed at one moment like a thin warm fountain of water which rose, then\n44 broke and fell with all those sweet pale fingers like spray into her lap. It would have\n44 been as a revelation of art to us had 1 not already seen that the same spirit dwelt in\n44 the other examples of the art of these Egyptians. This 4 Art of Showing and Veiling'as"}, {"page_pdf": 19, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.19", "debut_caractere": 4703, "fin_caractere_exclue": 5205, "texte": "The Marionette.\n8 o o: B. C.&\n\na happy world of Its own construction in place of the meaner world of common days, of generating around itself an atmophere\nWith a novel power of refraction, selecting, transforming, recomblning the images it transmits, according to the choice of\nthe imaginathinve Intellect. \"\nAnd again; \"All that is accidental, all that distracts the simple effect upon us of the supreme types of humanity, all\ntraces In them of the commonness of the world, it gradually purges away. \""}, {"page_pdf": 20, "page_imprimee": "12", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.20", "debut_caractere": 40, "fin_caractere_exclue": 5351, "texte": "\" they call it, is so great a spiritual force in the land that it plays the larger part in\n\" their religion. We may learn from it somewhat of the power and the grace of courage,\n\" for it is impossible to witness a performance without a sense of physical and spiritual\n\" refreshment.\" This in 800 B. C. And who knows whether the Puppet shall not once\nagain become the faithful medium for the beautiful thoughts of the artist. May we not\nlook forward with hope to that day which shall bring back to us once more the figure, or\nsymbolic creature, made also by the cunning of the artist, so that we can regain once\nmore the \" nohle artificiality 99 which the old writer speaks of. £/ Then shall we no longer\nbe under the cruel influence of the emotional confessions of weakness which are nightly\nwitnessed by the people and which in their turn create in the beholders the very weaknesses\nwhich are exhibited. & To that end we must study to remake these images—no longer\ncontent with a puppet, we must create an ttber-marionette. The iiber-marionette will\nnot compete with Life—but will rather go beyond it. Its ideal will not be the flesh and\nblood but rather the body in Trance—it will aim to clothe itself with a deathlike Beauty\nwhile exhaling a living spirit. Several times in the course of this essay has a word or\ntwo about Death found its way on to the paper.... called there by the incessant clamouring\nof \"Life! Life! Life!\" which the Realists keep up. And this might be easily mistaken for\nan affectation especially by those who have no sympathy or delight in the power and the\nmysterious joyousness which is in all passionless works of art. If the famous Rubens and\nthe celebrated Raphael made none but passionate and exuberant statements, there were\nmany artists before them and since to whom moderation in their art was the most\nprecious of all their aims, and these more than all others exhibit the true masculine\nmanner. The other flamboyant or drooping artists whose works and names catch the eye\nof to-day do not so much speak like men as bawl like animals, or lisp like women.\nThe wise, the moderate masters, strong because of the laws to which they swore to remain\never faithful.... their names unknown for the most part.... a fine family.... the creators of the\ngreat and tiny gods of the East and the West, the guardians of those larger times,... these all\nbent their thoughts forward towards the unknown, searching for sights and sounds in that\npeaceful and joyous country, that they might raise a figure of stone or sing a verse, investing\nit with that same peace and joy seen from afar, so as to balance all the grief and turmoil here.\nIn America we can picture these brothers of that family of masters, living in their superb\nancient cities, colossal cities which I ever think of as able to be moved in a single day; cities\nof spacious tents of silk and canopies of gold under which dwelt their gods; dwellings which\ncontained all the requirements of the most fastidious; those moving cities which, as they\ntravelled from height to plain, over rivers and down valleys, seemed like some vast\nadvancing army of peace. And in each city not one or two men called \" artists \" whom the\nrest of the city looked upon as ne' er do well idlers, but many men chosen by the community\nbecause of their higher powers of perception.... artists; for that is what the title of artist\nmeans, one who perceives more than his fellows, and who records more than he has seen.\nAnd not the least among those artists was the artist of the ceremonies, the creator of the\nvisions, the minister whose duty it was to celebrate their guiding spirit.... the spirit of Motion.\nIn Asia, too, the forgotten masters of the temples and all that those temples contained, have\npermeated every thought, every mark in their work with this sense of calm motion resembling\ndeath.... glorifying and greeting it. In Africa, (which some of us think we are but now to\ncivilize) this spirit dwelt,... the essence of the perfect civilization. There too dwelt the great\nmasters, not individuals obsessed with the idea off each asserting his personality as if it was a\nvaluable and mighty thing, but content because of a kind of holy patience to move their brains\nand their fingers only in that direction permitted by the law--in the service of the simple truths.\nHow stern the law was, and how little the artist of that day permitted himself to make an\nexhibition of his personal feelings can be discovered by looking at any example of Egyptian art.\nLook at any limb ever carved by the Egyptians, search into all those carved eyes, they will\ndeny you until the crack of doom. Their attitude is so silent that it is death like. Yet\ntenderness is there, and charm is there; prettiness is even there side by side with the force;\nand love bathes each single work; but gush, emotion, swaggering personality of the artist?...\nnot one single breath of it. Pierce doubts or hopes?... not one hint of such a thing. Strenuous\ndetermination?... not a sign of it has escaped the artist; none of these confessions.... stupidities.\nNor pride, nor fear, nor the comic, not any indication that the artist's mind or hand was\n\n& The iiher ma-\nrionette not to\ncompete with\nLife.\nThe wise masters\nof Art. £>\nIn America.\nIn Asia & Africa.\nLove inteacL of\ngush."}, {"page_pdf": 21, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 4920, "texte": "for the thousandth part of a moment out of the command of the laws which ruled him.\nHow superb I This it is to be a great artist; and the amount of emotional outpourings of\nto-day and of yesterday are no signs of supreme intelligence,... that is to say, are no signs\nof supreme art. To Europe came this spirit, hovered over Greece, could hardly be driven\nout of Italy, but finally fled, leaving a little stream of tears,... pearls.... before us. And we,\nhaving crushed most of them, munching them along with the acorns of our food, have gone\nfurther and fared worse and have prostrated ourselves before the so-called \" great masters, \"\nand have worshipped these dangerous and flamboyant personalities. On an evil day we\nthought in our ignorance that it was us they were sent to draw, that it was our thoughts\nthey were sent to express; that it was something to do with us that they were putting into\ntheir architecture, their music, and so it was we came to demand that we should be able\nto recognize ourselves in all that they put hand to; that is to say, in their architecture, in\ntheir sculpture, in their music, in their painting, and in their poetry we were to figure... and\nwe also reminded them to invite us with the familiar words \" come as you are.\"\n& The artists after many centuries have given in, that which we asked them for they have\nsupplied. And so it came about that when this ignorance had driven off the fair spirit which\nonce controlled the mind and hand of the artist, a dark spirit took its place; the happy-go-\nlucky Hooligan in the seat of the Law, that is to say, a stupid spirit reigning; and everybody\nbegan to shout about Renaissance! while all the time the painters, musicians, sculptors,\narchitects, vied one with the other to supply the demand.... that all these things should be\nso made that all people could recognize them as having something to do with themselves.\nUp sprang portraits with flushed faces, eyes which bulged, mouths which leered, fingers\nitching to come out of their frame, wrists which exposed the pulse; all the colours higgledy\npiggledy; all the lines in hubbub, like the ravings of lunacy. Form breaks into panic; the\ncalm and cool whisper of life in trance which once had breathed out such an ineffable hope\nis heated, fired into a blaze and destroyed, and In its place.... realism, the blunt statement\nof Life, something everybody misunderstands while recognizing. And all far from the\npurpose of art. For its purpose is not to reflect the actual facts of this life, because it is\nnot the custom of the artist to walk behind things, having won it as his privilege to walk\nin front of them—to lead. Rather should life reflect the likeness of the spirit, for it was\nthe spirit which first chose the artist to chronicle its Beauty, (i) & And in that picture, if the\nform be that of the living, on account of its beauty and tenderness, the colour for it must\nbe sought from that unknown land of the imagination,... and what is that but the\nland where dwells that which we call Death. & So it is not lightly and flippantly that I\nspeak of Puppets and their power to retain the beautiful amd remote expressions in form\nand face even when subjected to a patter of praise, a torrent of applause. There are persons\nwho have made a jest of these Puppets. \" Puppet \"is a term of contempt, though there still\nremain some who find beauty in these little figures, degenerate though they have become.\nTo speak of a Puppet with most men and women is to cause them to giggle. They think\nat once of the wires; they think of the stiff hands and the jerky movements; they tell me\nit is \" a funny little doll. \" But let me tell them a few things about these Puppets. Let\nme again repeat that they are the descendants of a great and noble family of Images, Images\nwhich were made in the likeness of God; and that many centuries ago these figures had a\nrhythmical movement and not a jerky one; had no need for wires to support them, nor did\nthey speak through the nose of the hidden manipulator. & (Poor Punch, I mean no slight\nto you! You stand alone, dignified in your despair, as you look back across the centuries\nwith painted tears still wet upon your ancient cheeks, and you seem to cry out appealingly\nto your dog, \" Sister Anne, sister Anne, is nobody coming? \" And then with that superb\nbravado of yours, you turn the force of our laughter (and my tears) upon yourself with the\nheartrending shriek of \"Oh my nose! Oh, my nose! Oh my nose!) Did you think, ladies\nand gentlemen, that thees puppets were always little things of but a foot high?\n& Indeed, no! The Puppet had once a more generous form than yourselves. &\nDo you think that he kicked his feet about on a little platform six foot square, made to\nresemble a little old fashioned theatre; so that his head almost touched the top of the\nproscenium; and do you think that he always lived in a little house where the door and"}, {"page_pdf": 21, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.21", "debut_caractere": 4962, "fin_caractere_exclue": 5169, "texte": "The Hooligan\nreigns. &\nThe privilege\nof the Artist.\nPunch.\n\n(1) \" All forms are perfect in the poet's mind: But these are not abstracted or compounded from nature; they are from\nImagination, \" William Blake."}, {"page_pdf": 22, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.22", "debut_caractere": 0, "fin_caractere_exclue": 5005, "texte": "windows were as small as a doll's house, with painted window blinds parted in the centre,\nand where the flowers of his little garden had courageous petals as big as his head? Try\nand dispel this idea altogether from your minds, and let me tell you something of his habitation.\nIn Asia lay his first Kingdom. On the banks of the Ganges they built him his home,... a\nvast palace springing from column to column into the air and pouring from column to column\ndown again into the water. Surrounded by gardens spread warm and rich with flowers and\ncooled by fountains; gardens into which no sounds entered, in which hardly anything stirred.\nOnly in the cool and private chambers of this palace the swift minds of his attendants\nstirred incessantly. Something they were making which should become him, something\nto honour the spirit which had given him birth. And then, one day, the ceremony. &\nIn this ceremony he took part; a celebration once more in praise of the Creation; the old\nthanksgiving, the hurrah for existence, and with it the sterner hurrah for the privilege of\nthe existence to come, which is veiled by the word Death. And during this ceremony there\nappeared before the eyes of the brown worshippers the symbols of all things on earth and in\nNirvana. The symbol of the beautiful tree, the symbol of the hills, the symbols of those rich\nores which the hills contained; the symbol of the cloud, of the wind, and of all swift moving\nthings; the symbol of the quickest of moving things, of Thought, of Remembrance; the\nsymbol of the Animal, the symbol of Buddha and of Man.... and here he comes, the figure,\nthe Puppet at whom you all laugh so much. You laugh at him to«day because none but\nhis weaknesses are left to him. He reflects these from you; but you would not have laughed\nhad you seen him in his prime, in that age when he was called upon to be the symbol of\nman in the great ceremony, and, stepping forward, was the beautiful figure of our\nheart's delight. & If we should laugh at and insult the memory of the Puppet, we should\nbe laughing at the fall that we have brought about in ourselves.... laughing at the Beliefs\nand Images we have broken. A few centuries later, and we find his home a little the\nworse for wear. & Prom a temple it has become, I will not say a theatre, but something\nbetween a temple and a theatre, and he is losing his health in it. Something is in the air;\nhis doctors tell him he must be careful. \" And what am 1 to fear the most? \" he asks\nthem. They answer him; \" Fear most the vanity of men. \" He thinks, \" But that is\nwhat 1 myself have always taught; that we who celebrated in joy this our existence, should\nhave this one great fear. Is it possible that I, one who has ever revealed this truth, should\nbe one to lose sight of it and should myself be one of the first to fall? Clearly some subtle\nattack is to be made on me. 1 will keep my eyes upon the Heavens. \" And he dismisses\nhis doctors and ponders upon it.\nAnd now let me tell you who It was that came to disturb the calm air which surrounded\nthis curiously perfect thing. It is on record that somewhat later he took up his abode on\nthe far Eastern Coast, and there came two women to look upon him. And at the ceremony\nto which they came he glowed with such earthly splendour and yet such unearthly simplicity,\nthat though he proved an inspiration to the thousand nine hundred and ninety eight souls\nwho participated in the festival, an inspiration which cleared the mind even as it intoxicated,\nyet to these two women it proved an intoxication only. He did not see them, his eyes were\nfixed on the heavens: but he charged them full of a desire too great to be quenched; the\ndesire to stand as the direct symbol of the Divinity in Man. No sooner thought than\ndone; and arraying themselves as best they could in garments (\" like his, \" they thought)\nmoving with gestures (\" like his \" they said) and being able to cause wonderment in the minds\nof the beholders (\" even as he does, \" they cried) they built themselves a temple (\" like his 99\n\" like his \"), and supplied the demand of the vulgar,... the whole thing a poor parody.\nThis is on record. It is the first record in the East of the actor.... The actor springs from\nthe foolish vanity of two women who are not strong enough to look upon the symbol of\ngodhead without desiring to tamper with it; and the parody proved profitable. In fifty or\na hundred years, places for such parodies were to be found in all parts of the land.\nWeeds, they say, grow quickly, and that wilderness of weeds, the modern theatre, soon\nsprang up. The figure of the Divine Puppet, attracted fewer and fewer lovers, and the women\nwere quite the latest thing. With the fading of the Puppet and the advance of these\nwomen who exhibited themselves on the stage in his place, came that darker spirit\nwhich is called Chaos, and in its wake the triumph of the riotous Personality. Do you\nsee then, what has made me love and learn to value that which to-day we call the puppet"}, {"page_pdf": 22, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.22", "debut_caractere": 5044, "fin_caractere_exclue": 5146, "texte": "On the banks of\nthe Ganges.\nThe thanksgiv-\ning Ceremony.\nThe symbol of\nman. &\nThe Fall.\nGush not hove."}, {"page_pdf": 23, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 450, "texte": "and to detest that which we call life in art? I pray earnestly for the return of the\nImage.... the uber-marionette, to the Theatre; and when he comes again and is but seen,\nhe will be loved so well that once more will it be possible for the people to return to\ntheir ancient Joy in ceremonies ....once more will Creation be celebrated.... homage rendered\nto existence.... and divine and happy intercession made to Death. & & &\n♦\nFlorence, March 1907."}]}, {"article_id": "bm-bmtnaau-1908-04-01-c009", "article_bluemountain": "bmtnaau_1908-04_01#c009", "volume": "bmtnaau_1908-04_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": 15, "image_fin": 15, "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=bmtnaau190804-01.2.5.2", "titre_corps": "DESIGN FOR A STAGE SCENE", "titre_sommaire": "DESIGN FOR A STAGE SCENE", "signature_source": "Julius Oliver", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 15, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 38, "texte": "DESIGN FOR A STAGE SCENE JULIUS OLIVER"}]}, {"article_id": "bm-bmtnaau-1908-04-01-c010", "article_bluemountain": "bmtnaau_1908-04_01#c010", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "15", "page_fin": "15", "image_debut": 23, "image_fin": 23, "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=bmtnaau190804-01.2.6", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "Aristotle", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.23", "debut_caractere": 489, "fin_caractere_exclue": 1029, "texte": "Aristotle's Poetics. XXVI, 1-4.\nThe Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the\nleast artistic, and connected least with the art of poetry. For the power of Tragedy, we\nmay be sure, is felt even apart from representation and actors. Besides, the production of\nspectacular effects depends more on the art of the stage machinist than on that of the poet.\nAristotle's Poetics, VI, 19.\nAgain, Tragedy like Epic poetry produces its effect even without action; it reveals its power\nby mere reading."}]}, {"article_id": "bm-bmtnaau-1908-04-01-c011", "article_bluemountain": "bmtnaau_1908-04_01#c011", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "15", "page_fin": "15", "image_debut": 23, "image_fin": 23, "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=bmtnaau190804-01.2.7", "titre_corps": "DESIGN FOR A STAGE SCENE", "titre_sommaire": "DESIGN FOR A STAGE SCENE", "signature_source": "Julius Oliver", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.23", "debut_caractere": 1031, "fin_caractere_exclue": 1069, "texte": "DESIGN FOR A STAGE SCENE JULIUS OLIVER"}]}, {"article_id": "bm-bmtnaau-1908-04-01-c014", "article_bluemountain": "bmtnaau_1908-04_01#c014", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "17", "page_fin": "17", "image_debut": 25, "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=bmtnaau190804-01.2.10", "titre_corps": "A VENICE AND A ROME : for the consideration of young scene painters", "titre_sommaire": "A VENICE AND A ROME : for the consideration of young scene painters", "signature_source": "Allen Carric", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 3054, "texte": "A VENICE AND A ROME for the\nconsideration of young scene painters.\nAllen Carric.\nthe page facing we give a clue to good scene painting. If the young and serious designer\nfor the stage should study from these little pictures alone, and could bring himself to see\nthe wonder which lies in them and disregard all that he is taught by the modern theatre,\nhe would soon learn to invent wonderful and charming backgrounds for the plays of\nShakespeare. Merchant of Venice lived in just such a Venice as that shown\nhere; Shakespeare's Julius Caesar in just such a Rome. The modern scene painter will say\nthat this design for Venice is an ill-drawn and lifeless design, and that the modern painters\ncan make better. But we have yet to see a better modern design, and we have looked in\n»\nvain for one in the Theatres of Europe. And why this is so much better, and so far better\nsuited to the Theatre than the modern rubbish which gets there, is that this design is full\nof strength, distinction, and grace, and thoughtful feeling, and the modern designs are full of\nweakness, vulgarity, and conceit. How then can the spirit of Shakespeare's plays be rightly\nrevealed, or understood, when it is suffocated by these scenic grossnesses? &\nIt is, not a question whether scenery is good or bad for the Shakespearean drama.... it is only\nwhether good scenery is good or bad for these plays. Surely good scenery is entirely good.\nAnd what is good scenery? Is it necessarily a plain curtain, and a table, and two chairs? Why\nis this good? What makes it worthy to be called good scenery? We know that over-much\nscenery nearly always can be called bad scenery.... but over-little scenery is also as bad; it\nis a case of the Devil or the deep sea. Then is a medium amount of scenery good scenery?\nWell, the amount is of some importance, though a medium amount of good scenery and a\nmedium amount of bad scenery leaves us no better off one way or the other. Nol It is not\nthe amount of scenery, good or bad ; it is the quality. And will the modern designers quarrel\nwith us about quality?.... well, quality is a divine thing and all men desire it. What these\ndesigns for Venice and Rome contain is quality,.... and as that is a thing which the stage\nnever dreams of winning, what is the good of speaking about it? & But keep your thoughts\nfixed on these and like designs; it can do you no harm, and may do you much good,..., and\nfor the love of your Art, your country, or even yourself, wake up, and understand them.\n& If I were to fill this number of \" The Mask \" with talk about line, design, atmosphere,\nstyle, and all the rest of it, I should only confuse you, for you cannot understand what you\ncannot feel. So I print these two designs and put them before you. Look at them long\nenough, and you will begin to feel the foolishness of modern sceneries. The moment you\nfeel this, you will begin to understand the sense of these designs. And that will be counted\nas so much growth to the Art which we all strive to cultivate.\nFor Shakespeare\nWhat is good\nScenery. &\nWake up!"}]}, {"article_id": "bm-bmtnaau-1908-04-01-c015", "article_bluemountain": "bmtnaau_1908-04_01#c015", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "17", "page_fin": "20", "image_debut": 25, "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=bmtnaau190804-01.2.11", "titre_corps": "THE ENERGY OF THE GERMAN THEATRE", "titre_sommaire": "THE ENERGY OF THE GERMAN THEATRE", "signature_source": "George Norman", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.25", "debut_caractere": 3056, "fin_caractere_exclue": 3861, "texte": "THE ENERGY OF THE GERMAN THEATRE.\nEnglish hear many stories about the energy, the progressive spirit of the Germans. They\nbelieve just as much as it suits them to believe. They would do well to believe every\nbit of these stories so far as the German Theatre is concerned.... a little competition is by\nno means a dangerous thing. But as not all, even the truest, stories are always to be\nbelieved, we give here a couple of lists which show better than any telling what real\nenergy the German Theatre contains. The first list or programme for the week is taken\nfrom the year 1904, the second list from the year 1908. Both are representative lists; neither\nis exceptional. In every German town the programme is as varied, and anyone will see\nat a glance that the standard is high. & & & & &\n\nTo he believed."}, {"page_pdf": 26, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.26", "debut_caractere": 0, "fin_caractere_exclue": 2969, "texte": "BERLIN THEATRE PROGRAMME FOR A WEEK IN NOVEMBER 28. 1904.\nTHEATRE.\nMonday.\nI\nTuesday.\nWednesday.\nThursday.\nFriday.\nSaturday,\nSunday.\nKQL. OPERNHAUS 7.30\nLohengrin\nBajazzl Coppelia\nDie lustigen Weiber\nvon Windsor\nTannhauser\nSimphonieabend\nd. konigl. Kapelle\nDie lustigen Weiber\nv. Windsor\nDer Freischiitz\nKQL. SCHAUSPIELHAUS 7.30\n—\n—\n—\n—\n—\n—\n—\nNEUES KQL. OPERNHAUS 7.00\nFlachsraann\nals Erzieher\nAndromche\nGelehrte Frauen\nOthello\nTheodora\nAndronache\nGelehrte Frauen\nFaust\nFlachsmann\nals Erzieher |\nDEUTSCHES THEATER 7.30\nDon Carlos\nMaskerade\nMaskerade\nDon Carlos\nMaskerade\nMaskerade\nMaskerade\nLESSING-THEATER 7.30\nD. Siebzehnjahrige\nDer Biberpelz\nTraumulus\nD. Siebzehnjahrige\nDer Biberpelz\nD. Siebzehnjahrige\nTraumulus\nTHEATER DES WESTENS 7.30\nDie Hugenotten\nWiener Blut\nLa Traviata\nFranc. d'Andrade\nDon Juan\nWiener Blut\nWiener Blut\nWiener Blut\nNEUES THEATER 7.00\nDie lustigen Welber\nvon Windsor\nMorgenrote\nMorgenrote\nDie lustigen weiber\nvon Windsor\nDie Kronpratendenten\nD. lustig. Weiber\nvon Windsor\nMorgenrote\n1\nDTSCH.-AMERIK. TH. 8.00\nNew York\nNew York\nNew York\nNew York\nNew York\nNew York\n— |\nNew York\nRESIDENZ-THEATER 7.30\nE. Hochzeltsnacht\nE. Hochzeitsnacht\nE. Hochzeitsnacht\nE. Hochzeitsnacht\nE. Hochzeitsnacht\nE. Hochzeitsnacht\nE. Hochzeitsnacht |\nCENTRAL-THEATER 7.30\nDeer Generalkonsul\nDer Generalkonsul\nDer Generalkonsul\nDer Generalkonsul\nDie Geisha\nDer Generalkonsul\nDer Generalkonsul I\nBERLINER-THEATER 7.30\nEln Teufelskerl\nZapfenstreich\nAlt-Heidelberg\nEin Teufelskerl\nGotz von Berlichingen\nZapfenstreich\nEln Teufelskerl 1\nSCHILLER-TH. N. 8.00\nTyranney der ThrSnen\nMutter Erde\nGrosstadtluft\nMutter Erde\nD. Haubenlerche\nKrieg in Frieden\nDie Haubenlerche\nSCHILLER-TH. O. 8.00\nWallensteins Lager\nDie Piccolomlni\nWallensteins Tod\nTyranney der ThrSnenj Wallanstelns Lager\nDie Piccolomlni\nWallensteins Tod\nDie Jiidln von Toledo\nGrossstadtluft\nTHALIA-THEATER 7.30\nDer Welberkonig\nDer Welberkonig\nDer Welberkonig\nD. Welberkonig\nDer Welberkonig\nDer Welberkonig\nDer Weiberkonig j\nLUISEN-THEATER 8.00\nDer Registrator auf\nReisen\nDie Reise d. Berlin in\n80 Stundeu\nJulius Caesar\nDie Relse d. Berlin\nin 80 Stunden\nJulius Caesar\nMeln Leopold\nVon Stufe zu Stufe\nBELLE ALLIANCE-TH. 8.00\nD. Mllllonenbauer\nD. Milionenbauer\nD. Millionenbauer\nD. Millionenbauer\nD. Millionenbauer\nFrohl Weihnacht\nFrrhl. Weihnacht j\nAPOLLO-THEATER 8.00\nBerliner Luft 1 Berliner Lnft\nI\nBerliner Luft\nBerliner Luft\nBerliner Luft\nBerliner Luft\nBerliner Luft\nNATIONAL-THEATER 8.00\nDer Waffenschmied\nDie Favorltin\nPrevostl, Fedora\nDer Waffenschmied\nMillionenbraut\nPrevosti La Traviata\nDie Millionenbraut\nMETROPOL-THEATER 8.00\nD. Herren v. Maxim\nD. Herren v. Maxim\nD. Herren v. Maxim\nD» Herren v Maxim\nD. Herren v. Maxim\nD. Herrea v. Maxim\nD. Herren v. Maxim\nKLEINES THEATER 8.00\nNachtasyl\nDer tapfere Kasslan\nDer tapfere Kasslan\nNachtasyl\nEleclstra\nNachtasyl\nDer tapfere Kasslan\nTRIANON-THEATER 8.00\nGastons Frauen\nGastons Frauen\nGastons Frauen\nGastons Frauen\nGastons Frauen\nGastons Frauen\nGastons Frauea"}, {"page_pdf": 27, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 2205, "texte": "BERLIN THEATRE PROGRAMME FOR A WEEK IN JANUARY 1908.\nKbnigli-\nches\nopernhaus\nKbnigli-\nches\nSchau-\nspielhaus\nResident\nTheater\nDeutsches\nTheater\nDtsch.\nTheater .\nKammer-\nspiele\nHebbel\nTheater\nKleines\nTheater\nThalia\nTheater\nLessing\nTheater\nFriedrich\nWilhelm-\nstadt.\nSchausp.\nTheater\nan der\nSpree\nFolies\nCaprice\nChat noir\nFriedri-\nchstr. 165\nSchiller\n|T h e a t e r\nChariot-\ntenburg\nAnfang\n7.30\n7.30\n8\n7.30\n8\n7.30\n8\n7.30\n7.30\n8\n8\n8\n11\n8\nDienstag\n•\nTherese.\nDas war\nich. Slav.\nBrautw.\nKSnig\nBibi\nDie\nFraulein\nJulie. Die\nNeuver-\nmahlteri\nGASTSPIEL IM CENTRAL=THEATER;\n7.30\nFra Warrens Qewerbe von Bernard Shaw\nMandra-\nGirardi\nImmer\nobenauf\nDie gelbe\nNachtigall\nKbnig\nHeinrich\nHokus-\npokus\nM A L WAS ANDERES!\nRevue mit Gesang in 3 Biledrn.\nVorher: Dunkle Punhte. — Eine anstandige Frau, Lustspiel.\n1 . - - . . . - _\nDIR. RUDOLPH NELSON.\nLene Land a. G. — Costanze Zinner\nBetti Kaiser-Szalok. — Fritz Griinbaum.\nKarll Nagelmiiller. — Kate Erlholz.\nDer Rich-\nOedipus\nRauber\ngola\nter von\nZalamea\n!\nI Mittwoch\nDie Mei-\nstersinger\nvon\nNiirnberg\nMinna v.\nBarnhelm\nBibi\nWas ihr\nwollt\nFriihlings\nErwachen\nDer\nUnsichere\nGirardi\nImmer\nobenauf\nNora\nMadame\nSans Gene\nHokus-\npokus\nCollege\nCrampton j\nDonnerstag\nSamson\nu. Dalila\nDie\nRaben-\nsteinerin\nBibi\nDie\nRauber\nHochzeit\nMandra-\ngola\nGirardi\nImmer\nobenauf\nKaiser\nKarls\nGeisel\nMadame\nSans Gene\nHokus-\npokus\n• |\nPhilister. 1\nDie Lore |\nFreitag\nSalome\nMinna v.\nBibi\nWas ihr\nQyges\nDer\nUnsichere\nGirardi\nImmer\nobenauf\nDie\nStiitzen\nder\nGesell-\nschaft\nKdnig\nHeinrich\nHokus-\npokus\n%\nDer Rich-\nBarnhelm\nwollt\nund sein\nRing\nter von\nZalamea\nSonnabend\nTristan\nu. Isolde\nDie Brant\nvon\nMessina\nBibi\nDie\nRauber\nHochzeit\nMandra-\ngola\nGirardi\nImmer\nobenauf\nDie\nWildente\nK5nig\nHeinrich\nHokus-\npokus\nGebildete\nMenschen\nSonntag\nMignon\nMinna v.\nHaben\nSie\nnichts zu\nverz.\nDie\nHochzeit\n3 Uhr:\nMaria\nM a g d a-\nlena\n3 Uhr: Ihr\nSechs Uhr\nOnkel\nNachm.\nDie\nversunk\nGlocke\n3 Uhr:\nNachtasyl\nNachm.\nAusge-\nwiesen\nN. Der Ri=\nBarnhelm\nRauber\nMadame\nSans Gene\nchter von\n8 Uhr: Gi-\nI. obenauf\nHokus-\npokus\nZalamea\nBibi\nMandrag.\nDer Biber.\n\\ Montag\nJohann\nvon Paris\nPrinz\nFriedrich\nvon\nHomburg\nWas ihr\nFriihlings\nErwachen\nUnbe-\nstimmt\nRosmers-\nK5nig\nHeinrich\nHokus-\npokus\nDer Rich-\nwolt\nholm\nter von\nZalamea"}, {"page_pdf": 28, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.28", "debut_caractere": 24, "fin_caractere_exclue": 2828, "texte": "The plays and operas of the first class have been underlined so that the reader may see\nat a glance how evenly the balance Is preserved between these and the ordinary trade\nplays. & In the first list, or programme for a week, we find the names of the following\nauthors or composers. &&&&&£?&\nName of Author. Number of performances. Theatres.\nShakespeare .... s .... 3\nGoethe 1 1\nWeber 1 ,\nWagner ..... 2 1\nMozart 1 .... 1\nSchiller ..... 7 .... 3\nIbsen ...... i .... i\nGorki ...... 3 .... 1\nHofmannsthal .... 1 1\nHauptmann 2 1\nTotal for the week 24 14\nThis is a good record.... 3 Foreign Masters, 7 German Masters. In the second programme\nof a week we find even a better record, showing that the German Theatre of 1908 is an\nadvance upon that of 1904.\nName of Author. Number of performances. Theatre.\nShakespeare .... 3 1\nSchiller 5 .... 2\nLessing 3 1\nHebbel 1 1\nWagner 2 1\nIbsen 3 .... 1\nWyspianski ' 3 1\nCaulderon 4 1\nMacchiavelli .... 4 1\nHauptmann..... 1 1\nStrindberg 1 , . . . 1\nGorki 1 .... 1\nRichard Strauss. ... 1 1\nBernard Shaw .... 7 . . . . 1\nTotal for the week 43 15\nIn both these lists the number of performances of Gorki, Hofmannsthal and Strindberg are\ndistinctly fewer than is usual. In some lists the name of Gorki, with his single play, \"Nachtasyl,,\nappears seven times in a week. That of Strindberg five or six times, and the youngest poet\nof Germany, Hofmannsthal, not less than eight times in one week. Add to this the\nperformance of all these first class works in Dresden, Munich, Hamburg, Leipzig, Mannheim,\nHeidelberg, Darmstadt, Dussledorf, Breslau, and some idea can be gathered as to the energy\nof the Theatre in Germany. It will also be seen that only eight of the above theatres\nattempt the continuous run system, and that the plays selected for this experiment are not\nthose of Shakespeare, Schiller or Goethe. Compare this with the English system which runs\nall the good things to death, and it will be seen that the advantage lies with the Germans....\nnot the German Theatres any more than the English Tlieatresy but with the German People\nfor whom the theatre exists. That Mr Granville Barker's stand against this system should\nnot have received national, or at least strong personal, support from capitalists keen on\ndoing some good with their wealth, is not merely surprising but entirely and disastrously\nshameful. If Mr Barker's attitude had been very extreme, one could have understood this;\nor if his scheme had included a revival of the entire Art of the Theatre, or had been in any\nway a specially artistic movement, we could understand that the gravity of the offence\ndemanded a stern treatment of cold water; but it was merely a sensible and very plucky\nattempt to raise the English Theatre to the level of the Continental Theatre.\n\nHofmannsthal.\n& Mr. Gianville"}]}, {"article_id": "bm-bmtnaau-1908-04-01-c017", "article_bluemountain": "bmtnaau_1908-04_01#c017", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "18", "page_fin": "18", "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=bmtnaau190804-01.2.11.2", "titre_corps": "BERLIN THEATER PROGRAMME FOR A WEEK IN NOVEMBER 28 1904", "titre_sommaire": "BERLIN THEATER PROGRAMME FOR A WEEK IN NOVEMBER 28 1904", "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": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.26", "debut_caractere": 0, "fin_caractere_exclue": 2969, "texte": "BERLIN THEATRE PROGRAMME FOR A WEEK IN NOVEMBER 28. 1904.\nTHEATRE.\nMonday.\nI\nTuesday.\nWednesday.\nThursday.\nFriday.\nSaturday,\nSunday.\nKQL. OPERNHAUS 7.30\nLohengrin\nBajazzl Coppelia\nDie lustigen Weiber\nvon Windsor\nTannhauser\nSimphonieabend\nd. konigl. Kapelle\nDie lustigen Weiber\nv. Windsor\nDer Freischiitz\nKQL. SCHAUSPIELHAUS 7.30\n—\n—\n—\n—\n—\n—\n—\nNEUES KQL. OPERNHAUS 7.00\nFlachsraann\nals Erzieher\nAndromche\nGelehrte Frauen\nOthello\nTheodora\nAndronache\nGelehrte Frauen\nFaust\nFlachsmann\nals Erzieher |\nDEUTSCHES THEATER 7.30\nDon Carlos\nMaskerade\nMaskerade\nDon Carlos\nMaskerade\nMaskerade\nMaskerade\nLESSING-THEATER 7.30\nD. Siebzehnjahrige\nDer Biberpelz\nTraumulus\nD. Siebzehnjahrige\nDer Biberpelz\nD. Siebzehnjahrige\nTraumulus\nTHEATER DES WESTENS 7.30\nDie Hugenotten\nWiener Blut\nLa Traviata\nFranc. d'Andrade\nDon Juan\nWiener Blut\nWiener Blut\nWiener Blut\nNEUES THEATER 7.00\nDie lustigen Welber\nvon Windsor\nMorgenrote\nMorgenrote\nDie lustigen weiber\nvon Windsor\nDie Kronpratendenten\nD. lustig. Weiber\nvon Windsor\nMorgenrote\n1\nDTSCH.-AMERIK. TH. 8.00\nNew York\nNew York\nNew York\nNew York\nNew York\nNew York\n— |\nNew York\nRESIDENZ-THEATER 7.30\nE. Hochzeltsnacht\nE. Hochzeitsnacht\nE. Hochzeitsnacht\nE. Hochzeitsnacht\nE. Hochzeitsnacht\nE. Hochzeitsnacht\nE. Hochzeitsnacht |\nCENTRAL-THEATER 7.30\nDeer Generalkonsul\nDer Generalkonsul\nDer Generalkonsul\nDer Generalkonsul\nDie Geisha\nDer Generalkonsul\nDer Generalkonsul I\nBERLINER-THEATER 7.30\nEln Teufelskerl\nZapfenstreich\nAlt-Heidelberg\nEin Teufelskerl\nGotz von Berlichingen\nZapfenstreich\nEln Teufelskerl 1\nSCHILLER-TH. N. 8.00\nTyranney der ThrSnen\nMutter Erde\nGrosstadtluft\nMutter Erde\nD. Haubenlerche\nKrieg in Frieden\nDie Haubenlerche\nSCHILLER-TH. O. 8.00\nWallensteins Lager\nDie Piccolomlni\nWallensteins Tod\nTyranney der ThrSnenj Wallanstelns Lager\nDie Piccolomlni\nWallensteins Tod\nDie Jiidln von Toledo\nGrossstadtluft\nTHALIA-THEATER 7.30\nDer Welberkonig\nDer Welberkonig\nDer Welberkonig\nD. Welberkonig\nDer Welberkonig\nDer Welberkonig\nDer Weiberkonig j\nLUISEN-THEATER 8.00\nDer Registrator auf\nReisen\nDie Reise d. Berlin in\n80 Stundeu\nJulius Caesar\nDie Relse d. Berlin\nin 80 Stunden\nJulius Caesar\nMeln Leopold\nVon Stufe zu Stufe\nBELLE ALLIANCE-TH. 8.00\nD. Mllllonenbauer\nD. Milionenbauer\nD. Millionenbauer\nD. Millionenbauer\nD. Millionenbauer\nFrohl Weihnacht\nFrrhl. Weihnacht j\nAPOLLO-THEATER 8.00\nBerliner Luft 1 Berliner Lnft\nI\nBerliner Luft\nBerliner Luft\nBerliner Luft\nBerliner Luft\nBerliner Luft\nNATIONAL-THEATER 8.00\nDer Waffenschmied\nDie Favorltin\nPrevostl, Fedora\nDer Waffenschmied\nMillionenbraut\nPrevosti La Traviata\nDie Millionenbraut\nMETROPOL-THEATER 8.00\nD. Herren v. Maxim\nD. Herren v. Maxim\nD. Herren v. Maxim\nD» Herren v Maxim\nD. Herren v. Maxim\nD. Herrea v. Maxim\nD. Herren v. Maxim\nKLEINES THEATER 8.00\nNachtasyl\nDer tapfere Kasslan\nDer tapfere Kasslan\nNachtasyl\nEleclstra\nNachtasyl\nDer tapfere Kasslan\nTRIANON-THEATER 8.00\nGastons Frauen\nGastons Frauen\nGastons Frauen\nGastons Frauen\nGastons Frauen\nGastons Frauen\nGastons Frauea"}]}, {"article_id": "bm-bmtnaau-1908-04-01-c018", "article_bluemountain": "bmtnaau_1908-04_01#c018", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "19", "page_fin": "19", "image_debut": 27, "image_fin": 27, "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=bmtnaau190804-01.2.11.3", "titre_corps": "BERLIN THEATER PROGRAMME FOR A WEEK IN JANUARY 1908", "titre_sommaire": "BERLIN THEATER PROGRAMME FOR A WEEK IN JANUARY 1908", "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": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 2205, "texte": "BERLIN THEATRE PROGRAMME FOR A WEEK IN JANUARY 1908.\nKbnigli-\nches\nopernhaus\nKbnigli-\nches\nSchau-\nspielhaus\nResident\nTheater\nDeutsches\nTheater\nDtsch.\nTheater .\nKammer-\nspiele\nHebbel\nTheater\nKleines\nTheater\nThalia\nTheater\nLessing\nTheater\nFriedrich\nWilhelm-\nstadt.\nSchausp.\nTheater\nan der\nSpree\nFolies\nCaprice\nChat noir\nFriedri-\nchstr. 165\nSchiller\n|T h e a t e r\nChariot-\ntenburg\nAnfang\n7.30\n7.30\n8\n7.30\n8\n7.30\n8\n7.30\n7.30\n8\n8\n8\n11\n8\nDienstag\n•\nTherese.\nDas war\nich. Slav.\nBrautw.\nKSnig\nBibi\nDie\nFraulein\nJulie. Die\nNeuver-\nmahlteri\nGASTSPIEL IM CENTRAL=THEATER;\n7.30\nFra Warrens Qewerbe von Bernard Shaw\nMandra-\nGirardi\nImmer\nobenauf\nDie gelbe\nNachtigall\nKbnig\nHeinrich\nHokus-\npokus\nM A L WAS ANDERES!\nRevue mit Gesang in 3 Biledrn.\nVorher: Dunkle Punhte. — Eine anstandige Frau, Lustspiel.\n1 . - - . . . - _\nDIR. RUDOLPH NELSON.\nLene Land a. G. — Costanze Zinner\nBetti Kaiser-Szalok. — Fritz Griinbaum.\nKarll Nagelmiiller. — Kate Erlholz.\nDer Rich-\nOedipus\nRauber\ngola\nter von\nZalamea\n!\nI Mittwoch\nDie Mei-\nstersinger\nvon\nNiirnberg\nMinna v.\nBarnhelm\nBibi\nWas ihr\nwollt\nFriihlings\nErwachen\nDer\nUnsichere\nGirardi\nImmer\nobenauf\nNora\nMadame\nSans Gene\nHokus-\npokus\nCollege\nCrampton j\nDonnerstag\nSamson\nu. Dalila\nDie\nRaben-\nsteinerin\nBibi\nDie\nRauber\nHochzeit\nMandra-\ngola\nGirardi\nImmer\nobenauf\nKaiser\nKarls\nGeisel\nMadame\nSans Gene\nHokus-\npokus\n• |\nPhilister. 1\nDie Lore |\nFreitag\nSalome\nMinna v.\nBibi\nWas ihr\nQyges\nDer\nUnsichere\nGirardi\nImmer\nobenauf\nDie\nStiitzen\nder\nGesell-\nschaft\nKdnig\nHeinrich\nHokus-\npokus\n%\nDer Rich-\nBarnhelm\nwollt\nund sein\nRing\nter von\nZalamea\nSonnabend\nTristan\nu. Isolde\nDie Brant\nvon\nMessina\nBibi\nDie\nRauber\nHochzeit\nMandra-\ngola\nGirardi\nImmer\nobenauf\nDie\nWildente\nK5nig\nHeinrich\nHokus-\npokus\nGebildete\nMenschen\nSonntag\nMignon\nMinna v.\nHaben\nSie\nnichts zu\nverz.\nDie\nHochzeit\n3 Uhr:\nMaria\nM a g d a-\nlena\n3 Uhr: Ihr\nSechs Uhr\nOnkel\nNachm.\nDie\nversunk\nGlocke\n3 Uhr:\nNachtasyl\nNachm.\nAusge-\nwiesen\nN. Der Ri=\nBarnhelm\nRauber\nMadame\nSans Gene\nchter von\n8 Uhr: Gi-\nI. obenauf\nHokus-\npokus\nZalamea\nBibi\nMandrag.\nDer Biber.\n\\ Montag\nJohann\nvon Paris\nPrinz\nFriedrich\nvon\nHomburg\nWas ihr\nFriihlings\nErwachen\nUnbe-\nstimmt\nRosmers-\nK5nig\nHeinrich\nHokus-\npokus\nDer Rich-\nwolt\nholm\nter von\nZalamea"}]}, {"article_id": "bm-bmtnaau-1908-04-01-c019", "article_bluemountain": "bmtnaau_1908-04_01#c019", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "21", "page_fin": "23", "image_debut": 29, "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=bmtnaau190804-01.2.12", "titre_corps": "FOREIGN NOTES", "titre_sommaire": "FOREIGN NOTES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 29, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 5105, "texte": "FOREIGN NOTES\n\nAMSTERDAM\nJ. v. H.\ntragedian Olojiro Kawakami and his\ncelebrated wife Sada Yacco have been\nlately performing here to what is known as\nempty benches, and this in spite of the lectures\nwhich Madame Sada Yacco has delivered here.\n& The Dutch Actor, Royaards. has written\nan interesting article about their art in a\njournal here, in which he tells the actors\nto try and learn something from this visit\nof the Japanese. 1 quote a passage from\nhis article which will have interest for the\nreaders of 44 The Mask \".... 44 Believe me, \"\nhe writes, 44 it does not matter that you do\nnot understand the language of these artists.\nIn this old Japanese Legend perhaps only\nforty word are spoken, and of these not even\nten by Kawakami, who plays the Prince\nKoremotchi, and yet what an artist of the\nTheatre he proves himself to be IIn seeing his\nvery powerful and always beautiful gestures,\nwhich remind us of a series of peerless Japanese\nprints, I suddenly understood the Japanese\nand a great part of the culture of this\nunconquerable race, but also came to a fuller\nunderstanding of something else; that is to\nsay, the aims of Mr Gordon Craig to subordinate\nword to gesture in the Dramatic Art. The\nimpression I received from the silent acting\nof the Japanese will be ineffacable in me, ...\nApart from the pleasure which the Japanese\ngive us, they give us as well a deeper insight\ninto the kernel of the art of acting than most\nof our European stars \".\n\nBUDAPEST\nA. H.\nThe Marionette. & To the pupils in my\nDramatic College I put the following question\nyesterday. 44 Do you consider the Marionette\nnatural? \" 44 No \", they answered with one\nvoice. 44 What, \" 1 replied indignantly, 44 not\nnatural? All its movements speak with the\nperfect voice of its nature. If a machine\nshould try to move in imitation of human\nbeings, that would be unnatural. Now follow\nme:... the Marionette is more than natural;\nit has Style, ...that is to say, Unity of\nExpression; therefore the Marionette Theatre\nis the true Theatre\".\n\nWARSAW\nThe Polish Theatre born of the genius of\nWyspianski made itself felt even before his\nuntimely deaths Now it begins to make itself\nunderstood. It will prove a great factor in the\nrejuvination of the whole land. The Russian.\nArt Theatres continue to derive inspiration\nfrom the efforts of the Polish artist, and\nimitation is less evident in their work than\nmight be expected under the circumstances.\n\nSTOCKOLM\nA correspondent from Stockholm sends 11s a\ndrawing by Axel Gallen of an episode from\nthe Kale Vala which depicts an old and white\nbearded man leaning out over a boat and\ntrying to seize a beatiful girl who, like Undine,\nis escaping from him into the water. Under\nthe Design is written, \" The old man would\ncatch the beautiful maiden and can't;\njust as our old Theatre here wishes to catch\nArt and .....can't.\" It is an expressive criticism,\nand coming from the beautiful and celebrated\nEllen Key, it is valuable.\nAnother correspondent sends us the following\nfrom the same city:.... \"A new theatre has\nbeen built. The directors think of conducting\nit as a commercial theatre, so that we are no\nfurther forward than we were before it was\nbuilt. The inauguration was a dull affair\nFor the construction of the Theatre itself\nwe can find no words of praise. & &\nConventional to the last degree, and made\nafter the old worn-out pattern of the last 150\nyears, the architect seems to have entirely\ndisregarded Wagner's lesson to Europe as to\nthe purpose and therefore the shape, of an\nauditorium.The ground plan also shows that the\narchitect was obliged to make shift with his\nspace. It is very disappointing. The March\nnumber of \" Ord och Bild contains an\ninteresting illustrated description of this new\nTheatre. There are thirty five illustrations, and\namongst these are some excellent designs by\nCarl Miller, and six by that charming artist, Carl\nLarson. Especially interesting is the \" Skalden \"\non page 151. This design the artist was evidently\npersuaded or obliged to alter, for it differs\ngreatly from the final design shown in another\nillustration; we prefer the sketch on page\n151. The other designs are interesting in\nthemselves as showing the tendency of a\ngroup of Scandinavian artists. &\n\nMUNICH\n\nA MODEL ART THEATRE\nThe Munich Exhibition of 1908 will contain\na Model Theatre. It will be the work of the\nartists of the city, who have prepared models\nof their scenes. The artists have worked with\nlove, and, in many cases, have produced in\ntheir scenes the impression of space. The\nactual value of some of the attempts,\n(particularly the \" Faust \" scenes by Erler)\ndepend much upon the stage conditions and\nparticularly upon the lighting, and therefore\nthese models can only be as incomplete\nsketches. At the Press view held a little\nwhile ago, it was clear to me that the modern\nTheatre can supply the simple requirements\nof these artists much will have been gained\nfor the art of stage production. The models\nwere on view in the studio of Professor\nLittmann, whose work as architect for the\nPrince Regent Theatre and for the new\nTheatre in weimar is well known. These"}, {"page_pdf": 30, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.30", "debut_caractere": 0, "fin_caractere_exclue": 5610, "texte": "two theatres differ greatly, Professor\nLittmann having no dogmatic views as to the\nIn the first design he was wise enough to\nfollow the principles demonstrated first\nby Wagner in the Bayreuth Theatre. &\nAmong the several improvements of the new\nmodel stage in Munich the most important\nis the moveable proscenium. By means of\nthis the stage opening can be diminished or\nenlarged at will. Lear's Council Chamber and\nthe Hovel can both show to by this means,\nand it is obvious that this assists the\nordinary spectator to feel the reality of the\nrepresentation. Whether it is of any value\nto the art is quite another matter. It is\nnote that a moveable proscenium\nwas designed by Professor Herkomer many\nyears ago. He was even courteous enough to\nexhibit a model of it to a gathering of English\nmanagers, stage«managers, actors, and\nactresses who filled the small Avenue Theatre,\n(now the \" Playhouse \") to listen to the\nexcellent address which he delivered upon the\nidea. Not one manager amongst all the\ninfluential gatheringseemsto have understood\nthe value of his invention, for London is\nstill without its moveable proscenium....\nand Germany is now making one.... The\nlecture was delivered somewhere about the\nyear 1898 & the designs for this moveable\nproscenium may be seen in a large volume\non \" Stage Construction \" published by\nBatsford and written by Edwin O Sachs..\n\nA.F.\n\nPHILADELPHIA\nG. W. P.\nAlas, good news is not to be obtained. One\nthing only; we know that there is such a thing\nas the Art of the Theatre, that there is such\na thing as an artist of the Theatre.... that\nAmerica possesses neither; for if there has been\nsuch a thing here it has been secreted in an\nobscure place. Perhaps a little later we shall\nbe able to send news about Mr Belasco and\nof Mrs Fiske; yet why a work of art should\nnot bloom under the protective attention of\nthe Trust is difficult to understand. It is not\ndifficult to understand why it has not\nblossomed hitherto. Still it is easy for Art\nto be patient:... but the Public?....?\nHow long will they be content to pay for\nfifth rate goods, and so countenance a plain\nunvarnished swindle? &\n\nFLORENCE\nJ. S.\nSignor Salvini dwells here still. Therefore\nwe may say that the Theatre in Florence is\nstill one of the great theatres of Europe.\nSignor Salvini does not act, but an influence\nsuch as his does not fade easily. The great\nactor revived for another century to come,\nthe grand manner of acting. His gestures,\nhis voice, were not less natural than those\nof the more modern realists..** but they were\nmore true. These realists are most depressing\nwhenever they huddle on to the stage and\nbegin tinkering. Signor Salvini has very\nlittle sympathy for such nervous exhibitions.\nHphe occasional visits of Madame Duse are\nalways occasions. She brings her old plays...\n' La Dame aux Camalies ', • Gioconda ', Monna\nVanna' etc, and sometimes gives us a new\nplay But she does not honour us by\nbringing Shakespeare. &\nGrasso and his wonderful company\ngave us the opportunity of judging the\npower and swiftness of the Tuscan nature; their\nvisit sent the Florentines mad with joy for a\nfew days. Grasso and his company were\nbrilliant, but his audience was wonderful.\nThe cry which went up on his entry will never\nbe forgotten by those who heard it. Try to\nconceive a thousand men and women catching\nsight of their lovers at the same moment and\nyou can then realise the quality of the sound\nwhich sprang from their throats as their\nidol leapt before them. & & &\nA nother item of news is that Mr Gordon Craig\nhas, with the assistance of a little group\nof workers, built a model theatre in which\nhe is making experiments, Those experiments\nare not, as might be imagined, confined to\nscenic inventions and the like, but spread over\na wide area: in fact the whole Art of the\nTheatre, as he conceives it, is dissected and\nstudied. The model theatre fills a large studio\nand is constructed of wood. News of this\nTheatre has reached America for we have seen\nseveral long articles upon it, illustrated by\nSowings by John Balance and others. These\nawings of the scenes and figures of this\nmodel stage show the originality of the whole\ninvention We reserve further mention of this\nundertaking until the summer, when an\narticle has been promised us.\n\nMEININGIN\n\nThe famous Court Theatre here has been\ndestroyed by fire. On March 5th at 9.30 in\nthe morning the fire started from some cause\nunknown under the stage. The iron curtain\nwas unavailable to prevent the flames from\nreaching the auditorium, the heat being so\nintense that it destroyed the fastenings of\nthe curtain, which fell like a red=hot sheet\ninto the places where we have sat so\noften and witnessed so many beautifui\nrepresentations. At 8 o'clock in the evenig\nthe front of the building was still burning.\nAlthough the Theatre is a wreck, many of its\nvaluable treasures were, fortunately,\nunharmed. These comprise the arms and\narmour, many of the properties, and also the\npriceless library. The Meiningen Court\nTheatre was built in 1830. Duke George II took\na deep interest in the work, and under his\nprotection the Meiningen stage flourished and\nspread a good influence through all the\nTheatres of Germany. One of the first\ndirectors,., (or intendant, as he is called), was\nthe marshall of the court, Von Stein; but as\nthe theatre grew in importance Von Stein\nrecommended his sovereign to invite the poet\nFrederic Bodenstedt to fill the position.\nBodenstedt remained only a short time in\nMeiningen and the Duke gradually took matters\ninto his own hands. In the work he was greatly\nassisted by his wife, Baronness von Heldburg,"}, {"page_pdf": 31, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 4860, "texte": "a lady of English origin and sometime leading\nactress of the Meningen Theatre. The Duke\nalso had an able assistant and organizer\nin Herr Ferdinand Chronegk, and under\nhis leadership the Meiningen Company made\ntheir famous tours of Europe. Their work\nwon for them the applause of London, Berlin\nand St Petersburg, where they became great\nfavourites. In 1890 these tours ceased. It\nwas the Meiningen Theatre which first started\nthe 44 historically correct \" school, and which\nadvocated a lavish display of this 44 accurate\ndetail. \" But the crown of the Meningen\nCompany was its Discipline....and the spirit of\nthis discipline was unselfishness. When a new\nactor was engaged the Duke would say to\nhim, 44 If you wish to become a Meiniger you\nmust hold the Institute in such respect that\nyou will sacrifice everything personal to\ncontribute to the glory of the whole, and\nyou will act as a stage supernumary. As an\nexample of the discipline in little matters, a\nvisitor to the theatre tells us that one day\nthe chief hair-dresser had been fined two\nmarks for giving to Marguerite de Valois in\nthe 44 Bluthochziet,\" a coiffure which was not\nhistorically correct and was contrary to\norders. It availed nothing to say that the\nactress herself desired the change. The hair\ndresser was responsible for his department\nand had to bear the fine. Yet so little are\nthese rules felt to be a hardship, that\nthroughout Germany it is a matter of\nambition for an actor and an actress to become\na member of this company.\n\nG. N.\n\nLONDON\nR. S.\nTHE UNPOPULARITY OF THE POPULAR\nPLAY. & & & J&\nIt has still to be proved that Beauty is less\ncommercially successful than Vulgarity in Art.\nEspecially in the Art of the Theatre.\nVulgar plays are popular with the managers\nnot because the managers like them but\nbecause they are taught by the critics to\nbelieve they will bring in more moneny than\nthe beautiful plays. &\nYet we hear daily of the failure of many so-\ncalled \" popular \" plays. &\nOnly this month in England our most celebrated\nactress has produced a popular play and failed\nto make it a success. Are we rash in saying\nthat the inference is that the public is not\nsuch a fool as some people believe? That to\nstrive for Beauty in Art is really not out of\ndate,... if the box-office returns for the\n\"popular\" failure is any sign... and that while\nspending L. 2000.0 to produce a popular\nfailure, the cause of our theatre would be\nadvanced by sincere lovers of their art, if the\nsame sum had been spent upon an attempt\nto coax beauty upon the boards No ? &\nHpHE SICILIAN PLAYERS IN LONDON.\n* 44 It is the first time in my life that I have\nhad to be ashamed of my Profession \". So\nspake one of London's leading Actor Managers\nwhile witnessing a performance of the Sicilian\nplayers, at whose head stands the superb\nGrasso. The same Actor Manager added that\nif it has not been that the world might have\nthought him a prude he would have got up\nand left the theatre. Little could the Theatre\nhave guessed that day the terrible crisis\nthrough which it was passing. How many of\nthe audience were conscious of the possible\nExodus of this Actor Manager? A moment's\ncourage on the part of this gentleman, and\nthe face of the whole theatrical world might\nhave been altered. £?\nThe Sicilian players had the intention of\nplaying in London for two weeks. The\noverwhelming ovation accorded them by the\npeople of London determined them to extend\ntheir visit for three weeks more. SIgnor Grasso\nand Signorina Mimi Aguglia have won all the\nhearts and turned all the heads. It has done\nLondon much good to see them, and their work\nhas puzzled nobody but the critics. Everybody\nwas enthusiastic. In the stalls and dress-circle\nsat the curious armed with the indelicate\nopera glass; in the pit and the gallery sat or\nstood the flower of England's aristocracy,...\nthat is to say, her scientists, artists, musicians,\npoets, and her ladies. What a charming\ngathering it was to be sure; how witty and\ngracious their acceptance of the brave qualties\nof this man and woman,... how sensible the\ncriticisms they uttered. To read the papers\nnext morning after hearing them was tedious.\nThe critics, (we do not include the talented\nwriters) to a man seem to have gone out\nbetween the acts and asked one another,\n44 Well, what do you think of it? \" and each\nseems to have replied, 44 don't know, what do\nyou ? \" ....and both may have agreed to ask\nsome one in the pit. Then each seems to have\nbeen button-holed either by a dandified\nmerchant or an armour plate manufacturer,\nand been told exactly what to think. &\nSo as you see it is all very amusing still in\nthe theatrical world here. The same play is\nenacted night after night in each theatre and\nthe final criticism of it all is that the ladies\nof London are divinely fair and stand as the\nonly excuse for that arrogant tomfoolery....\nthe English stage. &"}]}, {"article_id": "bm-bmtnaau-1908-04-01-c021", "article_bluemountain": "bmtnaau_1908-04_01#c021", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "21", "page_fin": "21", "image_debut": 29, "image_fin": 29, "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=bmtnaau190804-01.2.12.2", "titre_corps": "AMSTERDAM", "titre_sommaire": "AMSTERDAM", "signature_source": "J. v. H", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 29, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.29", "debut_caractere": 15, "fin_caractere_exclue": 1457, "texte": "AMSTERDAM\nJ. v. H.\ntragedian Olojiro Kawakami and his\ncelebrated wife Sada Yacco have been\nlately performing here to what is known as\nempty benches, and this in spite of the lectures\nwhich Madame Sada Yacco has delivered here.\n& The Dutch Actor, Royaards. has written\nan interesting article about their art in a\njournal here, in which he tells the actors\nto try and learn something from this visit\nof the Japanese. 1 quote a passage from\nhis article which will have interest for the\nreaders of 44 The Mask \".... 44 Believe me, \"\nhe writes, 44 it does not matter that you do\nnot understand the language of these artists.\nIn this old Japanese Legend perhaps only\nforty word are spoken, and of these not even\nten by Kawakami, who plays the Prince\nKoremotchi, and yet what an artist of the\nTheatre he proves himself to be IIn seeing his\nvery powerful and always beautiful gestures,\nwhich remind us of a series of peerless Japanese\nprints, I suddenly understood the Japanese\nand a great part of the culture of this\nunconquerable race, but also came to a fuller\nunderstanding of something else; that is to\nsay, the aims of Mr Gordon Craig to subordinate\nword to gesture in the Dramatic Art. The\nimpression I received from the silent acting\nof the Japanese will be ineffacable in me, ...\nApart from the pleasure which the Japanese\ngive us, they give us as well a deeper insight\ninto the kernel of the art of acting than most\nof our European stars \"."}]}, {"article_id": "bm-bmtnaau-1908-04-01-c022", "article_bluemountain": "bmtnaau_1908-04_01#c022", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "21", "page_fin": "21", "image_debut": 29, "image_fin": 29, "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=bmtnaau190804-01.2.12.3", "titre_corps": "BUDAPEST", "titre_sommaire": "BUDAPEST", "signature_source": "A. H", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 29, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.29", "debut_caractere": 1459, "fin_caractere_exclue": 2015, "texte": "BUDAPEST\nA. H.\nThe Marionette. & To the pupils in my\nDramatic College I put the following question\nyesterday. 44 Do you consider the Marionette\nnatural? \" 44 No \", they answered with one\nvoice. 44 What, \" 1 replied indignantly, 44 not\nnatural? All its movements speak with the\nperfect voice of its nature. If a machine\nshould try to move in imitation of human\nbeings, that would be unnatural. Now follow\nme:... the Marionette is more than natural;\nit has Style, ...that is to say, Unity of\nExpression; therefore the Marionette Theatre\nis the true Theatre\"."}]}, {"article_id": "bm-bmtnaau-1908-04-01-c023", "article_bluemountain": "bmtnaau_1908-04_01#c023", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "21", "page_fin": "21", "image_debut": 29, "image_fin": 29, "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=bmtnaau190804-01.2.12.4", "titre_corps": "WARSAW", "titre_sommaire": "WARSAW", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 29, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.29", "debut_caractere": 2017, "fin_caractere_exclue": 2421, "texte": "WARSAW\nThe Polish Theatre born of the genius of\nWyspianski made itself felt even before his\nuntimely deaths Now it begins to make itself\nunderstood. It will prove a great factor in the\nrejuvination of the whole land. The Russian.\nArt Theatres continue to derive inspiration\nfrom the efforts of the Polish artist, and\nimitation is less evident in their work than\nmight be expected under the circumstances."}]}, {"article_id": "bm-bmtnaau-1908-04-01-c024", "article_bluemountain": "bmtnaau_1908-04_01#c024", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "21", "page_fin": "21", "image_debut": 29, "image_fin": 29, "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=bmtnaau190804-01.2.12.5", "titre_corps": "STOCKOLM", "titre_sommaire": "STOCKOLM", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 29, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.29", "debut_caractere": 2423, "fin_caractere_exclue": 4224, "texte": "STOCKOLM\nA correspondent from Stockholm sends 11s a\ndrawing by Axel Gallen of an episode from\nthe Kale Vala which depicts an old and white\nbearded man leaning out over a boat and\ntrying to seize a beatiful girl who, like Undine,\nis escaping from him into the water. Under\nthe Design is written, \" The old man would\ncatch the beautiful maiden and can't;\njust as our old Theatre here wishes to catch\nArt and .....can't.\" It is an expressive criticism,\nand coming from the beautiful and celebrated\nEllen Key, it is valuable.\nAnother correspondent sends us the following\nfrom the same city:.... \"A new theatre has\nbeen built. The directors think of conducting\nit as a commercial theatre, so that we are no\nfurther forward than we were before it was\nbuilt. The inauguration was a dull affair\nFor the construction of the Theatre itself\nwe can find no words of praise. & &\nConventional to the last degree, and made\nafter the old worn-out pattern of the last 150\nyears, the architect seems to have entirely\ndisregarded Wagner's lesson to Europe as to\nthe purpose and therefore the shape, of an\nauditorium.The ground plan also shows that the\narchitect was obliged to make shift with his\nspace. It is very disappointing. The March\nnumber of \" Ord och Bild contains an\ninteresting illustrated description of this new\nTheatre. There are thirty five illustrations, and\namongst these are some excellent designs by\nCarl Miller, and six by that charming artist, Carl\nLarson. Especially interesting is the \" Skalden \"\non page 151. This design the artist was evidently\npersuaded or obliged to alter, for it differs\ngreatly from the final design shown in another\nillustration; we prefer the sketch on page\n151. The other designs are interesting in\nthemselves as showing the tendency of a\ngroup of Scandinavian artists. &"}]}, {"article_id": "bm-bmtnaau-1908-04-01-c025", "article_bluemountain": "bmtnaau_1908-04_01#c025", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "21", "page_fin": "22", "image_debut": 29, "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=bmtnaau190804-01.2.12.6", "titre_corps": "MUNICH", "titre_sommaire": "MUNICH", "signature_source": "A. F", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 29, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.29", "debut_caractere": 4226, "fin_caractere_exclue": 5105, "texte": "MUNICH\n\nA MODEL ART THEATRE\nThe Munich Exhibition of 1908 will contain\na Model Theatre. It will be the work of the\nartists of the city, who have prepared models\nof their scenes. The artists have worked with\nlove, and, in many cases, have produced in\ntheir scenes the impression of space. The\nactual value of some of the attempts,\n(particularly the \" Faust \" scenes by Erler)\ndepend much upon the stage conditions and\nparticularly upon the lighting, and therefore\nthese models can only be as incomplete\nsketches. At the Press view held a little\nwhile ago, it was clear to me that the modern\nTheatre can supply the simple requirements\nof these artists much will have been gained\nfor the art of stage production. The models\nwere on view in the studio of Professor\nLittmann, whose work as architect for the\nPrince Regent Theatre and for the new\nTheatre in weimar is well known. These"}, {"page_pdf": 30, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.30", "debut_caractere": 0, "fin_caractere_exclue": 1377, "texte": "two theatres differ greatly, Professor\nLittmann having no dogmatic views as to the\nIn the first design he was wise enough to\nfollow the principles demonstrated first\nby Wagner in the Bayreuth Theatre. &\nAmong the several improvements of the new\nmodel stage in Munich the most important\nis the moveable proscenium. By means of\nthis the stage opening can be diminished or\nenlarged at will. Lear's Council Chamber and\nthe Hovel can both show to by this means,\nand it is obvious that this assists the\nordinary spectator to feel the reality of the\nrepresentation. Whether it is of any value\nto the art is quite another matter. It is\nnote that a moveable proscenium\nwas designed by Professor Herkomer many\nyears ago. He was even courteous enough to\nexhibit a model of it to a gathering of English\nmanagers, stage«managers, actors, and\nactresses who filled the small Avenue Theatre,\n(now the \" Playhouse \") to listen to the\nexcellent address which he delivered upon the\nidea. Not one manager amongst all the\ninfluential gatheringseemsto have understood\nthe value of his invention, for London is\nstill without its moveable proscenium....\nand Germany is now making one.... The\nlecture was delivered somewhere about the\nyear 1898 & the designs for this moveable\nproscenium may be seen in a large volume\non \" Stage Construction \" published by\nBatsford and written by Edwin O Sachs..\n\nA.F."}]}, {"article_id": "bm-bmtnaau-1908-04-01-c026", "article_bluemountain": "bmtnaau_1908-04_01#c026", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "22", "page_fin": "22", "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=bmtnaau190804-01.2.12.7", "titre_corps": "PHILADELPHIA", "titre_sommaire": "PHILADELPHIA", "signature_source": "G. W. P", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 30, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.30", "debut_caractere": 1379, "fin_caractere_exclue": 2131, "texte": "PHILADELPHIA\nG. W. P.\nAlas, good news is not to be obtained. One\nthing only; we know that there is such a thing\nas the Art of the Theatre, that there is such\na thing as an artist of the Theatre.... that\nAmerica possesses neither; for if there has been\nsuch a thing here it has been secreted in an\nobscure place. Perhaps a little later we shall\nbe able to send news about Mr Belasco and\nof Mrs Fiske; yet why a work of art should\nnot bloom under the protective attention of\nthe Trust is difficult to understand. It is not\ndifficult to understand why it has not\nblossomed hitherto. Still it is easy for Art\nto be patient:... but the Public?....?\nHow long will they be content to pay for\nfifth rate goods, and so countenance a plain\nunvarnished swindle? &"}]}, {"article_id": "bm-bmtnaau-1908-04-01-c027", "article_bluemountain": "bmtnaau_1908-04_01#c027", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "22", "page_fin": "22", "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=bmtnaau190804-01.2.12.8", "titre_corps": "FLORENCE", "titre_sommaire": "FLORENCE", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 30, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.30", "debut_caractere": 2133, "fin_caractere_exclue": 4268, "texte": "FLORENCE\nJ. S.\nSignor Salvini dwells here still. Therefore\nwe may say that the Theatre in Florence is\nstill one of the great theatres of Europe.\nSignor Salvini does not act, but an influence\nsuch as his does not fade easily. The great\nactor revived for another century to come,\nthe grand manner of acting. His gestures,\nhis voice, were not less natural than those\nof the more modern realists..** but they were\nmore true. These realists are most depressing\nwhenever they huddle on to the stage and\nbegin tinkering. Signor Salvini has very\nlittle sympathy for such nervous exhibitions.\nHphe occasional visits of Madame Duse are\nalways occasions. She brings her old plays...\n' La Dame aux Camalies ', • Gioconda ', Monna\nVanna' etc, and sometimes gives us a new\nplay But she does not honour us by\nbringing Shakespeare. &\nGrasso and his wonderful company\ngave us the opportunity of judging the\npower and swiftness of the Tuscan nature; their\nvisit sent the Florentines mad with joy for a\nfew days. Grasso and his company were\nbrilliant, but his audience was wonderful.\nThe cry which went up on his entry will never\nbe forgotten by those who heard it. Try to\nconceive a thousand men and women catching\nsight of their lovers at the same moment and\nyou can then realise the quality of the sound\nwhich sprang from their throats as their\nidol leapt before them. & & &\nA nother item of news is that Mr Gordon Craig\nhas, with the assistance of a little group\nof workers, built a model theatre in which\nhe is making experiments, Those experiments\nare not, as might be imagined, confined to\nscenic inventions and the like, but spread over\na wide area: in fact the whole Art of the\nTheatre, as he conceives it, is dissected and\nstudied. The model theatre fills a large studio\nand is constructed of wood. News of this\nTheatre has reached America for we have seen\nseveral long articles upon it, illustrated by\nSowings by John Balance and others. These\nawings of the scenes and figures of this\nmodel stage show the originality of the whole\ninvention We reserve further mention of this\nundertaking until the summer, when an\narticle has been promised us."}]}, {"article_id": "bm-bmtnaau-1908-04-01-c028", "article_bluemountain": "bmtnaau_1908-04_01#c028", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "22", "page_fin": "23", "image_debut": 30, "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=bmtnaau190804-01.2.12.9", "titre_corps": "MEININGIN", "titre_sommaire": "MEININGIN", "signature_source": "G. N", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 30, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.30", "debut_caractere": 4270, "fin_caractere_exclue": 5610, "texte": "MEININGIN\n\nThe famous Court Theatre here has been\ndestroyed by fire. On March 5th at 9.30 in\nthe morning the fire started from some cause\nunknown under the stage. The iron curtain\nwas unavailable to prevent the flames from\nreaching the auditorium, the heat being so\nintense that it destroyed the fastenings of\nthe curtain, which fell like a red=hot sheet\ninto the places where we have sat so\noften and witnessed so many beautifui\nrepresentations. At 8 o'clock in the evenig\nthe front of the building was still burning.\nAlthough the Theatre is a wreck, many of its\nvaluable treasures were, fortunately,\nunharmed. These comprise the arms and\narmour, many of the properties, and also the\npriceless library. The Meiningen Court\nTheatre was built in 1830. Duke George II took\na deep interest in the work, and under his\nprotection the Meiningen stage flourished and\nspread a good influence through all the\nTheatres of Germany. One of the first\ndirectors,., (or intendant, as he is called), was\nthe marshall of the court, Von Stein; but as\nthe theatre grew in importance Von Stein\nrecommended his sovereign to invite the poet\nFrederic Bodenstedt to fill the position.\nBodenstedt remained only a short time in\nMeiningen and the Duke gradually took matters\ninto his own hands. In the work he was greatly\nassisted by his wife, Baronness von Heldburg,"}, {"page_pdf": 31, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 1509, "texte": "a lady of English origin and sometime leading\nactress of the Meningen Theatre. The Duke\nalso had an able assistant and organizer\nin Herr Ferdinand Chronegk, and under\nhis leadership the Meiningen Company made\ntheir famous tours of Europe. Their work\nwon for them the applause of London, Berlin\nand St Petersburg, where they became great\nfavourites. In 1890 these tours ceased. It\nwas the Meiningen Theatre which first started\nthe 44 historically correct \" school, and which\nadvocated a lavish display of this 44 accurate\ndetail. \" But the crown of the Meningen\nCompany was its Discipline....and the spirit of\nthis discipline was unselfishness. When a new\nactor was engaged the Duke would say to\nhim, 44 If you wish to become a Meiniger you\nmust hold the Institute in such respect that\nyou will sacrifice everything personal to\ncontribute to the glory of the whole, and\nyou will act as a stage supernumary. As an\nexample of the discipline in little matters, a\nvisitor to the theatre tells us that one day\nthe chief hair-dresser had been fined two\nmarks for giving to Marguerite de Valois in\nthe 44 Bluthochziet,\" a coiffure which was not\nhistorically correct and was contrary to\norders. It availed nothing to say that the\nactress herself desired the change. The hair\ndresser was responsible for his department\nand had to bear the fine. Yet so little are\nthese rules felt to be a hardship, that\nthroughout Germany it is a matter of\nambition for an actor and an actress to become\na member of this company.\n\nG. N."}]}, {"article_id": "bm-bmtnaau-1908-04-01-c029", "article_bluemountain": "bmtnaau_1908-04_01#c029", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "23", "page_fin": "23", "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=bmtnaau190804-01.2.12.10", "titre_corps": "LONDON", "titre_sommaire": "LONDON", "signature_source": "R. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 31, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.31", "debut_caractere": 1511, "fin_caractere_exclue": 4860, "texte": "LONDON\nR. S.\nTHE UNPOPULARITY OF THE POPULAR\nPLAY. & & & J&\nIt has still to be proved that Beauty is less\ncommercially successful than Vulgarity in Art.\nEspecially in the Art of the Theatre.\nVulgar plays are popular with the managers\nnot because the managers like them but\nbecause they are taught by the critics to\nbelieve they will bring in more moneny than\nthe beautiful plays. &\nYet we hear daily of the failure of many so-\ncalled \" popular \" plays. &\nOnly this month in England our most celebrated\nactress has produced a popular play and failed\nto make it a success. Are we rash in saying\nthat the inference is that the public is not\nsuch a fool as some people believe? That to\nstrive for Beauty in Art is really not out of\ndate,... if the box-office returns for the\n\"popular\" failure is any sign... and that while\nspending L. 2000.0 to produce a popular\nfailure, the cause of our theatre would be\nadvanced by sincere lovers of their art, if the\nsame sum had been spent upon an attempt\nto coax beauty upon the boards No ? &\nHpHE SICILIAN PLAYERS IN LONDON.\n* 44 It is the first time in my life that I have\nhad to be ashamed of my Profession \". So\nspake one of London's leading Actor Managers\nwhile witnessing a performance of the Sicilian\nplayers, at whose head stands the superb\nGrasso. The same Actor Manager added that\nif it has not been that the world might have\nthought him a prude he would have got up\nand left the theatre. Little could the Theatre\nhave guessed that day the terrible crisis\nthrough which it was passing. How many of\nthe audience were conscious of the possible\nExodus of this Actor Manager? A moment's\ncourage on the part of this gentleman, and\nthe face of the whole theatrical world might\nhave been altered. £?\nThe Sicilian players had the intention of\nplaying in London for two weeks. The\noverwhelming ovation accorded them by the\npeople of London determined them to extend\ntheir visit for three weeks more. SIgnor Grasso\nand Signorina Mimi Aguglia have won all the\nhearts and turned all the heads. It has done\nLondon much good to see them, and their work\nhas puzzled nobody but the critics. Everybody\nwas enthusiastic. In the stalls and dress-circle\nsat the curious armed with the indelicate\nopera glass; in the pit and the gallery sat or\nstood the flower of England's aristocracy,...\nthat is to say, her scientists, artists, musicians,\npoets, and her ladies. What a charming\ngathering it was to be sure; how witty and\ngracious their acceptance of the brave qualties\nof this man and woman,... how sensible the\ncriticisms they uttered. To read the papers\nnext morning after hearing them was tedious.\nThe critics, (we do not include the talented\nwriters) to a man seem to have gone out\nbetween the acts and asked one another,\n44 Well, what do you think of it? \" and each\nseems to have replied, 44 don't know, what do\nyou ? \" ....and both may have agreed to ask\nsome one in the pit. Then each seems to have\nbeen button-holed either by a dandified\nmerchant or an armour plate manufacturer,\nand been told exactly what to think. &\nSo as you see it is all very amusing still in\nthe theatrical world here. The same play is\nenacted night after night in each theatre and\nthe final criticism of it all is that the ladies\nof London are divinely fair and stand as the\nonly excuse for that arrogant tomfoolery....\nthe English stage. &"}]}, {"article_id": "bm-bmtnaau-1908-04-01-c031", "article_bluemountain": "bmtnaau_1908-04_01#c031", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "24", "page_fin": "24", "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=bmtnaau190804-01.2.13", "titre_corps": "\"ELECTRA\" AND \"SALOME\" : A NOTE ON A VULGAR PARAGRAPH", "titre_sommaire": "\"ELECTRA\" AND \"SALOME\" : A NOTE ON A VULGAR PARAGRAPH", "signature_source": "G. N.", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 32, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.32", "debut_caractere": 0, "fin_caractere_exclue": 5311, "texte": "\"ELECTRA\" AND \"SALOME\"\nA NOTE ON A VULGAR PARAGRAPH\nG. N. London\n\" They are hard at work with plectra at the\nGarden theatre, where Mrs. Pat Campbell and\nMrs. Tree will appear next Tuesday night,\ncircumstances permitting. There is a great\ndeal of speculative expectation regarding the\ndance which is to be performed in this play,\nfor report has it that it has the Salome dance\nof the Seven Veils \" beaten to a frazzle but\nnous verrons. London Journal.\nA nd this is the best paragraph which can\nbe made up out of an event of really some\nimportance to the theatre as an Art Institution.\nSurely such vulgarity is a trifle tedious,\nespecially whew it appears in a well-known\nLondon theatrical paper. If the Dramatic\nJournals do not control the tendency of\nwriters to vulgarise the stage, then the case is\ngetting rather serious. & &\nThe tragedy of \" Electra \" was first produced\nin Berlin by Director Reinhardt, in, we believe,\nthe year 1903. It was one of a series of\nremarkable plays from the pen of Dr Hugo\nvon Hofmannsthal, the youngest and most\ngifted of the German poets, whose work\ndeserves a more ideal treatment on the stage\nthan it ever receives. &\nHofmannsthal is no realist in the theatrical\nsense of the word. Realism in the Theatre\nof the North means Gloominess, a darkened\nstage and commonplace, (not even good\nhonest) drawing room and stable gestures.\n\" Electra \" at the Kleines Theater in Berlin\nwas a depressing not an inspiring sight. The\nKleines Theater is a fine little theatre made\nfor a certain kind of play,.... for \" Nachazyl \",\nfor \" The Green Cockatoo \", but it is neither\nbuilt nor decorated to hold the noble and tender\nthoughts of a Poet. & &\nA gong precedes the drawing back of a gloomy\ncurtain and reveals, no matter what the piece,\na gloomy scene. The gloom recalled to us the\nearliest efforts of a certain English producer\nof plays, who managed, however, to give a\nsense of space to his scenes from the very first.\nBut where gloom is allied with newness it\nweighs heavily upon the spirit. Hofmannsthal's\nplay needed a finer, a grander treatment.\nInstead of a despairing gong we needed the\npiercing blare of silver trumpets. Instead of\na cramped brown-black scene of imitation\nstonework set upon a raised platform close\nto our seats, we needed an imaginative scene,\nfull of a sense of colour, placed upon a stage\nwhich should allow proportion its\nThe acting in the play was made to appear\namateurish on account of the disproportion\nbetween stage and play. Frau Eysolt, who is\nquite one of the most thoughtful actresses in\nBerlin, appeared to us to a great disadvantage\nowing to this confusion of proportion. £/\nEven under those unfortunate conditions the\nbeauty of the play could not be hidden. Madame\nDuse enthusiastically welcomed it and was\nintending to act the part of \" Electra \". The\nscenery and costumes were all made, and\neverything pointed towards a European\ntriumph for this young German work. We\n[believe that the production has only been\npostponed. Meantime the great Italian actress\ncontinues her old repertoire consisting of\nthose popular works, \"La Dame aux Camillas\",\n\"MonaVanna\", \" Gioconda \". These plays\nevidently what the public cares to pay\nto see,.... and what the great actress seems\nhappy to appear in. &\nBut listen!—\" Electra \"is also what the Public\nloves to see.... did it not run 300 or 500 nights\nin Berlin? Did it not succeed in all the theatres\nwhere it was seen—does it not seem, too, that\nit is to be a like success in New York?\nThe English need not have any fear about\nthe last foolish words of the American\nparagraph, report about \" the Salome dance\nof the Seven Veils \"beaten to a frazzle\";\nbut nous verrons\". They will see nothing.\nSalome's dance is revoltingly stupid wherever\nit has been presented (we have not seen Miss\nLoie Fuller's invention of this dance) and the\ndance in \" Electra ,, means a few leaps in the\nair at best, and the curtain descends.\nThen, too, the costume for \" Electra \"is a\nvery serious and tragic dress, Salome's utterly\nflippant, aud fitted for opera bouffe. \" Electra \"\nshould certainly be seen in England. &\nWriting of \" Salome \" reminds us of a\ncertain tendency in some of the theatres\n(especially in Germany) to attract a weary\npublic to the playhouse by the exhibition of\na rather exaggerated nudity. In certain\nGerman cities the actress who has taken the\npart of \" Salome \" has been obliged to appear\nin this half-witted condition. It does not add\nto the beauty of the play,... it rather spoils\nthe little beauty which is there. The precedent\nis a bad one, and, allied to plays of a realistic\nnature, a grotesque disharmony is produced.\nA fine and ancient tradition secured for us by\nthe old masters of art now permits the\nexhibition of nude works of art in sculpture\nand painting. A healthy tradition almost\npermits nudity at the seaside. And 1 believe\nif the exponents of \" Salome \" would face the\ncomparison with nature and would perform\nfor us in the sun upon the hills and the sands,\nwe should all be as happy as sand-boys.\nArtificiality would not dare to face the daylight\nand air. But the foot-lights, grease-paint, an\nartificial time, and a sense of the theatre\nspread around does not conspire towards the\nrevealing of that which even in Sculpture and\nPainting is both difficult and dangerous to\ntranslate"}]}, {"article_id": "bm-bmtnaau-1908-04-01-c033", "article_bluemountain": "bmtnaau_1908-04_01#c033", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "25", "page_fin": "25", "image_debut": 33, "image_fin": 33, "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=bmtnaau190804-01.2.14", "titre_corps": "EDITORIAL NOTES", "titre_sommaire": "EDITORIAL NOTES", "signature_source": "J.S.", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 33, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 5296, "texte": "EDITORIAL NOTES\nJ. S.\n\n\"Hphere is no such thing,\" says Goethe, \" as\npatriotic art or patriotic science. Both art\nand science belong, like all else that is great\nand good, to the whole world, and can only be\npermitted by a free and universal interchange\nof ideas among contemporaries, with constant\nreference to that which we have inherited\nand learnt from the past \". Here one is\nforced to think how it would be if the we\nwere to listen a little more to Goethe, as\nwell as name streets and squares after him,\nfor we hear a whisper too much about\n'English\" Art, \"French\" Art, German art as if\nsuch things could ever be actualities. Art,\nto be above patriotism, as Goethe says it is,\nmust indeed be a very extraordinary thing, a\nfar more wonderful power than we acknowle-\ndge; for the artists to be able to derive no\nadvantage from being charged by a sense of\npatriotism hints at the capacity of Art.\nThe independence of the powers of Art being\nso enormous, may it not be that when all\ncontinents, nations and countries with their\npoliticians, diplomatists and systems of\ncalculations shall have found it impossible to\nunderstand the simple laws of harmony and\nbalance, which it is now time to see swinging,\nall over the world, and when all these men\nand countries quarrelling together about\nnothing—for possessions—and when the East\nand the West shall come in contact about\nthis same folly and shall be wearied after a\npitiless struggle, may it not be that the artists\nof the East and of the West, bound together\nalready by the deepest closest ties, shall be\nable to bring about a just and vital World's\nPeace—by creating in all people this sense of\nharmony and balance which, being so simple,\nremains ever so great a mystery? &\n\npoetry cannot be beautifully spoken byEnglish\nspeakers. Even the best of them veneer\nthe sounds with a slight monotone. The\nEnglish speakers when reciting poetry seem\nto feel that they are upon dangerous\nground—for the road of the poets leads where\nthe English nation does not like to go; that\nis to say, it leads towards truth, and complete\ntruth contains some elements which the crowd\nalways shies at. Hence the sanctimonious\nfaces and voices of those who declaim poetry\nin England—it is as if they were at some\nmodern church function, a baptism or a burial.\n\" Truth is a torch \" writes Goethe \" but it\nis a huge one. This is why we all of us try\nto steal past it with blinking eyes, and afraid\nlest we may be burnt \".\nBut there is no excuse for any artist to blink;\nthe theatre with its sing-song reciters should\npractice facing the torch. &\n\n\\X/hat an impression a performance on the\nstage can create in the minds of children!\nPeople are like children. A nation can be\nshown the way to dance when it will refuse\nto for the asking. In the same way Loyalty\nto old and splendid ideals can be inspired by\nmeans of the Theatre when all the lecturing\nfrom all the platforms of the world has failed.\nLabour is, I supppse, part and parcel of a\nnation's bodily health, even as the sense of\nRoyalty and Religion is part and parcel of the\nhealth of the mind of the nation. A nation\nwhich has a Royal Theatre or a Religious one\nwill do well, better than if it is left to Labour\nto provide fantasy for the &\nThe Theatre of England is and has always\nbeen loyal to the old English ideal, but when\nwe have a Labour Party we may shortly epect\na Labour Theatre, ....a gruesome kind of\nPeople's Palace where all except the people\nare happy Or will the English Theatre\nprefer to remain dull as ditch-water rather\nthan turn SociaIist?....Well, it is preferable....\nBut there is a third possibility.\n\nvisit to Amsterdam of the Far Eastern\nactors is particularly remarkable for one\nthing. It has caused an actor of the West to\nproclain his belief that words are not necessary\nto the full understanding of a dramatic\nperformance (see page 17) When the Japanese\nvisited London some years ago was there one\nactor who found enough courage and modesty\nto proclaim the same truth? Mr Royaards\nhas convictions and these will assist his\ncountry to a better understanding of the Art.\nAlthough we must treat all his statements\nwith consideration, we do not feel ourselves\nquite in sympathy with his advice to the Dutch\nactors to go and see the Japanese actors. We\nwould rather caution all actors of the West\nto beware of ever witnessing a performance\nby Eastern actors. We see the disaster which\nhas come to our wall papers and other crafts\nby a too warm admiration of Japanese art.\nTo search for and discover the laws which\ngovern all art and to attempt to abide by\nthese laws, this is the duty of the artist; but\nwe must beware of any sudden influence\nwhich would lead to imitation, especially so\nstrange an influence as that able to be brought\nto bear by the East upon the West. For it\nis not necessary to learn from Japan., The\nlaws of art are universal; they are the only\nuniversal laws. They have some basis in\ncharacter,...but let not convention and a stiff\nobservance of manners be put in place of\ncharacter.... Mr Martin Harvey's very valuable\nessay upon \"Character and the Actor \"is to\nread by all actors who trouble to consider\ntheir work seriously; but all of them must\nbe careful to read into Mr Harvey's words\ntheir full import. He does not speak of\nartificial or surface character."}]}, {"article_id": "bm-bmtnaau-1908-04-01-c035", "article_bluemountain": "bmtnaau_1908-04_01#c035", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "25", "page_fin": "25", "image_debut": 33, "image_fin": 33, "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=bmtnaau190804-01.2.14.2", "titre_corps": "There is no such thing...", "titre_sommaire": "There is no such thing...", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 33, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.33", "debut_caractere": 23, "fin_caractere_exclue": 1727, "texte": "\"Hphere is no such thing,\" says Goethe, \" as\npatriotic art or patriotic science. Both art\nand science belong, like all else that is great\nand good, to the whole world, and can only be\npermitted by a free and universal interchange\nof ideas among contemporaries, with constant\nreference to that which we have inherited\nand learnt from the past \". Here one is\nforced to think how it would be if the we\nwere to listen a little more to Goethe, as\nwell as name streets and squares after him,\nfor we hear a whisper too much about\n'English\" Art, \"French\" Art, German art as if\nsuch things could ever be actualities. Art,\nto be above patriotism, as Goethe says it is,\nmust indeed be a very extraordinary thing, a\nfar more wonderful power than we acknowle-\ndge; for the artists to be able to derive no\nadvantage from being charged by a sense of\npatriotism hints at the capacity of Art.\nThe independence of the powers of Art being\nso enormous, may it not be that when all\ncontinents, nations and countries with their\npoliticians, diplomatists and systems of\ncalculations shall have found it impossible to\nunderstand the simple laws of harmony and\nbalance, which it is now time to see swinging,\nall over the world, and when all these men\nand countries quarrelling together about\nnothing—for possessions—and when the East\nand the West shall come in contact about\nthis same folly and shall be wearied after a\npitiless struggle, may it not be that the artists\nof the East and of the West, bound together\nalready by the deepest closest ties, shall be\nable to bring about a just and vital World's\nPeace—by creating in all people this sense of\nharmony and balance which, being so simple,\nremains ever so great a mystery? &"}]}, {"article_id": "bm-bmtnaau-1908-04-01-c036", "article_bluemountain": "bmtnaau_1908-04_01#c036", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "25", "page_fin": "25", "image_debut": 33, "image_fin": 33, "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=bmtnaau190804-01.2.14.3", "titre_corps": "Poetry cannot be beautifully spoken...", "titre_sommaire": "Poetry cannot be beautifully spoken...", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 33, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.33", "debut_caractere": 1729, "fin_caractere_exclue": 2573, "texte": "poetry cannot be beautifully spoken byEnglish\nspeakers. Even the best of them veneer\nthe sounds with a slight monotone. The\nEnglish speakers when reciting poetry seem\nto feel that they are upon dangerous\nground—for the road of the poets leads where\nthe English nation does not like to go; that\nis to say, it leads towards truth, and complete\ntruth contains some elements which the crowd\nalways shies at. Hence the sanctimonious\nfaces and voices of those who declaim poetry\nin England—it is as if they were at some\nmodern church function, a baptism or a burial.\n\" Truth is a torch \" writes Goethe \" but it\nis a huge one. This is why we all of us try\nto steal past it with blinking eyes, and afraid\nlest we may be burnt \".\nBut there is no excuse for any artist to blink;\nthe theatre with its sing-song reciters should\npractice facing the torch. &"}]}, {"article_id": "bm-bmtnaau-1908-04-01-c037", "article_bluemountain": "bmtnaau_1908-04_01#c037", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "25", "page_fin": "25", "image_debut": 33, "image_fin": 33, "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=bmtnaau190804-01.2.14.4", "titre_corps": "What an impression a performance...", "titre_sommaire": "What an impression a performance...", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 33, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.33", "debut_caractere": 2575, "fin_caractere_exclue": 3610, "texte": "\\X/hat an impression a performance on the\nstage can create in the minds of children!\nPeople are like children. A nation can be\nshown the way to dance when it will refuse\nto for the asking. In the same way Loyalty\nto old and splendid ideals can be inspired by\nmeans of the Theatre when all the lecturing\nfrom all the platforms of the world has failed.\nLabour is, I supppse, part and parcel of a\nnation's bodily health, even as the sense of\nRoyalty and Religion is part and parcel of the\nhealth of the mind of the nation. A nation\nwhich has a Royal Theatre or a Religious one\nwill do well, better than if it is left to Labour\nto provide fantasy for the &\nThe Theatre of England is and has always\nbeen loyal to the old English ideal, but when\nwe have a Labour Party we may shortly epect\na Labour Theatre, ....a gruesome kind of\nPeople's Palace where all except the people\nare happy Or will the English Theatre\nprefer to remain dull as ditch-water rather\nthan turn SociaIist?....Well, it is preferable....\nBut there is a third possibility."}]}, {"article_id": "bm-bmtnaau-1908-04-01-c038", "article_bluemountain": "bmtnaau_1908-04_01#c038", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "25", "page_fin": "25", "image_debut": 33, "image_fin": 33, "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=bmtnaau190804-01.2.14.5", "titre_corps": "The visit to Amsterdam of the Far Eastern actors...", "titre_sommaire": "The visit to Amsterdam of the Far Eastern actors...", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 33, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.33", "debut_caractere": 3612, "fin_caractere_exclue": 5296, "texte": "visit to Amsterdam of the Far Eastern\nactors is particularly remarkable for one\nthing. It has caused an actor of the West to\nproclain his belief that words are not necessary\nto the full understanding of a dramatic\nperformance (see page 17) When the Japanese\nvisited London some years ago was there one\nactor who found enough courage and modesty\nto proclaim the same truth? Mr Royaards\nhas convictions and these will assist his\ncountry to a better understanding of the Art.\nAlthough we must treat all his statements\nwith consideration, we do not feel ourselves\nquite in sympathy with his advice to the Dutch\nactors to go and see the Japanese actors. We\nwould rather caution all actors of the West\nto beware of ever witnessing a performance\nby Eastern actors. We see the disaster which\nhas come to our wall papers and other crafts\nby a too warm admiration of Japanese art.\nTo search for and discover the laws which\ngovern all art and to attempt to abide by\nthese laws, this is the duty of the artist; but\nwe must beware of any sudden influence\nwhich would lead to imitation, especially so\nstrange an influence as that able to be brought\nto bear by the East upon the West. For it\nis not necessary to learn from Japan., The\nlaws of art are universal; they are the only\nuniversal laws. They have some basis in\ncharacter,...but let not convention and a stiff\nobservance of manners be put in place of\ncharacter.... Mr Martin Harvey's very valuable\nessay upon \"Character and the Actor \"is to\nread by all actors who trouble to consider\ntheir work seriously; but all of them must\nbe careful to read into Mr Harvey's words\ntheir full import. He does not speak of\nartificial or surface character."}]}, {"article_id": "bm-bmtnaau-1908-04-01-c039", "article_bluemountain": "bmtnaau_1908-04_01#c039", "volume": "bmtnaau_1908-04_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=bmtnaau190804-01.2.15", "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=bmtnaau190804-01.1.2", "debut_caractere": 1363, "fin_caractere_exclue": 2919, "texte": "The Mosher Books\n; MDCCCXCI-MCMVIII\nFor a dozen years the most artistic volumes\nat their price that have been issued in\nAmerica have been published, not from\nNew York or Boston, nor even in Phila-\ndelphia or Chicago, but in Portland, Maine\nIn that little city Thomas B. Mosher has\nbeen printing, without flourish of trum-\npets or wide advertising, volume after\nvolume which in artistic excellence are\nnot excelled by the issues of any publishing\nhouse in the world. Then, too, Mosher\nhas reprinted only the gems of literature\nthat have been declared of the first water;\ngems that are, beyond objection, jewels\nof the world's treasury of brilliant writing.\nWe may also assert that the question of\ngain has been secondary in Mosher's cal-\nculations. He has put out very small edi-\ntions, and he has made them so beautiful\nin all that concerns their make-up that\nit is doubtful if he has ever gauged the\nexpenditure by the possible profit. Ne-\nvertheless, he must have done so, but in\ndoing so he excites our admiration.\nGUY CARLETON LEE in Baltimore Sunfor Dec. 18,1907\nMy new Catalogue—a remarkable piece\nof book-work in itself—explains this unu-\nsual compliment, and is sent free on re-\nquest to book-lovers anywhere that can\nbe reached by mail. &\nMy Catalogues are not made up of old and\nhackneyed quotations concerning books.\nYou are not wearied by \" a jollie good\nbook \" jingle and that sort of thing, but\nyou are treated to some very genuine\nprose & verse not found in every cut-\nand-decidedly-dried anthology.\nTHOMAS B. MOSHER\nPORTLAND. MAINE\nU. S. A."}]}, {"article_id": "bm-bmtnaau-1908-04-01-c040", "article_bluemountain": "bmtnaau_1908-04_01#c040", "volume": "bmtnaau_1908-04_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=bmtnaau190804-01.2.16", "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=bmtnaau190804-01.1.2", "debut_caractere": 2921, "fin_caractere_exclue": 3134, "texte": "Die Schaubiihne\nA weekly Theatrical Journal\n• '\nEdited by Siegfried Jacobsohn.\nVerlag Oestreheld & Co.\nLietzenburgerstrasse 60.\nBerlin W. 15. j&\nSingle copy . . . . M. pi. 30\nQuarterly „ 3* ♦» 50\nYearly „ 12. M 00"}]}, {"article_id": "bm-bmtnaau-1908-04-01-c041", "article_bluemountain": "bmtnaau_1908-04_01#c041", "volume": "bmtnaau_1908-04_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=bmtnaau190804-01.2.17", "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": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.2", "debut_caractere": 3136, "fin_caractere_exclue": 3565, "texte": "_The Butterfly!\nQuart e r1y[\nIs a new publication, carefully printed\nfrom excellent type, on fine toned pa-\nper, 8xio 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 J.35\npost free.\nOFFI C E S\nThe Butterfly Quarterly\n1126 Walnut Street\nPhiladelphia\nU. S. A."}]}, {"article_id": "bm-bmtnaau-1908-04-01-c042", "article_bluemountain": "bmtnaau_1908-04_01#c042", "volume": "bmtnaau_1908-04_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=bmtnaau190804-01.2.18", "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": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.2", "debut_caractere": 3567, "fin_caractere_exclue": 3742, "texte": "PRON Tl f A VAN Til\nJ& THE BEST RESTAURANT IN FLORENCE IS\nL A P I' S VIA DEL TREBBIO\n- \"\nSituated in the cellars of Palazzo Antinori\nPICTURESQUE HOSPITABLE & EXCELLENT COOKING"}]}, {"article_id": "bm-bmtnaau-1908-04-01-c043", "article_bluemountain": "bmtnaau_1908-04_01#c043", "volume": "bmtnaau_1908-04_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=bmtnaau190804-01.2.19", "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=bmtnaau190804-01.1.3", "debut_caractere": 0, "fin_caractere_exclue": 216, "texte": "Garages Riuniti\nX» FIAT - ALBERTI - STORERO. *\n* * * FLORENCE * * *\nVia Luigi Alamanni, i >?\nGENERAL AGENCY FOR AUTOMOBILES\nF. I. A. T.\nChassis and cars complete **•\n* Motor cars for sale and on hire\n>? Telephone 916"}]}, {"article_id": "bm-bmtnaau-1908-04-01-c044", "article_bluemountain": "bmtnaau_1908-04_01#c044", "volume": "bmtnaau_1908-04_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=bmtnaau190804-01.2.20", "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=bmtnaau190804-01.1.3", "debut_caractere": 218, "fin_caractere_exclue": 594, "texte": "English & American\nPharmacy & & &\nLate H. GROVES F. MUNSTERMANN\n& FLORENCE - Piazzetta Goldoni &\nJ& MALTO-PEPTINE TABLETS containing\nthe physiologically purified gastric and\npancreatic juice with the addition of Pa«\npain and Diastasis, for complete digestion\nof alLKinds of food\nANININE, CANTHARIDIS & TABORANDI\nHAIRWASH; Refreshing, Stimulating and\nAntiseptic Hair Tonics <£?"}]}, {"article_id": "bm-bmtnaau-1908-04-01-c045", "article_bluemountain": "bmtnaau_1908-04_01#c045", "volume": "bmtnaau_1908-04_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=bmtnaau190804-01.2.21", "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=bmtnaau190804-01.1.3", "debut_caractere": 596, "fin_caractere_exclue": 917, "texte": "Philosophical\nLending Library\n5000 volumes on Philosophy, Reli-\ngiony Mysticismy Occultism, ecc. gf\nEnglish philosophical Books & Re-\nviews. Reading and lecture room.\nLectures every Sundayj free for sub-\nscribers gf Subscription terms very\nmoderate. Prospectus and catalogue\non application\nPIAZZA DONATELLO 5 - Tel. 15=30"}]}, {"article_id": "bm-bmtnaau-1908-04-01-c046", "article_bluemountain": "bmtnaau_1908-04_01#c046", "volume": "bmtnaau_1908-04_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=bmtnaau190804-01.2.22", "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=bmtnaau190804-01.1.3", "debut_caractere": 919, "fin_caractere_exclue": 1346, "texte": "IpIt\nA»I ZWE\nSPECIAL NOTICE\n\"THE MASK\" MAY NUMBER\n\" REALISM AND THE ACTOR » AN INTERNATIONAL SYMPOSIUM\n£> THE REPLIES OP SIQNOR SALVINI, M. ANTOINE, MISS LOIE FULLER,\nMR. H. BEERBOHM TREE, MR. SIDNEY GRUNDY, FRAULEIN GERTRUD\nEYSOLT, rrn.KR HERMANN BAHR, MR. ARTHUR SYMONS, MR. CARL\nHENTSCHEL, AND OTHERS WILL BE PUBLISHED IN THE MAY NUMBER OP\n\" THE MASK.\nA SECOND SHEAP OF REPLIES WILL BE PUBLISHED IN THE JUNE NUMBER.\n\" '■ ==\""}]}, {"article_id": "bm-bmtnaau-1908-04-01-c047", "article_bluemountain": "bmtnaau_1908-04_01#c047", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "27", "page_fin": "27", "image_debut": 35, "image_fin": 35, "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=bmtnaau190804-01.2.23", "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": 35, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.35", "debut_caractere": 1541, "fin_caractere_exclue": 2052, "texte": "& SPECIAL NOTICE. &\nJZ? « REALISM AND THE ACTOR. \"AN INTERNATIONAL SYMPOSIUM.\nOn this them© 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."}]}, {"article_id": "bm-bmtnaau-1908-04-01-c048", "article_bluemountain": "bmtnaau_1908-04_01#c048", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "27", "page_fin": "27", "image_debut": 35, "image_fin": 35, "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=bmtnaau190804-01.2.24", "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": 35, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.35", "debut_caractere": 2054, "fin_caractere_exclue": 2312, "texte": "ORDER FORM\nTo the Editor, (or)\nTo Mr. Bookseller\nAddress ;;\nPlease put down my name as a subscriber to \"The Mask\" for one year, or six months\ncommencing with the number, in payment of which subscription, including postage,\nI enclose the sum of Signed\nAddress"}]}, {"article_id": "bm-bmtnaau-1908-04-01-c049", "article_bluemountain": "bmtnaau_1908-04_01#c049", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "28", "page_fin": "28", "image_debut": 36, "image_fin": 36, "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=bmtnaau190804-01.2.25", "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": 36, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.36", "debut_caractere": 0, "fin_caractere_exclue": 396, "texte": "ALMANACK FOR\nARCHITECTURE\nARTS*CRAFTS\n/TECHNICALS\nW\nST?\nm\nH\nG|o|G]G\")Cni51G1Gr]GlC3lGlG]S,|S7g]E]Gll!5] Sj\nA NEW CATALOGUE\nCONTAINING MORE THAN A HUNDRED]\nPAGES OF TEXT, AND ALSO ILLUSTRA-\nTIONS IN BLACK AND WHITE AND IN\nCOLOUR. * * * * *\nCopies will be sent free on\napplication to all Art - lovers\nSCHUSTER & B U F L E B. G. M. B. H.\nBERLIN W3«S NOLLENDORFSTR. I. 32\n# BOOKS ANCIENT AND MODERN *"}]}, {"article_id": "bm-bmtnaau-1908-04-01-c050", "article_bluemountain": "bmtnaau_1908-04_01#c050", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "28", "page_fin": "28", "image_debut": 36, "image_fin": 36, "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=bmtnaau190804-01.2.26", "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": 36, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.36", "debut_caractere": 398, "fin_caractere_exclue": 926, "texte": "New York DRAMATIC\nMIRROR &\nThe oldest and most reliable\nAmerican theatrical paper,\npublished every week at 121\n42nd Street, New York,\nU. S, A. Sample co-\npies on request free of charge.\nForeign subscriptions 50 Dol-\nlars one year; 1.70 Dollars\nthree months.\nNew York DRAMATIC\nMIRROR\nII piu antico e piit attendibile\nQiornale teatrale Americano.\nSi pubblica ogni settimana a\n123 west 42nd Street, New\nYork. N. Y. U. S. A. Co-\npia di saggio a richiesta franco\nAbbonamento per l'estero,\nun'anno 5.50 Dollari: tre mesi\n1.70 Dollari."}]}, {"article_id": "bm-bmtnaau-1908-04-01-c051", "article_bluemountain": "bmtnaau_1908-04_01#c051", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "28", "page_fin": "28", "image_debut": 36, "image_fin": 36, "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=bmtnaau190804-01.2.27", "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": 36, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.36", "debut_caractere": 928, "fin_caractere_exclue": 2369, "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\nthe 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 x15 2/3 ctms. The price for a portfolio will be L. 16. o. o, (400\nFrancs or 320 Marks). &\nT\nhese 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\n\" remain the very Essence of the Art. & & & & & &\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 \" t 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-1908-04-01-c052", "article_bluemountain": "bmtnaau_1908-04_01#c052", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "29", "page_fin": "29", "image_debut": 37, "image_fin": 37, "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=bmtnaau190804-01.2.28", "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": 37, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.37", "debut_caractere": 0, "fin_caractere_exclue": 378, "texte": "LIBRA I RIE A NCI EN NE\nT. DE MARIN IS & Co. 5 Via Vecchietti - FIRENZE\nQ\n■V\nWt\n3,//\n!®\n• ••\nkf\n»•••(\nlit!\n• e\n/LfJ\nMl\nlie 1\nLU\n35\n»e 1\n■ f\nO\nh\noa\n• •»\n68\nbo\na*\n»M\nLU\ni\nMl\n• •\nlit*\nl»«\ni\n• •\nfill\nMM\nX\nII\nIIMI\nIH\nMS\n•••••\n1 it 1\na a\nOcg\nh^xnzpi\nOO\nQC\nHi\nM\n»I «.M\n• 1\nFine Collection of MSSIncunabula, raze and curious books XV-XIX cent\nIllustrated Catalogues free on application."}]}, {"article_id": "bm-bmtnaau-1908-04-01-c053", "article_bluemountain": "bmtnaau_1908-04_01#c053", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "29", "page_fin": "29", "image_debut": 37, "image_fin": 37, "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=bmtnaau190804-01.2.29", "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": 37, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.37", "debut_caractere": 380, "fin_caractere_exclue": 674, "texte": "• H. Roberts & Co. &\nsP & the well known # . 4?\n* ENGLISH CHEMISTS &\nAMERICAN DRUGGISTS^\n* OF 17 VIA TORNABUONt. * *\nAND 417 & 418, CORSO UMBERTO\n* * # ROM E\nhave pleasure la announcing that they have opened\na first-class and wetlstocked Pharmacy at & 4P\n* 21 & 23, VIA VITTORIA yf *\n* * NAPLES"}]}, {"article_id": "bm-bmtnaau-1908-04-01-c054", "article_bluemountain": "bmtnaau_1908-04_01#c054", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "29", "page_fin": "29", "image_debut": 37, "image_fin": 37, "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=bmtnaau190804-01.2.30", "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": 37, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.37", "debut_caractere": 676, "fin_caractere_exclue": 876, "texte": "ARCANGELI\nGATTI & Co.\n£> & FLORENCE\n' , i . .1\nVia del Campidogfio * Telephone i$«49\nFORWARDERS FOR ALL\nPARTS OF THE WORLD,\n\" 111 1 , \" ■l.l.U.'i1,\"..,' 1' \"J-'ii ..\nAND CUSTOM HOUSE A-\nGENTS £? j& J&"}]}, {"article_id": "bm-bmtnaau-1908-04-01-c055", "article_bluemountain": "bmtnaau_1908-04_01#c055", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "29", "page_fin": "29", "image_debut": 37, "image_fin": 37, "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=bmtnaau190804-01.2.31", "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": 37, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.37", "debut_caractere": 878, "fin_caractere_exclue": 1431, "texte": "EX LI BR IS.\nAre you a Book Lover ? If\nso, want allyrhich\ncan add to the beauty\nand completeness of your\nbooks, and you cannot\ndo without. ■ J&\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 ofSan 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-1908-04-01-c056", "article_bluemountain": "bmtnaau_1908-04_01#c056", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "29", "page_fin": "29", "image_debut": 37, "image_fin": 37, "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=bmtnaau190804-01.2.32", "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": 37, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.37", "debut_caractere": 1433, "fin_caractere_exclue": 1985, "texte": "EDITION DE LUXE.\nSPECIAL NOTICE TO BOOK LOVERS\nIS copies of 44 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 13*5. This edition\nwit! contain Etchings and other prints\nsigned by the artist, which will not be\nincluded in the popular edition.\nYearly subscription: England, L. 3.5.0 Post Free\n»» tt tr Germany, Marks 67,00 „ „\nt» tt tt America Dollars 16.00 ,, ,,\nt# »t tt Italy Lire 82.00 „ „\ntt tt tt Russia Roubles 30.00 „ „"}]}, {"article_id": "bm-bmtnaau-1908-04-01-c057", "article_bluemountain": "bmtnaau_1908-04_01#c057", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "30", "page_fin": "30", "image_debut": 38, "image_fin": 38, "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=bmtnaau190804-01.2.33", "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": 38, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.38", "debut_caractere": 171, "fin_caractere_exclue": 424, "texte": "The largest Establishment of Sculpture in\nMarble Reproductions from the Antique\n& Original Works. Portraits. Monuments,\nMantels, Pedestals, Garden Seats, &\nVases Fountains & Flower-stands, etc:\nESTIMATES GIVEN ON APPLICATION\nST LOUIS MO.\nGRAHD PRIX\n1904"}]}, {"article_id": "bm-bmtnaau-1908-04-01-c058", "article_bluemountain": "bmtnaau_1908-04_01#c058", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "30", "page_fin": "30", "image_debut": 38, "image_fin": 38, "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=bmtnaau190804-01.2.34", "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": 38, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.38", "debut_caractere": 426, "fin_caractere_exclue": 577, "texte": "J&J& J&J&\nTHE \" MAN I FAT-\nTURA PI SIGNA „\nArtistic Terra Cot=\nta for both interior\nand exterior deco=\nration &\nVia Vecchietti, 2\nj& £? FIRENZE (Italy)"}]}, {"article_id": "bm-bmtnaau-1908-04-01-c059", "article_bluemountain": "bmtnaau_1908-04_01#c059", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "30", "page_fin": "30", "image_debut": 38, "image_fin": 38, "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=bmtnaau190804-01.2.35", "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": 38, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.38", "debut_caractere": 579, "fin_caractere_exclue": 885, "texte": "DIN I & C ELLA I\nArtistic & Decorative Terra Cotta of\nSigna\nVia dei JFoasi If. i - FLORENCE\n—♦\nof seulptuves of Old a&d\ni ■■»»————WW ' ■\"\"< —IM»\n|Kod«i*n masters « Statues « Busts «•\n11 ■ ■■\"' < 1 \"i-aif—WPW—\nVases m Bas-reliefs a Fountains m Boors\nChimn«y-ple®«s « Bases ete. ate. In\n9Ve*y style & & & & &"}]}, {"article_id": "bm-bmtnaau-1908-04-01-c060", "article_bluemountain": "bmtnaau_1908-04_01#c060", "volume": "bmtnaau_1908-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "30", "page_fin": "30", "image_debut": 38, "image_fin": 38, "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=bmtnaau190804-01.2.36", "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": 38, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.38", "debut_caractere": 887, "fin_caractere_exclue": 1134, "texte": "& ON JUNE i\nTHE & & & & & &\nPublishing, Bookselling and\nNews Agency Business £?\nof R. PAGGI (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. £? &"}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.1", "texte": "Vol. One N.\" a. APRIL\nTHE MASK\nA MONTHLY JOURNAL OF THE\nART OF THE THEATRE\nEUROPEAN AGENTS.\nLONDON. D.J. RIDER 36 St Martin's Court. Charing Cross Road. W. C. s£> &\nBERLIN. SOEE GERMAN AGENT - SCHUSTER & W-\nAMSTERDAM, KIRBEROER & KESPER. 134 Rokin. & JS>\nB U D A P E S T, NAGEE OTTO'- Museum-Korut, g & jsr je> &\nM0SC O U. '»LA BALANCE\" Place du ThdAtre & £> * j0 & &\nFLORENCE. * EUNG' ARNO ACCIAIUOEI. 0 & & & &\n& PRICE ONE SHILLING, NET: MONTHLY &\n__"}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.2", "texte": "I Order THE MASK\n>F'ROM YOUR BOOKSELLERS\nHe saves you all trouble. You have only\nto fill in the order form you will find at\nthe end of this copy &\n' 1 '• 1 '?.!»- 1 I . ■ • ■\nEtchings, which will bis issued from time to time with \" The Mask \"* will be reserved for\nyearly subscribers only and not included in single copies of the magazine. Therefore it is\nto the advantage of all print collectors to send in their subscriptions at once. 0 0\nAny MSS. submitted to the Editor for consideration should bear the names and\naddresses ot the authors, be type-written, and accompanied by stamps; otherwise they\nwill not be lead 01 returned. It must be understood that they are sent at the Author's\nrisk, and the Editor is not responsible for their sate custody or return. All communications\nshould be addressed to the Editor ot \" The Mask \" 2 Eung'Arno Acciaiuoli, Florence.\nReaders of \" The Mask \" who wish to he sure of securing their copies each month regularly\nshould subscribe for the year, all that is necessary being to fill in the order forih on Pg. as\nof this number, & post it to their Bookseller, or to the office of 44 The Mask a Lung'Arnp\nAcciaiuoli, Florence, Italy,0 0 0 0 0 0 0 V0 0\n& FOR ADVERTISEMENTS ADDRESS TO \" THE MASK \" ADVERTISING OFFICE : S BORGO Sc JACOPO\n& &■ 0 0 0 FLORENCE 0 ITALY 0 & 0 &\nOR TO THE LONDON., GERMAN, OR DUTCH AGENTS 0 0 0 0\n\nThe Mosher Books\n; MDCCCXCI-MCMVIII\nFor a dozen years the most artistic volumes\nat their price that have been issued in\nAmerica have been published, not from\nNew York or Boston, nor even in Phila-\ndelphia or Chicago, but in Portland, Maine\nIn that little city Thomas B. Mosher has\nbeen printing, without flourish of trum-\npets or wide advertising, volume after\nvolume which in artistic excellence are\nnot excelled by the issues of any publishing\nhouse in the world. Then, too, Mosher\nhas reprinted only the gems of literature\nthat have been declared of the first water;\ngems that are, beyond objection, jewels\nof the world's treasury of brilliant writing.\nWe may also assert that the question of\ngain has been secondary in Mosher's cal-\nculations. He has put out very small edi-\ntions, and he has made them so beautiful\nin all that concerns their make-up that\nit is doubtful if he has ever gauged the\nexpenditure by the possible profit. Ne-\nvertheless, he must have done so, but in\ndoing so he excites our admiration.\nGUY CARLETON LEE in Baltimore Sunfor Dec. 18,1907\nMy new Catalogue—a remarkable piece\nof book-work in itself—explains this unu-\nsual compliment, and is sent free on re-\nquest to book-lovers anywhere that can\nbe reached by mail. &\nMy Catalogues are not made up of old and\nhackneyed quotations concerning books.\nYou are not wearied by \" a jollie good\nbook \" jingle and that sort of thing, but\nyou are treated to some very genuine\nprose & verse not found in every cut-\nand-decidedly-dried anthology.\nTHOMAS B. MOSHER\nPORTLAND. MAINE\nU. S. A.\n\nDie Schaubiihne\nA weekly Theatrical Journal\n• '\nEdited by Siegfried Jacobsohn.\nVerlag Oestreheld & Co.\nLietzenburgerstrasse 60.\nBerlin W. 15. j&\nSingle copy . . . . M. pi. 30\nQuarterly „ 3* ♦» 50\nYearly „ 12. M 00\n\n_The Butterfly!\nQuart e r1y[\nIs a new publication, carefully printed\nfrom excellent type, on fine toned pa-\nper, 8xio 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 J.35\npost free.\nOFFI C E S\nThe Butterfly Quarterly\n1126 Walnut Street\nPhiladelphia\nU. S. A.\n\nPRON Tl f A VAN Til\nJ& THE BEST RESTAURANT IN FLORENCE IS\nL A P I' S VIA DEL TREBBIO\n- \"\nSituated in the cellars of Palazzo Antinori\nPICTURESQUE HOSPITABLE & EXCELLENT COOKING"}, {"page_pdf": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.3", "texte": "Garages Riuniti\nX» FIAT - ALBERTI - STORERO. *\n* * * FLORENCE * * *\nVia Luigi Alamanni, i >?\nGENERAL AGENCY FOR AUTOMOBILES\nF. I. A. T.\nChassis and cars complete **•\n* Motor cars for sale and on hire\n>? Telephone 916\n\nEnglish & American\nPharmacy & & &\nLate H. GROVES F. MUNSTERMANN\n& FLORENCE - Piazzetta Goldoni &\nJ& MALTO-PEPTINE TABLETS containing\nthe physiologically purified gastric and\npancreatic juice with the addition of Pa«\npain and Diastasis, for complete digestion\nof alLKinds of food\nANININE, CANTHARIDIS & TABORANDI\nHAIRWASH; Refreshing, Stimulating and\nAntiseptic Hair Tonics <£?\n\nPhilosophical\nLending Library\n5000 volumes on Philosophy, Reli-\ngiony Mysticismy Occultism, ecc. gf\nEnglish philosophical Books & Re-\nviews. Reading and lecture room.\nLectures every Sundayj free for sub-\nscribers gf Subscription terms very\nmoderate. Prospectus and catalogue\non application\nPIAZZA DONATELLO 5 - Tel. 15=30\n\nIpIt\nA»I ZWE\nSPECIAL NOTICE\n\"THE MASK\" MAY NUMBER\n\" REALISM AND THE ACTOR » AN INTERNATIONAL SYMPOSIUM\n£> THE REPLIES OP SIQNOR SALVINI, M. ANTOINE, MISS LOIE FULLER,\nMR. H. BEERBOHM TREE, MR. SIDNEY GRUNDY, FRAULEIN GERTRUD\nEYSOLT, rrn.KR HERMANN BAHR, MR. ARTHUR SYMONS, MR. CARL\nHENTSCHEL, AND OTHERS WILL BE PUBLISHED IN THE MAY NUMBER OP\n\" THE MASK.\nA SECOND SHEAP OF REPLIES WILL BE PUBLISHED IN THE JUNE NUMBER.\n\" '■ ==\""}, {"page_pdf": 6, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.6", "texte": "DESIGN FOR A STAGE SCENE GORDON CRAIG"}, {"page_pdf": 7, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.7", "texte": "k-riw w •»—* m M A /*> v r- THE JOURNAL OP THE ART\nr I I—I I ? II/I A !/ OF THE THEATRE.\ni ilu iVlAoiV VA°PT.EL0N.E;„NrBEJTWi\n\nCONTENTS\nJ& AFTER THE PRACTISE THE THEORY\n& RICHARD WAGNER, REVOLUTION AND THE ARTIST by JAN VAN\nHOLT. THE ACTOR AND THE UBER-MARIONETTE by GORDON CRAIG. * A VENICE\n& A ROME FOR THE CONSIDERATION OF YOUNG SCENE PAINTERS by ALLEN CARR1C.\nTHE ENERGY OF THE GERMAN THEATRE by GEORGE NORMAN. FOREION NOTES.\nELECTRA AND SALOME. & EDITORIAL NOTES. ILLUSTRATIONS; By GORDON CRAIG\nJULIUS OLIVER, ETC,\n\nRICHARD WAGNER, REVOLUTION, AND THE ARTIST\n\n\" I will destroy the existing order of things, which parts this one mankind into hostile\nnations, into powerful and weak, privileged and outcast, rich and poor: for it makes unhappy\nmen of all. 1 will destroy the order of things that turns millions to slaves of a few, and\nthese few to slaves of their own might, own riches. 1 will destroy this order of things, that\ncuts enjoyment off from lahor, makes labor a load, enjoyment a vice, makes one man wretched\nthrough want, another through overflow. 1 will destroy this order of things, which wastes\nman's powers in service of dead matter, which keeps the half of humankind in inactivity\nor useless toil, binds hundreds of thousands to devote their vigorous youth—in busy idleness\nas soldiers, placemen, speculators and money-spinners—to the maintenance of these depraved\nconditions, whilst the other half must shore the whole disgraceful edifice at cost of over-\ntaxing all their strength and sacrificing every taste of life. Down to its memory will I\ndestroy each trace of this mad state of things, compact of violence, lies, care, hypocrisy,\nwant, sorrow, suffering, tears, trickery and crime, with seldom a breath of even impure air\nto quicken it, and all but never a ray of pure joy. Destroyed be all that weighs on you and\nmakes you suffer, and from the ruins of this ancient world let rise a new, instinct with\nhappiness undreamt 1 Not hate, not envy, grudge nor enmity, be henceforth found among\nyou; as brothers shall ye all who live know one another, and free, free in willing, free in\ndoing, free in enjoying, shall ye attest the worth of life. So up, ye peoples of the earth 1\nUp, ye mourners, ye oppressed, ye poor! And up, ye others, ye who strive in vain to cloak\nthe inner desolation of your hearts by idle show of might and riches! Up, in miscellany\nfollow my steps; for no distinction can 1 make 'twixt those who follow me! Two peoples,\nonly, are there from henceforth; the one, that follows me, the other, that withstands me.\nThe one 1 lead to happiness; over the other grinds my path: for I am Revolution, 1am the\never-fashioning Life, 1 am the only Qod, to whom each creature testifies, who spans and\ngives both life and happiness to all that is! j® And lo! the legions on the hills, voiceless they\nfall to their knees and listen in mute transport; and as the sunbaked soil drinks up the\ncooling drops of rain, so their sorrow-parching hearts drink in the accents of the rustling\nstorm, and new life courses through their veins. Nearer and nearer rolls the storm, on its\nwings Revolution; wide open now the quickened hearts of those awaked to life and victory\nRevolution pours into their brains, their bones, their flesh, and fills them through and\nthrough. In godlike ecstasy they leap from the ground; the poor, the hungering, the\nbowed by misery, are they no longer; proudly they raise themselves erect, inspiration\nshines from their ennobled faces, a radiant light streams from their eyes, and with the\nheaven-shaking cry, I am a man! the millions, the embodied Revolution, the Qod become\nMan, rush down to the valleys and plains, and proclaim to all the world, the new gospel of\nHappiness.\" j® j® & & Richard Wagner.\nI wonder if the ladies and gentlemen who patronize the Opera Houses of Europe and America\n*■\nrealise what they are listening to when Wagner lets loose the notes of his soul in the great\noperas.... I wonder if they realise that he is then repeating even more passionately that which\nhe says here in words.... that he is crying out in the most subtle language things whieh they\ndetest,... that he is positively insulting them. He writes here of Revolution. Is it possible?\nIs it not some dream.... Wagner, to whose operas the nobility of Europe listen, to whose"}, {"page_pdf": 8, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.8", "texte": "pleadings they yawningly listen. & Surely there must be some mistake. & ** With works of\nArt, as with Royalty, you have to wait until they speak to you before you can respond.\nso wrote a charming lady to me today. Is it possible that Royalty could have ever heard the\nvoice of Wagner aright. Is it possible that we have seen Royalty applauding the operas of\nWagner,... Monarchs applauding the Apostle of Revolution? Is it to be made inevitable that\nthe artists must enter the field of Politics, or lean fanatically from the pulpit? Is this to be\nforced upon them ? In the old times the artist was content..,, stood by.... watched the crowd,\nsketched the crowns, the swords and the spades..., recorded the sights and the sounds of\nhis time,,., added the note of love to it all, and left it as his legacy to the following century,\n& Is the artist to be changed? Is a discontent to be roused in him? Is his labour to be\nrespected or is he for ever to starve, is he for ever to be asked to compromise as the only\ncondition on which his country will listen to him? If this is so, then I fear that the far\noff likelihood of the artist finding comradeship with the Revolutionary is nearer probability\nthan we must hope. & Remember, the artists have ever loved and fought for King and\nRoyalty. And Royalty provided for these sons in the olden days,,., provided the means of\nlife,.,, and what is far more important, the recognition of Art as a factor in Life, the\nrecognition of the liberties of the Artist. & It would be curiously interesting to know how\nmany men today are following the profession of artist. They must number at least three\nmillion,,.. and the force of three million men of the calibre of the artist is not a thing to\nforget when reckoning the chances and changes of the State. We see also how the artist\nfeels about things, \" 1 will destroy the existing order of things which parts this one mankind\ninto hostile nations, etc. etc. \" He positively feels that lie too, is a privileged being and\ncan alter things for better or worse: that he is no less a force than a Prime Minister, and\nhe even becomes an Autocrat at times. Two questions still remain to be answered. Do\nBeethoven, Wagner, Strauss, Plato, Shakespeare, Shelley, Blake, Goethe, Rousseau, Nietzsche\nRaphael, Leonardo Velasquez, Van Dyke, really count as a force? Have they had any\ninfluence on people and things? & If the answer is in the affirmative, then why does the\npersecution of all modern artists continue? why but quite recently should the voice of\nBlake, Shelley, Wagner, Nietzsche, Rousseau, Beethoven and Strauss be raised with the cry\nabove quoted of, \"I., will destroy the existing order of things.\" It is an unwise police to\ndisregard the Ideal for which all artists live,... the freedom of their Art, and the recognition\n,of its power. It would be a wise policy to further that Ideal. & It would also be an\ninteresting task for some leader to organize all the European and American artists in a\nbody.... Curiously enough perhaps we should then hear less about Revolution.... Three\nmillion men, remember.... No? ....not worth considering?...,? ....No?\n\nJan van Holt."}, {"page_pdf": 9, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.9", "texte": "THE ACTOR AND THE ÜBER=MARIONETTE\nby Edward Gordon Craig.\n\nINSCRIBED IN ALL AFFECTION TO MY GOOD FRIENDS, THE ACTORS DE YOS AND HEVESI.\n\" npo save the Theatre, the Theatre must be destroyed, the actors and actresses must all die of the plague.... They make\nart Impossible. \" & ELEONORA DUSE. \" Studies In Seven Arts. \" Arthur Symons. (Constable).\njt has always been a matter for argument whether or no Acting is an art, and therefore\nwhether the actor is an Artist, or something quite different, There is little to show us\nthat this question disturbed the minds of the leaders of thought at any period, though there\nis much evidence to prove that had they chosen to approach this subject as one for their\nserious consideration, they would have applied to it the same method of enquiry as used\nwhen considering the arts of Music and Poetry, of Architecture, Sculpture and Painting.\nOn the other hand theref have been many warm arguments in certain circles on this\n• topic. Those taking part in it have seldom been actors, very rarely men of the theatre\nat all, and all have displayed any amount of illogical heat, and very little knowledge of the\nsubject. The arguments against acting being an art, and against the actor being an artist,\nare generally so unreasonable and so personal in their detestation of the actor, that I think\nit is for this reason the actors have taken no trouble to go into the matter. So now -\nregularly with each season comes the quarterly attack on the actor and on his jolly calling;\nthe attack usually ending in the retirement of the enemy. As a rule it is the literary or\nprivate gentlemen who fill the enemy's rank. On the strength of having gone to see plays\nall their lives, or on the strength of never having gone to see a play in their lives, they\nattack for spine reason best known to themselves. 1 have followed these regular attacks\nS\nseason by season, and they seem mostly to spring from irritability, personal enmity or\nconceit.... They are, illogical from beginning to end.... There can be no such attack\nmade on the actor or his calling. My intention here is not to join in any such attempt;\n1 would merely place before, you what seem to me. to be the logical facts of a curious case,\nand I believe that these admit of no dispute whatever. . & & .\nActing is not an art. It is therefore incorrect to speak of the actor as an artist. For\naccident is an enemy of the artist. & Art is the exact antithisis of Pandimonium, and\nPandimonium is created by the tumbling together of many accidents; Art arrives .only by\ndesign. Therefore in order to make any work of art it is clear we may only work in those\nV * - - * ( ■ J? ' \\\nmaterials with which cap calculate. Man is not one of these materials.\nThe whole pature of man tends towards freedopi; he therefore carries the proof in his own\nperson, that as material for the theatre he is useless. & In the modern theatre, owing to\nthe use of the bodies of men and women as their material, all which is presented there is of\nan accidental nature. The. actions of the actor's body, the expression of his face, the sounds\nof his voice, all are at the mercy of the winds of his emotions; these winds which must blow-\nfor ever round the artist, moving without unbalancing him. But with the actor, emotion\npossesses him; it seizes upon Jiis limbs moving them whither it will. He is at its beck and\ncall, he moves as one in av frantic dream or as one distraught, swaying here and there; his\nhead, his arms, his feet, if not utterly beyond control, are so weak to stand against the torrent\nof his passions, that they are ready to play him false at any moment. It is useless for\nhim to attempt to reason with himself.... Hamlet's calm directions (the dreamer's not the\nlogician's directions, by the way) are thrown to the winds. His limbs refuse, and refuse\n\nWhether acting\nis an art. &\nUnreasonable\nattacks,\nActing is not an\nart.\nJ£> Mantlet's di*\nrections disie-\ngarded."}, {"page_pdf": 10, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.10", "texte": "VHE ACTOR AND\nTHE U B E R«\nMARIONETTE.\n\nagain, td obey his mind the instant emotion warms, while the mind is all the time creating\nthe heat which shall set these emotions afire. As with his movement, so is it with the\nexpression of his face. The mind struggling and succeeding for a moment, in moving the\neyes, or the muscles of the face whither it will;... the mind bringing the face for a few\nmoments into thorough subjection, is suddenly swept aside by the emotion which has grown\nhot through the action of the mind. Instantly, like lightening, and before the mind has\ntime to cry out and protest, the hot passion has mastered the actor's expression. It shifts\nand changes, sways and turns, it is chased by emotion from the actor's forehead between\nhis and down to his mouth; now he is entirely at the mercy of emotion, and crying\nout to it: \"Do with me what you will!\" his expression runs a mad riot hither and thither,\nand lo! \" nothing is coming of nothing. \" It is the same with his voice as it is with his\nmovements. Emotion cracks the voice of the actor. It sways his voice to join in the\nconspiracy against his mind. Emotion works upon the voice of the actor, and he produces....\nthe impression of discordant emotion. It is of no avail to say that emotion is the spirit\nof the gods and is precisely what the artist aims to produce; first of all this is not true,\nand even if it were quite true, every stray emotion, every casual feeling, cannot be of\nValue. Therefore the mind of the actor, we see, is less powerful that his emotion, for\nemotion is able to win over the mind to assist in the destruction of that which the mind\nWould produce; and as the mind becomes the slave of the emotion it follows that accident\nupon accident must be continually occurring. So then, we have arrived to this point;....\nthat emotion is the cause which first of all creates, and secondly destroys. Art as we have\nsaid, can admit of no accidents. That then which the actor gives us, is not a work of art;\nit is a series accidental confessions. & In the beginning the human body was not used as\nmaterial in the art of the theatre. In the beginning the emotions of men and women were\nnot considered as a fit exhibition for the multitude. An elephant and a tiger in an arena\nsuited the taste better, when the desire was to excite. The passionate tussle between the\nelephant and the tiger gives us all the excitement that we can get from the modern stage,\nand can give it us unalloyed. Such an exhibition is not more brutal, it is more delicate;\nit is more humane; for there is nothing more outrageous than that men and women shoudl\nbe let loose on a platform, so that they may expose that which artists refuse to show except\nveiled, in the form which their minds create. How it was that man was ever persuaded\nto take the place which until that time animals had held Is not difficult to surmise.\nThe man with the greater learning comes across the man with the greater temperament.\nHe addresses him in something like the following terms :... 44 You have a most superb\ncountenance; what magnificent movements you make! Your voice, it is like the singing of\nbirds; and how your eye flashes! What a noble impression you give! You almost resemble\na god! 1 think all people should have pointed out to them this wonder which is contained\nin you. I will write a few words which you shall address to the people. You shall stand\nbefore them, and you shall speak my lines just as you will. It is sure to be perfectly right.,r\nAnd the man of temperament replies; \"Is that really so? Do I strike you as appearing\nas a god? It is the very first time I have ever thought of it. And do you think that by appearing\nv..\nin front of the people I could make an impression which might benefit them, and would\nfill them with enthusiasm? \" No, no, no, \" says the intelligent man; 44 by no means only\nby appearing; but if you have something to say you will indeed create a great impression. \"\n■j& The other answers, \" I think 1 shall have some difficulty in speaking your lines. I could\neasier just appear, and say, something instinctive, such as 4 Salutation to all men I feel\nperhaps that I should be able to be more myself if I acted in that way. \" \" That is an\nexcellent idea, \" replies the tempter, 44 that idea of yours,4 Salutation to all men. * On that\ntheme I will compose say one hundred or two hundred lines; you'll be the very man to\nspeak those lines. You have yourself suggested it to me. Salutation! Is it agreed then,\nthat you will do this? \" 44 If you wish it, \" replies the other, with a good-natured lack of\nreason, and flattered beyond measure. & jp\nAnd so the comedy of author and actor commences. The young man appears before the\nmultitude and speaks the lines, and the speaking of them is a superb advertisement for\nthe art of literature. After the applause the young man is swiftly forgotten; they even forgive\nthe way he has spoken the lines; but as it was an original and new idea at the time, the\nauthor found it profitable, and shortly afterwards other authors found It an excellent thing\n\n■Emotion conspi-\nres against Art*\n& Comedy of\nAuthor and Actor"}, {"page_pdf": 11, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.11", "texte": "to use handspme and buoyant men as instruments. It mattered nothing to them that the\ninstrument was a human creature. Although they knew not the stops of the instrument,\nthey could play rudely upon him and they found him useful. & And so to-day we have the\nstrange picture of a man content to give forth the thoughts of another, which that other has\ngiven form to, while at the same time he exhibits his person to the public view. He does it\nbecause he is flattered,—and vanity—will not reason. But all the time, and however long\nthe world may last, the nature in man will fight for freedom, and will revolt against being\nmade a slave or medium for the expression of another's thoughts. The whole thing is a very\ngrave matter indeed, and it is no good to push it aside and protest that the actor is not the\nmedium for another's thoughts, and that he invests with Life the dead words of an author;\nbecause even if this were true (true it cannot be) and even if the actor was to present none\nbut the ideas which he himself should compose, his nature would still be in servitude; his\nbody would have to become the slave of his mind; and that as I have shown is what the\nhealthy body utterly refuses to do. & Therefore the body of man, for the reason which I have\ngiven, is by nature utterly useless as a material for an art. Iam fully aware of the sweeping\ncharater of this statement, and as it concerns men and women who are alive and who as a\nclass are ever to be loved, more must be said lest 1 give unintentional offence. <£? 1 know\nperfectly well that what 1 have said here is not yet going to create an exodus of all the actors\nfrom all the theatres in the world, driving them into sad monasteries where they will laugh out\nthe rest of their lives, with the Art of the Theatre as the main topic for amusing conversation.\nAs 1 have written elsewhere, the theatre will continue its growth and actors will continue\nfor some years to hinder its development. But 1 see a loop-hole by which in time the\nactors can escape from the bondage they are in. They must create for themselves a new\nform of acting, consisting for the main part of symbolical gesture. To-day they impersonate\nnnd interpret; to-morrow they must represent and interpret; and the third day they must\ncreate. By this means style may returu. To-day the actor impersonates a certain being.\nHe cries to the audience \" Watch me; I am now prentending to be so and so, and I am now\npretending to do so and so; \" and then he proceeds to imitate as exactly as possible, that\nWhich he has announced he will indicate. For instance, he is Romeo. He tells the audience\ntfyat he is in love, and he proceeds to show it, by kissing Juliet. This, it is claimed is a\nwork of Art: it is claimed for this that it is an intelligent way of suggesting thought. &\ntytyy...., why, that is just as if a painter were to draw upon the wall a picture of an animal\nWith Jopg ears, and then write under it • This is a donkey.' The long ears made it plain\naiiough one would think, without the inscription, and any child of ten does as much. The\ndifference befween the child of ten and the artist is, that the. artist is he who by drawing\ncertain signs and shapes creates the impression of a donkey; and the greater artist is he\nwho creates the impression of the whole genus of donkey, the spirit of the thing.\n& The actor looks upon life as a photo-machine looks upon life; and he attempts to make\narj>ipture to rival a photpgraph. He never dreams of his art as being an art such for instance\nas music. He tries to reproduce nature; he seldom thinks to invent with the aid of nature,\n$pd he never dreams of creating. As I have said, the best he can do when he wants to\nOPtch and convey the poetry of a kiss, the heat of a fight, or the calm of death, is to copy\nslavishly, photographically.... he kisses.... he fights.... he lies back and mimics death,... and\nWfren ypu think of it, is not all this dreadfully stupid? Is it not a poor art and a poor\nCleverness, which cannot convey the spirit and essence of an idea to an audience, but can\npfily Show,an artless copy, a facsimile of the thing itself. This is to be an Imitator not\nArtist. This is to claim kinship with the Ventriloquist, (i) £>\nThere is a stage expression of the actor \"getting under the skin of the part. \" A better one\nwou|d be getting \" out of the skin of the part altogether. \" \" What then, \" cryes the\nand flashing actor, \" is there to be no flesh and blood in this same art of the\ntheatre pf yours ?••• No life?\" It depends wlyat you call life, signor, when you use the word\n\nTHE ACTOR AND\nTHE U B E R-\nMARION ETTE.\n\nTragedy of\nAuthor and Actor\nThe way out.\nThe Actor Imi-\ntates.\nThe Actor would\nrival the Photo-\ngrapher\n\n•\" And therefore when anyone of these pantomimic gentlemen, who are so clever that they can Imitate anything comes to us,\nand makes a proposal to exhibit himself and his poetry, we will fall down and worship him as a sweet and holy and wonderful\nbeing; but we must also Inform him that In our State such as he are not permitted to exist; the law will not allow\nthem. And so, when we have annotated him with myrrh, and set a garland of wool upon his head, we shall lead him\naway toanotherclty. For we mean to emjjloy for our soul's health the rougher and severer poet or. story-teller, who will\nimitate the style of the virtuous only, aud will follow those models which we prescribed at first when we began the\neducation of our soldiers. \" Plato, (The whole passage being too long the print here, we refer te reader to The Republic,\nBook HI. 39|5)»"}, {"page_pdf": 12, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.12", "texte": "THE ACTOR AND\nTHE IJ B E R =\nMARIONETTE.\n\nin relation with the idea of art. The painter means something rather different to actuality\nwhen he speaks of Life in his art, and the other artists generally mean something essentially\nspiritual; it is only the actor the ventriloquist or the animal-stuffer who, when they speak\nof putting life into their work, mean some actual and lifelike reproduction, something blatant\nin its appeal, that it is for this reason I say that it wrould be better if the actor should get\nout of the skin of the part altogether. If there is any actor who is reading this, is there\nnot some way by which I can make him realise the preposterous absurdity of this delusion\nof his, this belief that he should aim to make an actual copy, a reproduction ? Iam going\nto suppose that such an actor is here with me as I talk; and I invite a musician and a\npainter to join us. Let them speak. I have had enough of seeming to decry the work of\nthe actor from trivial motives. I have spoken this way because of my love of the theatre,\nand because of my hopes and belief that before long an extraordinary development is to\nraise and revive that which is failing in the theatre, and my hope and belief that the actor\nwill bring the force of his courage to assist in this revival. My attitude towards the\nwhole matter is misunderstood by many in the Theatre. It is considered to be my attitude,\nmine alone; a stray quarreller I seem to be in their eyes, a pessimist, grumbling; one who\nis tired of a thing and who attempts to break it. Therefore let the other artists speak\nwith the actor, and let the actor support his own case as best he may, and let him listen\nto their opinion on matters of art. We sit here conversing, the actor, the musician, the\npainter and myself. I who represent an art distinct from all these, shall remain silent.\n&As we sit here, the talk first turns upon Nature. We are surrounded by beautiful\ncurving hills, trees, vast and towering mountains in the distance covered with snow; around\nus innumerable delicate sounds of nature stirring... Life. 44 How beautiful, \" says the\npainter, 44 how beatutiful the sense of all this! \" He is dreaming of the almost impossibility\nof conveying the full earthly and spiritual value of that which is around him on to his\ncanvas, yet he faces the thing as man generally faces that which is most dangerous. &\n& The musician gazes upon the ground. The actor's is an inward and personal gaze at\nhimself. He is unconsciously enjoying the sense of himself, as representing the main and\ncentral figure in a really good scene. He strides across the space between us and the view,\nsweeping in a half circle, and he regards the superb panorama without seeing it, conscious\nof one thing only, himself and his attitude. Of course an actress would stand there\nmeek in the presence of nature. She is but a little thing, a little picturesque atom;... for\npicturesque we know she is in every movement, in the sigh which, almost unheard by the\nrest of us, she conveys to her audience and to herself, that she is there 44 littie me, \" in\nthe presence of the God that made her!! and all the rest of the sentimental nonsense.\nSo we are all collected here, and having taken the attitudes natural to us, we proceed to\nquestion each other. And let us imagine that for once we are all really interested in\nfinding out all about the other's interests, and the other's work. (I grant that this is very\nunusual, and that mind-selfishness, the highest form of stupidity, encloses many a professed\nartist somewhat tightly in a little square box.) But let us take it for granted that there\nis a general interest; that the actor and the musician wish to learn something about the\nart of painting; and that the painter and the musician wish to understand from the actor\nwhat his work consists of and whether and why he considers it an art. For here they\nshall not mince matters, but shall speak that which they believe. As they are looking only\nfor the truth, they have nothing to fear; they are all good fellows, all good friends; not\nthin skinned, and can give and take blows. & 44 Tell us, \" asks the painter, 44 is it true\nthat before you can act a part properly you must feel the emotions of the character ybu\nare representing?\" Oh well, yes and no; it depends what you mean,\" answers the\nactor. ** We have first to be able to feel and sympathise and also criticise the emotions\nof a character; we look at it from a distance before we close with it: we gather as mueh\nas we can from the text and we call to mind all the emotions suitable for this character to\nexhibit. After having many times rearranged and selected those emotions which we consider\nof importance we then practice to reproduce them before the audience; and in order to do\nso we must feel as little as is necessary; in fact the less we feel, the firmer will our hold\nbe upon our facial and bodily expression. \" & With a gesture of genial impatence, the artist\nrises to his feet and paces to and fro. He had expected his friend to say that it had nothing\nwhatever to do with emotions, and that he could control his face, features, voice and all,\n\nConversation\nbetween Actor,\nArtist and Mu-\nsician. &\nTheir different\nattitudes.\nThe actress.\nThey shall speak\nthe truth."}, {"page_pdf": 13, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.13", "texte": "just as if his body were an instrument. The musician sinks down deeper into his chair.\n\" But has there never been an actor, \" asks the artist, 44 who has so trained his body from\nhead to foot that it would answer to the workings of his mind without permitting the\nemotions even so much as to awaken? Surely there must have been one actor, say one\nout of ten million, who has done this ? \" 44 No, \" says the actor emphatically, 44 never,\nnever; there never has been an actor who reached such a state of mechanical perfection\nthat his body was absolutelyr the slave of his mind. Edmund Kean of England, Salvini of\nItaly, Rachel, Eleonora Duse, 1 call them all to mind and 1 repeat there never was an actor\nor actress such as you describe. \" & The artist here asks, 44 Then you admit that it would\nbe a state of perfection?\" & 44 Why of course! But it is impossible; will always be\nimpossible, \" cries the actor; and he rises.... almost with a sense of relief. £/ 44 That is as\nmuch as to say, there never was a perfect actor, there has never been an actor who has\nnot spoiled his performance once, twice, ten times, sometimes a hundred times during the\nevening? There never has been a piece of acting which could be called even almost perfect\nand there never will be? \" For answer the actor asks quickly,44 But has there been ever\na painting, or a piece of architecture, or a piece of music which may be called\n\"Undoubtedly,\" they reply, 44 The laws which control our arts make such a thing possible.\"\n44 A picture for instance, \" continues the artist, 44 may consist of four lines, or four\nhundred lines, placed in certain positions; it may be as simple as possible, but it is\npossible to make it perfect. That is to say, 1 can first choose that which is to njake\nthe lines; 1 can choose that on which 1 am to place the lines: 1 can consider this as long\nas 1 like; 1 can alter it; then in a state which is both free from excitement, haste, trouble,\nnervousness, in fact in any state 1 choose, (and of course 1 prepare, wait and select\nthat also) 1 can put these lines together.... so.... now they are in their place. Having my\nmaterial nothing except my own will can move or alter these; and as I have said my own\nwill is entirely under my control. The line can be straight or it can wave; it can be round\nif 1 choose, and there is no fear that when 1 wish to make a straight line 1 shall make a\ncurved one, or that when 1 wish to make a curved there will be square parts about it.\nAnd when it is ready.... finished.... it undergoes no change but that which Time, who finally\ndestroys it, wills.\" \"That is rather an extraordinary thing, \" replied the actor. 441 wish\nit was possible in my work.\" 44 Yes,\" replies the artist, %i it is a very extraordinary\nthing, and it is that which I hold makes the difference between an intelligent statement\nand a casual or haphazard statement. The most intelligent statement, that is a work of art.\nThe haphazard statement, that is a work of chance. When the intelligent statement reaches\nits highest possible form it becomes a work of fine art. And therefore 1 have always held,\nthough 1 may be mistaken, that your work has not the nature of an art. That is to say (and\nyou have said it yourself) each statement that you make in your work is subject to every\nconceivable change which emotion chooses to bring about. That which you conceive in your\nmind, your body is not permitted by nature to complete. In fact, your body, gaining the\nbetter of your intelligence, has in many instances on the stage driven out the intelligence\naltogether. Some actors seem to say, 44 What value lies in having beautiful ideas. To what\nend shall my mind conceive a fine idea, a fine thought, for my body which is so entirely\nbeyond my control to spoil? I will throw my mind overboard, let my body pull me and\nthe play through; \" and there seems to me to be some wisdom in the standpoint of such\nan actor. He does not dilly dally between the two things which are contending in him, the\none against the other. He is not a bit afraid of the result. He goes at it like a man,\nsometimes a trifle too like a centaur; he flings away all science.... all caution.... all reason\nand the result is good spirits in the audence,... and for that they pay willingly. But we\nare here talking about other things than excellent spirits, and though we applaud the actor\nwho exhibits such a personality as this, I feel that we must not forget that we are applauding\nhis personality... he it is we applaud, not what he is doing or how he is doing it; nothing\nto do with art at all, absolutely nothing to do with art, with calculation, or design.\n44 You're a nice friendly creature, \" laughs the actor gaily, 44 telling me my art's no art!\nBut I believe 1 see what you mean. You mean to say that before I appear on the stage and\nbefore my body commences to come into the question, 1 am an artist. \" & 44 Well yes, you\nare, you happen to be, because you are a very bad actor; you're abominable on the stage,\nbut you have ideas, you have imagination; you are rather an exception 1 should say.\n\nTHE ACTOR AND\nTHE UBER«\nMARIONETTE.\n\nPerfect acting\nimpossible.\nThe will of the\nthe Artist.\nWork of art.\nWork of chance.\nThe brave actor."}, {"page_pdf": 14, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.14", "texte": "THE ACTOR AND\nTHE U B E R«\nMARIONETTE.\n\nhave heard you tell me how you would play Richard III; what you would do; what strange\natmosphere you Would spread over the whole thing; and that which you have told me you\nhave seen in the play, and that which you have invented and added to it, is so remarkable,\nso consecutive in its thought, so distinct and clear in form, that if you could make your\nbody into a machine, or into a dead piece of material such as clay, and if it could obey\nyou in every movement for the entire space of time it was before the audience, and if you\ncould put aside Shakespeare's Poem, you would be able to make a work of art out of what\nwhich is in you. For you would not only have dreamt, you would have executed to perfection;\nand that which you had executed could be repeated time after time without so much\ndifference as between two farthings. 44 Ah, \" sighs the actor, 44 you place a terrible\npicture before me. You would prove to me that it is impossible for us ever to think of\nourselves as artists. You take away our finest dream and you give us nothing in its place. \"\n44 No, no, that's not for me to give you. That's for you to find, Surely there must be\nlaws at the roots of the Art of the Theatre, just as there are Laws at the roots of all true\nArts, which if found and mastered, would bring you all you desire? \" 44 Yes, the search\nwould bring the actors to a wall. \" 44 Leap it, then I \" & 44 Too high i \" & 44 Scale it,\nthen! \" 44 How do we know where it would lead? \" 44 Why, up and over. \" 44 Yes,\nbut that's talking wildly, talking in the air. \" 44 Well, that's the direction you fellows\nhave to go; ....fly in the air, live in the air. Something will follow when some of you begin\nto. * I suppose, \" continued he, 44 you will get at the root of the matter in time, and then\nwhat a splendid future opens before you I In fact I envy you, 1 am not sure Ido not wish\nthat photography had been discovered before painting, so that we of this generation might\nhave had the intense joy of advancing, showing that photography was pretty well in its way,\nbut there was something better I \" & 44 Do you hold that our work is on a level with\nphotography? \"& 44 No, indeed, it is not half as exact. It is less of an art even than\nphotography. 1st fact you and I who have been talking all this time while the musician has\nsat silent, sinking deeper and deeper into his chair, our arts by the side of his art, are jokes,\ngames, absurdities. \" At which the musician must go and spoil the whole thing by getting\nup and given vent to some foolish remark. The actor immediately cries out, 44 But 1\ndon't see that that's such a wonderful remark for a representative of the only art in the\nworld to make \" at which they all laughed, the musician in a sort of crest-fallen, conscious\nmanner. 44 My dear fellow, that is just because he is a musician. He is nothing except\nin his music. He is, in fact, somewhat unintelligent, except when he speaks in notes, in\ntones, and in the rest of it, He hardly knows our language, he hardly knows our world,\nand the greater the musician, the more is this noticeable; indeed it is rather a bad sign\nwhen you nteet a composer who is intelligent. And as for the intellectual musician, why\nthat means another....; but we mustn't whisper that name here.... he is so popular to-day.\nWhat an actor this man would have been, and what a personality he has. 1 understand\nthat all his life he had yearnings towards being an actor, and I believe he would have been\nan excellent comedian, whereas he became a musician.... or was it a playwright? Anyhow,\nit all turned out a great success.... a success of personality. \" 44 Was it not a success of\nart?\" asks the musician. 44 Well, which art do you mean?\" & 44 Oh, all the arts\ncombined, \" he replies, blunderingly but placidly. 44 How can that be? How can all arts\ncombine and make one art? It can only make one joke.... one theatre. Things which\nslowly, by a natural law join together, may have some right in the course of many years\nor many centuries to ask nature to bestow a new name on their product. Only by this means\ncan a new art be born. 1 do not believe that the old mother approves of the forcing process;\nand if she ever winks at it, she soon has her revenge; and so is it with the arts. You cannot\nco-mingle them and cry out that you have created a new art. If you can find in nature\na new materialy one which has never yet been used by man to give form to his thoughts,\nthen you can say that yon are on the high road towards creating a new art. For you\nhave found that by which you can create it. It then only remains for you to begin. The\ntheatre, as I see it. has yet to find that material. \" As so their conversation ended.\nFor my part I am with the artist's last statement. My pleasure shall not be to compete\nwith the strenuous photographer and I shall ever aim to get something entirely opposed\nto life as we see it. This flesh and blood life, lovely as it is to us all is for me not a\nthing made to search into, or to give out again to the world, even conventionalized. &\n\nSome *' IFS. \"\nJbaws of the Art\nof the Theatre.\nActing less exact\nthan Photogra-\nphy.\nA new hope."}, {"page_pdf": 15, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.15", "texte": "DESIGN FOR A STAGE SCENE JULIUS OLIVER"}, {"page_pdf": 17, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.17", "texte": "I think that my aim shall rather be to catch some far off glimpse of that spirit which we\ncall death.... to recall beautiful things from the imaginary worid;... they say they are cold,\nthese dead things,... 1do not know.... they often seem warmer and more living than that\nwhich parades as life. Shades.... spirits seem to me to be more beautiful, and filled with\nmore vitality than men and women; cities of men and women packed with pettiness,\ncreatures in-human, secret.... coldest cold.... hardest humanity, JS/ For looking too long\nupon life, may one not find all this to be not the beautiful, nor the mysterious nor the\ntragic, but the dull, the melodramatic, and the silly; the conspiracy against vitality....\nagainst both red heat and white heat; and from such things which lack the sun\nof life it is not possible to draw inspiration. But from that mysterious, joyous, and superbly\ncomplete life which is called Death.... that life of shadow and of unknown shapes, where\nall can not be blackness and fog as is supposed, but vivid colour, vivid light, sharp cut form,\nand which one finds peopled with strange, fierce and solemn figures, pretty figures and\ncalm figures, and those figures impelled to some wonderous harmony of movement, all this\nis something more than a mere matter of fact; from this idea of death which seems a kind\nof spring, a blossoming—from this land and from this idea can come so vast an inspiration,\nthat with unhesitating exultation I leap forward to it and behold, in an instant, I find my\narms full of flowers.... 1 advance but a pace or two and again plenty is around me.... 1\npass at ease on a sea of beauty 1 sail whither the winds take me—there, there is no\ndanger. So much for my own personal wish;... but the entire theatre of the world is not\nrepresented in me, nor in a hundred artists or actors, but in something far different.\nTherefore what my personal aim may be is of very little importance. Yet the aim of the theatre\nas a whole is to restore its art and it should commence by banishing from the theatre this\nidea of impersonation, this idea of reproducing nature; for while impersonation is in the\nTheatre, the Theatre can never become performers should train under the influence\nof an earlier teaching (if the very earliest and finest principles are too stern to commence\nwith) and they will have to avoid that frantic desire to put \"life\" into their work; for\nthree thousand times against one time, it means the bringing of excessive gesture, swift\nmimicry, speech which bellows and scene which dazzles, on to the stage, in the wild and\nvain belief that by such means vitality can be conjured there. And in a few instances, to\nprove the rule, all this partially succeeds. It succeeds partially with the bubbling personalities\nof the stage, With them it is a case of sheer triumph in spite of the rules, in the very\nteeth of the rules, and we who look on, throw our hats into the air,... cheer, and cheer\nagain. We have to; we don't want to consider or to question;—we go with the tide\nthrough admiration and suggestion.... That we are hypnotised, our taste cares not a rap....\nWe are delighted to be so moved, and we literally jump for joy. The great personality has\ntriumphed both over us and the art. But personalities such as these are extremely rare, and\nif we wish to see a personality assert itself in the theatre and entirely triumph as an actor\nwe must at the same time be quite indifferent about the play, the other actors, and Beauty.\n& Those who do not think with me in this whole matter are the worshippers, or respectful\nadmirers, of the personalities of the stage. It is intolerable to them that I should assert\nthat the stage must be cleared of all its actors and actresses before it will again revive.\nHow could they agree with me? That would include the removal of their favourites.... the\ntwo or three beings who transform the stage for them from a vulgar joke into an ideal\nland. But what should they fear? No danger threatens their favourites—for were it possible\nto put an act into force to prohibit all men and women from appearing before the public\nupon the stage of a theatre, this would not in the least affect these favourites—these men\nand women of personality whom the playgoers crown. Consider any one of these personalities\nborn at a period when the s£age was unknown; would it in any way have lessened their\npower.... hindered their expression ? Not a whit. Personality invents the means and ways\nby which it shall express itself; and acting is but one, (the very least) of the means at the\ncommands of a great personality; and these men and women would have been famous at\nany time, and in any calling. But if there are many to whom it is intolerable that I\nshould propose to clear the stage of ALL the actors and actresses in order to revive the\nArt of the Theatre, there are others to whom it seems agreeable.\n\" The artist, \" says Flaubert, \" should be in his work like God in creation, invisible and\n\" all-powerful; he should be felt everywhere and seen nowhere. Art should be raised above\n\nTHE ACTOR AND\nTHE UBER-\nMARIONETTE.\n\nA mysterious\nBeauty,\nThe bubbling\npersonality,\nPersonality\nnever Wasted,\nFlaubert,"}, {"page_pdf": 18, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.18", "texte": "THE ACTOR AND\nTHE UBHR\nMARIONETTE.\n\n\" personal affection and nervous susceptibility. It is time to give it the perfection of the\n\" physical sciences by means of a pitiless method. \" He is thinking mainly of the Art of\nLiterature; but if he feel this so strongly of the writer, one who is never actually seen, but\nmerely stands half revealed behind his work, how totally opposed must he have been to the\nactual appearance of the actor—personality or no personality.\nCharles Lamb says; \"To see Lear acted.... to see an old man tottering about with a stick,\n\" turned out of doors by his daughters on a rainy night, has nothing in it but what Is painful\n\" 1 and disgusting. We want to take him into shelter, that is all the feeling the acting of Lear\n\" ever produced in me. The contemptible machinery by which they mimic the storm which\n\" he goes out in, is not more inadequate to represent the horror of the real elements than\n\" any actor can be to represent Lear. They might more easily propose to personate the\n\" Satan of Milton upon a stage, or one of Michaelangelo's terrible figures.... Lear is essentially\n\" impossible to be represented on the stage. \" & & & &\n\" Hamlet himself seems hardly capable of being acted, \" says William Hazlitt.\nDante in \" La Vita Nuova \" tells us that in dream Love in the figure of a youth appeared\nto him. & Discoursing of Beatrice, Dante is told by Love \" to compose certain things in\n\" rhyme, in the which thou shalt set forth how strong a mastership I have obtained over thee,\n\" through her.... And so write these things that they shall seem rather to be spoken by a\n\" third person, and not directly by thee to her, which is scarce fitting. And again \" There\n\" came upon me a great desire to say somewhat in rhyme: but when I began thinking how 1\n\" should say it, methought that to speak of her were unseemly, unless I spoke to other ladies\n\"in the second person. \" We see then that to these men it is wrong that the living person\nshould advance into the frame and display himself upon his own canvas. They hold it as\n\" unseemly\".... \" scarce fitting. \"\nWe have here witnesses against the whole business of the modern stage. & Collectively they\npass the following sentence:... That it is bad art, or no art, to make so personal, so emotional\nan appeal that the beholder forgets the thing itself while swamped by the personality, the\nemotion, of its maker. J& And now for the testimony of an actress. &\nEleonora Duse has said: (i) \" To save the theatre, the theatre must be destroyed, the actors\nand actresses must all die of the plague. They poison the air, they make art impossible.\"\nWe may believe her. She means what Flaubert and Dante mean, even if she words it\ndifferently. And there are many more witnesses to testify for me, if this is held to\nbe insufficient evidence. There are the people who never go to theatres, the millions of men\nagainst the thousands who do go. Then, we have the support of most of the managers of\nthe theatre of to=>day. The modern theatre manager thinks the stage should have its plays\ngorgeously decorated. He will say that no pains should be spared to bring every assistance\ntowards cheating the audience into a sense of reality; he will never cease telling us how\nimportant all these decorations are; he urges all this for several reasons and the following\nreason is not the least.... He scents a grave danger in simple and good work; he sees that\nthere is a body of people who are opposed to these lavish decorations; he knows that there\nhas been a distinct movement, in Europe, against this display, it having been claimed that\nthe great plays gained when represented in front of the plainest background. This movement\ncan be proved to be a powerful one—it has spread from Krakau to Moscow, from Paris to\nRome, from London to Berlin and Vienna. The managers see this danger ahead of them;\nthey see that if once people came to realise this fact, if once the audience tasted of the\ndelight which a sceneless play brings, they would then go further and desire the play which\nwas presented without actors; and finally they would go on and on and on until they, and\nnot the managers, had positively reformed the Art. & &\nNapoleon is reported to have said. \"In life there is much that is unworthy which in art\nshould be omitted; much of doubt and vacillation; and all should disappear in the\nrepresentation of the hero. We should see him as a statue in which the weakness\nand tremors of the flesh are no longer perceptible. \" (2) & And not only Napoleon,\nbut Ben Jonson, Lessing, Edmund Scherer, Hans Christian Andersen, Lamb, Goethe,\n\nCharles L,amb.\nWilliam Hazlitt,\nDante, &\nDleonora Duse.\nThe wary than-\nger, &\nNapoleon,\n\n(1) Studies in Seven Arts;... Arthur Symons; Constable; 1906.\n(2) Of sculpture Pater writes.\n\" Its white light, purged from the angry, bloodlike stains of action and passion, reveals, not what is accidental In man,\nbut the god in him, as opposed to man's restless movement. \"\nAgain, \" The base of all artistic genius is the power of conceiving humanity in a new striking rejoicing way, of putting"}, {"page_pdf": 19, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.19", "texte": "George Sand, Coleridge, Ruskin, Pater and 1 suppose all the intelligent men and women\nof Europe (one does not speak of Asia for even the unintellegent in Asia fail to\ncomprehend Photographs while understanding Art as a simple and clear manifestation) have\nprotested against this reproduction of Nature, and with it photographic and weak actuality;\nthey have protested against all this, and the theatrical managers have argued against them\nenergetically, and so we look for the truth to emerge in due time. It is a reasonable\nconclusion. Do away with the real tree, do away with the reality of delivery, do away\nwith the reality of action, and you tend towards the doing away with the actor.\nThis is what must come to pass in time, and 1 like to see the managers supporting the idea\nalready. Do away with the actor, and you do away with the means by which a debased\nstage»realism is produced and flourishes. No longer would there be a living figure to\nconfuse us into connecting actuality and art; no longer a living figure in which the weakness\nand tremors of the flesh were perceptible. &\nThe actor must go, and in his place comes the inanimate figure—the uber-marionette we may\ncal him, until he has won for himself a better name. £> Much has been written about the puppet\n—or marionette. There are some excellent volumes upon him, and he has also inspired several\nworks of Art. To-day in his least happy period many people have come to regard him as rather\na superior doll—and to think he has developed from the doll. This is incorrect. He is a\ndescendant of the stone images of the old Temples—he is to-day a rather degenerate form of\na God. Always the close friend of children he still knows how to select and attract his devotees.\nWhen anyone designs a puppet on paper, he draws a stiff and comic looking thing. Such\na one has not even perceived what is contained in the idea which we now call the Marionette.\nHe mistakes gravity of face and calmness of body for blank stupidity and angular deformity.\nYet even Modern Puppets are extraordinary things. The applause may thunder or dribble,\ntheir hearts beat no faster, no slower, their signals do not grow hurried or confused;\nand, though drenched in a torrent of bouquets and love, the face of the leading lady remains\nas solemn, as beautiful and as remote as ever. & There is something more than a flash of\ngenius in the Marionette, and there is something in him more than the flashiness of\ndisplayed personality. The Marionette.... appears to me to be the last echo of some noble\nand beautiful art of a past civilization. But as with all art which has passed into fat or\nvulgar hands, the Puppet has become a reproach. AH puppets are now but low comedians.\nThey imitate the comedians of the larger and fuller blooded stage. They enter only to fall\non their back. They drink only to reel, and make love only to raise a laugh. They have\nforgotten the counsel of their Mother, the Sphinx. Their bodies have lost their grave grace,\nthey have become stiff. Their eyes have lost that infinite subtlety of seeming to see; now\nthey only stare. They display and jingle their wires and are cock-sure in their wooden\nwisdom. They have failed to remember that their art should carry on it the same stamp of\nreserve that we see at times on the work of other artists, and that the highest art is that\nwhich conceals the craft and forgets the craftsman. Am 1 mistaken, or is it not the old\nGreek Traveller of 8oo B. C. who, describing a visit to the TempIe»Theatre in Thebes, tells\nus that he was won to their beauty by their 44 noble artificiality.\" 44 Coming into the\n44 House of Visions I saw afar off the fair brown Queen seated upon her throne.... her\n44 tomb.... for both it seemed to me. 1 sank back upon my couch and watched her\n44 symbolic movements. With so much ease did her rhythms alter as with her movements\n44 they passed from limb to limb; with such a show of calm did she unloose for us the\n44 thoughts of her breast; so gravely and so beautifully did she linger on the statement of\n44 her sorrow, that with us it seemed as if no sorrow could harm her; no distortion of body\n44 or feature allowed us to dream that she was conquered; the passion and the pain were\n44 continually being caught by her hands, held gently, and viewed calmly. & Her arms and\n44 hands seemed at one moment like a thin warm fountain of water which rose, then\n44 broke and fell with all those sweet pale fingers like spray into her lap. It would have\n44 been as a revelation of art to us had 1 not already seen that the same spirit dwelt in\n44 the other examples of the art of these Egyptians. This 4 Art of Showing and Veiling'as\n\nTHE ACTOR AND\nTHE UBER-\nMARIONETTE.\n\nThe Marionette.\n8 o o: B. C.&\n\na happy world of Its own construction in place of the meaner world of common days, of generating around itself an atmophere\nWith a novel power of refraction, selecting, transforming, recomblning the images it transmits, according to the choice of\nthe imaginathinve Intellect. \"\nAnd again; \"All that is accidental, all that distracts the simple effect upon us of the supreme types of humanity, all\ntraces In them of the commonness of the world, it gradually purges away. \""}, {"page_pdf": 20, "page_imprimee": "12", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.20", "texte": "THE ACTOR AND\nTHE U B E Ra\nMARIONETTE.\n\n\" they call it, is so great a spiritual force in the land that it plays the larger part in\n\" their religion. We may learn from it somewhat of the power and the grace of courage,\n\" for it is impossible to witness a performance without a sense of physical and spiritual\n\" refreshment.\" This in 800 B. C. And who knows whether the Puppet shall not once\nagain become the faithful medium for the beautiful thoughts of the artist. May we not\nlook forward with hope to that day which shall bring back to us once more the figure, or\nsymbolic creature, made also by the cunning of the artist, so that we can regain once\nmore the \" nohle artificiality 99 which the old writer speaks of. £/ Then shall we no longer\nbe under the cruel influence of the emotional confessions of weakness which are nightly\nwitnessed by the people and which in their turn create in the beholders the very weaknesses\nwhich are exhibited. & To that end we must study to remake these images—no longer\ncontent with a puppet, we must create an ttber-marionette. The iiber-marionette will\nnot compete with Life—but will rather go beyond it. Its ideal will not be the flesh and\nblood but rather the body in Trance—it will aim to clothe itself with a deathlike Beauty\nwhile exhaling a living spirit. Several times in the course of this essay has a word or\ntwo about Death found its way on to the paper.... called there by the incessant clamouring\nof \"Life! Life! Life!\" which the Realists keep up. And this might be easily mistaken for\nan affectation especially by those who have no sympathy or delight in the power and the\nmysterious joyousness which is in all passionless works of art. If the famous Rubens and\nthe celebrated Raphael made none but passionate and exuberant statements, there were\nmany artists before them and since to whom moderation in their art was the most\nprecious of all their aims, and these more than all others exhibit the true masculine\nmanner. The other flamboyant or drooping artists whose works and names catch the eye\nof to-day do not so much speak like men as bawl like animals, or lisp like women.\nThe wise, the moderate masters, strong because of the laws to which they swore to remain\never faithful.... their names unknown for the most part.... a fine family.... the creators of the\ngreat and tiny gods of the East and the West, the guardians of those larger times,... these all\nbent their thoughts forward towards the unknown, searching for sights and sounds in that\npeaceful and joyous country, that they might raise a figure of stone or sing a verse, investing\nit with that same peace and joy seen from afar, so as to balance all the grief and turmoil here.\nIn America we can picture these brothers of that family of masters, living in their superb\nancient cities, colossal cities which I ever think of as able to be moved in a single day; cities\nof spacious tents of silk and canopies of gold under which dwelt their gods; dwellings which\ncontained all the requirements of the most fastidious; those moving cities which, as they\ntravelled from height to plain, over rivers and down valleys, seemed like some vast\nadvancing army of peace. And in each city not one or two men called \" artists \" whom the\nrest of the city looked upon as ne' er do well idlers, but many men chosen by the community\nbecause of their higher powers of perception.... artists; for that is what the title of artist\nmeans, one who perceives more than his fellows, and who records more than he has seen.\nAnd not the least among those artists was the artist of the ceremonies, the creator of the\nvisions, the minister whose duty it was to celebrate their guiding spirit.... the spirit of Motion.\nIn Asia, too, the forgotten masters of the temples and all that those temples contained, have\npermeated every thought, every mark in their work with this sense of calm motion resembling\ndeath.... glorifying and greeting it. In Africa, (which some of us think we are but now to\ncivilize) this spirit dwelt,... the essence of the perfect civilization. There too dwelt the great\nmasters, not individuals obsessed with the idea off each asserting his personality as if it was a\nvaluable and mighty thing, but content because of a kind of holy patience to move their brains\nand their fingers only in that direction permitted by the law--in the service of the simple truths.\nHow stern the law was, and how little the artist of that day permitted himself to make an\nexhibition of his personal feelings can be discovered by looking at any example of Egyptian art.\nLook at any limb ever carved by the Egyptians, search into all those carved eyes, they will\ndeny you until the crack of doom. Their attitude is so silent that it is death like. Yet\ntenderness is there, and charm is there; prettiness is even there side by side with the force;\nand love bathes each single work; but gush, emotion, swaggering personality of the artist?...\nnot one single breath of it. Pierce doubts or hopes?... not one hint of such a thing. Strenuous\ndetermination?... not a sign of it has escaped the artist; none of these confessions.... stupidities.\nNor pride, nor fear, nor the comic, not any indication that the artist's mind or hand was\n\n& The iiher ma-\nrionette not to\ncompete with\nLife.\nThe wise masters\nof Art. £>\nIn America.\nIn Asia & Africa.\nLove inteacL of\ngush."}, {"page_pdf": 21, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.21", "texte": "for the thousandth part of a moment out of the command of the laws which ruled him.\nHow superb I This it is to be a great artist; and the amount of emotional outpourings of\nto-day and of yesterday are no signs of supreme intelligence,... that is to say, are no signs\nof supreme art. To Europe came this spirit, hovered over Greece, could hardly be driven\nout of Italy, but finally fled, leaving a little stream of tears,... pearls.... before us. And we,\nhaving crushed most of them, munching them along with the acorns of our food, have gone\nfurther and fared worse and have prostrated ourselves before the so-called \" great masters, \"\nand have worshipped these dangerous and flamboyant personalities. On an evil day we\nthought in our ignorance that it was us they were sent to draw, that it was our thoughts\nthey were sent to express; that it was something to do with us that they were putting into\ntheir architecture, their music, and so it was we came to demand that we should be able\nto recognize ourselves in all that they put hand to; that is to say, in their architecture, in\ntheir sculpture, in their music, in their painting, and in their poetry we were to figure... and\nwe also reminded them to invite us with the familiar words \" come as you are.\"\n& The artists after many centuries have given in, that which we asked them for they have\nsupplied. And so it came about that when this ignorance had driven off the fair spirit which\nonce controlled the mind and hand of the artist, a dark spirit took its place; the happy-go-\nlucky Hooligan in the seat of the Law, that is to say, a stupid spirit reigning; and everybody\nbegan to shout about Renaissance! while all the time the painters, musicians, sculptors,\narchitects, vied one with the other to supply the demand.... that all these things should be\nso made that all people could recognize them as having something to do with themselves.\nUp sprang portraits with flushed faces, eyes which bulged, mouths which leered, fingers\nitching to come out of their frame, wrists which exposed the pulse; all the colours higgledy\npiggledy; all the lines in hubbub, like the ravings of lunacy. Form breaks into panic; the\ncalm and cool whisper of life in trance which once had breathed out such an ineffable hope\nis heated, fired into a blaze and destroyed, and In its place.... realism, the blunt statement\nof Life, something everybody misunderstands while recognizing. And all far from the\npurpose of art. For its purpose is not to reflect the actual facts of this life, because it is\nnot the custom of the artist to walk behind things, having won it as his privilege to walk\nin front of them—to lead. Rather should life reflect the likeness of the spirit, for it was\nthe spirit which first chose the artist to chronicle its Beauty, (i) & And in that picture, if the\nform be that of the living, on account of its beauty and tenderness, the colour for it must\nbe sought from that unknown land of the imagination,... and what is that but the\nland where dwells that which we call Death. & So it is not lightly and flippantly that I\nspeak of Puppets and their power to retain the beautiful amd remote expressions in form\nand face even when subjected to a patter of praise, a torrent of applause. There are persons\nwho have made a jest of these Puppets. \" Puppet \"is a term of contempt, though there still\nremain some who find beauty in these little figures, degenerate though they have become.\nTo speak of a Puppet with most men and women is to cause them to giggle. They think\nat once of the wires; they think of the stiff hands and the jerky movements; they tell me\nit is \" a funny little doll. \" But let me tell them a few things about these Puppets. Let\nme again repeat that they are the descendants of a great and noble family of Images, Images\nwhich were made in the likeness of God; and that many centuries ago these figures had a\nrhythmical movement and not a jerky one; had no need for wires to support them, nor did\nthey speak through the nose of the hidden manipulator. & (Poor Punch, I mean no slight\nto you! You stand alone, dignified in your despair, as you look back across the centuries\nwith painted tears still wet upon your ancient cheeks, and you seem to cry out appealingly\nto your dog, \" Sister Anne, sister Anne, is nobody coming? \" And then with that superb\nbravado of yours, you turn the force of our laughter (and my tears) upon yourself with the\nheartrending shriek of \"Oh my nose! Oh, my nose! Oh my nose!) Did you think, ladies\nand gentlemen, that thees puppets were always little things of but a foot high?\n& Indeed, no! The Puppet had once a more generous form than yourselves. &\nDo you think that he kicked his feet about on a little platform six foot square, made to\nresemble a little old fashioned theatre; so that his head almost touched the top of the\nproscenium; and do you think that he always lived in a little house where the door and\n\nTHE ACTOR AND\nTHE U B E R-\nMARIONETTE.\n\nThe Hooligan\nreigns. &\nThe privilege\nof the Artist.\nPunch.\n\n(1) \" All forms are perfect in the poet's mind: But these are not abstracted or compounded from nature; they are from\nImagination, \" William Blake."}, {"page_pdf": 22, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.22", "texte": "windows were as small as a doll's house, with painted window blinds parted in the centre,\nand where the flowers of his little garden had courageous petals as big as his head? Try\nand dispel this idea altogether from your minds, and let me tell you something of his habitation.\nIn Asia lay his first Kingdom. On the banks of the Ganges they built him his home,... a\nvast palace springing from column to column into the air and pouring from column to column\ndown again into the water. Surrounded by gardens spread warm and rich with flowers and\ncooled by fountains; gardens into which no sounds entered, in which hardly anything stirred.\nOnly in the cool and private chambers of this palace the swift minds of his attendants\nstirred incessantly. Something they were making which should become him, something\nto honour the spirit which had given him birth. And then, one day, the ceremony. &\nIn this ceremony he took part; a celebration once more in praise of the Creation; the old\nthanksgiving, the hurrah for existence, and with it the sterner hurrah for the privilege of\nthe existence to come, which is veiled by the word Death. And during this ceremony there\nappeared before the eyes of the brown worshippers the symbols of all things on earth and in\nNirvana. The symbol of the beautiful tree, the symbol of the hills, the symbols of those rich\nores which the hills contained; the symbol of the cloud, of the wind, and of all swift moving\nthings; the symbol of the quickest of moving things, of Thought, of Remembrance; the\nsymbol of the Animal, the symbol of Buddha and of Man.... and here he comes, the figure,\nthe Puppet at whom you all laugh so much. You laugh at him to«day because none but\nhis weaknesses are left to him. He reflects these from you; but you would not have laughed\nhad you seen him in his prime, in that age when he was called upon to be the symbol of\nman in the great ceremony, and, stepping forward, was the beautiful figure of our\nheart's delight. & If we should laugh at and insult the memory of the Puppet, we should\nbe laughing at the fall that we have brought about in ourselves.... laughing at the Beliefs\nand Images we have broken. A few centuries later, and we find his home a little the\nworse for wear. & Prom a temple it has become, I will not say a theatre, but something\nbetween a temple and a theatre, and he is losing his health in it. Something is in the air;\nhis doctors tell him he must be careful. \" And what am 1 to fear the most? \" he asks\nthem. They answer him; \" Fear most the vanity of men. \" He thinks, \" But that is\nwhat 1 myself have always taught; that we who celebrated in joy this our existence, should\nhave this one great fear. Is it possible that I, one who has ever revealed this truth, should\nbe one to lose sight of it and should myself be one of the first to fall? Clearly some subtle\nattack is to be made on me. 1 will keep my eyes upon the Heavens. \" And he dismisses\nhis doctors and ponders upon it.\nAnd now let me tell you who It was that came to disturb the calm air which surrounded\nthis curiously perfect thing. It is on record that somewhat later he took up his abode on\nthe far Eastern Coast, and there came two women to look upon him. And at the ceremony\nto which they came he glowed with such earthly splendour and yet such unearthly simplicity,\nthat though he proved an inspiration to the thousand nine hundred and ninety eight souls\nwho participated in the festival, an inspiration which cleared the mind even as it intoxicated,\nyet to these two women it proved an intoxication only. He did not see them, his eyes were\nfixed on the heavens: but he charged them full of a desire too great to be quenched; the\ndesire to stand as the direct symbol of the Divinity in Man. No sooner thought than\ndone; and arraying themselves as best they could in garments (\" like his, \" they thought)\nmoving with gestures (\" like his \" they said) and being able to cause wonderment in the minds\nof the beholders (\" even as he does, \" they cried) they built themselves a temple (\" like his 99\n\" like his \"), and supplied the demand of the vulgar,... the whole thing a poor parody.\nThis is on record. It is the first record in the East of the actor.... The actor springs from\nthe foolish vanity of two women who are not strong enough to look upon the symbol of\ngodhead without desiring to tamper with it; and the parody proved profitable. In fifty or\na hundred years, places for such parodies were to be found in all parts of the land.\nWeeds, they say, grow quickly, and that wilderness of weeds, the modern theatre, soon\nsprang up. The figure of the Divine Puppet, attracted fewer and fewer lovers, and the women\nwere quite the latest thing. With the fading of the Puppet and the advance of these\nwomen who exhibited themselves on the stage in his place, came that darker spirit\nwhich is called Chaos, and in its wake the triumph of the riotous Personality. Do you\nsee then, what has made me love and learn to value that which to-day we call the puppet\n\nTHE ACTOR AND\nTHE UBER-\nMARIONETTE.\n\nOn the banks of\nthe Ganges.\nThe thanksgiv-\ning Ceremony.\nThe symbol of\nman. &\nThe Fall.\nGush not hove."}, {"page_pdf": 23, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.23", "texte": "and to detest that which we call life in art? I pray earnestly for the return of the\nImage.... the uber-marionette, to the Theatre; and when he comes again and is but seen,\nhe will be loved so well that once more will it be possible for the people to return to\ntheir ancient Joy in ceremonies ....once more will Creation be celebrated.... homage rendered\nto existence.... and divine and happy intercession made to Death. & & &\n♦\nFlorence, March 1907.\n\nTHE ACTOR AND\nTHE UBER-\nMARIONETTE.\n\nAristotle's Poetics. XXVI, 1-4.\nThe Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the\nleast artistic, and connected least with the art of poetry. For the power of Tragedy, we\nmay be sure, is felt even apart from representation and actors. Besides, the production of\nspectacular effects depends more on the art of the stage machinist than on that of the poet.\nAristotle's Poetics, VI, 19.\nAgain, Tragedy like Epic poetry produces its effect even without action; it reveals its power\nby mere reading.\n\nDESIGN FOR A STAGE SCENE JULIUS OLIVER"}, {"page_pdf": 25, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.25", "texte": "A VENICE AND A ROME for the\nconsideration of young scene painters.\nAllen Carric.\nthe page facing we give a clue to good scene painting. If the young and serious designer\nfor the stage should study from these little pictures alone, and could bring himself to see\nthe wonder which lies in them and disregard all that he is taught by the modern theatre,\nhe would soon learn to invent wonderful and charming backgrounds for the plays of\nShakespeare. Merchant of Venice lived in just such a Venice as that shown\nhere; Shakespeare's Julius Caesar in just such a Rome. The modern scene painter will say\nthat this design for Venice is an ill-drawn and lifeless design, and that the modern painters\ncan make better. But we have yet to see a better modern design, and we have looked in\n»\nvain for one in the Theatres of Europe. And why this is so much better, and so far better\nsuited to the Theatre than the modern rubbish which gets there, is that this design is full\nof strength, distinction, and grace, and thoughtful feeling, and the modern designs are full of\nweakness, vulgarity, and conceit. How then can the spirit of Shakespeare's plays be rightly\nrevealed, or understood, when it is suffocated by these scenic grossnesses? &\nIt is, not a question whether scenery is good or bad for the Shakespearean drama.... it is only\nwhether good scenery is good or bad for these plays. Surely good scenery is entirely good.\nAnd what is good scenery? Is it necessarily a plain curtain, and a table, and two chairs? Why\nis this good? What makes it worthy to be called good scenery? We know that over-much\nscenery nearly always can be called bad scenery.... but over-little scenery is also as bad; it\nis a case of the Devil or the deep sea. Then is a medium amount of scenery good scenery?\nWell, the amount is of some importance, though a medium amount of good scenery and a\nmedium amount of bad scenery leaves us no better off one way or the other. Nol It is not\nthe amount of scenery, good or bad ; it is the quality. And will the modern designers quarrel\nwith us about quality?.... well, quality is a divine thing and all men desire it. What these\ndesigns for Venice and Rome contain is quality,.... and as that is a thing which the stage\nnever dreams of winning, what is the good of speaking about it? & But keep your thoughts\nfixed on these and like designs; it can do you no harm, and may do you much good,..., and\nfor the love of your Art, your country, or even yourself, wake up, and understand them.\n& If I were to fill this number of \" The Mask \" with talk about line, design, atmosphere,\nstyle, and all the rest of it, I should only confuse you, for you cannot understand what you\ncannot feel. So I print these two designs and put them before you. Look at them long\nenough, and you will begin to feel the foolishness of modern sceneries. The moment you\nfeel this, you will begin to understand the sense of these designs. And that will be counted\nas so much growth to the Art which we all strive to cultivate.\nFor Shakespeare\nWhat is good\nScenery. &\nWake up!\n\nTHE ENERGY OF THE GERMAN THEATRE.\nEnglish hear many stories about the energy, the progressive spirit of the Germans. They\nbelieve just as much as it suits them to believe. They would do well to believe every\nbit of these stories so far as the German Theatre is concerned.... a little competition is by\nno means a dangerous thing. But as not all, even the truest, stories are always to be\nbelieved, we give here a couple of lists which show better than any telling what real\nenergy the German Theatre contains. The first list or programme for the week is taken\nfrom the year 1904, the second list from the year 1908. Both are representative lists; neither\nis exceptional. In every German town the programme is as varied, and anyone will see\nat a glance that the standard is high. & & & & &\n\nTo he believed."}, {"page_pdf": 26, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.26", "texte": "BERLIN THEATRE PROGRAMME FOR A WEEK IN NOVEMBER 28. 1904.\nTHEATRE.\nMonday.\nI\nTuesday.\nWednesday.\nThursday.\nFriday.\nSaturday,\nSunday.\nKQL. OPERNHAUS 7.30\nLohengrin\nBajazzl Coppelia\nDie lustigen Weiber\nvon Windsor\nTannhauser\nSimphonieabend\nd. konigl. Kapelle\nDie lustigen Weiber\nv. Windsor\nDer Freischiitz\nKQL. SCHAUSPIELHAUS 7.30\n—\n—\n—\n—\n—\n—\n—\nNEUES KQL. OPERNHAUS 7.00\nFlachsraann\nals Erzieher\nAndromche\nGelehrte Frauen\nOthello\nTheodora\nAndronache\nGelehrte Frauen\nFaust\nFlachsmann\nals Erzieher |\nDEUTSCHES THEATER 7.30\nDon Carlos\nMaskerade\nMaskerade\nDon Carlos\nMaskerade\nMaskerade\nMaskerade\nLESSING-THEATER 7.30\nD. Siebzehnjahrige\nDer Biberpelz\nTraumulus\nD. Siebzehnjahrige\nDer Biberpelz\nD. Siebzehnjahrige\nTraumulus\nTHEATER DES WESTENS 7.30\nDie Hugenotten\nWiener Blut\nLa Traviata\nFranc. d'Andrade\nDon Juan\nWiener Blut\nWiener Blut\nWiener Blut\nNEUES THEATER 7.00\nDie lustigen Welber\nvon Windsor\nMorgenrote\nMorgenrote\nDie lustigen weiber\nvon Windsor\nDie Kronpratendenten\nD. lustig. Weiber\nvon Windsor\nMorgenrote\n1\nDTSCH.-AMERIK. TH. 8.00\nNew York\nNew York\nNew York\nNew York\nNew York\nNew York\n— |\nNew York\nRESIDENZ-THEATER 7.30\nE. Hochzeltsnacht\nE. Hochzeitsnacht\nE. Hochzeitsnacht\nE. Hochzeitsnacht\nE. Hochzeitsnacht\nE. Hochzeitsnacht\nE. Hochzeitsnacht |\nCENTRAL-THEATER 7.30\nDeer Generalkonsul\nDer Generalkonsul\nDer Generalkonsul\nDer Generalkonsul\nDie Geisha\nDer Generalkonsul\nDer Generalkonsul I\nBERLINER-THEATER 7.30\nEln Teufelskerl\nZapfenstreich\nAlt-Heidelberg\nEin Teufelskerl\nGotz von Berlichingen\nZapfenstreich\nEln Teufelskerl 1\nSCHILLER-TH. N. 8.00\nTyranney der ThrSnen\nMutter Erde\nGrosstadtluft\nMutter Erde\nD. Haubenlerche\nKrieg in Frieden\nDie Haubenlerche\nSCHILLER-TH. O. 8.00\nWallensteins Lager\nDie Piccolomlni\nWallensteins Tod\nTyranney der ThrSnenj Wallanstelns Lager\nDie Piccolomlni\nWallensteins Tod\nDie Jiidln von Toledo\nGrossstadtluft\nTHALIA-THEATER 7.30\nDer Welberkonig\nDer Welberkonig\nDer Welberkonig\nD. Welberkonig\nDer Welberkonig\nDer Welberkonig\nDer Weiberkonig j\nLUISEN-THEATER 8.00\nDer Registrator auf\nReisen\nDie Reise d. Berlin in\n80 Stundeu\nJulius Caesar\nDie Relse d. Berlin\nin 80 Stunden\nJulius Caesar\nMeln Leopold\nVon Stufe zu Stufe\nBELLE ALLIANCE-TH. 8.00\nD. Mllllonenbauer\nD. Milionenbauer\nD. Millionenbauer\nD. Millionenbauer\nD. Millionenbauer\nFrohl Weihnacht\nFrrhl. Weihnacht j\nAPOLLO-THEATER 8.00\nBerliner Luft 1 Berliner Lnft\nI\nBerliner Luft\nBerliner Luft\nBerliner Luft\nBerliner Luft\nBerliner Luft\nNATIONAL-THEATER 8.00\nDer Waffenschmied\nDie Favorltin\nPrevostl, Fedora\nDer Waffenschmied\nMillionenbraut\nPrevosti La Traviata\nDie Millionenbraut\nMETROPOL-THEATER 8.00\nD. Herren v. Maxim\nD. Herren v. Maxim\nD. Herren v. Maxim\nD» Herren v Maxim\nD. Herren v. Maxim\nD. Herrea v. Maxim\nD. Herren v. Maxim\nKLEINES THEATER 8.00\nNachtasyl\nDer tapfere Kasslan\nDer tapfere Kasslan\nNachtasyl\nEleclstra\nNachtasyl\nDer tapfere Kasslan\nTRIANON-THEATER 8.00\nGastons Frauen\nGastons Frauen\nGastons Frauen\nGastons Frauen\nGastons Frauen\nGastons Frauen\nGastons Frauea"}, {"page_pdf": 27, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.27", "texte": "BERLIN THEATRE PROGRAMME FOR A WEEK IN JANUARY 1908.\nKbnigli-\nches\nopernhaus\nKbnigli-\nches\nSchau-\nspielhaus\nResident\nTheater\nDeutsches\nTheater\nDtsch.\nTheater .\nKammer-\nspiele\nHebbel\nTheater\nKleines\nTheater\nThalia\nTheater\nLessing\nTheater\nFriedrich\nWilhelm-\nstadt.\nSchausp.\nTheater\nan der\nSpree\nFolies\nCaprice\nChat noir\nFriedri-\nchstr. 165\nSchiller\n|T h e a t e r\nChariot-\ntenburg\nAnfang\n7.30\n7.30\n8\n7.30\n8\n7.30\n8\n7.30\n7.30\n8\n8\n8\n11\n8\nDienstag\n•\nTherese.\nDas war\nich. Slav.\nBrautw.\nKSnig\nBibi\nDie\nFraulein\nJulie. Die\nNeuver-\nmahlteri\nGASTSPIEL IM CENTRAL=THEATER;\n7.30\nFra Warrens Qewerbe von Bernard Shaw\nMandra-\nGirardi\nImmer\nobenauf\nDie gelbe\nNachtigall\nKbnig\nHeinrich\nHokus-\npokus\nM A L WAS ANDERES!\nRevue mit Gesang in 3 Biledrn.\nVorher: Dunkle Punhte. — Eine anstandige Frau, Lustspiel.\n1 . - - . . . - _\nDIR. RUDOLPH NELSON.\nLene Land a. G. — Costanze Zinner\nBetti Kaiser-Szalok. — Fritz Griinbaum.\nKarll Nagelmiiller. — Kate Erlholz.\nDer Rich-\nOedipus\nRauber\ngola\nter von\nZalamea\n!\nI Mittwoch\nDie Mei-\nstersinger\nvon\nNiirnberg\nMinna v.\nBarnhelm\nBibi\nWas ihr\nwollt\nFriihlings\nErwachen\nDer\nUnsichere\nGirardi\nImmer\nobenauf\nNora\nMadame\nSans Gene\nHokus-\npokus\nCollege\nCrampton j\nDonnerstag\nSamson\nu. Dalila\nDie\nRaben-\nsteinerin\nBibi\nDie\nRauber\nHochzeit\nMandra-\ngola\nGirardi\nImmer\nobenauf\nKaiser\nKarls\nGeisel\nMadame\nSans Gene\nHokus-\npokus\n• |\nPhilister. 1\nDie Lore |\nFreitag\nSalome\nMinna v.\nBibi\nWas ihr\nQyges\nDer\nUnsichere\nGirardi\nImmer\nobenauf\nDie\nStiitzen\nder\nGesell-\nschaft\nKdnig\nHeinrich\nHokus-\npokus\n%\nDer Rich-\nBarnhelm\nwollt\nund sein\nRing\nter von\nZalamea\nSonnabend\nTristan\nu. Isolde\nDie Brant\nvon\nMessina\nBibi\nDie\nRauber\nHochzeit\nMandra-\ngola\nGirardi\nImmer\nobenauf\nDie\nWildente\nK5nig\nHeinrich\nHokus-\npokus\nGebildete\nMenschen\nSonntag\nMignon\nMinna v.\nHaben\nSie\nnichts zu\nverz.\nDie\nHochzeit\n3 Uhr:\nMaria\nM a g d a-\nlena\n3 Uhr: Ihr\nSechs Uhr\nOnkel\nNachm.\nDie\nversunk\nGlocke\n3 Uhr:\nNachtasyl\nNachm.\nAusge-\nwiesen\nN. Der Ri=\nBarnhelm\nRauber\nMadame\nSans Gene\nchter von\n8 Uhr: Gi-\nI. obenauf\nHokus-\npokus\nZalamea\nBibi\nMandrag.\nDer Biber.\n\\ Montag\nJohann\nvon Paris\nPrinz\nFriedrich\nvon\nHomburg\nWas ihr\nFriihlings\nErwachen\nUnbe-\nstimmt\nRosmers-\nK5nig\nHeinrich\nHokus-\npokus\nDer Rich-\nwolt\nholm\nter von\nZalamea"}, {"page_pdf": 28, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.28", "texte": "THE GERMAN\nTHEATRE. j&\n\nThe plays and operas of the first class have been underlined so that the reader may see\nat a glance how evenly the balance Is preserved between these and the ordinary trade\nplays. & In the first list, or programme for a week, we find the names of the following\nauthors or composers. &&&&&£?&\nName of Author. Number of performances. Theatres.\nShakespeare .... s .... 3\nGoethe 1 1\nWeber 1 ,\nWagner ..... 2 1\nMozart 1 .... 1\nSchiller ..... 7 .... 3\nIbsen ...... i .... i\nGorki ...... 3 .... 1\nHofmannsthal .... 1 1\nHauptmann 2 1\nTotal for the week 24 14\nThis is a good record.... 3 Foreign Masters, 7 German Masters. In the second programme\nof a week we find even a better record, showing that the German Theatre of 1908 is an\nadvance upon that of 1904.\nName of Author. Number of performances. Theatre.\nShakespeare .... 3 1\nSchiller 5 .... 2\nLessing 3 1\nHebbel 1 1\nWagner 2 1\nIbsen 3 .... 1\nWyspianski ' 3 1\nCaulderon 4 1\nMacchiavelli .... 4 1\nHauptmann..... 1 1\nStrindberg 1 , . . . 1\nGorki 1 .... 1\nRichard Strauss. ... 1 1\nBernard Shaw .... 7 . . . . 1\nTotal for the week 43 15\nIn both these lists the number of performances of Gorki, Hofmannsthal and Strindberg are\ndistinctly fewer than is usual. In some lists the name of Gorki, with his single play, \"Nachtasyl,,\nappears seven times in a week. That of Strindberg five or six times, and the youngest poet\nof Germany, Hofmannsthal, not less than eight times in one week. Add to this the\nperformance of all these first class works in Dresden, Munich, Hamburg, Leipzig, Mannheim,\nHeidelberg, Darmstadt, Dussledorf, Breslau, and some idea can be gathered as to the energy\nof the Theatre in Germany. It will also be seen that only eight of the above theatres\nattempt the continuous run system, and that the plays selected for this experiment are not\nthose of Shakespeare, Schiller or Goethe. Compare this with the English system which runs\nall the good things to death, and it will be seen that the advantage lies with the Germans....\nnot the German Theatres any more than the English Tlieatresy but with the German People\nfor whom the theatre exists. That Mr Granville Barker's stand against this system should\nnot have received national, or at least strong personal, support from capitalists keen on\ndoing some good with their wealth, is not merely surprising but entirely and disastrously\nshameful. If Mr Barker's attitude had been very extreme, one could have understood this;\nor if his scheme had included a revival of the entire Art of the Theatre, or had been in any\nway a specially artistic movement, we could understand that the gravity of the offence\ndemanded a stern treatment of cold water; but it was merely a sensible and very plucky\nattempt to raise the English Theatre to the level of the Continental Theatre.\n\nHofmannsthal.\n& Mr. Gianville"}, {"page_pdf": 29, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.29", "texte": "FOREIGN NOTES\n\nAMSTERDAM\nJ. v. H.\ntragedian Olojiro Kawakami and his\ncelebrated wife Sada Yacco have been\nlately performing here to what is known as\nempty benches, and this in spite of the lectures\nwhich Madame Sada Yacco has delivered here.\n& The Dutch Actor, Royaards. has written\nan interesting article about their art in a\njournal here, in which he tells the actors\nto try and learn something from this visit\nof the Japanese. 1 quote a passage from\nhis article which will have interest for the\nreaders of 44 The Mask \".... 44 Believe me, \"\nhe writes, 44 it does not matter that you do\nnot understand the language of these artists.\nIn this old Japanese Legend perhaps only\nforty word are spoken, and of these not even\nten by Kawakami, who plays the Prince\nKoremotchi, and yet what an artist of the\nTheatre he proves himself to be IIn seeing his\nvery powerful and always beautiful gestures,\nwhich remind us of a series of peerless Japanese\nprints, I suddenly understood the Japanese\nand a great part of the culture of this\nunconquerable race, but also came to a fuller\nunderstanding of something else; that is to\nsay, the aims of Mr Gordon Craig to subordinate\nword to gesture in the Dramatic Art. The\nimpression I received from the silent acting\nof the Japanese will be ineffacable in me, ...\nApart from the pleasure which the Japanese\ngive us, they give us as well a deeper insight\ninto the kernel of the art of acting than most\nof our European stars \".\n\nBUDAPEST\nA. H.\nThe Marionette. & To the pupils in my\nDramatic College I put the following question\nyesterday. 44 Do you consider the Marionette\nnatural? \" 44 No \", they answered with one\nvoice. 44 What, \" 1 replied indignantly, 44 not\nnatural? All its movements speak with the\nperfect voice of its nature. If a machine\nshould try to move in imitation of human\nbeings, that would be unnatural. Now follow\nme:... the Marionette is more than natural;\nit has Style, ...that is to say, Unity of\nExpression; therefore the Marionette Theatre\nis the true Theatre\".\n\nWARSAW\nThe Polish Theatre born of the genius of\nWyspianski made itself felt even before his\nuntimely deaths Now it begins to make itself\nunderstood. It will prove a great factor in the\nrejuvination of the whole land. The Russian.\nArt Theatres continue to derive inspiration\nfrom the efforts of the Polish artist, and\nimitation is less evident in their work than\nmight be expected under the circumstances.\n\nSTOCKOLM\nA correspondent from Stockholm sends 11s a\ndrawing by Axel Gallen of an episode from\nthe Kale Vala which depicts an old and white\nbearded man leaning out over a boat and\ntrying to seize a beatiful girl who, like Undine,\nis escaping from him into the water. Under\nthe Design is written, \" The old man would\ncatch the beautiful maiden and can't;\njust as our old Theatre here wishes to catch\nArt and .....can't.\" It is an expressive criticism,\nand coming from the beautiful and celebrated\nEllen Key, it is valuable.\nAnother correspondent sends us the following\nfrom the same city:.... \"A new theatre has\nbeen built. The directors think of conducting\nit as a commercial theatre, so that we are no\nfurther forward than we were before it was\nbuilt. The inauguration was a dull affair\nFor the construction of the Theatre itself\nwe can find no words of praise. & &\nConventional to the last degree, and made\nafter the old worn-out pattern of the last 150\nyears, the architect seems to have entirely\ndisregarded Wagner's lesson to Europe as to\nthe purpose and therefore the shape, of an\nauditorium.The ground plan also shows that the\narchitect was obliged to make shift with his\nspace. It is very disappointing. The March\nnumber of \" Ord och Bild contains an\ninteresting illustrated description of this new\nTheatre. There are thirty five illustrations, and\namongst these are some excellent designs by\nCarl Miller, and six by that charming artist, Carl\nLarson. Especially interesting is the \" Skalden \"\non page 151. This design the artist was evidently\npersuaded or obliged to alter, for it differs\ngreatly from the final design shown in another\nillustration; we prefer the sketch on page\n151. The other designs are interesting in\nthemselves as showing the tendency of a\ngroup of Scandinavian artists. &\n\nMUNICH\n\nA MODEL ART THEATRE\nThe Munich Exhibition of 1908 will contain\na Model Theatre. It will be the work of the\nartists of the city, who have prepared models\nof their scenes. The artists have worked with\nlove, and, in many cases, have produced in\ntheir scenes the impression of space. The\nactual value of some of the attempts,\n(particularly the \" Faust \" scenes by Erler)\ndepend much upon the stage conditions and\nparticularly upon the lighting, and therefore\nthese models can only be as incomplete\nsketches. At the Press view held a little\nwhile ago, it was clear to me that the modern\nTheatre can supply the simple requirements\nof these artists much will have been gained\nfor the art of stage production. The models\nwere on view in the studio of Professor\nLittmann, whose work as architect for the\nPrince Regent Theatre and for the new\nTheatre in weimar is well known. These"}, {"page_pdf": 30, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.30", "texte": "two theatres differ greatly, Professor\nLittmann having no dogmatic views as to the\nIn the first design he was wise enough to\nfollow the principles demonstrated first\nby Wagner in the Bayreuth Theatre. &\nAmong the several improvements of the new\nmodel stage in Munich the most important\nis the moveable proscenium. By means of\nthis the stage opening can be diminished or\nenlarged at will. Lear's Council Chamber and\nthe Hovel can both show to by this means,\nand it is obvious that this assists the\nordinary spectator to feel the reality of the\nrepresentation. Whether it is of any value\nto the art is quite another matter. It is\nnote that a moveable proscenium\nwas designed by Professor Herkomer many\nyears ago. He was even courteous enough to\nexhibit a model of it to a gathering of English\nmanagers, stage«managers, actors, and\nactresses who filled the small Avenue Theatre,\n(now the \" Playhouse \") to listen to the\nexcellent address which he delivered upon the\nidea. Not one manager amongst all the\ninfluential gatheringseemsto have understood\nthe value of his invention, for London is\nstill without its moveable proscenium....\nand Germany is now making one.... The\nlecture was delivered somewhere about the\nyear 1898 & the designs for this moveable\nproscenium may be seen in a large volume\non \" Stage Construction \" published by\nBatsford and written by Edwin O Sachs..\n\nA.F.\n\nPHILADELPHIA\nG. W. P.\nAlas, good news is not to be obtained. One\nthing only; we know that there is such a thing\nas the Art of the Theatre, that there is such\na thing as an artist of the Theatre.... that\nAmerica possesses neither; for if there has been\nsuch a thing here it has been secreted in an\nobscure place. Perhaps a little later we shall\nbe able to send news about Mr Belasco and\nof Mrs Fiske; yet why a work of art should\nnot bloom under the protective attention of\nthe Trust is difficult to understand. It is not\ndifficult to understand why it has not\nblossomed hitherto. Still it is easy for Art\nto be patient:... but the Public?....?\nHow long will they be content to pay for\nfifth rate goods, and so countenance a plain\nunvarnished swindle? &\n\nFLORENCE\nJ. S.\nSignor Salvini dwells here still. Therefore\nwe may say that the Theatre in Florence is\nstill one of the great theatres of Europe.\nSignor Salvini does not act, but an influence\nsuch as his does not fade easily. The great\nactor revived for another century to come,\nthe grand manner of acting. His gestures,\nhis voice, were not less natural than those\nof the more modern realists..** but they were\nmore true. These realists are most depressing\nwhenever they huddle on to the stage and\nbegin tinkering. Signor Salvini has very\nlittle sympathy for such nervous exhibitions.\nHphe occasional visits of Madame Duse are\nalways occasions. She brings her old plays...\n' La Dame aux Camalies ', • Gioconda ', Monna\nVanna' etc, and sometimes gives us a new\nplay But she does not honour us by\nbringing Shakespeare. &\nGrasso and his wonderful company\ngave us the opportunity of judging the\npower and swiftness of the Tuscan nature; their\nvisit sent the Florentines mad with joy for a\nfew days. Grasso and his company were\nbrilliant, but his audience was wonderful.\nThe cry which went up on his entry will never\nbe forgotten by those who heard it. Try to\nconceive a thousand men and women catching\nsight of their lovers at the same moment and\nyou can then realise the quality of the sound\nwhich sprang from their throats as their\nidol leapt before them. & & &\nA nother item of news is that Mr Gordon Craig\nhas, with the assistance of a little group\nof workers, built a model theatre in which\nhe is making experiments, Those experiments\nare not, as might be imagined, confined to\nscenic inventions and the like, but spread over\na wide area: in fact the whole Art of the\nTheatre, as he conceives it, is dissected and\nstudied. The model theatre fills a large studio\nand is constructed of wood. News of this\nTheatre has reached America for we have seen\nseveral long articles upon it, illustrated by\nSowings by John Balance and others. These\nawings of the scenes and figures of this\nmodel stage show the originality of the whole\ninvention We reserve further mention of this\nundertaking until the summer, when an\narticle has been promised us.\n\nMEININGIN\n\nThe famous Court Theatre here has been\ndestroyed by fire. On March 5th at 9.30 in\nthe morning the fire started from some cause\nunknown under the stage. The iron curtain\nwas unavailable to prevent the flames from\nreaching the auditorium, the heat being so\nintense that it destroyed the fastenings of\nthe curtain, which fell like a red=hot sheet\ninto the places where we have sat so\noften and witnessed so many beautifui\nrepresentations. At 8 o'clock in the evenig\nthe front of the building was still burning.\nAlthough the Theatre is a wreck, many of its\nvaluable treasures were, fortunately,\nunharmed. These comprise the arms and\narmour, many of the properties, and also the\npriceless library. The Meiningen Court\nTheatre was built in 1830. Duke George II took\na deep interest in the work, and under his\nprotection the Meiningen stage flourished and\nspread a good influence through all the\nTheatres of Germany. One of the first\ndirectors,., (or intendant, as he is called), was\nthe marshall of the court, Von Stein; but as\nthe theatre grew in importance Von Stein\nrecommended his sovereign to invite the poet\nFrederic Bodenstedt to fill the position.\nBodenstedt remained only a short time in\nMeiningen and the Duke gradually took matters\ninto his own hands. In the work he was greatly\nassisted by his wife, Baronness von Heldburg,"}, {"page_pdf": 31, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.31", "texte": "a lady of English origin and sometime leading\nactress of the Meningen Theatre. The Duke\nalso had an able assistant and organizer\nin Herr Ferdinand Chronegk, and under\nhis leadership the Meiningen Company made\ntheir famous tours of Europe. Their work\nwon for them the applause of London, Berlin\nand St Petersburg, where they became great\nfavourites. In 1890 these tours ceased. It\nwas the Meiningen Theatre which first started\nthe 44 historically correct \" school, and which\nadvocated a lavish display of this 44 accurate\ndetail. \" But the crown of the Meningen\nCompany was its Discipline....and the spirit of\nthis discipline was unselfishness. When a new\nactor was engaged the Duke would say to\nhim, 44 If you wish to become a Meiniger you\nmust hold the Institute in such respect that\nyou will sacrifice everything personal to\ncontribute to the glory of the whole, and\nyou will act as a stage supernumary. As an\nexample of the discipline in little matters, a\nvisitor to the theatre tells us that one day\nthe chief hair-dresser had been fined two\nmarks for giving to Marguerite de Valois in\nthe 44 Bluthochziet,\" a coiffure which was not\nhistorically correct and was contrary to\norders. It availed nothing to say that the\nactress herself desired the change. The hair\ndresser was responsible for his department\nand had to bear the fine. Yet so little are\nthese rules felt to be a hardship, that\nthroughout Germany it is a matter of\nambition for an actor and an actress to become\na member of this company.\n\nG. N.\n\nLONDON\nR. S.\nTHE UNPOPULARITY OF THE POPULAR\nPLAY. & & & J&\nIt has still to be proved that Beauty is less\ncommercially successful than Vulgarity in Art.\nEspecially in the Art of the Theatre.\nVulgar plays are popular with the managers\nnot because the managers like them but\nbecause they are taught by the critics to\nbelieve they will bring in more moneny than\nthe beautiful plays. &\nYet we hear daily of the failure of many so-\ncalled \" popular \" plays. &\nOnly this month in England our most celebrated\nactress has produced a popular play and failed\nto make it a success. Are we rash in saying\nthat the inference is that the public is not\nsuch a fool as some people believe? That to\nstrive for Beauty in Art is really not out of\ndate,... if the box-office returns for the\n\"popular\" failure is any sign... and that while\nspending L. 2000.0 to produce a popular\nfailure, the cause of our theatre would be\nadvanced by sincere lovers of their art, if the\nsame sum had been spent upon an attempt\nto coax beauty upon the boards No ? &\nHpHE SICILIAN PLAYERS IN LONDON.\n* 44 It is the first time in my life that I have\nhad to be ashamed of my Profession \". So\nspake one of London's leading Actor Managers\nwhile witnessing a performance of the Sicilian\nplayers, at whose head stands the superb\nGrasso. The same Actor Manager added that\nif it has not been that the world might have\nthought him a prude he would have got up\nand left the theatre. Little could the Theatre\nhave guessed that day the terrible crisis\nthrough which it was passing. How many of\nthe audience were conscious of the possible\nExodus of this Actor Manager? A moment's\ncourage on the part of this gentleman, and\nthe face of the whole theatrical world might\nhave been altered. £?\nThe Sicilian players had the intention of\nplaying in London for two weeks. The\noverwhelming ovation accorded them by the\npeople of London determined them to extend\ntheir visit for three weeks more. SIgnor Grasso\nand Signorina Mimi Aguglia have won all the\nhearts and turned all the heads. It has done\nLondon much good to see them, and their work\nhas puzzled nobody but the critics. Everybody\nwas enthusiastic. In the stalls and dress-circle\nsat the curious armed with the indelicate\nopera glass; in the pit and the gallery sat or\nstood the flower of England's aristocracy,...\nthat is to say, her scientists, artists, musicians,\npoets, and her ladies. What a charming\ngathering it was to be sure; how witty and\ngracious their acceptance of the brave qualties\nof this man and woman,... how sensible the\ncriticisms they uttered. To read the papers\nnext morning after hearing them was tedious.\nThe critics, (we do not include the talented\nwriters) to a man seem to have gone out\nbetween the acts and asked one another,\n44 Well, what do you think of it? \" and each\nseems to have replied, 44 don't know, what do\nyou ? \" ....and both may have agreed to ask\nsome one in the pit. Then each seems to have\nbeen button-holed either by a dandified\nmerchant or an armour plate manufacturer,\nand been told exactly what to think. &\nSo as you see it is all very amusing still in\nthe theatrical world here. The same play is\nenacted night after night in each theatre and\nthe final criticism of it all is that the ladies\nof London are divinely fair and stand as the\nonly excuse for that arrogant tomfoolery....\nthe English stage. &"}, {"page_pdf": 32, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.32", "texte": "\"ELECTRA\" AND \"SALOME\"\nA NOTE ON A VULGAR PARAGRAPH\nG. N. London\n\" They are hard at work with plectra at the\nGarden theatre, where Mrs. Pat Campbell and\nMrs. Tree will appear next Tuesday night,\ncircumstances permitting. There is a great\ndeal of speculative expectation regarding the\ndance which is to be performed in this play,\nfor report has it that it has the Salome dance\nof the Seven Veils \" beaten to a frazzle but\nnous verrons. London Journal.\nA nd this is the best paragraph which can\nbe made up out of an event of really some\nimportance to the theatre as an Art Institution.\nSurely such vulgarity is a trifle tedious,\nespecially whew it appears in a well-known\nLondon theatrical paper. If the Dramatic\nJournals do not control the tendency of\nwriters to vulgarise the stage, then the case is\ngetting rather serious. & &\nThe tragedy of \" Electra \" was first produced\nin Berlin by Director Reinhardt, in, we believe,\nthe year 1903. It was one of a series of\nremarkable plays from the pen of Dr Hugo\nvon Hofmannsthal, the youngest and most\ngifted of the German poets, whose work\ndeserves a more ideal treatment on the stage\nthan it ever receives. &\nHofmannsthal is no realist in the theatrical\nsense of the word. Realism in the Theatre\nof the North means Gloominess, a darkened\nstage and commonplace, (not even good\nhonest) drawing room and stable gestures.\n\" Electra \" at the Kleines Theater in Berlin\nwas a depressing not an inspiring sight. The\nKleines Theater is a fine little theatre made\nfor a certain kind of play,.... for \" Nachazyl \",\nfor \" The Green Cockatoo \", but it is neither\nbuilt nor decorated to hold the noble and tender\nthoughts of a Poet. & &\nA gong precedes the drawing back of a gloomy\ncurtain and reveals, no matter what the piece,\na gloomy scene. The gloom recalled to us the\nearliest efforts of a certain English producer\nof plays, who managed, however, to give a\nsense of space to his scenes from the very first.\nBut where gloom is allied with newness it\nweighs heavily upon the spirit. Hofmannsthal's\nplay needed a finer, a grander treatment.\nInstead of a despairing gong we needed the\npiercing blare of silver trumpets. Instead of\na cramped brown-black scene of imitation\nstonework set upon a raised platform close\nto our seats, we needed an imaginative scene,\nfull of a sense of colour, placed upon a stage\nwhich should allow proportion its\nThe acting in the play was made to appear\namateurish on account of the disproportion\nbetween stage and play. Frau Eysolt, who is\nquite one of the most thoughtful actresses in\nBerlin, appeared to us to a great disadvantage\nowing to this confusion of proportion. £/\nEven under those unfortunate conditions the\nbeauty of the play could not be hidden. Madame\nDuse enthusiastically welcomed it and was\nintending to act the part of \" Electra \". The\nscenery and costumes were all made, and\neverything pointed towards a European\ntriumph for this young German work. We\n[believe that the production has only been\npostponed. Meantime the great Italian actress\ncontinues her old repertoire consisting of\nthose popular works, \"La Dame aux Camillas\",\n\"MonaVanna\", \" Gioconda \". These plays\nevidently what the public cares to pay\nto see,.... and what the great actress seems\nhappy to appear in. &\nBut listen!—\" Electra \"is also what the Public\nloves to see.... did it not run 300 or 500 nights\nin Berlin? Did it not succeed in all the theatres\nwhere it was seen—does it not seem, too, that\nit is to be a like success in New York?\nThe English need not have any fear about\nthe last foolish words of the American\nparagraph, report about \" the Salome dance\nof the Seven Veils \"beaten to a frazzle\";\nbut nous verrons\". They will see nothing.\nSalome's dance is revoltingly stupid wherever\nit has been presented (we have not seen Miss\nLoie Fuller's invention of this dance) and the\ndance in \" Electra ,, means a few leaps in the\nair at best, and the curtain descends.\nThen, too, the costume for \" Electra \"is a\nvery serious and tragic dress, Salome's utterly\nflippant, aud fitted for opera bouffe. \" Electra \"\nshould certainly be seen in England. &\nWriting of \" Salome \" reminds us of a\ncertain tendency in some of the theatres\n(especially in Germany) to attract a weary\npublic to the playhouse by the exhibition of\na rather exaggerated nudity. In certain\nGerman cities the actress who has taken the\npart of \" Salome \" has been obliged to appear\nin this half-witted condition. It does not add\nto the beauty of the play,... it rather spoils\nthe little beauty which is there. The precedent\nis a bad one, and, allied to plays of a realistic\nnature, a grotesque disharmony is produced.\nA fine and ancient tradition secured for us by\nthe old masters of art now permits the\nexhibition of nude works of art in sculpture\nand painting. A healthy tradition almost\npermits nudity at the seaside. And 1 believe\nif the exponents of \" Salome \" would face the\ncomparison with nature and would perform\nfor us in the sun upon the hills and the sands,\nwe should all be as happy as sand-boys.\nArtificiality would not dare to face the daylight\nand air. But the foot-lights, grease-paint, an\nartificial time, and a sense of the theatre\nspread around does not conspire towards the\nrevealing of that which even in Sculpture and\nPainting is both difficult and dangerous to\ntranslate"}, {"page_pdf": 33, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.33", "texte": "EDITORIAL NOTES\nJ. S.\n\n\"Hphere is no such thing,\" says Goethe, \" as\npatriotic art or patriotic science. Both art\nand science belong, like all else that is great\nand good, to the whole world, and can only be\npermitted by a free and universal interchange\nof ideas among contemporaries, with constant\nreference to that which we have inherited\nand learnt from the past \". Here one is\nforced to think how it would be if the we\nwere to listen a little more to Goethe, as\nwell as name streets and squares after him,\nfor we hear a whisper too much about\n'English\" Art, \"French\" Art, German art as if\nsuch things could ever be actualities. Art,\nto be above patriotism, as Goethe says it is,\nmust indeed be a very extraordinary thing, a\nfar more wonderful power than we acknowle-\ndge; for the artists to be able to derive no\nadvantage from being charged by a sense of\npatriotism hints at the capacity of Art.\nThe independence of the powers of Art being\nso enormous, may it not be that when all\ncontinents, nations and countries with their\npoliticians, diplomatists and systems of\ncalculations shall have found it impossible to\nunderstand the simple laws of harmony and\nbalance, which it is now time to see swinging,\nall over the world, and when all these men\nand countries quarrelling together about\nnothing—for possessions—and when the East\nand the West shall come in contact about\nthis same folly and shall be wearied after a\npitiless struggle, may it not be that the artists\nof the East and of the West, bound together\nalready by the deepest closest ties, shall be\nable to bring about a just and vital World's\nPeace—by creating in all people this sense of\nharmony and balance which, being so simple,\nremains ever so great a mystery? &\n\npoetry cannot be beautifully spoken byEnglish\nspeakers. Even the best of them veneer\nthe sounds with a slight monotone. The\nEnglish speakers when reciting poetry seem\nto feel that they are upon dangerous\nground—for the road of the poets leads where\nthe English nation does not like to go; that\nis to say, it leads towards truth, and complete\ntruth contains some elements which the crowd\nalways shies at. Hence the sanctimonious\nfaces and voices of those who declaim poetry\nin England—it is as if they were at some\nmodern church function, a baptism or a burial.\n\" Truth is a torch \" writes Goethe \" but it\nis a huge one. This is why we all of us try\nto steal past it with blinking eyes, and afraid\nlest we may be burnt \".\nBut there is no excuse for any artist to blink;\nthe theatre with its sing-song reciters should\npractice facing the torch. &\n\n\\X/hat an impression a performance on the\nstage can create in the minds of children!\nPeople are like children. A nation can be\nshown the way to dance when it will refuse\nto for the asking. In the same way Loyalty\nto old and splendid ideals can be inspired by\nmeans of the Theatre when all the lecturing\nfrom all the platforms of the world has failed.\nLabour is, I supppse, part and parcel of a\nnation's bodily health, even as the sense of\nRoyalty and Religion is part and parcel of the\nhealth of the mind of the nation. A nation\nwhich has a Royal Theatre or a Religious one\nwill do well, better than if it is left to Labour\nto provide fantasy for the &\nThe Theatre of England is and has always\nbeen loyal to the old English ideal, but when\nwe have a Labour Party we may shortly epect\na Labour Theatre, ....a gruesome kind of\nPeople's Palace where all except the people\nare happy Or will the English Theatre\nprefer to remain dull as ditch-water rather\nthan turn SociaIist?....Well, it is preferable....\nBut there is a third possibility.\n\nvisit to Amsterdam of the Far Eastern\nactors is particularly remarkable for one\nthing. It has caused an actor of the West to\nproclain his belief that words are not necessary\nto the full understanding of a dramatic\nperformance (see page 17) When the Japanese\nvisited London some years ago was there one\nactor who found enough courage and modesty\nto proclaim the same truth? Mr Royaards\nhas convictions and these will assist his\ncountry to a better understanding of the Art.\nAlthough we must treat all his statements\nwith consideration, we do not feel ourselves\nquite in sympathy with his advice to the Dutch\nactors to go and see the Japanese actors. We\nwould rather caution all actors of the West\nto beware of ever witnessing a performance\nby Eastern actors. We see the disaster which\nhas come to our wall papers and other crafts\nby a too warm admiration of Japanese art.\nTo search for and discover the laws which\ngovern all art and to attempt to abide by\nthese laws, this is the duty of the artist; but\nwe must beware of any sudden influence\nwhich would lead to imitation, especially so\nstrange an influence as that able to be brought\nto bear by the East upon the West. For it\nis not necessary to learn from Japan., The\nlaws of art are universal; they are the only\nuniversal laws. They have some basis in\ncharacter,...but let not convention and a stiff\nobservance of manners be put in place of\ncharacter.... Mr Martin Harvey's very valuable\nessay upon \"Character and the Actor \"is to\nread by all actors who trouble to consider\ntheir work seriously; but all of them must\nbe careful to read into Mr Harvey's words\ntheir full import. He does not speak of\nartificial or surface character.\n\n& & ALL RIGHTS RESERVED &\nGERENTE RESPONSABILE, GINO DUCCI &"}, {"page_pdf": 35, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.35", "texte": "■ The MASK\nA JOURNAL\n1 The object of the publication is to bring before\nan intelligent public many ancient and modern\naspects of the Theatre's Art which have too long\nbeen disregarded or forgotten. 0\nNot to attempt to assist in the so-called reform\nof the modern Theatre - for reform now too\nlate; not to advance theories which have not been\nalready tested, but to announce the existence of\nJ a vitality which already begins to reveal itself in\nI a beautiful and definite form based upon an ancient\nI Yearly subscript: England, 16 Shillings, post free.\nii J •« »» \" Russia 8 Roubles ,, „\nAMONG THE WRITERS & ARTISTS CONTRIBUTING TO \" THE MASK \" ARE\nM. 0 0 ALEXANDER HEVES1 JEAN JACQUES OLIVIER\nJOHN BALANCE 0H. von HOFMANNSTHAL W1LLEM ROYAARDS\nALLEN JAN van HOLT 0 WILL ROTHENSTEIN\nOUNNAR CASTREN 0 EDWARD HUTTON OTTO RUNQ\nFRANS CLETON 0 ELLEN KEY 0 0 RUDOLPH SCHMERZ 0\nGORDON CRAIG 0 JAN KLAASSEN 0 MARTIN SHAW 0\nJ. PAUL COOPER 0 FRITZ LAPIDOTH 0 ELLEN TERRY 0 0\nISADORA DUNCAN 0 D. NEVILE LEES 0 E. THESLEFF 0 0\nLOUIS FULEP 0 0 HALDANE MACFALL 0 JAN C. de VOS 0 0\nADOLF FURS T 0 0 NEUWERT NOWACZYNSKI H. WILSON. 0 0\nJULIUSZ GERMAN 0 C.NICHOLSON 0 0 HELEN ZIMMERN 0\nIVO HAUPTMANN 0 GEORGE NORMAN 0\nSTEPHEN HAWEIS 0 JULIUS OLIVER 0\n\"THE MASK\" HAS CORRESPONDENTS IN THE CITIES\nAMSTERDAM 0 0 THE HAGUE 0 0 ROME 0 0 0\nBERLIN 0 0 0 HELSINGFORS 0 0 SAN FRANCISCO 0\nBUD A P E S10 0 0 LONDON 0 0 0 STOCKHOLM 0 0\nCOPENHAGEN 0 0 MADRID 0 0 0 VIENNA 0 0 0\nDRESDEN 0 0 0 MUNCHEN 0 0 0 WARSAW 0 0 0\nDUBLIN 0 0 0PARIS 00 0 WEIMAR 000\n0 0 PHILADELPHIA 0\n\n& SPECIAL NOTICE. &\nJZ? « REALISM AND THE ACTOR. \"AN INTERNATIONAL SYMPOSIUM.\nOn this them© 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.\n\nORDER FORM\nTo the Editor, (or)\nTo Mr. Bookseller\nAddress ;;\nPlease put down my name as a subscriber to \"The Mask\" for one year, or six months\ncommencing with the number, in payment of which subscription, including postage,\nI enclose the sum of Signed\nAddress"}, {"page_pdf": 36, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.36", "texte": "ALMANACK FOR\nARCHITECTURE\nARTS*CRAFTS\n/TECHNICALS\nW\nST?\nm\nH\nG|o|G]G\")Cni51G1Gr]GlC3lGlG]S,|S7g]E]Gll!5] Sj\nA NEW CATALOGUE\nCONTAINING MORE THAN A HUNDRED]\nPAGES OF TEXT, AND ALSO ILLUSTRA-\nTIONS IN BLACK AND WHITE AND IN\nCOLOUR. * * * * *\nCopies will be sent free on\napplication to all Art - lovers\nSCHUSTER & B U F L E B. G. M. B. H.\nBERLIN W3«S NOLLENDORFSTR. I. 32\n# BOOKS ANCIENT AND MODERN *\n\nNew York DRAMATIC\nMIRROR &\nThe oldest and most reliable\nAmerican theatrical paper,\npublished every week at 121\n42nd Street, New York,\nU. S, A. Sample co-\npies on request free of charge.\nForeign subscriptions 50 Dol-\nlars one year; 1.70 Dollars\nthree months.\nNew York DRAMATIC\nMIRROR\nII piu antico e piit attendibile\nQiornale teatrale Americano.\nSi pubblica ogni settimana a\n123 west 42nd Street, New\nYork. N. Y. U. S. A. Co-\npia di saggio a richiesta franco\nAbbonamento per l'estero,\nun'anno 5.50 Dollari: tre mesi\n1.70 Dollari.\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\nthe 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 x15 2/3 ctms. The price for a portfolio will be L. 16. o. o, (400\nFrancs or 320 Marks). &\nT\nhese 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\n\" remain the very Essence of the Art. & & & & & &\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 \" t 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": 37, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.37", "texte": "LIBRA I RIE A NCI EN NE\nT. DE MARIN IS & Co. 5 Via Vecchietti - FIRENZE\nQ\n■V\nWt\n3,//\n!®\n• ••\nkf\n»•••(\nlit!\n• e\n/LfJ\nMl\nlie 1\nLU\n35\n»e 1\n■ f\nO\nh\noa\n• •»\n68\nbo\na*\n»M\nLU\ni\nMl\n• •\nlit*\nl»«\ni\n• •\nfill\nMM\nX\nII\nIIMI\nIH\nMS\n•••••\n1 it 1\na a\nOcg\nh^xnzpi\nOO\nQC\nHi\nM\n»I «.M\n• 1\nFine Collection of MSSIncunabula, raze and curious books XV-XIX cent\nIllustrated Catalogues free on application.\n\n• H. Roberts & Co. &\nsP & the well known # . 4?\n* ENGLISH CHEMISTS &\nAMERICAN DRUGGISTS^\n* OF 17 VIA TORNABUONt. * *\nAND 417 & 418, CORSO UMBERTO\n* * # ROM E\nhave pleasure la announcing that they have opened\na first-class and wetlstocked Pharmacy at & 4P\n* 21 & 23, VIA VITTORIA yf *\n* * NAPLES\n\nARCANGELI\nGATTI & Co.\n£> & FLORENCE\n' , i . .1\nVia del Campidogfio * Telephone i$«49\nFORWARDERS FOR ALL\nPARTS OF THE WORLD,\n\" 111 1 , \" ■l.l.U.'i1,\"..,' 1' \"J-'ii ..\nAND CUSTOM HOUSE A-\nGENTS £? j& J&\n\nEX LI BR IS.\nAre you a Book Lover ? If\nso, want allyrhich\ncan add to the beauty\nand completeness of your\nbooks, and you cannot\ndo without. ■ J&\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 ofSan Leonardo, directing your letter\nto 5 Piazza Donatello, Studio 9, Florence,\nItaly, and you will receive all the infor-\nmation you desire* &\n\nEDITION DE LUXE.\nSPECIAL NOTICE TO BOOK LOVERS\nIS copies of 44 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 13*5. This edition\nwit! contain Etchings and other prints\nsigned by the artist, which will not be\nincluded in the popular edition.\nYearly subscription: England, L. 3.5.0 Post Free\n»» tt tr Germany, Marks 67,00 „ „\nt» tt tt America Dollars 16.00 ,, ,,\nt# »t tt Italy Lire 82.00 „ „\ntt tt tt Russia Roubles 30.00 „ „"}, {"page_pdf": 38, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190804-01.1.38", "texte": "& Printed for the Proprietor by E. Morandl, Tipografla Bodonlana, Via Alfieri, Florence, and published at The Office-\n3 Lang'Arno Accialuoll &■ & jp jp jp jp & & jp & jp\n\nThe largest Establishment of Sculpture in\nMarble Reproductions from the Antique\n& Original Works. Portraits. Monuments,\nMantels, Pedestals, Garden Seats, &\nVases Fountains & Flower-stands, etc:\nESTIMATES GIVEN ON APPLICATION\nST LOUIS MO.\nGRAHD PRIX\n1904\n\nJ&J& J&J&\nTHE \" MAN I FAT-\nTURA PI SIGNA „\nArtistic Terra Cot=\nta for both interior\nand exterior deco=\nration &\nVia Vecchietti, 2\nj& £? FIRENZE (Italy)\n\nDIN I & C ELLA I\nArtistic & Decorative Terra Cotta of\nSigna\nVia dei JFoasi If. i - FLORENCE\n—♦\nof seulptuves of Old a&d\ni ■■»»————WW ' ■\"\"< —IM»\n|Kod«i*n masters « Statues « Busts «•\n11 ■ ■■\"' < 1 \"i-aif—WPW—\nVases m Bas-reliefs a Fountains m Boors\nChimn«y-ple®«s « Bases ete. ate. In\n9Ve*y style & & & & &\n\n& ON JUNE i\nTHE & & & & & &\nPublishing, Bookselling and\nNews Agency Business £?\nof R. PAGGI (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. £? &"}]}