{"numero_id": "bm-bmtnaau-1908-05-01", "volume": "bmtnaau_1908-05_01", "ocr_sha256": "f584b9bfcff5375cc15ba5c77f2e5aabc77429712940093d306337d93ebbf835", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1908/05_01/bmtnaau_1908-05_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1908/05_01/bmtnaau_1908-05_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01", "articles": [{"article_id": "bm-bmtnaau-1908-05-01-c002", "article_bluemountain": "bmtnaau_1908-05_01#c002", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[52]", "page_fin": "[52]", "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=bmtnaau190805-01.2.2", "titre_corps": "DESIGN FOR A STAGE SCENE", "titre_sommaire": "DESIGN FOR A STAGE SCENE", "signature_source": "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": "[52]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 37, "texte": "DESIGN FOR A STAGE SCENE GORDON CRAIG"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c003", "article_bluemountain": "bmtnaau_1908-05_01#c003", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "53", "page_fin": "53", "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=bmtnaau190805-01.2.3", "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": "53", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.7", "debut_caractere": 169, "fin_caractere_exclue": 831, "texte": "CONTENTS\nAFTER THE PRACTISE THE THEORYuz>\n& WILLIAM BLAKE, SOCIALISM & THE ARTIST by JAN VAN HOLT j&\nA LETTER TO A YOUNG ACTOR by GORDON CRAIG uS- \" REALISM & THE ACTOR \", AN\nINTERNATIONAL SYMPOSIUM 0 THE TRUE HAMLET by ALLEN CARRIC & SOME SAYINGS\nby GOETHE & A LETTER TO MR. ANDREW CARNEGIE by JOHN SEMAR 0 OPERA\nGLASSES by J. PAUL COOPER \" THE MERCHANT OF VENICE —AN ARTICLE by E.\nW. GODWIN. REPRINTED FROM THE ARCHITECT 1875 STAGE MORALITY by NIETZSCHE\ner SARAH BERNHARDT by JOHN BALANCE -<S> FOREIGN NOTES £> BOOK REVIEWS ,&\nEDITORIAL NOTES 0 ENGRAVINGS by E. THESLEFF, STEPHEN HAWIES, J. OLIVER,\nGORDON CRAIG, C. TICKETTS 0 CHARLES BORROW & OTHERS. £> & XS>"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c005", "article_bluemountain": "bmtnaau_1908-05_01#c005", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "53", "page_fin": "54", "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=bmtnaau190805-01.2.4", "titre_corps": "WILLIAM BLAKE, SOCIALISM AND THE ARTIST", "titre_sommaire": "WILLIAM BLAKE, SOCIALISM 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": "53", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.7", "debut_caractere": 833, "fin_caractere_exclue": 3575, "texte": "WILLIAM BLAKE, SOCIALISM AND THE ARTIST\n\n\" LiberaHty! WC WaMt n° liberalityl wewan* a fair price and proportionate value, and a\n44 general demand for Art. Let not that nation where less than nobility is the 4 reward '\n44 pretend that Art is encouraged by that nation. Art is first in intellect, and ought to be first\n44 in nations. \", & \" The neglect of Fuseli's Milton, in a\n44 country pretending to the encouragement of Art, is a sufficient apology for my vigorous\n44 indignation: if indeed, the neglect of my own powers had not been. Ought not the employers\n44 of fools to be execrated in future ages? They will and SHALL.! Foolish men! your own\n44 real greatness depends on the encouragement of the Arts; and your fall will depend on their\n44 neglect and depression. What you fear is your own interest. Leo the Tenth was advised\n44 not to encourage the Arts. He was too wise to take this advice. The rich men of England\n44 form themselves into a Society, \" (alluding to the British Institution, founded in 1805)44 a\n44 Society to sell, not to buy, pictures. The artist who does not throw his contempt on such\n44 trading Exhibitions does not know either his own interest or his own duty. &\n44 When nations grow old\n44 The Arts grow cold,\n44 And Commerce settles on every tree;\n44 And the poor and the old\n44 Can live upon gold,\n44 For all are born poor.\nAged sixty-three\n44 The enquiry in England is, not whether a man has talents and genius, but whether he is\n44 passive and polite, and a virtuous ass, and obedient to noblemen's opinions in art and\n44 science. If he is, he is a good man; if not, he must be starved \".\nWILLIAM BLAKE\ngocialism is nothing new. It began on the day that the Spirit of God moved upon the face\nof the waters, and the first socialist was Adam. Swiftly following in his footsteps came the\nmighty band of artists; Abraham, Joseph, Moses, Joshua, Sampson, David, Christ. No,\nSocialism is very old indeed. It is the symbol of the Divine and all else the symbol of the\ninfernal. Yet without Beauty Socialism becomes tyranny, for Socialism is the Beautiful. That\nSocialism which parades before Nature with a tear-stained face is a villainous evil: that\nSocialism which permits the laxity of dispensing with its arts and its H's is only a farce.\nFor Socialism is Royal. Therefore let Socialists remember this. & Let them be above Party\nstrife. Their leadears are the artists, and if they obey them they will follow the flag and\nnot tear it up to use it as pocket handkerchiefs for the million. Utility is in a flag only in that\na flag is Beautiful. Do you doubt what is beautiful about it? Its utility, its symbolism. Can you\nfeed thousands by it ? Certainly, and millions too. Can you house and clothe millions witij"}, {"page_pdf": 8, "page_imprimee": "54", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.8", "debut_caractere": 40, "fin_caractere_exclue": 942, "texte": "it? Obviously: the whole world is not too large to find room and apparel under it. Only\none fear.... See that there be no inscription upon it such as today too often blurs its serenity.\n\" Liberty \" is a stupid word with which to spoil that which already shakes itself freely in\nthe high wind, announcing by its motion its natural freedom, Let a hundred such banners\nwave and let them be gay. Let them not be held grimly at each corner by gloomy looking\nindividuals conscious of their collars, and their black silk hats. Let them fly free like the cries of\nBeauty,....and let a beautiful crown be emblazoned in the richest gold upon their very heart.\nWhen we cannot afford that, we are no longer socialist, no longer artist, no longer Royal.\nAnd what has this to do with the Theatre? Nothing today, for the Theatre is dead. Everything\ntomorrow, for the Theatre shall then be reborn. & <£>\n\nJAN VAN HOLT."}]}, {"article_id": "bm-bmtnaau-1908-05-01-c007", "article_bluemountain": "bmtnaau_1908-05_01#c007", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "54", "page_fin": "54", "image_debut": 8, "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=bmtnaau190805-01.2.5", "titre_corps": "OPERA GLASSES", "titre_sommaire": "OPERA GLASSES", "signature_source": "J. PAUL COOPER", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 8, "page_imprimee": "54", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.8", "debut_caractere": 944, "fin_caractere_exclue": 4043, "texte": "OPERA GLASSES\nJ. PAUL COOPER.\n|n most of our theatres nowadays opera glasses are provided for a small sum for those who\nhave not brought a pair with them and who like to see what is going on on the stage.\nThe opera glass is a modern invention with which the actor does not seem able to cope;\nin some cases one wonders whether he is even acquainted with its existence. The members\nof the audience in the meantime quietly suffer: they cannot see clearly without glasses and\nif they use glasses they see too much. You want to see the heroine, but it is distressing to\nsee her with black marks round the eyes, and it is worse still to find the hero painted like\na doll. Painting the face on the stage is a barbarous custom come down to us from the\nage of oil lamps and candles. With gas and electric light, and opera glasses for the remote\nseats in the house, it is not needed. To say that painting counteracts defects caused by\nthe footlights is a plea for the abolition of top and side lights. Were it the case, it is creating\none evil to eliminate another. With a good pair of glasses the man in the pit can appreciate\na fine complexion on the stage almost as well as off. Apd as with paint, so it is with stage\naccessories; the audience see them as clearly as do the actors, only with different eyes;\nfor the eyes of the latter are dulled from constant irritation in the same way that one's\nears become accustomed, by time, to the most untuneful of barrel organs. &\nOpera glasses are apt to turn tragedy to comedy and comedy to farce. Without facial expression\na modern play is almost impossibie, The audience, gradually accustomed to the caricature\nof passion as expressed by the painted actor, call it all acting, and when an unpainted actor\nor actress comes on to the stage it is said to be nature and not art. On the Music Hall\nStage it is different: the more subtle effects are, as a rule, not aimed at. The young lady\nwho babbles of green fields never intends you to suppose for an instant that she cares a\nrap about them save at a distance, and you feel sure that if you were her wedded lover\nyou would spend your honeymoon in visiting other Music Halls. The men are nearly all\npainted masks, without the disadvantage of the fixed expression. An opera glass does not\nspoil the effect; if you are tired of the play of features accompanying the patter you can\nadmire the painting and the broad brushwork. It is not altogether the free use of tobacco\nthat makes these places of entertainment so attractive; they are places where you can use\nyour opera glass with enjoyment and without fear. & &\n& In the theatre, if painting the face is to continue, it would be well if a stage painter\nwere attached to every Company so that there might be some uniformity and perspective,\nfor painting is an art of which only a few actors are masters, and it is unfair for the actor\nwho uses paint sparingly to be thrown into the background by one who puts it on with a\npallet knife. At all events lessons on the scope of the opera glass should be taken with\nthose in elocution*\nA barbarous\ncustom &\nTobacco M &"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c008", "article_bluemountain": "bmtnaau_1908-05_01#c008", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "55", "page_fin": "55", "image_debut": 9, "image_fin": 9, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.2.6", "titre_corps": "THE TRUE HAMLET", "titre_sommaire": "THE TRUE HAMLET", "signature_source": "ALLEN CARRIC", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 9, "page_imprimee": "55", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 2575, "texte": "THE TRUE HAMLET\nALLEN CARRIC\n|~g ere we have a picture of Hamlet in the\ni6th century. The design will not be of\nmuch use to the student of the stage. It is\na very nice little wood engraving, and the\ndouble personality of the leading man is\ncharming.\nTo me this is \" Hamlet\" far more than all\nthe Hamlets I have seen upon the stage.\nThe crown is a trifling inaccuracy but after\nall, how shall we know that Hamlet is regal\nif he wears no crown? In what a gracious\nway he sleeps, knowing how far off is\nDoomsday. The byeplay of the supers, too;\nhow hushed it is;.... they are suiting the\naction to the word, and the word is 4< Repose \"... & Outside in the courtyard and in the\nother rooms may be the Dramatis Personae are acting to the top of their bent. How\nentrancing that we cannot hear them. How reassuring to know we shall never see them.\nThe Queen is possibly wringing her hands while she tries to remember her words; the King\nis doubtless rolling his eyes and his R's; Polonius is shaking his head and is having the\nsame serious trouble as ever with his long sleeves; Rosencrantz and Guildenstern are\nsearching for Hamlet and only finding the Ghost, who still swears abominably in the cellar;\nOsric, Fortinbras, Ophelia,... even poor Horatio, all are at their appointed tasks, acting\nas usual for all they may be worth.... and for Hecuba, but, praise be to Jove, .... in the\nnext room I\n& Again, how delightful is it to be sure they will not come in here to disturb our quiet\nwith their thoughtless and extravagant chatter. All this and all their hasty actions can\nexpend their fury upon the unfortunates who happen also to be in the next room, and\nall their old-fashioned quotations can hang like texts upon those walls,.... not on these. &\nHere can only come those things which are never quoted, never seen. For here dwells the\nsoul of hamlet with the part of Hamlet left out,...and not found wanting,\nYes, truly, should 1 ever have the good fortune to be called upon at a moment's notice to play\nHamlet, I too shall wear a crown. I too shall murmur under my breath \" To be or not to be \"\nin that propped up position. I shall seem to be talking in my sleep,....\" To die, to sleep,\nperchance to dream \". At other times. I shall assume the desire to turn to studies, and,\nseated at that table, (even as the assumed King Solomon is doing) 1 shall meander on about\nhow actors are to speak their speeches nor make the judicious grieve Well, it will be the\nfirst cultured performance of the noble and disheartening play.\nSymbol of\nRoyalty\nBra m a t i s\nPersons\nHow delightful"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c010", "article_bluemountain": "bmtnaau_1908-05_01#c010", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "55", "page_fin": "56", "image_debut": 9, "image_fin": 10, "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=bmtnaau190805-01.2.7", "titre_corps": "DRAMATIC FORM", "titre_sommaire": "DRAMATIC FORM", "signature_source": "GOETHE", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 9, "page_imprimee": "55", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.9", "debut_caractere": 2577, "fin_caractere_exclue": 3846, "texte": "DRAMATIC FORM\nGOETHE\n» 775.\nJt is well»nigh time that people ceased talking about the form of dramatic compositions,\nabout their length and shortness, their unities, their beginning, middle and end, and all\nthe rest of it; and that we now began to go straightway to their contents, which hitherto,\nit seems, have been left to take care of themselves. &\nThere is, however, one form which is as distinct from the other as the internal sense from\nthe external; a form which is not tangible but requires to be felt. Our head must be able\nto overlook that which the head of another can grasp; our heart must be able to feel that\nwhich the heart of another can feel. The intermingling of the rules will not give rise to\nlooseness; and, though the example should prove dangerous, yet it is at bottom better to\nmake a confused piece than a cold one. &*&£?&<&&&\nIndeed, if only more persons were alive to this inner form, which comprehends within itself\nall forms, we should not be disgusted by so many abortive productions of the intellect;\nwriters would not think of expanding every tragic event into a drama and of slicing up\nevery novel into a play. I wish that some clever individual would parody this twofold nuisance\n\nNot ordinary\nadvice f ot\nordi n a i y\nplay* wrights &"}, {"page_pdf": 10, "page_imprimee": "56", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.10", "debut_caractere": 15, "fin_caractere_exclue": 1163, "texte": "by arranging, say, the fable of the Wolf and the Lamb in the form of a tragedy\nin five acts.\nEvery form, even that which admits of the greatest amount of feeling, has in it something\nthat is untrue. Yet the form Is invariably the glass throught which we collect the holy\nrays of extend nature and throw them upon the heart of humanity as their focus. But\nas for the glass—he to whom it is not given, will not succeed in obtainining it, do what he\nwill. Like the mysterious stone of the alchemists, it is both husk and matter, both fire and\ncooling draught; it is so simple, so common. It lies before every door, and yet so wonderful\na thing, that just those people who possess it can as a rule make no use thereof. <£?\nHe who would work for the stage should, moreover, study the stage, the effects 6f scenography,\nof lights, of rouge and other colouring matter, of glazed linen and spangles. He should leave\nnature in her proper place, and take careful heed not to have recourse to anything but\nwhat may may be perforated by children with puppets upon boards and laths, together with\nsheets of cardboard and linen. & &&&&&&&\n\nChildren and\nPuppets &"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c011", "article_bluemountain": "bmtnaau_1908-05_01#c011", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "56", "page_fin": "56", "image_debut": 10, "image_fin": 10, "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=bmtnaau190805-01.2.8", "titre_corps": "STAGE MORALITY : From the translation of Johanna Volz", "titre_sommaire": "STAGE MORALITY : From the translation of Johanna Volz", "signature_source": "FRIEDRICH NIETZSCHE ; Johanna Volz", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 10, "page_imprimee": "56", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.10", "debut_caractere": 1165, "fin_caractere_exclue": 3290, "texte": "STAGE MORALITY\nFrom the translation of Johanna Volz.\nFRIEDRICH NIETZSCHE\n|-je who believes that Shakespeare's stage has a mora! effect and that the sight\nof Macbeth irresistibly detracts from evil ambition is mistaken. And he is again\nmistaken if he believes that Shakespeare himself was of this opinion. Any man who is really\npossessed by mad ambition will watch this, his emblem, with delight; and the very fact\nthat the hero perishes in his passion is the strongest charm in the hot cup of this delight.\nWere the poet's feelings different to these? How royally and not In the least knavishly his\nambitious hero runs his course from the hour of his great crime I Only then he grows\n\" demoniacally \" attractive and encourages similar natures to imitation—demoniacal means\nhere: in defiance of advantage and life, in favour of an idea and craving. Do you imagine\nthat Tristan and Isolde give a warning example of adultery though its being the cause of\ntheir death? This would be turning the poets upside down : for they, and Shakespeare above\nall, are in love with the passions themselves, and no less with their yearnings for death—\nwhen the heart does not cling to life more firmly than the drop of water does to the glass.\nIt is not so much guilt and its evil conseguences which they—Shakespeare as well as Sophocles\n(in Ajax, Philoctetes GEdipus)—wish to portray; however easy it might have been in the\naforesaid eases to make guilt the lever of the play, they carefully refrained from so doing\n& Neither is it the wish of the tragic poet to prejudice us against life by means of his\nrepresentations of life. Nay, he explains: \" It is the charm of charms, this exciting, variable,\nhazardous, gloomy and often sun»steeped existence! It is an adventure to live!—with\nwhatever party you side in life, it will ever retain this character.\" Thus he speaks in a\nrestless and vigorous age, which is partly intoxicated and dazed by its superabundance of\nblood and energy—in an age more evil than ours: wherefore we must needs begin by adapting\nand accommodating the purpose of a Shakesperian play—that is, by not understanding it."}]}, {"article_id": "bm-bmtnaau-1908-05-01-c013", "article_bluemountain": "bmtnaau_1908-05_01#c013", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "57", "page_fin": "70", "image_debut": 11, "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=bmtnaau190805-01.2.9", "titre_corps": "THE ARTISTS OF THE THEATRE OF THE FUTURE", "titre_sommaire": "THE ARTISTS OF THE THEATRE OF THE FUTURE", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 11, "page_imprimee": "57", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 3861, "texte": "THE ARTISTS OF THE THEATRE OF THE\nFUTURE\nby Gordon Craig\n\n(Continued)\nON THE ACTOR\n& As a man he ranks high .... possesses generosity, and the truest sense of comradeship.\nI call to mind one actor whom 1 know and who shall stand as the type. A genial companion,\nand spreading a sense of companionship in the theatre; generous in giving assistance to\nyounger and less accomplished actors,.... continually speaking about the work,.... picturesque\nin his manner,.... able to hold his own when standing at the side of the stage instead of\nin the centre;.... with a voice which commands my attention when 1 hear it,.... and finally,\nwith about as much knowledge of the art as a cuckoo has of anything which is at all\nconstructive. Anything to be made according to plan or design is foreign to his nature.\nBut his good nature tells him that others are on the stage besides himself, and that there\nmust be a certain feeling of unity between their thoughts and his, yet this arrives by a\nkind of good natured instinct and not through knowledge, & produces nothing positive. Instinct\nand experience have taught him a few things, (I am not going to call them tricks), which\nhe continually repeats. For instance, he has learned that the sudden drop in the voice\nfrom forte to piano has the power of accentuating apd thrilling the audience as much as\nthe crescendo from the piano into the forte. He also knows that laughter is capable of very\nmany sounds, and not merely Ha Ha Ha. He knows that geniality is a rare thing on the stage\nand that the bubbling personality is always welcomed. But what he does not know is this\nthat this same bubbling personality and all this same instinctive knowledge doubles or even\ntrebles its power when guided by scientific knowledge, that is to say, by art. If he should\nhear me say this now he would be lost in amazement and would consider that I was saying\nsomething which was finicking, dry, and not at all for the consideration of an artist. He\nis one who thinks that emotion creates emotion, and hates anything to do with calculation.\nIt is not necessary for me to point out that all art has to do with calculation and that the\nman who disregards this can only be but half an actor. Nature will not alone supply all\nwhich goes to create a work of art, for it is not the privilege of trees, mountains and brooks\nto create works of art, or everything which they touch would be given a definite and\nbeautiful form. It is the particular power which belongs to man alone, and to him through\nhis intelligence and his will. My friend probably thinks that Shakespeare wrote Othello in\na passion of jealousy and that all he had to do was to write the first words which came into\nhis mouth; but Iam of the opinion,.... and I think others hold the same opinion,.... that\nthe words had to pass through our author's head and that it was just through this process\nand through the quality of his imagination and the strength of his brain that the richness\nof his nature was able to be entirely and clearly expressed, and by no other process could\nhe have arrived at this.\nTherefore it follows that the the actor who wishes to perform .... Othello, let us say, must\nhave not only the rich nature from which to draw his wealth, but must also have the\nimagination to know what to bring forth, and the brain to know how to put it before us.\nTherefore the ideal actor will be the man who possesses both a rich nature and a powerful\nbrain. Of his nature we need not speak. It will contain everything. Of his brain we can\nsay that the finer the brain the less liberty will it allow itself, remembering how much\ndepends upon its co-worker, the Emotion, and also the less liberty will it allow its fellow-\nworker knowing how valuable to it is its sternest control. Finally, the intellect would\n\nWhat the Actor\nknows. &\nThe creative\npower. &\nThe ideal Actor."}, {"page_pdf": 12, "page_imprimee": "58", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.12", "debut_caractere": 42, "fin_caractere_exclue": 4850, "texte": "bring both itself and the emotions to so fine a sense of reason that the work would never\nboil to the bubbling point with its restless exhibition of activity, but would create that\nperfect moderate heat which it would know how to keep temperate. & The perfect actor\nwould be he whose brain could conceive and could show us the perfect symbols of all which\nhis nature contains. He would not ramp and rage up and down in Othello, rolling his eyes\nand clenching his hands in order to give us an impression of jealousy; he would tell his\nbrain to enquire into the depths, to learn all that lies there, and then to remove itself to\nanother sphere, the sphere of the imagination, and there fashion certain symbols which,\nwithout exhibiting the bare passions, would none the less tell us clearly about them. &\nAnd the perfect actor who should do this would in time find out that the symbols are to\nbe made mainly from material which lies outside his person. & But I will speak to you\nfully about this when I get to the end of our talk. For then I shall show you that the actor\nas he is today, must ultimately disappear and be merged in something else if works of art\nare to be seen in our kingdom of the Theatre (i).\nMeantime do not forget that the very nearest approach that has ever been to the ideal\nactor, with his brain commanding his nature, has been Henry Irving. There are many books\nwhich tell you about him, and the best of all the books is his face. Procure all the pictures,\nphotographs, drawings, vois can of him, and try to read what is there. & To begin with you\nwill find a mask, and the significance of this is most important. & I think you will find it\ndifficult to say when you look on the face, that it betrays the weaknesses which may have\nbeen in the nature. & Try and conceive for yourself that face in movement, movement\nwhich was ever under the powerful control of the mind. & Can you not see the mouth\nbeing made to move by the brain, and that same movement which is called expression\ncreating a thought as definite as the line of a draughtsman does on a piece of paper or as a\nchord does in music ? Cannot you see the slow turning of those eyes and the enlargement\nof them? & These two movements alone contained so great a lesson for the future of the\nart of the theatre, .... pointed out so clearly the right use of expression as opposed to the\nwrong use, that it is amazing to me that many people have not seen more clearly what\nthe future must be. I should say that the face of Irving was the connecting link between\nthat spasmodic and ridiculous expression of the human face as used by the theatres of the\nlast few centuries, and the masks which will be used in place of the human face in the near\nfuture. &\n& Try and think of all this when losing hope that you will ever bring your nature as\nexhibited in your face and your person under sufficient command. <£? Know for a truth that\nthere is something other than your face and your person which you may use and which is\neasier to control. & Know this, but make no attempt yet awhile to close with it. Continue\nto be an actor, continue to learn all that has to be learned, as to how they set about controlling\nthe face, and then you will learn finally that it is not to be entirely controlled.^\nI give yqu this hope so that when this moment arrives you will not do as the other\nactors have done. They have been met by this difficulty and have shirked it, have\ncompromised, and have not dared to arrive at the conclusion which an artist must arrive\nat if faithful to himself. & That is to say, that the mask is the only right medium of\nportraying the expressions of the soul as shown though the expressions of the face.\nON THE STAGE MANAGER\nM—MwiwiiiniiiMi i i ■■■■'\"■■\nyou have been an actor you must become a stage manager, Rather a misleading\ntitle this, for you will not be permitted to manage the stage. It is a peculiar position and\nyou can but benefit by the experience, though the experience will not bring either great\ndelights to you or great results to the theatre in which you work. & How well it sounds,\nthis title, Stage manager I it indicates \" Master of the science of the stage \"\nEvery theatre has a stage manager, yet I fear there are no masters of the stage science.\nPerhaps already you are an under stage=manager. You will therefore remember the proud\nJoy you felt when you were sent for, and, with some solemn words, informed that your\nmanager had decided to advance you to the position of stage manager, and begged to\nremind you of the importance of the post, and of the additional one or two pennies that go\n\nThe significance\nof the face of\nIrving. &\nThe Mask as the\nmedium of ex-\npression. &\nHe is no mastet\nof the science\n(1) See \"The Actor & the Uber Marionette \" in the April number of \" The Mask \" 1908, & &"}, {"page_pdf": 13, "page_imprimee": "59", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 5023, "texte": "with the situation. I suppose that you thought that the great and last wonderful day\nof your dream had arrived, and you held your head a little higher for a week, and looked down\non the vast land which seemed to stretch out before you. & &\nBut after then, what was it? Am I not right in saying that it meant an early attendance\nat the theatre to see after the carpenters, and whether the nails had been ordered, and\nwhether the cards, were fixed to the doors of the dressing rooms? Am I not right in saying\nthat you had to descend again to the stage and stand around waiting to see if things\nwere done to time?.... whether the scenery was brought in and hung up to time? Did\nnot the costumiere come tearfully to you saying that some one had taken a dress from its box\nand substituted another? Did you not request the costumiere to bring the offending party\nbefore you ? and did you not have to manage these two in some tactful way so as to\noff end neither of them, and yet so as to get at the truth of the matter ?.... And did you ever\nget at the truth of the matter? And did these two go away nursing anything but a loathdd\n*\nhate towards you?.... Put the best case,.... one of them liked you, and the other began to\nintrigue against you the next hour. Did you find yourself still on the stage at about half\npast ten, and did not the actors arrive at that hour apparently in total ignorance that you\nhad been there already four hours, and with their superb conviction that the doors of the\ntheatre had just that moment been opened because they had arrived ? And did not at\nleast six of these actors in the next quarter of an hour come up to you and with an 44 I say,\nold chap, \" or 44 Look here, old fellow \", start asking you to arrange something for them on\nthe stage so as to make their task a little easier? And were not the things which they asked\nall so opposed one to the other, that to assist any one actor would have been to offend the\nother five ? & Having told them that you would do your best, were you not relieved by the\nsudden appearence of the director of the theatre, generally the chief actor ? And did you\nnot instantly go to him with the different requests which had been made to you, hoping\nthat he, as master, would take the responsibility of arranging all these difficult matters ?\nAnd did he not reply to you, 44 Don't bother me with these details; please do what you\nthink best and did you not then instantly know in your heart of hearts that the whole\nthing was a farce,.... the title, the position, and all ? & & & &\nAnd then the rehearsal commenced. & The first words are spoken; the first difficulty\narrives. The play opens with a conversation between two gentlemen seated at a\ntable. & Having gone on for about five minutes, the director interrupts with a gentle\nquestion. He asks if he is not correct in saying that at yesterday's rehearsal Mr. Brown\nrose at this or that line, twisting his chair back with a sudden movement? The actor,\na trifle distressed that he has been the cause of the first delay in the day's proceedings,\nand yet not wishing to take any fault to himself, asks with equal courtesy, 44 Are these the\nchairs which we are supposed to use on the night?\" & The director turns to the stage\nmanager, and asks him, 44 Are these the chairs we use upon the night ? \" & 44 No, Sir \"\nreplies the stage manager. A momentary look of disapproval, ever so slight, passes from\nthe director, and is reflected upon the faces of the two actors, and a little restless wind\npasses round the theatre. It is the first little hitch. \" 44 I think it would be best to\nuse at rehearsal the chairs we are going to use on the night \". &44 Certainly, Sir,! \" The\nstage manager claps his hands. «<£? 44 Isherwood, \" he cries,... A thin, sad looking little\nman, with a mask which is impenetrable on account of its extreme sadness, comes on to the\nstage and stands before the judgment seat. & He hesitates. 44 We shall use the chairs at\nrehearsal which have been ordered for this scene. \" 44 No chairs, Sir, have been ordered\nfor this scene. \" & The wind rises. A sharp flash of lightening shows itself on the face of\nthe director, and a sudden frown of thunder hangs upon the brows of the actors. The\nstage manager asks to see the property list, that is to say, the list of things used in the\nscene. Isherwood casts his eyes pathetically across the desert of the stage in search of\nthe leading lady. & Being the wife of the director, she has seen no reason for arriving\nin time. When she arrives she will have the look upon her face of having been concerned\nwith more important business elsewhere. Isherwood replies, 441 had orders, Sir, to put\nthese two chairs in Scene II, as they are chairs with pink and red brocade Great moment\nfor the director. Thunder clap,.... 44 Who gave you these orders, \"? & 44 Miss Jones. \" &\n(Miss Jones is the daughter of the leading lady who is the wife of the director. Her position\nis not defined in the theatre, but she may be said to 44 assist her mother. \") Hence"}, {"page_pdf": 13, "page_imprimee": "59", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.13", "debut_caractere": 5067, "fin_caractere_exclue": 5108, "texte": "He is general\nutility man &\nThe rehearsal"}, {"page_pdf": 14, "page_imprimee": "60", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.14", "debut_caractere": 42, "fin_caractere_exclue": 4879, "texte": "the absence of the chairs.... Hence the irritation of the entire company.... Hence the waste\nof time in many theatres and certainly in many English Theatres. & & &\n& This is but one and the first trial of the stage manager, who rather plays the part of\nthe tyre than the axel of the wheel of the stage. & The rehearsal continues. The stage\nmanager has to be there all the time with but little control and permitted to have less\nopinions, and yet held responsible for all errors; and after it is over, while the actors\nmay retire to their luncheon, he must retire to the property room, the scene painting room,\nthe carpenters room, must hear all their grievances, must see everything being delayed\nand when the company returns to the theatre fresh after a pause of an hour or so he is\nexpected to be as fresh and as good humoured without a break of a minute. This would be\nan easy & pleasant matter if he had the authority of his title; that is to say, iff in his contract\nlay the words \" Entire and absolute control of the stage and all that is on the stage.\"\nBut it is none the less a good if a strange experience. It teaches the man who assumes\nthese terrible responsabilities how great a need there is for him to study the science of the\nstage, so that when it comes to his turn to be the director of the theatre, he may dispense\nwith the services of a so-called 4 stage manager ' by being the veritable stage manager\nhimself.\nYou will do well, after having remained an actor for five years to assume these difficult\nresponsabilities of stage manager for a year or two, and never forget that it is a position\ncapable of development. About the ideal stage manager I have written in my book *• The Art of\nthe Theatre\", and I have shown there that the nature of his position should make him the most\nimportant figure in the whole world of the theatre. It should therefore be your aim to\nbecome such a man,... one who is able to take a play and produce it himself, rehearsing the\nactors and conveying to them the requirements of each movement, each situation;.... designing\nthe scenery and the costumes and explaining to those who are to make them the requirements\nof these scenes and costumes;.... and working with the manipulators of the artificial light,\nand conveying to them clearly what is required. &&&<&£>&\nNow, if I had nothing better to bring to you than these suggestions, if I had no further\nideal, no further truth, to reveal to you about the stage and about your future than this\nthat I have told you of, I should consider that I had nothing to give you whatever and I\nshould urge you to think no more of the theatre. But I told you at the beginning of my letter\nthat I was going to give you all sorts of things to cheer yourself with, so that you should\nhave absolute faith in the greatness of the task which you set out to achieve; and here\nI remind you of this again lest you should think that this ideal manager of whom I speak\nis the ultimate achievement possible for you. It is not. Read what I have written\nabout him in the \" Art of the Theatre, \" and let that suffice you for the time being; but rest\nperfectly sure that I have more, much more to foliow, and that your Hope shall be so high,\nthat no other Hope, not even that of the poets or the priests, shall be higher. &\nTo return to the duties of the stage manager. & I take it that I have already explained\nto you, or that you have already experienced, these ordinary difficulties, and that you have\nlearned that great tact is required and no great talent. & You have only to take care that\nin exercising this tact you do not become a little diplomatist, for a little diplomatist is a\ndangerous thing. Keep fresh your desire to emerge from that position, and your best way\nto do this is to study how to master the different materials which, later on, you will have\nto work in when your position is that of the ideal stage manager. You will then possess\nyour own theatre, and what you place upon your stage will all be the work of your brain,\nmuch of it the work of your hands, and you must waste no time so as to be ready.\nON SCENE AND MOVEMENT\nIt is now time to tell you how I believe you may best become a designer of stage scenery and\ncostumes, and how you may learn something about the uses of artificial light; how you may\nbring the actors who work with you to work in harmony with each other, with the scene,\nand, most of all, with the ideas of the author. have been studying, and will go on studying,\nthe works which you wish to present. Let us here limit them to the four great tragedies\nby Shakespeare. You will know these so well by the time you begin to prepare them for\nthe stage,.... and the preparation will take you a year or two for each play.... you will have\n\nA strange task,\nWhy a good ex-\nperience & &\nThe Ideal Stage\nManager &\nAnd beyond. &"}, {"page_pdf": 15, "page_imprimee": "61", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.15", "debut_caractere": 42, "fin_caractere_exclue": 5048, "texte": "no mora doubts as to what impression you want to create; your exercise will be to see\nhow best you can create that impression. & & & & &\nLet me tell you then at the commencement that it is the large and sweeping impression\nproduced by means of scene and the movement of the figures, which is undoubtedly the\nmost valuable means at your disposal. I say this only after very many doubts and after\nmuch experience; and you must always bear in mind that it is from my experience that I\nspeak, and that the best I can do is but to offer you that experience, &r Although you know\nthat I have parted company with the popular belief that the written play is of any deep\nvalue to the Art of the Theatre, we are not going so far as that here. We are to accept it\nthat the play still retains some value for us and we are not going to waste that; our aim\nis to increase it. & Therefore it is, as I say, the production of general and broad effects\nappealing to the eye which will add a value to that which has already been made valuable\nby the great <&£?&?£?&&&&&\nFirst and foremost comes the scene. & It is idle to talk about the distraction of scenery,\nbecause the question here is not how to create some distracting scenery, but rather\nhow to create a place which harmonises with the thoughts of the poet. & &\nCome now, we take 44 Macbeth \". & We know the play well. In what kind of place is that\nplay laid? How does it look, first of all to our mind's eye, secondly to our eye? &\n& 1 see two things. I see a lofty and steep rock, and I see the moist cloud which envelops\nthe head of this rock. That is to say, a place for fierce and warlike men to inhabit, a place\nfor phantoms to nest in. Ultimately this moisture will destroy the rock; ultimately these\nspirits will destroy the men. Now then, you are quick in your question as to what actually\nto create for the eye. 1 answer as swiftly.... place there a rock! Let it mount up high. & Swiftly\nI tell you,.... convey the idea of a mist which hugs the head of this rock. & Now, have I\ndeparted at all for one eighth of an inch from the vision which I saw in the mind's eye?\n& But you ask me what form this rock shall take and what colour? What are the lines\nwhich are the lofty lines, and which are to be seen in any lofty cliff? ... Go to them, glance but\na moment at them; now quickly set them down on your paper; the lines and their direction,\nnever mind the cliff. &Do not be afraid to let them go high; they cannot go high enough;\n•...and remember that on a sheet of paper which is but two inches square, you can make a line\nwhich seems to tower miles in the air, and you can do the same on your stage for it is\nall a matter of proportion and nothing to do with actuality &\nYou ask about the colours?.. What are the colours that Shakespeare has indicated for us? Do not\nfirst look at nature, but look in the play of the poet. £/ Two; one for the rock, the man; one for\nthe mist, the spirit. Now, quickly, take and accept this statement from not a single\nother colour, but only these two colours through your whole progress of designing your\nscene and your costumes, yet forget not that each colour contains many variations. If you are\ntimid for a moment and mistrust yourself or what I tell, when the scene is finished you will\nnot see with your eye the effect you have seen with your mind's eye, when looking at the\npicture which Shakespeare has indicated. £?£*&&&?& &\n& It is this lack of courage, lack of faith in the value which lies in limitation and in\nproportion which is the undoing of all the good ideas which are born in the minds of the\nscene designers. They wish to make twenty statements at once. They wish to tell us not only\nof the lofty crag and the mist which clings to it; they wish to tell you of the moss of the\nHighlands and of the particular rain which descends in the month of August. They cannot\nresist showing that they know the form of the ferns of Scotland, and that their archeological\nresearch has been thorough in all matters relating to the Castles of Glamis and Cawdor.\nAnd so in their attempt to tell us these many facts, they tell us nothing; all is confusion....\n44 Most sacrilegious murder hath broke ope the Lord's annointed Temple, and stole thence\nthe life of the building\".\n& So, do as I tell you. Practice with the pencil on paper both on a small scale and on a\nlarge scale; practice with colour on canvas; so that you may see for yourself that what I\nsay to you is true .... and, if you are an Englishman, make haste! for if you do not others\nwho read this in other countries will find in it technical truths and will outstrip you before\nyou are aware of it. But the rock and its cloud of mist is not all that you have to\nconsider. & You have to consider that at the base of this rock swarm the clans of strange\nearthly forces, qnd that in the mist hover the spirits innumerable;.... to speak more technically\n\nThe study of the\nPlay & & +\nThe Scene &\n44 Macbeth \"\nThe Form &\nThe Colour &\nPractice9 ••• lose\nno time & &"}, {"page_pdf": 16, "page_imprimee": "62", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.16", "debut_caractere": 42, "fin_caractere_exclue": 4991, "texte": "you have to think of the 60 or 70 actors whose movements have to be made at the base\nof the scene, and of the other figures which obviously may not be suspended on wires, and\nyet must be seen to be clearly separate from the human and more material beings,\nIt is obvious then that some curious sense of a dividing line must be created somewhere upon\nthe stage so that the beholder, even if he look but with his corporal eye, shall be convinced\nthat the two things are separate things. & I will tell yon how to do this. Line and\nproportion having suggested the material rock-like substance, tone and colour (one colour)\nwill have given the etherial to the mist-like vacuum. Now then, you bring this tone and\ncolour downwards until it reaches nearly to the level of the floor; but you must be careful\nto bring this colour and this tone down in some place which is removed from the material\nrock-like substance. &\nYou ask me to explain technically what I mean. Let your rock possess but half the width\nof the stage, Let it be the side of a cliff round which many paths twist, and let these|paths\nmingle in one flat space taking up half or perhaps three quarters of the stage. You have\nroom enough there for all your men and women. Now then, open your stage and all other\nparts. Let there be a void below as as well as above, and in this void let your mist fall and\nfade; and from that bring the figures which you have fashioned and which are to stand for the\nspirits. & I know you are yet not quite comfortable in your mind about this rock and this\nmist; I know that you have got in the back of your head the recollection that a little later\non in the play come several 'interiors' as they are called, & But, bless your heart, don't bother\nabout that! call to mind that the interior of a castle is made from the stuff which is taken\nfrom the quarries. Is it not precisely the same colour to begin with? and do not the blows\nof the axes which hew out the great stones give a texture to each stone which resembles\nthe texture given it by natural means, as rain, lightening, frost? & So you will not have\nto change your mind or change your impression as you proced. You will have but to give\nvariations of the same theme, the rock the brown; the mist.... the grey; and by these\nmeans you will, wonder of wonders, actually have preserved unity. & Your success will\ndepend upon your capacity to make variations upon these two themes; but remember never\nto let go of the main theme of the play when searching for variations in the Scene.\n& By means of your scene you will be able to mould the movements of the actors, and you\nmust be able to increase the impression of your numbers without actually adding another\nman to your 40 or 50. You must not therefore waste a single man, nor place him in such a\npositiou that an inch of him is lost. Therefore the places on which he walks must be the most\ncarefully studied parts of the whole scene. But in telling you not to waste an inch of\nhim I do not therefore mean to convey that you must show every inch of him. It is\nneedless to say more on this point. By means of suggestion you may bring on the stage\na sense of all things; the rain, the sun, the wind, the snow, the hail, the intense heat; but\nyou will never bring them there by attempting to wrestle and close with nature, in order\nso that you may seize some of her treasure and lay it before the eyes of the multitude.\nBy means of suggestion in movement you may translate all the passions and the thoughts\nof vast numbers of people, or by means the same you can assist your actor to convey\nthe thoughts and the emotions of the particular character he impersonates Actuality,\naccuracy of detail, is useless upon the stage. & & & & &\n& Do you want further directions as to how to become a designer of scenes and how to\nmake them beautiful, &, let us add for the sake of the cause, practical and inexpensive?^I am\nafraid that if I were to commit my method to writing I should write something down which\nwould prove not so much useless as bad. For it might be very dangerous for many people\nto imitate my method. It would be a different thing if you could study with me, practising\nwhat we speak about for a few years. Your nature would in time learn to reject that which\nwas unsuited to it, and, by a daily and a much slower initiation, only the more important\nand valuable parts of my teaching would last. But I can give you now some more general\nideas of things which you might do with advantage and things which you may leave undone.\nFor instance, to begin with, don't worry;—particularly don't worry your brain, and for\nHeaven's sake don't think it is important that you have got to do something, especially\nsomething clever.\n1 call to mind the amount of trouble I had when I was a boy of 21 over the struggle to\nsomehow produce designs traditional in character without feeling at all in sympathy with\n\nA technical Ex-\nplanation. &\nMy early expe-\nrience."}, {"page_pdf": 17, "page_imprimee": "63", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 5021, "texte": "the tradition; and I count it as so much wasted time. I do not hold with others that it\nwas of any value whatever. £? I remember making designs for scenes for Henry IV. I was\nworking under an actor manager at the time. I was working in a theatre where the chairs\nand the tables and other matters of detail played important and photographic parts, and,\nnot knowing any better, I had to take all this as a good example The play of Henry IV\ntherefore consisted to my mind of one excellent part, Prince Hal, and 30 or 40 other\ncharacters that trotted round this part. & There was the usual table with the chairs round\nit on the right side. There at the back was the usual door, and I thought it rather unique\nand daring at the time to place this door a little bit off the straight. There was the window\nwith the latches and the bolts and the curtains ruffled up to look as if they had been used for\nsometime, and outside the glimpses of English landscape. There were the great flagons; and\nof course, on the curtain rising there was to be a great cluster and fluster of \"scurvy knaves\"\nwho ran in and out, and a noise of jovial drinkers in the next room. There was the little\npiece of jovial music to take up the curtain, that swinging jig tune which we have all\ngrown so familiar with, there were the three girls who pass at the back of the window,\nlaughing. One pops her head in at the window with a laugh and a word to the potman.\nThen there is the dwindling of the laughter and the sinking to piano of the orchestra as\nthe first speaking character enters,... and so on. &\nMy whole work of that time was based on these stupid restless dotails which I had been\nled to suppose a production could be made from ; and it was only when I banished the whole\nof this from my thoughts and no longer permitted myself to see with the eyes of the producers\nof the period of Charles Kean, that I began to find anything fresh which might be of\nvalue to the play. And so for me to tell you how to make your scenes is well nigh\nimpossible. It would lead you into terrible blunders. I have seen some of the scenery which\nis supposed to be produced according to my teaching, and it is utter rubbish.\nI let my scenes grow out of not merely the play, but from broad sweeps of thought\nwhich the play has conjured up in me, or even other plays by the same author have conjured\nup. For instance, the relation of Hamlet to Macbeth is quite close, and the one play may\ninfluence the other. & I have been asked so many times by people eager to make a little\nswift success or a little money, to explain to them carefully, how I make my scenes; because,\nsaid they with sweet simplicity, \" then I could make some too \", You will hardly believe\nit, but the strangest of people have said this to me and if I could be of service to them\nwithout being treacherous to myself as an artist, and to the art, I would always do so.\nBut you see how vain that would be! To tell them in five minutes or in five hours or even\nin a day how to do a thing which it has taken me a life time to begin to do would be utterly\nimpossible. And yet when I have been unable to bring myself to tear my knowledge up into\nlittle shreds and give it to these people they have been most indignant, at times malignant.\nAnd so you see it is not that I am unwilling to explain to you the size and shape of my\nback-cloths, the colour which is put upon them, the pieces of wood that are not to be attached\nto them, the way they are to be handled, the lights that are to be thrown upon them, and\nhow and why I do everything else; it is only that if 1 were to tell you, though it might\nbe of some service to you for the next two or three years, and you could produce several\nplays with enough effects therein to satisfy the curiosity of quite a number of people,.....\nthough you would benefit to this extent you would lose to a far greater extent, and the Art\nwould have in me its most treacherous minister We are not concerned with short cuts.\nWe are not concerned with what is to be effective and what is to pay. We are concerned\nwith the heart this thing, and with loving and understanding it. Therefore approach it from\nall sides, surround it, and do not let yourself be attracted away by the idea of scene as an end\nin itself, of costume as an end in itself, or of stage management or any of these things,\nand never lose hold of your determination to win through to the secret.... the secret which\nlies in the creation of another beauty and then all will be well. &\n& In preparing a play, while your mind is thinking of scene, let it instantly leap round\nand consider the acting, movement and voice. Decide nothing yetinstantly leap back to\nanother thought about another part of this unit. & Consider the movement robbed of all\nscene, all costume, merely as movement. Somehow mix the movement of the person with\nthe movement which you see in your mind's eye in the scene. Now pour all your colour\nupon this. Now wash away all the colour. Now begin over again. Consider only the words."}, {"page_pdf": 17, "page_imprimee": "63", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.17", "debut_caractere": 5065, "fin_caractere_exclue": 5115, "texte": "Would-be imita-\ntors. &\nThe preparation\nof a play,"}, {"page_pdf": 18, "page_imprimee": "64", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.18", "debut_caractere": 42, "fin_caractere_exclue": 5049, "texte": "Wind them in and out of some vast and impossible picture, and now make that picture possible\nthrough the words. DO you see at all what I mean Look at the thing from every standpoint\nand through every medium, and do not hasten to begin your work until one medium force\nyou to commence. You can far sooner trust other influences to move your will and even\nyour hand that you can trust your own little human brain. This may not be the methodical\nteaching of the schools. The results they achieve are on record,and the record is nothing\nto boast about. Hard, matter of fact, mechanical teaching may be very good for a class,\nbut it is not much good for the individual; and when I come to teach a class 1 shall not\nteach them so much by words as by practical demonstration. &\nBy the way, I may tell you one or two things that you will find good not to do. For\ninstance, do not trouble about the costume books. When in a great difficulty refer to\none in order to see how little it will help you out of your difficulty, but your best plan is\nnever to let yourself become complicated with these things. Remain clear and fresh. If you\nstudy how to draw a figure, how to put on it a jacket, coverings for the legs, covering for\nthe head, and try to vary these coverings in all kinds of interesting, amusing, or beautiful\nways, you will get much further than if you feast your eyes and confound your brain with\nRacinet, Planchet, Hottenroth and the others. The coloured costumes are the worst, and\nyou must take great care with these and be utterly independent when you come to think\nabout what you have been looking at. Doubt and mistrust them thoroughly. If you find\nafterwards that they contain many good things you will not be so far wrong; but if you\naccept them straight away your whole thought and sense for designing a costume will be\nlost; you will be able to design a Racinet costume or a Planchet costume, and you will lean\nfar too much on these historically accurate men who are at the same time historically untrue.\nBetter than these that I have mentioned is Viollet le Due. He has much love for the\nlittle truths which underlie costume, and is very faithful in his attitude; but even his is\nmore a book for the historical novelist, and one has yet to be written abqut imaginative\ncostume. & Keep continually designing such imaginative costumes. For example, make a\nbarbaric costume; and a barbaric costume for a sly man which has nothing about it which can\nbe said to be historical and yet is both sly and barbaric. & Now make another design for\nanother barbaric costume, for a man who is bold and tender. NOW make a third for one\nwho is ugly and vindictive* & It will be an exercise. You will probably make blunders at\nfirst for it is no easy thing to do but I promise you if you persevere long enough you will\nbe able to do it. Then go further; attempt to design the clothing for a divine figure\nand for a demonic figure: These of course will be studies in individual costumes,\nbut the main strength of this branch of the work lies in the costume as mass. It is the\nmistake of all theatrical producers that they consider the costumes of the mass individually.\nIt is the same when they come to consider movements, the movements of masses on the\nstage. You must be careful not to follow the custom. We often hear it said that each\nmember of the Meinigen Company composing the great crowd in Julius Caesar was acting\na special part of his own. This may be very exciting as a curiosity, and attractive to\na rather foolish audience, who would naturally say, \" Oh, how interesting to go and look\nat one particular man in a corner who is acting a little part of his own! How wonderful!\nIt is exactly like life! \",.... And if that is the standard and if that is our aim, well and good.\nBut we know that it is not. Masses must be treated as masses, as Rembrandt treats\na mass, as Bach, as Beethoven treats a mass, and detail has nothing to do with the mass.\nDetail is very well in itself and in its place. You do not make an impression of mass by\nCrowding a quantity of details together. Detail is made to form mass only by those people\nwho love the elaborate, and it is a much easier thing to crowd a quantity of details together,\nthan it is to create a mass which shall possess beauty and interest. On the stage they\ninstantly turn to the natural when they wish to create this elaborate structure.... A hundred\nmen to compose a crowd, or, let us say, all Rome, as in Julius Caesar; a hundred men, and\neach is told to act his little part. Each acts himself, giving vent to his own cries; each\na different cry, .... though many of them copy the most effective ones so that by the end of\nthe first 20 nights they are all giving out the same cry. And each of them has his own\naction, which after the first twenty nights is exchanged for the most effective and popular\naction; and by this means a fairly decent crowd of men with waving arms and shouting\n\nThe costume\nbooks.\nViollet le Due.\nThe movements\nof masses."}, {"page_pdf": 21, "page_imprimee": "65", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 4878, "texte": "voices may be composed, and may give some people the impression of a vast crowd. To\nothers it gives the impression of a crush at a railway station. & & &\n& Avoid all this sort of thing. Avoid the so-called * naturalistic* in movement as well as\nin scene and costume. The naturalistic stepped in on the Stage because the artificial had\ngrown finicking, insipid;.... but do not forget that there is such a thing as noble artificiality.\nSomeone writing about natural movement and gesture says, \" Wagner had long put in\npractice the system of natural stage action tried of late years at the Thddtre Libre in Paris\nby a French comedian; a system which, most happily, tends more & more to be generally\nadopted \". It is to prevent such things being written that you exist. & &\n& This tendency towards the natural has nothing to do with art, and is abhorrent when\nit shows in art, even as artificiality is abhorrent when we meet it in every day life. We\nmust understand that the two things are divided, and we must keep each thing in its place;\nwe cannot expect to rid ourselves in a moment of this tendency to be \" natural\"; to make\n\" natural \" scenes, and speak in a \" natural\" voice, but we can fight against it best by\nstudying the other arts. & &\nTherefore we have to put the idea of natural or unnatural action out of our heads\naltogether, and in place of it we have to consider necessary or unnecessary action. The\nnecessary action at a certain moment may be said to be the natural action for that moment;\nand if that is what is meant by 1 natural9 well and good. In so far as it is right it is natural,\nbut we must not get into our heads that every haphazard natural action is right. In fact\nthere is hardly any action which is right, there is hardly any which is natural. Action is a\nway of spoiling something, says Rimbaud. &\n& And to train a company of actors to show upon the stage the actions which are seen in\nevery drawing room, club, public house or garret must seem to everyone nothing less\nthan tomfoolery. That companies are so trained is well known, but it remains almost incredible\nin its childishness. Just as I told you to invent costume which was significant, so must\nyou invent a series of significant actions, still keeping in mind the great division which\nexists between action in the mass and action in the individual, and remembering that no\naction is better than little & &\nI have told you to make three costumes based on the idea of a barbaric sense, each\nparticularized by some special individuality. Give action to these figures which you have made.\nCreate for them significant actions, limiting yourself to those three texts that I have given\nyou, the sly, the bold tenderness, the ugly and vindictive. Make studies for these, carry\nyour little book or pieces of paper with you and continually be inventing with your pencil\nlittle hints of forms and faces stamped with these three impressions; and when you have\ncollected dozens of them select the most beautiful. & & &\nAnd now for a word on this. £? I particularly did not say the most * effective9 although\n1 used the word * beautiful7 as the artists use it, not as those of the stage use it.\nI tcannot be expected to explain to you all that the artist means by the word beautiful;\nbut to him it is something which has the most balance about it, the justest thing, that\nwhich rings a complete and perfect bell note. Not the pretty, not the smooth, not the\nsuperb always, and not always the rich, seldom the « effective 7 as we know it in the theatre,\nalthough at times that, too, is the beautiful. But Beauty is so vast a thing, and contains\nnearly all other things; contains even ugliness, which sometimes ceases to be what is held as\nugliness, and contains harsh things, but never incomplete things.\n& Once let the meaning of this word \" Beauty 77 begin to be thoroughly felt once more in\nthe theatre, and we may say that the awakening day of the theatre is near. Once let the word\n* effective 7be wiped off our lips, and they will be ready to speak this word Beauty. When\nwe speak about the effective, we in the theatre mean something which will reach across the foot\nlights. The old actor tells the young actor to raise his voice, to \" Spit it out\";.... \" Spit it out,\nladdie, fling it at the back of the gallery\" Not bad advice either; but to think that\nthis has not been learnt in the last five or six hundred years, and that we have not got\nfurther; that is what is so distressing about the whole business. Obviously all stage\nactions and all stage words must first of all be clearly seen, must be clearly heard. Naturally\nall pointed actions and all pointed speeches must have a clear and distinct form so that\nthey may be clearly understood.^We grant all this. It is the same in all art, & as with the\nother arts it goes without saying; but it is not the one & only essential thing which the"}, {"page_pdf": 21, "page_imprimee": "65", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.21", "debut_caractere": 4922, "fin_caractere_exclue": 5068, "texte": "The1 Naturalistic*\nin Movement. £/\nThe natural act-\nion not always\nthe right one\nThe word Beau-\ntiful & its mean-\ning' J£?\nThe word ** Effec-\ntive"}, {"page_pdf": 22, "page_imprimee": "66", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.22", "debut_caractere": 42, "fin_caractere_exclue": 5158, "texte": "eiders must be continually drumming into the ears of the younger generation when it steps\nupon the stage. It teaches the young actor soon to become a master of tricks, fie takes the\nshort cut instinctively to these tricks, and this playing of tricks has been the cause of the\ninvention of a word,—\" Theatricaland I can put my finger on the reason why the young\nactor labours under this disadvantage the moment he begins his stage experience. It is\nbecause previous to his experience he has passed no time as student or as apprentice.\n& I do not know that I am such a great believer in the schools. I believe very much indeed\nin the general school which the world has to offer us, but there is this great difference\nbetween the \" world \" schooling of the actor and the \" world \" schooling of the other artists\nwho do not go to the Academies either. A young painter, or a young musician, a young\npoet, or a young architect, or a young sculptor may never enter an Academy during his\nlife, and may have ten years knocking about in the world learning here, learning\nthere, experimenting and labouring unseen and his experiments unnoticed. & The young\nactor may not enter an Academy either, and he may also knock about in the world, and\nhe too may experiment just the same as the others, but and here is the vast difference\nall his experiments he must make in front of a public. Every little atom of his work\nfrom the first day of his commencing until the last day of his apprenticeship must be seen,\nand must come under the fire of criticism. I shall ever be beholden to the higher criticism,\nand for a man of ten year's experience a£ any work to come under the fire of criticism will\nbenefit him and his work a thousandfold. He has prepared himself; he has strength; he\nknows what he is going to face. But for every boy and girl to be subjected to this the first\nyear that they timidly attempt this enormous task is not only unfair on them but is\ndisastrous to the art of the stage. &\n& Let us picture ourselves as totally new to this work. We are on fire with the desire to\nbegin our work. Willingly and with an enormous courage we accept some small part. It\nis eight lines and we appear for ten minutes. We are delighted although almost in a\npanic. Say it is twenty lines.... Do you think we say no? We are to appear six times,... do\nyou ithink we shall run away? We may not be angels but we are certainly not fools for\nstepping in. It appears to us heaven. On we go Next morning \"Itis a pity that the\nmanager elected an incompetent young man to fill so important a part \". &\n& I am not blaming the critic for writing this ; I am not saying that it will kill a great artist or\nthat it will break our heart; I only say that this seems so unfair that it is only natural that\nwe retaliate by taking an unfair advantage of the very art which we have commenced\nto love, by becoming \" effective \" at all costs. & We have received this criticism; we have\ndone our best; the others have received good criticism; we can stand it no longer; we do\nas they do,.... we become 44 effective \". It takes most young actors but five years' acute\nsuffering to become effective, to become theatrical. Too early criticism breaks the young\nactor who would be an artist as far as possible, and causes him to be a traitor to the art\nwhich he loves. Beware of this and rather be ineffective. Receive your bad criticism\nwith a good grace and with the knowledge that with patience and with pride you can outlive\nand outdistance all around you. It is right that the critic should say that you were\nineffective at a certain moment, or that you played your part badly, if you have been but three,\nfour or five years on the stage, and if you are but still feeling your way slowly, instead of\nrushing to tricks for support. It is quite right of them to say that, for they are speaking\nthe entire truth; you should be glad of this; but unconsciously they disclose a still greater\ntruth. It is this; That the better the artist the worse the & & &\nSo take entire courage. Continue as I have said at the beginning to remain an actor\nuntil you can stand it no longer, until you feel you are on the point of giving way; then\nleap nimbly aside into the position of stage manager. And here as I have pointed out you\nwill be in a better position if not a much better position, for you are approaching the point\nat which stands, (slumbering, it is true) the artist of the theatre. Your most effective scenes,\nproductions, costumes and the rest, will of course be the most theatrical ones. But here\ntradition is not so strong, and it is here that you will find something that you can rely on.\nThe critic is not more lenient towards the producer of plays, but some how or other he\nis less inclined to use the word * effective'. He seems to have a wider knowledge of the beauty\nor the ugliness of these things. It may be that the tradition of his art permits him this; for\nproduction, as it is understood nowadays, is but a more modern development of the theatre,\n\nThe \"Schooling\"\nof the Actor.\nTie ire of Cri-\nticismc\nAnd the result*\nThe critic's atti-\ntude. & &"}, {"page_pdf": 23, "page_imprimee": "67", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 4933, "texte": "and the critic has more liberty to say what he wishes. & At any rate, when you become stage\nmanager, you will no longer have to appear each evening upon the stage in person, and\ntherefore anything which is written about your work you cannot take in a personal way.\nI thought to tell you here something about the uses of artificial light; but apply what\n1 have said of scene and costume to this other branch as well. Some of it may apply. &\nTo tell you of the instruments which they use, how they use them so as to produce beautiful\nresults, is not quite practical. If you have the wit to invent the scenes and the costumes\nthat I have spoken about, you will soon have the wit to find your own way of using the\nartificial light we are given in the theatre. & & &\n& Finally, before we pass out of the theatre on to other more serious matters, let me give\nyou the last advice of all When in doubt listen to the advice of a man in a theatre\neven if he is only a dresser, rather than pay any attention to the amateur. A few painters,\na few writers, and a few musicians, have used our theatre as a kind of afterthought.\nTake care to pay no attention to what they say or what they do. An ordinary\nstage hand knows more about our art than these amateurs. The painter has lately\nbeen making quite a pretty little raid upon the outskirts of the stage. He is very often\na man of much intellectual ability and full of very many excellent theories, the old and\nbeautiful theory of art which each in his own piece of soil knows how to cultivate best;\nand these theories he has exemplified in his own particular branch of art so well. In the\ntheatre they become sheer affectation. It is reasonable to suppose that a man who has\nspent fifteen to twenty years of his life painting in oils on a flat surface, etching on copper,\nor engraving on wood will produce something which is pictorial and has the qualities of the\npictorial but nothing else. And so with the musician; he will produce something which is\nmusical. So with the poet; he will produce something which is literary. It will all be very\npicturesque and pretty, but it will unfortunately be nothing to do with the Art of the\nTheatre. Beware of such men; you can do without them. If you have anything\nto do with them you will end by being an amateur yourself. If one of these should wish\nto talk with you about the theatre be careful to ask him how long he has actually\nworked in a theatre before you waste any more time listening to his unpractical theories.\nas the last but one word was about these men so the last word of all shall be about their\nwork. Their work is so fine, they have found such good laws and have followed these laws so well,\nhave given up all their worldly hopes in this one great search after beauty, that when nature\nseems to be too difficult to understand, go straight to these fellows,.... I mean to their\nwork .... and they will help you out of all the difficulties, for they are the best and the\nwisest people in the world.\n& And now I intend to carry you on beyond this stage management about which I have spoken,\nand unveil to you some greater possibilities which I think are in store for you.\n& I have come to the end of talking with you about matters as they are, and I hope you will\npass through those years as actor, manager, designer and producer without any very great\ndisturbances. To do this successfully, although in your apprenticeship you must hold your\nown opinion, you must hold it very closely to yourself; and above all things remember that I do\nnot expect you to hold my opinion or to stand up for it publicly. To do that would be to\nweaken your position and to weaken the value of this preparation time. It is of no value to\nme that people should be convinced of your belief in the truth of my statements, theories or\npractises: it is of great value to me that you should be so convinced. And so as to let nothing\nstand in the way of that I would have you run no risks, but keep our convictions to ourselves. Try\nto win no support for me. Run no risk of being faced with the dismissal from your post with\nthe option of the denial of our mutual beliefs. Besides, there is no need for either of these\ntwo alternatives. I have taken so large a share of the rebuffs by loudly proclaiming my\nbeliefs in the cause of the truth of this work, and am always prepared to take more if you\nwill but leap forwards and secure the advantages, using me as the stalking horse. I shall\nappreciate the fun, for there is a spice of fun in it all .... and that will be my reward. &\nRemember we are attacking a monster; a very powerful & subtle enemy; and when you signal\nto me let it be by that more secret means even than wireless telegraphy. I shall understand\nthe communication.\n& When you have finished your apprenticeship, ....6 to 10 years,.... there will be no need\nto use further concealment: you will then be fitted to step out and, in your turn, unfurl"}, {"page_pdf": 23, "page_imprimee": "67", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.23", "debut_caractere": 4977, "fin_caractere_exclue": 5030, "texte": "Don*t listen\nto Amateurs. &\nAnd now \" Be-\nyondf. *} &"}, {"page_pdf": 24, "page_imprimee": "68", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.24", "debut_caractere": 42, "fin_caractere_exclue": 4688, "texte": "your banner, for you will be upon the frontier of your kingdom,.... and about this kingdom\nI will speak now. &\n& I use the word 4 Kingdom ' instinctively in speaking of the land of the Theatre. It explains\nbest what I mean. & May be in the next three or four thousand years the word Kingdom\nwill have disappeared, ....Kingdom,.... Kingship, ....King,... but I doubt it; and if it\ndoes go something else equally fine will take its place. It will be the same thing in a different\ndress. & You can't invent anything finer than Kingship... the idea of the King. It is merely\nanother word for the Individual, the calm shrewd personality; and so long as this\nworld exists the calmest and the shrewdest personality will always be the King. In some\nrare instances he is called the President, but he is none the less the King. In some instances\n«\nhe is called the Pope, & sometimes the General; it all comes to the same thing, and\nit is no good denying it; he is the King. To the artist the thought is very dear. There\nis the sense of the perfect balancer. The king (to the artist) is that superb part of\nthe scales, which the old workmen made in gold and sometimes touched with beautiful\nstones;... the delicately worked handle without which the scales could not exist and upon\nwhich the eye of the measurer must be fixed. Therefore I have taken as the device of\nour new Art these scales, for our art is based upon the idea of perfect balance, the result\nof movement.\nHere then is the thing which 1 promised at the beginning to bring to you. Having passed\nthrough your apprenticeship without having been merged in the trade, you are fitted to\nreceive this. Without having done so you would not even be able to see it. I have\nno fear that what I throw to you now will be caught by other hands because it is visible\nand tangible only to those who have passed through such an apprenticeship. In the\nbeginning with you it was Impersonation; you passed on to Representation, and now you\nadvance into Revelation. When Impersonating and Representing you made use of those\nmaterials which had always been made use of; that is to say, the human figure as exemplified\nin the actor, speech as exemplified in the poet through the actor, the visible world as shown\nby means of Scene. You now will reveal by means of movement the Invisible things, ...\nthose seen through the eye and not with the eye, by the wonderful and divine power of\nMovement. &\nThere is a thing which man has not yet learned to master, a thing which man dreamed\nnot was waiting for him to approach with love; it was invisible and yet ever present with\nhim Superb in its attraction and swift to retreat, a thing waiting but for the approach\nof the right men.... prepared to soar with them through all the circles beyond the earth....\nMovement.\nIt is somehow a common belief that only by means of words can truths be revealed.'Even\nthe wisdom of China has said. 44 Spiritual truth is deep and wide, of infinite exellence,\n44 but difficult of comprehension Without words it would be impossible to expound its\n\" doctrine; without images its form could not be revealed. Words explain the law of two\n44 and six, images delineate the relation of four and eight. Is it not profound,.... as infinite as\n44 space,.... beyond all comparison lovely?\" &\nBut what of that infinite and beautiful thing drawn from space called Movement?\nFrom Sound has been drawn that wonder of wonders called Music. Music,.... one could\nspeak of it as St Paul speaks of love. It is all Tove ....it is all that he says true love should\nbe. It suffereth all things, &is kind; is not puffed up, doth not behave itself unseemly;\nbelieveth all things, hopeth all things, infinitely vast! &\n& And as like as one sphere to another, so is movement like to music. I like to\nremember that all things spring from movement, even music; and I like to think that it is to\nbe our supreme honour to be the ministers to the supreme force Movement & For you\nsee where the theatre (even the poor distracted and desolate theatre) is connected with this\nservice. The theatres of all lands, east and west, have developed (if a degenerate development)\nfrom movement the movement of the human form. We know so much for it is on\nrecord ; and before the human being assumed the grave responsability of using his own person\nas an instrument through which this Beauty should pass, there was another and a wiser\nrace, who used other instruments. & jg? &\n& In the earliest days the dancer was a priest or a priestess, and not a gloomy one by\nany means; too soon to degenerate into something more like the acrobat, and finally to achieve\n\nThe Balance\nMovement"}, {"page_pdf": 25, "page_imprimee": "69", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 4895, "texte": "the distinction of the ballet dancer. By association with the minstrel, the actor appeared. Ido\nnot hold, that with the renaissance of the dance comes the renaissance of the ancient art of the\ntheatre, for I do not hold that the ideal dancer is the perfect instrument for the expression of all\nthat is most perfect in movement. & The ideal dancer, male or female, is able by the strength or\ngrace of the body to express much of the strength and grace which is in the nature, but it\ncannot express all, nor a thousandth part of that all. For the same truth applies to the dancer\n#\nand to all those who use their own person as instrument. Alas, the human body refuses to\nbe an instrument, even to the mind which lodges in that body. The sons of Los rebelled\nand still rebel against their father. The old divine unity, the divine square, the peerless\ncircle of our nature has been ruthlessly broken by our moods, and no longer can instinct\ndesign the square or draw the circle on the grey wall before it. But with a significant\ngesture we thrill our souls once more to advance without our bodies upon a new road and\nwin it all back again. This is a truth which is not open to argument, and a truth which\ndoes not lessen the beauty which exhales from the dearest singer or the dearest dancer of\nall times.\nTo me there is ever something more seemly in man when he invents an instrument which\nis outside his person, and through that instrument translates his message. I have a greater\nadmiration for the organ, for the flute and for the lute than I have for the human\nvoice when used as instrument. I have a greater feeling of admiration and fitness when\nI see a machine which is made to fly than when I see a man attaching to himself the wings\nof a bird. For a man through his person can conquer but little, but through his mind he\ncan conceive and invent that which shall conquer all things.\nI believe not at all in the personal magic of man, but only in his impersonal magic. It\nseems to me that we should not forget that we belong to a period after the Fall and not\nbefore it,.... I can at least extract a certain hint from the old story. And though it may be\nonly a story, I feel that it is just the very story for the artist. & In that great period\nprevious to this event we can see in our mind's eye the person of man in so perfect a\nstate that merely to wish to fly was to fly, merely to desire that which we call the impossible\nwas to achieve it. We seem to see man flying into the air or diving into the depths and\ntaking no harm therefrom. We see no foolish clothes, we are aware of no hunger and thirst.\nBut now that we are conscious that this \" square deific \" has been broken in upon, we\nmust realise that no longer is man to advance and proclaim that his person is the perfect\nand fitting medium for the expression of the perfect thought.\nSo we have to banish from our mind all thought of the use of a human form as the\ninstrument which we are to use to translate what we call Movement. We shall be all the\nstronger without it. We shall no longer waste time and courage in a vain hope. £? The\nexact name by which this art will be known cannot yet be decided on, but it would be a\nmistake to return and look for names in China, India or Greece. We have words enough in our\nEnglish language, and let the English word become familiar to the tongues of all the nations.\nI have written elsewhere, and shall continue to write, all about this matter as it grows in\nme, and you from time to time will read what I write. But I shall not remove from you\nthe very difficulty which will be the source of your pleasure; I wish to leave all open and\nto make no definite rules as to how and by what means these movements are to be shown.\nThis alone let me tell you. I have thought of and begun to make my instrument, and\nthrough this instrument I intend soon to venture in my quest of beauty. How do I know\nwhether I can achieve that or not? Therefore how cari I tell you definitely what are the\nfirst rules which you have to learn? Alone and unaided I can reach no final results.\nIt will need the force of the whole race to discover all the beauties which are in this\ngreat source,.... this new race of artists to which you belong. When I have constructed\nmy instrument and permitted it to make its first assay I look to others to make like\ninstruments. Slowly, and from the principles which rule all these instruments some\nbetter instrument will be made.\nI am guided in the making of mine by only the very first and simplest thoughts which I am\nable to see in movement. The subtleties and the complicated beauties contained in movement\nas it is seen in nature, these I dare not consider; I do not think I shall ever be able to\nhope to approach these. Yet that does not discourage me from attempting some of the\nplainest, barest and simplest movements,.... I mean those which seem to me the simplest,"}, {"page_pdf": 25, "page_imprimee": "69", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.25", "debut_caractere": 4939, "fin_caractere_exclue": 4978, "texte": "The sons of I/OS\nThe name of\nthis Art &"}, {"page_pdf": 26, "page_imprimee": "70", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.26", "debut_caractere": 0, "fin_caractere_exclue": 2801, "texte": "those which I seem to understand. And after I have given activity to those I suppose I\nshall be permitted to continue to give activity to the like of them; but 1am entirely conscious\nthat they contain but the simplest of rhythms.... the great movements will not yet be\ncaptured,no, not for thousands of years. But when they come, great health comes with\nthem, for we shall be nearer balance than we have ever been before.\nI think that movement can be divided into two distinct parts,.... the movement of two and\nfour which is the square, the movement of one and three which is the circle. There is\never that which is masculine in the square and ever that which is feminine in the circle.\nAnd it seems to me that before the female spirit gives herself up, and with the male goes\nin quest of this vast treasure, perfect movement will not be discovered; for I believe that\nas only the male can conceive and can control that which is contained within the square,\nonly the female can discover that which is contained in the circle.\n1 like to suppose that this art which shall spring from movement will be the first and final\nBelief of the world; and 1 like to dream that for the first [time in the world men and women\nwill achieve this thing together. £? How fresh, how beautiful it would be! £/ And as this\nis a new beginning it lies before men and before women of the next centuries as a vast\npossibility. In men and women there is a far greater sense of movement than of music.\nCan it be that this idea which comes to me now will at some future date blossom through\nhelp of the woman, or will it be as ever the man's part to master these things alone?\nThe musician is a male, the builder is a male, the painter is a male, and the poet is a male.\nCome now, here is an opportunity to change all this.... But 1 cannot follow the thoughts\nany further here, neither will you be able to.\nGet on with the thought of the invention of an instrument by which means you can bring\nmovement before our eyes. & When you have reached this point in your developments you\nneed have no further fear of hiding your feeling or your opinion, but may step forward and\njoin me in the search. You will not be a revolutionary against the theatre, for you will\nhave risen above the theatre and entered into something beyond it. & Maybe you will pursue\na scientific method in your search, and that will lead to very valuable results. & There must\nbe a hundred roads leading to this point, not merely one, and a scientific demonstration of\nall that you may discover can in no way harm this thing. Well, do you see any value\nin the thing 1 give you ? If you do not at first you will bye and bye. £> I could not expect\na hundred or even fifty,... no, not ten, to understand. But one? It is possible,... just\npossible. & && && && && &"}, {"page_pdf": 26, "page_imprimee": "70", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.26", "debut_caractere": 2845, "fin_caractere_exclue": 2894, "texte": "The square &\nthe circle\nThe first & fnal\nBelief &"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c017", "article_bluemountain": "bmtnaau_1908-05_01#c017", "volume": "bmtnaau_1908-05_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": 19, "image_fin": 19, "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=bmtnaau190805-01.2.9.4", "titre_corps": "DESIGN FOR A STAGE SCENE", "titre_sommaire": "DESIGN FOR A STAGE SCENE", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 19, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 37, "texte": "DESIGN FOR A STAGE SCENE GORDON CRAIG"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c019", "article_bluemountain": "bmtnaau_1908-05_01#c019", "volume": "bmtnaau_1908-05_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": 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=bmtnaau190805-01.2.10", "titre_corps": "MARIONETTES IN VENICE : IAGO--OTHELLO–-DESDEMONA", "titre_sommaire": "MARIONETTES IN VENICE : IAGO--OTHELLO–-DESDEMONA", "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": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 61, "texte": "MARIONETTES IN VENICE: IAGO - OTHELLO - DESDEMONA E. THESLEFF"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c020", "article_bluemountain": "bmtnaau_1908-05_01#c020", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "71", "page_fin": "72", "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=bmtnaau190805-01.2.11", "titre_corps": "SARAH BERNHARDT", "titre_sommaire": "SARAH BERNHARDT", "signature_source": "JOHN BALANCE", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 29, "page_imprimee": "71", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 4793, "texte": "SARAH BERNHARDT\n\nThe perfect\nActress. &\n&he has eve r\nadv anced. &\nThe Actress\nMan a g ei. &\nHer attention to\ndetail. & &\n\n| n Sarah Bernhardt we have the perfect actress. & & & &\nShe seems to have set out to become perfect in her work and we find she has accomplished\nthe task. This can be said of no other woman upon the stage, and, now Irving is no\nmore, it can be said of no man. Therefore she stands alone in being alone able of all living\npersons to give a perfect exhibition af acting. & & & & & &\n& In achieving so difficult, and, one might almost say, so unpleasant, a task, she has shown\nus that she possesses a directness of purpose which would be remarkable in a man, still\nmore remarkable in a woman, and extraordinary in an actress. & &\n& Thirty years ago she was the first actress in the world and she has kept her place, for she\nhas advanced as all the others advanced upon her. Her performance in \"La Dame aux\nCamelias \" is today a more perfect thing than it was twenty years ago. We may therefore\nsay that she is now in her prime. But even this is uncertain. We are not sure that she\nwill not go further. If another and a younger actress should appear and it should be in\nquestion as to which of the two were the greater, Sarah Bernhardt would advance upon her\npresent position and would tell us. & She is firmly persuaded of her power. &\n& I am one whom it interests but little to go to the theatre for I find there all the signs of\nweakness in art—indecision of thought and incompleteness of utterance. The actor is\ngrandiloquent .or he is amusing; he is easy or he is well dressed or he is handsome* The\nactresses are charming, even fascinating, are self possessed, speak well, or are excellent\nmimics. In some cases they exhibit some depth of emotion. £> Some actresses cry well,\nhave most bewitching tears in their voice, convey the feeling of great sadness or are\nentirely merry. Some are even delightful comedians, are touching and pathetic: and\nsome are very womanly. And Bernhardt is every bit of all this before she begins, and\nwhen she begins we are aware that we are about to see a piece of superlative acting.\njg* If it is Bernhardt that she always acts, she has been careful during her life to see\nthat Bernhardt was everything. Therefore she is not merely a happy spirit, or unhappy, she\nis both. She is not merely a pleasant temperament nor merely a grim temperament; she is\nboth. She alone has seen that to be the perfect actress you must be a perfectly developed\nwoman. & To most celebrated actresses who are their own managers their task is\na tedious one. They shirk three quarters of it. They compromise with what they\nfind objectionable in the task and so they are left behind. They seem to me to\nbe weary, and that is what Bernhardt never seems to be. I have read of her\nextraordinary capability of being able to work continuously for eighteen or twenty\nhours or longer, passing from one thing to another with a fresh zest and with clear energy.\nBut I, who have myself had some work for a few years in connection with the theatre, and\nknow what a confusion is apt to reign there, know that what has been stated of her\ncapabilities as director has been understated. She has borne the stress of laborious hours\nwell enough, but what she has borne with best and brought under her control are the doubts\nwhich must have assailed her as to the value of her task. & x?\nAll actors and actresses talk much about the Art of Acting, but many of these confess by\ntheir work their doubt as to whether it is an art, and a thankful art. Some of them act\nunwillingly, some of them seem to have much trouble with those things which surround them\nwhile at work and which they speak of as being something apart from their art; that is to say, the\nwork of their fellow actors, the play, the scenery, and so on. But with Bernhardt this is not so.\nI daresay she has not only never been heard to sigh at her work, but has actually never\nfelt weariness nor regret. To her Life is work, and she is a stern master,... above all to herself.\nShe never allows herself to shirk difficulties. The play or the scene may not have for her an\nundue value, but what value they have to her as actress she is always ready to credit them with,\nI should say that she alone is true in her just admiration of her fellow actors, of the scene painter\nand of the programme printer. I should say that she alone rightly values the work of these\nmen. What is a programme to most great actors or actresses? Quite an extra affair.\nWith Sarah Bernhardt it is part of a whole, part of herself; and 1 suppose that not one programme\nhas been issued in her theatre that has not come under her direct and careful supervision.\nNow when we consider this, and when we remember that the programme, the last thing"}, {"page_pdf": 30, "page_imprimee": "72", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.30", "debut_caractere": 19, "fin_caractere_exclue": 2786, "texte": "in the theatre, is but one of at least two thousand details which have to be considered, we get\nsome glimpse of the courage and the coolness of this extraordinary personality. And\nremember this; that the great statesman or the great admiral, the great field marshall or\nthe head of a university, have under them a trained staff of experts. Not so in the theatre,\nnot so Madame Sarah Bernhardt.\nConsider then for a moment what this means. It means that she has to play the part\nwhich a general has to play when he is trapped and besieged in a town in a foreign land\nand with none but native soldiers under him. The world rings with the stories of how\nthis or that general fought against such odds, has had to manufacture his guns without\nsufficient men to erect them, has had to put up with countless makeshifts; and then he is\ndecorated for his adroitness, his energy and his bravery. And justly too. Those who go\nto the theatre know nothing of the odds against which such as Bernhardt has to fight. They\ndo not know that there are any difficulties out of the common which have had to be overcome.\nThey do not know of the tremendous odds against the production of even a fairly good\nrepresentation. They do not know that the stage of a Theatre is an antiquated and useless\nmachine. Therefore let us all praise Bernhardt for her remarkable achievement under\nthe most astounding obstacles. She has spent her fortunes to crown the name of actress*\nmanager and if there is a better actress than herself to whom the crown should go, such a\none has not yet appeared. We call to mind the names of one or two more actresses who\nhave from time to time created great and lasting impressions, by their performances, and in\nadjudging the crown to Sarah Bernhardt we in no way give way in our admiration for the\nperformances of these unique beings. But there are weak places in these others. They\nare not all \" actress At times they are so much more women; at other times they are\nso much more children. Bernhardt is the only actress who is complete at all points, and\nthat because of her character. &\n& Some there are who say that the art of the Theatre is no longer known to us, that it\ndeparted with the Greeks and that a long time must elapse before it returns to us. Others\nthere are who begin to see the signs of a Renaissance. But after all has been recorded\nof the past and all foreshadowed of the future, when we regard the present with its\ntheatre of vulgarity, its theatre of commerce and its theatre of the emotional personality,\nwe must all hail Sarah Bernhardt as the most courageous and successful traveller, in that\nsavage land, dangerous and almost impassible to all, and fatal to most.\n\nThe odds she\nhas to fight. &\nShe is complete\nat all points. &\n\nJOHN BALANCE"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c021", "article_bluemountain": "bmtnaau_1908-05_01#c021", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "72", "page_fin": "74", "image_debut": 30, "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=bmtnaau190805-01.2.12", "titre_corps": "TO Mr ANDREW CARNEGIE", "titre_sommaire": "TO Mr ANDREW CARNEGIE", "signature_source": "JOHN SEMAR", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 30, "page_imprimee": "72", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.30", "debut_caractere": 2788, "fin_caractere_exclue": 4658, "texte": "TO Mr ANDREW CARNEGIE\n\nJt was lately stated in the Journals that your interest in the best cause of the Theatre has\nbeen awakened. That must mean that you do not look upon the theatre in the same\nlight as one looks on a means for making a fortune, but that you recognise in the theatre\na force, which can make for great good or great evil. The men who in their first\nenthusiasm throw their lives into the theatre, do so very often in the belief that it is a\nglorious place of enchantment and that the stories they have heard about its degrading\ninfluence are old grandmothers' tales. & & & &\nI have seen very many such cases, and in each case the bad influence has prevailed\nand they lose their liberty, enthusiasm and sense of enchantment; they become vain, ignorantly\nselfish, and live in an atmosphere which can be described as the opposite of intelligent.\nOf Art the Theatre knows and teaches nothing; therefore these men who enter the Theatre\nhopefully soon abandon that hope. & It takes but few years of this life to rob each man\nof his Ideals and his courage. He then either degenerates to an out~at=elbows actor or rises\nto the unenviable position of a modern actor manager. To succeed (that is to say to win a\nSucces de theatre) a man must compromise his every ideal and must be content with an\ninsecure but flashily effective external success. It is unnecessary to remind you that in\nLiterature, Music and Painting the only success to be won is without compromise and\nby faithfully serving the purest and sweetest principles of Art. It is unnecessary to speak\nat length of Leonardo, (liotto and the choir of angelic fellows, Donafello, Mantegna, Botticelli,\nBach, Gluck, Beethoven—all of whom refused to compromise and who have hated and rehated\nall that the modern Actor Manager offers the world as works of Art. I have known but a few\n\nTwo alterna-\ntives & &"}, {"page_pdf": 31, "page_imprimee": "73", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 4997, "texte": "men of the Theatre who have preserved their Ideals as artists and have known none who have\nremained faithful to them. It may therefore be truthfully stated that no work of Art of the\nTheatre is today being produced, because there are no men fitted to produce a work of Art.\nThis is the position of the art and institution which you courageously propose to assist.\nThe theatre has gone down and down until it has reached the lowest possible point of\ndegeneracy. Doctors propose inadequate remedies. Some of the cures proposed are courageous\nbut unintelligent. One would save the Art by the introduction of music into the theatre.\nThus we have a heroic Wagner wrestling with the impossible. & & &\nAnother would call Literature to its aid, another Painting. All these are no remedies. All\nthese things only make the patient less self-reliant, and more irritable. The remedy lies in\nno outside aid; it lies in the patient himself. His spirit is underfoot, it needs raising to his\nheart and head line. He is as a man who dreams he is ill. He has by nature as healthy a\nconstitution as another, but he has lost his will to think so and his will to take arms against\nhis sea of troubles.\nIf then the theatre is to emerge from its present unhealthy and undignified position it must\ndo so by the power of its own spirit, that is to say, by the power of its own Art. & &\nIn a book which appeared in 1905 Mr. Gordon Craig stated some of the conclusions he had\narrived at after years of practical experience and study of the whole question of the theatre\nand its disease. He lightly touched on several points which 1 understand he is treating in\ngreater detail in a very much larger book that he is now preparing. &\nOne of the points he omitted to write about was the need of a college for the technical\nstudy of the Art of the Theatre. He omitted to touch on this subject for reasons; the first\nbeing that at the time the book appeared there were several schools for acting in existence,\nall of which were parodies of the great school which such a study deserves. These schools\nwere run either to make money or to obtain young actors and actresses for London or\nprovincial companies, giving them six months or a year's training, and if any showed\naptitude as an actor or actress they would be instantly given a position in a London or\nprovincial theatre. In fact the shortness of the training given and received was such as\nwould not even be sufficient to qualify a domestic servant for a situation, much less a man\nwho is to master the first principal of a very difficult craft.... that of acting. &\n& Mr Craig therefore feared to speak at all in his book of a school lest his readers should\ninstantly jump to the conclusion that he advocated any existing school; and he could not\nopenly attack any of these as he had attempted to form an ideal school of his own, and had\nfor the moment failed. His school proposed to instruct scholars in the whole Art of the Theatre:\nnot alone in the craft of acting but that of all the divisions such as scene, costume, movement,\nvoice and the larger study of the relationship of one craft to another. He was obliged to\nrelinquish this task for a while for he soon realised that the scholars must not only receive\nfree tuition but must also be supported free of charge, and this was beyond his powers. He\nalso found out that those pupils who could pay his fee belonged to an indolent class\nwho brought with them little energy, and less talent or intelligence; the right intelligence\nhe found lay in the poorer classes. A further discovery was that out of 50 applications 43 or 45\nof these would be women.... women who wanted something to do to pass the time: the\nyoung men who would have joined were obliged, much against their natural inclination, to\naccept offices either as clerks or as journalists, as commercial travellers or some such task\ndemanding the regularity of the machine. They could not afford to be doing work which\nwould bring them no immediate income. & & & &\n& It is, I think, quite obvious that the theatre will regain its vitality through the men and\nnot through the women, although some of the latter can be relied on to a great extent;\nfor the whole science of the stage demands an amount of concentration and tenacity of\npurpose which men are better able to bring to it than womeu. A school such as I have\nhinted at would do much towards eradicating the terrible cancer which preys upon the\nmodern stage.... that is to say, ignorant vanity, which leads to intrigue and insubordination.\nSuch vanity can be eradicated by systematic knowledge and culture, and these are only to be\nacquired by a long and patient devotion to the principles of the art and a complete and original\nstudy of the technic of the stage. Such a study would bring to the pupil a sense of the great\nbeauty which still lies fresh at the heart of the great art which now looks so withered.\nIn 1880 Mr Ruskin wrote as follows of the theatre as Institution; 44 Yes, 1 began writing"}, {"page_pdf": 31, "page_imprimee": "73", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.31", "debut_caractere": 5022, "fin_caractere_exclue": 5184, "texte": "The present\nposition of the\nArt. & &\nWhere t h e\nremedy lies.\nThe need of a\nCollege & &\nVitality will he\nregained through\nthe men-wotkeis.\nMr. Ruski 12 s\nwarning."}, {"page_pdf": 32, "page_imprimee": "74", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.32", "debut_caractere": 27, "fin_caractere_exclue": 5183, "texte": "i( something.... a year ago, is it?... on your subject but have lost it, and am now utterly too\n44 busy to touch so difficult and so important a subject. I shall come to it, some day;\n\" necessarily. Meantime the one thing 1 have to say mainly is, that the idea of making money\n44 by a theatre and making it educational at the same time is utterly to be got out of people's\n44 heads. You don't make money out of a ship of the line, nor should you out of a church, nor\n44 should you out of a college, nor should you out of a theatre. Pay your ship's officers, your\n44 church's officers, your college tutors, and your theatre tutors what will honorably maintain\n44 them. Let there be no starring on the stage boards more than on the deck but the broad-\n44 side well delivered.\n& Written 26 years ago this has remained totally disregarded by the managers and actors who,\nalas, possibly look upon Ruskin as an old noodle. The actor managers of London seem to be\nmost ignorant of the beauty and the nobility of their trust, although they never cease to speak\nto the poorer actors about the honour of their calling. The peculiar and individual nature\nof the art of the theatre is not recognised by them and the theatre is in danger of being\nconfounded with the curiosity shop. And not only in England but in America, in Germany,\nFrance, Russia, Italy and Holland is this danger imminent. & In Germany there are two\ntheatres; the State theatre and the private theatre. The former is in the proudly ludicrous\nposition of active inactivity; it walks while it sleeps and is a danger to itself and the community.\nThe latter is an energetic theatre eager to learn all that is to be learned, but like the child\nit culls in its ignorance all the blossoms it can lay hands on and plants them in the\nmould expecting to see them take root and instantly bear fruit. The Dutch theatre is\nentirely stagnant. The theatre of Russia resembles the German theatre and has two divisions.\nThe state theatre slumbers and the theatre of private enterprise although extremely virile is\nmonstrously Realistic (a sure sign of degeneration). I quote what has been written elsewhere\nabout this question of Realism in the theatre as it illuminates a dark & dangerous corner. &\n44 The modern Realistic Theatre forgetful of all the laws of Art, sets out to reflect the times.\n44 —It reflects a small particle of the times—It drags back a curtain and exposes to our view\n44 an agitated caricature of Man and his Life—A figure gross in its attitude and hideous to\n44 look upon. This is neither true to Life nor to Art. It has never been the purpose of\n44 Art to reflect and make uglier the ugliness of things—but to transform and make the already\n44 beautiful, more beautiful—and in following this purpose, Art shields us with sweet influences\n44 from the dark sorrows of our jg? & &\n44 The modern Realistic Theatre helps to stir up in the people that Restlessness which is\n44 the enemy of all things. Realism contains the seeds of Revolt and however much the\n44 heart of the man may lean with sympathy towards those whom fate seems to follow relentlessly\n44 the artist must never lend his art, with its terrible power of appeal, towards the destruction of\n44 that just Balance which it is the aim of mankind to preserve. For there is no poison\n44 more swift than this which eats in to the mind—this false witnessing Realism—this traitor\n44 to the Imagination—this idolatry of ugliness to which the Realistic theatre would compel us.\n44 Daring and dangerous—it is a Revolt against the very Laws of the Art of the Theatre.\n44 Daring because to REPRODUCE nature is an impossibility, Dangerous because it is a threat\n44 against the well ordered life of the Citizen. Each whisper of Revolt finds an echo in the\n44 theatre—the gloomy expressions, the shuffling movements—the dark and closed in scenes—\n44 the spasmodic exclamations of the actors—the strange muffled atmosphere—all these things\n44 lend themselves to form one sinister impression\n& Ruskin also has a word of warning to the theatre against this tendency; 44 The modern\n44 stage is ruined by its realisation of scenery which is contrary to all noble art. A picture,\n44 whether on canvass or on the stage, should give us an idea, not its realisation &\n& 1 have spoken of the several theatres of Europe because if you are going to put your power\nin the balance against the monstrous modern tendencies, and wish to awaken a fresh and\npractical hope in the younger artists of the theatre 1 believe you will have to consider the question\nfrom an International point of view. 1 believe that your studies in this direction will bring\nyou to the point which I have touched upon here; that is to say, that a great college is the first\nnecessity; such a college to have branches in all the European & American states so that men\n(not women, by the way) may be trained all over the Earth, who will, after many years,\nunite the great capitals of Europe and America by means of an art which has in it the\nseeds of a universal language.... the language of symbolic movement. &\n\nActor Managers\ndisregard it, £■?\ndor don Craig &\nR11 s k 7 n &\n\nJOHN SEMAR"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c022", "article_bluemountain": "bmtnaau_1908-05_01#c022", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "75", "page_fin": "80", "image_debut": 33, "image_fin": 40, "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=bmtnaau190805-01.2.13", "titre_corps": "THE ARCHITECTURE AND COSTUME OF THE MERCHANT OF VENICE : WITH A NOTE AS INTRODUCTION By THE EDITOR", "titre_sommaire": "THE ARCHITECTURE AND COSTUME OF THE MERCHANT OF VENICE : WITH A NOTE AS INTRODUCTION By THE EDITOR", "signature_source": "Edward W. Godwin ; J. SEMAR", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 33, "page_imprimee": "75", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 4503, "texte": "THE ARCHITECTURE AND COSTUME\nOF THE MERCHANT OF VENICE\nWITH A NOTE AS INTRODUCTION By THE EDITOR.\nby Edward W. Godwin. F. S. A.\nJ . SEMAR.\n\n|n 1875 Mr Edward W. Godwin published in \" The Architect \" a series of articles entitled \"The\nArchitecture and Costume of Shakespeare's Plays. \" These articles, so far as we know,\nhave never been reprinted, neither have they received the acknowledgement due to them.\nWritten at a period when stage production was anything but correct in matters of detail,\nthey have ever since then proved of great value to the play producers of the London Theatres.\nSir Henry Irving, Mr Beerbohm Tree, Mr Augustus Daly, were greatly indebted to the\nauthor, who may be said to be practically the founder of a very successful period in\ntheatrical production.\nWhether his teaching has been followed with as much reserve as he wished, and whether\nhis fund of knowledge will prove of use to the Art of the Theatre, are matters into\nwhich we cannot enter here.\nWe would like, however, to draw special attention to the date of these articles and also\nto the fact that the author produced the Merchant of Venice at the Prince of Wales Theatre\nin the same year, 1875. Some idea of the impression created by this production upon the\nminds of the audience at that time can be gathered from the words of Mr Beerbohm Tree,, who,\nin his able address to the Oxford Union Debating Society in 1900 stated that \"it was the\nfirst production in which the modern spirit of stage=management asserted itself, transporting\nus, as it did, into the atmosphere of Venice, into the rarified realms of Shakespearean Comedy.\n\" Since then,\" he proceeds, \"no doubt millions have flocked to this class of production. \"\nIt must be gratifying to the managers of today's theatres to feel that the debt they owe to\nMr Godwin has been thus repaid...by the public.\n'\"jphe two stories which the poet has here incorporated into one play, viz., that of the Creditor's\nRevenge and that of the Caskets, are to be found in the \" Gesta Romanorum, \" and may\nbe seen in the English copy, Harl. MSS., No 7,333 written in the reign of Henry VI. In the\nold story there is nothing to show that the merchant who demands the flesh as the forfeiture\nof the bond is a Jew, and in the tale of the Three Caskets it is a woman, and not a man,\nwho makes the fortunate selection. Both tales, doubtless, have descended from an eastern\nsource, and no more belong to the \" Gesta Romanorum, \" or even to the fourteenth century\nMS., \"II Pecorone, \" (1) than they do to the \" Percy Ballads, \" or to Shakespeare. No doubt\ncan exist as to the time of the action. The text contains no reference of any kind to any\nthing outside the author's personal knowledge, and no mention of any office or person which\ncould connect the play with any other period than that in which it was written. The\nimprobabilities—I may say impossibilities—of these two fictions having any foundation in the\nhistory of any European city during the sixteenth century are self=evident. The very dawn\nof commercial enterprise would be even too late for the two great barbaric events of the\nplay—the fiesh«forfeit and the trial by casket. In fact, the Merchant of Venice, as far as its\ndouble plot is concerned, but in that only, is as unreal as a drama of this nature can well\nbe, and in this respect affords a striking contrast to the realism of Othello. There remains,\ntherefore, not a shadow of a reason for placing the date of the action earlier than 1590, a\nquite possible date for the dramatic creation, or later than 1598, the actual date of its entry\nat Stationers' Hall. (2) For a reason, which will appear hereafter, I take the year 1590 as the\ndate best suited for the stage representation of this play. The season of the year is manifestly\nneither summer nor winter; it is certainly not dark before 4 p. m. in summer, even in a\nnarrow Venetian street, and in winter Jessica and Lorenzo would scarcely sit on grass banks\nat midnight. Again, a small farmer or miller, be his name Gobbo or anything else, would\nhave more respect for his birds than to kill them in spring time; and so we may reasonably\naccept the three months of autumn as the time of the action.\nThe architectural scenery, divided between Venice and Belmont, may be said to consist, at\nthe most, of five scenes, viz.:\n\nThe date of these\narticles. &\nTwo Stories in\none Play. & m?\nThe da t e o f\nthe Actio 11 .\nThe Scenery.\n\n(1) Milan, A. D. 1558.\n(2) A play called the \" Venesyan Comedy \" was In 15,94."}, {"page_pdf": 34, "page_imprimee": "76", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.34", "debut_caractere": 60, "fin_caractere_exclue": 3897, "texte": "Venice. — 1. A street or public place.\n2. The street before Shylock7s house.\n3. A Court of Justice.\nBelmont.— 4. A grand hall.\n5. A garden.\nThe short third Scene of the second Act contains nothing but what might just as well be\nsaid on the doorstep of Shylock7s house as inside a room, so that this may be included in\nthe scene numbered 2 in the above list.\nSo, too, I see scarcely any reason why the talk between Portia and Nerissa in the second\nScene of the first Act, or the fourth Scene of the third Act, should not have happened in\nthe grand hall or apartment where the caskets are placed. If there were choice flowering\nshrubs placed in this room so that the lady and her maid might busy themselves about them\nwhile they are conversing, and if a corridor at the back of the hall led from some other\npart of the house into the garden, so that one might pass the hall of the caskets without\nnecessarily entering it, there is nothing in the text of these two scenes inconsistent with their\nbeing located in the same room as the more important casket scenes. The scene in the\nabove list marked 5, although described as a garden in Act iii. Sc. 5, and an avenue in\nAct v., ought to be more or less architectural. If we wish still further to abridge our stock\nof scenery, the scenes Nos. 1 and 2 may be easily made one, and we shall thus have brought\nthe play into the compass of four set scenes.\nThe first, i.e., the public place or\nstreet in Venice might then be\nplanned, as shown in the annexed\ndiagram, where A is Shylock's\nhouse. B, the public place, with a\nfountain or well; C, canals; D, a\npent=house; E, narrow streets; F,\nGothic and late Byzantine houses;\nG, a Renaissance public building,\nwith arcades; H, early Byzantine\nbuildings; and M, N, the procenium.\nIn such a scene as this, of course\nit is very evident that everything\nmay be built out, and so we should\navoid the violence too often done\nto artistic minds by the false perspective that arises in the combination of structural and\npainted scenery. And now, as to the architecture. &\nIt is essential first of all that the scene-painter should bear well in mind that in 1590 Venice\nwas neither a city of palaces nor a cityr of ruins, and that along her canals and streets\ntwo great styles of art, broadly speaking, prevailed, and a third was gradually usurping the\nplace of both; these three styles were the Byzantine, the Gothic, and the Renaissance. To\nthe first belong the great church of St. Mark, the churches of Murano and Torcello, sundry\npalaces, notably the Ca7 Farsetti, the Ca7 Loredan, the Fondaco de7 Turchi, and a small\nhouse in the Rio de Ca7 Foscari. To the second belong the church of the Frari, and those\nof SS. Giovanni e Paolo, the Madonna dell'Orto, St. Stephano, and others, as well as a\nperfect crowd of palaces and houses, of which those of the Doge, the Foscari, the Giustiniani,\nthe Palazzo Badoer, the Palazzo Cicogna, the Palazzo Persico, and the Ca7 d7Oro are\ncharacteristic examples. To the third belong the Scuola of St. Mark, that of St. Rocco, the\nInner court of the Ducal Palace, and among the many houses of this style we may especially\nnote those of the Grimani, the Vandramini, the Cornaro, the Trevisano, the Camerlinghi,\nthe Library of St. Mark, and lastly the canal front of the prison begun in 1589. Broadly\nspeaking, this last»mentioned style obtained from as early as 1485; the Gothic style prevailed\nduring the thirteenth, fourteenth, and fifteenth centuries, overlapping the early Renaissance\neven to as late as the sixteenth century, and the Byzantine takes us back two hundred\nyears more through the twelfth century palace, Fondaco de7 Turchi. to the basilica of Torcello,\nbuilt in 1,000, and the church of St. Mark founded in 977.\nin the compass of a short Paper, and without help from illustrations, it is quite impossible"}, {"page_pdf": 34, "page_imprimee": "76", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.34", "debut_caractere": 3903, "fin_caractere_exclue": 3918, "texte": "Venice in 15QO."}, {"page_pdf": 37, "page_imprimee": "77", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.37", "debut_caractere": 0, "fin_caractere_exclue": 4962, "texte": "to give any notion of the great variety of fenestration and detail seen in the rise, development,\nand fall of Venetian Gothic from the semi-Byzantine severity of the uncusped stilted arches\nof transitional examples, through simple pointed work of even greater severity, having a\nstrong likeness to the refined early Gothic of Verona, down to the full establishment of the\nO.G, headed opening, ranged at first singly and in small groups, then extended and combined\nwith tracery, once large and noble, as in the early fourteenth century work of the Doge's\npalace and in a small house near the Ca' d'Oro, but finally wearing itself out in weak\nreiteration. Photographs of the old houses of Venice are so readily to be had, that the\nonly difficulty left to a scene-painter is the archaeological one—that of recognising any\ndeductions or additions in detail that may have been made to any Mediaeval house since 1590.\nMoreover, the red brick of Venice is full of such charming colour, and the weather stains\nupon the stone and marble give such delicious tone to these materials, that one hesitates\nto write a word that would tend to dispel the vision.\nBut yet, if we desire to realise the Venice of Shakespeare, we shall have to cover most of the\nbrick with veneer of marble, either plain or in coloured diaper, or with stucco decorated\nwith painted diapers, and the few exceptions to this rule would be the very smallest and\npoorest houses and the earliest of the Byzantine works. Again, the weather stains on a\ntraceried palace of 1450 would be very different in 1590 from what they were in 1870. Besides,\nVenice was then in the full swing of the pride of life, and the very notion of decay or\ndilapidation must have been hateful to her, all the more hateful from an occasional gleam\nof consciousness that her power was already rapidly decaying and that her pride, satisfaction\nand self-sufficiency were hastening her, as they had hastened other States (and as they may\nin the end bring ours) to utter and irretrievable ruin. Another point for the scene-painter\nto bear in mind is that the streets and open places were usually paved with red brick\narranged in simple patterns, and most commonly in that known as herring-bone. Such, Mr.\nLonsdale tells me, was the original pavement under the arches of the Ducal Palace which\nhe happened to see some few years ago, when excavation was being made round the\nfoundations of one of the pillars.\nA third very important thing to remember in connection with the Venice of the merchant\nAntonio is the universality of applied colour as distinguished from the parti-coloured\nconstruction adopted by the rest of Western Europe. The coloured marble pattern on the\nDucal Palace was by no means a solitary example; indeed there is still to be seen\non another building, in the Grand Canal a pattern very like it and the Ca'd'Gro's red-and-\nwhite square marble diaper was at one time far from being singular. In houses of less\npretension the stucco was painted in two or three simple earth colours, with small diapers,\none of these consisting of a series of quatrefoils enclosing circles with angels between the\nquatrefoils is figured in the second volume of Mr Ruskin's 4< Stones of Venice. \" Set Into\nthis field of softened and almost natural-toned colour came the glistening white marble\nshafts and arches of the windows, each window or group of windows framed by an edging\nof marble. Gold was applied to such details as the cusps, the carving, and the edges of\nthe mouldings; bright bits of colour nestled in the background of the sunk work, and not\nunfrequently medallions of porphyry and serpentine enriched the plain surfaces between the\narch-line and the rectangular frame. In the smaller houses we may note that one of a group\nof window openings is sometimes larger than the others in the same group, and was probably\nso made in order to afford an entry to the balcony of convenient size.\nBut perhaps the most characteristic element of the domestic architecture of Venice—one\ntoo which can be traced through all styles, round-arched or pointed—is the plan of the\nfacade, which, in the vast majority of cases, was arranged with a centre and two side wings,\nnot formed by projections, but by the centre being of such open construction as results\nfrom the use of arcades or groups of windows one over the other, and the wings built as\nwalls pierced by single or detached windows. It should be remembered also that the old\nglass was usually leaded-up in circles, and other plain geometric forms, a,nd set in wood\nframes, with one or more cross bars fixed behind the stonework and clear of the shafts.\nAgain the old balconies had nearly always animals or finials carved 011 the top of the\nprojecting angles. Their boundaries, too, were by no means governed by the windows they\nserved, for we find them extending sometimes to a portion of the group, sometimes only\nto the side openings, and sometimes only to the central one. & & &"}, {"page_pdf": 37, "page_imprimee": "77", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.37", "debut_caractere": 5028, "fin_caractere_exclue": 5096, "texte": "The old homes\nof Venice &\nApplied colour.\nThe plan of the\nfacade & &"}, {"page_pdf": 38, "page_imprimee": "78", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.38", "debut_caractere": 62, "fin_caractere_exclue": 4947, "texte": "Having said this much, I would venture to select for the street scene, in the diagram No,\ni, the following buildings as guides to the blocks indicated by the letters, A, F, G, and H;\nA. The Palazzo Badoer. (Painted stucco on walls.)\nF. The Palazzo Giusfiniani, the Fondaco de* Turchi, the Ca' d'Oro. (Showing\nthree modes of surface ornamentation—stucco, white marble with low\nreliefs, and coloured marble diaper.)\nG. The Library of S. Mark (new white stone) or the Prison.\nH. The semi-Byzantine house in the Corte del Remer (marble and brick *\nveneered) or the work at Murano and Torcello.\nThe next Scene I have to note is the Court of Justice. The text shows that the case of\nShylock v. Antonio was one that had awakened very unusual interest even among the\nhighest; but if the text had said nothing about the Doge and the Magnificoes Using their\ninfluence before the trial, if we had not known that Bassanio was a nobleman, Antonio a\nprincely merchant in a city of merchants, we should still be bound to suppose that a vast\npublic excitement must have been raised throughout the Republic from the strange nature\nof the horribly revengeful suit instituted by the plaintiff. Nor was this a criminal proceeding\nor State trial that would be likely to be heard in a private or even in a quasi-private\nmanner, Although it might have involved a life, the case was after all nothing more than\na civil action arising out of a breach of contract wherein the penalty clause was manifestly\nan unusual and as it happened an illegal one—a sort of thing with which nearly every\nmodern architect is more or less familiar, Now of the various public rooms in the Palace\nit seems to me that the most likely place to be selected for the hearing of such a cause\ncelebre would be the largest apartment available, for we may be quite sure that not only\nTubal and Chus, but many other rich Jews, would gather round Shylock in (as they thought)\nhis day of triumph, whilst Antonio's losses and imminent peril must have excited not only the\ncommiseration of the State, but of every noble-minded Christian in Venice. It is because\nof this that I would select as the real Scene of the fourth Act the Sala del Maggior\nConsiglio, but as this hall measures no less than 154 by 74 feet, it is next to impossible\nto represent it in anything like the dignity of its true size on any stage other than\nexceptionally large ones. Nor can we well give a fragment of it by following the course\nsuggested for the treatment of Westmister Abbey in the first scene of Henry VI, inasmuch\nas the Doge and the Magnificoes would necessarily have their seats arranged centrally in\nthe 74 feet. Failing this room we must have recourse to the Sala dello Scrutinio—a fairly\nlarge room of the Sansovino series, decorated by the paintings of Tintoretto, Marco Vecellio,\nand some others of a date later than our story. Good photographs of the principal rooms\nin the ducal palace may be bought at a cheap rate, so that the youngest scene-painter need\nnot err in the general architectural character of this scene. & & & &\nThe setting of it on the stage is altogether another question, and is one of the most difficult\nproblems among the scenic questions of Shakspere's plays. We have to maintain the dignity\nof the strict court of Venice, to find room not only for the Doge and the Magnificoes, but\nfor officials who might attend as senators, magistrates, doctors of law, the assessor-general,\n&c.; we have to provide for a crowd of lawyers—some of them young men -so that Portia\nmay not appear too singular: we must not forget the question \" Which is the merchant\nhere and which the Jew ? \" showing that both plaintiff and defendant were absorbed in the\ntwo opposing crowds of Christians and Israelites; and we must remember, that although\nthe secret tribunal of the Council of Ten had its fearful power somewhat curtailed in 1582,\nits servants were still to be seen watching and listening wherever two or three were\ngathered together. Considering all the circumstances of the case 1 again propose a diagonal\nset for this scene, as shown in diagram II, where M N represents the proscenium, D the\nraised platform for the Doge, Magnificoes, &c., B the seat for Bassanio among the nobles,\nS and A positions of plaintiff and defendant, H Portia, F official entrance, E E public\nentrances, C seat for the assessor-general, 0 O halberdiers, and H group of esquires of the\nDoge. Now it is, 1 hope, manifest that having placed the officials and dignitaries, an\nenormous concourse of the general public can easily be indicated by very small (if well\norganised) groups near the entrances E E, especially at that near N. & &\nThe fittings should be of sumptuous carved wood almost covered with gilding; the chairs\nof the same description and of the peculiarly Venetian form then used, the seat being\n\nThe c ourt of\njustice.\nThe setting of\nthis scene. &"}, {"page_pdf": 39, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.39", "debut_caractere": 11, "fin_caractere_exclue": 3628, "texte": "fastened! into planks, one in front,\nthe other behind, and the back formed\nof a third plank all sufficently thick\nto allow of carving in high relief. The\ntable for the lawyers might have a\nrich cover of crimson velvet reaching\nto the floor, bnt cut up at the angles\nand fastened by a number of long loops\nof gold lace or braid, as may be seen\nin pictures of the time. On the table\nwe might see the folios of the statutes\nof Venice with their magnificent\nbindings and gilded clasps; inkstands\nof bronze, chased andmoulded of circu-\nlar form and of about the size of the common lead office-inkstand of the present day; the\nportfolios of the lawyers and \" learned doctors, \" 12 to 18 inches squares, beautifully worked in\nleather, and, at least, one of the characteristic damascened candlesticks of the period (for if\nShylock had signed in the Court it would have been necessary also to have sealed). The deed or\nbond, the scales, the knife, the letter from old Bellario, and the coffer containing Portia's\n9,000 ducats, are little things about which there need never be any mistake. The bond\nwould be on a small strip of vellum, well creased and tearable at the creases, the scales\nwere just the same as they are now, Shylock, being a merchant in jewels and precious\nmetals, would have probably brought his own private scales; the knife was doubtless the\nglaive-shaped instrument then common: the letter was folded longwise, with the direction\nin one corner, tied with silk and sealed; the coffer might be like any one af the many\nsixteenth century Italian coffers in the Kensington Museum, and the halberds may be found\nat South Kensington and in pictures by Veronese in our National Gallery. 4?\nIn the house at Belmont we have to consider only the state room or hall in which the\ncaskets were deposited. Referring to what I have already said as to its generel arrangement\nfor the purpose of getting all the interior scenes at Belmont in one set-scene, and assuming,\nas we have every right to assume, that Portia was descended from noble and rich ancestors,\nand that her house would naturally be one among the works of the first century of the\nrevival, we may fairly take counsel with such artists as D. Ghirlandajo (M5I-I495) and\nBazzi (1480=1549), or such architects\nas Michelozzo (1402=1470) or Giulio\nRomano (1492 = 1546) in designing\nor arranging this room. On this\nbasis I would suggest for this scene\nan architectural arrangement\nsomewhat like that indicated in\nDiagram III., where M N is the\nproscenium, A the platform for the\ncaskets, B an ascending staircase,\nand C a corridor (open to the\ngarden if required). The arches of\nthe arcade round the room may be\nhung with curtains, having large patterns in broad stripes, like those preserved in the\nKensington Museum, and above the main arcade may be a smaller open arcade, as shown\nin one of Bali's paintings, published by the Arundel Society. For the decorations, and\nthe colour of them, we have abundant material at our disposal. & & & &\nIn looking at the furniture of the time we shall find that the candies or lights were held\nin sconces of repousse metal, brackets and lamps suspended from the ceiling. Chinese\nporcelain vases for flowers, some carved and gilded chests, a table and chairs of the same\ndescription, cabinets, Limoges enamels, mirrors, majolica, lapis lazuli cups, crystals, Eastern\nrugs, a movable clock, Murano glasses, antique statues, and a parrot or some\nlovebirds in a cage, or on a stand, may be brought in to help clothe the scene. Among\nthe musical instruments we may have the violin, tambourine, harp, and theorbo, all illustrated"}, {"page_pdf": 39, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.39", "debut_caractere": 3690, "fin_caractere_exclue": 3759, "texte": "Stage Properties\nThe scene at\nBelmont.\nThe furniture of\nthe time. & &"}, {"page_pdf": 40, "page_imprimee": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.40", "debut_caractere": 61, "fin_caractere_exclue": 3440, "texte": "ifi Poliphilus, and some specimens of which may he seen at South Kensington, Nor should\nwe forget whilst on the subject of music that madrigals would be as familiar in the\nhousehold at Belmont as they were in most of the Elizabethan houses, Luca Marenzio and\nGio. Croce wrote their charming madrigal music in the second half of the sixteenth century:\nPaSestrina wrote in 1590 and Gironimo Converse in 1580, When the madrigals of Shakspere's\ntime can be got at Novel!o's for ssd. each, there can be no possible excuse if the characteristic\nmusic of the age is omitted when the text or stage business suggests its introduction. &\nBut whether a theatrical manager does or does not attend to these things; whether he\nwishes to do right, or whether, owing to the profound ignorance respecting the manners,\ncustoms, and general surroundings of any past time which distinguishes the modern stage\nand its patrons,\" he thinks it a matter of very small moment, one thing he must do,\nand that is, provide three caskets. Now, for these things the style which was the most\ncostly and the most sumptuous in the lifetime of Lady Portia's father was that introduced from\nDamascus, and which has always gone under the name of damascened work. Iron or steel\ncaskets, most elaborately wrought with sharp mouldings and carvings, were covered on the\nplain surfaces with rich ornament pressed in of gold or silver, and in the examples before\nus the sides of the caskets might be pannelled, and in each panel repousse work of gold\nand silver for two of them, and cast work of lead for the third. It is true that armour\nhad been damascened in the fifteenth century, but it was not until the sixteenth century\nthat anything like high perfection was attained. The damascened iron mirror at Kensington\n(bought for 1,2811.) was manufactured at Milan about 1550 for the royal family of Savoy,\nand it seems to me quite unnecessary to adduce any further instance in proof of the very\nhigh position maintained by the damascene artists. Fair Portia's counterfeit that Bassanio\ntakes from the leaden casket would be probably enclosed in a flat wide frame of the same\nstyle of art, or of walnut inlaid with rich patterns of ivory, mother-of-pearl, lapis lazuli,\n&c.; or it might be of soft wood (willow, lime, or sycamore) elaborately carved and gilded.\nThe table might be covered with velvet hanging down on two sides, some light Eastern\nfabric laid over the caskets, and the curtains made of silver or gold cloth suspended from\na canopy of the same material, with cut valence fringe and tassels.\nThe fifth Act, and indeed the whole episode of the rings, might very well be omitted in\nmodern stage representation. The banter is of a kind which was riot unusual in Elizabethan\nsociety, but which now either falls flat from a want 9f that kind of perception which need\nnever be supplied or gives rise to thoughts not perhaps even coarse when the state of\nsociety allows them free utterance, but bad and utterly so when it is thought proper to\ncover them up. Still, if the last act be performed, 1 would refer the scenic-artist to the\nadmirable engravings of Italian gardens with their fountains, covered alleys, terraces,\narcades, &c., to be found in the work on perspective by Frisius, published in 1568.\nThe Costumes of the Merchant of Venice I reserve for another article.\n\nThe music.\nThe caskets.\nThe fifth Act."}]}, {"article_id": "bm-bmtnaau-1908-05-01-c023", "article_bluemountain": "bmtnaau_1908-05_01#c023", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "76", "page_fin": "76", "image_debut": 34, "image_fin": 34, "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=bmtnaau190805-01.2.13.1", "titre_corps": "I", "titre_sommaire": "I", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 34, "page_imprimee": "76", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.34", "debut_caractere": 3899, "fin_caractere_exclue": 3901, "texte": "I."}]}, {"article_id": "bm-bmtnaau-1908-05-01-c024", "article_bluemountain": "bmtnaau_1908-05_01#c024", "volume": "bmtnaau_1908-05_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": 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=bmtnaau190805-01.2.13.2", "titre_corps": "DESIGN FOR A STAGE SCENE", "titre_sommaire": "DESIGN FOR A STAGE SCENE", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 35, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.35", "debut_caractere": 0, "fin_caractere_exclue": 37, "texte": "DESIGN FOR A STAGE SCENE GORDON CRAIG"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c025", "article_bluemountain": "bmtnaau_1908-05_01#c025", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "79", "page_fin": "79", "image_debut": 39, "image_fin": 39, "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=bmtnaau190805-01.2.13.3", "titre_corps": "II", "titre_sommaire": "II", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 39, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.39", "debut_caractere": 0, "fin_caractere_exclue": 3, "texte": "II."}]}, {"article_id": "bm-bmtnaau-1908-05-01-c026", "article_bluemountain": "bmtnaau_1908-05_01#c026", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "79", "page_fin": "79", "image_debut": 39, "image_fin": 39, "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=bmtnaau190805-01.2.13.4", "titre_corps": "III", "titre_sommaire": "III", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 39, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.39", "debut_caractere": 5, "fin_caractere_exclue": 9, "texte": "III."}]}, {"article_id": "bm-bmtnaau-1908-05-01-c028", "article_bluemountain": "bmtnaau_1908-05_01#c028", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "81", "page_fin": "83", "image_debut": 41, "image_fin": 43, "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=bmtnaau190805-01.2.14", "titre_corps": "REALISM AND THE ACTOR : AN INTERNATIONAL SYMPOSIUM", "titre_sommaire": "REALISM AND THE ACTOR : AN INTERNATIONAL SYMPOSIUM", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 41, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.41", "debut_caractere": 0, "fin_caractere_exclue": 3882, "texte": "REALISM AND THE ACTOR.\nAN INTERNATIONAL SYMPOSIUM\n\nseries of visits which the Sicilian Players are paying\nto all the European capitals, exhibiting an unfamiliar\nphase of realism in theatrical art which is almost primitive\nin character, has once more called public attention to certain\nquestions as to the relation between realism and the stage.\nBelieving that we could best serve the interests of the\ntheatre by collecting and publishing expert opinions on\nRealism and the Actor we framed three questions to which\nwe solicited answers from some of the students of the Theatre. We wondered whether\nanyone would reply in the affirmative to the second question, \" In your opinion should the\nActor be allowed the same liberty in his expression of the Passions as is permitted to the\nWriter or the Painter? for we recalled to mind the many subjects or moods which the\npoets and painters have treated realistically and we wondered whether anyone would hold\nthat the same liberty should be permitted on the stage; liberty, first in choice of subject\nand secondly in treatment. We mean, of course, those subjects which the masters of\npainting and literature always chose as their favourites, those religious moments in the\nlives of the saints, those profane moments in the lives of the demons and those all too\n\" human ** moments in the lives of men and women. & & &\nWe call to mind some of those moments;—The Annunciation; The Last Supper; The Birth\nOf Eve; The Expulsion from Eden; The Nativity; The Crucifixion; The Agony in the Garden;\nThe Last Judgement; The Birth of Venus; Perseus and Andromeda; Samson and Delilah;\nLucretia; The Creation of Man; The Triumphs of Bacchus; The Birth of Pan; Salome and\nJohn the Baptist: Judith and Hollofernes. These questions, with the replies sent, are to\nbe found below. We may perhaps be excused in saying that our questions are made as simple\nas possible, so that the mind of the English reader shall not be confused. The outcry raised in\nsome of the English journals against the Realism of the acting of the Sicilians, and of Signora\nMimi Auguglia's performances in particular gives us reason to believe that it was time to\nhave a clear definition of what Realism in acting consists of, and whether it is a wise and\nbeautiful thing to see upon a stage, shown in the same way as we see it in Painting and\nLiterature. The Three Questions are as follows.\nI. Do you consider Realism in acting to be a frank representation\nof human nature? &\nII. In your opinion should the Actor be allowed the same liberty\nin his expression of the Passions, as is permitted to the Writer\nor the Painter? & &\nIII. Do you think that Realism appeals to the General Public or\nonly to a limited section of Playgoers? £?\nWe call to mind the wonderful books we have read: The Books of St Matthew, St Mark,\nSt Luke and St John; the Vision of Heaven and Hell by Dante; The Temptation of St Anthony\nby Flaubert; The book of Genesis, The Thousand and One Nights; The story of Gargantua,\nand many more, and it remains for us a very grave and difficult question and one to which\nwe can answer neither yes nor no, as to whether these should serve as themes for stage\nrepresentations, no matter whether the treatment be realistic or idealistic.\nBut because we can as yet give no answer, it makes it all the more interesting to solicit\nreplies from those better equipped to speak. From these replies we gather that the majority\nare in favour of the same liberty of expression for the stage and its actors as that possessed\nby the painters and poets, and that they are eager to see upon the stage the frank realistic\nrepresentation of plays founded on the stories from the New Testament, from the stories of\nVenus, Jupiter and the Deities of the ancient world, and from such themes as those treated\nby Correggio, Titian, Hogarth, Burns. Michelangelo, Blake, Whitman, Goethe, Cranach,"}, {"page_pdf": 42, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.42", "debut_caractere": 0, "fin_caractere_exclue": 2996, "texte": "Rembrandt, Jan Steen, Goya, Velasquez, Manet, Whistler, Verlaine, Tolstoi, Botticelli, Boccaccio,\nDante and an innumerable collection of poets and artists of the world's history; that they\nwould consider it an excellent thing if such themes were allowed to be placed before the\npublic in the modern theatres. We would put but one other question to those who have\nanswered the second question in the affirmative, and it is this:.... \"Do you approve of cutting\nout certain passages from the works of Shakespeare as being unfit for the ears of the\nGeneral Public and have you ever done so yourself, ....and why? \" We hardly expect any\nanswers to this question though we should welcome the further oppportunity of going more\ndeeply into an important, and, to us, a very serious and difficult problem.\nTHE QUESTIONS.\nI. Do you consider Realism in acting to be a frank representation\nof human nature?\nII. In your opinion should the Actor be allowed the same liberty\nin his expression of the Passions, as is permitted to the Writer\nor the Painter ?\nIII. Do you think that Realism appeals to the General Public or\nonly to a limited section of Playgoers? JZ?\nTHE ANSWERS.\n\nJ. S.\n\nTommaso Salvini Florence\nI. I believe that the pure and simple realism has no value on the stage if not adorned and\nguided by Art.\nII. The same liberty that is permitted to the Writer or the Painter is allowed the Actor\nprovided he is a rigorous observer of decorum.\nIII. Use the realism always subordinate to Art in the different characters that one represents.\nIt can appeal to all the Publics. & £>\n\nSydney Grundy London\nI. Realism, in anything, is frank. But it is the antithesis of Art.^\nII. Most certainly not. The Actor is flesh and blood. The Writer is printer's ink, and the\nPainter is coloured canvas.\nIII. It appeals to an insignificant section of deadheads and degenerates and is one of the curses\nof the Drama.\nn ifuwwiibiminiaiiiwirniimiMmm■ 1 rwawwaw.ntiirii.^r.,********\n\nM. Antoine Paris\nJ'estime que le passage a Paris de Grasso et da sa Compagnie aura une influence serieuse\nsur nos artistes. II nous a rappele, avec un talent magistral, que la vie et la sincerite\nsont les plus beaux moyens d'expression d'un acteur. J'ai trop combattu pour le realisme\npour que vous puissiez douter que mon absolue conviction est qu' il est la source essentielle\nde toute beaute.... non le realisme etroit mais l'observation de la vie et de la nature. Zola\na dit, \" L'oeuvre d'art est l'expression de la nature a travers tin temperament. \" Rien de\nplus profond et de plus fecond que cette parole de notre grand professeur d'energie. \"\n\nH. Beerbohm Tree London\nI. Obviously. &\nII. Why Not? JZ?\nIII. To all.... But the representation of realism\nand of passions should be governed by art.\n\nCarl Hentschel London\nI- No. & J& & &\nII. Yes as long as he idealises these\nexpressions of the Passions in the same\nWay as the Writer or Painter. &\nIII. Will never appeal to the General Public;\nto a limited section of Playgoers, yes.^"}, {"page_pdf": 43, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.43", "debut_caractere": 0, "fin_caractere_exclue": 3788, "texte": "Arthur Symons London\nI. Realism should not, and happily could not, exist on the stage. Realism on the stage is an\nimpossibility,\nH. AH art is magnetism. The greatest art is a magnetism through which the soul reaches\nthe soul. There is another terrible, authentic art through which the body communicates its\nthrilling secrets. This art is possessed by the Sicilian Auguglia, beyond any other actress,\nand she is justified in using it. &\nIII. The third question is a matter of no importance. JO\n\nAndre Beaunier Paris\nI. Je considere le realisme, au theatre ou ailleurs, comme une pretention vaine, une faute\nde gotit et une erreur esthetique. &\nH. Au the&tre, la pretention r£aliste me parait plus niaise et plus choquante qu'ailleurs. Us\nauront beau faire: ils jouent la comedie dans un decor qui n'a que trois murs, et non\nquatre; ils sont en pleine convention. &\nHI. Cela pose, la troisieme question n'a plus d'objet. & &\n\nGertrude Eysold Berlin\nI. No. & &\nII. Yes. &\nIII. To everybody. J& & &\n\nHerman Bahr & Berlin\nI. Yes.\nII. Yes.\n| 111. To the General Public.\n\nLoie Fuller Paris\nI. Do you consider Realism in acting to be a true representation of human nature? What\nelse can be true or....frank?\nII. By \"truth \" and \" frankness \" the word \" allowed\" cannot appear: these things are a\ncommon right which no one can gainsay. For here nature asserts herself and establishes\nher right and so proclaims the \" law \" and real laws we obey, we cannot direct them I\nHI. What a question. You might as well ask if there is such a thing as a limited section\nof Playgoers! Shakespeare is real., if the actors are not, and does he not appeal to all. The\npioneer of an unknown thing, by his discovery establishes a fact. The Sicilians can I think\nquote this. A figure in wax, however well it is made, does not give us the same sensations\nthat the real thing would: or, could it be so well produced that our senses, (through the\nimpression made upon the mind) would respond to the imitation as to the real. In any case\nthe law, (written or unwritten) is that no imitation of whatever kind can possess the value\nof the real. Why then should \" acting\" play a better part than the rest? Art is the imitation\nof nature, or of man's handiwork; never can its value equal that of the real. By value\none means its worth in truth, not money, for the latter misleads yesterday, today and\ntomorrow. There is no doubt that real feeling, really expressed, can never be replaced\nnor confounded by its imitation, however perfect that imitation may be. & &\n\nJan Klaassen Emmerick\nDear Sir, You cannot expect me to have any sympathy for Realism in any form of Art, least\nof all in the Theatre. My whole life has been given to demonstrating that the actor is an\nunfortunate hinderance to the Art of the Stage on account of his actuality. I have never\nbeen able to understand the illogical situation of the Modern Theatre. The wJhole Art is\ncomposed of contradictory elements. On the one hand we have verse,.... a poetic and certainly\nunnatural mode of speech, as in (loethe, Shakespeare, Caulderon: and on the other hand\nan attempted prosaic or \" natural \" utterance on the part of the actor. Again, we compose\nour scenes of unreal canvas and paint, thereby making either suggestions or imitations of\nactual things, and amongst these walks our real figure, by no means either a suggestion\nor an imitation of an actual being. The mixture of actuality and unreality creates a seme\nof artificiality, and this makes a parody of Art. In no Art is there a confusion of actuality\nand fancy. 1 could accept the actor if his surroundings were actualities, or I could accept\nthe cardboard scenery if the figures were also cardboard. I cannot accept the two together\nfor they create a situation which is utterly falser & & & & J&"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c028a", "article_bluemountain": "bmtnaau_1908-05_01#c028a", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "82", "page_fin": "82", "image_debut": 42, "image_fin": 42, "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=bmtnaau190805-01.2.14.2", "titre_corps": "Tommaso Salvini - Florence", "titre_sommaire": "Tommaso Salvini - Florence", "signature_source": "Tommaso Salvini", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 42, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.42", "debut_caractere": 1171, "fin_caractere_exclue": 1572, "texte": "Tommaso Salvini Florence\nI. I believe that the pure and simple realism has no value on the stage if not adorned and\nguided by Art.\nII. The same liberty that is permitted to the Writer or the Painter is allowed the Actor\nprovided he is a rigorous observer of decorum.\nIII. Use the realism always subordinate to Art in the different characters that one represents.\nIt can appeal to all the Publics. & £>"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c028b", "article_bluemountain": "bmtnaau_1908-05_01#c028b", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "82", "page_fin": "82", "image_debut": 42, "image_fin": 42, "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=bmtnaau190805-01.2.14.3", "titre_corps": "Sydney Grundy - London", "titre_sommaire": "Sydney Grundy - London", "signature_source": "Sydney Grundy", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 42, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.42", "debut_caractere": 1574, "fin_caractere_exclue": 1957, "texte": "Sydney Grundy London\nI. Realism, in anything, is frank. But it is the antithesis of Art.^\nII. Most certainly not. The Actor is flesh and blood. The Writer is printer's ink, and the\nPainter is coloured canvas.\nIII. It appeals to an insignificant section of deadheads and degenerates and is one of the curses\nof the Drama.\nn ifuwwiibiminiaiiiwirniimiMmm■ 1 rwawwaw.ntiirii.^r.,********"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c028c", "article_bluemountain": "bmtnaau_1908-05_01#c028c", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "82", "page_fin": "82", "image_debut": 42, "image_fin": 42, "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=bmtnaau190805-01.2.14.4", "titre_corps": "M. Antoine - Paris", "titre_sommaire": "M. Antoine - Paris", "signature_source": "M. Antoine", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 42, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.42", "debut_caractere": 1959, "fin_caractere_exclue": 2609, "texte": "M. Antoine Paris\nJ'estime que le passage a Paris de Grasso et da sa Compagnie aura une influence serieuse\nsur nos artistes. II nous a rappele, avec un talent magistral, que la vie et la sincerite\nsont les plus beaux moyens d'expression d'un acteur. J'ai trop combattu pour le realisme\npour que vous puissiez douter que mon absolue conviction est qu' il est la source essentielle\nde toute beaute.... non le realisme etroit mais l'observation de la vie et de la nature. Zola\na dit, \" L'oeuvre d'art est l'expression de la nature a travers tin temperament. \" Rien de\nplus profond et de plus fecond que cette parole de notre grand professeur d'energie. \""}]}, {"article_id": "bm-bmtnaau-1908-05-01-c028d", "article_bluemountain": "bmtnaau_1908-05_01#c028d", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "82", "page_fin": "82", "image_debut": 42, "image_fin": 42, "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=bmtnaau190805-01.2.14.5", "titre_corps": "H. Beerbohm Tree - London", "titre_sommaire": "H. Beerbohm Tree - London", "signature_source": "H. Beerbohm Tree", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 42, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.42", "debut_caractere": 2611, "fin_caractere_exclue": 2760, "texte": "H. Beerbohm Tree London\nI. Obviously. &\nII. Why Not? JZ?\nIII. To all.... But the representation of realism\nand of passions should be governed by art."}]}, {"article_id": "bm-bmtnaau-1908-05-01-c028e", "article_bluemountain": "bmtnaau_1908-05_01#c028e", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "82", "page_fin": "82", "image_debut": 42, "image_fin": 42, "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=bmtnaau190805-01.2.14.6", "titre_corps": "Carl Hentschel - London", "titre_sommaire": "Carl Hentschel - London", "signature_source": "Carl Hentschel", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 42, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.42", "debut_caractere": 2762, "fin_caractere_exclue": 2996, "texte": "Carl Hentschel London\nI- No. & J& & &\nII. Yes as long as he idealises these\nexpressions of the Passions in the same\nWay as the Writer or Painter. &\nIII. Will never appeal to the General Public;\nto a limited section of Playgoers, yes.^"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c028f", "article_bluemountain": "bmtnaau_1908-05_01#c028f", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "83", "page_fin": "83", "image_debut": 43, "image_fin": 43, "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=bmtnaau190805-01.2.14.7", "titre_corps": "Arthur Symons - London", "titre_sommaire": "Arthur Symons - London", "signature_source": "Arthur Symons", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 43, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.43", "debut_caractere": 0, "fin_caractere_exclue": 492, "texte": "Arthur Symons London\nI. Realism should not, and happily could not, exist on the stage. Realism on the stage is an\nimpossibility,\nH. AH art is magnetism. The greatest art is a magnetism through which the soul reaches\nthe soul. There is another terrible, authentic art through which the body communicates its\nthrilling secrets. This art is possessed by the Sicilian Auguglia, beyond any other actress,\nand she is justified in using it. &\nIII. The third question is a matter of no importance. JO"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c028g", "article_bluemountain": "bmtnaau_1908-05_01#c028g", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "83", "page_fin": "83", "image_debut": 43, "image_fin": 43, "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=bmtnaau190805-01.2.14.8", "titre_corps": "Andre Beaunier - Paris", "titre_sommaire": "Andre Beaunier - Paris", "signature_source": "Andre Beaunier", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 43, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.43", "debut_caractere": 494, "fin_caractere_exclue": 922, "texte": "Andre Beaunier Paris\nI. Je considere le realisme, au theatre ou ailleurs, comme une pretention vaine, une faute\nde gotit et une erreur esthetique. &\nH. Au the&tre, la pretention r£aliste me parait plus niaise et plus choquante qu'ailleurs. Us\nauront beau faire: ils jouent la comedie dans un decor qui n'a que trois murs, et non\nquatre; ils sont en pleine convention. &\nHI. Cela pose, la troisieme question n'a plus d'objet. & &"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c028h", "article_bluemountain": "bmtnaau_1908-05_01#c028h", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "83", "page_fin": "83", "image_debut": 43, "image_fin": 43, "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=bmtnaau190805-01.2.14.9", "titre_corps": "Gertrude Eysold - Berlin", "titre_sommaire": "Gertrude Eysold - Berlin", "signature_source": "Gertrude Eysold", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 43, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.43", "debut_caractere": 924, "fin_caractere_exclue": 994, "texte": "Gertrude Eysold Berlin\nI. No. & &\nII. Yes. &\nIII. To everybody. J& & &"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c028i", "article_bluemountain": "bmtnaau_1908-05_01#c028i", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "83", "page_fin": "83", "image_debut": 43, "image_fin": 43, "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=bmtnaau190805-01.2.14.10", "titre_corps": "Herman Bahr - Berlin", "titre_sommaire": "Herman Bahr - Berlin", "signature_source": "Herman Bahr", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 43, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.43", "debut_caractere": 996, "fin_caractere_exclue": 1063, "texte": "Herman Bahr & Berlin\nI. Yes.\nII. Yes.\n| 111. To the General Public."}]}, {"article_id": "bm-bmtnaau-1908-05-01-c028j", "article_bluemountain": "bmtnaau_1908-05_01#c028j", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "83", "page_fin": "83", "image_debut": 43, "image_fin": 43, "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=bmtnaau190805-01.2.14.11", "titre_corps": "Loie Fuller - Paris", "titre_sommaire": "Loie Fuller - Paris", "signature_source": "Loie Fuller", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 43, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.43", "debut_caractere": 1065, "fin_caractere_exclue": 2528, "texte": "Loie Fuller Paris\nI. Do you consider Realism in acting to be a true representation of human nature? What\nelse can be true or....frank?\nII. By \"truth \" and \" frankness \" the word \" allowed\" cannot appear: these things are a\ncommon right which no one can gainsay. For here nature asserts herself and establishes\nher right and so proclaims the \" law \" and real laws we obey, we cannot direct them I\nHI. What a question. You might as well ask if there is such a thing as a limited section\nof Playgoers! Shakespeare is real., if the actors are not, and does he not appeal to all. The\npioneer of an unknown thing, by his discovery establishes a fact. The Sicilians can I think\nquote this. A figure in wax, however well it is made, does not give us the same sensations\nthat the real thing would: or, could it be so well produced that our senses, (through the\nimpression made upon the mind) would respond to the imitation as to the real. In any case\nthe law, (written or unwritten) is that no imitation of whatever kind can possess the value\nof the real. Why then should \" acting\" play a better part than the rest? Art is the imitation\nof nature, or of man's handiwork; never can its value equal that of the real. By value\none means its worth in truth, not money, for the latter misleads yesterday, today and\ntomorrow. There is no doubt that real feeling, really expressed, can never be replaced\nnor confounded by its imitation, however perfect that imitation may be. & &"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c028k", "article_bluemountain": "bmtnaau_1908-05_01#c028k", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "83", "page_fin": "83", "image_debut": 43, "image_fin": 43, "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=bmtnaau190805-01.2.14.12", "titre_corps": "Jan Klaassen - Emmerick", "titre_sommaire": "Jan Klaassen - Emmerick", "signature_source": "Jan Klaassen", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 43, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.43", "debut_caractere": 2530, "fin_caractere_exclue": 3788, "texte": "Jan Klaassen Emmerick\nDear Sir, You cannot expect me to have any sympathy for Realism in any form of Art, least\nof all in the Theatre. My whole life has been given to demonstrating that the actor is an\nunfortunate hinderance to the Art of the Stage on account of his actuality. I have never\nbeen able to understand the illogical situation of the Modern Theatre. The wJhole Art is\ncomposed of contradictory elements. On the one hand we have verse,.... a poetic and certainly\nunnatural mode of speech, as in (loethe, Shakespeare, Caulderon: and on the other hand\nan attempted prosaic or \" natural \" utterance on the part of the actor. Again, we compose\nour scenes of unreal canvas and paint, thereby making either suggestions or imitations of\nactual things, and amongst these walks our real figure, by no means either a suggestion\nor an imitation of an actual being. The mixture of actuality and unreality creates a seme\nof artificiality, and this makes a parody of Art. In no Art is there a confusion of actuality\nand fancy. 1 could accept the actor if his surroundings were actualities, or I could accept\nthe cardboard scenery if the figures were also cardboard. I cannot accept the two together\nfor they create a situation which is utterly falser & & & & J&"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c030", "article_bluemountain": "bmtnaau_1908-05_01#c030", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "84", "page_fin": "84", "image_debut": 44, "image_fin": 44, "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=bmtnaau190805-01.2.15", "titre_corps": "SHAKESPEARE MEMORIAL : A National Theatre", "titre_sommaire": "SHAKESPEARE MEMORIAL : A National Theatre", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 44, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.44", "debut_caractere": 0, "fin_caractere_exclue": 3083, "texte": "SHAKESPEARE MEMORIAL\nA National Theatre\nTHE EARL OF LYTTON PRESIDED AT A MEETING, HELD AT THE LYCEUM,\nON TUESDAY AFTERNOON, IN SUPPORT OF THE PROPOSAL TO MARK THE\nSKAKESPEARE TERCENTENARY BY ERECTING A NATIONAL THEATRE.\nHow difficult it has been to bring about this meeting anyone\ncan guess by recalling that it is close upon three hundred\nyears since Shakespeare died. And now that the meeting\nhas been brought about all should be well, J® Here are\nthe resolutions which were all carried unanimously with\nbut one dissenting voice,... that of an unnamed gentleman\non the platform who rose to speak but was told to keep\nquiet. ® J® J® J® J® J® J®\nFIRST RESOLUTION. Proposed by the Right Hon. A.\nLyttelton K.C. M.P. and seconded by Sir John Hare. J®\nThat this meeting is in favour of a National Theatre as\na Memorial to Shakespeare. J® J® J® J®\n\"Oh ye gods, must I endure all this?1' Shakespeare. \\® J® J® &\nSECOND RESOLUTION. & Proposed by Mr Arthur Pinero and seconded by Mr T.P.O' Connor\nM.P. That the committee of this demonstration is hereby appointed as a committee with\npower to add to its number, and is instructed to draft a scheme for a national theatre. J®\n\" What is your plot? 11 Shakespeare. J® U® J® J® J® J® &\nTHIRD RESOLUTION, J® Proposed by Mr J. Comyns Carr and seconded by Justice Madden,\nVice-Chancellor of the Dublin University. 4® That a committee is hereby appointed inviting\nthe co-operation of the provincial cities and organising meetings for the formation of a\nNational Theatre Society and the collection of subscriptions. J® J® J® J®\n\" How high\"A pitch his Resolution soars! 11 Shakespeare. J® J® J® J®\nFOURTH RESOLUTION. & Proposed by Mr W.C. Steadman M.P. and seconded by George\nBernard Shaw. & That the committee appoint a deputation to wait on the Prime Minister\nand the London County Council with a view to seeking their support for the proposal for\na National Theatre. S® \" Angels and ministers of grace defend us! \" Shakespeare. J®\nThe Earl of Lytton spoke graciously; j® The Right Hon. A. Lyttelton, as only the Right Hon.\nA Lyttelton can speak. And then Mr. Comyns Carr spoke and Mr Pinero spoke a great deal\nand Mr Bernard Shaw much too little. Mr Granville Barker's name received a round\nof applause. Sir John Hare spoke famously in that he stated that \" The stage is still\nunfortunately chaotic and ineffective. Day by day and year by year unfortunately the work\nof the theatre is becoming more and more a trade than an art\" j® No one denied the statement.\nAnd what is there left to say ? Very much indeed, but not now. We have only to see how\nthe Committee intends to achieve the impossible. J® For there is one impossibility here,\nand only one. J® No Committee, no Society ever created a Work of Art. No national Theatre\never created one either. J® How then will this committee and this national Theatre benefit\nthe country? J®J®J®J®J®J®J®^®J®J&\n\" O, well done! I commend your pains,\nAnd every one shall share V the gains.\nAnd now about the cauldron sing,\nkike elves and fairies in a ring,\nEnchanting all that you put in. \"\n£ ha. k e & p e are"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c032", "article_bluemountain": "bmtnaau_1908-05_01#c032", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "85", "page_fin": "86", "image_debut": 45, "image_fin": 46, "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=bmtnaau190805-01.2.16", "titre_corps": "BOOK REVIEWS", "titre_sommaire": "BOOK REVIEWS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 4937, "texte": "BOOK REVIEWS\n\nPOETIC RECITALS & js>\nBeing an Enquiry into the prevalent\napathy towards Poetry, together with a\nplea lor Rythmic Utterance, by Max\nPlowman.\nHeadley Brothers, Ash ford, Kent. &\n\\X7e have grown so much accustomed to\nthe idea, fostered in the minds\nespecially of literary men by their Publishers,\nthat the public does not care for poetry,\nthat we have come to accept it as a platitude\nand hardly to be questioned. &\nMr Plowman, in this little pamphlet, discusses\nthe reasons for this phenomenon, the\ntendency which it indicates, and suggests\nwherein the remedy might lie. He defines\nPoetry as 44 an expression of the emotions of\nlife by means of the noblest use of words \",\nand goes on to add that 44 since from\nBillingsgate to Stratford-on-Avon all have\nsought to express emotion through the medium\nof words, all are more or less susceptible to\nthe pleasure of giving that expression as\nperfectly as language permits \". &\nMr Plowman attributes the present neglect\nof Poetry, the indifference of the people\nregarding it, to the stress of modern life;\nbut we cannot quite agree with him when\nhe cites the \" inglorious case of America \"\nas a proof that 44 a nation living in an\natmosphere of literalism, cannot by reason\nof the very air it breathes produce great\npoetry. Would Mr Plowman refuse the title\nof 44 great Poetry \" to the work of Poe and\nWhitman? And is he so sure of the 'literalism'\nof the Americans\nMr Plowman's plan to stimulate the \" faint-\nhearted love of poetry \" would take the form\nof Public Readings, and he cites Matthew\nArnold's method, not of discussing and\ndefining the poems with his audiences, but\nof leaving the lines by their beauty to win\ntheir way themselves.\nAs for the intrusion of the personality of the\nreader or reciter, it may be true that in the\ncase of theatrical verse it adds to our\nenjoyment; but Mr Plowman shows a right\nintuition of the truth when he writes, 44 in\nthe case of sublime poetry all that is needed\nis the interpretation of simple and sincere\ndiction \", and, 44 until it is recognised that\npoetry appeals to the heart and mind through\nthe ear alone, all the insults that are heaped\nupon it by making it the sport of amateur\nand professional contortionists will continue\".\nOne wonders why the poets do not themselves\nrealise this; why they press so eagerly into\nthe Theatre and allow the sound and sense\nof their beautiful words to be mutilated by the\nactors, letting attention be distracted from\ntheir meaning by a counter appeal to the\neye which confuses if it does not weaken,\nthe pleasure of the ear.\nMr Plowman's thoughtful study makes us\nhope for further work from his pen,\n\nTHE ENGLISH PASTORAL DRAMA\nby Jeannnette Marks,\n(Methuen, Loudon.J\nnphis book, which treats of the English\n* Pastoral Drama from the Restoration to\nthe Date of the Publication of the 44 Lyrical\nBallads \" (1660-178) contains much interesting\ninformation and bears evidence of careful\nresearch, not only into the particular period\nunder consideration but also into earlier\nexamples of this dramatic form from the time\nof Theocrites and Virgil onwards. The author\nadvances, (though she admits with hesitation)\nthe theory that 44 the inception of the pastoral\nplay lay not in the latter half of the fifteenth\ncentury, but three hundred years before\nChrist, with the idyls of the great Sicilian\npoet \". The volume contains a chapter of\n44 Definitions \", gathered phrases in which\nFontanelle, Pope, Steele, Johnson and others\nsummed up their beliefs as to what constituted\na pastoral play. Subsequent chapters treat\nof 44 Stage settings \", 44 Plays and Operas \",\nand, in conclusion, of the decline and death\nof the Pastoral at the end of the 18th century.\nAppended is a comprehensive Bibliography of\nItalian, Spanish and English Plays and of\ncritical works relating to them. We hope\nthat the author will turn her attention next\nto a subject of still greater interest,.... the\nMasques, not only of England but of Italy\nand Spain, in which is to be found so much\ntrue beauty for both the eye and ear.\n\nPLANETARY JOURNEYS AND\nEARTHLY SKETCHES\n\nby George\nRaffalovich. & & &\nArnold Fair bairns & Co. Fondon.\nMr JRaffalovich in liis dedication explains the\nscope of this collection of sketches when he\nsays \" 1 did not intend to prove anything,\nonly to shape a few dreams and help others\nto realise that the conceptions of the\nimagination may be realities, and that we\nmust not be too proud of being human\ncreatures\nOne of the author's fantasies takes the form\nof a journey to a neighbouring planet in\ncompany with two of the inhabitants who,\nhaving wandered to our earth, conduct him\nwith them to visit theirs. & &\nAmongthe characteristics which he attributes\nto these strange beings is their silence.\n\" Conversation makes us somewhat tired\nexplains one of them; \"we have not the\nhabit of talking we will answer with\ngestures \" I endeavoured to explain to\nthem \" goes on the author, \" that with us also"}, {"page_pdf": 46, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.46", "debut_caractere": 0, "fin_caractere_exclue": 2677, "texte": "speech was tending to become of less\nimportance; that we no longer held it in so\nhigh esteem as did the Greeks and Romans.\nThey, even those of the lowest class, would\nhave hissed an orator who lengthened or\nshortened a syllable out of place \". &In\nthis they certainly had the advantage of us,\nwith whom slovenly modes of speech are not\nonly contenanced but encouraged by society.\nWe do not sufficiently realise today the\nresponsibility of transmitting, unspoiled\nto the next generation, our mother tongue.\nIt was interesting in this connection to note\nlately in one of the London papers the letter\nin which a correspondent drew attention to\nthe fact that the 44 gergo \" of London had\nchanged entirely even since the days of\nDickens, and he described the shock of surprise\nwhich he experienced on hearing for the first\ntime the change of the a to i which has come\nto be the most salient characteristic of Cockney\nspeech. &\n44 I had to confess all the same \" continues\nMr Raffalovich, that the power of speech is\nstill great among us. And what more natural?\nIs not speech the interpreter of the heart, the\npaintbrush of the mind, the image through\nwhich thought finds expression ? Is it not the\nsalt of life, the raison d* §tre of our oldest\ninstitutions? If we despised speech it would\nbe the end of everything \".\nBut would it? Is not this a false assumption?\nThere are tribes in America which communis\ncate almost entirely by gestures,... and are\nthere not means of transmitting thought\nswifter and more subtle than the utterance\nof words? Are not words rather a translation\nthan a direct transmission of thought,\ngenerally useful, frequently beautiful, but\nnever infallible as vehicles for ideas? Two\nmen say 44 Heaven \" and they mean things\nentirely different: two men say 44 woman \"\nand conjure up images as different as day\nand night. And in our moments of deepest\nfeeling do we not take refuge in silence,\nfeeling, if we do not say, 44 I can not put it\ninto words \" ? & This volume, which also\ncontains some grim sketches of Russian life,\nis well printed, showing careful and artistic\nwork on the part of the Publishers. &\n\nD.N.L.\n\nBOOKS, JOURNALS AND MAGAZINES\nRECEIVED z? z? &\nShakespearean Representation by Percy\nFitzgerald. (Eliot StockJ. /z>\n\" The Studio \" London. & » The New\nYork Dramatic Mirror, New York\" The\nEra 44 East Aurora. New York. \" La\nBalance 44 Moscow. & \" Die Schanhuhne 44\nBerlin. JZ? \" La Rivista Teatrale 44 Florence\n& \" II Teatro Illnstrato 44 Milan. JZ>\n& \" La Rivista Musicale 44 Turin. \" Le\nTemoin „ Paris. » Ord och Bild 44\nStockholm. \" Skodebanan 44 Stockholm,\n\" Argus „ Helsingfors. » Szinhaz es\nElet „ Budapest. & » Us Szeinile 44 Budapest."}]}, {"article_id": "bm-bmtnaau-1908-05-01-c034", "article_bluemountain": "bmtnaau_1908-05_01#c034", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "85", "page_fin": "85", "image_debut": 45, "image_fin": 45, "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=bmtnaau190805-01.2.16.2", "titre_corps": "POETIC RECITALS by Max Plowman", "titre_sommaire": "POETIC RECITALS by Max Plowman", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.45", "debut_caractere": 14, "fin_caractere_exclue": 2644, "texte": "POETIC RECITALS & js>\nBeing an Enquiry into the prevalent\napathy towards Poetry, together with a\nplea lor Rythmic Utterance, by Max\nPlowman.\nHeadley Brothers, Ash ford, Kent. &\n\\X7e have grown so much accustomed to\nthe idea, fostered in the minds\nespecially of literary men by their Publishers,\nthat the public does not care for poetry,\nthat we have come to accept it as a platitude\nand hardly to be questioned. &\nMr Plowman, in this little pamphlet, discusses\nthe reasons for this phenomenon, the\ntendency which it indicates, and suggests\nwherein the remedy might lie. He defines\nPoetry as 44 an expression of the emotions of\nlife by means of the noblest use of words \",\nand goes on to add that 44 since from\nBillingsgate to Stratford-on-Avon all have\nsought to express emotion through the medium\nof words, all are more or less susceptible to\nthe pleasure of giving that expression as\nperfectly as language permits \". &\nMr Plowman attributes the present neglect\nof Poetry, the indifference of the people\nregarding it, to the stress of modern life;\nbut we cannot quite agree with him when\nhe cites the \" inglorious case of America \"\nas a proof that 44 a nation living in an\natmosphere of literalism, cannot by reason\nof the very air it breathes produce great\npoetry. Would Mr Plowman refuse the title\nof 44 great Poetry \" to the work of Poe and\nWhitman? And is he so sure of the 'literalism'\nof the Americans\nMr Plowman's plan to stimulate the \" faint-\nhearted love of poetry \" would take the form\nof Public Readings, and he cites Matthew\nArnold's method, not of discussing and\ndefining the poems with his audiences, but\nof leaving the lines by their beauty to win\ntheir way themselves.\nAs for the intrusion of the personality of the\nreader or reciter, it may be true that in the\ncase of theatrical verse it adds to our\nenjoyment; but Mr Plowman shows a right\nintuition of the truth when he writes, 44 in\nthe case of sublime poetry all that is needed\nis the interpretation of simple and sincere\ndiction \", and, 44 until it is recognised that\npoetry appeals to the heart and mind through\nthe ear alone, all the insults that are heaped\nupon it by making it the sport of amateur\nand professional contortionists will continue\".\nOne wonders why the poets do not themselves\nrealise this; why they press so eagerly into\nthe Theatre and allow the sound and sense\nof their beautiful words to be mutilated by the\nactors, letting attention be distracted from\ntheir meaning by a counter appeal to the\neye which confuses if it does not weaken,\nthe pleasure of the ear.\nMr Plowman's thoughtful study makes us\nhope for further work from his pen,"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c035", "article_bluemountain": "bmtnaau_1908-05_01#c035", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "85", "page_fin": "85", "image_debut": 45, "image_fin": 45, "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=bmtnaau190805-01.2.16.3", "titre_corps": "THE ENGLISH PASTORAL DRAMA by Jeannette Marks", "titre_sommaire": "THE ENGLISH PASTORAL DRAMA by Jeannette Marks", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.45", "debut_caractere": 2646, "fin_caractere_exclue": 4038, "texte": "THE ENGLISH PASTORAL DRAMA\nby Jeannnette Marks,\n(Methuen, Loudon.J\nnphis book, which treats of the English\n* Pastoral Drama from the Restoration to\nthe Date of the Publication of the 44 Lyrical\nBallads \" (1660-178) contains much interesting\ninformation and bears evidence of careful\nresearch, not only into the particular period\nunder consideration but also into earlier\nexamples of this dramatic form from the time\nof Theocrites and Virgil onwards. The author\nadvances, (though she admits with hesitation)\nthe theory that 44 the inception of the pastoral\nplay lay not in the latter half of the fifteenth\ncentury, but three hundred years before\nChrist, with the idyls of the great Sicilian\npoet \". The volume contains a chapter of\n44 Definitions \", gathered phrases in which\nFontanelle, Pope, Steele, Johnson and others\nsummed up their beliefs as to what constituted\na pastoral play. Subsequent chapters treat\nof 44 Stage settings \", 44 Plays and Operas \",\nand, in conclusion, of the decline and death\nof the Pastoral at the end of the 18th century.\nAppended is a comprehensive Bibliography of\nItalian, Spanish and English Plays and of\ncritical works relating to them. We hope\nthat the author will turn her attention next\nto a subject of still greater interest,.... the\nMasques, not only of England but of Italy\nand Spain, in which is to be found so much\ntrue beauty for both the eye and ear."}]}, {"article_id": "bm-bmtnaau-1908-05-01-c036", "article_bluemountain": "bmtnaau_1908-05_01#c036", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "85", "page_fin": "86", "image_debut": 45, "image_fin": 46, "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=bmtnaau190805-01.2.16.4", "titre_corps": "PLANETARY JOURNEYS AND EARTHLY SKETCHES by Raffalovich", "titre_sommaire": "PLANETARY JOURNEYS AND EARTHLY SKETCHES by Raffalovich", "signature_source": "D.N. L", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.45", "debut_caractere": 4040, "fin_caractere_exclue": 4937, "texte": "PLANETARY JOURNEYS AND\nEARTHLY SKETCHES\n\nby George\nRaffalovich. & & &\nArnold Fair bairns & Co. Fondon.\nMr JRaffalovich in liis dedication explains the\nscope of this collection of sketches when he\nsays \" 1 did not intend to prove anything,\nonly to shape a few dreams and help others\nto realise that the conceptions of the\nimagination may be realities, and that we\nmust not be too proud of being human\ncreatures\nOne of the author's fantasies takes the form\nof a journey to a neighbouring planet in\ncompany with two of the inhabitants who,\nhaving wandered to our earth, conduct him\nwith them to visit theirs. & &\nAmongthe characteristics which he attributes\nto these strange beings is their silence.\n\" Conversation makes us somewhat tired\nexplains one of them; \"we have not the\nhabit of talking we will answer with\ngestures \" I endeavoured to explain to\nthem \" goes on the author, \" that with us also"}, {"page_pdf": 46, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.46", "debut_caractere": 0, "fin_caractere_exclue": 2135, "texte": "speech was tending to become of less\nimportance; that we no longer held it in so\nhigh esteem as did the Greeks and Romans.\nThey, even those of the lowest class, would\nhave hissed an orator who lengthened or\nshortened a syllable out of place \". &In\nthis they certainly had the advantage of us,\nwith whom slovenly modes of speech are not\nonly contenanced but encouraged by society.\nWe do not sufficiently realise today the\nresponsibility of transmitting, unspoiled\nto the next generation, our mother tongue.\nIt was interesting in this connection to note\nlately in one of the London papers the letter\nin which a correspondent drew attention to\nthe fact that the 44 gergo \" of London had\nchanged entirely even since the days of\nDickens, and he described the shock of surprise\nwhich he experienced on hearing for the first\ntime the change of the a to i which has come\nto be the most salient characteristic of Cockney\nspeech. &\n44 I had to confess all the same \" continues\nMr Raffalovich, that the power of speech is\nstill great among us. And what more natural?\nIs not speech the interpreter of the heart, the\npaintbrush of the mind, the image through\nwhich thought finds expression ? Is it not the\nsalt of life, the raison d* §tre of our oldest\ninstitutions? If we despised speech it would\nbe the end of everything \".\nBut would it? Is not this a false assumption?\nThere are tribes in America which communis\ncate almost entirely by gestures,... and are\nthere not means of transmitting thought\nswifter and more subtle than the utterance\nof words? Are not words rather a translation\nthan a direct transmission of thought,\ngenerally useful, frequently beautiful, but\nnever infallible as vehicles for ideas? Two\nmen say 44 Heaven \" and they mean things\nentirely different: two men say 44 woman \"\nand conjure up images as different as day\nand night. And in our moments of deepest\nfeeling do we not take refuge in silence,\nfeeling, if we do not say, 44 I can not put it\ninto words \" ? & This volume, which also\ncontains some grim sketches of Russian life,\nis well printed, showing careful and artistic\nwork on the part of the Publishers. &\n\nD.N.L."}]}, {"article_id": "bm-bmtnaau-1908-05-01-c037", "article_bluemountain": "bmtnaau_1908-05_01#c037", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "86", "page_fin": "86", "image_debut": 46, "image_fin": 46, "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=bmtnaau190805-01.2.16.5", "titre_corps": "BOOKS, JOURNALS AND MAGAZINES RECEIVED", "titre_sommaire": "BOOKS, JOURNALS AND MAGAZINES RECEIVED", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 46, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.46", "debut_caractere": 2137, "fin_caractere_exclue": 2677, "texte": "BOOKS, JOURNALS AND MAGAZINES\nRECEIVED z? z? &\nShakespearean Representation by Percy\nFitzgerald. (Eliot StockJ. /z>\n\" The Studio \" London. & » The New\nYork Dramatic Mirror, New York\" The\nEra 44 East Aurora. New York. \" La\nBalance 44 Moscow. & \" Die Schanhuhne 44\nBerlin. JZ? \" La Rivista Teatrale 44 Florence\n& \" II Teatro Illnstrato 44 Milan. JZ>\n& \" La Rivista Musicale 44 Turin. \" Le\nTemoin „ Paris. » Ord och Bild 44\nStockholm. \" Skodebanan 44 Stockholm,\n\" Argus „ Helsingfors. » Szinhaz es\nElet „ Budapest. & » Us Szeinile 44 Budapest."}]}, {"article_id": "bm-bmtnaau-1908-05-01-c039", "article_bluemountain": "bmtnaau_1908-05_01#c039", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "86", "page_fin": "88", "image_debut": 46, "image_fin": 48, "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=bmtnaau190805-01.2.17", "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": 46, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.46", "debut_caractere": 2679, "fin_caractere_exclue": 4924, "texte": "FOREIGN NOTES\n\nLONDON\nR. S.\nTpbe proceedings of the meeting of the\n* Shakespeare Memorial Committee at the\nLyceum on May 19th were characterised by\na lack of simplicity which was remarkable even\nhere. & Our inability to speak of Art mat®\nters without elaboration and a studied snob*\nbery is growing more marked each year. &\nWhat is there about Art, about Shakespeare,\nabout the Theatre, which demands this mock\ngravity when we assemble together to speak\nabout them? One would think that Art and\nthe Muses and the gaiety of nations were\nthemes to set the heart loose and make us all\nclever, witty and happy. We know why Art\ncame into existence,.... but the meeting at\nthe Lyceum made us think we did not know.\nWe were made to feel that Art ought never\nto be mentioned except with the permission\nof Mr Pinero and a few other ordinary peo=\npie. & Mr Pinero was terrible. He accused\nhimself of representing the ordinary\ntists. Mr Shaw was present. Mr Shaw was\ncharming: he said nothing except that, though\nthe subject was not exhausted, he and his\nfriends were. But he looked the only man\nthere who could never get exhausted. He\nlooked prepared to accept any handicap. Mr\nPinero was what we should describe as dead\nbeat. He made a gallant attempt to remain\ncheerful while he sneered at all things which\nwere above the ordinary. He said some\npatronising things about the late Sir Henry\nIrving and managed to speak Mr Beerbohni\nTree fair. The effort to turn this double\nsummersault was visible, &We did not see\neither Mr H. B. Irving or Mr Laurence Irving\nat the meeting, ...and Miss Ellen Terry was\nhiding, if she was there at all. &\nThe National Theatre will be with us soon,\nand possibly some more ordinary plays. &\nBut anything beautiful,... anything more than\nordinary?? &\nOir John Hare says that44 The ideal theatrical\n44 manager should possess the finest artistic\n44 judgment without exercising his prerogative\n44 of appearing at the head of his company\n44 on the stage. \" &\n\nFLORENCE\n\n'TMte whole city is a stage mounted with\nscenes of loveliness, the whole population\nare its actors, their songs and movements\nits noble and delicate Drama. It would be\nfolly to go into a theatre to look for the\nleast little hint of the body or soul of Italy."}, {"page_pdf": 47, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 5575, "texte": "D'AnnunzicFs 44 La Nave \" was performed here\nlately. The words of the play are very\nbeautiful; the acting, scenery and costumes\nrich and gaudy;... (the apparel oft proclaims\nthe man): the whole thing one vast confusion\nvery characteristic of the nineteenth century\nbut not belonging to the twentieth century.\nThe stage show reminded me of the German\nand English productions of twenty years ago.\nEverywhere one sees evidence of a laborious\nand passionate research for details of historical\ninaccuracy. It was as though a dealer in\nimitation objects cV ait had been allowed\nto produce the play..,, old books, old crosses,\nold flags, old mitres, old shoes, old ideas.\nStill, the words were beautiful. What a pity\nto spoil them just for the sake of an\nadvertisement!... an advertisement of the\nbook of the words. &\n\" Gabriele D'Annunzio! What a pity it is that\nthis angel voice has nothing to announce \"\nwrites a friend to me 1 wonder if this is\nquite fair? it would be ridiculous if it were\nthe truth....Is it? &\n\nJ. S.\n\nBUDAPEST\nP.\nTphe Hungarian Theatre has shown signs for\na few years of renewed life. It begins to\nbreak away from the traditional artificiality\nwhich degrades the modern European Theatre.\nThe most active leader of this movement in\nBudapest is Alexander Hevesi, who, like many\nof those now working to create a new Theatre,\nhas served his apprenticeship under the old\nregime, only finally discarding it in despair\nof either reviving that theatre or creating\nin it, in its present state, any work of art.\nHevesi was Stage Manager of the National\nTheatre for five years. Convinced both\npractically and theoretically that nothing\nartistic could be produced in the old theatre\nhe then founded, with the assistance of some\nyoung literary men, a stage society to which\nhe gave the name of 44 The Thalia Society \",\nThis Society, which was not commercial in\nits aims, numbered among its members many\nambitious and talented young actors, writers\nand painters, and the plays produced,\nunhampered by tradition, were works of a\nhigh order. TO the 4# Thalia Society \" was\ndue the first success of Ibsen on the Hungarian\nstage. &\nHevesi was at first a Realist. He became a\nRealist less from conviction than necessity,\nand the need was to free the old Hungarian\nstage from its artificiality. The study of the\nantique Theatre, the Theatres of Japan and\nIndia, and the history of tbe Marionette\nbrought him to perceive that Realism, while\nit is the beginning, is not the end of Art. &\nHe then produced D'Annunzio's44 Citt& Morta \"\nin a freer, better manner. This he followed\nup by Gerhard Hauptmann's 44 Elga \"i which\nwas represented like a dream.\nSince this note was written less encouraging\nnews of the 44 Thalia Society\" has been\nreceived, An order from the chief Constable\nof Budapest has arrested, perhaps killed, the\nactivity of the 44 Thalia Society \" which has\ndon© the most idea! and most unselUsh theatre\nwork in Budapest and to which are owing\nthe most important events in the city's\nartistic life in recent years. The chief\nConstable declared the rooms of the 44 Thalia\nSociety \" dangerous In the event of fire and\nfound other means of restraining the Society's\nwork everywhere and in every way.\nAH who read this paper will surely be\nastonished that such things should be possible\nin one of the capitals of Europe; that it should\nbe possible to repress and kill In this brutal\nmanner so flourishing a work. &\nEvery attempt of the 44 Thalia Society \"to\nprocure a room has proved in vain; they\ncould nowhere get permission and were\nforced to remain inactive. & &\nPerhaps it is that other Theatres fear the\ncompetition ? Perhaps the activity of this\nfine enterprise clashed with some commercial\ninterest? This is not only possible but\nprobable and the public which welcomed and\nneeded the work of the Society is now deprived\nof its artistic enjoyment.\nHave the other theatres and the chief\nConstable of Budapest the courage to bear\nthe responsibility for robbing the public of\nits rights? What can they do to compensate\nthem? Something will have to be done. But\nwhat? That is the question.\n\nBERLIN\n\nold nights,... Full Houses. This is the\nwhy there seems to be no end\nto the season. &\nAt the Royal Opera 44 Madame Butterfly \" is\napparently paying her farewell calls; at least\nshe appeared only once during last week and\nis no longer visible in the repertoire for the\ncoming one. &\nAt the Royal Schauspiel Wildenbruch's\n44 Rabensteinerin \" is still being performed this\nweek and is announced again for next week.\nLindane play, 44 Ein Erfolg \" is still drawing.\nAt the Oeutches Theatre 44 As You Like It \"\nis still alternating with 44 Romeo and Juliet\"\nand Schiller's 44 Die Rauber \" and the first\nnight of the new play 44 Ulrich, Furst von\nWaldeck \" is much looked forward to. Its\nauthor, Eulenberg, is a young man who is\nfamiliar with the theatre. As to the success\nof the play, opinions vary. &\nAt the Kammerspiele 44 Lysistrata \" by\nAristophanes, brought up to date and trimmed\nwith new manners, still continues. Alas, were\nnot the old manners better\nAt the Lessing Theatre one is still astonished\nto get the \" Raub der Sabinerinnen \" instead\nof the accustomed tragedies. At the Kleine\nTheatre the play by the Danish author, Abel,\n44 2 x 2 \" still continues its success. The\ngeneral character of the Berlin repertoire for\nthe last week and this is a fairly good one,\nbut by no means up to the usual high record\nof Berlin, Shakespeare being given fifteen\ntimes, Hebbef and Shaw each four times,\nSchiller three, Aristophanes six times,\nHauptmann and Ibsen each once. &"}, {"page_pdf": 48, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 2117, "texte": "The feature of the past week, however, has\nundoubtedly been d'Albert, who is to be\ncongratulated upon the hundredth represen-\ntation of his \" Tiefland \" at the Comic Opera.\nConsidering that since \" Carmen \" Bajazza\",\n\" Cavalleria \" and \" Hansel \" not one opera\nhas been able to sustain a series of represen-\ntations, \" Tiefland % is undeniably a valuable\nacquisition for the operatic stage. The Maestro\nhad come from Rome to conduct, and was\ngreeted and applauded by a crowded and\nenthusiastic house. His new opera, \" Izeyl \"\nis looked forward to with keen interest\nThe Imperial Opera Company from Russia\nis to play for four weeks at Kroll's, and\na most unusual reclame is being made for\nthem in the Press.\n\nA. F.\n\nHELSINGFORS.\nC.\nIn Finland we have two languages,.. Swedish\nand Finnish, and consequently theatres in\ntwo languages. But in spite of this difference\nthey both agree in regard to the artistic value\nof their representations, and that is not very\nhigh. We have no traditional theatrical art,\nand there are no signs of any Renaissance.\nOnly when foreign artists are visiting us, as\nIsadora Duncan did this winter, have we the\nopportunity of seeing genuine art.\nThe most considerable event in the theatres\nthis spring was the attempt of our Swedish\ntheatre to perform Strindberg's \"Svanehvit\",\nwhich had not been previously represented\non any stage. It is a fairy tale, written in\nStrindberg's lighter period after the * Inferno '\npessimism. It is said it was his intention to de-\ndicate it to \" My master Maeterlinck \", and the\nprobability is that Maeterlinck has given him\nthe idea of writing a fairy drama. But the\nsimilarity is very superficial, Strindberg's and\nMaeterlinck's artistic characters being too\ndifferent. At all events, there is much fine\npoesy in the play, and this poesy is of a kind\nthat is very rare in Strindberg's works,....\nan innocent, charming, airy poesy which has\nthe spirit of a child's tale. Only in a few\nscenes are the typical Strindbergian ideas\nvisible. The performance in Helsingfors was\nnot perfect, very far from it, but even there\nthe beauty of the play was compelling."}]}, {"article_id": "bm-bmtnaau-1908-05-01-c041", "article_bluemountain": "bmtnaau_1908-05_01#c041", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "86", "page_fin": "86", "image_debut": 46, "image_fin": 46, "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=bmtnaau190805-01.2.17.2", "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": 46, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.46", "debut_caractere": 2694, "fin_caractere_exclue": 4654, "texte": "LONDON\nR. S.\nTpbe proceedings of the meeting of the\n* Shakespeare Memorial Committee at the\nLyceum on May 19th were characterised by\na lack of simplicity which was remarkable even\nhere. & Our inability to speak of Art mat®\nters without elaboration and a studied snob*\nbery is growing more marked each year. &\nWhat is there about Art, about Shakespeare,\nabout the Theatre, which demands this mock\ngravity when we assemble together to speak\nabout them? One would think that Art and\nthe Muses and the gaiety of nations were\nthemes to set the heart loose and make us all\nclever, witty and happy. We know why Art\ncame into existence,.... but the meeting at\nthe Lyceum made us think we did not know.\nWe were made to feel that Art ought never\nto be mentioned except with the permission\nof Mr Pinero and a few other ordinary peo=\npie. & Mr Pinero was terrible. He accused\nhimself of representing the ordinary\ntists. Mr Shaw was present. Mr Shaw was\ncharming: he said nothing except that, though\nthe subject was not exhausted, he and his\nfriends were. But he looked the only man\nthere who could never get exhausted. He\nlooked prepared to accept any handicap. Mr\nPinero was what we should describe as dead\nbeat. He made a gallant attempt to remain\ncheerful while he sneered at all things which\nwere above the ordinary. He said some\npatronising things about the late Sir Henry\nIrving and managed to speak Mr Beerbohni\nTree fair. The effort to turn this double\nsummersault was visible, &We did not see\neither Mr H. B. Irving or Mr Laurence Irving\nat the meeting, ...and Miss Ellen Terry was\nhiding, if she was there at all. &\nThe National Theatre will be with us soon,\nand possibly some more ordinary plays. &\nBut anything beautiful,... anything more than\nordinary?? &\nOir John Hare says that44 The ideal theatrical\n44 manager should possess the finest artistic\n44 judgment without exercising his prerogative\n44 of appearing at the head of his company\n44 on the stage. \" &"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c042", "article_bluemountain": "bmtnaau_1908-05_01#c042", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "86", "page_fin": "87", "image_debut": 46, "image_fin": 47, "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=bmtnaau190805-01.2.17.3", "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": 46, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.46", "debut_caractere": 4656, "fin_caractere_exclue": 4924, "texte": "FLORENCE\n\n'TMte whole city is a stage mounted with\nscenes of loveliness, the whole population\nare its actors, their songs and movements\nits noble and delicate Drama. It would be\nfolly to go into a theatre to look for the\nleast little hint of the body or soul of Italy."}, {"page_pdf": 47, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 1016, "texte": "D'AnnunzicFs 44 La Nave \" was performed here\nlately. The words of the play are very\nbeautiful; the acting, scenery and costumes\nrich and gaudy;... (the apparel oft proclaims\nthe man): the whole thing one vast confusion\nvery characteristic of the nineteenth century\nbut not belonging to the twentieth century.\nThe stage show reminded me of the German\nand English productions of twenty years ago.\nEverywhere one sees evidence of a laborious\nand passionate research for details of historical\ninaccuracy. It was as though a dealer in\nimitation objects cV ait had been allowed\nto produce the play..,, old books, old crosses,\nold flags, old mitres, old shoes, old ideas.\nStill, the words were beautiful. What a pity\nto spoil them just for the sake of an\nadvertisement!... an advertisement of the\nbook of the words. &\n\" Gabriele D'Annunzio! What a pity it is that\nthis angel voice has nothing to announce \"\nwrites a friend to me 1 wonder if this is\nquite fair? it would be ridiculous if it were\nthe truth....Is it? &\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1908-05-01-c043", "article_bluemountain": "bmtnaau_1908-05_01#c043", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "87", "page_fin": "87", "image_debut": 47, "image_fin": 47, "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=bmtnaau190805-01.2.17.4", "titre_corps": "BUDAPEST", "titre_sommaire": "BUDAPEST", "signature_source": "P", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.47", "debut_caractere": 1018, "fin_caractere_exclue": 4096, "texte": "BUDAPEST\nP.\nTphe Hungarian Theatre has shown signs for\na few years of renewed life. It begins to\nbreak away from the traditional artificiality\nwhich degrades the modern European Theatre.\nThe most active leader of this movement in\nBudapest is Alexander Hevesi, who, like many\nof those now working to create a new Theatre,\nhas served his apprenticeship under the old\nregime, only finally discarding it in despair\nof either reviving that theatre or creating\nin it, in its present state, any work of art.\nHevesi was Stage Manager of the National\nTheatre for five years. Convinced both\npractically and theoretically that nothing\nartistic could be produced in the old theatre\nhe then founded, with the assistance of some\nyoung literary men, a stage society to which\nhe gave the name of 44 The Thalia Society \",\nThis Society, which was not commercial in\nits aims, numbered among its members many\nambitious and talented young actors, writers\nand painters, and the plays produced,\nunhampered by tradition, were works of a\nhigh order. TO the 4# Thalia Society \" was\ndue the first success of Ibsen on the Hungarian\nstage. &\nHevesi was at first a Realist. He became a\nRealist less from conviction than necessity,\nand the need was to free the old Hungarian\nstage from its artificiality. The study of the\nantique Theatre, the Theatres of Japan and\nIndia, and the history of tbe Marionette\nbrought him to perceive that Realism, while\nit is the beginning, is not the end of Art. &\nHe then produced D'Annunzio's44 Citt& Morta \"\nin a freer, better manner. This he followed\nup by Gerhard Hauptmann's 44 Elga \"i which\nwas represented like a dream.\nSince this note was written less encouraging\nnews of the 44 Thalia Society\" has been\nreceived, An order from the chief Constable\nof Budapest has arrested, perhaps killed, the\nactivity of the 44 Thalia Society \" which has\ndon© the most idea! and most unselUsh theatre\nwork in Budapest and to which are owing\nthe most important events in the city's\nartistic life in recent years. The chief\nConstable declared the rooms of the 44 Thalia\nSociety \" dangerous In the event of fire and\nfound other means of restraining the Society's\nwork everywhere and in every way.\nAH who read this paper will surely be\nastonished that such things should be possible\nin one of the capitals of Europe; that it should\nbe possible to repress and kill In this brutal\nmanner so flourishing a work. &\nEvery attempt of the 44 Thalia Society \"to\nprocure a room has proved in vain; they\ncould nowhere get permission and were\nforced to remain inactive. & &\nPerhaps it is that other Theatres fear the\ncompetition ? Perhaps the activity of this\nfine enterprise clashed with some commercial\ninterest? This is not only possible but\nprobable and the public which welcomed and\nneeded the work of the Society is now deprived\nof its artistic enjoyment.\nHave the other theatres and the chief\nConstable of Budapest the courage to bear\nthe responsibility for robbing the public of\nits rights? What can they do to compensate\nthem? Something will have to be done. But\nwhat? That is the question."}]}, {"article_id": "bm-bmtnaau-1908-05-01-c044", "article_bluemountain": "bmtnaau_1908-05_01#c044", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "87", "page_fin": "88", "image_debut": 47, "image_fin": 48, "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=bmtnaau190805-01.2.17.5", "titre_corps": "BERLIN", "titre_sommaire": "BERLIN", "signature_source": "A. F", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.47", "debut_caractere": 4098, "fin_caractere_exclue": 5575, "texte": "BERLIN\n\nold nights,... Full Houses. This is the\nwhy there seems to be no end\nto the season. &\nAt the Royal Opera 44 Madame Butterfly \" is\napparently paying her farewell calls; at least\nshe appeared only once during last week and\nis no longer visible in the repertoire for the\ncoming one. &\nAt the Royal Schauspiel Wildenbruch's\n44 Rabensteinerin \" is still being performed this\nweek and is announced again for next week.\nLindane play, 44 Ein Erfolg \" is still drawing.\nAt the Oeutches Theatre 44 As You Like It \"\nis still alternating with 44 Romeo and Juliet\"\nand Schiller's 44 Die Rauber \" and the first\nnight of the new play 44 Ulrich, Furst von\nWaldeck \" is much looked forward to. Its\nauthor, Eulenberg, is a young man who is\nfamiliar with the theatre. As to the success\nof the play, opinions vary. &\nAt the Kammerspiele 44 Lysistrata \" by\nAristophanes, brought up to date and trimmed\nwith new manners, still continues. Alas, were\nnot the old manners better\nAt the Lessing Theatre one is still astonished\nto get the \" Raub der Sabinerinnen \" instead\nof the accustomed tragedies. At the Kleine\nTheatre the play by the Danish author, Abel,\n44 2 x 2 \" still continues its success. The\ngeneral character of the Berlin repertoire for\nthe last week and this is a fairly good one,\nbut by no means up to the usual high record\nof Berlin, Shakespeare being given fifteen\ntimes, Hebbef and Shaw each four times,\nSchiller three, Aristophanes six times,\nHauptmann and Ibsen each once. &"}, {"page_pdf": 48, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 713, "texte": "The feature of the past week, however, has\nundoubtedly been d'Albert, who is to be\ncongratulated upon the hundredth represen-\ntation of his \" Tiefland \" at the Comic Opera.\nConsidering that since \" Carmen \" Bajazza\",\n\" Cavalleria \" and \" Hansel \" not one opera\nhas been able to sustain a series of represen-\ntations, \" Tiefland % is undeniably a valuable\nacquisition for the operatic stage. The Maestro\nhad come from Rome to conduct, and was\ngreeted and applauded by a crowded and\nenthusiastic house. His new opera, \" Izeyl \"\nis looked forward to with keen interest\nThe Imperial Opera Company from Russia\nis to play for four weeks at Kroll's, and\na most unusual reclame is being made for\nthem in the Press.\n\nA. F."}]}, {"article_id": "bm-bmtnaau-1908-05-01-c045", "article_bluemountain": "bmtnaau_1908-05_01#c045", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "88", "page_fin": "88", "image_debut": 48, "image_fin": 48, "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=bmtnaau190805-01.2.17.6", "titre_corps": "HELSINGFORS", "titre_sommaire": "HELSINGFORS", "signature_source": "C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.48", "debut_caractere": 715, "fin_caractere_exclue": 2117, "texte": "HELSINGFORS.\nC.\nIn Finland we have two languages,.. Swedish\nand Finnish, and consequently theatres in\ntwo languages. But in spite of this difference\nthey both agree in regard to the artistic value\nof their representations, and that is not very\nhigh. We have no traditional theatrical art,\nand there are no signs of any Renaissance.\nOnly when foreign artists are visiting us, as\nIsadora Duncan did this winter, have we the\nopportunity of seeing genuine art.\nThe most considerable event in the theatres\nthis spring was the attempt of our Swedish\ntheatre to perform Strindberg's \"Svanehvit\",\nwhich had not been previously represented\non any stage. It is a fairy tale, written in\nStrindberg's lighter period after the * Inferno '\npessimism. It is said it was his intention to de-\ndicate it to \" My master Maeterlinck \", and the\nprobability is that Maeterlinck has given him\nthe idea of writing a fairy drama. But the\nsimilarity is very superficial, Strindberg's and\nMaeterlinck's artistic characters being too\ndifferent. At all events, there is much fine\npoesy in the play, and this poesy is of a kind\nthat is very rare in Strindberg's works,....\nan innocent, charming, airy poesy which has\nthe spirit of a child's tale. Only in a few\nscenes are the typical Strindbergian ideas\nvisible. The performance in Helsingfors was\nnot perfect, very far from it, but even there\nthe beauty of the play was compelling."}]}, {"article_id": "bm-bmtnaau-1908-05-01-c047", "article_bluemountain": "bmtnaau_1908-05_01#c047", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "88", "page_fin": "90", "image_debut": 48, "image_fin": 50, "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=bmtnaau190805-01.2.18", "titre_corps": "EDITORIAL NOTES", "titre_sommaire": "EDITORIAL NOTES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.48", "debut_caractere": 2119, "fin_caractere_exclue": 4350, "texte": "EDITORIAL NOTES\n\nTP he English Journals have been exceedingly\n* appreciative of the aims of The Mask, and\nwe take this opportunity of thanking them.\n& The English Press is a lover of fair play\nand does its best to preserve it.\nIn our case it recognises that we represent\nthe ideals of the Art of the Theatre as opposed\nto the ideals (?) of the Commercial Theatre\nor the Theatre of Entertaiment. It recognises\nthat it is playing fair in supporting the Fine Art\nof theTheatre and that to support Commercial\nor Coarse Art would be Foul Play. It is a\nwell-informed Press. It is informed concerning\nthe History of Art in all ages: it knows that\nArt and Commerce are as divided as the two\npoles, and, loving fair play, the Editors of\nEnglish Journals give the order to the\ntheatrical critics to uphold the standard.\nAnd do the critics always play fair? ...well,\nnearly always. It must be often wearyingly,\ndesperately, difficult to be a just and wise\ncritic. We believe it is one of those arts for\nwhich no schools exist.... other than the hard\nschool of experience; and therefore it often\noccurs that when writing of the lightest\nforms of the Art of the Theatre the critic cart\nfind little or nothing to say and covers his\nconfusion by a sneer, a jest or an amazed\nexpression of surprise, and these attitudes\nare unbecoming in a critic who of course\nprofesses to be a serious student of his\nsubject. & jgr\nThe movement in the European Theatre to\nreestablish the nobler traditions of its Art\nmust be treated seriously by all serious critics,\nand if at first some of them do not entirely\nunderstand the movement and what it will\nbring about, they will, if they are in earnest,\nstudy the position of the Art in relation to\nthat of the other Arts; they will study most\nof all the history of the Arts of Music and\nArchitecture, and then they will perceive\nthat our task is one which has too long\nbeen postponed, and will do all they can to\nassist us in our most difficult undertaking.\nTo the consideration and criticism of our work\nthey must not bring the same views and\nmethods as they bring to the consideration\nand criticism of the Commercial Theatres.\nAnd let us define which theatres are considered\nby European artists to be commercial."}, {"page_pdf": 49, "page_imprimee": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 5776, "texte": "The Commercial Theatre is recognised by its\nquality. There may be a Commercial Theatre\nof Shakespearean representations as well as\na Commercial Theatre of kick-about ladies\nand melodramatic villains. If Madame Sarah\nBernhardt were to produce Shakespeare insuch\na way as merely to catch the eye and tickle the\npalate of the thoughtless she would be serving\nthe interests of the Commercial Theatre. If\nMr Beerbohm Tree were to produce, let us\nsay, the \"Faust\" of Goethe in such a way as\nto \" please the million \" in a manner \" neither\nwholesome nor sweet \" he would be serving\nthe interests of the Commercial Theatre.\nFor under cover of the names of Shakespeare\nand Goethe sacrilege must not be committed,\nand because the names of Bernhardt and Tree\nare famous names, their deeds must be no less\nfamous.\nWhen an artist compromises, bending to the\nwill of the public, the critic should have no\nfear in attacking him, no matter whether\nhe be named Irving, or Beerbohm Tree.\nAnd when we speak of the public we\nallude here to that spoiled public, ...the flippant\nTheatre-goers. There are many different\nways in which the nimble merchant can catch\nthe illusive penny from the vulgar tight-\nclosed hands of those searchers for an\nevening's foolish entertainment; and as the\ncritic, after a long and careful study of the\nTheatre of all lands, should attack the\nCommercial Theatre wherever it show signs\nof lowering the popular taste, so should he\nincessantly bring his readers to the right\nknowledge of the ancient and noble traditions\nwhich guide his judgment. Such critics are an\nhonour to the Art and to their country.\nLessing, Hazlett, Charles Lamb are the names\nof a few such men; and their honour is not\nthat they wrote well about bad theatres and\nworse theories but that they divided the bad\nfrom the good, the claptrap from the art,...\nand they all of them are agreed as to what\nis claptrap and what is not.\nTherefore we will ask for continued fair play\nfrom the critics of England; ....fair play in\nthe consideration of the Art of the Theatre\nand of the European movement which we\nrepresent and which is an entirely serious\none and one destined to survive.\nA lexander Hevesi's attempt at Budapest to\nbring a more serious and cultured atmos-\nphere into our Institution by the practical work\ndone under the auspices of the Thalia Society\nhas received a temporary check. Some men or\nwomen in Budapest have intrigued against\nthe Society and have achieved the ridiculous.\nThey have the credit of throwing one more\nobstacle in the way of our advance and we\nwish them all the comfort which can be\nderived from so mean and foolish an act. &\nNo words are strong enough to denounce\nthese paltry people who degrade the Theatre.\nAlas, they are often to be found in the\nInstitution itself; they are often actors and\neven actresses, and all true workers in the\nTheatre detest them. Such intrigue will\noverturn this already insecure Institution:\nwe may expect a crisis any day, for the brains\nand talent of the theatre will not permit the\nart and its thousands of lovers to suffer for\nthe baseness of a few envious\nWe have heard before of such excuses as\nthose under cover of which the Thalia\nSociety's performances have been prohibited.\n\" Fire \"! Good heavens I as if the Royal\nTheatre in Budapest were not quite as\ndangerous on that score. Only two theatres\nin Europe offer security to their visitors:\nthat at Bayreuth and the Prinz Regenten at\nMiinchen. &\nAnd who have you to thank for these theatres?\nThe Police ? the Government ? Patriotism ? the\nChurch? the Doctors? the Actors? the\nArchitects? No, not one of these. You have\nto thank an artist who you refused to believe\nknew anything about the subiect. Oh, what\nbright intelligence you reveal, my friends!\nYou do your best to let yourselves be burnt\nevery time you enter those old balcony theatres\nwith their twisting passages, and you do\nthis rather than admit that the artist is the\nwisest man of the whole community and\nknows what he is talking about Well, go\non doing so. intrigue, and set yourselves and\nyour children on fire. It is the best way of\nserving us in the end. But do not complain\nabout it later, for it is your own fault.\nRichard Wagner designed you a theatre years\nago which was the only safe theatre in Europe.\nMiinchen copied the design,.... all honour to\nMiinchen. As for the other State and private\nTheatres in Europe, they are all utterly\nunsafe and dangerous to the public. We would\nrespectfully draw the attention of the Fire\nInspectors of all theatres to our statement,\nespecially to the illogical gntleman in Budapest\nwho closes safe places leaving dangerous ones\nopen. Iron curtains some times act: sometimes,\nas in the case of the Meinigen Theatre, they\ngive way and fall on the audience. But if\nyou are able to dodge the curtain, you will\nanyhow be canght in the twisting passages,\nfall down the little staircases, (just consider\nDrury Lane, or the Royal Theatres at Moscow\nSt Petersberg, Vienna, or Berlin;) or be\nbaulked by closed doors, or impeded by the\ndraped curtains at the corners. These so -\ncalled Theatres are nothing more than death\ntraps made after the most stupid design.\nIt is a farce to close one small building on\nthe plea that it is \" dangerous on account\nof fire \" and license all these hundreds of\nstate and private crematoriums.\nWhen will it be realised that Wagner's design\nis the only safe pattern on which to build a\ntheatre? We can answer that question. It\nwill only be realised when the theatre ceases\nto be a shop, and this will only come about\nwhen the snobs and intriguers are hustled\noff the stage by the young and vigorous\ngeneration which now begins to win back\nnot only the liberty of the Theatre's Art, but\nthe ancient nobility of the Theatre as an\nInstitution. & & & &"}, {"page_pdf": 50, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 4760, "texte": "This young* generation is united by the closest\nties , . those of sentiment and understanding;\nand we may expect at any moment to hear\nof a practical development of their position,\nthe formation of a league or society which\nshall be independent of all accident, the union\nof the artists of the theatre to protect their\ntrust.\n>yt/e learn that Mr Granville Barker has\nrefused the directorship of the New\nTheatre in New York. Mr Barker is reported\nto have given some reasons for his refusal,\none of these being that he considered the\nbuilding too large. He holds that the secret\nof truly artistic acting is that the actors shall\nmaintain close personal touch with the\naudience, and he states that the proposed size\nof the building would prevent the attainment\nof the right \" atmosphere \". &\nWe confess we are unable to sympathise\nwith these views. We believe we are right\nin saying that there has been much 44 artistic\nacting \" seen in large theatres: we remember\nhaving heaVd of Edmund Kean at Drury Lane;\nof Tommaso Salvini at the Scala at Milan; of\nHenry Irving at the Lyceum; and in earlier\ntimes the theatres were far larger:., we speak\nof the time of Roscius. We venture to suggest\nthat \" Atmosphere \" is not dependent upon\nthe actor so much as upon the play, and,\ncuriously enough, upon the stage setting.\nWe hope, and believe, that Mr Barker will in\ntime come to look upon the size of a theatre\nas of little importance. In our opinion it is\nthe shape which we have to reconsider. Small\nas well as vast theatres are necessary,....\nthough we favour the latter from economic\nas well as artistic reasons. &\nHphe miller thinks that the wheat only grows\nin order to keep his mill going. \" writes\nGoethe; and we reprint the neat saying for\nthe benefit of the Commercial Theatre of\nEurope and America.\nHP he advocates of a Municipal or State\nTheatre for England have evidently\nnothing but theory to go upon. A visit to\nEurope, and a close and long study of the\nresults achieved by State Theatres would soon\ndisillusion them. A&\n\"State-aided theatres are always harmful,\n44 for the State protects timid and easy art \"\nwrites Herman Heijermans, the Dutch\nDramatist. &\nThe institution of a State-aided theatre\n44 and of a state-aided conservatoire would\n44 be disastrous to Dramatic Art in this\ncountry \" writes John Davidson, the English\nDramatic poet.\n44 I do not think that the institution of a\nState-aided theatre would be favourable to\n44 dramatic Art \" writes Hall Caine.\n44 AH I can say is that I hope for their own\nsakes, the English will have neither\n44 conservatoires nor state-aided Theatres.\nThey have been fortunate up to now in this\n14 respect, for their Government does not\n44 interfere with what does not concern it.\n44 It would he a pity to alter this. \"\nJules Lemaitre\nThe welfare of the Drama as of all Institutions\n44 depends on men and not on systems.\nH Beerbohm Tree.\nWe are inclined to favour the idea of State\naid to certain theatres which contain artist-\ndirectors whose work entitles them to the\nsupport which a crude public refuses to give\nthem. We can conceive much good arising\nshould the State lay aside a certain sum\nyearly to be given to the maintenance of the\nhighest form of dramatic art wherever it\nmight proclaim itself in Engl and. But rashly\nto waste a large sum of the national wealth\nin endowing a theatre for ever aud ever, no\nmatter who and what should appear in it\nwould be folly. If the State really desires\nto bestow a sum of money yearly upon the\nartists of the Theatre so as to encourage\nthe art, it could not do better than to\ninstitute a scholarship so that a fair competition\nmight be created, a scholarship to be\ncompeted for by playwrights and stage\nmanagers, for upon these two men,....\nplaywright and stage-manager, the future of\nthe theatre in England depends. The stage\nmanagers would then train to become\ncraftsmen of ability, and the honour of being\nchosen would be an incentive to them.\nA stage-manager should be an artist of\nconsiderable ability. He should, besides this,\nbe versed in the history of the stage. He\nshould be a designer, able to invent with\nfacility both scenes and costumes. He should\nhave a knowledge of the values of movement\nand voice, and he should have been at one\ntime or another an actor. His victory would\ngive him a standing and would make\nhis further studies possible. With such\na prize as a nation would offer he could\nafford to travel in Europe and study his art\nwith more facility. He could then return to\nEngland and take up an important position\nand fulfil its requirements faithfully and with\npleasure, instead of having to labour for ever\nwithout any opportunity of showin his\nability or metal. We hope to go further\ninto this question of State aid at a later date.\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1908-05-01-c049", "article_bluemountain": "bmtnaau_1908-05_01#c049", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "88", "page_fin": "90", "image_debut": 48, "image_fin": 50, "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=bmtnaau190805-01.2.18.2", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.48", "debut_caractere": 2136, "fin_caractere_exclue": 4350, "texte": "TP he English Journals have been exceedingly\n* appreciative of the aims of The Mask, and\nwe take this opportunity of thanking them.\n& The English Press is a lover of fair play\nand does its best to preserve it.\nIn our case it recognises that we represent\nthe ideals of the Art of the Theatre as opposed\nto the ideals (?) of the Commercial Theatre\nor the Theatre of Entertaiment. It recognises\nthat it is playing fair in supporting the Fine Art\nof theTheatre and that to support Commercial\nor Coarse Art would be Foul Play. It is a\nwell-informed Press. It is informed concerning\nthe History of Art in all ages: it knows that\nArt and Commerce are as divided as the two\npoles, and, loving fair play, the Editors of\nEnglish Journals give the order to the\ntheatrical critics to uphold the standard.\nAnd do the critics always play fair? ...well,\nnearly always. It must be often wearyingly,\ndesperately, difficult to be a just and wise\ncritic. We believe it is one of those arts for\nwhich no schools exist.... other than the hard\nschool of experience; and therefore it often\noccurs that when writing of the lightest\nforms of the Art of the Theatre the critic cart\nfind little or nothing to say and covers his\nconfusion by a sneer, a jest or an amazed\nexpression of surprise, and these attitudes\nare unbecoming in a critic who of course\nprofesses to be a serious student of his\nsubject. & jgr\nThe movement in the European Theatre to\nreestablish the nobler traditions of its Art\nmust be treated seriously by all serious critics,\nand if at first some of them do not entirely\nunderstand the movement and what it will\nbring about, they will, if they are in earnest,\nstudy the position of the Art in relation to\nthat of the other Arts; they will study most\nof all the history of the Arts of Music and\nArchitecture, and then they will perceive\nthat our task is one which has too long\nbeen postponed, and will do all they can to\nassist us in our most difficult undertaking.\nTo the consideration and criticism of our work\nthey must not bring the same views and\nmethods as they bring to the consideration\nand criticism of the Commercial Theatres.\nAnd let us define which theatres are considered\nby European artists to be commercial."}, {"page_pdf": 49, "page_imprimee": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 5776, "texte": "The Commercial Theatre is recognised by its\nquality. There may be a Commercial Theatre\nof Shakespearean representations as well as\na Commercial Theatre of kick-about ladies\nand melodramatic villains. If Madame Sarah\nBernhardt were to produce Shakespeare insuch\na way as merely to catch the eye and tickle the\npalate of the thoughtless she would be serving\nthe interests of the Commercial Theatre. If\nMr Beerbohm Tree were to produce, let us\nsay, the \"Faust\" of Goethe in such a way as\nto \" please the million \" in a manner \" neither\nwholesome nor sweet \" he would be serving\nthe interests of the Commercial Theatre.\nFor under cover of the names of Shakespeare\nand Goethe sacrilege must not be committed,\nand because the names of Bernhardt and Tree\nare famous names, their deeds must be no less\nfamous.\nWhen an artist compromises, bending to the\nwill of the public, the critic should have no\nfear in attacking him, no matter whether\nhe be named Irving, or Beerbohm Tree.\nAnd when we speak of the public we\nallude here to that spoiled public, ...the flippant\nTheatre-goers. There are many different\nways in which the nimble merchant can catch\nthe illusive penny from the vulgar tight-\nclosed hands of those searchers for an\nevening's foolish entertainment; and as the\ncritic, after a long and careful study of the\nTheatre of all lands, should attack the\nCommercial Theatre wherever it show signs\nof lowering the popular taste, so should he\nincessantly bring his readers to the right\nknowledge of the ancient and noble traditions\nwhich guide his judgment. Such critics are an\nhonour to the Art and to their country.\nLessing, Hazlett, Charles Lamb are the names\nof a few such men; and their honour is not\nthat they wrote well about bad theatres and\nworse theories but that they divided the bad\nfrom the good, the claptrap from the art,...\nand they all of them are agreed as to what\nis claptrap and what is not.\nTherefore we will ask for continued fair play\nfrom the critics of England; ....fair play in\nthe consideration of the Art of the Theatre\nand of the European movement which we\nrepresent and which is an entirely serious\none and one destined to survive.\nA lexander Hevesi's attempt at Budapest to\nbring a more serious and cultured atmos-\nphere into our Institution by the practical work\ndone under the auspices of the Thalia Society\nhas received a temporary check. Some men or\nwomen in Budapest have intrigued against\nthe Society and have achieved the ridiculous.\nThey have the credit of throwing one more\nobstacle in the way of our advance and we\nwish them all the comfort which can be\nderived from so mean and foolish an act. &\nNo words are strong enough to denounce\nthese paltry people who degrade the Theatre.\nAlas, they are often to be found in the\nInstitution itself; they are often actors and\neven actresses, and all true workers in the\nTheatre detest them. Such intrigue will\noverturn this already insecure Institution:\nwe may expect a crisis any day, for the brains\nand talent of the theatre will not permit the\nart and its thousands of lovers to suffer for\nthe baseness of a few envious\nWe have heard before of such excuses as\nthose under cover of which the Thalia\nSociety's performances have been prohibited.\n\" Fire \"! Good heavens I as if the Royal\nTheatre in Budapest were not quite as\ndangerous on that score. Only two theatres\nin Europe offer security to their visitors:\nthat at Bayreuth and the Prinz Regenten at\nMiinchen. &\nAnd who have you to thank for these theatres?\nThe Police ? the Government ? Patriotism ? the\nChurch? the Doctors? the Actors? the\nArchitects? No, not one of these. You have\nto thank an artist who you refused to believe\nknew anything about the subiect. Oh, what\nbright intelligence you reveal, my friends!\nYou do your best to let yourselves be burnt\nevery time you enter those old balcony theatres\nwith their twisting passages, and you do\nthis rather than admit that the artist is the\nwisest man of the whole community and\nknows what he is talking about Well, go\non doing so. intrigue, and set yourselves and\nyour children on fire. It is the best way of\nserving us in the end. But do not complain\nabout it later, for it is your own fault.\nRichard Wagner designed you a theatre years\nago which was the only safe theatre in Europe.\nMiinchen copied the design,.... all honour to\nMiinchen. As for the other State and private\nTheatres in Europe, they are all utterly\nunsafe and dangerous to the public. We would\nrespectfully draw the attention of the Fire\nInspectors of all theatres to our statement,\nespecially to the illogical gntleman in Budapest\nwho closes safe places leaving dangerous ones\nopen. Iron curtains some times act: sometimes,\nas in the case of the Meinigen Theatre, they\ngive way and fall on the audience. But if\nyou are able to dodge the curtain, you will\nanyhow be canght in the twisting passages,\nfall down the little staircases, (just consider\nDrury Lane, or the Royal Theatres at Moscow\nSt Petersberg, Vienna, or Berlin;) or be\nbaulked by closed doors, or impeded by the\ndraped curtains at the corners. These so -\ncalled Theatres are nothing more than death\ntraps made after the most stupid design.\nIt is a farce to close one small building on\nthe plea that it is \" dangerous on account\nof fire \" and license all these hundreds of\nstate and private crematoriums.\nWhen will it be realised that Wagner's design\nis the only safe pattern on which to build a\ntheatre? We can answer that question. It\nwill only be realised when the theatre ceases\nto be a shop, and this will only come about\nwhen the snobs and intriguers are hustled\noff the stage by the young and vigorous\ngeneration which now begins to win back\nnot only the liberty of the Theatre's Art, but\nthe ancient nobility of the Theatre as an\nInstitution. & & & &"}, {"page_pdf": 50, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 4760, "texte": "This young* generation is united by the closest\nties , . those of sentiment and understanding;\nand we may expect at any moment to hear\nof a practical development of their position,\nthe formation of a league or society which\nshall be independent of all accident, the union\nof the artists of the theatre to protect their\ntrust.\n>yt/e learn that Mr Granville Barker has\nrefused the directorship of the New\nTheatre in New York. Mr Barker is reported\nto have given some reasons for his refusal,\none of these being that he considered the\nbuilding too large. He holds that the secret\nof truly artistic acting is that the actors shall\nmaintain close personal touch with the\naudience, and he states that the proposed size\nof the building would prevent the attainment\nof the right \" atmosphere \". &\nWe confess we are unable to sympathise\nwith these views. We believe we are right\nin saying that there has been much 44 artistic\nacting \" seen in large theatres: we remember\nhaving heaVd of Edmund Kean at Drury Lane;\nof Tommaso Salvini at the Scala at Milan; of\nHenry Irving at the Lyceum; and in earlier\ntimes the theatres were far larger:., we speak\nof the time of Roscius. We venture to suggest\nthat \" Atmosphere \" is not dependent upon\nthe actor so much as upon the play, and,\ncuriously enough, upon the stage setting.\nWe hope, and believe, that Mr Barker will in\ntime come to look upon the size of a theatre\nas of little importance. In our opinion it is\nthe shape which we have to reconsider. Small\nas well as vast theatres are necessary,....\nthough we favour the latter from economic\nas well as artistic reasons. &\nHphe miller thinks that the wheat only grows\nin order to keep his mill going. \" writes\nGoethe; and we reprint the neat saying for\nthe benefit of the Commercial Theatre of\nEurope and America.\nHP he advocates of a Municipal or State\nTheatre for England have evidently\nnothing but theory to go upon. A visit to\nEurope, and a close and long study of the\nresults achieved by State Theatres would soon\ndisillusion them. A&\n\"State-aided theatres are always harmful,\n44 for the State protects timid and easy art \"\nwrites Herman Heijermans, the Dutch\nDramatist. &\nThe institution of a State-aided theatre\n44 and of a state-aided conservatoire would\n44 be disastrous to Dramatic Art in this\ncountry \" writes John Davidson, the English\nDramatic poet.\n44 I do not think that the institution of a\nState-aided theatre would be favourable to\n44 dramatic Art \" writes Hall Caine.\n44 AH I can say is that I hope for their own\nsakes, the English will have neither\n44 conservatoires nor state-aided Theatres.\nThey have been fortunate up to now in this\n14 respect, for their Government does not\n44 interfere with what does not concern it.\n44 It would he a pity to alter this. \"\nJules Lemaitre\nThe welfare of the Drama as of all Institutions\n44 depends on men and not on systems.\nH Beerbohm Tree.\nWe are inclined to favour the idea of State\naid to certain theatres which contain artist-\ndirectors whose work entitles them to the\nsupport which a crude public refuses to give\nthem. We can conceive much good arising\nshould the State lay aside a certain sum\nyearly to be given to the maintenance of the\nhighest form of dramatic art wherever it\nmight proclaim itself in Engl and. But rashly\nto waste a large sum of the national wealth\nin endowing a theatre for ever aud ever, no\nmatter who and what should appear in it\nwould be folly. If the State really desires\nto bestow a sum of money yearly upon the\nartists of the Theatre so as to encourage\nthe art, it could not do better than to\ninstitute a scholarship so that a fair competition\nmight be created, a scholarship to be\ncompeted for by playwrights and stage\nmanagers, for upon these two men,....\nplaywright and stage-manager, the future of\nthe theatre in England depends. The stage\nmanagers would then train to become\ncraftsmen of ability, and the honour of being\nchosen would be an incentive to them.\nA stage-manager should be an artist of\nconsiderable ability. He should, besides this,\nbe versed in the history of the stage. He\nshould be a designer, able to invent with\nfacility both scenes and costumes. He should\nhave a knowledge of the values of movement\nand voice, and he should have been at one\ntime or another an actor. His victory would\ngive him a standing and would make\nhis further studies possible. With such\na prize as a nation would offer he could\nafford to travel in Europe and study his art\nwith more facility. He could then return to\nEngland and take up an important position\nand fulfil its requirements faithfully and with\npleasure, instead of having to labour for ever\nwithout any opportunity of showin his\nability or metal. We hope to go further\ninto this question of State aid at a later date.\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1908-05-01-c050", "article_bluemountain": "bmtnaau_1908-05_01#c050", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "90", "page_fin": "90", "image_debut": 50, "image_fin": 50, "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=bmtnaau190805-01.2.18.2.1", "titre_corps": "MASK OF ENVY", "titre_sommaire": "MASK OF ENVY", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 50, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.50", "debut_caractere": 4828, "fin_caractere_exclue": 4841, "texte": "MASK OF ENVY."}]}, {"article_id": "bm-bmtnaau-1908-05-01-c051", "article_bluemountain": "bmtnaau_1908-05_01#c051", "volume": "bmtnaau_1908-05_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=bmtnaau190805-01.2.19", "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": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.2", "debut_caractere": 1280, "fin_caractere_exclue": 1638, "texte": "ALMANACK FOR\nARCHITECTURE\nVT—*tf>.\nGlG71GlG]GlglG1G]^)GT|ElG1g|g?5nE1E1Eni51l5:\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\nSCHUSTERS BUFLEB. G.M.B. H.\nBERLIN W30 NOLLENDORFSTR. 31. 32\nBOOKS ANCIENT AND MODERN #"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c052", "article_bluemountain": "bmtnaau_1908-05_01#c052", "volume": "bmtnaau_1908-05_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=bmtnaau190805-01.2.20", "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": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.2", "debut_caractere": 1640, "fin_caractere_exclue": 1839, "texte": "Die Schaubiihne\nA weekly Theatrical Journal\n.\nEdited by Siegfried Jacobsohn.\nVerlag Oesterheld & Co.\nLietzenburgerstrasse 60.\nBerlin W. 15. £?\nSingle copy . .. pt.\nQuarterly „ 3. „ 50\nYearly 12. „ 00"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c053", "article_bluemountain": "bmtnaau_1908-05_01#c053", "volume": "bmtnaau_1908-05_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=bmtnaau190805-01.2.21", "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": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.2", "debut_caractere": 1841, "fin_caractere_exclue": 2266, "texte": "_ The Butterfly _\nQuarterly\nIs a new publication, carefully printed\nfrom excellent type, on fine toned pa-\nper, 8xioin: 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 I.25\npost free. & &\nOFFICES\nThe Butterfly Quarterly\n1126 Walnut Street\nPhiladelphia\nU. S. A."}]}, {"article_id": "bm-bmtnaau-1908-05-01-c054", "article_bluemountain": "bmtnaau_1908-05_01#c054", "volume": "bmtnaau_1908-05_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=bmtnaau190805-01.2.22", "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": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.2", "debut_caractere": 2268, "fin_caractere_exclue": 2444, "texte": "PRONTI! AVANT I!\n£> THE BEST RESTAURANT IN FLORENCE IS £f\nL A P I ' S VIA DEL TREBBIO JZ?\nSituated in the cellars of Palazzo Antinori\nPICTURESQUE HOSPITABLE & EXCELLENT COOKINQ"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c055", "article_bluemountain": "bmtnaau_1908-05_01#c055", "volume": "bmtnaau_1908-05_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=bmtnaau190805-01.2.23", "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": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.3", "debut_caractere": 0, "fin_caractere_exclue": 315, "texte": "Garages Riuniti\nX* FIAT - ALBERTI - STORERO. #\n* # * FLORENCE * * f\n* * Via Luigi Alamanni, i + &\nGENERAL AGENCY FOR AUTOMOBILES\n* * * * *^\n' F. I. A. T. *\nChassis and cars complete >P >?\nMotor cars for sale and on hire\n>j» Telephone 916 >2® >j»\nmmmummabmmmmmmmmmammammaaBamamBmMmamaammmmmamammmmmmmmmmmmmmmmmaUmmmm"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c057", "article_bluemountain": "bmtnaau_1908-05_01#c057", "volume": "bmtnaau_1908-05_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=bmtnaau190805-01.2.25", "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": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.3", "debut_caractere": 317, "fin_caractere_exclue": 637, "texte": "Philosophical\nLending Library\n5000 volumes 011 Philosophy, Reli-\ngion, Mysticism, Occultism, ecc.\nEnglish philosophical Books & Re-\nviews. Reading and lecture room.\nlectures every Sunday free for sub-\nscribers Subscription terms very\nmoderate. Prospectus and catalogue\non application up #\nPIAZZA DONATELLO 5 - Tel. 15-30"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c058", "article_bluemountain": "bmtnaau_1908-05_01#c058", "volume": "bmtnaau_1908-05_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=bmtnaau190805-01.2.26", "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": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.3", "debut_caractere": 639, "fin_caractere_exclue": 1012, "texte": "<1 ' 11 » IMl |W1 II II IV\nIMPORTANT NOTICE &\nSPECIAL SUBSCRIBERS' COPIES CAN ONLY BE OBTAINED FROM THE\nPUBLISHING OFFICES OF \" THE MASK FLORENCE.\nSUBSCRIBERS' COPIES CANNOT BE OBTAINED THROUGH THE AGENTS, THOUGH\nORDERS MAY BE SENT THROUGH THEM. £/£>£>£>£>\nREALISM & THE ACTOR. AN INTERNATIONAL\nSYMPOSIUM £7 £?\nFURTHER REPLIES WILL BE PUBLISHED IN THE JULY NUMBER.\n' -- \" -"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c059", "article_bluemountain": "bmtnaau_1908-05_01#c059", "volume": "bmtnaau_1908-05_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": 4, "image_fin": 4, "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=bmtnaau190805-01.2.27", "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": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 2678, "texte": "*\n□\nJst-\nVCRLRGSRNSTfllJ®©\nflUXflNDCIVKOGI sTfl'Sr.\n1\nEL\nDeutsche Kunst\nund Dekoration\nKURZE LNHALTSANQABE DES i. SEMESTERS DES XI.\nJAHRGANGES:\nHeft. i.\nAugust Rodin — Paris. Die Darmstadter\nKfinstler-Kolonie. Interieurs und Einzel-\nmbbel von Richard Riemerschmid.\nGoldschmiedearbeiten. Stickereien.\nBucheinbMnde. &\nno Illustrationen und 8 farbige Beilagen.\nHeft 2.\nKftnstlerische Photographien von Nicola\nPerscheid - Berlin. Architekturen, Innen-\nraume von Campbell & Pullich - Berlin.\nKopenhagener Fayence - Fabrik \"Alumi-\nnia'\\\n8o Illustrationen und 3 Beilagen.\nHeft 3.\nProfessor Kolomon Moser, Moderne kir-\nchliche Kunstverglasungen. Plastiken.\nFrauenkleider, Stickereien. Bildhauerar-\nbeiten, Schmucksachen. Vorsatzpapiere.\nKleinkunst.\nInsgesamt 90 Illustrationen.\nXZ?\nHeft 4.\nProfessor Fritz Erler, Fresken im Wies-\nbadener Kurhaus. JuliusKlinger, Schwarz-\nWeisz. Professor Fr. Metzner, Moderne\nPlastiken. Innenraume. Gildenzeichen.\nSpitzen.\nInsgesamt 70 Illustrationen\nHeft. 5.\nMaler Walter Georgi. Hugo Lederers\nKrupp-Denkmal in Essen. Die Deutschen\nWerkstatten fur Handwerkskunst in Miin-\nchen: Grabanlagen. Kleinkunst, Sticke-\nreien.\nInsgesamt 70 Illustrationen.\nHeft 6.\nOscar zwintscher-Dresden. Artur Volk*\nmann, Grabplastik. Florence J. Hoesel,\nStickereien. Neuere Arbeiten von J. V.\nCissarz. F. W. Jochem — Kiel, Landhaus.\nPlastiken. &\n70 Illustrationen und 1 farbige Tafel.\nREICHHALTIGSTE UND VORNEHMST ZE1TSCHRIFTEN\nFUR AN G E WAN DTE KUNST JAHRLICH 12 HEFT 24 MARK.\nInnen=Dekoration\nAus dem Inhalte der ersten 4\nHeft 1.\nSonderpublikation iiber das \"Hotel Adlon\"\nin Berlin: Fassade, Innenarchitekturen,\nTreppenaufgang, Hallen, sale, Salons,\nRestaurants, Bar, Bade-und FrisierrHume\netc. &\n60 meist ganzseitige Illustrationen.\nHeft 2.\nArbeiten der Architekten \" Runge &\nScotland\" in Bremen. Wohnhaus des\nArof. Bruno Schmitz- Berlin. Literarische\nBeitrage von E. W. Bredt-Miinchen, Jos.\nA. Lux- Dresden, u. a.\n50 lllustrat. und i farbige Doppelbeilage. I\nDie fuhrende kunstgewerbliche\ninneren Ausbau.\nHefte des XIX. Jahrganges:\nHeft. 3.\nKunstsalon Keller & Reiner-Berlin. Text\nvon Dr. Hermann Schmitz. Garten- u.\nVerandamObel, Text von A. Jaumann.\nLiteraresche Beitrage von M. Baron\nLasser, Wilh. Michel u. a. &\nInsgesamt 62 Illustrationen.\nHeft 4.\nRobert Breur — Wilmersdorf, Gute\nLedermSbel. Neuere Arbeiten von\nArchitekt Wilhelm Schmidt — Wien\nLiterarische Bietrage von Rich. Schaukal,\nRob. Breuer u. a.\nInsgesamt 43 Illustrationen,\nZeitschrift fur den gesamten\n<zr\nJahrlich 12 Hefte 20 Mark\nEINZELNE HEFTE DER BEIDEN DARMSTADTER KUNSTZE1TSCHRIFTEN je 2.50 MARK\nProspekte kostenfrei durch jede Buchhandlung und von der\nVerlags-Anstalt Alexander Koch - Darmstadt."}]}, {"article_id": "bm-bmtnaau-1908-05-01-c060", "article_bluemountain": "bmtnaau_1908-05_01#c060", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "91", "page_fin": "91", "image_debut": 51, "image_fin": 51, "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=bmtnaau190805-01.2.28", "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": 51, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.51", "debut_caractere": 1314, "fin_caractere_exclue": 1481, "texte": "The principal Artistic\nand Literary publica-\ntion of Scandinavia.\nYearly subscription\nFrancs: 20.\nWahlstrom & Widstrand, Stockholm.\n& PUBLISHED MONTHLY\nmm\nwK.\n05\niiims"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c061", "article_bluemountain": "bmtnaau_1908-05_01#c061", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "91", "page_fin": "91", "image_debut": 51, "image_fin": 51, "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=bmtnaau190805-01.2.29", "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": 51, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.51", "debut_caractere": 1483, "fin_caractere_exclue": 2115, "texte": "\"VIESSEE\" (The Balance) &\nA RUSSIAN LITERARY & ART MAGAZINE PUBLISHED MONTHLY IN MOSCOW BY\nTHE SCORPION PRESS\nBTBWBMrtmaBBBaapsam\nThe Balance \" contains Poetry, Fiction, Drama, and Essays on Art and Literature by\nthe best modern authors, both Russian & Foreign. jg? jg?\nThe Journal has correspondents in all the chief cities of Europe. &\nThe Balance is illustrated by drawings, etchings, lithographs, etc: (also colour plates)\nby Russian and Foreign artists. & & & &\n& Annual subscription, post free. 18 francs. (14 shillings)\nOFFICES; MOSCOW (RUSSIA) THEATRE SQUARE. METROPOLE BUILDINGS 23.\n& & CHIEF - EDITOR: SERGE POLIAROFF. jz?"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c062", "article_bluemountain": "bmtnaau_1908-05_01#c062", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "92", "page_fin": "92", "image_debut": 52, "image_fin": 52, "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=bmtnaau190805-01.2.30", "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": 52, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.52", "debut_caractere": 0, "fin_caractere_exclue": 930, "texte": "yfc'iWKitwmiamm —'^Tw^rnflMni^'^ta'x^TOTTiiiTTMni¥inTinoimMiMmjnMiixM\"rji«TriiroHrnwrprBTCTi■—ar,iTrT»iiirwwfrt——r——;-\"\"\"\" rriir1\"*•■ \"y^rL\"r\" mmaemmmi\nQESELLSCHAFT FURTHEATER\nQESCHICHTE j& j& J& &\nABTEILUNG REDAKTION BIBLIOGRAPHIE FUR THEATERGESCHICHTE\nDie Gesellschaft fur Theatergeschichte (E. V, 1902. Sekretariat Berlin W. 50) hat nach\ndem im Fruhjahr 1907 erfolgten Tode Arthur L. Jellineks, ihres verdienstvollen Biblio-\ngraphen, Herrn Dr. Fritz Braumuller in Munchen. Adelgundenstrasse 34/®* *®er\nFortsetzung der Bibliographie der Theatergeschichte (Jahrgang 1905 ff.). die in den\nSchriften der Gesellschaft zur Verbffentlichung gelangen wird, betrut und bittet Autoren\nVerleger und alle Freunde des Unternehmes, Biicher, Broschiiren, Zeitschriften, Zeitun=»\ngsartikel. Sonderabdrucke, kurzc Mitteilungen und Notizen theatergeschichtlichen\nInhalts an die Adresse des genannten Bearbeitess freundlichst einsenden zu wollen."}]}, {"article_id": "bm-bmtnaau-1908-05-01-c063", "article_bluemountain": "bmtnaau_1908-05_01#c063", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "92", "page_fin": "92", "image_debut": 52, "image_fin": 52, "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=bmtnaau190805-01.2.31", "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": 52, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.52", "debut_caractere": 932, "fin_caractere_exclue": 2481, "texte": "E MOSHER BOOKS^\n& & & MDCCCXCI-MCMVI1I jS>\nFor a dozen years the most artistic volumes at their price that have been issued in\nAmerica have been published, not from New York or Boston, nor even in Philadelphia\nor Chicago but it Portland, Maine In that little city Thomas B. Mosher has been\nprinting, without flourish of trumpets or wide advertising, volume after volume\nwhich in artistic excelience are not excelled by the issnes of any publishing house in\nthe world. Then, too, Mosher has reprinted only the gems of literatnre that have\nbeen declared of the first water; gems that are, beyond objection, jewels of the world's\ntreasury of brilliant writing. We may also assert that the question of gain has heen\nsecondary in Mosher's calculations. He has put out very small editions, and he has\nmade them so beautiful in all that concerns their make»up that it is doubtful if\nhe has ever gauged the expenditure by the possible profit. Nevertheless, he must\nhave done so, but in doing so he excites our admiration.\nGUY CARLETON LEE in Baltimore Sunfor Dec. 18, 1907.\nMy new Catalogue—a remarkable piece of book-work in itself—explains this unusual\ncompliment, and is sent free ou request to book=lovers anywhere that can be reached\nby mail. My Catalogues are not made up of old and hackneyed quotations concerning\nbooks. You are not wearied by \" a jollie good book \" jingle and that sort of thing,\nbut you are treated to some very genuine prose & verse not found in every cutand-\ndecidedly=dried anthology.\nTHOMAS B. MOSHER PORTLAND. MAINE & U, S. A."}]}, {"article_id": "bm-bmtnaau-1908-05-01-c064", "article_bluemountain": "bmtnaau_1908-05_01#c064", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "92", "page_fin": "92", "image_debut": 52, "image_fin": 52, "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=bmtnaau190805-01.2.32", "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": 52, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.52", "debut_caractere": 2483, "fin_caractere_exclue": 4002, "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\nplates 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. Size of portfolio 48x30 ctms. Average size of plate.\n14 2/3x15 2/3 ctms. The price for a portfolio will be L. 16.0.0, (400 Francs or 320 Marks).\n'TNhese 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.\n44 Movement\", writes Mr Craig, 44 was at the roots of the Ancient Theatre and will ever\n44 remain the very Essence of the Art.\n44 We must translate Movement through the medium of inanimate forms and thereby produce\n44 once more an Impersonal Art which shall take its place by the side of its two sister\n44 Arts-Music and Architecture \". &\nJ!5t»vt t « H .■ t *n t t<v j - »»-■ i. o . ' ■-> * »er«•» t. ' * < «<»■:*.( +c.\nORDER FORM\nTo The Publishers,\nThe Editorial Office of 44 The Mask \" 2 Lung'Arno Acciaiuoli, Florence. Italy. &\nPlease send me the Portfolio of Etchings by Edward Gordon Craig, in payment for which\nI enclose the sum of L. 16.0.0, (or 400 Francs or 320 Marks)\nSigned\nAddress.\nrsHWE'"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c065", "article_bluemountain": "bmtnaau_1908-05_01#c065", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "93", "page_fin": "93", "image_debut": 53, "image_fin": 53, "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=bmtnaau190805-01.2.33", "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": 53, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.53", "debut_caractere": 0, "fin_caractere_exclue": 517, "texte": "L I BRA I R I E A NCI EN NE &\nT. DE MARINIS & Co. 5 Via Vecchietti - FIRENZE\n6\nS&LS\n■\nfuurP\nI4UI\ne\nnnr\nvrt\nfi\niXJlZL\n\\\nWl\n»«\ni\nID\n0 •\n-HI\n• «*<\n-TU-J\n111\nII *\nU-»\nyj\nu&i\n*11\n>5:\n£\nMiULfLJ\nit * i\n=P\n00\nllll\nSSSS2\n00\nis 11\n£LW\ndors\nOLiU\nin\nlit\nin\nurn\ni\nIII*!\nS* II\njrn'go\n.\n»«»«;\n• 1\nc:\n44\ntlHU\n&\nIt\nSwksT\n0 010\n2\n•*•<«\n©9\nMOJl\n• •Ml\nn a o\ntin/Ttf\n!«••*\nHE\n«co\nn/v\nQO\nac\nnil 1 /»\n11\nT/lf\n.III*\ni/\nrLTUV\nPine Collection of MBS,, Incunabula, rate and curious books XV'XIX cent.\nIllustrated Catalogues free on application."}]}, {"article_id": "bm-bmtnaau-1908-05-01-c068", "article_bluemountain": "bmtnaau_1908-05_01#c068", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "93", "page_fin": "93", "image_debut": 53, "image_fin": 53, "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=bmtnaau190805-01.2.36", "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": 53, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.53", "debut_caractere": 519, "fin_caractere_exclue": 1077, "texte": "EX LIBRIS.\nAre you a Book Lover ? II\nso, you will want all which\ncan add to the beauty\nand completeness of your\nbooks, and you cannot\ndo without.\nA BOOK PLATE\nIn design your Book Plate must be grave\nyet charming, for its duty is to act as\nwatchman at the doors of all books, whether\nreligious or profane. If you would possess\nsuch a Book Plate, simple, charming and\ndistinguished, write to the Wood Engra-\nvers of San Leonardo, directing your letter\nto 5 Piazza Donatello, Studio 9, Florence,\nItaly, and you will receive all the infor-\nmation you desire. & &"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c069", "article_bluemountain": "bmtnaau_1908-05_01#c069", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "93", "page_fin": "93", "image_debut": 53, "image_fin": 53, "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=bmtnaau190805-01.2.37", "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": 53, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.53", "debut_caractere": 1079, "fin_caractere_exclue": 1621, "texte": "EDITION DE LUXE.\nSPECIAL NOTICE TOBOOKLOVERS\n15 copies of \" The Mask \" will be printed\nMonthly upon a yellow hand-made deckle-\nedged paper identical in appearance and\ntexture with that made in the same district\nof Fabriano in the year 1315. This edition\nwill contain Etchings and other prints\nsigned by the artist, which will not be\nincluded in the popular edition.\nYearly subscription: England, L. 3.5.0 Post Free\n♦» »» » Germany, Marks 67,00 „ „\n,, „ „ America Dollars 16.00 „ „\n»V » „ Italy Lire 82.00 „ „\n*. »> tt Russia Roubles 30.00 „ „"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c070", "article_bluemountain": "bmtnaau_1908-05_01#c070", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "94", "page_fin": "94", "image_debut": 54, "image_fin": 54, "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=bmtnaau190805-01.2.38", "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": 54, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.54", "debut_caractere": 163, "fin_caractere_exclue": 581, "texte": "[ANTONIO FR1LL1\nPURVEYOR TO 10\nIMPERIAL & ROYAL\nFAMILIES\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.\nGRAMD PRIX\n1904\nF LORENCE\n£7 Via dei Fossi 4\n& (ESTABLISHED i860) &\nAWARDED PRIZES\nAT 48 NATIONAL &\nINTERNATIONAL\nEXHIBITIONS"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c071", "article_bluemountain": "bmtnaau_1908-05_01#c071", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "94", "page_fin": "94", "image_debut": 54, "image_fin": 54, "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=bmtnaau190805-01.2.39", "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": 54, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.54", "debut_caractere": 583, "fin_caractere_exclue": 779, "texte": "& J2? jg/ J&\nJ&J& J&J&\nJ&J&J&J&J&J&J&J&J&J& <&\nJ&\nTHE \" MANIFAT-\nTURA PI SIQNA „\nArtistic Terra Cot=\nta for both interior\nand exterior deco=\nration <& &\nVia Vecchietti, 2 j& j&\n& & FIRENZE (Italy)"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c072", "article_bluemountain": "bmtnaau_1908-05_01#c072", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "94", "page_fin": "94", "image_debut": 54, "image_fin": 54, "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=bmtnaau190805-01.2.40", "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": 54, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.54", "debut_caractere": 781, "fin_caractere_exclue": 1056, "texte": "DINI & CELLAI\nArtistic & Decorative Terra Cotta of\nSigna &\nVia dei Fossi N. x - FLORENCE\nHepPoduetion of seulptupes of Old and\nJVIodePn flldsteps M statues « Busts «\n—}, ; _ t\nVases M BasMjjeliefs M pountains « POOPS\nChitnneywpieees « Bases ete. ete. In\neVepy style & J& j& &"}]}, {"article_id": "bm-bmtnaau-1908-05-01-c073", "article_bluemountain": "bmtnaau_1908-05_01#c073", "volume": "bmtnaau_1908-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "94", "page_fin": "94", "image_debut": 54, "image_fin": 54, "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=bmtnaau190805-01.2.41", "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": 54, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.54", "debut_caractere": 1058, "fin_caractere_exclue": 1296, "texte": "& ON JUNE i &\nTHE j& &\nPublishing, Bookselling and\nNews Agency Business JZ?\nof R. PAQGI (A. Rossini\n& Co. Ltd.) will be trans-\nferred from Via Tornabuoni\n15 to premises at 36 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=bmtnaau190805-01.1.1", "texte": "DOUBLE NUMBER\nVol. I. N.\"'3 &4. MAY-JUNE 1 9 o 8|\nhp| fkm A ryjy^\nTHE MASK\nA MONTHLY JOURNAL OF THE\nART OF THE THEATRE\n'\nH———m^w—\nJ& as? EUROPEAN AGENTS.\nLONDON. D. J. RIDER 36 St Martin's Court. Charing Cross Road. W. C. £> jS>\nBERLIN. SOL® GERMAN AGENT - SCHUSTER & 31. TV-\nAMSTERDAM, KIRBERQER & KESPER. 134 Rokin. « « « « «\nBUDAPEST. NAG EE OTTO'- Mxiseiim\nM O S C O U. '• LA BALANCE \" Place du Theatre\nFLORENCE, a eung>arnoacciaiuoei. a? -c? & &\n& > PRICE TWOS HILL I NQ S, N ET"}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.2", "texte": "lOrder THE MASK\nFROM 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\nEtchings, which will be 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. &\nAny MSS. submitted to the Editor for consideiation should hear the names and\naddresses of the authors, he type-wiitten, and accompanied hy stamps; otherwise they\nwill not he lead 01 returned. It must be understood that they are sent at the Author's\nrisky and the Editor is not responsible for their safe custody or return. All communications\nshould he addressed to the Editor of \" The Mask » 3 Eung'Arno Acciaiuoliy Florence.\nReaders of \" The Mask \" who wish to be sure of securing their copies each month regularly\nshould subscribe for the year, all that is necessary being to fill in the order form on Pg. 95\nof this number, & post it to their Bookseller, or to the office of \" The Mask 2 Lung'Arno\nAcciaiuoli, Florence, JZ?\nFOR ADVERTISEMENTS ADDRESS TO \" THE MASK \" ADVERTISING OFFICE: 8 BORGO S. JACOPO £>\nS & FLORENCE &IT A L Y OR TO THE LONDON., GERMAN, OR DUTCH AGENTS\n\nALMANACK FOR\nARCHITECTURE\nVT—*tf>.\nGlG71GlG]GlglG1G]^)GT|ElG1g|g?5nE1E1Eni51l5:\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\nSCHUSTERS BUFLEB. G.M.B. H.\nBERLIN W30 NOLLENDORFSTR. 31. 32\nBOOKS ANCIENT AND MODERN #\n\nDie Schaubiihne\nA weekly Theatrical Journal\n.\nEdited by Siegfried Jacobsohn.\nVerlag Oesterheld & Co.\nLietzenburgerstrasse 60.\nBerlin W. 15. £?\nSingle copy . .. pt.\nQuarterly „ 3. „ 50\nYearly 12. „ 00\n\n_ The Butterfly _\nQuarterly\nIs a new publication, carefully printed\nfrom excellent type, on fine toned pa-\nper, 8xioin: 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 I.25\npost free. & &\nOFFICES\nThe Butterfly Quarterly\n1126 Walnut Street\nPhiladelphia\nU. S. A.\n\nPRONTI! AVANT I!\n£> THE BEST RESTAURANT IN FLORENCE IS £f\nL A P I ' S VIA DEL TREBBIO JZ?\nSituated in the cellars of Palazzo Antinori\nPICTURESQUE HOSPITABLE & EXCELLENT COOKINQ"}, {"page_pdf": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.3", "texte": "Garages Riuniti\nX* FIAT - ALBERTI - STORERO. #\n* # * FLORENCE * * f\n* * Via Luigi Alamanni, i + &\nGENERAL AGENCY FOR AUTOMOBILES\n* * * * *^\n' F. I. A. T. *\nChassis and cars complete >P >?\nMotor cars for sale and on hire\n>j» Telephone 916 >2® >j»\nmmmummabmmmmmmmmmammammaaBamamBmMmamaammmmmamammmmmmmmmmmmmmmmmaUmmmm\n\nPhilosophical\nLending Library\n5000 volumes 011 Philosophy, Reli-\ngion, Mysticism, Occultism, ecc.\nEnglish philosophical Books & Re-\nviews. Reading and lecture room.\nlectures every Sunday free for sub-\nscribers Subscription terms very\nmoderate. Prospectus and catalogue\non application up #\nPIAZZA DONATELLO 5 - Tel. 15-30\n\n<1 ' 11 » IMl |W1 II II IV\nIMPORTANT NOTICE &\nSPECIAL SUBSCRIBERS' COPIES CAN ONLY BE OBTAINED FROM THE\nPUBLISHING OFFICES OF \" THE MASK FLORENCE.\nSUBSCRIBERS' COPIES CANNOT BE OBTAINED THROUGH THE AGENTS, THOUGH\nORDERS MAY BE SENT THROUGH THEM. £/£>£>£>£>\nREALISM & THE ACTOR. AN INTERNATIONAL\nSYMPOSIUM £7 £?\nFURTHER REPLIES WILL BE PUBLISHED IN THE JULY NUMBER.\n' -- \" -"}, {"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.4", "texte": "*\n□\nJst-\nVCRLRGSRNSTfllJ®©\nflUXflNDCIVKOGI sTfl'Sr.\n1\nEL\nDeutsche Kunst\nund Dekoration\nKURZE LNHALTSANQABE DES i. SEMESTERS DES XI.\nJAHRGANGES:\nHeft. i.\nAugust Rodin — Paris. Die Darmstadter\nKfinstler-Kolonie. Interieurs und Einzel-\nmbbel von Richard Riemerschmid.\nGoldschmiedearbeiten. Stickereien.\nBucheinbMnde. &\nno Illustrationen und 8 farbige Beilagen.\nHeft 2.\nKftnstlerische Photographien von Nicola\nPerscheid - Berlin. Architekturen, Innen-\nraume von Campbell & Pullich - Berlin.\nKopenhagener Fayence - Fabrik \"Alumi-\nnia'\\\n8o Illustrationen und 3 Beilagen.\nHeft 3.\nProfessor Kolomon Moser, Moderne kir-\nchliche Kunstverglasungen. Plastiken.\nFrauenkleider, Stickereien. Bildhauerar-\nbeiten, Schmucksachen. Vorsatzpapiere.\nKleinkunst.\nInsgesamt 90 Illustrationen.\nXZ?\nHeft 4.\nProfessor Fritz Erler, Fresken im Wies-\nbadener Kurhaus. JuliusKlinger, Schwarz-\nWeisz. Professor Fr. Metzner, Moderne\nPlastiken. Innenraume. Gildenzeichen.\nSpitzen.\nInsgesamt 70 Illustrationen\nHeft. 5.\nMaler Walter Georgi. Hugo Lederers\nKrupp-Denkmal in Essen. Die Deutschen\nWerkstatten fur Handwerkskunst in Miin-\nchen: Grabanlagen. Kleinkunst, Sticke-\nreien.\nInsgesamt 70 Illustrationen.\nHeft 6.\nOscar zwintscher-Dresden. Artur Volk*\nmann, Grabplastik. Florence J. Hoesel,\nStickereien. Neuere Arbeiten von J. V.\nCissarz. F. W. Jochem — Kiel, Landhaus.\nPlastiken. &\n70 Illustrationen und 1 farbige Tafel.\nREICHHALTIGSTE UND VORNEHMST ZE1TSCHRIFTEN\nFUR AN G E WAN DTE KUNST JAHRLICH 12 HEFT 24 MARK.\nInnen=Dekoration\nAus dem Inhalte der ersten 4\nHeft 1.\nSonderpublikation iiber das \"Hotel Adlon\"\nin Berlin: Fassade, Innenarchitekturen,\nTreppenaufgang, Hallen, sale, Salons,\nRestaurants, Bar, Bade-und FrisierrHume\netc. &\n60 meist ganzseitige Illustrationen.\nHeft 2.\nArbeiten der Architekten \" Runge &\nScotland\" in Bremen. Wohnhaus des\nArof. Bruno Schmitz- Berlin. Literarische\nBeitrage von E. W. Bredt-Miinchen, Jos.\nA. Lux- Dresden, u. a.\n50 lllustrat. und i farbige Doppelbeilage. I\nDie fuhrende kunstgewerbliche\ninneren Ausbau.\nHefte des XIX. Jahrganges:\nHeft. 3.\nKunstsalon Keller & Reiner-Berlin. Text\nvon Dr. Hermann Schmitz. Garten- u.\nVerandamObel, Text von A. Jaumann.\nLiteraresche Beitrage von M. Baron\nLasser, Wilh. Michel u. a. &\nInsgesamt 62 Illustrationen.\nHeft 4.\nRobert Breur — Wilmersdorf, Gute\nLedermSbel. Neuere Arbeiten von\nArchitekt Wilhelm Schmidt — Wien\nLiterarische Bietrage von Rich. Schaukal,\nRob. Breuer u. a.\nInsgesamt 43 Illustrationen,\nZeitschrift fur den gesamten\n<zr\nJahrlich 12 Hefte 20 Mark\nEINZELNE HEFTE DER BEIDEN DARMSTADTER KUNSTZE1TSCHRIFTEN je 2.50 MARK\nProspekte kostenfrei durch jede Buchhandlung und von der\nVerlags-Anstalt Alexander Koch - Darmstadt."}, {"page_pdf": 6, "page_imprimee": "[52]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.6", "texte": "DESIGN FOR A STAGE SCENE GORDON CRAIG"}, {"page_pdf": 7, "page_imprimee": "53", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.7", "texte": "W W-—* MM A r**W THE JOURNAL OF THE ART\n1 I 1 1 .nt l\\l I Y% W. OF THE THEATRE.\nILL VI /-% IX. VOLUME ONE, Nos. THREE &\nji. JL JsL 1T l i JL m. FOUR, MAY-JUNE, 1908. &\n\nCONTENTS\nAFTER THE PRACTISE THE THEORYuz>\n& WILLIAM BLAKE, SOCIALISM & THE ARTIST by JAN VAN HOLT j&\nA LETTER TO A YOUNG ACTOR by GORDON CRAIG uS- \" REALISM & THE ACTOR \", AN\nINTERNATIONAL SYMPOSIUM 0 THE TRUE HAMLET by ALLEN CARRIC & SOME SAYINGS\nby GOETHE & A LETTER TO MR. ANDREW CARNEGIE by JOHN SEMAR 0 OPERA\nGLASSES by J. PAUL COOPER \" THE MERCHANT OF VENICE —AN ARTICLE by E.\nW. GODWIN. REPRINTED FROM THE ARCHITECT 1875 STAGE MORALITY by NIETZSCHE\ner SARAH BERNHARDT by JOHN BALANCE -<S> FOREIGN NOTES £> BOOK REVIEWS ,&\nEDITORIAL NOTES 0 ENGRAVINGS by E. THESLEFF, STEPHEN HAWIES, J. OLIVER,\nGORDON CRAIG, C. TICKETTS 0 CHARLES BORROW & OTHERS. £> & XS>\n\nWILLIAM BLAKE, SOCIALISM AND THE ARTIST\n\n\" LiberaHty! WC WaMt n° liberalityl wewan* a fair price and proportionate value, and a\n44 general demand for Art. Let not that nation where less than nobility is the 4 reward '\n44 pretend that Art is encouraged by that nation. Art is first in intellect, and ought to be first\n44 in nations. \", & \" The neglect of Fuseli's Milton, in a\n44 country pretending to the encouragement of Art, is a sufficient apology for my vigorous\n44 indignation: if indeed, the neglect of my own powers had not been. Ought not the employers\n44 of fools to be execrated in future ages? They will and SHALL.! Foolish men! your own\n44 real greatness depends on the encouragement of the Arts; and your fall will depend on their\n44 neglect and depression. What you fear is your own interest. Leo the Tenth was advised\n44 not to encourage the Arts. He was too wise to take this advice. The rich men of England\n44 form themselves into a Society, \" (alluding to the British Institution, founded in 1805)44 a\n44 Society to sell, not to buy, pictures. The artist who does not throw his contempt on such\n44 trading Exhibitions does not know either his own interest or his own duty. &\n44 When nations grow old\n44 The Arts grow cold,\n44 And Commerce settles on every tree;\n44 And the poor and the old\n44 Can live upon gold,\n44 For all are born poor.\nAged sixty-three\n44 The enquiry in England is, not whether a man has talents and genius, but whether he is\n44 passive and polite, and a virtuous ass, and obedient to noblemen's opinions in art and\n44 science. If he is, he is a good man; if not, he must be starved \".\nWILLIAM BLAKE\ngocialism is nothing new. It began on the day that the Spirit of God moved upon the face\nof the waters, and the first socialist was Adam. Swiftly following in his footsteps came the\nmighty band of artists; Abraham, Joseph, Moses, Joshua, Sampson, David, Christ. No,\nSocialism is very old indeed. It is the symbol of the Divine and all else the symbol of the\ninfernal. Yet without Beauty Socialism becomes tyranny, for Socialism is the Beautiful. That\nSocialism which parades before Nature with a tear-stained face is a villainous evil: that\nSocialism which permits the laxity of dispensing with its arts and its H's is only a farce.\nFor Socialism is Royal. Therefore let Socialists remember this. & Let them be above Party\nstrife. Their leadears are the artists, and if they obey them they will follow the flag and\nnot tear it up to use it as pocket handkerchiefs for the million. Utility is in a flag only in that\na flag is Beautiful. Do you doubt what is beautiful about it? Its utility, its symbolism. Can you\nfeed thousands by it ? Certainly, and millions too. Can you house and clothe millions witij"}, {"page_pdf": 8, "page_imprimee": "54", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.8", "texte": "WILLIAM BLAKE\nSOCIALISM &\nTHE ARTIST &\n\nit? Obviously: the whole world is not too large to find room and apparel under it. Only\none fear.... See that there be no inscription upon it such as today too often blurs its serenity.\n\" Liberty \" is a stupid word with which to spoil that which already shakes itself freely in\nthe high wind, announcing by its motion its natural freedom, Let a hundred such banners\nwave and let them be gay. Let them not be held grimly at each corner by gloomy looking\nindividuals conscious of their collars, and their black silk hats. Let them fly free like the cries of\nBeauty,....and let a beautiful crown be emblazoned in the richest gold upon their very heart.\nWhen we cannot afford that, we are no longer socialist, no longer artist, no longer Royal.\nAnd what has this to do with the Theatre? Nothing today, for the Theatre is dead. Everything\ntomorrow, for the Theatre shall then be reborn. & <£>\n\nJAN VAN HOLT.\n\nOPERA GLASSES\nJ. PAUL COOPER.\n|n most of our theatres nowadays opera glasses are provided for a small sum for those who\nhave not brought a pair with them and who like to see what is going on on the stage.\nThe opera glass is a modern invention with which the actor does not seem able to cope;\nin some cases one wonders whether he is even acquainted with its existence. The members\nof the audience in the meantime quietly suffer: they cannot see clearly without glasses and\nif they use glasses they see too much. You want to see the heroine, but it is distressing to\nsee her with black marks round the eyes, and it is worse still to find the hero painted like\na doll. Painting the face on the stage is a barbarous custom come down to us from the\nage of oil lamps and candles. With gas and electric light, and opera glasses for the remote\nseats in the house, it is not needed. To say that painting counteracts defects caused by\nthe footlights is a plea for the abolition of top and side lights. Were it the case, it is creating\none evil to eliminate another. With a good pair of glasses the man in the pit can appreciate\na fine complexion on the stage almost as well as off. Apd as with paint, so it is with stage\naccessories; the audience see them as clearly as do the actors, only with different eyes;\nfor the eyes of the latter are dulled from constant irritation in the same way that one's\nears become accustomed, by time, to the most untuneful of barrel organs. &\nOpera glasses are apt to turn tragedy to comedy and comedy to farce. Without facial expression\na modern play is almost impossibie, The audience, gradually accustomed to the caricature\nof passion as expressed by the painted actor, call it all acting, and when an unpainted actor\nor actress comes on to the stage it is said to be nature and not art. On the Music Hall\nStage it is different: the more subtle effects are, as a rule, not aimed at. The young lady\nwho babbles of green fields never intends you to suppose for an instant that she cares a\nrap about them save at a distance, and you feel sure that if you were her wedded lover\nyou would spend your honeymoon in visiting other Music Halls. The men are nearly all\npainted masks, without the disadvantage of the fixed expression. An opera glass does not\nspoil the effect; if you are tired of the play of features accompanying the patter you can\nadmire the painting and the broad brushwork. It is not altogether the free use of tobacco\nthat makes these places of entertainment so attractive; they are places where you can use\nyour opera glass with enjoyment and without fear. & &\n& In the theatre, if painting the face is to continue, it would be well if a stage painter\nwere attached to every Company so that there might be some uniformity and perspective,\nfor painting is an art of which only a few actors are masters, and it is unfair for the actor\nwho uses paint sparingly to be thrown into the background by one who puts it on with a\npallet knife. At all events lessons on the scope of the opera glass should be taken with\nthose in elocution*\nA barbarous\ncustom &\nTobacco M &"}, {"page_pdf": 9, "page_imprimee": "55", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.9", "texte": "THE TRUE HAMLET\nALLEN CARRIC\n|~g ere we have a picture of Hamlet in the\ni6th century. The design will not be of\nmuch use to the student of the stage. It is\na very nice little wood engraving, and the\ndouble personality of the leading man is\ncharming.\nTo me this is \" Hamlet\" far more than all\nthe Hamlets I have seen upon the stage.\nThe crown is a trifling inaccuracy but after\nall, how shall we know that Hamlet is regal\nif he wears no crown? In what a gracious\nway he sleeps, knowing how far off is\nDoomsday. The byeplay of the supers, too;\nhow hushed it is;.... they are suiting the\naction to the word, and the word is 4< Repose \"... & Outside in the courtyard and in the\nother rooms may be the Dramatis Personae are acting to the top of their bent. How\nentrancing that we cannot hear them. How reassuring to know we shall never see them.\nThe Queen is possibly wringing her hands while she tries to remember her words; the King\nis doubtless rolling his eyes and his R's; Polonius is shaking his head and is having the\nsame serious trouble as ever with his long sleeves; Rosencrantz and Guildenstern are\nsearching for Hamlet and only finding the Ghost, who still swears abominably in the cellar;\nOsric, Fortinbras, Ophelia,... even poor Horatio, all are at their appointed tasks, acting\nas usual for all they may be worth.... and for Hecuba, but, praise be to Jove, .... in the\nnext room I\n& Again, how delightful is it to be sure they will not come in here to disturb our quiet\nwith their thoughtless and extravagant chatter. All this and all their hasty actions can\nexpend their fury upon the unfortunates who happen also to be in the next room, and\nall their old-fashioned quotations can hang like texts upon those walls,.... not on these. &\nHere can only come those things which are never quoted, never seen. For here dwells the\nsoul of hamlet with the part of Hamlet left out,...and not found wanting,\nYes, truly, should 1 ever have the good fortune to be called upon at a moment's notice to play\nHamlet, I too shall wear a crown. I too shall murmur under my breath \" To be or not to be \"\nin that propped up position. I shall seem to be talking in my sleep,....\" To die, to sleep,\nperchance to dream \". At other times. I shall assume the desire to turn to studies, and,\nseated at that table, (even as the assumed King Solomon is doing) 1 shall meander on about\nhow actors are to speak their speeches nor make the judicious grieve Well, it will be the\nfirst cultured performance of the noble and disheartening play.\nSymbol of\nRoyalty\nBra m a t i s\nPersons\nHow delightful\n\nDRAMATIC FORM\nGOETHE\n» 775.\nJt is well»nigh time that people ceased talking about the form of dramatic compositions,\nabout their length and shortness, their unities, their beginning, middle and end, and all\nthe rest of it; and that we now began to go straightway to their contents, which hitherto,\nit seems, have been left to take care of themselves. &\nThere is, however, one form which is as distinct from the other as the internal sense from\nthe external; a form which is not tangible but requires to be felt. Our head must be able\nto overlook that which the head of another can grasp; our heart must be able to feel that\nwhich the heart of another can feel. The intermingling of the rules will not give rise to\nlooseness; and, though the example should prove dangerous, yet it is at bottom better to\nmake a confused piece than a cold one. &*&£?&<&&&\nIndeed, if only more persons were alive to this inner form, which comprehends within itself\nall forms, we should not be disgusted by so many abortive productions of the intellect;\nwriters would not think of expanding every tragic event into a drama and of slicing up\nevery novel into a play. I wish that some clever individual would parody this twofold nuisance\n\nNot ordinary\nadvice f ot\nordi n a i y\nplay* wrights &"}, {"page_pdf": 10, "page_imprimee": "56", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.10", "texte": "DRAMATIC FORM\n\nby arranging, say, the fable of the Wolf and the Lamb in the form of a tragedy\nin five acts.\nEvery form, even that which admits of the greatest amount of feeling, has in it something\nthat is untrue. Yet the form Is invariably the glass throught which we collect the holy\nrays of extend nature and throw them upon the heart of humanity as their focus. But\nas for the glass—he to whom it is not given, will not succeed in obtainining it, do what he\nwill. Like the mysterious stone of the alchemists, it is both husk and matter, both fire and\ncooling draught; it is so simple, so common. It lies before every door, and yet so wonderful\na thing, that just those people who possess it can as a rule make no use thereof. <£?\nHe who would work for the stage should, moreover, study the stage, the effects 6f scenography,\nof lights, of rouge and other colouring matter, of glazed linen and spangles. He should leave\nnature in her proper place, and take careful heed not to have recourse to anything but\nwhat may may be perforated by children with puppets upon boards and laths, together with\nsheets of cardboard and linen. & &&&&&&&\n\nChildren and\nPuppets &\n\nSTAGE MORALITY\nFrom the translation of Johanna Volz.\nFRIEDRICH NIETZSCHE\n|-je who believes that Shakespeare's stage has a mora! effect and that the sight\nof Macbeth irresistibly detracts from evil ambition is mistaken. And he is again\nmistaken if he believes that Shakespeare himself was of this opinion. Any man who is really\npossessed by mad ambition will watch this, his emblem, with delight; and the very fact\nthat the hero perishes in his passion is the strongest charm in the hot cup of this delight.\nWere the poet's feelings different to these? How royally and not In the least knavishly his\nambitious hero runs his course from the hour of his great crime I Only then he grows\n\" demoniacally \" attractive and encourages similar natures to imitation—demoniacal means\nhere: in defiance of advantage and life, in favour of an idea and craving. Do you imagine\nthat Tristan and Isolde give a warning example of adultery though its being the cause of\ntheir death? This would be turning the poets upside down : for they, and Shakespeare above\nall, are in love with the passions themselves, and no less with their yearnings for death—\nwhen the heart does not cling to life more firmly than the drop of water does to the glass.\nIt is not so much guilt and its evil conseguences which they—Shakespeare as well as Sophocles\n(in Ajax, Philoctetes GEdipus)—wish to portray; however easy it might have been in the\naforesaid eases to make guilt the lever of the play, they carefully refrained from so doing\n& Neither is it the wish of the tragic poet to prejudice us against life by means of his\nrepresentations of life. Nay, he explains: \" It is the charm of charms, this exciting, variable,\nhazardous, gloomy and often sun»steeped existence! It is an adventure to live!—with\nwhatever party you side in life, it will ever retain this character.\" Thus he speaks in a\nrestless and vigorous age, which is partly intoxicated and dazed by its superabundance of\nblood and energy—in an age more evil than ours: wherefore we must needs begin by adapting\nand accommodating the purpose of a Shakesperian play—that is, by not understanding it."}, {"page_pdf": 11, "page_imprimee": "57", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.11", "texte": "THE ARTISTS OF THE THEATRE OF THE\nFUTURE\nby Gordon Craig\n\n(Continued)\nON THE ACTOR\n& As a man he ranks high .... possesses generosity, and the truest sense of comradeship.\nI call to mind one actor whom 1 know and who shall stand as the type. A genial companion,\nand spreading a sense of companionship in the theatre; generous in giving assistance to\nyounger and less accomplished actors,.... continually speaking about the work,.... picturesque\nin his manner,.... able to hold his own when standing at the side of the stage instead of\nin the centre;.... with a voice which commands my attention when 1 hear it,.... and finally,\nwith about as much knowledge of the art as a cuckoo has of anything which is at all\nconstructive. Anything to be made according to plan or design is foreign to his nature.\nBut his good nature tells him that others are on the stage besides himself, and that there\nmust be a certain feeling of unity between their thoughts and his, yet this arrives by a\nkind of good natured instinct and not through knowledge, & produces nothing positive. Instinct\nand experience have taught him a few things, (I am not going to call them tricks), which\nhe continually repeats. For instance, he has learned that the sudden drop in the voice\nfrom forte to piano has the power of accentuating apd thrilling the audience as much as\nthe crescendo from the piano into the forte. He also knows that laughter is capable of very\nmany sounds, and not merely Ha Ha Ha. He knows that geniality is a rare thing on the stage\nand that the bubbling personality is always welcomed. But what he does not know is this\nthat this same bubbling personality and all this same instinctive knowledge doubles or even\ntrebles its power when guided by scientific knowledge, that is to say, by art. If he should\nhear me say this now he would be lost in amazement and would consider that I was saying\nsomething which was finicking, dry, and not at all for the consideration of an artist. He\nis one who thinks that emotion creates emotion, and hates anything to do with calculation.\nIt is not necessary for me to point out that all art has to do with calculation and that the\nman who disregards this can only be but half an actor. Nature will not alone supply all\nwhich goes to create a work of art, for it is not the privilege of trees, mountains and brooks\nto create works of art, or everything which they touch would be given a definite and\nbeautiful form. It is the particular power which belongs to man alone, and to him through\nhis intelligence and his will. My friend probably thinks that Shakespeare wrote Othello in\na passion of jealousy and that all he had to do was to write the first words which came into\nhis mouth; but Iam of the opinion,.... and I think others hold the same opinion,.... that\nthe words had to pass through our author's head and that it was just through this process\nand through the quality of his imagination and the strength of his brain that the richness\nof his nature was able to be entirely and clearly expressed, and by no other process could\nhe have arrived at this.\nTherefore it follows that the the actor who wishes to perform .... Othello, let us say, must\nhave not only the rich nature from which to draw his wealth, but must also have the\nimagination to know what to bring forth, and the brain to know how to put it before us.\nTherefore the ideal actor will be the man who possesses both a rich nature and a powerful\nbrain. Of his nature we need not speak. It will contain everything. Of his brain we can\nsay that the finer the brain the less liberty will it allow itself, remembering how much\ndepends upon its co-worker, the Emotion, and also the less liberty will it allow its fellow-\nworker knowing how valuable to it is its sternest control. Finally, the intellect would\n\nWhat the Actor\nknows. &\nThe creative\npower. &\nThe ideal Actor."}, {"page_pdf": 12, "page_imprimee": "58", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.12", "texte": "THE ARTISTS OF\nTHE THEATRE\nOF THE FUTURE\n\nbring both itself and the emotions to so fine a sense of reason that the work would never\nboil to the bubbling point with its restless exhibition of activity, but would create that\nperfect moderate heat which it would know how to keep temperate. & The perfect actor\nwould be he whose brain could conceive and could show us the perfect symbols of all which\nhis nature contains. He would not ramp and rage up and down in Othello, rolling his eyes\nand clenching his hands in order to give us an impression of jealousy; he would tell his\nbrain to enquire into the depths, to learn all that lies there, and then to remove itself to\nanother sphere, the sphere of the imagination, and there fashion certain symbols which,\nwithout exhibiting the bare passions, would none the less tell us clearly about them. &\nAnd the perfect actor who should do this would in time find out that the symbols are to\nbe made mainly from material which lies outside his person. & But I will speak to you\nfully about this when I get to the end of our talk. For then I shall show you that the actor\nas he is today, must ultimately disappear and be merged in something else if works of art\nare to be seen in our kingdom of the Theatre (i).\nMeantime do not forget that the very nearest approach that has ever been to the ideal\nactor, with his brain commanding his nature, has been Henry Irving. There are many books\nwhich tell you about him, and the best of all the books is his face. Procure all the pictures,\nphotographs, drawings, vois can of him, and try to read what is there. & To begin with you\nwill find a mask, and the significance of this is most important. & I think you will find it\ndifficult to say when you look on the face, that it betrays the weaknesses which may have\nbeen in the nature. & Try and conceive for yourself that face in movement, movement\nwhich was ever under the powerful control of the mind. & Can you not see the mouth\nbeing made to move by the brain, and that same movement which is called expression\ncreating a thought as definite as the line of a draughtsman does on a piece of paper or as a\nchord does in music ? Cannot you see the slow turning of those eyes and the enlargement\nof them? & These two movements alone contained so great a lesson for the future of the\nart of the theatre, .... pointed out so clearly the right use of expression as opposed to the\nwrong use, that it is amazing to me that many people have not seen more clearly what\nthe future must be. I should say that the face of Irving was the connecting link between\nthat spasmodic and ridiculous expression of the human face as used by the theatres of the\nlast few centuries, and the masks which will be used in place of the human face in the near\nfuture. &\n& Try and think of all this when losing hope that you will ever bring your nature as\nexhibited in your face and your person under sufficient command. <£? Know for a truth that\nthere is something other than your face and your person which you may use and which is\neasier to control. & Know this, but make no attempt yet awhile to close with it. Continue\nto be an actor, continue to learn all that has to be learned, as to how they set about controlling\nthe face, and then you will learn finally that it is not to be entirely controlled.^\nI give yqu this hope so that when this moment arrives you will not do as the other\nactors have done. They have been met by this difficulty and have shirked it, have\ncompromised, and have not dared to arrive at the conclusion which an artist must arrive\nat if faithful to himself. & That is to say, that the mask is the only right medium of\nportraying the expressions of the soul as shown though the expressions of the face.\nON THE STAGE MANAGER\nM—MwiwiiiniiiMi i i ■■■■'\"■■\nyou have been an actor you must become a stage manager, Rather a misleading\ntitle this, for you will not be permitted to manage the stage. It is a peculiar position and\nyou can but benefit by the experience, though the experience will not bring either great\ndelights to you or great results to the theatre in which you work. & How well it sounds,\nthis title, Stage manager I it indicates \" Master of the science of the stage \"\nEvery theatre has a stage manager, yet I fear there are no masters of the stage science.\nPerhaps already you are an under stage=manager. You will therefore remember the proud\nJoy you felt when you were sent for, and, with some solemn words, informed that your\nmanager had decided to advance you to the position of stage manager, and begged to\nremind you of the importance of the post, and of the additional one or two pennies that go\n\nThe significance\nof the face of\nIrving. &\nThe Mask as the\nmedium of ex-\npression. &\nHe is no mastet\nof the science\n(1) See \"The Actor & the Uber Marionette \" in the April number of \" The Mask \" 1908, & &"}, {"page_pdf": 13, "page_imprimee": "59", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.13", "texte": "with the situation. I suppose that you thought that the great and last wonderful day\nof your dream had arrived, and you held your head a little higher for a week, and looked down\non the vast land which seemed to stretch out before you. & &\nBut after then, what was it? Am I not right in saying that it meant an early attendance\nat the theatre to see after the carpenters, and whether the nails had been ordered, and\nwhether the cards, were fixed to the doors of the dressing rooms? Am I not right in saying\nthat you had to descend again to the stage and stand around waiting to see if things\nwere done to time?.... whether the scenery was brought in and hung up to time? Did\nnot the costumiere come tearfully to you saying that some one had taken a dress from its box\nand substituted another? Did you not request the costumiere to bring the offending party\nbefore you ? and did you not have to manage these two in some tactful way so as to\noff end neither of them, and yet so as to get at the truth of the matter ?.... And did you ever\nget at the truth of the matter? And did these two go away nursing anything but a loathdd\n*\nhate towards you?.... Put the best case,.... one of them liked you, and the other began to\nintrigue against you the next hour. Did you find yourself still on the stage at about half\npast ten, and did not the actors arrive at that hour apparently in total ignorance that you\nhad been there already four hours, and with their superb conviction that the doors of the\ntheatre had just that moment been opened because they had arrived ? And did not at\nleast six of these actors in the next quarter of an hour come up to you and with an 44 I say,\nold chap, \" or 44 Look here, old fellow \", start asking you to arrange something for them on\nthe stage so as to make their task a little easier? And were not the things which they asked\nall so opposed one to the other, that to assist any one actor would have been to offend the\nother five ? & Having told them that you would do your best, were you not relieved by the\nsudden appearence of the director of the theatre, generally the chief actor ? And did you\nnot instantly go to him with the different requests which had been made to you, hoping\nthat he, as master, would take the responsibility of arranging all these difficult matters ?\nAnd did he not reply to you, 44 Don't bother me with these details; please do what you\nthink best and did you not then instantly know in your heart of hearts that the whole\nthing was a farce,.... the title, the position, and all ? & & & &\nAnd then the rehearsal commenced. & The first words are spoken; the first difficulty\narrives. The play opens with a conversation between two gentlemen seated at a\ntable. & Having gone on for about five minutes, the director interrupts with a gentle\nquestion. He asks if he is not correct in saying that at yesterday's rehearsal Mr. Brown\nrose at this or that line, twisting his chair back with a sudden movement? The actor,\na trifle distressed that he has been the cause of the first delay in the day's proceedings,\nand yet not wishing to take any fault to himself, asks with equal courtesy, 44 Are these the\nchairs which we are supposed to use on the night?\" & The director turns to the stage\nmanager, and asks him, 44 Are these the chairs we use upon the night ? \" & 44 No, Sir \"\nreplies the stage manager. A momentary look of disapproval, ever so slight, passes from\nthe director, and is reflected upon the faces of the two actors, and a little restless wind\npasses round the theatre. It is the first little hitch. \" 44 I think it would be best to\nuse at rehearsal the chairs we are going to use on the night \". &44 Certainly, Sir,! \" The\nstage manager claps his hands. «<£? 44 Isherwood, \" he cries,... A thin, sad looking little\nman, with a mask which is impenetrable on account of its extreme sadness, comes on to the\nstage and stands before the judgment seat. & He hesitates. 44 We shall use the chairs at\nrehearsal which have been ordered for this scene. \" 44 No chairs, Sir, have been ordered\nfor this scene. \" & The wind rises. A sharp flash of lightening shows itself on the face of\nthe director, and a sudden frown of thunder hangs upon the brows of the actors. The\nstage manager asks to see the property list, that is to say, the list of things used in the\nscene. Isherwood casts his eyes pathetically across the desert of the stage in search of\nthe leading lady. & Being the wife of the director, she has seen no reason for arriving\nin time. When she arrives she will have the look upon her face of having been concerned\nwith more important business elsewhere. Isherwood replies, 441 had orders, Sir, to put\nthese two chairs in Scene II, as they are chairs with pink and red brocade Great moment\nfor the director. Thunder clap,.... 44 Who gave you these orders, \"? & 44 Miss Jones. \" &\n(Miss Jones is the daughter of the leading lady who is the wife of the director. Her position\nis not defined in the theatre, but she may be said to 44 assist her mother. \") Hence\n\nTHE ARTISTS OF\nTHE THEATRE\nOF THE FUTURE\n\nHe is general\nutility man &\nThe rehearsal"}, {"page_pdf": 14, "page_imprimee": "60", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.14", "texte": "THE ARTISTS OF\nTHE THEATRE\nOF THE FUTURE\n\nthe absence of the chairs.... Hence the irritation of the entire company.... Hence the waste\nof time in many theatres and certainly in many English Theatres. & & &\n& This is but one and the first trial of the stage manager, who rather plays the part of\nthe tyre than the axel of the wheel of the stage. & The rehearsal continues. The stage\nmanager has to be there all the time with but little control and permitted to have less\nopinions, and yet held responsible for all errors; and after it is over, while the actors\nmay retire to their luncheon, he must retire to the property room, the scene painting room,\nthe carpenters room, must hear all their grievances, must see everything being delayed\nand when the company returns to the theatre fresh after a pause of an hour or so he is\nexpected to be as fresh and as good humoured without a break of a minute. This would be\nan easy & pleasant matter if he had the authority of his title; that is to say, iff in his contract\nlay the words \" Entire and absolute control of the stage and all that is on the stage.\"\nBut it is none the less a good if a strange experience. It teaches the man who assumes\nthese terrible responsabilities how great a need there is for him to study the science of the\nstage, so that when it comes to his turn to be the director of the theatre, he may dispense\nwith the services of a so-called 4 stage manager ' by being the veritable stage manager\nhimself.\nYou will do well, after having remained an actor for five years to assume these difficult\nresponsabilities of stage manager for a year or two, and never forget that it is a position\ncapable of development. About the ideal stage manager I have written in my book *• The Art of\nthe Theatre\", and I have shown there that the nature of his position should make him the most\nimportant figure in the whole world of the theatre. It should therefore be your aim to\nbecome such a man,... one who is able to take a play and produce it himself, rehearsing the\nactors and conveying to them the requirements of each movement, each situation;.... designing\nthe scenery and the costumes and explaining to those who are to make them the requirements\nof these scenes and costumes;.... and working with the manipulators of the artificial light,\nand conveying to them clearly what is required. &&&<&£>&\nNow, if I had nothing better to bring to you than these suggestions, if I had no further\nideal, no further truth, to reveal to you about the stage and about your future than this\nthat I have told you of, I should consider that I had nothing to give you whatever and I\nshould urge you to think no more of the theatre. But I told you at the beginning of my letter\nthat I was going to give you all sorts of things to cheer yourself with, so that you should\nhave absolute faith in the greatness of the task which you set out to achieve; and here\nI remind you of this again lest you should think that this ideal manager of whom I speak\nis the ultimate achievement possible for you. It is not. Read what I have written\nabout him in the \" Art of the Theatre, \" and let that suffice you for the time being; but rest\nperfectly sure that I have more, much more to foliow, and that your Hope shall be so high,\nthat no other Hope, not even that of the poets or the priests, shall be higher. &\nTo return to the duties of the stage manager. & I take it that I have already explained\nto you, or that you have already experienced, these ordinary difficulties, and that you have\nlearned that great tact is required and no great talent. & You have only to take care that\nin exercising this tact you do not become a little diplomatist, for a little diplomatist is a\ndangerous thing. Keep fresh your desire to emerge from that position, and your best way\nto do this is to study how to master the different materials which, later on, you will have\nto work in when your position is that of the ideal stage manager. You will then possess\nyour own theatre, and what you place upon your stage will all be the work of your brain,\nmuch of it the work of your hands, and you must waste no time so as to be ready.\nON SCENE AND MOVEMENT\nIt is now time to tell you how I believe you may best become a designer of stage scenery and\ncostumes, and how you may learn something about the uses of artificial light; how you may\nbring the actors who work with you to work in harmony with each other, with the scene,\nand, most of all, with the ideas of the author. have been studying, and will go on studying,\nthe works which you wish to present. Let us here limit them to the four great tragedies\nby Shakespeare. You will know these so well by the time you begin to prepare them for\nthe stage,.... and the preparation will take you a year or two for each play.... you will have\n\nA strange task,\nWhy a good ex-\nperience & &\nThe Ideal Stage\nManager &\nAnd beyond. &"}, {"page_pdf": 15, "page_imprimee": "61", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.15", "texte": "THE ARTISTS OF\nTHE THEATRE\nOF THE FUTURE\n\nno mora doubts as to what impression you want to create; your exercise will be to see\nhow best you can create that impression. & & & & &\nLet me tell you then at the commencement that it is the large and sweeping impression\nproduced by means of scene and the movement of the figures, which is undoubtedly the\nmost valuable means at your disposal. I say this only after very many doubts and after\nmuch experience; and you must always bear in mind that it is from my experience that I\nspeak, and that the best I can do is but to offer you that experience, &r Although you know\nthat I have parted company with the popular belief that the written play is of any deep\nvalue to the Art of the Theatre, we are not going so far as that here. We are to accept it\nthat the play still retains some value for us and we are not going to waste that; our aim\nis to increase it. & Therefore it is, as I say, the production of general and broad effects\nappealing to the eye which will add a value to that which has already been made valuable\nby the great <&£?&?£?&&&&&\nFirst and foremost comes the scene. & It is idle to talk about the distraction of scenery,\nbecause the question here is not how to create some distracting scenery, but rather\nhow to create a place which harmonises with the thoughts of the poet. & &\nCome now, we take 44 Macbeth \". & We know the play well. In what kind of place is that\nplay laid? How does it look, first of all to our mind's eye, secondly to our eye? &\n& 1 see two things. I see a lofty and steep rock, and I see the moist cloud which envelops\nthe head of this rock. That is to say, a place for fierce and warlike men to inhabit, a place\nfor phantoms to nest in. Ultimately this moisture will destroy the rock; ultimately these\nspirits will destroy the men. Now then, you are quick in your question as to what actually\nto create for the eye. 1 answer as swiftly.... place there a rock! Let it mount up high. & Swiftly\nI tell you,.... convey the idea of a mist which hugs the head of this rock. & Now, have I\ndeparted at all for one eighth of an inch from the vision which I saw in the mind's eye?\n& But you ask me what form this rock shall take and what colour? What are the lines\nwhich are the lofty lines, and which are to be seen in any lofty cliff? ... Go to them, glance but\na moment at them; now quickly set them down on your paper; the lines and their direction,\nnever mind the cliff. &Do not be afraid to let them go high; they cannot go high enough;\n•...and remember that on a sheet of paper which is but two inches square, you can make a line\nwhich seems to tower miles in the air, and you can do the same on your stage for it is\nall a matter of proportion and nothing to do with actuality &\nYou ask about the colours?.. What are the colours that Shakespeare has indicated for us? Do not\nfirst look at nature, but look in the play of the poet. £/ Two; one for the rock, the man; one for\nthe mist, the spirit. Now, quickly, take and accept this statement from not a single\nother colour, but only these two colours through your whole progress of designing your\nscene and your costumes, yet forget not that each colour contains many variations. If you are\ntimid for a moment and mistrust yourself or what I tell, when the scene is finished you will\nnot see with your eye the effect you have seen with your mind's eye, when looking at the\npicture which Shakespeare has indicated. £?£*&&&?& &\n& It is this lack of courage, lack of faith in the value which lies in limitation and in\nproportion which is the undoing of all the good ideas which are born in the minds of the\nscene designers. They wish to make twenty statements at once. They wish to tell us not only\nof the lofty crag and the mist which clings to it; they wish to tell you of the moss of the\nHighlands and of the particular rain which descends in the month of August. They cannot\nresist showing that they know the form of the ferns of Scotland, and that their archeological\nresearch has been thorough in all matters relating to the Castles of Glamis and Cawdor.\nAnd so in their attempt to tell us these many facts, they tell us nothing; all is confusion....\n44 Most sacrilegious murder hath broke ope the Lord's annointed Temple, and stole thence\nthe life of the building\".\n& So, do as I tell you. Practice with the pencil on paper both on a small scale and on a\nlarge scale; practice with colour on canvas; so that you may see for yourself that what I\nsay to you is true .... and, if you are an Englishman, make haste! for if you do not others\nwho read this in other countries will find in it technical truths and will outstrip you before\nyou are aware of it. But the rock and its cloud of mist is not all that you have to\nconsider. & You have to consider that at the base of this rock swarm the clans of strange\nearthly forces, qnd that in the mist hover the spirits innumerable;.... to speak more technically\n\nThe study of the\nPlay & & +\nThe Scene &\n44 Macbeth \"\nThe Form &\nThe Colour &\nPractice9 ••• lose\nno time & &"}, {"page_pdf": 16, "page_imprimee": "62", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.16", "texte": "THE ARTISTS OF\nTHE THEATRE\nOF THE FUTURE\n\nyou have to think of the 60 or 70 actors whose movements have to be made at the base\nof the scene, and of the other figures which obviously may not be suspended on wires, and\nyet must be seen to be clearly separate from the human and more material beings,\nIt is obvious then that some curious sense of a dividing line must be created somewhere upon\nthe stage so that the beholder, even if he look but with his corporal eye, shall be convinced\nthat the two things are separate things. & I will tell yon how to do this. Line and\nproportion having suggested the material rock-like substance, tone and colour (one colour)\nwill have given the etherial to the mist-like vacuum. Now then, you bring this tone and\ncolour downwards until it reaches nearly to the level of the floor; but you must be careful\nto bring this colour and this tone down in some place which is removed from the material\nrock-like substance. &\nYou ask me to explain technically what I mean. Let your rock possess but half the width\nof the stage, Let it be the side of a cliff round which many paths twist, and let these|paths\nmingle in one flat space taking up half or perhaps three quarters of the stage. You have\nroom enough there for all your men and women. Now then, open your stage and all other\nparts. Let there be a void below as as well as above, and in this void let your mist fall and\nfade; and from that bring the figures which you have fashioned and which are to stand for the\nspirits. & I know you are yet not quite comfortable in your mind about this rock and this\nmist; I know that you have got in the back of your head the recollection that a little later\non in the play come several 'interiors' as they are called, & But, bless your heart, don't bother\nabout that! call to mind that the interior of a castle is made from the stuff which is taken\nfrom the quarries. Is it not precisely the same colour to begin with? and do not the blows\nof the axes which hew out the great stones give a texture to each stone which resembles\nthe texture given it by natural means, as rain, lightening, frost? & So you will not have\nto change your mind or change your impression as you proced. You will have but to give\nvariations of the same theme, the rock the brown; the mist.... the grey; and by these\nmeans you will, wonder of wonders, actually have preserved unity. & Your success will\ndepend upon your capacity to make variations upon these two themes; but remember never\nto let go of the main theme of the play when searching for variations in the Scene.\n& By means of your scene you will be able to mould the movements of the actors, and you\nmust be able to increase the impression of your numbers without actually adding another\nman to your 40 or 50. You must not therefore waste a single man, nor place him in such a\npositiou that an inch of him is lost. Therefore the places on which he walks must be the most\ncarefully studied parts of the whole scene. But in telling you not to waste an inch of\nhim I do not therefore mean to convey that you must show every inch of him. It is\nneedless to say more on this point. By means of suggestion you may bring on the stage\na sense of all things; the rain, the sun, the wind, the snow, the hail, the intense heat; but\nyou will never bring them there by attempting to wrestle and close with nature, in order\nso that you may seize some of her treasure and lay it before the eyes of the multitude.\nBy means of suggestion in movement you may translate all the passions and the thoughts\nof vast numbers of people, or by means the same you can assist your actor to convey\nthe thoughts and the emotions of the particular character he impersonates Actuality,\naccuracy of detail, is useless upon the stage. & & & & &\n& Do you want further directions as to how to become a designer of scenes and how to\nmake them beautiful, &, let us add for the sake of the cause, practical and inexpensive?^I am\nafraid that if I were to commit my method to writing I should write something down which\nwould prove not so much useless as bad. For it might be very dangerous for many people\nto imitate my method. It would be a different thing if you could study with me, practising\nwhat we speak about for a few years. Your nature would in time learn to reject that which\nwas unsuited to it, and, by a daily and a much slower initiation, only the more important\nand valuable parts of my teaching would last. But I can give you now some more general\nideas of things which you might do with advantage and things which you may leave undone.\nFor instance, to begin with, don't worry;—particularly don't worry your brain, and for\nHeaven's sake don't think it is important that you have got to do something, especially\nsomething clever.\n1 call to mind the amount of trouble I had when I was a boy of 21 over the struggle to\nsomehow produce designs traditional in character without feeling at all in sympathy with\n\nA technical Ex-\nplanation. &\nMy early expe-\nrience."}, {"page_pdf": 17, "page_imprimee": "63", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.17", "texte": "the tradition; and I count it as so much wasted time. I do not hold with others that it\nwas of any value whatever. £? I remember making designs for scenes for Henry IV. I was\nworking under an actor manager at the time. I was working in a theatre where the chairs\nand the tables and other matters of detail played important and photographic parts, and,\nnot knowing any better, I had to take all this as a good example The play of Henry IV\ntherefore consisted to my mind of one excellent part, Prince Hal, and 30 or 40 other\ncharacters that trotted round this part. & There was the usual table with the chairs round\nit on the right side. There at the back was the usual door, and I thought it rather unique\nand daring at the time to place this door a little bit off the straight. There was the window\nwith the latches and the bolts and the curtains ruffled up to look as if they had been used for\nsometime, and outside the glimpses of English landscape. There were the great flagons; and\nof course, on the curtain rising there was to be a great cluster and fluster of \"scurvy knaves\"\nwho ran in and out, and a noise of jovial drinkers in the next room. There was the little\npiece of jovial music to take up the curtain, that swinging jig tune which we have all\ngrown so familiar with, there were the three girls who pass at the back of the window,\nlaughing. One pops her head in at the window with a laugh and a word to the potman.\nThen there is the dwindling of the laughter and the sinking to piano of the orchestra as\nthe first speaking character enters,... and so on. &\nMy whole work of that time was based on these stupid restless dotails which I had been\nled to suppose a production could be made from ; and it was only when I banished the whole\nof this from my thoughts and no longer permitted myself to see with the eyes of the producers\nof the period of Charles Kean, that I began to find anything fresh which might be of\nvalue to the play. And so for me to tell you how to make your scenes is well nigh\nimpossible. It would lead you into terrible blunders. I have seen some of the scenery which\nis supposed to be produced according to my teaching, and it is utter rubbish.\nI let my scenes grow out of not merely the play, but from broad sweeps of thought\nwhich the play has conjured up in me, or even other plays by the same author have conjured\nup. For instance, the relation of Hamlet to Macbeth is quite close, and the one play may\ninfluence the other. & I have been asked so many times by people eager to make a little\nswift success or a little money, to explain to them carefully, how I make my scenes; because,\nsaid they with sweet simplicity, \" then I could make some too \", You will hardly believe\nit, but the strangest of people have said this to me and if I could be of service to them\nwithout being treacherous to myself as an artist, and to the art, I would always do so.\nBut you see how vain that would be! To tell them in five minutes or in five hours or even\nin a day how to do a thing which it has taken me a life time to begin to do would be utterly\nimpossible. And yet when I have been unable to bring myself to tear my knowledge up into\nlittle shreds and give it to these people they have been most indignant, at times malignant.\nAnd so you see it is not that I am unwilling to explain to you the size and shape of my\nback-cloths, the colour which is put upon them, the pieces of wood that are not to be attached\nto them, the way they are to be handled, the lights that are to be thrown upon them, and\nhow and why I do everything else; it is only that if 1 were to tell you, though it might\nbe of some service to you for the next two or three years, and you could produce several\nplays with enough effects therein to satisfy the curiosity of quite a number of people,.....\nthough you would benefit to this extent you would lose to a far greater extent, and the Art\nwould have in me its most treacherous minister We are not concerned with short cuts.\nWe are not concerned with what is to be effective and what is to pay. We are concerned\nwith the heart this thing, and with loving and understanding it. Therefore approach it from\nall sides, surround it, and do not let yourself be attracted away by the idea of scene as an end\nin itself, of costume as an end in itself, or of stage management or any of these things,\nand never lose hold of your determination to win through to the secret.... the secret which\nlies in the creation of another beauty and then all will be well. &\n& In preparing a play, while your mind is thinking of scene, let it instantly leap round\nand consider the acting, movement and voice. Decide nothing yetinstantly leap back to\nanother thought about another part of this unit. & Consider the movement robbed of all\nscene, all costume, merely as movement. Somehow mix the movement of the person with\nthe movement which you see in your mind's eye in the scene. Now pour all your colour\nupon this. Now wash away all the colour. Now begin over again. Consider only the words.\n\nTHE ARTISTS OF\nTHE THEATRE\nOF THE FUTURE\n\nWould-be imita-\ntors. &\nThe preparation\nof a play,"}, {"page_pdf": 18, "page_imprimee": "64", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.18", "texte": "THE ARTISTS OF\nTHE THEATRE\nOF THE FUTURE\n\nWind them in and out of some vast and impossible picture, and now make that picture possible\nthrough the words. DO you see at all what I mean Look at the thing from every standpoint\nand through every medium, and do not hasten to begin your work until one medium force\nyou to commence. You can far sooner trust other influences to move your will and even\nyour hand that you can trust your own little human brain. This may not be the methodical\nteaching of the schools. The results they achieve are on record,and the record is nothing\nto boast about. Hard, matter of fact, mechanical teaching may be very good for a class,\nbut it is not much good for the individual; and when I come to teach a class 1 shall not\nteach them so much by words as by practical demonstration. &\nBy the way, I may tell you one or two things that you will find good not to do. For\ninstance, do not trouble about the costume books. When in a great difficulty refer to\none in order to see how little it will help you out of your difficulty, but your best plan is\nnever to let yourself become complicated with these things. Remain clear and fresh. If you\nstudy how to draw a figure, how to put on it a jacket, coverings for the legs, covering for\nthe head, and try to vary these coverings in all kinds of interesting, amusing, or beautiful\nways, you will get much further than if you feast your eyes and confound your brain with\nRacinet, Planchet, Hottenroth and the others. The coloured costumes are the worst, and\nyou must take great care with these and be utterly independent when you come to think\nabout what you have been looking at. Doubt and mistrust them thoroughly. If you find\nafterwards that they contain many good things you will not be so far wrong; but if you\naccept them straight away your whole thought and sense for designing a costume will be\nlost; you will be able to design a Racinet costume or a Planchet costume, and you will lean\nfar too much on these historically accurate men who are at the same time historically untrue.\nBetter than these that I have mentioned is Viollet le Due. He has much love for the\nlittle truths which underlie costume, and is very faithful in his attitude; but even his is\nmore a book for the historical novelist, and one has yet to be written abqut imaginative\ncostume. & Keep continually designing such imaginative costumes. For example, make a\nbarbaric costume; and a barbaric costume for a sly man which has nothing about it which can\nbe said to be historical and yet is both sly and barbaric. & Now make another design for\nanother barbaric costume, for a man who is bold and tender. NOW make a third for one\nwho is ugly and vindictive* & It will be an exercise. You will probably make blunders at\nfirst for it is no easy thing to do but I promise you if you persevere long enough you will\nbe able to do it. Then go further; attempt to design the clothing for a divine figure\nand for a demonic figure: These of course will be studies in individual costumes,\nbut the main strength of this branch of the work lies in the costume as mass. It is the\nmistake of all theatrical producers that they consider the costumes of the mass individually.\nIt is the same when they come to consider movements, the movements of masses on the\nstage. You must be careful not to follow the custom. We often hear it said that each\nmember of the Meinigen Company composing the great crowd in Julius Caesar was acting\na special part of his own. This may be very exciting as a curiosity, and attractive to\na rather foolish audience, who would naturally say, \" Oh, how interesting to go and look\nat one particular man in a corner who is acting a little part of his own! How wonderful!\nIt is exactly like life! \",.... And if that is the standard and if that is our aim, well and good.\nBut we know that it is not. Masses must be treated as masses, as Rembrandt treats\na mass, as Bach, as Beethoven treats a mass, and detail has nothing to do with the mass.\nDetail is very well in itself and in its place. You do not make an impression of mass by\nCrowding a quantity of details together. Detail is made to form mass only by those people\nwho love the elaborate, and it is a much easier thing to crowd a quantity of details together,\nthan it is to create a mass which shall possess beauty and interest. On the stage they\ninstantly turn to the natural when they wish to create this elaborate structure.... A hundred\nmen to compose a crowd, or, let us say, all Rome, as in Julius Caesar; a hundred men, and\neach is told to act his little part. Each acts himself, giving vent to his own cries; each\na different cry, .... though many of them copy the most effective ones so that by the end of\nthe first 20 nights they are all giving out the same cry. And each of them has his own\naction, which after the first twenty nights is exchanged for the most effective and popular\naction; and by this means a fairly decent crowd of men with waving arms and shouting\n\nThe costume\nbooks.\nViollet le Due.\nThe movements\nof masses."}, {"page_pdf": 19, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.19", "texte": "DESIGN FOR A STAGE SCENE GORDON CRAIG"}, {"page_pdf": 21, "page_imprimee": "65", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.21", "texte": "voices may be composed, and may give some people the impression of a vast crowd. To\nothers it gives the impression of a crush at a railway station. & & &\n& Avoid all this sort of thing. Avoid the so-called * naturalistic* in movement as well as\nin scene and costume. The naturalistic stepped in on the Stage because the artificial had\ngrown finicking, insipid;.... but do not forget that there is such a thing as noble artificiality.\nSomeone writing about natural movement and gesture says, \" Wagner had long put in\npractice the system of natural stage action tried of late years at the Thddtre Libre in Paris\nby a French comedian; a system which, most happily, tends more & more to be generally\nadopted \". It is to prevent such things being written that you exist. & &\n& This tendency towards the natural has nothing to do with art, and is abhorrent when\nit shows in art, even as artificiality is abhorrent when we meet it in every day life. We\nmust understand that the two things are divided, and we must keep each thing in its place;\nwe cannot expect to rid ourselves in a moment of this tendency to be \" natural\"; to make\n\" natural \" scenes, and speak in a \" natural\" voice, but we can fight against it best by\nstudying the other arts. & &\nTherefore we have to put the idea of natural or unnatural action out of our heads\naltogether, and in place of it we have to consider necessary or unnecessary action. The\nnecessary action at a certain moment may be said to be the natural action for that moment;\nand if that is what is meant by 1 natural9 well and good. In so far as it is right it is natural,\nbut we must not get into our heads that every haphazard natural action is right. In fact\nthere is hardly any action which is right, there is hardly any which is natural. Action is a\nway of spoiling something, says Rimbaud. &\n& And to train a company of actors to show upon the stage the actions which are seen in\nevery drawing room, club, public house or garret must seem to everyone nothing less\nthan tomfoolery. That companies are so trained is well known, but it remains almost incredible\nin its childishness. Just as I told you to invent costume which was significant, so must\nyou invent a series of significant actions, still keeping in mind the great division which\nexists between action in the mass and action in the individual, and remembering that no\naction is better than little & &\nI have told you to make three costumes based on the idea of a barbaric sense, each\nparticularized by some special individuality. Give action to these figures which you have made.\nCreate for them significant actions, limiting yourself to those three texts that I have given\nyou, the sly, the bold tenderness, the ugly and vindictive. Make studies for these, carry\nyour little book or pieces of paper with you and continually be inventing with your pencil\nlittle hints of forms and faces stamped with these three impressions; and when you have\ncollected dozens of them select the most beautiful. & & &\nAnd now for a word on this. £? I particularly did not say the most * effective9 although\n1 used the word * beautiful7 as the artists use it, not as those of the stage use it.\nI tcannot be expected to explain to you all that the artist means by the word beautiful;\nbut to him it is something which has the most balance about it, the justest thing, that\nwhich rings a complete and perfect bell note. Not the pretty, not the smooth, not the\nsuperb always, and not always the rich, seldom the « effective 7 as we know it in the theatre,\nalthough at times that, too, is the beautiful. But Beauty is so vast a thing, and contains\nnearly all other things; contains even ugliness, which sometimes ceases to be what is held as\nugliness, and contains harsh things, but never incomplete things.\n& Once let the meaning of this word \" Beauty 77 begin to be thoroughly felt once more in\nthe theatre, and we may say that the awakening day of the theatre is near. Once let the word\n* effective 7be wiped off our lips, and they will be ready to speak this word Beauty. When\nwe speak about the effective, we in the theatre mean something which will reach across the foot\nlights. The old actor tells the young actor to raise his voice, to \" Spit it out\";.... \" Spit it out,\nladdie, fling it at the back of the gallery\" Not bad advice either; but to think that\nthis has not been learnt in the last five or six hundred years, and that we have not got\nfurther; that is what is so distressing about the whole business. Obviously all stage\nactions and all stage words must first of all be clearly seen, must be clearly heard. Naturally\nall pointed actions and all pointed speeches must have a clear and distinct form so that\nthey may be clearly understood.^We grant all this. It is the same in all art, & as with the\nother arts it goes without saying; but it is not the one & only essential thing which the\n\nTHE ARTISTS OF\nTHE THEATRE\nOF THE FUTURE\n\nThe1 Naturalistic*\nin Movement. £/\nThe natural act-\nion not always\nthe right one\nThe word Beau-\ntiful & its mean-\ning' J£?\nThe word ** Effec-\ntive"}, {"page_pdf": 22, "page_imprimee": "66", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.22", "texte": "THE ARTISTS OF\nTHE THEATRE\nOF THE FUTURE\n\neiders must be continually drumming into the ears of the younger generation when it steps\nupon the stage. It teaches the young actor soon to become a master of tricks, fie takes the\nshort cut instinctively to these tricks, and this playing of tricks has been the cause of the\ninvention of a word,—\" Theatricaland I can put my finger on the reason why the young\nactor labours under this disadvantage the moment he begins his stage experience. It is\nbecause previous to his experience he has passed no time as student or as apprentice.\n& I do not know that I am such a great believer in the schools. I believe very much indeed\nin the general school which the world has to offer us, but there is this great difference\nbetween the \" world \" schooling of the actor and the \" world \" schooling of the other artists\nwho do not go to the Academies either. A young painter, or a young musician, a young\npoet, or a young architect, or a young sculptor may never enter an Academy during his\nlife, and may have ten years knocking about in the world learning here, learning\nthere, experimenting and labouring unseen and his experiments unnoticed. & The young\nactor may not enter an Academy either, and he may also knock about in the world, and\nhe too may experiment just the same as the others, but and here is the vast difference\nall his experiments he must make in front of a public. Every little atom of his work\nfrom the first day of his commencing until the last day of his apprenticeship must be seen,\nand must come under the fire of criticism. I shall ever be beholden to the higher criticism,\nand for a man of ten year's experience a£ any work to come under the fire of criticism will\nbenefit him and his work a thousandfold. He has prepared himself; he has strength; he\nknows what he is going to face. But for every boy and girl to be subjected to this the first\nyear that they timidly attempt this enormous task is not only unfair on them but is\ndisastrous to the art of the stage. &\n& Let us picture ourselves as totally new to this work. We are on fire with the desire to\nbegin our work. Willingly and with an enormous courage we accept some small part. It\nis eight lines and we appear for ten minutes. We are delighted although almost in a\npanic. Say it is twenty lines.... Do you think we say no? We are to appear six times,... do\nyou ithink we shall run away? We may not be angels but we are certainly not fools for\nstepping in. It appears to us heaven. On we go Next morning \"Itis a pity that the\nmanager elected an incompetent young man to fill so important a part \". &\n& I am not blaming the critic for writing this ; I am not saying that it will kill a great artist or\nthat it will break our heart; I only say that this seems so unfair that it is only natural that\nwe retaliate by taking an unfair advantage of the very art which we have commenced\nto love, by becoming \" effective \" at all costs. & We have received this criticism; we have\ndone our best; the others have received good criticism; we can stand it no longer; we do\nas they do,.... we become 44 effective \". It takes most young actors but five years' acute\nsuffering to become effective, to become theatrical. Too early criticism breaks the young\nactor who would be an artist as far as possible, and causes him to be a traitor to the art\nwhich he loves. Beware of this and rather be ineffective. Receive your bad criticism\nwith a good grace and with the knowledge that with patience and with pride you can outlive\nand outdistance all around you. It is right that the critic should say that you were\nineffective at a certain moment, or that you played your part badly, if you have been but three,\nfour or five years on the stage, and if you are but still feeling your way slowly, instead of\nrushing to tricks for support. It is quite right of them to say that, for they are speaking\nthe entire truth; you should be glad of this; but unconsciously they disclose a still greater\ntruth. It is this; That the better the artist the worse the & & &\nSo take entire courage. Continue as I have said at the beginning to remain an actor\nuntil you can stand it no longer, until you feel you are on the point of giving way; then\nleap nimbly aside into the position of stage manager. And here as I have pointed out you\nwill be in a better position if not a much better position, for you are approaching the point\nat which stands, (slumbering, it is true) the artist of the theatre. Your most effective scenes,\nproductions, costumes and the rest, will of course be the most theatrical ones. But here\ntradition is not so strong, and it is here that you will find something that you can rely on.\nThe critic is not more lenient towards the producer of plays, but some how or other he\nis less inclined to use the word * effective'. He seems to have a wider knowledge of the beauty\nor the ugliness of these things. It may be that the tradition of his art permits him this; for\nproduction, as it is understood nowadays, is but a more modern development of the theatre,\n\nThe \"Schooling\"\nof the Actor.\nTie ire of Cri-\nticismc\nAnd the result*\nThe critic's atti-\ntude. & &"}, {"page_pdf": 23, "page_imprimee": "67", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.23", "texte": "and the critic has more liberty to say what he wishes. & At any rate, when you become stage\nmanager, you will no longer have to appear each evening upon the stage in person, and\ntherefore anything which is written about your work you cannot take in a personal way.\nI thought to tell you here something about the uses of artificial light; but apply what\n1 have said of scene and costume to this other branch as well. Some of it may apply. &\nTo tell you of the instruments which they use, how they use them so as to produce beautiful\nresults, is not quite practical. If you have the wit to invent the scenes and the costumes\nthat I have spoken about, you will soon have the wit to find your own way of using the\nartificial light we are given in the theatre. & & &\n& Finally, before we pass out of the theatre on to other more serious matters, let me give\nyou the last advice of all When in doubt listen to the advice of a man in a theatre\neven if he is only a dresser, rather than pay any attention to the amateur. A few painters,\na few writers, and a few musicians, have used our theatre as a kind of afterthought.\nTake care to pay no attention to what they say or what they do. An ordinary\nstage hand knows more about our art than these amateurs. The painter has lately\nbeen making quite a pretty little raid upon the outskirts of the stage. He is very often\na man of much intellectual ability and full of very many excellent theories, the old and\nbeautiful theory of art which each in his own piece of soil knows how to cultivate best;\nand these theories he has exemplified in his own particular branch of art so well. In the\ntheatre they become sheer affectation. It is reasonable to suppose that a man who has\nspent fifteen to twenty years of his life painting in oils on a flat surface, etching on copper,\nor engraving on wood will produce something which is pictorial and has the qualities of the\npictorial but nothing else. And so with the musician; he will produce something which is\nmusical. So with the poet; he will produce something which is literary. It will all be very\npicturesque and pretty, but it will unfortunately be nothing to do with the Art of the\nTheatre. Beware of such men; you can do without them. If you have anything\nto do with them you will end by being an amateur yourself. If one of these should wish\nto talk with you about the theatre be careful to ask him how long he has actually\nworked in a theatre before you waste any more time listening to his unpractical theories.\nas the last but one word was about these men so the last word of all shall be about their\nwork. Their work is so fine, they have found such good laws and have followed these laws so well,\nhave given up all their worldly hopes in this one great search after beauty, that when nature\nseems to be too difficult to understand, go straight to these fellows,.... I mean to their\nwork .... and they will help you out of all the difficulties, for they are the best and the\nwisest people in the world.\n& And now I intend to carry you on beyond this stage management about which I have spoken,\nand unveil to you some greater possibilities which I think are in store for you.\n& I have come to the end of talking with you about matters as they are, and I hope you will\npass through those years as actor, manager, designer and producer without any very great\ndisturbances. To do this successfully, although in your apprenticeship you must hold your\nown opinion, you must hold it very closely to yourself; and above all things remember that I do\nnot expect you to hold my opinion or to stand up for it publicly. To do that would be to\nweaken your position and to weaken the value of this preparation time. It is of no value to\nme that people should be convinced of your belief in the truth of my statements, theories or\npractises: it is of great value to me that you should be so convinced. And so as to let nothing\nstand in the way of that I would have you run no risks, but keep our convictions to ourselves. Try\nto win no support for me. Run no risk of being faced with the dismissal from your post with\nthe option of the denial of our mutual beliefs. Besides, there is no need for either of these\ntwo alternatives. I have taken so large a share of the rebuffs by loudly proclaiming my\nbeliefs in the cause of the truth of this work, and am always prepared to take more if you\nwill but leap forwards and secure the advantages, using me as the stalking horse. I shall\nappreciate the fun, for there is a spice of fun in it all .... and that will be my reward. &\nRemember we are attacking a monster; a very powerful & subtle enemy; and when you signal\nto me let it be by that more secret means even than wireless telegraphy. I shall understand\nthe communication.\n& When you have finished your apprenticeship, ....6 to 10 years,.... there will be no need\nto use further concealment: you will then be fitted to step out and, in your turn, unfurl\n\nTHE ARTISTS OF\nTHE THEATRE\nOF THE FUTURE\n\nDon*t listen\nto Amateurs. &\nAnd now \" Be-\nyondf. *} &"}, {"page_pdf": 24, "page_imprimee": "68", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.24", "texte": "THE ARTISTS OP\nTHE THEATRE\nOF THE FUTURE\n\nyour banner, for you will be upon the frontier of your kingdom,.... and about this kingdom\nI will speak now. &\n& I use the word 4 Kingdom ' instinctively in speaking of the land of the Theatre. It explains\nbest what I mean. & May be in the next three or four thousand years the word Kingdom\nwill have disappeared, ....Kingdom,.... Kingship, ....King,... but I doubt it; and if it\ndoes go something else equally fine will take its place. It will be the same thing in a different\ndress. & You can't invent anything finer than Kingship... the idea of the King. It is merely\nanother word for the Individual, the calm shrewd personality; and so long as this\nworld exists the calmest and the shrewdest personality will always be the King. In some\nrare instances he is called the President, but he is none the less the King. In some instances\n«\nhe is called the Pope, & sometimes the General; it all comes to the same thing, and\nit is no good denying it; he is the King. To the artist the thought is very dear. There\nis the sense of the perfect balancer. The king (to the artist) is that superb part of\nthe scales, which the old workmen made in gold and sometimes touched with beautiful\nstones;... the delicately worked handle without which the scales could not exist and upon\nwhich the eye of the measurer must be fixed. Therefore I have taken as the device of\nour new Art these scales, for our art is based upon the idea of perfect balance, the result\nof movement.\nHere then is the thing which 1 promised at the beginning to bring to you. Having passed\nthrough your apprenticeship without having been merged in the trade, you are fitted to\nreceive this. Without having done so you would not even be able to see it. I have\nno fear that what I throw to you now will be caught by other hands because it is visible\nand tangible only to those who have passed through such an apprenticeship. In the\nbeginning with you it was Impersonation; you passed on to Representation, and now you\nadvance into Revelation. When Impersonating and Representing you made use of those\nmaterials which had always been made use of; that is to say, the human figure as exemplified\nin the actor, speech as exemplified in the poet through the actor, the visible world as shown\nby means of Scene. You now will reveal by means of movement the Invisible things, ...\nthose seen through the eye and not with the eye, by the wonderful and divine power of\nMovement. &\nThere is a thing which man has not yet learned to master, a thing which man dreamed\nnot was waiting for him to approach with love; it was invisible and yet ever present with\nhim Superb in its attraction and swift to retreat, a thing waiting but for the approach\nof the right men.... prepared to soar with them through all the circles beyond the earth....\nMovement.\nIt is somehow a common belief that only by means of words can truths be revealed.'Even\nthe wisdom of China has said. 44 Spiritual truth is deep and wide, of infinite exellence,\n44 but difficult of comprehension Without words it would be impossible to expound its\n\" doctrine; without images its form could not be revealed. Words explain the law of two\n44 and six, images delineate the relation of four and eight. Is it not profound,.... as infinite as\n44 space,.... beyond all comparison lovely?\" &\nBut what of that infinite and beautiful thing drawn from space called Movement?\nFrom Sound has been drawn that wonder of wonders called Music. Music,.... one could\nspeak of it as St Paul speaks of love. It is all Tove ....it is all that he says true love should\nbe. It suffereth all things, &is kind; is not puffed up, doth not behave itself unseemly;\nbelieveth all things, hopeth all things, infinitely vast! &\n& And as like as one sphere to another, so is movement like to music. I like to\nremember that all things spring from movement, even music; and I like to think that it is to\nbe our supreme honour to be the ministers to the supreme force Movement & For you\nsee where the theatre (even the poor distracted and desolate theatre) is connected with this\nservice. The theatres of all lands, east and west, have developed (if a degenerate development)\nfrom movement the movement of the human form. We know so much for it is on\nrecord ; and before the human being assumed the grave responsability of using his own person\nas an instrument through which this Beauty should pass, there was another and a wiser\nrace, who used other instruments. & jg? &\n& In the earliest days the dancer was a priest or a priestess, and not a gloomy one by\nany means; too soon to degenerate into something more like the acrobat, and finally to achieve\n\nThe Balance\nMovement"}, {"page_pdf": 25, "page_imprimee": "69", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.25", "texte": "the distinction of the ballet dancer. By association with the minstrel, the actor appeared. Ido\nnot hold, that with the renaissance of the dance comes the renaissance of the ancient art of the\ntheatre, for I do not hold that the ideal dancer is the perfect instrument for the expression of all\nthat is most perfect in movement. & The ideal dancer, male or female, is able by the strength or\ngrace of the body to express much of the strength and grace which is in the nature, but it\ncannot express all, nor a thousandth part of that all. For the same truth applies to the dancer\n#\nand to all those who use their own person as instrument. Alas, the human body refuses to\nbe an instrument, even to the mind which lodges in that body. The sons of Los rebelled\nand still rebel against their father. The old divine unity, the divine square, the peerless\ncircle of our nature has been ruthlessly broken by our moods, and no longer can instinct\ndesign the square or draw the circle on the grey wall before it. But with a significant\ngesture we thrill our souls once more to advance without our bodies upon a new road and\nwin it all back again. This is a truth which is not open to argument, and a truth which\ndoes not lessen the beauty which exhales from the dearest singer or the dearest dancer of\nall times.\nTo me there is ever something more seemly in man when he invents an instrument which\nis outside his person, and through that instrument translates his message. I have a greater\nadmiration for the organ, for the flute and for the lute than I have for the human\nvoice when used as instrument. I have a greater feeling of admiration and fitness when\nI see a machine which is made to fly than when I see a man attaching to himself the wings\nof a bird. For a man through his person can conquer but little, but through his mind he\ncan conceive and invent that which shall conquer all things.\nI believe not at all in the personal magic of man, but only in his impersonal magic. It\nseems to me that we should not forget that we belong to a period after the Fall and not\nbefore it,.... I can at least extract a certain hint from the old story. And though it may be\nonly a story, I feel that it is just the very story for the artist. & In that great period\nprevious to this event we can see in our mind's eye the person of man in so perfect a\nstate that merely to wish to fly was to fly, merely to desire that which we call the impossible\nwas to achieve it. We seem to see man flying into the air or diving into the depths and\ntaking no harm therefrom. We see no foolish clothes, we are aware of no hunger and thirst.\nBut now that we are conscious that this \" square deific \" has been broken in upon, we\nmust realise that no longer is man to advance and proclaim that his person is the perfect\nand fitting medium for the expression of the perfect thought.\nSo we have to banish from our mind all thought of the use of a human form as the\ninstrument which we are to use to translate what we call Movement. We shall be all the\nstronger without it. We shall no longer waste time and courage in a vain hope. £? The\nexact name by which this art will be known cannot yet be decided on, but it would be a\nmistake to return and look for names in China, India or Greece. We have words enough in our\nEnglish language, and let the English word become familiar to the tongues of all the nations.\nI have written elsewhere, and shall continue to write, all about this matter as it grows in\nme, and you from time to time will read what I write. But I shall not remove from you\nthe very difficulty which will be the source of your pleasure; I wish to leave all open and\nto make no definite rules as to how and by what means these movements are to be shown.\nThis alone let me tell you. I have thought of and begun to make my instrument, and\nthrough this instrument I intend soon to venture in my quest of beauty. How do I know\nwhether I can achieve that or not? Therefore how cari I tell you definitely what are the\nfirst rules which you have to learn? Alone and unaided I can reach no final results.\nIt will need the force of the whole race to discover all the beauties which are in this\ngreat source,.... this new race of artists to which you belong. When I have constructed\nmy instrument and permitted it to make its first assay I look to others to make like\ninstruments. Slowly, and from the principles which rule all these instruments some\nbetter instrument will be made.\nI am guided in the making of mine by only the very first and simplest thoughts which I am\nable to see in movement. The subtleties and the complicated beauties contained in movement\nas it is seen in nature, these I dare not consider; I do not think I shall ever be able to\nhope to approach these. Yet that does not discourage me from attempting some of the\nplainest, barest and simplest movements,.... I mean those which seem to me the simplest,\n\nTHE ARTISTS OF\nTHE THEATRE\nOF THE FUTURE\n\nThe sons of I/OS\nThe name of\nthis Art &"}, {"page_pdf": 26, "page_imprimee": "70", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.26", "texte": "those which I seem to understand. And after I have given activity to those I suppose I\nshall be permitted to continue to give activity to the like of them; but 1am entirely conscious\nthat they contain but the simplest of rhythms.... the great movements will not yet be\ncaptured,no, not for thousands of years. But when they come, great health comes with\nthem, for we shall be nearer balance than we have ever been before.\nI think that movement can be divided into two distinct parts,.... the movement of two and\nfour which is the square, the movement of one and three which is the circle. There is\never that which is masculine in the square and ever that which is feminine in the circle.\nAnd it seems to me that before the female spirit gives herself up, and with the male goes\nin quest of this vast treasure, perfect movement will not be discovered; for I believe that\nas only the male can conceive and can control that which is contained within the square,\nonly the female can discover that which is contained in the circle.\n1 like to suppose that this art which shall spring from movement will be the first and final\nBelief of the world; and 1 like to dream that for the first [time in the world men and women\nwill achieve this thing together. £? How fresh, how beautiful it would be! £/ And as this\nis a new beginning it lies before men and before women of the next centuries as a vast\npossibility. In men and women there is a far greater sense of movement than of music.\nCan it be that this idea which comes to me now will at some future date blossom through\nhelp of the woman, or will it be as ever the man's part to master these things alone?\nThe musician is a male, the builder is a male, the painter is a male, and the poet is a male.\nCome now, here is an opportunity to change all this.... But 1 cannot follow the thoughts\nany further here, neither will you be able to.\nGet on with the thought of the invention of an instrument by which means you can bring\nmovement before our eyes. & When you have reached this point in your developments you\nneed have no further fear of hiding your feeling or your opinion, but may step forward and\njoin me in the search. You will not be a revolutionary against the theatre, for you will\nhave risen above the theatre and entered into something beyond it. & Maybe you will pursue\na scientific method in your search, and that will lead to very valuable results. & There must\nbe a hundred roads leading to this point, not merely one, and a scientific demonstration of\nall that you may discover can in no way harm this thing. Well, do you see any value\nin the thing 1 give you ? If you do not at first you will bye and bye. £> I could not expect\na hundred or even fifty,... no, not ten, to understand. But one? It is possible,... just\npossible. & && && && && &\n\nTHE ARTISTS OP\nTHE THEATRE\nOP THE PUTURE\n\nThe square &\nthe circle\nThe first & fnal\nBelief &"}, {"page_pdf": 27, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.27", "texte": "MARIONETTES IN VENICE: IAGO - OTHELLO - DESDEMONA E. THESLEFF"}, {"page_pdf": 29, "page_imprimee": "71", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.29", "texte": "SARAH BERNHARDT\n\nThe perfect\nActress. &\n&he has eve r\nadv anced. &\nThe Actress\nMan a g ei. &\nHer attention to\ndetail. & &\n\n| n Sarah Bernhardt we have the perfect actress. & & & &\nShe seems to have set out to become perfect in her work and we find she has accomplished\nthe task. This can be said of no other woman upon the stage, and, now Irving is no\nmore, it can be said of no man. Therefore she stands alone in being alone able of all living\npersons to give a perfect exhibition af acting. & & & & & &\n& In achieving so difficult, and, one might almost say, so unpleasant, a task, she has shown\nus that she possesses a directness of purpose which would be remarkable in a man, still\nmore remarkable in a woman, and extraordinary in an actress. & &\n& Thirty years ago she was the first actress in the world and she has kept her place, for she\nhas advanced as all the others advanced upon her. Her performance in \"La Dame aux\nCamelias \" is today a more perfect thing than it was twenty years ago. We may therefore\nsay that she is now in her prime. But even this is uncertain. We are not sure that she\nwill not go further. If another and a younger actress should appear and it should be in\nquestion as to which of the two were the greater, Sarah Bernhardt would advance upon her\npresent position and would tell us. & She is firmly persuaded of her power. &\n& I am one whom it interests but little to go to the theatre for I find there all the signs of\nweakness in art—indecision of thought and incompleteness of utterance. The actor is\ngrandiloquent .or he is amusing; he is easy or he is well dressed or he is handsome* The\nactresses are charming, even fascinating, are self possessed, speak well, or are excellent\nmimics. In some cases they exhibit some depth of emotion. £> Some actresses cry well,\nhave most bewitching tears in their voice, convey the feeling of great sadness or are\nentirely merry. Some are even delightful comedians, are touching and pathetic: and\nsome are very womanly. And Bernhardt is every bit of all this before she begins, and\nwhen she begins we are aware that we are about to see a piece of superlative acting.\njg* If it is Bernhardt that she always acts, she has been careful during her life to see\nthat Bernhardt was everything. Therefore she is not merely a happy spirit, or unhappy, she\nis both. She is not merely a pleasant temperament nor merely a grim temperament; she is\nboth. She alone has seen that to be the perfect actress you must be a perfectly developed\nwoman. & To most celebrated actresses who are their own managers their task is\na tedious one. They shirk three quarters of it. They compromise with what they\nfind objectionable in the task and so they are left behind. They seem to me to\nbe weary, and that is what Bernhardt never seems to be. I have read of her\nextraordinary capability of being able to work continuously for eighteen or twenty\nhours or longer, passing from one thing to another with a fresh zest and with clear energy.\nBut I, who have myself had some work for a few years in connection with the theatre, and\nknow what a confusion is apt to reign there, know that what has been stated of her\ncapabilities as director has been understated. She has borne the stress of laborious hours\nwell enough, but what she has borne with best and brought under her control are the doubts\nwhich must have assailed her as to the value of her task. & x?\nAll actors and actresses talk much about the Art of Acting, but many of these confess by\ntheir work their doubt as to whether it is an art, and a thankful art. Some of them act\nunwillingly, some of them seem to have much trouble with those things which surround them\nwhile at work and which they speak of as being something apart from their art; that is to say, the\nwork of their fellow actors, the play, the scenery, and so on. But with Bernhardt this is not so.\nI daresay she has not only never been heard to sigh at her work, but has actually never\nfelt weariness nor regret. To her Life is work, and she is a stern master,... above all to herself.\nShe never allows herself to shirk difficulties. The play or the scene may not have for her an\nundue value, but what value they have to her as actress she is always ready to credit them with,\nI should say that she alone is true in her just admiration of her fellow actors, of the scene painter\nand of the programme printer. I should say that she alone rightly values the work of these\nmen. What is a programme to most great actors or actresses? Quite an extra affair.\nWith Sarah Bernhardt it is part of a whole, part of herself; and 1 suppose that not one programme\nhas been issued in her theatre that has not come under her direct and careful supervision.\nNow when we consider this, and when we remember that the programme, the last thing"}, {"page_pdf": 30, "page_imprimee": "72", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.30", "texte": "& SARAH\nBERNHARDT\n\nin the theatre, is but one of at least two thousand details which have to be considered, we get\nsome glimpse of the courage and the coolness of this extraordinary personality. And\nremember this; that the great statesman or the great admiral, the great field marshall or\nthe head of a university, have under them a trained staff of experts. Not so in the theatre,\nnot so Madame Sarah Bernhardt.\nConsider then for a moment what this means. It means that she has to play the part\nwhich a general has to play when he is trapped and besieged in a town in a foreign land\nand with none but native soldiers under him. The world rings with the stories of how\nthis or that general fought against such odds, has had to manufacture his guns without\nsufficient men to erect them, has had to put up with countless makeshifts; and then he is\ndecorated for his adroitness, his energy and his bravery. And justly too. Those who go\nto the theatre know nothing of the odds against which such as Bernhardt has to fight. They\ndo not know that there are any difficulties out of the common which have had to be overcome.\nThey do not know of the tremendous odds against the production of even a fairly good\nrepresentation. They do not know that the stage of a Theatre is an antiquated and useless\nmachine. Therefore let us all praise Bernhardt for her remarkable achievement under\nthe most astounding obstacles. She has spent her fortunes to crown the name of actress*\nmanager and if there is a better actress than herself to whom the crown should go, such a\none has not yet appeared. We call to mind the names of one or two more actresses who\nhave from time to time created great and lasting impressions, by their performances, and in\nadjudging the crown to Sarah Bernhardt we in no way give way in our admiration for the\nperformances of these unique beings. But there are weak places in these others. They\nare not all \" actress At times they are so much more women; at other times they are\nso much more children. Bernhardt is the only actress who is complete at all points, and\nthat because of her character. &\n& Some there are who say that the art of the Theatre is no longer known to us, that it\ndeparted with the Greeks and that a long time must elapse before it returns to us. Others\nthere are who begin to see the signs of a Renaissance. But after all has been recorded\nof the past and all foreshadowed of the future, when we regard the present with its\ntheatre of vulgarity, its theatre of commerce and its theatre of the emotional personality,\nwe must all hail Sarah Bernhardt as the most courageous and successful traveller, in that\nsavage land, dangerous and almost impassible to all, and fatal to most.\n\nThe odds she\nhas to fight. &\nShe is complete\nat all points. &\n\nJOHN BALANCE\n\nTO Mr ANDREW CARNEGIE\n\nJt was lately stated in the Journals that your interest in the best cause of the Theatre has\nbeen awakened. That must mean that you do not look upon the theatre in the same\nlight as one looks on a means for making a fortune, but that you recognise in the theatre\na force, which can make for great good or great evil. The men who in their first\nenthusiasm throw their lives into the theatre, do so very often in the belief that it is a\nglorious place of enchantment and that the stories they have heard about its degrading\ninfluence are old grandmothers' tales. & & & &\nI have seen very many such cases, and in each case the bad influence has prevailed\nand they lose their liberty, enthusiasm and sense of enchantment; they become vain, ignorantly\nselfish, and live in an atmosphere which can be described as the opposite of intelligent.\nOf Art the Theatre knows and teaches nothing; therefore these men who enter the Theatre\nhopefully soon abandon that hope. & It takes but few years of this life to rob each man\nof his Ideals and his courage. He then either degenerates to an out~at=elbows actor or rises\nto the unenviable position of a modern actor manager. To succeed (that is to say to win a\nSucces de theatre) a man must compromise his every ideal and must be content with an\ninsecure but flashily effective external success. It is unnecessary to remind you that in\nLiterature, Music and Painting the only success to be won is without compromise and\nby faithfully serving the purest and sweetest principles of Art. It is unnecessary to speak\nat length of Leonardo, (liotto and the choir of angelic fellows, Donafello, Mantegna, Botticelli,\nBach, Gluck, Beethoven—all of whom refused to compromise and who have hated and rehated\nall that the modern Actor Manager offers the world as works of Art. I have known but a few\n\nTwo alterna-\ntives & &"}, {"page_pdf": 31, "page_imprimee": "73", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.31", "texte": "men of the Theatre who have preserved their Ideals as artists and have known none who have\nremained faithful to them. It may therefore be truthfully stated that no work of Art of the\nTheatre is today being produced, because there are no men fitted to produce a work of Art.\nThis is the position of the art and institution which you courageously propose to assist.\nThe theatre has gone down and down until it has reached the lowest possible point of\ndegeneracy. Doctors propose inadequate remedies. Some of the cures proposed are courageous\nbut unintelligent. One would save the Art by the introduction of music into the theatre.\nThus we have a heroic Wagner wrestling with the impossible. & & &\nAnother would call Literature to its aid, another Painting. All these are no remedies. All\nthese things only make the patient less self-reliant, and more irritable. The remedy lies in\nno outside aid; it lies in the patient himself. His spirit is underfoot, it needs raising to his\nheart and head line. He is as a man who dreams he is ill. He has by nature as healthy a\nconstitution as another, but he has lost his will to think so and his will to take arms against\nhis sea of troubles.\nIf then the theatre is to emerge from its present unhealthy and undignified position it must\ndo so by the power of its own spirit, that is to say, by the power of its own Art. & &\nIn a book which appeared in 1905 Mr. Gordon Craig stated some of the conclusions he had\narrived at after years of practical experience and study of the whole question of the theatre\nand its disease. He lightly touched on several points which 1 understand he is treating in\ngreater detail in a very much larger book that he is now preparing. &\nOne of the points he omitted to write about was the need of a college for the technical\nstudy of the Art of the Theatre. He omitted to touch on this subject for reasons; the first\nbeing that at the time the book appeared there were several schools for acting in existence,\nall of which were parodies of the great school which such a study deserves. These schools\nwere run either to make money or to obtain young actors and actresses for London or\nprovincial companies, giving them six months or a year's training, and if any showed\naptitude as an actor or actress they would be instantly given a position in a London or\nprovincial theatre. In fact the shortness of the training given and received was such as\nwould not even be sufficient to qualify a domestic servant for a situation, much less a man\nwho is to master the first principal of a very difficult craft.... that of acting. &\n& Mr Craig therefore feared to speak at all in his book of a school lest his readers should\ninstantly jump to the conclusion that he advocated any existing school; and he could not\nopenly attack any of these as he had attempted to form an ideal school of his own, and had\nfor the moment failed. His school proposed to instruct scholars in the whole Art of the Theatre:\nnot alone in the craft of acting but that of all the divisions such as scene, costume, movement,\nvoice and the larger study of the relationship of one craft to another. He was obliged to\nrelinquish this task for a while for he soon realised that the scholars must not only receive\nfree tuition but must also be supported free of charge, and this was beyond his powers. He\nalso found out that those pupils who could pay his fee belonged to an indolent class\nwho brought with them little energy, and less talent or intelligence; the right intelligence\nhe found lay in the poorer classes. A further discovery was that out of 50 applications 43 or 45\nof these would be women.... women who wanted something to do to pass the time: the\nyoung men who would have joined were obliged, much against their natural inclination, to\naccept offices either as clerks or as journalists, as commercial travellers or some such task\ndemanding the regularity of the machine. They could not afford to be doing work which\nwould bring them no immediate income. & & & &\n& It is, I think, quite obvious that the theatre will regain its vitality through the men and\nnot through the women, although some of the latter can be relied on to a great extent;\nfor the whole science of the stage demands an amount of concentration and tenacity of\npurpose which men are better able to bring to it than womeu. A school such as I have\nhinted at would do much towards eradicating the terrible cancer which preys upon the\nmodern stage.... that is to say, ignorant vanity, which leads to intrigue and insubordination.\nSuch vanity can be eradicated by systematic knowledge and culture, and these are only to be\nacquired by a long and patient devotion to the principles of the art and a complete and original\nstudy of the technic of the stage. Such a study would bring to the pupil a sense of the great\nbeauty which still lies fresh at the heart of the great art which now looks so withered.\nIn 1880 Mr Ruskin wrote as follows of the theatre as Institution; 44 Yes, 1 began writing\n\nTO Mr ANDREW\nCARNEGIE\n\nThe present\nposition of the\nArt. & &\nWhere t h e\nremedy lies.\nThe need of a\nCollege & &\nVitality will he\nregained through\nthe men-wotkeis.\nMr. Ruski 12 s\nwarning."}, {"page_pdf": 32, "page_imprimee": "74", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.32", "texte": "TO Mr ANDREW\nCARNEGIE & &\n\ni( something.... a year ago, is it?... on your subject but have lost it, and am now utterly too\n44 busy to touch so difficult and so important a subject. I shall come to it, some day;\n\" necessarily. Meantime the one thing 1 have to say mainly is, that the idea of making money\n44 by a theatre and making it educational at the same time is utterly to be got out of people's\n44 heads. You don't make money out of a ship of the line, nor should you out of a church, nor\n44 should you out of a college, nor should you out of a theatre. Pay your ship's officers, your\n44 church's officers, your college tutors, and your theatre tutors what will honorably maintain\n44 them. Let there be no starring on the stage boards more than on the deck but the broad-\n44 side well delivered.\n& Written 26 years ago this has remained totally disregarded by the managers and actors who,\nalas, possibly look upon Ruskin as an old noodle. The actor managers of London seem to be\nmost ignorant of the beauty and the nobility of their trust, although they never cease to speak\nto the poorer actors about the honour of their calling. The peculiar and individual nature\nof the art of the theatre is not recognised by them and the theatre is in danger of being\nconfounded with the curiosity shop. And not only in England but in America, in Germany,\nFrance, Russia, Italy and Holland is this danger imminent. & In Germany there are two\ntheatres; the State theatre and the private theatre. The former is in the proudly ludicrous\nposition of active inactivity; it walks while it sleeps and is a danger to itself and the community.\nThe latter is an energetic theatre eager to learn all that is to be learned, but like the child\nit culls in its ignorance all the blossoms it can lay hands on and plants them in the\nmould expecting to see them take root and instantly bear fruit. The Dutch theatre is\nentirely stagnant. The theatre of Russia resembles the German theatre and has two divisions.\nThe state theatre slumbers and the theatre of private enterprise although extremely virile is\nmonstrously Realistic (a sure sign of degeneration). I quote what has been written elsewhere\nabout this question of Realism in the theatre as it illuminates a dark & dangerous corner. &\n44 The modern Realistic Theatre forgetful of all the laws of Art, sets out to reflect the times.\n44 —It reflects a small particle of the times—It drags back a curtain and exposes to our view\n44 an agitated caricature of Man and his Life—A figure gross in its attitude and hideous to\n44 look upon. This is neither true to Life nor to Art. It has never been the purpose of\n44 Art to reflect and make uglier the ugliness of things—but to transform and make the already\n44 beautiful, more beautiful—and in following this purpose, Art shields us with sweet influences\n44 from the dark sorrows of our jg? & &\n44 The modern Realistic Theatre helps to stir up in the people that Restlessness which is\n44 the enemy of all things. Realism contains the seeds of Revolt and however much the\n44 heart of the man may lean with sympathy towards those whom fate seems to follow relentlessly\n44 the artist must never lend his art, with its terrible power of appeal, towards the destruction of\n44 that just Balance which it is the aim of mankind to preserve. For there is no poison\n44 more swift than this which eats in to the mind—this false witnessing Realism—this traitor\n44 to the Imagination—this idolatry of ugliness to which the Realistic theatre would compel us.\n44 Daring and dangerous—it is a Revolt against the very Laws of the Art of the Theatre.\n44 Daring because to REPRODUCE nature is an impossibility, Dangerous because it is a threat\n44 against the well ordered life of the Citizen. Each whisper of Revolt finds an echo in the\n44 theatre—the gloomy expressions, the shuffling movements—the dark and closed in scenes—\n44 the spasmodic exclamations of the actors—the strange muffled atmosphere—all these things\n44 lend themselves to form one sinister impression\n& Ruskin also has a word of warning to the theatre against this tendency; 44 The modern\n44 stage is ruined by its realisation of scenery which is contrary to all noble art. A picture,\n44 whether on canvass or on the stage, should give us an idea, not its realisation &\n& 1 have spoken of the several theatres of Europe because if you are going to put your power\nin the balance against the monstrous modern tendencies, and wish to awaken a fresh and\npractical hope in the younger artists of the theatre 1 believe you will have to consider the question\nfrom an International point of view. 1 believe that your studies in this direction will bring\nyou to the point which I have touched upon here; that is to say, that a great college is the first\nnecessity; such a college to have branches in all the European & American states so that men\n(not women, by the way) may be trained all over the Earth, who will, after many years,\nunite the great capitals of Europe and America by means of an art which has in it the\nseeds of a universal language.... the language of symbolic movement. &\n\nActor Managers\ndisregard it, £■?\ndor don Craig &\nR11 s k 7 n &\n\nJOHN SEMAR"}, {"page_pdf": 33, "page_imprimee": "75", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.33", "texte": "THE ARCHITECTURE AND COSTUME\nOF THE MERCHANT OF VENICE\nWITH A NOTE AS INTRODUCTION By THE EDITOR.\nby Edward W. Godwin. F. S. A.\nJ . SEMAR.\n\n|n 1875 Mr Edward W. Godwin published in \" The Architect \" a series of articles entitled \"The\nArchitecture and Costume of Shakespeare's Plays. \" These articles, so far as we know,\nhave never been reprinted, neither have they received the acknowledgement due to them.\nWritten at a period when stage production was anything but correct in matters of detail,\nthey have ever since then proved of great value to the play producers of the London Theatres.\nSir Henry Irving, Mr Beerbohm Tree, Mr Augustus Daly, were greatly indebted to the\nauthor, who may be said to be practically the founder of a very successful period in\ntheatrical production.\nWhether his teaching has been followed with as much reserve as he wished, and whether\nhis fund of knowledge will prove of use to the Art of the Theatre, are matters into\nwhich we cannot enter here.\nWe would like, however, to draw special attention to the date of these articles and also\nto the fact that the author produced the Merchant of Venice at the Prince of Wales Theatre\nin the same year, 1875. Some idea of the impression created by this production upon the\nminds of the audience at that time can be gathered from the words of Mr Beerbohm Tree,, who,\nin his able address to the Oxford Union Debating Society in 1900 stated that \"it was the\nfirst production in which the modern spirit of stage=management asserted itself, transporting\nus, as it did, into the atmosphere of Venice, into the rarified realms of Shakespearean Comedy.\n\" Since then,\" he proceeds, \"no doubt millions have flocked to this class of production. \"\nIt must be gratifying to the managers of today's theatres to feel that the debt they owe to\nMr Godwin has been thus repaid...by the public.\n'\"jphe two stories which the poet has here incorporated into one play, viz., that of the Creditor's\nRevenge and that of the Caskets, are to be found in the \" Gesta Romanorum, \" and may\nbe seen in the English copy, Harl. MSS., No 7,333 written in the reign of Henry VI. In the\nold story there is nothing to show that the merchant who demands the flesh as the forfeiture\nof the bond is a Jew, and in the tale of the Three Caskets it is a woman, and not a man,\nwho makes the fortunate selection. Both tales, doubtless, have descended from an eastern\nsource, and no more belong to the \" Gesta Romanorum, \" or even to the fourteenth century\nMS., \"II Pecorone, \" (1) than they do to the \" Percy Ballads, \" or to Shakespeare. No doubt\ncan exist as to the time of the action. The text contains no reference of any kind to any\nthing outside the author's personal knowledge, and no mention of any office or person which\ncould connect the play with any other period than that in which it was written. The\nimprobabilities—I may say impossibilities—of these two fictions having any foundation in the\nhistory of any European city during the sixteenth century are self=evident. The very dawn\nof commercial enterprise would be even too late for the two great barbaric events of the\nplay—the fiesh«forfeit and the trial by casket. In fact, the Merchant of Venice, as far as its\ndouble plot is concerned, but in that only, is as unreal as a drama of this nature can well\nbe, and in this respect affords a striking contrast to the realism of Othello. There remains,\ntherefore, not a shadow of a reason for placing the date of the action earlier than 1590, a\nquite possible date for the dramatic creation, or later than 1598, the actual date of its entry\nat Stationers' Hall. (2) For a reason, which will appear hereafter, I take the year 1590 as the\ndate best suited for the stage representation of this play. The season of the year is manifestly\nneither summer nor winter; it is certainly not dark before 4 p. m. in summer, even in a\nnarrow Venetian street, and in winter Jessica and Lorenzo would scarcely sit on grass banks\nat midnight. Again, a small farmer or miller, be his name Gobbo or anything else, would\nhave more respect for his birds than to kill them in spring time; and so we may reasonably\naccept the three months of autumn as the time of the action.\nThe architectural scenery, divided between Venice and Belmont, may be said to consist, at\nthe most, of five scenes, viz.:\n\nThe date of these\narticles. &\nTwo Stories in\none Play. & m?\nThe da t e o f\nthe Actio 11 .\nThe Scenery.\n\n(1) Milan, A. D. 1558.\n(2) A play called the \" Venesyan Comedy \" was In 15,94."}, {"page_pdf": 34, "page_imprimee": "76", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.34", "texte": "THE ARCHITECT\nTURK AND COS-\nTUME OF THE\nMERCHANT OF\nVENICE\n\nVenice. — 1. A street or public place.\n2. The street before Shylock7s house.\n3. A Court of Justice.\nBelmont.— 4. A grand hall.\n5. A garden.\nThe short third Scene of the second Act contains nothing but what might just as well be\nsaid on the doorstep of Shylock7s house as inside a room, so that this may be included in\nthe scene numbered 2 in the above list.\nSo, too, I see scarcely any reason why the talk between Portia and Nerissa in the second\nScene of the first Act, or the fourth Scene of the third Act, should not have happened in\nthe grand hall or apartment where the caskets are placed. If there were choice flowering\nshrubs placed in this room so that the lady and her maid might busy themselves about them\nwhile they are conversing, and if a corridor at the back of the hall led from some other\npart of the house into the garden, so that one might pass the hall of the caskets without\nnecessarily entering it, there is nothing in the text of these two scenes inconsistent with their\nbeing located in the same room as the more important casket scenes. The scene in the\nabove list marked 5, although described as a garden in Act iii. Sc. 5, and an avenue in\nAct v., ought to be more or less architectural. If we wish still further to abridge our stock\nof scenery, the scenes Nos. 1 and 2 may be easily made one, and we shall thus have brought\nthe play into the compass of four set scenes.\nThe first, i.e., the public place or\nstreet in Venice might then be\nplanned, as shown in the annexed\ndiagram, where A is Shylock's\nhouse. B, the public place, with a\nfountain or well; C, canals; D, a\npent=house; E, narrow streets; F,\nGothic and late Byzantine houses;\nG, a Renaissance public building,\nwith arcades; H, early Byzantine\nbuildings; and M, N, the procenium.\nIn such a scene as this, of course\nit is very evident that everything\nmay be built out, and so we should\navoid the violence too often done\nto artistic minds by the false perspective that arises in the combination of structural and\npainted scenery. And now, as to the architecture. &\nIt is essential first of all that the scene-painter should bear well in mind that in 1590 Venice\nwas neither a city of palaces nor a cityr of ruins, and that along her canals and streets\ntwo great styles of art, broadly speaking, prevailed, and a third was gradually usurping the\nplace of both; these three styles were the Byzantine, the Gothic, and the Renaissance. To\nthe first belong the great church of St. Mark, the churches of Murano and Torcello, sundry\npalaces, notably the Ca7 Farsetti, the Ca7 Loredan, the Fondaco de7 Turchi, and a small\nhouse in the Rio de Ca7 Foscari. To the second belong the church of the Frari, and those\nof SS. Giovanni e Paolo, the Madonna dell'Orto, St. Stephano, and others, as well as a\nperfect crowd of palaces and houses, of which those of the Doge, the Foscari, the Giustiniani,\nthe Palazzo Badoer, the Palazzo Cicogna, the Palazzo Persico, and the Ca7 d7Oro are\ncharacteristic examples. To the third belong the Scuola of St. Mark, that of St. Rocco, the\nInner court of the Ducal Palace, and among the many houses of this style we may especially\nnote those of the Grimani, the Vandramini, the Cornaro, the Trevisano, the Camerlinghi,\nthe Library of St. Mark, and lastly the canal front of the prison begun in 1589. Broadly\nspeaking, this last»mentioned style obtained from as early as 1485; the Gothic style prevailed\nduring the thirteenth, fourteenth, and fifteenth centuries, overlapping the early Renaissance\neven to as late as the sixteenth century, and the Byzantine takes us back two hundred\nyears more through the twelfth century palace, Fondaco de7 Turchi. to the basilica of Torcello,\nbuilt in 1,000, and the church of St. Mark founded in 977.\nin the compass of a short Paper, and without help from illustrations, it is quite impossible\n\nI.\n\nVenice in 15QO."}, {"page_pdf": 35, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.35", "texte": "DESIGN FOR A STAGE SCENE GORDON CRAIG"}, {"page_pdf": 37, "page_imprimee": "77", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.37", "texte": "to give any notion of the great variety of fenestration and detail seen in the rise, development,\nand fall of Venetian Gothic from the semi-Byzantine severity of the uncusped stilted arches\nof transitional examples, through simple pointed work of even greater severity, having a\nstrong likeness to the refined early Gothic of Verona, down to the full establishment of the\nO.G, headed opening, ranged at first singly and in small groups, then extended and combined\nwith tracery, once large and noble, as in the early fourteenth century work of the Doge's\npalace and in a small house near the Ca' d'Oro, but finally wearing itself out in weak\nreiteration. Photographs of the old houses of Venice are so readily to be had, that the\nonly difficulty left to a scene-painter is the archaeological one—that of recognising any\ndeductions or additions in detail that may have been made to any Mediaeval house since 1590.\nMoreover, the red brick of Venice is full of such charming colour, and the weather stains\nupon the stone and marble give such delicious tone to these materials, that one hesitates\nto write a word that would tend to dispel the vision.\nBut yet, if we desire to realise the Venice of Shakespeare, we shall have to cover most of the\nbrick with veneer of marble, either plain or in coloured diaper, or with stucco decorated\nwith painted diapers, and the few exceptions to this rule would be the very smallest and\npoorest houses and the earliest of the Byzantine works. Again, the weather stains on a\ntraceried palace of 1450 would be very different in 1590 from what they were in 1870. Besides,\nVenice was then in the full swing of the pride of life, and the very notion of decay or\ndilapidation must have been hateful to her, all the more hateful from an occasional gleam\nof consciousness that her power was already rapidly decaying and that her pride, satisfaction\nand self-sufficiency were hastening her, as they had hastened other States (and as they may\nin the end bring ours) to utter and irretrievable ruin. Another point for the scene-painter\nto bear in mind is that the streets and open places were usually paved with red brick\narranged in simple patterns, and most commonly in that known as herring-bone. Such, Mr.\nLonsdale tells me, was the original pavement under the arches of the Ducal Palace which\nhe happened to see some few years ago, when excavation was being made round the\nfoundations of one of the pillars.\nA third very important thing to remember in connection with the Venice of the merchant\nAntonio is the universality of applied colour as distinguished from the parti-coloured\nconstruction adopted by the rest of Western Europe. The coloured marble pattern on the\nDucal Palace was by no means a solitary example; indeed there is still to be seen\non another building, in the Grand Canal a pattern very like it and the Ca'd'Gro's red-and-\nwhite square marble diaper was at one time far from being singular. In houses of less\npretension the stucco was painted in two or three simple earth colours, with small diapers,\none of these consisting of a series of quatrefoils enclosing circles with angels between the\nquatrefoils is figured in the second volume of Mr Ruskin's 4< Stones of Venice. \" Set Into\nthis field of softened and almost natural-toned colour came the glistening white marble\nshafts and arches of the windows, each window or group of windows framed by an edging\nof marble. Gold was applied to such details as the cusps, the carving, and the edges of\nthe mouldings; bright bits of colour nestled in the background of the sunk work, and not\nunfrequently medallions of porphyry and serpentine enriched the plain surfaces between the\narch-line and the rectangular frame. In the smaller houses we may note that one of a group\nof window openings is sometimes larger than the others in the same group, and was probably\nso made in order to afford an entry to the balcony of convenient size.\nBut perhaps the most characteristic element of the domestic architecture of Venice—one\ntoo which can be traced through all styles, round-arched or pointed—is the plan of the\nfacade, which, in the vast majority of cases, was arranged with a centre and two side wings,\nnot formed by projections, but by the centre being of such open construction as results\nfrom the use of arcades or groups of windows one over the other, and the wings built as\nwalls pierced by single or detached windows. It should be remembered also that the old\nglass was usually leaded-up in circles, and other plain geometric forms, a,nd set in wood\nframes, with one or more cross bars fixed behind the stonework and clear of the shafts.\nAgain the old balconies had nearly always animals or finials carved 011 the top of the\nprojecting angles. Their boundaries, too, were by no means governed by the windows they\nserved, for we find them extending sometimes to a portion of the group, sometimes only\nto the side openings, and sometimes only to the central one. & & &\n\nTHE ARCHITEC-\nTURE AND COS-\nTUME OP THE\nMERCHANT OP\nVENICE & &\n\nThe old homes\nof Venice &\nApplied colour.\nThe plan of the\nfacade & &"}, {"page_pdf": 38, "page_imprimee": "78", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.38", "texte": "THE ARCHITEC-\nTURE AND COS-\nTUME OF THE\nMERCHANT OF\nVENICE &\n\nHaving said this much, I would venture to select for the street scene, in the diagram No,\ni, the following buildings as guides to the blocks indicated by the letters, A, F, G, and H;\nA. The Palazzo Badoer. (Painted stucco on walls.)\nF. The Palazzo Giusfiniani, the Fondaco de* Turchi, the Ca' d'Oro. (Showing\nthree modes of surface ornamentation—stucco, white marble with low\nreliefs, and coloured marble diaper.)\nG. The Library of S. Mark (new white stone) or the Prison.\nH. The semi-Byzantine house in the Corte del Remer (marble and brick *\nveneered) or the work at Murano and Torcello.\nThe next Scene I have to note is the Court of Justice. The text shows that the case of\nShylock v. Antonio was one that had awakened very unusual interest even among the\nhighest; but if the text had said nothing about the Doge and the Magnificoes Using their\ninfluence before the trial, if we had not known that Bassanio was a nobleman, Antonio a\nprincely merchant in a city of merchants, we should still be bound to suppose that a vast\npublic excitement must have been raised throughout the Republic from the strange nature\nof the horribly revengeful suit instituted by the plaintiff. Nor was this a criminal proceeding\nor State trial that would be likely to be heard in a private or even in a quasi-private\nmanner, Although it might have involved a life, the case was after all nothing more than\na civil action arising out of a breach of contract wherein the penalty clause was manifestly\nan unusual and as it happened an illegal one—a sort of thing with which nearly every\nmodern architect is more or less familiar, Now of the various public rooms in the Palace\nit seems to me that the most likely place to be selected for the hearing of such a cause\ncelebre would be the largest apartment available, for we may be quite sure that not only\nTubal and Chus, but many other rich Jews, would gather round Shylock in (as they thought)\nhis day of triumph, whilst Antonio's losses and imminent peril must have excited not only the\ncommiseration of the State, but of every noble-minded Christian in Venice. It is because\nof this that I would select as the real Scene of the fourth Act the Sala del Maggior\nConsiglio, but as this hall measures no less than 154 by 74 feet, it is next to impossible\nto represent it in anything like the dignity of its true size on any stage other than\nexceptionally large ones. Nor can we well give a fragment of it by following the course\nsuggested for the treatment of Westmister Abbey in the first scene of Henry VI, inasmuch\nas the Doge and the Magnificoes would necessarily have their seats arranged centrally in\nthe 74 feet. Failing this room we must have recourse to the Sala dello Scrutinio—a fairly\nlarge room of the Sansovino series, decorated by the paintings of Tintoretto, Marco Vecellio,\nand some others of a date later than our story. Good photographs of the principal rooms\nin the ducal palace may be bought at a cheap rate, so that the youngest scene-painter need\nnot err in the general architectural character of this scene. & & & &\nThe setting of it on the stage is altogether another question, and is one of the most difficult\nproblems among the scenic questions of Shakspere's plays. We have to maintain the dignity\nof the strict court of Venice, to find room not only for the Doge and the Magnificoes, but\nfor officials who might attend as senators, magistrates, doctors of law, the assessor-general,\n&c.; we have to provide for a crowd of lawyers—some of them young men -so that Portia\nmay not appear too singular: we must not forget the question \" Which is the merchant\nhere and which the Jew ? \" showing that both plaintiff and defendant were absorbed in the\ntwo opposing crowds of Christians and Israelites; and we must remember, that although\nthe secret tribunal of the Council of Ten had its fearful power somewhat curtailed in 1582,\nits servants were still to be seen watching and listening wherever two or three were\ngathered together. Considering all the circumstances of the case 1 again propose a diagonal\nset for this scene, as shown in diagram II, where M N represents the proscenium, D the\nraised platform for the Doge, Magnificoes, &c., B the seat for Bassanio among the nobles,\nS and A positions of plaintiff and defendant, H Portia, F official entrance, E E public\nentrances, C seat for the assessor-general, 0 O halberdiers, and H group of esquires of the\nDoge. Now it is, 1 hope, manifest that having placed the officials and dignitaries, an\nenormous concourse of the general public can easily be indicated by very small (if well\norganised) groups near the entrances E E, especially at that near N. & &\nThe fittings should be of sumptuous carved wood almost covered with gilding; the chairs\nof the same description and of the peculiarly Venetian form then used, the seat being\n\nThe c ourt of\njustice.\nThe setting of\nthis scene. &"}, {"page_pdf": 39, "page_imprimee": "79", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.39", "texte": "II.\n\nIII.\n\nfastened! into planks, one in front,\nthe other behind, and the back formed\nof a third plank all sufficently thick\nto allow of carving in high relief. The\ntable for the lawyers might have a\nrich cover of crimson velvet reaching\nto the floor, bnt cut up at the angles\nand fastened by a number of long loops\nof gold lace or braid, as may be seen\nin pictures of the time. On the table\nwe might see the folios of the statutes\nof Venice with their magnificent\nbindings and gilded clasps; inkstands\nof bronze, chased andmoulded of circu-\nlar form and of about the size of the common lead office-inkstand of the present day; the\nportfolios of the lawyers and \" learned doctors, \" 12 to 18 inches squares, beautifully worked in\nleather, and, at least, one of the characteristic damascened candlesticks of the period (for if\nShylock had signed in the Court it would have been necessary also to have sealed). The deed or\nbond, the scales, the knife, the letter from old Bellario, and the coffer containing Portia's\n9,000 ducats, are little things about which there need never be any mistake. The bond\nwould be on a small strip of vellum, well creased and tearable at the creases, the scales\nwere just the same as they are now, Shylock, being a merchant in jewels and precious\nmetals, would have probably brought his own private scales; the knife was doubtless the\nglaive-shaped instrument then common: the letter was folded longwise, with the direction\nin one corner, tied with silk and sealed; the coffer might be like any one af the many\nsixteenth century Italian coffers in the Kensington Museum, and the halberds may be found\nat South Kensington and in pictures by Veronese in our National Gallery. 4?\nIn the house at Belmont we have to consider only the state room or hall in which the\ncaskets were deposited. Referring to what I have already said as to its generel arrangement\nfor the purpose of getting all the interior scenes at Belmont in one set-scene, and assuming,\nas we have every right to assume, that Portia was descended from noble and rich ancestors,\nand that her house would naturally be one among the works of the first century of the\nrevival, we may fairly take counsel with such artists as D. Ghirlandajo (M5I-I495) and\nBazzi (1480=1549), or such architects\nas Michelozzo (1402=1470) or Giulio\nRomano (1492 = 1546) in designing\nor arranging this room. On this\nbasis I would suggest for this scene\nan architectural arrangement\nsomewhat like that indicated in\nDiagram III., where M N is the\nproscenium, A the platform for the\ncaskets, B an ascending staircase,\nand C a corridor (open to the\ngarden if required). The arches of\nthe arcade round the room may be\nhung with curtains, having large patterns in broad stripes, like those preserved in the\nKensington Museum, and above the main arcade may be a smaller open arcade, as shown\nin one of Bali's paintings, published by the Arundel Society. For the decorations, and\nthe colour of them, we have abundant material at our disposal. & & & &\nIn looking at the furniture of the time we shall find that the candies or lights were held\nin sconces of repousse metal, brackets and lamps suspended from the ceiling. Chinese\nporcelain vases for flowers, some carved and gilded chests, a table and chairs of the same\ndescription, cabinets, Limoges enamels, mirrors, majolica, lapis lazuli cups, crystals, Eastern\nrugs, a movable clock, Murano glasses, antique statues, and a parrot or some\nlovebirds in a cage, or on a stand, may be brought in to help clothe the scene. Among\nthe musical instruments we may have the violin, tambourine, harp, and theorbo, all illustrated\n\nTHE ARCHITEC-\nTURE AND COS-\nTUME OF THE\nMERCHANT OF\nVENICE\n\nStage Properties\nThe scene at\nBelmont.\nThe furniture of\nthe time. & &"}, {"page_pdf": 40, "page_imprimee": "80", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.40", "texte": "THE ARCHITEC-\nTURE AND COS\nTUME OF THE\nMERCHANT OF\nVENICE &\n\nifi Poliphilus, and some specimens of which may he seen at South Kensington, Nor should\nwe forget whilst on the subject of music that madrigals would be as familiar in the\nhousehold at Belmont as they were in most of the Elizabethan houses, Luca Marenzio and\nGio. Croce wrote their charming madrigal music in the second half of the sixteenth century:\nPaSestrina wrote in 1590 and Gironimo Converse in 1580, When the madrigals of Shakspere's\ntime can be got at Novel!o's for ssd. each, there can be no possible excuse if the characteristic\nmusic of the age is omitted when the text or stage business suggests its introduction. &\nBut whether a theatrical manager does or does not attend to these things; whether he\nwishes to do right, or whether, owing to the profound ignorance respecting the manners,\ncustoms, and general surroundings of any past time which distinguishes the modern stage\nand its patrons,\" he thinks it a matter of very small moment, one thing he must do,\nand that is, provide three caskets. Now, for these things the style which was the most\ncostly and the most sumptuous in the lifetime of Lady Portia's father was that introduced from\nDamascus, and which has always gone under the name of damascened work. Iron or steel\ncaskets, most elaborately wrought with sharp mouldings and carvings, were covered on the\nplain surfaces with rich ornament pressed in of gold or silver, and in the examples before\nus the sides of the caskets might be pannelled, and in each panel repousse work of gold\nand silver for two of them, and cast work of lead for the third. It is true that armour\nhad been damascened in the fifteenth century, but it was not until the sixteenth century\nthat anything like high perfection was attained. The damascened iron mirror at Kensington\n(bought for 1,2811.) was manufactured at Milan about 1550 for the royal family of Savoy,\nand it seems to me quite unnecessary to adduce any further instance in proof of the very\nhigh position maintained by the damascene artists. Fair Portia's counterfeit that Bassanio\ntakes from the leaden casket would be probably enclosed in a flat wide frame of the same\nstyle of art, or of walnut inlaid with rich patterns of ivory, mother-of-pearl, lapis lazuli,\n&c.; or it might be of soft wood (willow, lime, or sycamore) elaborately carved and gilded.\nThe table might be covered with velvet hanging down on two sides, some light Eastern\nfabric laid over the caskets, and the curtains made of silver or gold cloth suspended from\na canopy of the same material, with cut valence fringe and tassels.\nThe fifth Act, and indeed the whole episode of the rings, might very well be omitted in\nmodern stage representation. The banter is of a kind which was riot unusual in Elizabethan\nsociety, but which now either falls flat from a want 9f that kind of perception which need\nnever be supplied or gives rise to thoughts not perhaps even coarse when the state of\nsociety allows them free utterance, but bad and utterly so when it is thought proper to\ncover them up. Still, if the last act be performed, 1 would refer the scenic-artist to the\nadmirable engravings of Italian gardens with their fountains, covered alleys, terraces,\narcades, &c., to be found in the work on perspective by Frisius, published in 1568.\nThe Costumes of the Merchant of Venice I reserve for another article.\n\nThe music.\nThe caskets.\nThe fifth Act."}, {"page_pdf": 41, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.41", "texte": "REALISM AND THE ACTOR.\nAN INTERNATIONAL SYMPOSIUM\n\nseries of visits which the Sicilian Players are paying\nto all the European capitals, exhibiting an unfamiliar\nphase of realism in theatrical art which is almost primitive\nin character, has once more called public attention to certain\nquestions as to the relation between realism and the stage.\nBelieving that we could best serve the interests of the\ntheatre by collecting and publishing expert opinions on\nRealism and the Actor we framed three questions to which\nwe solicited answers from some of the students of the Theatre. We wondered whether\nanyone would reply in the affirmative to the second question, \" In your opinion should the\nActor be allowed the same liberty in his expression of the Passions as is permitted to the\nWriter or the Painter? for we recalled to mind the many subjects or moods which the\npoets and painters have treated realistically and we wondered whether anyone would hold\nthat the same liberty should be permitted on the stage; liberty, first in choice of subject\nand secondly in treatment. We mean, of course, those subjects which the masters of\npainting and literature always chose as their favourites, those religious moments in the\nlives of the saints, those profane moments in the lives of the demons and those all too\n\" human ** moments in the lives of men and women. & & &\nWe call to mind some of those moments;—The Annunciation; The Last Supper; The Birth\nOf Eve; The Expulsion from Eden; The Nativity; The Crucifixion; The Agony in the Garden;\nThe Last Judgement; The Birth of Venus; Perseus and Andromeda; Samson and Delilah;\nLucretia; The Creation of Man; The Triumphs of Bacchus; The Birth of Pan; Salome and\nJohn the Baptist: Judith and Hollofernes. These questions, with the replies sent, are to\nbe found below. We may perhaps be excused in saying that our questions are made as simple\nas possible, so that the mind of the English reader shall not be confused. The outcry raised in\nsome of the English journals against the Realism of the acting of the Sicilians, and of Signora\nMimi Auguglia's performances in particular gives us reason to believe that it was time to\nhave a clear definition of what Realism in acting consists of, and whether it is a wise and\nbeautiful thing to see upon a stage, shown in the same way as we see it in Painting and\nLiterature. The Three Questions are as follows.\nI. Do you consider Realism in acting to be a frank representation\nof human nature? &\nII. In your opinion should the Actor be allowed the same liberty\nin his expression of the Passions, as is permitted to the Writer\nor the Painter? & &\nIII. Do you think that Realism appeals to the General Public or\nonly to a limited section of Playgoers? £?\nWe call to mind the wonderful books we have read: The Books of St Matthew, St Mark,\nSt Luke and St John; the Vision of Heaven and Hell by Dante; The Temptation of St Anthony\nby Flaubert; The book of Genesis, The Thousand and One Nights; The story of Gargantua,\nand many more, and it remains for us a very grave and difficult question and one to which\nwe can answer neither yes nor no, as to whether these should serve as themes for stage\nrepresentations, no matter whether the treatment be realistic or idealistic.\nBut because we can as yet give no answer, it makes it all the more interesting to solicit\nreplies from those better equipped to speak. From these replies we gather that the majority\nare in favour of the same liberty of expression for the stage and its actors as that possessed\nby the painters and poets, and that they are eager to see upon the stage the frank realistic\nrepresentation of plays founded on the stories from the New Testament, from the stories of\nVenus, Jupiter and the Deities of the ancient world, and from such themes as those treated\nby Correggio, Titian, Hogarth, Burns. Michelangelo, Blake, Whitman, Goethe, Cranach,"}, {"page_pdf": 42, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.42", "texte": "Rembrandt, Jan Steen, Goya, Velasquez, Manet, Whistler, Verlaine, Tolstoi, Botticelli, Boccaccio,\nDante and an innumerable collection of poets and artists of the world's history; that they\nwould consider it an excellent thing if such themes were allowed to be placed before the\npublic in the modern theatres. We would put but one other question to those who have\nanswered the second question in the affirmative, and it is this:.... \"Do you approve of cutting\nout certain passages from the works of Shakespeare as being unfit for the ears of the\nGeneral Public and have you ever done so yourself, ....and why? \" We hardly expect any\nanswers to this question though we should welcome the further oppportunity of going more\ndeeply into an important, and, to us, a very serious and difficult problem.\nTHE QUESTIONS.\nI. Do you consider Realism in acting to be a frank representation\nof human nature?\nII. In your opinion should the Actor be allowed the same liberty\nin his expression of the Passions, as is permitted to the Writer\nor the Painter ?\nIII. Do you think that Realism appeals to the General Public or\nonly to a limited section of Playgoers? JZ?\nTHE ANSWERS.\n\nJ. S.\n\nTommaso Salvini Florence\nI. I believe that the pure and simple realism has no value on the stage if not adorned and\nguided by Art.\nII. The same liberty that is permitted to the Writer or the Painter is allowed the Actor\nprovided he is a rigorous observer of decorum.\nIII. Use the realism always subordinate to Art in the different characters that one represents.\nIt can appeal to all the Publics. & £>\n\nSydney Grundy London\nI. Realism, in anything, is frank. But it is the antithesis of Art.^\nII. Most certainly not. The Actor is flesh and blood. The Writer is printer's ink, and the\nPainter is coloured canvas.\nIII. It appeals to an insignificant section of deadheads and degenerates and is one of the curses\nof the Drama.\nn ifuwwiibiminiaiiiwirniimiMmm■ 1 rwawwaw.ntiirii.^r.,********\n\nM. Antoine Paris\nJ'estime que le passage a Paris de Grasso et da sa Compagnie aura une influence serieuse\nsur nos artistes. II nous a rappele, avec un talent magistral, que la vie et la sincerite\nsont les plus beaux moyens d'expression d'un acteur. J'ai trop combattu pour le realisme\npour que vous puissiez douter que mon absolue conviction est qu' il est la source essentielle\nde toute beaute.... non le realisme etroit mais l'observation de la vie et de la nature. Zola\na dit, \" L'oeuvre d'art est l'expression de la nature a travers tin temperament. \" Rien de\nplus profond et de plus fecond que cette parole de notre grand professeur d'energie. \"\n\nH. Beerbohm Tree London\nI. Obviously. &\nII. Why Not? JZ?\nIII. To all.... But the representation of realism\nand of passions should be governed by art.\n\nCarl Hentschel London\nI- No. & J& & &\nII. Yes as long as he idealises these\nexpressions of the Passions in the same\nWay as the Writer or Painter. &\nIII. Will never appeal to the General Public;\nto a limited section of Playgoers, yes.^"}, {"page_pdf": 43, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.43", "texte": "Arthur Symons London\nI. Realism should not, and happily could not, exist on the stage. Realism on the stage is an\nimpossibility,\nH. AH art is magnetism. The greatest art is a magnetism through which the soul reaches\nthe soul. There is another terrible, authentic art through which the body communicates its\nthrilling secrets. This art is possessed by the Sicilian Auguglia, beyond any other actress,\nand she is justified in using it. &\nIII. The third question is a matter of no importance. JO\n\nAndre Beaunier Paris\nI. Je considere le realisme, au theatre ou ailleurs, comme une pretention vaine, une faute\nde gotit et une erreur esthetique. &\nH. Au the&tre, la pretention r£aliste me parait plus niaise et plus choquante qu'ailleurs. Us\nauront beau faire: ils jouent la comedie dans un decor qui n'a que trois murs, et non\nquatre; ils sont en pleine convention. &\nHI. Cela pose, la troisieme question n'a plus d'objet. & &\n\nGertrude Eysold Berlin\nI. No. & &\nII. Yes. &\nIII. To everybody. J& & &\n\nHerman Bahr & Berlin\nI. Yes.\nII. Yes.\n| 111. To the General Public.\n\nLoie Fuller Paris\nI. Do you consider Realism in acting to be a true representation of human nature? What\nelse can be true or....frank?\nII. By \"truth \" and \" frankness \" the word \" allowed\" cannot appear: these things are a\ncommon right which no one can gainsay. For here nature asserts herself and establishes\nher right and so proclaims the \" law \" and real laws we obey, we cannot direct them I\nHI. What a question. You might as well ask if there is such a thing as a limited section\nof Playgoers! Shakespeare is real., if the actors are not, and does he not appeal to all. The\npioneer of an unknown thing, by his discovery establishes a fact. The Sicilians can I think\nquote this. A figure in wax, however well it is made, does not give us the same sensations\nthat the real thing would: or, could it be so well produced that our senses, (through the\nimpression made upon the mind) would respond to the imitation as to the real. In any case\nthe law, (written or unwritten) is that no imitation of whatever kind can possess the value\nof the real. Why then should \" acting\" play a better part than the rest? Art is the imitation\nof nature, or of man's handiwork; never can its value equal that of the real. By value\none means its worth in truth, not money, for the latter misleads yesterday, today and\ntomorrow. There is no doubt that real feeling, really expressed, can never be replaced\nnor confounded by its imitation, however perfect that imitation may be. & &\n\nJan Klaassen Emmerick\nDear Sir, You cannot expect me to have any sympathy for Realism in any form of Art, least\nof all in the Theatre. My whole life has been given to demonstrating that the actor is an\nunfortunate hinderance to the Art of the Stage on account of his actuality. I have never\nbeen able to understand the illogical situation of the Modern Theatre. The wJhole Art is\ncomposed of contradictory elements. On the one hand we have verse,.... a poetic and certainly\nunnatural mode of speech, as in (loethe, Shakespeare, Caulderon: and on the other hand\nan attempted prosaic or \" natural \" utterance on the part of the actor. Again, we compose\nour scenes of unreal canvas and paint, thereby making either suggestions or imitations of\nactual things, and amongst these walks our real figure, by no means either a suggestion\nor an imitation of an actual being. The mixture of actuality and unreality creates a seme\nof artificiality, and this makes a parody of Art. In no Art is there a confusion of actuality\nand fancy. 1 could accept the actor if his surroundings were actualities, or I could accept\nthe cardboard scenery if the figures were also cardboard. I cannot accept the two together\nfor they create a situation which is utterly falser & & & & J&"}, {"page_pdf": 44, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.44", "texte": "SHAKESPEARE MEMORIAL\nA National Theatre\nTHE EARL OF LYTTON PRESIDED AT A MEETING, HELD AT THE LYCEUM,\nON TUESDAY AFTERNOON, IN SUPPORT OF THE PROPOSAL TO MARK THE\nSKAKESPEARE TERCENTENARY BY ERECTING A NATIONAL THEATRE.\nHow difficult it has been to bring about this meeting anyone\ncan guess by recalling that it is close upon three hundred\nyears since Shakespeare died. And now that the meeting\nhas been brought about all should be well, J® Here are\nthe resolutions which were all carried unanimously with\nbut one dissenting voice,... that of an unnamed gentleman\non the platform who rose to speak but was told to keep\nquiet. ® J® J® J® J® J® J®\nFIRST RESOLUTION. Proposed by the Right Hon. A.\nLyttelton K.C. M.P. and seconded by Sir John Hare. J®\nThat this meeting is in favour of a National Theatre as\na Memorial to Shakespeare. J® J® J® J®\n\"Oh ye gods, must I endure all this?1' Shakespeare. \\® J® J® &\nSECOND RESOLUTION. & Proposed by Mr Arthur Pinero and seconded by Mr T.P.O' Connor\nM.P. That the committee of this demonstration is hereby appointed as a committee with\npower to add to its number, and is instructed to draft a scheme for a national theatre. J®\n\" What is your plot? 11 Shakespeare. J® U® J® J® J® J® &\nTHIRD RESOLUTION, J® Proposed by Mr J. Comyns Carr and seconded by Justice Madden,\nVice-Chancellor of the Dublin University. 4® That a committee is hereby appointed inviting\nthe co-operation of the provincial cities and organising meetings for the formation of a\nNational Theatre Society and the collection of subscriptions. J® J® J® J®\n\" How high\"A pitch his Resolution soars! 11 Shakespeare. J® J® J® J®\nFOURTH RESOLUTION. & Proposed by Mr W.C. Steadman M.P. and seconded by George\nBernard Shaw. & That the committee appoint a deputation to wait on the Prime Minister\nand the London County Council with a view to seeking their support for the proposal for\na National Theatre. S® \" Angels and ministers of grace defend us! \" Shakespeare. J®\nThe Earl of Lytton spoke graciously; j® The Right Hon. A. Lyttelton, as only the Right Hon.\nA Lyttelton can speak. And then Mr. Comyns Carr spoke and Mr Pinero spoke a great deal\nand Mr Bernard Shaw much too little. Mr Granville Barker's name received a round\nof applause. Sir John Hare spoke famously in that he stated that \" The stage is still\nunfortunately chaotic and ineffective. Day by day and year by year unfortunately the work\nof the theatre is becoming more and more a trade than an art\" j® No one denied the statement.\nAnd what is there left to say ? Very much indeed, but not now. We have only to see how\nthe Committee intends to achieve the impossible. J® For there is one impossibility here,\nand only one. J® No Committee, no Society ever created a Work of Art. No national Theatre\never created one either. J® How then will this committee and this national Theatre benefit\nthe country? J®J®J®J®J®J®J®^®J®J&\n\" O, well done! I commend your pains,\nAnd every one shall share V the gains.\nAnd now about the cauldron sing,\nkike elves and fairies in a ring,\nEnchanting all that you put in. \"\n£ ha. k e & p e are"}, {"page_pdf": 45, "page_imprimee": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.45", "texte": "BOOK REVIEWS\n\nPOETIC RECITALS & js>\nBeing an Enquiry into the prevalent\napathy towards Poetry, together with a\nplea lor Rythmic Utterance, by Max\nPlowman.\nHeadley Brothers, Ash ford, Kent. &\n\\X7e have grown so much accustomed to\nthe idea, fostered in the minds\nespecially of literary men by their Publishers,\nthat the public does not care for poetry,\nthat we have come to accept it as a platitude\nand hardly to be questioned. &\nMr Plowman, in this little pamphlet, discusses\nthe reasons for this phenomenon, the\ntendency which it indicates, and suggests\nwherein the remedy might lie. He defines\nPoetry as 44 an expression of the emotions of\nlife by means of the noblest use of words \",\nand goes on to add that 44 since from\nBillingsgate to Stratford-on-Avon all have\nsought to express emotion through the medium\nof words, all are more or less susceptible to\nthe pleasure of giving that expression as\nperfectly as language permits \". &\nMr Plowman attributes the present neglect\nof Poetry, the indifference of the people\nregarding it, to the stress of modern life;\nbut we cannot quite agree with him when\nhe cites the \" inglorious case of America \"\nas a proof that 44 a nation living in an\natmosphere of literalism, cannot by reason\nof the very air it breathes produce great\npoetry. Would Mr Plowman refuse the title\nof 44 great Poetry \" to the work of Poe and\nWhitman? And is he so sure of the 'literalism'\nof the Americans\nMr Plowman's plan to stimulate the \" faint-\nhearted love of poetry \" would take the form\nof Public Readings, and he cites Matthew\nArnold's method, not of discussing and\ndefining the poems with his audiences, but\nof leaving the lines by their beauty to win\ntheir way themselves.\nAs for the intrusion of the personality of the\nreader or reciter, it may be true that in the\ncase of theatrical verse it adds to our\nenjoyment; but Mr Plowman shows a right\nintuition of the truth when he writes, 44 in\nthe case of sublime poetry all that is needed\nis the interpretation of simple and sincere\ndiction \", and, 44 until it is recognised that\npoetry appeals to the heart and mind through\nthe ear alone, all the insults that are heaped\nupon it by making it the sport of amateur\nand professional contortionists will continue\".\nOne wonders why the poets do not themselves\nrealise this; why they press so eagerly into\nthe Theatre and allow the sound and sense\nof their beautiful words to be mutilated by the\nactors, letting attention be distracted from\ntheir meaning by a counter appeal to the\neye which confuses if it does not weaken,\nthe pleasure of the ear.\nMr Plowman's thoughtful study makes us\nhope for further work from his pen,\n\nTHE ENGLISH PASTORAL DRAMA\nby Jeannnette Marks,\n(Methuen, Loudon.J\nnphis book, which treats of the English\n* Pastoral Drama from the Restoration to\nthe Date of the Publication of the 44 Lyrical\nBallads \" (1660-178) contains much interesting\ninformation and bears evidence of careful\nresearch, not only into the particular period\nunder consideration but also into earlier\nexamples of this dramatic form from the time\nof Theocrites and Virgil onwards. The author\nadvances, (though she admits with hesitation)\nthe theory that 44 the inception of the pastoral\nplay lay not in the latter half of the fifteenth\ncentury, but three hundred years before\nChrist, with the idyls of the great Sicilian\npoet \". The volume contains a chapter of\n44 Definitions \", gathered phrases in which\nFontanelle, Pope, Steele, Johnson and others\nsummed up their beliefs as to what constituted\na pastoral play. Subsequent chapters treat\nof 44 Stage settings \", 44 Plays and Operas \",\nand, in conclusion, of the decline and death\nof the Pastoral at the end of the 18th century.\nAppended is a comprehensive Bibliography of\nItalian, Spanish and English Plays and of\ncritical works relating to them. We hope\nthat the author will turn her attention next\nto a subject of still greater interest,.... the\nMasques, not only of England but of Italy\nand Spain, in which is to be found so much\ntrue beauty for both the eye and ear.\n\nPLANETARY JOURNEYS AND\nEARTHLY SKETCHES\n\nby George\nRaffalovich. & & &\nArnold Fair bairns & Co. Fondon.\nMr JRaffalovich in liis dedication explains the\nscope of this collection of sketches when he\nsays \" 1 did not intend to prove anything,\nonly to shape a few dreams and help others\nto realise that the conceptions of the\nimagination may be realities, and that we\nmust not be too proud of being human\ncreatures\nOne of the author's fantasies takes the form\nof a journey to a neighbouring planet in\ncompany with two of the inhabitants who,\nhaving wandered to our earth, conduct him\nwith them to visit theirs. & &\nAmongthe characteristics which he attributes\nto these strange beings is their silence.\n\" Conversation makes us somewhat tired\nexplains one of them; \"we have not the\nhabit of talking we will answer with\ngestures \" I endeavoured to explain to\nthem \" goes on the author, \" that with us also"}, {"page_pdf": 46, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.46", "texte": "speech was tending to become of less\nimportance; that we no longer held it in so\nhigh esteem as did the Greeks and Romans.\nThey, even those of the lowest class, would\nhave hissed an orator who lengthened or\nshortened a syllable out of place \". &In\nthis they certainly had the advantage of us,\nwith whom slovenly modes of speech are not\nonly contenanced but encouraged by society.\nWe do not sufficiently realise today the\nresponsibility of transmitting, unspoiled\nto the next generation, our mother tongue.\nIt was interesting in this connection to note\nlately in one of the London papers the letter\nin which a correspondent drew attention to\nthe fact that the 44 gergo \" of London had\nchanged entirely even since the days of\nDickens, and he described the shock of surprise\nwhich he experienced on hearing for the first\ntime the change of the a to i which has come\nto be the most salient characteristic of Cockney\nspeech. &\n44 I had to confess all the same \" continues\nMr Raffalovich, that the power of speech is\nstill great among us. And what more natural?\nIs not speech the interpreter of the heart, the\npaintbrush of the mind, the image through\nwhich thought finds expression ? Is it not the\nsalt of life, the raison d* §tre of our oldest\ninstitutions? If we despised speech it would\nbe the end of everything \".\nBut would it? Is not this a false assumption?\nThere are tribes in America which communis\ncate almost entirely by gestures,... and are\nthere not means of transmitting thought\nswifter and more subtle than the utterance\nof words? Are not words rather a translation\nthan a direct transmission of thought,\ngenerally useful, frequently beautiful, but\nnever infallible as vehicles for ideas? Two\nmen say 44 Heaven \" and they mean things\nentirely different: two men say 44 woman \"\nand conjure up images as different as day\nand night. And in our moments of deepest\nfeeling do we not take refuge in silence,\nfeeling, if we do not say, 44 I can not put it\ninto words \" ? & This volume, which also\ncontains some grim sketches of Russian life,\nis well printed, showing careful and artistic\nwork on the part of the Publishers. &\n\nD.N.L.\n\nBOOKS, JOURNALS AND MAGAZINES\nRECEIVED z? z? &\nShakespearean Representation by Percy\nFitzgerald. (Eliot StockJ. /z>\n\" The Studio \" London. & » The New\nYork Dramatic Mirror, New York\" The\nEra 44 East Aurora. New York. \" La\nBalance 44 Moscow. & \" Die Schanhuhne 44\nBerlin. JZ? \" La Rivista Teatrale 44 Florence\n& \" II Teatro Illnstrato 44 Milan. JZ>\n& \" La Rivista Musicale 44 Turin. \" Le\nTemoin „ Paris. » Ord och Bild 44\nStockholm. \" Skodebanan 44 Stockholm,\n\" Argus „ Helsingfors. » Szinhaz es\nElet „ Budapest. & » Us Szeinile 44 Budapest.\n\nFOREIGN NOTES\n\nLONDON\nR. S.\nTpbe proceedings of the meeting of the\n* Shakespeare Memorial Committee at the\nLyceum on May 19th were characterised by\na lack of simplicity which was remarkable even\nhere. & Our inability to speak of Art mat®\nters without elaboration and a studied snob*\nbery is growing more marked each year. &\nWhat is there about Art, about Shakespeare,\nabout the Theatre, which demands this mock\ngravity when we assemble together to speak\nabout them? One would think that Art and\nthe Muses and the gaiety of nations were\nthemes to set the heart loose and make us all\nclever, witty and happy. We know why Art\ncame into existence,.... but the meeting at\nthe Lyceum made us think we did not know.\nWe were made to feel that Art ought never\nto be mentioned except with the permission\nof Mr Pinero and a few other ordinary peo=\npie. & Mr Pinero was terrible. He accused\nhimself of representing the ordinary\ntists. Mr Shaw was present. Mr Shaw was\ncharming: he said nothing except that, though\nthe subject was not exhausted, he and his\nfriends were. But he looked the only man\nthere who could never get exhausted. He\nlooked prepared to accept any handicap. Mr\nPinero was what we should describe as dead\nbeat. He made a gallant attempt to remain\ncheerful while he sneered at all things which\nwere above the ordinary. He said some\npatronising things about the late Sir Henry\nIrving and managed to speak Mr Beerbohni\nTree fair. The effort to turn this double\nsummersault was visible, &We did not see\neither Mr H. B. Irving or Mr Laurence Irving\nat the meeting, ...and Miss Ellen Terry was\nhiding, if she was there at all. &\nThe National Theatre will be with us soon,\nand possibly some more ordinary plays. &\nBut anything beautiful,... anything more than\nordinary?? &\nOir John Hare says that44 The ideal theatrical\n44 manager should possess the finest artistic\n44 judgment without exercising his prerogative\n44 of appearing at the head of his company\n44 on the stage. \" &\n\nFLORENCE\n\n'TMte whole city is a stage mounted with\nscenes of loveliness, the whole population\nare its actors, their songs and movements\nits noble and delicate Drama. It would be\nfolly to go into a theatre to look for the\nleast little hint of the body or soul of Italy."}, {"page_pdf": 47, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.47", "texte": "D'AnnunzicFs 44 La Nave \" was performed here\nlately. The words of the play are very\nbeautiful; the acting, scenery and costumes\nrich and gaudy;... (the apparel oft proclaims\nthe man): the whole thing one vast confusion\nvery characteristic of the nineteenth century\nbut not belonging to the twentieth century.\nThe stage show reminded me of the German\nand English productions of twenty years ago.\nEverywhere one sees evidence of a laborious\nand passionate research for details of historical\ninaccuracy. It was as though a dealer in\nimitation objects cV ait had been allowed\nto produce the play..,, old books, old crosses,\nold flags, old mitres, old shoes, old ideas.\nStill, the words were beautiful. What a pity\nto spoil them just for the sake of an\nadvertisement!... an advertisement of the\nbook of the words. &\n\" Gabriele D'Annunzio! What a pity it is that\nthis angel voice has nothing to announce \"\nwrites a friend to me 1 wonder if this is\nquite fair? it would be ridiculous if it were\nthe truth....Is it? &\n\nJ. S.\n\nBUDAPEST\nP.\nTphe Hungarian Theatre has shown signs for\na few years of renewed life. It begins to\nbreak away from the traditional artificiality\nwhich degrades the modern European Theatre.\nThe most active leader of this movement in\nBudapest is Alexander Hevesi, who, like many\nof those now working to create a new Theatre,\nhas served his apprenticeship under the old\nregime, only finally discarding it in despair\nof either reviving that theatre or creating\nin it, in its present state, any work of art.\nHevesi was Stage Manager of the National\nTheatre for five years. Convinced both\npractically and theoretically that nothing\nartistic could be produced in the old theatre\nhe then founded, with the assistance of some\nyoung literary men, a stage society to which\nhe gave the name of 44 The Thalia Society \",\nThis Society, which was not commercial in\nits aims, numbered among its members many\nambitious and talented young actors, writers\nand painters, and the plays produced,\nunhampered by tradition, were works of a\nhigh order. TO the 4# Thalia Society \" was\ndue the first success of Ibsen on the Hungarian\nstage. &\nHevesi was at first a Realist. He became a\nRealist less from conviction than necessity,\nand the need was to free the old Hungarian\nstage from its artificiality. The study of the\nantique Theatre, the Theatres of Japan and\nIndia, and the history of tbe Marionette\nbrought him to perceive that Realism, while\nit is the beginning, is not the end of Art. &\nHe then produced D'Annunzio's44 Citt& Morta \"\nin a freer, better manner. This he followed\nup by Gerhard Hauptmann's 44 Elga \"i which\nwas represented like a dream.\nSince this note was written less encouraging\nnews of the 44 Thalia Society\" has been\nreceived, An order from the chief Constable\nof Budapest has arrested, perhaps killed, the\nactivity of the 44 Thalia Society \" which has\ndon© the most idea! and most unselUsh theatre\nwork in Budapest and to which are owing\nthe most important events in the city's\nartistic life in recent years. The chief\nConstable declared the rooms of the 44 Thalia\nSociety \" dangerous In the event of fire and\nfound other means of restraining the Society's\nwork everywhere and in every way.\nAH who read this paper will surely be\nastonished that such things should be possible\nin one of the capitals of Europe; that it should\nbe possible to repress and kill In this brutal\nmanner so flourishing a work. &\nEvery attempt of the 44 Thalia Society \"to\nprocure a room has proved in vain; they\ncould nowhere get permission and were\nforced to remain inactive. & &\nPerhaps it is that other Theatres fear the\ncompetition ? Perhaps the activity of this\nfine enterprise clashed with some commercial\ninterest? This is not only possible but\nprobable and the public which welcomed and\nneeded the work of the Society is now deprived\nof its artistic enjoyment.\nHave the other theatres and the chief\nConstable of Budapest the courage to bear\nthe responsibility for robbing the public of\nits rights? What can they do to compensate\nthem? Something will have to be done. But\nwhat? That is the question.\n\nBERLIN\n\nold nights,... Full Houses. This is the\nwhy there seems to be no end\nto the season. &\nAt the Royal Opera 44 Madame Butterfly \" is\napparently paying her farewell calls; at least\nshe appeared only once during last week and\nis no longer visible in the repertoire for the\ncoming one. &\nAt the Royal Schauspiel Wildenbruch's\n44 Rabensteinerin \" is still being performed this\nweek and is announced again for next week.\nLindane play, 44 Ein Erfolg \" is still drawing.\nAt the Oeutches Theatre 44 As You Like It \"\nis still alternating with 44 Romeo and Juliet\"\nand Schiller's 44 Die Rauber \" and the first\nnight of the new play 44 Ulrich, Furst von\nWaldeck \" is much looked forward to. Its\nauthor, Eulenberg, is a young man who is\nfamiliar with the theatre. As to the success\nof the play, opinions vary. &\nAt the Kammerspiele 44 Lysistrata \" by\nAristophanes, brought up to date and trimmed\nwith new manners, still continues. Alas, were\nnot the old manners better\nAt the Lessing Theatre one is still astonished\nto get the \" Raub der Sabinerinnen \" instead\nof the accustomed tragedies. At the Kleine\nTheatre the play by the Danish author, Abel,\n44 2 x 2 \" still continues its success. The\ngeneral character of the Berlin repertoire for\nthe last week and this is a fairly good one,\nbut by no means up to the usual high record\nof Berlin, Shakespeare being given fifteen\ntimes, Hebbef and Shaw each four times,\nSchiller three, Aristophanes six times,\nHauptmann and Ibsen each once. &"}, {"page_pdf": 48, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.48", "texte": "The feature of the past week, however, has\nundoubtedly been d'Albert, who is to be\ncongratulated upon the hundredth represen-\ntation of his \" Tiefland \" at the Comic Opera.\nConsidering that since \" Carmen \" Bajazza\",\n\" Cavalleria \" and \" Hansel \" not one opera\nhas been able to sustain a series of represen-\ntations, \" Tiefland % is undeniably a valuable\nacquisition for the operatic stage. The Maestro\nhad come from Rome to conduct, and was\ngreeted and applauded by a crowded and\nenthusiastic house. His new opera, \" Izeyl \"\nis looked forward to with keen interest\nThe Imperial Opera Company from Russia\nis to play for four weeks at Kroll's, and\na most unusual reclame is being made for\nthem in the Press.\n\nA. F.\n\nHELSINGFORS.\nC.\nIn Finland we have two languages,.. Swedish\nand Finnish, and consequently theatres in\ntwo languages. But in spite of this difference\nthey both agree in regard to the artistic value\nof their representations, and that is not very\nhigh. We have no traditional theatrical art,\nand there are no signs of any Renaissance.\nOnly when foreign artists are visiting us, as\nIsadora Duncan did this winter, have we the\nopportunity of seeing genuine art.\nThe most considerable event in the theatres\nthis spring was the attempt of our Swedish\ntheatre to perform Strindberg's \"Svanehvit\",\nwhich had not been previously represented\non any stage. It is a fairy tale, written in\nStrindberg's lighter period after the * Inferno '\npessimism. It is said it was his intention to de-\ndicate it to \" My master Maeterlinck \", and the\nprobability is that Maeterlinck has given him\nthe idea of writing a fairy drama. But the\nsimilarity is very superficial, Strindberg's and\nMaeterlinck's artistic characters being too\ndifferent. At all events, there is much fine\npoesy in the play, and this poesy is of a kind\nthat is very rare in Strindberg's works,....\nan innocent, charming, airy poesy which has\nthe spirit of a child's tale. Only in a few\nscenes are the typical Strindbergian ideas\nvisible. The performance in Helsingfors was\nnot perfect, very far from it, but even there\nthe beauty of the play was compelling.\n\nEDITORIAL NOTES\n\nTP he English Journals have been exceedingly\n* appreciative of the aims of The Mask, and\nwe take this opportunity of thanking them.\n& The English Press is a lover of fair play\nand does its best to preserve it.\nIn our case it recognises that we represent\nthe ideals of the Art of the Theatre as opposed\nto the ideals (?) of the Commercial Theatre\nor the Theatre of Entertaiment. It recognises\nthat it is playing fair in supporting the Fine Art\nof theTheatre and that to support Commercial\nor Coarse Art would be Foul Play. It is a\nwell-informed Press. It is informed concerning\nthe History of Art in all ages: it knows that\nArt and Commerce are as divided as the two\npoles, and, loving fair play, the Editors of\nEnglish Journals give the order to the\ntheatrical critics to uphold the standard.\nAnd do the critics always play fair? ...well,\nnearly always. It must be often wearyingly,\ndesperately, difficult to be a just and wise\ncritic. We believe it is one of those arts for\nwhich no schools exist.... other than the hard\nschool of experience; and therefore it often\noccurs that when writing of the lightest\nforms of the Art of the Theatre the critic cart\nfind little or nothing to say and covers his\nconfusion by a sneer, a jest or an amazed\nexpression of surprise, and these attitudes\nare unbecoming in a critic who of course\nprofesses to be a serious student of his\nsubject. & jgr\nThe movement in the European Theatre to\nreestablish the nobler traditions of its Art\nmust be treated seriously by all serious critics,\nand if at first some of them do not entirely\nunderstand the movement and what it will\nbring about, they will, if they are in earnest,\nstudy the position of the Art in relation to\nthat of the other Arts; they will study most\nof all the history of the Arts of Music and\nArchitecture, and then they will perceive\nthat our task is one which has too long\nbeen postponed, and will do all they can to\nassist us in our most difficult undertaking.\nTo the consideration and criticism of our work\nthey must not bring the same views and\nmethods as they bring to the consideration\nand criticism of the Commercial Theatres.\nAnd let us define which theatres are considered\nby European artists to be commercial."}, {"page_pdf": 49, "page_imprimee": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.49", "texte": "The Commercial Theatre is recognised by its\nquality. There may be a Commercial Theatre\nof Shakespearean representations as well as\na Commercial Theatre of kick-about ladies\nand melodramatic villains. If Madame Sarah\nBernhardt were to produce Shakespeare insuch\na way as merely to catch the eye and tickle the\npalate of the thoughtless she would be serving\nthe interests of the Commercial Theatre. If\nMr Beerbohm Tree were to produce, let us\nsay, the \"Faust\" of Goethe in such a way as\nto \" please the million \" in a manner \" neither\nwholesome nor sweet \" he would be serving\nthe interests of the Commercial Theatre.\nFor under cover of the names of Shakespeare\nand Goethe sacrilege must not be committed,\nand because the names of Bernhardt and Tree\nare famous names, their deeds must be no less\nfamous.\nWhen an artist compromises, bending to the\nwill of the public, the critic should have no\nfear in attacking him, no matter whether\nhe be named Irving, or Beerbohm Tree.\nAnd when we speak of the public we\nallude here to that spoiled public, ...the flippant\nTheatre-goers. There are many different\nways in which the nimble merchant can catch\nthe illusive penny from the vulgar tight-\nclosed hands of those searchers for an\nevening's foolish entertainment; and as the\ncritic, after a long and careful study of the\nTheatre of all lands, should attack the\nCommercial Theatre wherever it show signs\nof lowering the popular taste, so should he\nincessantly bring his readers to the right\nknowledge of the ancient and noble traditions\nwhich guide his judgment. Such critics are an\nhonour to the Art and to their country.\nLessing, Hazlett, Charles Lamb are the names\nof a few such men; and their honour is not\nthat they wrote well about bad theatres and\nworse theories but that they divided the bad\nfrom the good, the claptrap from the art,...\nand they all of them are agreed as to what\nis claptrap and what is not.\nTherefore we will ask for continued fair play\nfrom the critics of England; ....fair play in\nthe consideration of the Art of the Theatre\nand of the European movement which we\nrepresent and which is an entirely serious\none and one destined to survive.\nA lexander Hevesi's attempt at Budapest to\nbring a more serious and cultured atmos-\nphere into our Institution by the practical work\ndone under the auspices of the Thalia Society\nhas received a temporary check. Some men or\nwomen in Budapest have intrigued against\nthe Society and have achieved the ridiculous.\nThey have the credit of throwing one more\nobstacle in the way of our advance and we\nwish them all the comfort which can be\nderived from so mean and foolish an act. &\nNo words are strong enough to denounce\nthese paltry people who degrade the Theatre.\nAlas, they are often to be found in the\nInstitution itself; they are often actors and\neven actresses, and all true workers in the\nTheatre detest them. Such intrigue will\noverturn this already insecure Institution:\nwe may expect a crisis any day, for the brains\nand talent of the theatre will not permit the\nart and its thousands of lovers to suffer for\nthe baseness of a few envious\nWe have heard before of such excuses as\nthose under cover of which the Thalia\nSociety's performances have been prohibited.\n\" Fire \"! Good heavens I as if the Royal\nTheatre in Budapest were not quite as\ndangerous on that score. Only two theatres\nin Europe offer security to their visitors:\nthat at Bayreuth and the Prinz Regenten at\nMiinchen. &\nAnd who have you to thank for these theatres?\nThe Police ? the Government ? Patriotism ? the\nChurch? the Doctors? the Actors? the\nArchitects? No, not one of these. You have\nto thank an artist who you refused to believe\nknew anything about the subiect. Oh, what\nbright intelligence you reveal, my friends!\nYou do your best to let yourselves be burnt\nevery time you enter those old balcony theatres\nwith their twisting passages, and you do\nthis rather than admit that the artist is the\nwisest man of the whole community and\nknows what he is talking about Well, go\non doing so. intrigue, and set yourselves and\nyour children on fire. It is the best way of\nserving us in the end. But do not complain\nabout it later, for it is your own fault.\nRichard Wagner designed you a theatre years\nago which was the only safe theatre in Europe.\nMiinchen copied the design,.... all honour to\nMiinchen. As for the other State and private\nTheatres in Europe, they are all utterly\nunsafe and dangerous to the public. We would\nrespectfully draw the attention of the Fire\nInspectors of all theatres to our statement,\nespecially to the illogical gntleman in Budapest\nwho closes safe places leaving dangerous ones\nopen. Iron curtains some times act: sometimes,\nas in the case of the Meinigen Theatre, they\ngive way and fall on the audience. But if\nyou are able to dodge the curtain, you will\nanyhow be canght in the twisting passages,\nfall down the little staircases, (just consider\nDrury Lane, or the Royal Theatres at Moscow\nSt Petersberg, Vienna, or Berlin;) or be\nbaulked by closed doors, or impeded by the\ndraped curtains at the corners. These so -\ncalled Theatres are nothing more than death\ntraps made after the most stupid design.\nIt is a farce to close one small building on\nthe plea that it is \" dangerous on account\nof fire \" and license all these hundreds of\nstate and private crematoriums.\nWhen will it be realised that Wagner's design\nis the only safe pattern on which to build a\ntheatre? We can answer that question. It\nwill only be realised when the theatre ceases\nto be a shop, and this will only come about\nwhen the snobs and intriguers are hustled\noff the stage by the young and vigorous\ngeneration which now begins to win back\nnot only the liberty of the Theatre's Art, but\nthe ancient nobility of the Theatre as an\nInstitution. & & & &"}, {"page_pdf": 50, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.50", "texte": "This young* generation is united by the closest\nties , . those of sentiment and understanding;\nand we may expect at any moment to hear\nof a practical development of their position,\nthe formation of a league or society which\nshall be independent of all accident, the union\nof the artists of the theatre to protect their\ntrust.\n>yt/e learn that Mr Granville Barker has\nrefused the directorship of the New\nTheatre in New York. Mr Barker is reported\nto have given some reasons for his refusal,\none of these being that he considered the\nbuilding too large. He holds that the secret\nof truly artistic acting is that the actors shall\nmaintain close personal touch with the\naudience, and he states that the proposed size\nof the building would prevent the attainment\nof the right \" atmosphere \". &\nWe confess we are unable to sympathise\nwith these views. We believe we are right\nin saying that there has been much 44 artistic\nacting \" seen in large theatres: we remember\nhaving heaVd of Edmund Kean at Drury Lane;\nof Tommaso Salvini at the Scala at Milan; of\nHenry Irving at the Lyceum; and in earlier\ntimes the theatres were far larger:., we speak\nof the time of Roscius. We venture to suggest\nthat \" Atmosphere \" is not dependent upon\nthe actor so much as upon the play, and,\ncuriously enough, upon the stage setting.\nWe hope, and believe, that Mr Barker will in\ntime come to look upon the size of a theatre\nas of little importance. In our opinion it is\nthe shape which we have to reconsider. Small\nas well as vast theatres are necessary,....\nthough we favour the latter from economic\nas well as artistic reasons. &\nHphe miller thinks that the wheat only grows\nin order to keep his mill going. \" writes\nGoethe; and we reprint the neat saying for\nthe benefit of the Commercial Theatre of\nEurope and America.\nHP he advocates of a Municipal or State\nTheatre for England have evidently\nnothing but theory to go upon. A visit to\nEurope, and a close and long study of the\nresults achieved by State Theatres would soon\ndisillusion them. A&\n\"State-aided theatres are always harmful,\n44 for the State protects timid and easy art \"\nwrites Herman Heijermans, the Dutch\nDramatist. &\nThe institution of a State-aided theatre\n44 and of a state-aided conservatoire would\n44 be disastrous to Dramatic Art in this\ncountry \" writes John Davidson, the English\nDramatic poet.\n44 I do not think that the institution of a\nState-aided theatre would be favourable to\n44 dramatic Art \" writes Hall Caine.\n44 AH I can say is that I hope for their own\nsakes, the English will have neither\n44 conservatoires nor state-aided Theatres.\nThey have been fortunate up to now in this\n14 respect, for their Government does not\n44 interfere with what does not concern it.\n44 It would he a pity to alter this. \"\nJules Lemaitre\nThe welfare of the Drama as of all Institutions\n44 depends on men and not on systems.\nH Beerbohm Tree.\nWe are inclined to favour the idea of State\naid to certain theatres which contain artist-\ndirectors whose work entitles them to the\nsupport which a crude public refuses to give\nthem. We can conceive much good arising\nshould the State lay aside a certain sum\nyearly to be given to the maintenance of the\nhighest form of dramatic art wherever it\nmight proclaim itself in Engl and. But rashly\nto waste a large sum of the national wealth\nin endowing a theatre for ever aud ever, no\nmatter who and what should appear in it\nwould be folly. If the State really desires\nto bestow a sum of money yearly upon the\nartists of the Theatre so as to encourage\nthe art, it could not do better than to\ninstitute a scholarship so that a fair competition\nmight be created, a scholarship to be\ncompeted for by playwrights and stage\nmanagers, for upon these two men,....\nplaywright and stage-manager, the future of\nthe theatre in England depends. The stage\nmanagers would then train to become\ncraftsmen of ability, and the honour of being\nchosen would be an incentive to them.\nA stage-manager should be an artist of\nconsiderable ability. He should, besides this,\nbe versed in the history of the stage. He\nshould be a designer, able to invent with\nfacility both scenes and costumes. He should\nhave a knowledge of the values of movement\nand voice, and he should have been at one\ntime or another an actor. His victory would\ngive him a standing and would make\nhis further studies possible. With such\na prize as a nation would offer he could\nafford to travel in Europe and study his art\nwith more facility. He could then return to\nEngland and take up an important position\nand fulfil its requirements faithfully and with\npleasure, instead of having to labour for ever\nwithout any opportunity of showin his\nability or metal. We hope to go further\ninto this question of State aid at a later date.\n\nJ. S.\n\n& u£> ALL RIGHTS RESERVED & &\nGERENTE RESPONSAB1LE, GINO DUCC1 &\n\nMASK OF ENVY."}, {"page_pdf": 51, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.51", "texte": "C ONTRIB MASK'','',\"AR^\nJOHN BALANCE -*? ALEXANDER HEVESI JEAN JACQUES OLIVIER\nCARL BEHRENS H. von HOFMANNSTHAL WOLFE PLANK-*? &\nALLEN CAR R I JAN van HOLT WILLEM ROYAARDS\nGUNNAR CASTREN EDWARD HUTTON & WILL ROTHENSTEIN\nGORDON CRAIG ANDREAS JYNGE -*? OTTO RUNG & -*?\nJ. PAUL COOPER & ELLEN KEY & RUDOLPH SCHMERZ\nISADORA DUNCAN j& JAN KLAASSEN .*? MARTIN SHAW\nFRIEDENTHAL j& FRITZ LAPIDOTH & ELLEN TERRY\nLOUIS FULEP D. NEVILE LEES E. THESLEFF & & 1\nADOLF FURST & M. L YKIA R DOPO U LOS JAN C. de VOS -*?\nJULIUSZ GERMAN £> HALDANE MACFALL -*? PHILIP WAHLSTROM |\nIV O HAUPTMANN NEU WERT NO WACZYNSKI H. WILSON. .*? -*? I\nAW E1S C.NICHOLSON HELEN ZIMMERN !\nYEARLY \\ England, 16 Shillings g Italy, 17 Lire, 1\nSUBSCRIPTION i errnany,i6 Marks 1 Russia 8 Roubles POST FREE\n1 America, 4 Dollars § France 20 Francs. \\\nORDER FORM |j\nTo the Editor, (or)\nr* 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 §\n- I\n-« JIij \"i\"1 mT TTJ Ti\"T fTrTM~l tfl\" i\"l 'ffi , HWn I\". 11 HIP ' I 11 > 'm— 11 t iWii'i'm IMHIMI —mm.. im— wi i■ ■ i m i immiiiai.nn — iia'ii '.rT~i(«r\"ri TnTi'innri r —n—•nn finr.ii ■i. ■ —■»i ■ — m.,,...■■■■ ,, n „ IM i r<■■■ n i m\\m> ffi\n\nThe principal Artistic\nand Literary publica-\ntion of Scandinavia.\nYearly subscription\nFrancs: 20.\nWahlstrom & Widstrand, Stockholm.\n& PUBLISHED MONTHLY\nmm\nwK.\n05\niiims\n\n\"VIESSEE\" (The Balance) &\nA RUSSIAN LITERARY & ART MAGAZINE PUBLISHED MONTHLY IN MOSCOW BY\nTHE SCORPION PRESS\nBTBWBMrtmaBBBaapsam\nThe Balance \" contains Poetry, Fiction, Drama, and Essays on Art and Literature by\nthe best modern authors, both Russian & Foreign. jg? jg?\nThe Journal has correspondents in all the chief cities of Europe. &\nThe Balance is illustrated by drawings, etchings, lithographs, etc: (also colour plates)\nby Russian and Foreign artists. & & & &\n& Annual subscription, post free. 18 francs. (14 shillings)\nOFFICES; MOSCOW (RUSSIA) THEATRE SQUARE. METROPOLE BUILDINGS 23.\n& & CHIEF - EDITOR: SERGE POLIAROFF. jz?"}, {"page_pdf": 52, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.52", "texte": "yfc'iWKitwmiamm —'^Tw^rnflMni^'^ta'x^TOTTiiiTTMni¥inTinoimMiMmjnMiixM\"rji«TriiroHrnwrprBTCTi■—ar,iTrT»iiirwwfrt——r——;-\"\"\"\" rriir1\"*•■ \"y^rL\"r\" mmaemmmi\nQESELLSCHAFT FURTHEATER\nQESCHICHTE j& j& J& &\nABTEILUNG REDAKTION BIBLIOGRAPHIE FUR THEATERGESCHICHTE\nDie Gesellschaft fur Theatergeschichte (E. V, 1902. Sekretariat Berlin W. 50) hat nach\ndem im Fruhjahr 1907 erfolgten Tode Arthur L. Jellineks, ihres verdienstvollen Biblio-\ngraphen, Herrn Dr. Fritz Braumuller in Munchen. Adelgundenstrasse 34/®* *®er\nFortsetzung der Bibliographie der Theatergeschichte (Jahrgang 1905 ff.). die in den\nSchriften der Gesellschaft zur Verbffentlichung gelangen wird, betrut und bittet Autoren\nVerleger und alle Freunde des Unternehmes, Biicher, Broschiiren, Zeitschriften, Zeitun=»\ngsartikel. Sonderabdrucke, kurzc Mitteilungen und Notizen theatergeschichtlichen\nInhalts an die Adresse des genannten Bearbeitess freundlichst einsenden zu wollen.\n\nE MOSHER BOOKS^\n& & & MDCCCXCI-MCMVI1I jS>\nFor a dozen years the most artistic volumes at their price that have been issued in\nAmerica have been published, not from New York or Boston, nor even in Philadelphia\nor Chicago but it Portland, Maine In that little city Thomas B. Mosher has been\nprinting, without flourish of trumpets or wide advertising, volume after volume\nwhich in artistic excelience are not excelled by the issnes of any publishing house in\nthe world. Then, too, Mosher has reprinted only the gems of literatnre that have\nbeen declared of the first water; gems that are, beyond objection, jewels of the world's\ntreasury of brilliant writing. We may also assert that the question of gain has heen\nsecondary in Mosher's calculations. He has put out very small editions, and he has\nmade them so beautiful in all that concerns their make»up that it is doubtful if\nhe has ever gauged the expenditure by the possible profit. Nevertheless, he must\nhave done so, but in doing so he excites our admiration.\nGUY CARLETON LEE in Baltimore Sunfor Dec. 18, 1907.\nMy new Catalogue—a remarkable piece of book-work in itself—explains this unusual\ncompliment, and is sent free ou request to book=lovers anywhere that can be reached\nby mail. My Catalogues are not made up of old and hackneyed quotations concerning\nbooks. You are not wearied by \" a jollie good book \" jingle and that sort of thing,\nbut you are treated to some very genuine prose & verse not found in every cutand-\ndecidedly=dried anthology.\nTHOMAS B. MOSHER PORTLAND. MAINE & U, S. A.\n\nA PORTFOLIO OF ETCHINGS. &\nBy Gordon Craig with a preface. &\nthirty portfolios will be issued, although ten or twenty additional copies of some of\nplates 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. Size of portfolio 48x30 ctms. Average size of plate.\n14 2/3x15 2/3 ctms. The price for a portfolio will be L. 16.0.0, (400 Francs or 320 Marks).\n'TNhese 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.\n44 Movement\", writes Mr Craig, 44 was at the roots of the Ancient Theatre and will ever\n44 remain the very Essence of the Art.\n44 We must translate Movement through the medium of inanimate forms and thereby produce\n44 once more an Impersonal Art which shall take its place by the side of its two sister\n44 Arts-Music and Architecture \". &\nJ!5t»vt t « H .■ t *n t t<v j - »»-■ i. o . ' ■-> * »er«•» t. ' * < «<»■:*.( +c.\nORDER FORM\nTo The Publishers,\nThe Editorial Office of 44 The Mask \" 2 Lung'Arno Acciaiuoli, Florence. Italy. &\nPlease send me the Portfolio of Etchings by Edward Gordon Craig, in payment for which\nI enclose the sum of L. 16.0.0, (or 400 Francs or 320 Marks)\nSigned\nAddress.\nrsHWE'"}, {"page_pdf": 53, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.53", "texte": "L I BRA I R I E A NCI EN NE &\nT. DE MARINIS & Co. 5 Via Vecchietti - FIRENZE\n6\nS&LS\n■\nfuurP\nI4UI\ne\nnnr\nvrt\nfi\niXJlZL\n\\\nWl\n»«\ni\nID\n0 •\n-HI\n• «*<\n-TU-J\n111\nII *\nU-»\nyj\nu&i\n*11\n>5:\n£\nMiULfLJ\nit * i\n=P\n00\nllll\nSSSS2\n00\nis 11\n£LW\ndors\nOLiU\nin\nlit\nin\nurn\ni\nIII*!\nS* II\njrn'go\n.\n»«»«;\n• 1\nc:\n44\ntlHU\n&\nIt\nSwksT\n0 010\n2\n•*•<«\n©9\nMOJl\n• •Ml\nn a o\ntin/Ttf\n!«••*\nHE\n«co\nn/v\nQO\nac\nnil 1 /»\n11\nT/lf\n.III*\ni/\nrLTUV\nPine Collection of MBS,, Incunabula, rate and curious books XV'XIX cent.\nIllustrated Catalogues free on application.\n\nEX LIBRIS.\nAre you a Book Lover ? II\nso, you will want all which\ncan add to the beauty\nand completeness of your\nbooks, and you cannot\ndo without.\nA BOOK PLATE\nIn design your Book Plate must be grave\nyet charming, for its duty is to act as\nwatchman at the doors of all books, whether\nreligious or profane. If you would possess\nsuch a Book Plate, simple, charming and\ndistinguished, write to the Wood Engra-\nvers of San Leonardo, directing your letter\nto 5 Piazza Donatello, Studio 9, Florence,\nItaly, and you will receive all the infor-\nmation you desire. & &\n\nEDITION DE LUXE.\nSPECIAL NOTICE TOBOOKLOVERS\n15 copies of \" The Mask \" will be printed\nMonthly upon a yellow hand-made deckle-\nedged paper identical in appearance and\ntexture with that made in the same district\nof Fabriano in the year 1315. This edition\nwill contain Etchings and other prints\nsigned by the artist, which will not be\nincluded in the popular edition.\nYearly subscription: England, L. 3.5.0 Post Free\n♦» »» » Germany, Marks 67,00 „ „\n,, „ „ America Dollars 16.00 „ „\n»V » „ Italy Lire 82.00 „ „\n*. »> tt Russia Roubles 30.00 „ „"}, {"page_pdf": 54, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190805-01.1.54", "texte": "Printed for the Proprietor by E. Morandi, Tipografia Bodonlana, Via Alflerl, Florence, and published at The Office*\n2 Luig'Arno Accialuoll £? & & & & & & & & & &\n\n[ANTONIO FR1LL1\nPURVEYOR TO 10\nIMPERIAL & ROYAL\nFAMILIES\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.\nGRAMD PRIX\n1904\nF LORENCE\n£7 Via dei Fossi 4\n& (ESTABLISHED i860) &\nAWARDED PRIZES\nAT 48 NATIONAL &\nINTERNATIONAL\nEXHIBITIONS\n\n& J2? jg/ J&\nJ&J& J&J&\nJ&J&J&J&J&J&J&J&J&J& <&\nJ&\nTHE \" MANIFAT-\nTURA PI SIQNA „\nArtistic Terra Cot=\nta for both interior\nand exterior deco=\nration <& &\nVia Vecchietti, 2 j& j&\n& & FIRENZE (Italy)\n\nDINI & CELLAI\nArtistic & Decorative Terra Cotta of\nSigna &\nVia dei Fossi N. x - FLORENCE\nHepPoduetion of seulptupes of Old and\nJVIodePn flldsteps M statues « Busts «\n—}, ; _ t\nVases M BasMjjeliefs M pountains « POOPS\nChitnneywpieees « Bases ete. ete. In\neVepy style & J& j& &\n\n& ON JUNE i &\nTHE j& &\nPublishing, Bookselling and\nNews Agency Business JZ?\nof R. PAQGI (A. Rossini\n& Co. Ltd.) will be trans-\nferred from Via Tornabuoni\n15 to premises at 36 Via\nPanzani in the same buil-\nding as the Grand Hotel\nBaglioni."}]}