{"numero_id": "bm-bmtnaau-1908-08-01", "volume": "bmtnaau_1908-08_01", "ocr_sha256": "a58082bb9d490420e941829a3d020d4bda9a1bf1496549da4ce984037903913f", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1908/08_01/bmtnaau_1908-08_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1908/08_01/bmtnaau_1908-08_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01", "articles": [{"article_id": "bm-bmtnaau-1908-08-01-c002", "article_bluemountain": "bmtnaau_1908-08_01#c002", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[108]", "page_fin": "[108]", "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=bmtnaau190808-01.2.2", "titre_corps": "A PEEPSHOW JULIUS OLIVER", "titre_sommaire": "A PEEPSHOW JULIUS OLIVER", "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": "[108]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 24, "texte": "A PEEPSHOW JULIUS OLIVER"}]}, {"article_id": "bm-bmtnaau-1908-08-01-c003", "article_bluemountain": "bmtnaau_1908-08_01#c003", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "109", "page_fin": "109", "image_debut": 5, "image_fin": 5, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.3", "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": 5, "page_imprimee": "109", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.5", "debut_caractere": 15, "fin_caractere_exclue": 509, "texte": "CONTENTS\nJS? AFTER THE PRACTISE THE THEORY&\n& A LETTER TO ELLEN TERRY FROM HER SON, GORDON CRAIG &\nTHE ARCHITECTURE AND COSTUME OF CORIOLANUS by E. W. GODWIN REALISM\nAND THE ACTOR. JOHN SEMAR A WORD ABOUT THE THEATRE, by W. S. LANDOR.\nAT BORCHARDT'S IN BERLIN by GORDON CRAIG JG? TWO ACTORS; A COMPARISON,\nby JOHN BALANCE BOOK REVIEWS FOREIGN NOTES EDITORIAL NOTES &\nENGRAVINGS by GORDON CRAIG JULIUS OLIVER E. THESLEFF CARR & OTHERS\nREPRODUCTION OF A DRAWING IN INK OF MISS ISADORA DUNCAN. & &"}]}, {"article_id": "bm-bmtnaau-1908-08-01-c004", "article_bluemountain": "bmtnaau_1908-08_01#c004", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "109", "page_fin": "111", "image_debut": 5, "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=bmtnaau190808-01.2.4", "titre_corps": "A LETTER TO ELLEN TERRY from her son", "titre_sommaire": "A LETTER TO ELLEN TERRY from her son", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "109", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.5", "debut_caractere": 511, "fin_caractere_exclue": 3610, "texte": "A LETTER TO ELLEN TERRY\nfrom her son.\nas Benvenuto Cellini, according to the modern poet, said to Michelangelo,\n44 Michael, let us talk about art\" so I to you, Mamma, let us discuss the theatre. \"\nYou know how we always discuss the theatre; I, talking for about four hours at a stretch and\nyou saying; 44 Yes, my dear, I know, \" and I, with forefinger uplifted saying, 44 Don't you\nsee, don't you see?\" While I'm quite unconscious that, before I was, you saw. So let us\ncontinue at a distance the 44 Don't you sees \" and the 44 I knows \".\nTo begin with it is a particularly fine day here. 44 Here \" is Italy, 44 here \" is Florence, and\n44 here \" is the perfect hill on which San Miniato is built. Sun of optimism all over the place,\nand in the middle of it your son and his optimism.\nThe Newspaper comes here every day. 1 continually read of your nightly conversion\nof Captain Brassbound, and sometimes of Nance Oldfield. Do you remember the fearful\nrapidity with which Nance Oldfield first leapt upon the Lyceum Stage? Was it three days\nthat the play was produced in or twelve? it was not much longer at any rate.\nWhat an excellently bad actor I was! And what a dreadfully good actress you were!\nHow exceedingly difficult it is for young actors and actresses when playing with masters of the\nart to do anything at all, unless the young actor or actress is a little bit brilliant, rather\nstupid, and absolutely conceited. How difficult it is to do anything but sit down and look\non. One feels such a duffer. They must all feel duffers. The ease with which the great actor\npasses from thought to thought with hardly a movement of a muscle; the control the great\nactors have over their voice, so that they can say many things in one sentence; the way in\nwhich they are able to pass from one side of the stage to the other without seeming\nto have moved at all; all these things are amazing and confounding for the young actor,\nmaking him impatient that he cannot do this or anything like this. ... And then, when the\nson of his mother cannot do this .... 44 orror on 'orror's 'ed haccumulates\" as the old\nprompter used to say. & And here's the funny thing, too, about it; that a most intellectual,\na most ideal mind, if trained for thirty years, could not do it, could it?.... does it ? ....has\nit ever been known to ? JS?\nCan acting ever be taught? No; you've said so many hundreds of times. No, But though\nyou are not so good a critic as your daughter, meine liebe Schwester Edy, who is a superb\ncritic, you are quite right; you must be... Don't you mean that you cannot teach acting\nin the same way as you can teach Algebra and Euclid, and also that you cannot teach\nacting as you can teach the rules of proportion or as you can teach counterpoint? & These\nthings have laws which hold good for all artists, architects and musicians; and by following\nwhich a decently musical or artistic soul can create beautiful harmonies, pictures or buildings,\nbut by disregarding which can be created hideous confusion.... 44 I know, my dear, I know\";\n\nr. , .\nThe ease of the\ngreat actor. js?\ncannot he\ntaught. &"}, {"page_pdf": 6, "page_imprimee": "110", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.6", "debut_caractere": 26, "fin_caractere_exclue": 4892, "texte": "a gentle and a sweet sniff, a raising of tlie head as if looking far into the distance, and\nin your movements I hear your answer. &\nBut how right you are, how entirely right. Acting cannot be taught. And as it cannot\nbe taught, acting will ever remain one of those beautiful chance products, which seldom\nare seen in their full beauty. How many times in a century is it seen? Six or eight?\nI dare say you in your generosity would say ten. And how many actors are there in the\nworld today? &\nI am writing a fearsome looking paper which commences \" Acting is not an art. Actors are\nnot artists, \" and the rest of it. & Now that's a bright way to begin, but when you read it\nyon will know what it all means. You will know that I am following up that which you\nassert,... that acting cannot be taught, that it has no laws: that obviously, if this is true\nit is no art. & &\n1 think if it had any laws you would have found them out long ago and would have told\nme. Then what also supports what I advance is the fact that Madame Duse speaks in\nsomething of the same strain, saying that until all the actors die of the plague the stage\nwill not be saved. & As you know she goes on to say, \" They poison the air, they make art\nimpossible;\" and she probably includes herself, don't you think so, because she is not vain\nor stupid. She probably means that to stop acting altogether, and for the theatre to be\nthoroughly swept out, brushing aside all the plays, all the costumes and the rest of the\nLord Mayor's Show, would leave the place so blank and so fresh in its emptiness that when\nthe people of the theatre once more entered it they would enter in a different spirit, and\nin royal trim; courage up, pride up, and purpose fixed; and with those qualities behind\nthem they would be capable of creating works of their own without assistance of the\nplaywright, of the costumier or of the orchestra. 1 think that is her opinion. The staff\non which her flag waves has no end. The flag can go up and up without reaching the top.\nI believe that the great actors possess the power of creating pieces of work without\nassistance of any one else; that is to say, 1 believe that you, or one of the few others,\ncould, taking some theme or some two themes, ... let us say the idea of Meeting and the\nidea of Parting out of these things, by movement, scene, and voice, put before\nthe audience all the different meaning of all the joys and sorrows that are wrapped up\nin the idea of Meeting and the idea of Parting. Especially could a woman do this,\nLet us, as it were, now make such a piece. We search in our imagination or our memory,\nor wherever it is to be found, for the vision of those particular places where meeting smust\nhave happened. We gather them all together, ten, twenty, forty, a hundred. Some we throw\naway for some reason or another as valueless. Those which we have retained, those which\nwe have selected, we put down, either in our memory if we are clever enough, or on paper,\nor better still with a few touches of the pencil on paper. Those which we have selected\nmean so much to us that when they are set before an audience, in the right way, they will\nmean as much to them. They cannot fail to do so. &So far so good. & &\n& We next picture to ourself, or call up from our remembrance, from the thousand\nand one sources.... books, pictures, and what we wi11,... those exquisite and appealing\nmovements which conveyed the thought, which created those moments... or those\nmovements which anticipated a meeting, and which lay in the very meeting itself. &\nWe recall to mind, or appealing to our imagination, we beseech it to remind us of all those\nsounds which are connected with this theme. Not merely sounds of the voice, but those\nsounds innumerable by which even a blind man can tell what is happening and what has\nhappened and what is about to happen, as clearly as if he could see it. &\nHaving got together this material, these three separate collections, as it were, of things done,\nthings seen, things heard, (and even while we were collecting them, we have been particular\nto put aside and commingle only those which were of the same family), we can say we have\ngathered together so many \" Harmonies \" in movement, scene, and voice on this theme.\nWe know that no artist will express these in the same way, and in the expression is the\nindefinable quality which here cannot be talked about. One will make his movements\nsymbolical, another will make them realistic. One will make his scenes a vision, retaining\nonly the very essence of the ideas which he has gathered together; another will make his\na realistic scene. One will utter sounds musical in their quality, and will convey a sense,\na hint of the thing; another will state facts, using matter-of-fact words; and in either case\n\nA beautiful\nchance product.\nMadame Duse.\nScene.\nM o v e in e u t\nHarmonies."}, {"page_pdf": 7, "page_imprimee": "111", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 3282, "texte": "success can be attained, although the finer success conies with the imaginative treatment.\nLet us take a meeting; one special one that I can think of. JS? Do you remembet the\netching of Blind Tobit by Rembrandt? Get it and look at it now. x? & The picture\nrepresents him in the moment when he hears the voice outside the door, and rising, hurries\nacross the room, his face glowing, his body trembling. The old man makes for his own\nshadow, which grows larger and larger on the wall as he advances. He has missed the door\nentirely. We see in the picture how in rising he has overturned a spinning wheel. We see\na little dog, unconscious of his blindness, is running between his legs. Yet on he goes,\nhopelessly, towards his own shadow.... (a very dramatic invention), and soon the expected\none will arrive. JZ? & & JZ? & jg? &\nWhat we do not see in the picture but what we can imagine from it, is that beautiful yet\nrestless state of waiting previous to this meeting; and we can imagine the beautiful patience\nwhich such a figure would convey to an audience, as silently in his room he waits for the\nappointed time of his delivery. & 1 can imagine the many little noises in the room, the\nlarger noises outside, and from the multitudinous examples which nature has to offer, we can\nselect a dozen, or two dozens at the most, of the significant scunds which will emphasize\neither the patience, the anxiety, thev restlessness, the fear, or the love of old Tobit for the\none who is coming. & I can hear him as he sits there waiting*, an old Jewish book of the\nlaw on his knees, which he holds as a young woman holds a buich of flowers....; I can hear\nhim repeating in a deep soft voice law after law, and then bursting forth with the familiar\nwords of his prayer for extermination. & I find in these wordf; sufficient use of the voice\nand sufficient suggestion by words for my purpose. & Soon tie voice of the one who is\ncoming, will be heard far off. We know what the tones mean without hearing a word. It\nis the old love cry of \" I am here \", and his cry which answers is but the same response\n\" Here am I\". & jg? &\nAnd so with the hundreds of actual meetings which are recorded in history; and so with t le\nabstract ideas of Meeting and Parting You, and the other great workers in the theatie,\ncould present such to the audience. & & &\nWe have talked about this, I think, but not so much in detail as now; and 1 think you have\nagreed, when the question has come up, as to what the gain would be. We have found\nthe gain to be a certain spontaneity, in as much as the performer was not hampered in his\nexpression by having to fit himself to the shape and size of the dramatist. &\nI was speaking to somebody about this the other day, when they asked me did I mean Dumb\nShow. <£? Surely it is only in the theatre that such a word could have been coined.\nA very negative affair, dumb show; and to be negative is not the business of the Theatre or\nof any Art. This presentation or vision, or whatever you like to call it, would not tai:e\nthe place of words, for having a natural and particular material of its own for expressing\nall it would wish to, it would be sufficient for itself; it already has \"A place\" and would\nleave words to keep their own place. & & &.\nFlorence, March 18, igoy."}, {"page_pdf": 7, "page_imprimee": "111", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.7", "debut_caractere": 3310, "fin_caractere_exclue": 3341, "texte": "Bli 11 d To bit.\nNot Dumb Show."}]}, {"article_id": "bm-bmtnaau-1908-08-01-c007", "article_bluemountain": "bmtnaau_1908-08_01#c007", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "112", "page_fin": "115", "image_debut": 8, "image_fin": 11, "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=bmtnaau190808-01.2.5", "titre_corps": "THE ARCHITECTURE AND COSTUME OF CORIOLANUS", "titre_sommaire": "THE ARCHITECTURE AND COSTUME OF CORIOLANUS", "signature_source": "Edward W. Godwin", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 8, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.8", "debut_caractere": 0, "fin_caractere_exclue": 3787, "texte": "THE ARCHITECTURE AND COSTUME OF\nCORIOLANUS\nby Edward W. Godwin, F.S.A.\nr|phe early days of Rome are known to us only in the form of legends, tales, or stories, and\nnot as history or contemporary record. The legend most favoured by the Romans tells\nus that the town was founded by Romulus or Romus, a descendant of the Trojan hero\nAineias, the mythic son of Aphrodite, who is supposed to have escaped from Troy, and after\nsundry flirtations with winds and waves in the Mediterranean, and with ladies on the coast\nof Africa, found rest at last in the Italian peninsula. After this Romulus reigned certain\nkings of whom stories are told as mythical as those concerning 44 the founder. \" But out\nof the legend we gather here and there fragments which are capable of being pieced together\ninto something like a probable entity. Thus, close by the Latin city of Rome, the Mons\nPalatums, were certain Sabine and Etruscan settlements: one of these, the Sabine town\nof the Quirites, called Curium, stood on the hills to the north, or the Mons Quirinalis and\nthe Capitolinus. These two towns appear to have early made a league, but Instead of\nremaining two cities or forming one people, they assumed the position of two distinct peoples,\nyet free citizens of the one city of Rome. The early kings were not hereditary, but were\nelected alternately from the Romans and the Quirites. We have the names of seven of\nthese monarchs. The fifth and seventh were Etruscans from Tarquinii, and the last, Lucius\nTarquinius Superbus, described as cruel and lawless, was deposed and banished B. C. 510.\nThe acts of this king, of his son Sextus in the case of his cousin's wife—to which Shakspere\ndevotes his longest poem— and the ill odour which appears to have enveloped the whole\nfamily, were too much for the Romans, and so they determined to have 110 more kings,\nand entrusted the Government to two leaders, afterwards called Praetors, and later still\nConsuls. Under the kings the people had been divided into the two classes of Patrician\nand Plebeian. When the monarchy came to an end, the leaders and magistrate of Rome\nwere elected from the Patricians by the whole body of the people; but after a little while\nthe Plebeians rose against the idea of the Patricians enjoying special privileges, and, after\nmuch stormy disputing, the Plebeians gradually gained the day, and at last, in B. C. '366,\nthey elected one of themselves to be Consul. Now the story of Coriolanus comes to us as\na legend, and long before the time of authentic history. It belongs to the period of the\nCommonwealth, and is therefore subsequent to B. C. 510. But it must also be subsequent\nto B. C. 494, for in that year the Plebeians, impoverished by war and smarting under oppression,\nretired to the Mons Sacer, three miles from Rome, and could not be induced to return\nuntil the right of appointing tribunes was conceded them. At first the number of the\ntribunes was limited to two. but in B. C. 457 the number was Increased to ten, and our\nplay presents us with five, so that the story must fall between the years 494*457* But the\ntext says Coriolanus was sixteen years old when Tarqum besieged Rome. If this refers to\nthe story of the last attack Coriolanus must have been born B.C. 514; he would consequently\nhave been twenty years old when the first Plebeian Tribunes were appointed in 494.\nAnd now what sort of towns were Rome and Corioli in those early days—the days of Darius\nKing of Persia? We can have very little hesitation in replying that Rome, like Corioli, was\nessentially Etruscan. The later or Etruscan kings had done much to improve Rome by the\nerection of new buildings and a general encouragement of their native arts. So, therefore,\n\nThe early Kings\nPa trie ia n <£*\nPie h ei an.\nThe date of\nCo r iol a 1111 s ."}, {"page_pdf": 9, "page_imprimee": "113", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 4630, "texte": "it is to Etruria and her Asiatic birthplace we must turn if we wish to get an idea of Rome\nbefore its destruction by the Gauls (B. C. 390). & jg? &\nOf Etruscan buildings very little now remains; amphitheatres, theatres, city walls and tombs\nmay be seen, but no temples, palaces, or dwelling houses. At Tusculum and Arpino pointed\narches with horizontal joints occur very similar to the early Greek work at Thoricus and\nMycena?. Sutri still possesses its amphitheatre, cut, as so many of the tombs are, out of\nthe solid rock. But in none of these works is there the slightest indication of anything\napproaching elaboration, and if any \" order \" existed it was most likely to have been some\nsimple form of the lonic, or in other words one founded on Asiatic traditions. We have\nthe arch proper (of radiating construction) in Assyria—in the drain beneath the south-east\npalace at Nimroud—we find it in Etruria and in the Etruscan work of the Cloaca Maxima,\nbuilt during the Roman monarchy. We have in Greece—at Thoricus and Mycenae—the pointed\narch built in horizontal courses, and we find it again in Etruria,—at Caere, Arpino, and\nTusculum, whilst at Assos in Asia Minor the pointed and the semicircular arch occur in the\nsame gateway one behind the other. The natural inference of this is that the early architecture\nof Rome was that of Etruria, and that the architecture of Etruria, like its people, descended\nthrough the Pelasgic from the Asiatic race. The bracket capital, of which the lonic was the\nfinal outcome, may therefore be taken as the index of the style. The temples and palaces\nwere no doubt small, and in great part constructed of wood, the material so much favoured\nin Assyria and Syria. The ordinary houses would scarcely be of more durable material, but\nthe town walls, gateways, and tombs were evidently of stone strongly and carefully knit\ntogether. Vitruvius says the Etruscans had two kinds of plans for temples, one circular like\ntheir tumuli, and one rectangular, arranged with three cella?. Both, however, were compara=\ntively small, in fact, building appears to have flourished in this confederacy more under the\nengineer than under the architect: for even the tombs at Caste! d'Asso show nothing more than\nsloping walls, sloping door jambs, and extremely broad mouldings relieved by small members,\nthe section of which is unlike anything we know as Greek or Roman. But on the other hand,\nCoriolanus tells us (Act iii., Sc. 3) that his Rome had \" large temples and that the seaport\ntown of Antium was a \" goodly city \" of \" fair edifices. \" Turning now to the scenery as\nset down in the play, we find no less than twenty-eight scenes, twenty of which are\narchitectural. These twenty are divided between the cities of Rome, Corioli, and Antium.\nIn Rome we have—\n1. A street. (Act i. Sc, 1, which may be made to serve for the public place in Act ii.\nSc. 1; Act iv. Sc. 6; Act v: Sc. 1 and 4; as also for the street scenes, Act iii. Sc. 1;\nand Act iv. Sc. 2.)\n2. An apartment in Marcius's house. (Act i. Sc. 3, which may also do duty for Act iii. Sc. 2.)\n3. The Capitol. (Act ii. Sc. 2.)\n4. The market-place. (Act ii. Sc. 3, and Act iii. Sc. 3.)\n5. Before a gate of the city. (Act iv. Sc. 1.)\nHere the most important architectural scene is that numbered 3, which, under the word\n\" Capitol, \" introduces us to the interior of the temple of Jupiter, designed under Tarquinius\nPriscus, finished during the reign of the last king, Lucius Tarquinius Superbus, and dedicated\nin the third year of the Commonwealth or Republic, B.C. 507. Nothing whatever now\nremains of this Etruscan work. All we know is that it had three cellse side by side under\nthe same roof: the central one, larger than the others, was dedicated to Jupiter, that on\nthe left to Juno, and that 011 the right to Minerva. Of the other scenes I have only to say\nthat the character of the buildings would partake very much of that already described in\nmy first article on the Greek plays (1). The walls of the city and\nthe lower storeys of the better class of houses would be built of large blocks of stone,\nsquared in courses or polygonal. Going round the city we should see arched or semi-circular-\nheaded gateways, square flanking turrets or towers, and embattled walls. Within the houses,\ncourts, with small rooms surrounding them, might be seen, and where upper storeys occur,\ncolonnades might be introduced on the top of th£ ground-floor walls, the whole covered\neither with flat or pointed roofs. In the best of the Patrician houses we should find two\nsuch courts, the outer one for the men, and the inner one for the women, and it would be"}, {"page_pdf": 9, "page_imprimee": "113", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.9", "debut_caractere": 4680, "fin_caractere_exclue": 4826, "texte": "H t t u sea n\nhuil(l i n g s\nVitruv i us .\nThe Scenery.\nThe city of Rome\n\n(1) This article wili be shortly republished in \" The Mask \" jgr & jg? &"}, {"page_pdf": 10, "page_imprimee": "114", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.10", "debut_caractere": 47, "fin_caractere_exclue": 4974, "texte": "in this last that the third Scene of the first Act would take place. The houses of the\nPatricians would be of stogie, terra cotta and wood, the tenements of the Plebeians would\nbe mere hovels, chiefly composed of wood, mud, and thatch. & jgr\nTurning now to Corioli the architectural scenery consists of\n1. The senate-house (interior, Act i. Sc. 2).\n2. Before the walls (Act i. Sc. 4 and 7).\n3. Within the town.\nThe walls, gateways, and streets would be much the same as in Rome, and the Senate\nHouse might be constructed on the theatre plan—a semicircle with raised seats, perhaps\ncut out of the solid rock, and covered with a velarium. Passing on to Antium we have\n1. An open place before the house of Aufidius (Act iv. Sc. 4).\n2. A hall in the same I ouse (Act iv. Sc. 5).\n3. A public place (Act v. Sc. 5, may very well be the same as No. 1).\nHere we have only to deal with the house of the \" General of the Volsces, \" and taking\ninto consideration the words of Coriolanus in the opening speech of the fourth Act, we may\nnot be wrong in assuming this house to be the most palatial-looking residence of the three\ntowns illustrated in the scrnery of this play. The exterior would probably be little different\nfrom those already desci ibed in my third article on the Greek plays. The interior\nis here clearly the atrium or area; the roof might have been supported by square or round\npillars, but possibly only by four cross beams. Whichever way we take it the scene can\nhardly fail to be impressive if properly carried out. The dark, muffled, meanly-clothed figure\nof Coriolanus, the busy servants, the chaplet-crowned gay Aufidius, the bright painted walls,\nthe terra-cotta figures and ornaments, the fountain, the shadowy recesses, the soft notes of\nthe flute, and the murmur of the wine drinkers (for dinner is just over, the tables have\n*\nbeen changed, and the ser> ants are fetching the wine), are ingredients for a picture, on\nstage or canvas, which could scarcely fail to command the attention of multitudes—that is\nif the lime-light did not exist. So long, however, as theatres are what they are, it is sincerely\nto be hoped no one will be quite fool enough to attempt to put this play upon the stage.\nThe scenery is extremely difficult to arrange, the costume as yet hardly understood even by\nthe best antiquaries, and al ove all there is no actor living who can act, speak or even look\nthe part of the hero of this tragedy, and certainly no actress physically or mentally capable\nof impersonating Volumnia. Modern actors and actresses have no conception of the drama\ndirectly it becomes poetry. The dignity and beauty of art are old-fashioned things, quite\nout of keeping with the modern spirit that delights in chaff and mockery, and fondly\nbelieves them to be the outcome of wit. To mock at love, religion, education; to jeer the\nunfortunate; to chaff the suicide; and ridicule the justice and majesty of the law are the\nthings which succeed if done with a sufficient amount of absurdity, and 1 may add accompanied\nby a sufficient number of 1 retty girls and pretty songs. This mockery is unquestionably\nthe central spirit of the age, and those who take it and mould it for the stage into an hour's\namusement for us are the artists who, perhaps, best represent, and who will be most\nidentified with, the age. Of Mr. Gilbert and Mr. Sullivan we ought only to speak in words\nof praise: their work within the limits assigned is wholly admirable and altogether to be\npreferred to the dull commonplaces or the smart impertinences of modern English \" comedy.\"\nBut of the people who, having become tired with burlesque of classic myth, and, bored with\nstagy reflections of their own vapid lives, now prefer to see the passions of their own lives\nburlesqued rather than demand Che poetical drama, and by the demand cause the supply of\nthe poetical or artistic actor—of these people one might fairly hold opinion with Pythagoras,\nthat souls of animals infuse themselves into the trunks of men. &\nHaving delivered one more word against that detestable pretence, the modern stage, 1\nwould say a few words on the cortume of the people and time to which the play refers. And\nfirst we must remember that in costume as in architecture the Roman style, as we generally\nunderstand the expression, had no existence—had not, in fact, come into being at the period\nabove fixed as that wherein we must seek the action, viz., B. C. 494*457. Etruria is the\nfirst country to which we ought t> look, and it is fortunate that we possess in the British\nMuseum a singularly interesting Etruscan monument that contains in the modelling of its\nburnt clay almost all the information we can need for completing the mise-eii-scene of\nCoriolanus. The visitor to the Museum, having passed along the Roman gallery, finds himself\n\nThe city of\nCori o 1 i\nThe House.\nThe difficulty of\nprod u c i 11 g\nCoriolanus.\nThe spirit of\n111 o c ke ry .\nThe Costume."}, {"page_pdf": 11, "page_imprimee": "115", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.11", "debut_caractere": 47, "fin_caractere_exclue": 4118, "texte": "at the upper audi of the Great Egyptian room or gallery: here in a central position, cutting\noff, so to speak, the end of the large room, so that it appears as a cross gallery in continuation\nof and uniting the Roman and the Graeco-Roman rooms, is the terra-cotta Etruscan\nmonument to which I have referred. This large and valuable relic belongs to the Castellani\nCollection, and was found at Cerventri, the modern title of the old Etruscan city of Caere—a\ncity of great antiquity and territorial importance and in such close connection with Rome\nthat she received the vestal virgins when the Gauls cried havoc and ldt slip their dogs of\nwar upon the banks of Tiber. Now let any one examine well the figures in the single combat\nrepresented In the bas-relief on the front of the monument, and then go to the first vase\nroom and look at the figures of Hector and Menelaus fighting over the body of Euphorbos\non the Greek pinax or plate in the table case, at the upper end of the room, or if he inspects\nthe bas-relief with Mr. Thompson's admirable photograph of the plnax in his hand, he cannot\nfail to recognise an extraordinary similitude between the Etruscan model and the Greek\npainting, which Dr. Birch dates about B. C. 600. If, again, we compare the civil costume\nrepresented on the Caere Monument with those exhibited on the Assyrian slabs and the\nfragments in the table cases, we cannot long hesitate in arriving at the conclusion that the\nmen of Corioli and the inhabitants of Rome and Antium before the Gaulish invasion still\nobeyed in externals at least the Asiatic influence of tradition. Compared with the Greek\nand later Roman costume, the dresses of the figures before us show a marked scantiness\nof material. The women's dress consists of a tunic reaching to just above the ankle, cut\nsquare, looped with two or three buttons, making it high in the neck, and producing shoulder\nsleeves. This tunic is secured by a very broad waist or breast-belt, and over the shoulders\nand arms a capacious shawl is worn, which is evidently used as the outdoor garment and\nordinary covering for the head. The hair is dressed in more than one fashion, but a caul\nconfining the back hair and a fillet round the front hair, with short curls over the forehead\nis the fashion most affected, although the hair on the principal figure is worn in long tight\nbraids. One lady has her back hair divided into three portions, the central portion being\nby far the largest, and these are confined within a triple or three-lobed caul, one division\nfalling over the back and one behind each ear, an arrangement which appears to me a decided\nimprovement on the single caul. Besides military and civil costume, these bas-reliefs furnish\nus with illustrations of furniture, so that we need not trouble to search much further for\nevidence wherewith to complete the mise-enscene of this play of Coriolanus.\nThe text Is singularly free from anachronisms, and the poet follows the story as told by\nPlutarch with an accuracy which neither fetters the poet nor detracts from the poetry,\nand which adds the charm of a strong and vivid reality to every person and every scene.\nThe references to such things as coals, mailed hands, drums, steel pikes, pack-saddles,\nmummers, spectacles, gloves, handkerchiefs, groats, churchyards, &c., and the introduction\nof the names Hob and Dick, (1) are made in the slightest manner, and are entirely out-weighed\nby the references to customs and things of the date of the story. With regard to architecture\nand furniture we have reference made to embroidered hangings, in Volumnia's first speech\nto cushions and to stalls, bulks, windows, lead-flats, ridged roofs, and temples that could\nbe burnt \"in their cement.\" Little mention is made of costume and implements,\nbut we hear of bats and clubs, of cobbled shoes, doublets, leaden spoons, caps, pins, veils,\nscarfs, targets, or circular shields and buckled helms.\n\nAn Etruscan\nmonum en t.\nTli e wo me 11' s\ndress . &\nThe text.\n\n(t) There might have been an early Galen before the Galen of history A. D. 130-200"}]}, {"article_id": "bm-bmtnaau-1908-08-01-c010", "article_bluemountain": "bmtnaau_1908-08_01#c010", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "116", "page_fin": "118", "image_debut": 12, "image_fin": 14, "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=bmtnaau190808-01.2.6", "titre_corps": "REALISM & THE ACTOR : A REPLY TO A CRITICISM", "titre_sommaire": "REALISM & THE ACTOR : A REPLY TO A CRITICISM", "signature_source": "John Semar", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 12, "page_imprimee": "116", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.12", "debut_caractere": 0, "fin_caractere_exclue": 4356, "texte": "REALISM & THE ACTOR.\nA REPLY TO A CRITICISM.\nby John Semar .\ncontemporary, The Stage, is nothing if not incorrect\nin matters of detail. A writer in its columns informs his\nreaders that The Mask is printed in Milan, that it has\nbeen interrogating sundry English and foreign actors on the\nrelation of Realism to the stage, that it affects a 44 bizarre\nmake-up \" and 44 bears heavily the mark of preciosity. \"\nThe correct facts of the case are that The Mask is printed\nin Florence, that it has been interrogating the opinions of playwrights, critics, play=goers,\nand stage managers as well as actors on this matter of stage Realism: that it does not affect\nany 44 make-up \" at all and intends to bear no characteristic mark 44 heavily. \" &\n& The writer in The Stage goes on to accuse The Mask of not acting like The Stage would\nhave acted. He says it is a pity that The Mask did not define what is meant by Realism:\nin other words, he hints that The Stage would have consulted the experts and would have\nprefaced their opinions by giving its own. This is what the writer in The Stage says:\n44 It seems a pity that The Mask did not define what it meant by realism. Apparently\n44 it takes realism and reality to be one and the same. It would perhaps be better to regard\n44 realistic treatment as that treatment which favours a close approximation to the real. \"\nWe think that the experts have really described Realism better than the writer in The Stage,\nmuch as we would like to look upon this writer in the London theatrical journal as an\nexpert.\nThe writer then goes on to say that The Mask dissembled. He continues, 44 Why did\n44 the Mask dissemble thus? Here is Mr Beerbohm Tree saying 'Obviously' to No. 2, and\n44 4To all ' to No. 3. \" In other words, he implies that Mr Beerbohm Tree is careless and that\nhe is off=»hand. The questions were very plain to understand, as readers of The Mask will\nremember. To the first, 44 Do you consider Realism in acting to be a frank representation\nof human nature? \" Mr Tree replies 44 Obviously \".... and obviously that is just what realism is,\nfor the experts admit as much. Before replying the experts had time to consider what a\nfrank representation of a character might degenerate to 44 if the actor should be allowed the\nsame liberty as is permitted to the writer or the painter. \" And then we asked, 44 Should\nthis liberty be allowed? \" the two questions forming one. Mr Tree replied (i) 44 Obviously \"\nand (2) 44 Why not?\" Mr Grundy replied (1) 44 Yes \", (2) 44 Most certainly not.\" Mr Gordon\nCraig replied, (1) 44 Yes \", and (2) 44 The actor will never ask for this liberty. \"\n*£? Now, all these gentlemen are supposed to know how much liberty is allowed to the\nwriter and the painter,.... not merely to the old writers and painters, but to the modern\nwriters and painters. With them it is perrnissable to paint and write of subjects which it\nis obviously {surely obviously) impossible for the actor to represent without being pelted\nwith eggs and onions.\nMr Tree asks why he and his fellows shall not be allowed to represent in a frank way\nand with the same liberty as the writer and painter, the episodes of Samson and Delilah,\nPerseus and Andromeda, The Annunciation, Judith and Holofernes and others which The\nStage,.... the very organ of the foot lights, says are 44 too startling to mention with a\nrespectable Lord Chamberlain about.\" <£? JZJ\nNow, how would it be possible to do this? Surely, as Mr Grundy points out, the actor\nbeing flesh and blood makes this impossible. Why? We want to know why. On what grounds?\nesthetic or moral? We think the reply would be Both. It would be really ridiculous to see\nthe Perseus which the most realistic painters and sculptors have shown us is the Perseus\nfor the eye, the real Perseus, and therefore the Perseus for the Realists, walking about on\nthe stage of His Majesty's Theatre with a pair of sandals on, a helmet, and very little else.\nAnd it is because it would be ridiculous that it would be immoral. Surely Mr Tree would\nbe the first to say this if he has not said it already.\nJS? But no, strangely enough we turn to his answer and we find that he sees no reason\nwhy he or any other actor should not give a frank representation of Perseus. He may\n\nThe correct facts\nA \"Stage'\ncl efi 11 itio 11.\nMr Beerbohm\nTree .\nThe liberty of\npainter & writer\nPerseus."}, {"page_pdf": 13, "page_imprimee": "117", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.13", "debut_caractere": 46, "fin_caractere_exclue": 4697, "texte": "advance that he would represent Perseus in a different way, than, for instance, Benvenuto\nCellini; that he would cover him in a toga or in any case in a short skirt with fleshings.\nBut if so the thing becomes doubly ridiculous. Perhaps Mr Tree would advance that ridicule\nis the best weapon to employ against a monster. But to he ridiculous? Surely\nno hero was ever ridiculous except in Mr Shaw's mockeries? Mr Tree may say, \"Why\nshould I go out of my way to enact Perseus? 1 never suggested I should enact Perseus.\nYou asked me whether I wished for the same liberty in my expression of the passions as\nthat permitted to the writer or the painter. \" Well then, we reply, if Perseus does not\nsuit you, let us take some other instance where the role is agreable to you. Let us take\nAdam for example. There is hardly a great poet or a great painter who has not depicted\nincidents from the life of Adam and Eve, and those painters and poets who have excelled most\nhave treated the subject in the most austere manner possible. & jg? &\nNow let us agree with Mr Tree that it would be possible for him to treat the subject\nin an austere manner. It is not necessary for him to represent every incident in the life\nof Adam. Here he has a wide area and can choose what incidents he wishes, but he must\nadmit that unless the passions represented here are primitive ones he would most certainly\nfail in his representation. And if you clothe Adam and Eve you again become ridiculous.\nMilton does not clothe Adam and Eve, neither does Kranach clothe Adam and Eve. The\npainter who represented Adam and Eve in costume would be ridiculous. &\n& Of course Mr Tree may say that he would take an incident after the Fall: that he would\nassume hunting costume, forest=like in character and that on the rise of the curtain Eve\nwould be discovered making a pair of little pantaloons for Cain. But the first glimpse that\nI\nthe pit had of a jacket or a pair of breeches would be enough to settle the fortunes of\nthe play, and Mr Tree knows this. Then what does he mean b}' asking why the actor should\nnot be allowed the same liberty of expression as that permitted to the writer and the\npainter ?\nWhat we want to draw attention to is a very important fact. It is the difference\nbetween the stage and the fine arts. And our purpose in doing so is to uphold the opinion\nexpressed by Mr Craig that acting is not an art and the actor not an artist; not because\nhe is a whit less intelligent than other men, but because the nature of his work does not\npermit us to regard it as a fine art.\nThe arts have won the liberty to express what they wish. The writer and the painter\nhave from the earliest time had full liberty. The musician, owing to the mystery of his\nmedium, has even a fuller liberty. Beethoven, Wagner and the other masters of music\nexpress certain things in their music by which, if the public saw them in actuality on the\nstage, it would be outraged, for the public is not always able to accept the truth of beauty\nthrough the channels of its understanding. It is impossible for the public to understand\nthe simplicity of great truth, and so this mystical medium of the musician appeals merely\nto its senses. No one can say what the musician means though many understand what he\nhints at, and as there is no statement made the communication is a private one. It is not\nquite the same with the writer and the painter, and the communion between actor and\naudience is entirely a pubiic thing. & 1 jz? & & & &\nAgain, we may hear the music of the musician without seeing the musician himself.\nWe can see the painting of the painter without seeing him and we can read the words of\nthe poet without seeing him. Therefore when Milton begins\n\" Haste thee, nymph, and bring with thee\nJest and youthful jollity\nwe do not feel we are going to be put to the inconvenience of having to witness a nymph\nclad as Milton describes her going through the pantomime of the poetry: no, thank\nheaven, not even when the poetry of pantomime will have been restored. &\nWhen we go to the Academy, and a Royal Academician, following the tradition of his\npredecessors, is permitted to paint for us a \" Venus at the Bath \" we are quite certain that\nwe shall not run the risk of the figure beginning to move and later on of being obliged\nto be introduced to her at the Duke of Mac Butland's. But think of the tedious bore it\nwould be if we were to go to the theatre to witness Miss Melpomene Smith's undraped\nrepresentation of Andromeda chained to the rock, if we knew that we should meet the lady the\n\nAdam. &\nAfter the Fall.\nAn iin port ant\nfa c t . x&\nMilton.\nAt the Academy.\nA 11 d r o 111 e d a."}, {"page_pdf": 14, "page_imprimee": "118", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.14", "debut_caractere": 49, "fin_caractere_exclue": 1490, "texte": "following day at a garden party, (i) We should be sure to run this risk because the thing\nwould be dubbed \" classic art and of course classic art is even admitted into Society.\nAnd one would think what a bore also for the great classic interpreter herself! Fancy\nMilton arriving at the garden party of his period leading his Eve by the hand, or fancy\nBotticelli coming into the banquet hall with his Venus on his arm! Say what you will,\nthere is a difference between the actuality of the nude figure on the stage or in a room\nand the suggestion of the nude in painting and sculpture. Those people who do not see it\nnever will. We shall come back to this point once regularly every quarter. & J. S.\n\n(I) There Is of course a section of society that likes to meet the actor off the stage, but we are doubtful whether the section\nof society which likes to meet classical nudities off the stage can be very great. Again, if you meet them off the\nstage why go to see them on the stage? They bring their art with them into the drawing room, or rather they bring\nthe materials of their art. Why then take the trouble tc pay ten shilliigs to see them on the stage? Is it because\neverybody does ? Is it because It is the rage of the moment ? Well, when we come to the rage of the moment we are\ngetting right outside art altogether. Here we get away from the writer and the painter. Here we have the real roaring\nbrutality of the modern theatre at its"}]}, {"article_id": "bm-bmtnaau-1908-08-01-c013", "article_bluemountain": "bmtnaau_1908-08_01#c013", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "118", "page_fin": "118", "image_debut": 14, "image_fin": 14, "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=bmtnaau190808-01.2.7", "titre_corps": "A WORD ON THE THEATRE : spoken by W. S. Landor under the mask of Epicurus", "titre_sommaire": "A WORD ON THE THEATRE : spoken by W. S. Landor under the mask of Epicurus", "signature_source": "W. S. Landor", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 14, "page_imprimee": "118", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.14", "debut_caractere": 1492, "fin_caractere_exclue": 4231, "texte": "A WORD ON THE THEATRE spoken\nby W. S. Landor under the mask of Epicurus.\nEeontion. Theophrastus would persuade us that, according to your system, we not only\nshould decline the succour of the wretched, but avoid the sympathies that poets and historians\nwould awaken in us. Probably for the sake of introducing some idle verses, written by a\nfriend of his, he says that, following the guidance of Epicurus, we should altogether shun\nthe theatre; and not only when Prometheus and Gsdipus and Philoetetes are introduced,\nbut even when generous and kindly sentiments are predominant, if they partake of that\ntenderness which belongs to pity & & & &\n& & Epicurus! although it would be very interesting, no doubt, to hear more of\nwhat you do after dinner—(aside to him) now don't smile; 1 shall never forgive you if you\nsay a single word—yet 1 would rather hear a little about the theatre, and whether you\nthink at last that women should frequent it; for you have often said the contrary. &\n& Epicurus. I think they should visit it rarely; not because it excites their affections, but\nbecause it deadens them. To me nothing is so odious as to be at once among the rabble\nand among the heroes, and, while I am receiving into my heart the most exquisite of\nhuman sensations, to feel upon my shoulder the hand of some inattentive and insensible\nyoung officer.\nEeontiou. Oh very bad indeed! horrible! Ternissei. You quite fire at the idea. &\nEeontion. Not I: I don't care about it. Temissa. Not about what is very bad indeed?\nquite horrible? Eeontion. I seldom go thither.\nEpicurus. The theatre is delightful when we erect it in our own house or arbour, and\nwhen there is but one spectator. &\n& Eeoutiou. You must lose the illusion in great part, if you only read the tragedy, which\nI fancy to be your meaning.\n& Epicurus. I lose the less of it. Do not imagine that the illusion is, or can be, or ought\nto be, complete. If it were possible, no Phalaris or Perillus could devise a crueller torture.\nHere are two imitations: first, the poet's of the sufferer; secondly, the* actor's of both; poetry\nis superinduced. No man in pain ever uttered the better part of the language used by\nSophocles. We admit it, and willingly, and are at least as much illuded by it as by anything\nelse we hear or see upon the stage. Poets and statuaries and painters give us an adorned\nimitation of the object, so skilfully treated that we receive it for a correct one. This is\nthe only illusion they aim at; this is the perfection of their arts. rz? jz?\n& Eeoniion. Do you derive no pleasure from the representation of a consummate actor ?\n4? Epicurus. High pleasure; but liable to be overturned in an instant ; pleasure at the mercy\nof anyone who sits beside me. <& & &"}]}, {"article_id": "bm-bmtnaau-1908-08-01-c014", "article_bluemountain": "bmtnaau_1908-08_01#c014", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "119", "page_fin": "120", "image_debut": 15, "image_fin": 16, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.8", "titre_corps": "AT BORCHARTS IN BERLIN. 1906", "titre_sommaire": "AT BORCHARTS IN BERLIN. 1906", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 15, "page_imprimee": "119", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 4397, "texte": "AT BORCHARTS IN BERLIN. 1906.\nby Gordon Craig\nthe stream of waiters and the eaters, I feel conscious of the presence of a certain\nspirit of the Theatre. Here is no play certainly, no words: and no series of incidents, no\ndevelopment of any great character. Yet it is Drama. It is enough: there is an impression,\nand a strong one, created by these two ideas. The idea of the Eaters and their Feeding.\nThe idea of the Servers and their Service. &\nThen comes on me the wish to attempt to transport on to the stage that which is before\nme. To do this 1 must give it a Form. Full of interest I start. <&?■ &\nI find the conventional forms are useless. No five act play is before me: no Tragedy,\nno Comedy. A study; a sketch; an impression, a specimen. The Eaters and the Serving\nMen. Strangest medley of manners at surface with undercurrents even stranger.\njZ> How treat this impression of half an hour, how hint at the hidden by unveiling that\nwhich may be seen\nTwo treatments; and the easiest occurs the quickest tome. The modern characterization\nof the modern play. For the moment I see no other opening. The powerful picture of two\nof the eaters, their amazingly entertaining actions, their particular little ways never alike\nfor an instant; the air of friendship which passes from one to the other and the more\ncertain undercurrent,—the sense of animosity. Two beings from different worlds, but\neach a snob; both rich but common men, they seem to resemble two animals I have seen;\nthe long protracted dinner with its courses ever on the crescendo; the cackle of pompous\ninsipidity. <6?\nAnd then the more serious human element, the Waiters; the only workers in the room.\nEach a personality, and a very marked one. jZ? jZ? jZ? z?\nThe first, who evidently owns a couple of horses in the country and possibly has his\nown gardener who attends carefully to the peaches. The second, who might be the son of\nsome sea captain; with him is the sea's tinge of melancholy, but with all the airs of a\ngentleman. One imagines him dressed In the uniform of a naval officer and somehow it\nwould suit him. A third would wear with a grace the army uniform, and judging by his\nkeen eye, his courteous manipulation of the guests and swift control over the hundred\nhidden cooks, he must be a man of personal magnetism. jz> AH of these men are distinguished.\nNearly all have the manners of gentlemen. jZ? jZ? &\nAnd to bring the whole impression on to the stage? Although the method of\ncharacterization seemed at first the easiest one there now appear insurmountable barriers!\nFor we must consider our means, our material. jz/\nIf we are to show all this intricate work in detail, we need actors of personality to undertake\neach role. We may draw twelve strongly defined characters and we shall look in vain for twelve\nsuch actors of character in one theatre. We might find twelve such if we had thirty theatres to\npick from each one man. For the subtlety, the humour, the exceedingly delicate differences\nand strangely interesting manner of each of the figures in this scene is extraordinary. And\nnot merely is it difficult for lack of actors, for Iti away actors would be wasted. Pantomimists,\nthat is to say, the actor at his best, would be of more use: but alas, few pantomimists exist.\nAnd then, although it is the waiters who make the most impression on me as I sit here\nwatching them, when we come to transfer it to a platform or a canvass it is not necessarily\nthrough these figures of the waiters that we shall produce the same impression as I am\nnow receiving. More likely will it be through something to do with line, colour, movement,\n—things far removed from impersonation or representation; which have little to do with\nthe reproduction of actualities.\nSo that the treatment must be a fresh one. Characterization is of no use here. And not\nfor this reason alone—not merely for lack of actors. This Impression is not to be brought\nbefore us on the stage by means of a Realistic treatment in which characterization plays\nthe all important part, but by a Fantastic treatment, a sweeping glance, the impression\nseized en masse, the individuals merged in the Atmosphere or Tone. Then and then only\nis it possible to put on the stage this impression which is without a story and must remain\nalso wthout characterization. &\n\nThe Treatment\nThe Waiters.\nTli e m a teri al.\nPa n torn i m ists.\nA ires h\nt re at me nt ."}, {"page_pdf": 16, "page_imprimee": "120", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.16", "debut_caractere": 25, "fin_caractere_exclue": 3807, "texte": "& To show this stream of waiters,—men who have chosen a joyful and artistic service,\nthat of bringing food from the kitchen, which to us is the Unknown, to the eaters, and who\ndo their service in a masterly way, pouring out a glass of water as they would pour out\na glass of the most rich and costly wine, handling a roll of bread as though it would break\nand spoil if passed hurridSy through the air, who by and through their life which they are\nrevealing to me as they pass hurridly to and fro are revealing much more than their mere\nexternal life; who raise that life into a kind of ideal existence for me.\n& Therefore facts are only to be dimly shown, only by suggestion, not by statement. And this\nsuggestion is not to be produced by merely cutting down the present material used in the\ntheatre; is not to be shown by merely lowering the Sights upon the present material; is\nnot to be shown by manipulating with a little more reserve the material of the modern\ntheatre, but by choosing new materia! altogether. For the Art of the Theatre is after all\nto reveal, to show by means of movement a Glimpse or a Vision of all things. And to this\nVision belongs Proportion far more than all ell else. We can no longer be put off with\nthe modern makeshift. Man and the voice of man, that little personality and that little\nvoice, loom far too large in the modern theatre and throw all things out of proportion-\ndestroying all harmony by their aggressiveness. And this single impression of the eaters and\nthe waiters is but one of many that the Theatre was born to convey; and it can convey such\nimpressions, be they either of eating, of travelling or of meditating, of common things or\nof high things only by the second treatment I have spoken of, the imaginative and\nimpressionistic treatment. And great actors are not needed for such work. Their talent\nor genius is in the development of character, and, as I have said, character has here\ndwindled and we see fifteen figures who pass and repass, their acts and actions starting\na certain rhythm, conveying a certain sense; the other two figures who are seated by\ntheir movements complete that rhythm. & & <£>\n& And why have I said nothing of words, for character, plot, story, is told by words\nThese indeed shall play their part in the general Impression, but their part is, as it were,\nbut to add touches of colour; they shall bring colour to the impression, If one may so\nspeak, a colour of sound, and not a noisy and vulgar exhibition of sound which on our\nstages of today degenerates into chatter or shouting So that the words will not be to\nexplain, to make mathematically clear, to lay bare. Our Impression of these few moments\n(like most of our impressions) is a strangely suggestive vision, all vague, yet clear enough\nto those who have eyes and senses to understand: so clear that we who watch can supply\nthe words, the very thoughts of these figures who eat and who wait. Therefore in bringing\nour impressions to you we must leave it vague yet clear enough f0r....y0u. &\nAnd will not all this be very dull? you ask. &\n& Indeed, the opposite of dull,—delightful. I have chosen the most ordinary Impression\nfor my illustration and you will easily see how a far higher and more carefully selected\ntheme would respond to such a treatment. The higher we go the easier and the more\ndelightful. A long sustained impression such as the great writers from to\nMaeterlinck give us, that 1 do not claim ; that is not in the nature of such visions, for what\nFoe tells us is true of poems, is doubly true of visions,—that there can be no such thing\nas a long one. Let them glide into being, live for a few moments and then fade.\n\nA joyful &\nArtistic service.\nSuggestion, not\nSt at e m e 11 t.\nWords & their\npart.\nWhat Poe tells\nUS.JP Jc?"}]}, {"article_id": "bm-bmtnaau-1908-08-01-c016", "article_bluemountain": "bmtnaau_1908-08_01#c016", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "121", "page_fin": "123", "image_debut": 17, "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=bmtnaau190808-01.2.9", "titre_corps": "TWO ACTORS: A COMPARISON", "titre_sommaire": "TWO ACTORS: A COMPARISON", "signature_source": "John Balance", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 17, "page_imprimee": "121", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 4639, "texte": "TWO ACTORS: A COMPARISON.\nby John Balance\nHjp here are serious actors, and there are actors who are not serious.\n1 hose who are not serious should not be asked their opinion 011\nimportant matters relating to the stage because it creates the\nimpression that the intelligence of the actor is at a very Sow level. In the New York\nDramatic Mirror, July 4th, I came across two paragraphs side by side which serve to\nillustrate what I mean. The two actors are Louis James and the elder Sothern. &\nHere are the two paragraphs reprinted side by side.\nI, OV I S JAMBS & <&■ SOTHERN\n\" I don't know why Peer Gynt should be\nhard to understand.\" Louis James looked\nup with earnest eyes from the well lemoned\nglass of iced tea on the veranda of Nacbolish\n(Don't Care Villa), his Summer home at\nMonmouth Beach, N. J. it. was one of the\nrare, serious James moments.\n\"He is an egotist, a rollicking daredevil,\na soldier of fortune, and an incurable liar.\nThose are not unfamiliar roles on the stage\nor off it. 1 intend to cut the play down a\nthird. There's a lot that can be spared. The\npiece has been weighted down by a pile of\njunk that I intend to throw out of it, a lot\nof scenery that meant nothing, and some\nanticlimaxes that meant less than nothing.\nFor instance, in the scene when Peer tosses\nhis mother on the roof and walks away\nlaughing at her ends the act. To let old\nwomen come on and commiserate with her\nabout her bad boy spoils the effect. He has\nshown by tossing his mother on the roof\nand marching away laughing that he has no\nreverence. That is a point made without any\ncackling of old women. I shall try to bring\nout the lightness and humor in It. There is\nplenty of it, especially when he tells his\nmother the lie about his hunting feat. \"\n& \" Earnestness—doing everything as well as\nI know—never acting on the impulse of the\nmoment, and thoroughly understanding\nwhatever I have to do, are the chief reasons\nfor my getting on. Much of my success I\nowe to study of the elder Wallack and to\nRachel. Wallack showed me the necessity\nof conveying at a rehearsal what you intend\nto do at night, and the importance of paying\nstrict attention to the minutest detail. He\nwas one of the greatest stage=managers I\never met. His actors had to be able to give\na reason for everything they did. If they\ncouldn't give a reason they stopped doing it.\n\" I gave up my engagement for six weeks\nto study Rachel. There was a fascination\nabout her acting that was grim, almost\npainful. She had less action than any artist\nI have ever seen, but she was so intensely in\nearnest, and her passion was so overwhelming\nthough subdued that one was lost in wonder.\nI learned from her that one of the chief\nelements of whatever success 1 expected must\nbe earnestness, intensity, and thorough\nidentification with every part in which 1\nmight be engaged. There is not an audience in\nthe world which will not quickly detect the\nsympathy between the actor and his play. \"\nNew York Dramatic Mirror, July 4.\nj cannot conceive anything less serious than Mr Louis James' attitude, nor anything more\nthorough than Sothern's. Louis James may be a finer actor than Sothern, but that is not\nwhat I am concerned with here,.... and perhaps Mr Louis James' words have been incorrectly\nreported, though looking at the paragraph carefully this does not seem to be the case. So\nthat if the actor has been correctly reported he makes himself out to be the most careless\nstudent of a play and the most amazing vandal who ever cut up a dramatic master piece.\nPerhaps it is one of the \" rare careless James moments. \" It certainly is not a serious\nmoment. & &\nFirst of all, he does not see why \" Peer Gynt\" should be hard to understand. Then he\nexplains why he does not find \" Peer Gynt\" hard to understand, and he gives Ibsen the\ncredit of writing an ordinary everyday rollicking dare devil character, and he says that\n\" Peer uvnt,, is not an unfamiliar role on the stage; and therefore being a not unfamiliar\nrole he intends to cut the play down a third. You notice that he says there is a lot of\nthis master piece by Ibsen which can be spared, and in spite of Ibsen telling us that the\nplay has to be performed in thirty eight different scenes, Mr James intends to throw out\nof it a lot of scenes which mean nothing to him and some anticlimaxes which mean less\nthan nothing to him.\nOne would have thought that Ibsen, who wrote this play, would have known better\nthan Mr James how many scenes were necessary and also something about the climax and\nanticlimax of the tragedy. He is complimentary to Ibsen in saying that he appreciates\n\n& The two\nparagraphs.\nThe two\nattitudes.\nPeer Gynt ."}, {"page_pdf": 18, "page_imprimee": "122", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.18", "debut_caractere": 0, "fin_caractere_exclue": 4871, "texte": "that the character has plenty of lightness and humour, and he is spirited in saying that he\nwill try to bring all this out. Evidently this is the result of drinking \" well lemoned iced\ntea \" on the verandah of a Villa called the 44 Don't Care Villa. \" & & & &\nI think that any body reading this James paragraph must admit that it is about the funniest\nthing that ever has appeared in print about an actor. Here we have a man who may be, for all\nwe know, a very fine actor; but who on the face of it turns his profession into a joke, tie\nintends to cut down the play a third. Why, it is tremendous! He does not intend to cut\ndown Mr Claude Fitch's play, or one by Mr Stephen Phillips because Mr Phillips and Mr\nFitch are alive, and because they would tell him their reasons for the length of their plays:\nbut not having Ibsen at his elbow to tell him the simple yet profound reasons why this\nplay 44 Peer Oynt\" is a certain length, why it is in thirty eight scenes and why there are\nanti-climaxes and a climax, Mr James is unable to see himself in the role, and in his despair\nhe comes to the conclusion that what he cannot understand cannot be of any value\nand so he cuts it out.\nWhat he can understand is that 44 Peer Ciynt\" is an egoist, is a dare devil, a soldier of\nfortune and an incurable liar because the man tells many lies during the play, (lies of an\nenormously poetical character), because he wanders from land to land seeking his fortune,\nbecause he experiences many daring adventures and because he is continually soliloquising\nabout himself. But any child can understand as much. Any member of the audience who\ngoes to the theatre can read as much from the book without going to see Mr James. What\nthe actor is for is to show us those things which we cannot see for ourselves: not to cut\nout that third part of the play which puzzles us just because it puzzles him. And then on\nthe top of it all for Mr James to say \" I don't know why Peer Gynt should be hard to\nunderstand!!!..!!\" Mr James seems to have found it so hard to understand that he throws up\nthe sponge.\nNow, this is very typical of a certain kind of actor. This is a type which has probably\nalways existed, but he is a type which everybody should try to put out of existence. He\nlowers the standard. He is the worst type. He is a far worse type than that which says\n\" I'm not acting for Art's sake. I am acting for my bread and butter. The only day which\ninterests me is Friday morning when I receive my salary. \" This is a type easily to be\nunderstood and which does no one harm but himself. JSZ &\nBut Mr James stands for the type of actor who is serious, who undertakes to bring to\nthe nation the serious master pieces. There is no more serious work than \" Peer Gynt „\nin the whole range of the modern drama. Perhaps we may say that there never has been\na play so difficult to understand since the birth of dramatic literature; and therefore\nthose actors who undertake to represent such a play accept a very serious trust; they stand\nfor all that is highest in the intellect and the character of the stage. Therefore when such\nan actor takes such a master piece and cuts it down a third, upsets the sequence of the\nscenes, misunderstands the anti»climaxes and talks about Ibsen's passages as 44 spoiling the\n44 effect \" it lowers the standard of the type which he is there to uphold, and gives the\nimpression that the most intelligent type of actor is an out and out ignoramus. &\nNow turn to the paragraph where Sothern speaks. He is essentially the type of the\nserious actor. He does not talk in a slap-dash manner about cutting master pieces: his\nvoice is very quiet and modest, and all young actors should follow what he says here. He is\nreally typical of the fine serious actors. He gives up an engagement for six weeks to study\nRachel. He understands how wonderful it is in her that she had less action than any other\nactress he had ever seen. He understands the grimness of her acting which he describes\nas being 44 almost painful. \"He does not talk about 44 effect\" but rather about 44 thoroughly\nunderstanding 44 Doing everything as well as he knows how 44 never acting on the\nimpulse of the moment\".... 44 paying strict attention to details \".... 44 being able to give a\nreason for everything he does\".... <4 if not able to find this reason, then not doing it.\" &\nJZ? Comparing the statements of James and Sothern we find that the first has a bad influence\non the young actor while the second has a good influence. The first teaches the young\nactor to say 44 that which I cannot understand must be nonsense \". The second will teach\nhim to go on working until he thoroughly understands the most difficult things. James\nwould teach the young actor to avoid difficulties, Sothern to surmount them. & &\n& James, therefore, would create the mentally flabby actor, Sothern would create the"}, {"page_pdf": 18, "page_imprimee": "122", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.18", "debut_caractere": 4900, "fin_caractere_exclue": 5006, "texte": "A compliment\nfor 1 h s en.\nWhat Mi James\ncan understand.\nThe worst type\nof actor.\nA serious work.\nSothern."}, {"page_pdf": 19, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 455, "texte": "mentally athletic actor. James, although he would not admit it, is body and soul for the\n44 pretty-pretty\" actor: Sothern is for the strong actor,.... \"Her acting was grim, almost\npainful. \" James is playing down to the public: Sothern is playing up to the public. All that\nis best in the American theatre will follow Sothern and will try to forget Louis James as he\nsits with 44 a well lemoned glass of iced tea \" on the verandah of \" Don't Care Villa. \""}]}, {"article_id": "bm-bmtnaau-1908-08-01-c018", "article_bluemountain": "bmtnaau_1908-08_01#c018", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "123", "page_fin": "124", "image_debut": 19, "image_fin": 20, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.10", "titre_corps": "BOOK REVIEWS", "titre_sommaire": "BOOK REVIEWS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 19, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.19", "debut_caractere": 457, "fin_caractere_exclue": 5019, "texte": "BOOK REVIEWS\n\n& 44 THfi FRA »: MONTH!, Y. F,lhett\nHubbard, fiast Aurora. New York. 35 cents\na copy. 3 Dollars a year. &\n44 HPhe Fra \" is a right good magazine and\nwill be all the better when it has grown\nup and developed itself. It is one of those\nfew journals in America not formed upon a\nEuropean model. It springs from American\nsoil and its sap is American. Its strength is\nthere right enough and it has power to\nspare: ..it might do well to waste a little upon\npreliminary experiments which it might burn.\n44 The Fra \" is certainly as strong as an oak\nor a bean, ...and if not as cultured as a bean\nor an oak it is only for lack of time. We are\nall apt to forget that the bean and the oak or\nany of the thousand marvellous works of na-\nture are all consummate works of art. We\nare apt to say things are not natural unless\nthey are rude; to think of nature as a kind\nof careless workman, a regular hooligan who\nthrows up any old rock and calls it the Carrara\nor Rocky Mountains; who plants its oaks and\nbeans quite careless of form and style.\nWe make a blunder when we think so\nand when we attempt to fashion our works\nof art in the same manner. & If anything\nthis is rather the fault of timidity than\nof Democracy. Why should Democracy be a\nwhit less cultured than any other Socialism?\nBecause we are democratic it does not alter\nthe oak or the bean, and these, together with\nall other natural growths, are always orderly,\nobedient to the oldest traditions, detesting\nmodern innovations and casting out all\nrevolutionary elements from their being. The\nbean, just because we eat it, is not a gross\nthing nor an ill-cultured thing. It is the\nperfection of design; no architect could be\nmore fastidious, no jeweller more delicate\nthan is the force which fashions this marvel.\nThis being the case, we fail to see why pas-\nsages like the following should not be better\nconstructed, more fastidiously fashioned and\nmore delicate.\n44 IF you happen to meet a gent who has\n44 in his hatband a price-tag, you must never\n44 see it, and certainly not call his attention\n44 to it, If you do it will probably cost you\n\" Coco-Cola for the crowd. I ran across the\n44 game in Georgia and found it popular from\n44 Atlanta to the sea.\" &\n& 44 THE FRA stands for art, Art is not a\n44 thing separate and apart—Art is away. Art\n44 is the beautiful way. Art should extend to\n44 every function of life, for our environment\n44 as well as our actions should be graceful,\n44 harmonious, beautiful. THE FRA stands\n44 for the art of living.\"\n44 The44 Fra \" stands for art \" and is full of\nthe praise of nature, but it goes in for being\nfar more comic than art can ever be, and\nnature is never comic; the sea does not\ncontain one drop of the comic; only man,\nwho sails the sea, manages to create atoms\nof that strange and often poisonous atmo-\nsphere. jgr\n& The designs in 44 The Fra \" are also far\nfrom good; they do not in any way reveal\na study of nature. The initial cliches are all\nalike and none seem to have been even\nengraved by the good honest hand of a wood\nengraver. &\nThe title page is dreadful. Now, whoever\ndesigned it will chuckle when he reads this,\nfor whatever else he (or she) is he is a man\nor woman who knows what he or she wants.\nAnd he has put it there. Glaringly it stands;\nand in the middle those wonderful words,\n44 Success is ten per cent opportunity and\nninety per cent intelligent hustle\nNow, young, old or middle-aged man,\nwhoever you are who wrote that or designed\nthat title page, we advise you to go and spend\nan hour or so dissecting a common bean, the\ncommoner the better, and see if one hundred\nper cent of its success is not due to a slow\nand cautious development founded upon\ntradition.\nWalt Whitman is really at the roots of\n44 The Fra and who wouldn't have such a\nsoil to grow from? Whitman is at the roots\nof most of the fine sproutings of today. But\n44 The Fra \" has forgotten that caution which\nWhitman was never too hasty to forget.\nWe hope 44 The Fra \" will forgive our\nimpertinence, ....we are in the critical vein\ntoday.... and we hope the44 Fra \" will commence\ntraining a few of his fellow workers in the\nexcellent craft of wood-engraving. It takes\nquite as long to make a good wood cut as\nto make a bad electrotype, and the result is\nfar finer.... for the engraver. You can't make\na hustling cut. You must be patient, free\nfrom nervous haste, and cut away in the same\nspirit as you fire a rifle when there's a\nwager on. You don't hustle then,... but you\nhave to be no less intelligent; and only so can\nyou succeed, and hit your bull's eye."}, {"page_pdf": 20, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.20", "debut_caractere": 0, "fin_caractere_exclue": 5447, "texte": "Most of the type used in \" The Fra \" is\ngood, but the capital letters are ill-shapen.\nThe 44 Fra's \" cook wouldn't bake a bean\nwhich looked so ill=>shapen as the R on the\nfirst page. The P and the D in \" Open\nRoad \" would scare any horse that came upon\nthem suddenly at a sharp turning.\nThe play»actors ought to like \" The Fra \"\nand ought to take it in as \" The Fra \"\nsays nice soft things about the actor.\nPerhaps it is a friend; perhaps not. \" The\nMask \", being a friend, says sharp and hard\nthings about the actor. Tha tis because 44 The\nMask \" is not going to be a friend for an hour\nor a month or even for a year but for quite\na long time. Yet the nice things the \" Fra \"\nsays about the actor are quite true except\nthat note about books and the actor. The\n\" Fra \" says, \" My heart goes out to the\n44 play actor. They give more and get less than\n\" any other class of people who stand in\nDouglas' three dollar shoes \". Well, of course\neverybody's heart goes out to the play actor,\nand they give a great deal, but we are not\ngoing to begin miowling about what they\ndon't get. There is nothing pathetic about\nthe actor at any rate, and we don't want the\npublic to shed a silent tear as they think of\nthe 44 poor lone actor \" etc, etc. £?\nThen the \" Fra \" goes on to say that the\nactors are all children, they never grow up.\n\" They are all children—they never grow up.\n\" The gods must love them, for they die\n44 young no matter how long they live. &\n44 Their innocence, their hope, their gullibility,\ni( their fond and foolish belief that they are\n\" 'on', when all the time rogues are playing\n44 them for muskellunge, would be funny if\n\" it were not pathetic. They ail love books,\n44 but few own a book case. They all love\n44 art, but few possess a picture. Yet\n\" E. S. Willard, for example, always carries\n44 twenty choice volumes with him, and before\n44 he enters his room at the hotel these\n44 books are placed on their portable shelf,\n44 and over them sits a little bronze bust of\n44 Shakespeare, while on the wall is an old\n44 framed engraving. And so this mime makes\n44 himself believe that he is ever at home,\n44 and he points you to what he calls his\n44 44 treasures \"—the little shelf of books, the\n44 bust and the one picture. \"\nThis strikes us as charming; so simple a\npicture. We see the simple and rather\npathetic Mr E. S. Willard arriving sadly at\nthe hotel in New York in a pair of Douglas'\nthree dollar shoes. We hear him going up\nin the elevator whistling the while a few bars\nof 44 Home, sweet home dropping a sigh\nwhich shall be caught by the attentive and\ntrembling elevator boy so that the elevator\nboy shall shortly say to his fellows who\ndwell in the servants' appartments, \"The poor\nactor upstair, the poor actor! \" And then the\n44 poor actor upstairs \" passes into (oh woe,\noh woe!) his meagre appartments costing\nbut a mere twenty dollars a day. We see\nhim turning up that tenth rate illuminant,\nthe electric light, sighing the while as he\nremembers all the rich and prosperous who\ncan afford their candle. We seem to see him\ncasting a despairing eye round the room,\nflinging himself upon his books and his\npictures and loving them for ten minutes.\nNow really, Mr Fra, you are ridiculous when\nyou talk of the actor, for the actor as a rule\ndoes not love his books very much, nor does\nhe love his pictures. But when he does he does\nnot want it so emphasized as to make it appear\nunusual on his part that he should. What\nis unusual in a man carrying forty or fifty7\nbooks with him, or a portfolio of drawings,\nor a good sized book in which he has pasted\nall the engravings of which he is most fond?\nFor really there are quite a number of\nactors who carry these things with them and\nsit in a comfortable but inexpensive little\nroom studying them. But these men certainly\ngo in for none of the humbug which we\nassociate with the man who sends his fourteen\nor twenty books ahead of him to be put in\nhis expensive hotel room with his bust of\nShakespeare above them as a sort of\nadvertisement that he is a \"literary fellow\" or\nthat he is artistically inclined.\nAgain, the 44 Fra \" says, 44 Out upon that\n44 colloused crew who use the word 44 actress\"\n44 as an epithet! The actress is a woman—\n-44 usually a woman without a home. She\n44 lives in the glare of the lime=light. All of\n44 her actions are subjected to a blaze of\n44 criticism.\nThis would be a heart=rending tale if we\ndid not remember that the actress is a\nvery practical sensible woman, and that if she\nhas no home she has a very comfortable\nlodging everywhere. 44 She lives in the glare\nof the lime=light \", does she ? But ask Madame\nSarah Bernhardt what she thinks of the lime-\nlight on the stage and off the stage and she\nwill tell you she finds them both quite\nharmless and perhaps very amusing.\nBut when all this criticism is said and\ndone 44 the Fra \" remains a right good magazine\nand we all wish it good luck and a little less\nhustle and a little better perspective in its\npictures of the 44 poor player \".\n\nBOOKS, JOURNAES AND MAGAZINES\nRECEIVED uz> & &\n\" Gemma Bellincioni \" by Frans Mijnssen. \" The\nNew York Dramatic Mirror y\\ New York. \" Ri vista\ndi Roma \" Revue Napoleonienne\n\" The Balance \", Moscow. \"Argus \" Helsingfors. \" Vj\nSzemle Budapest. \" II Teatro Illustrato Milan.\n\" 77re Bibelot Portland, Maine, U. S. A. \" 77fe\nPapyrus East Orange, New Jersey, U. S. A. \" The\nFrayy, East Aurora, New York. \" Die Schaubuhne\nBerlin. \"Ie Temoin \", Paris. JZ? £?"}]}, {"article_id": "bm-bmtnaau-1908-08-01-c020", "article_bluemountain": "bmtnaau_1908-08_01#c020", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "123", "page_fin": "124", "image_debut": 19, "image_fin": 20, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.10.2", "titre_corps": "\"THE FRA\" MONTHLY", "titre_sommaire": "\"THE FRA\" MONTHLY", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 19, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.19", "debut_caractere": 471, "fin_caractere_exclue": 5019, "texte": "& 44 THfi FRA »: MONTH!, Y. F,lhett\nHubbard, fiast Aurora. New York. 35 cents\na copy. 3 Dollars a year. &\n44 HPhe Fra \" is a right good magazine and\nwill be all the better when it has grown\nup and developed itself. It is one of those\nfew journals in America not formed upon a\nEuropean model. It springs from American\nsoil and its sap is American. Its strength is\nthere right enough and it has power to\nspare: ..it might do well to waste a little upon\npreliminary experiments which it might burn.\n44 The Fra \" is certainly as strong as an oak\nor a bean, ...and if not as cultured as a bean\nor an oak it is only for lack of time. We are\nall apt to forget that the bean and the oak or\nany of the thousand marvellous works of na-\nture are all consummate works of art. We\nare apt to say things are not natural unless\nthey are rude; to think of nature as a kind\nof careless workman, a regular hooligan who\nthrows up any old rock and calls it the Carrara\nor Rocky Mountains; who plants its oaks and\nbeans quite careless of form and style.\nWe make a blunder when we think so\nand when we attempt to fashion our works\nof art in the same manner. & If anything\nthis is rather the fault of timidity than\nof Democracy. Why should Democracy be a\nwhit less cultured than any other Socialism?\nBecause we are democratic it does not alter\nthe oak or the bean, and these, together with\nall other natural growths, are always orderly,\nobedient to the oldest traditions, detesting\nmodern innovations and casting out all\nrevolutionary elements from their being. The\nbean, just because we eat it, is not a gross\nthing nor an ill-cultured thing. It is the\nperfection of design; no architect could be\nmore fastidious, no jeweller more delicate\nthan is the force which fashions this marvel.\nThis being the case, we fail to see why pas-\nsages like the following should not be better\nconstructed, more fastidiously fashioned and\nmore delicate.\n44 IF you happen to meet a gent who has\n44 in his hatband a price-tag, you must never\n44 see it, and certainly not call his attention\n44 to it, If you do it will probably cost you\n\" Coco-Cola for the crowd. I ran across the\n44 game in Georgia and found it popular from\n44 Atlanta to the sea.\" &\n& 44 THE FRA stands for art, Art is not a\n44 thing separate and apart—Art is away. Art\n44 is the beautiful way. Art should extend to\n44 every function of life, for our environment\n44 as well as our actions should be graceful,\n44 harmonious, beautiful. THE FRA stands\n44 for the art of living.\"\n44 The44 Fra \" stands for art \" and is full of\nthe praise of nature, but it goes in for being\nfar more comic than art can ever be, and\nnature is never comic; the sea does not\ncontain one drop of the comic; only man,\nwho sails the sea, manages to create atoms\nof that strange and often poisonous atmo-\nsphere. jgr\n& The designs in 44 The Fra \" are also far\nfrom good; they do not in any way reveal\na study of nature. The initial cliches are all\nalike and none seem to have been even\nengraved by the good honest hand of a wood\nengraver. &\nThe title page is dreadful. Now, whoever\ndesigned it will chuckle when he reads this,\nfor whatever else he (or she) is he is a man\nor woman who knows what he or she wants.\nAnd he has put it there. Glaringly it stands;\nand in the middle those wonderful words,\n44 Success is ten per cent opportunity and\nninety per cent intelligent hustle\nNow, young, old or middle-aged man,\nwhoever you are who wrote that or designed\nthat title page, we advise you to go and spend\nan hour or so dissecting a common bean, the\ncommoner the better, and see if one hundred\nper cent of its success is not due to a slow\nand cautious development founded upon\ntradition.\nWalt Whitman is really at the roots of\n44 The Fra and who wouldn't have such a\nsoil to grow from? Whitman is at the roots\nof most of the fine sproutings of today. But\n44 The Fra \" has forgotten that caution which\nWhitman was never too hasty to forget.\nWe hope 44 The Fra \" will forgive our\nimpertinence, ....we are in the critical vein\ntoday.... and we hope the44 Fra \" will commence\ntraining a few of his fellow workers in the\nexcellent craft of wood-engraving. It takes\nquite as long to make a good wood cut as\nto make a bad electrotype, and the result is\nfar finer.... for the engraver. You can't make\na hustling cut. You must be patient, free\nfrom nervous haste, and cut away in the same\nspirit as you fire a rifle when there's a\nwager on. You don't hustle then,... but you\nhave to be no less intelligent; and only so can\nyou succeed, and hit your bull's eye."}, {"page_pdf": 20, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.20", "debut_caractere": 0, "fin_caractere_exclue": 4995, "texte": "Most of the type used in \" The Fra \" is\ngood, but the capital letters are ill-shapen.\nThe 44 Fra's \" cook wouldn't bake a bean\nwhich looked so ill=>shapen as the R on the\nfirst page. The P and the D in \" Open\nRoad \" would scare any horse that came upon\nthem suddenly at a sharp turning.\nThe play»actors ought to like \" The Fra \"\nand ought to take it in as \" The Fra \"\nsays nice soft things about the actor.\nPerhaps it is a friend; perhaps not. \" The\nMask \", being a friend, says sharp and hard\nthings about the actor. Tha tis because 44 The\nMask \" is not going to be a friend for an hour\nor a month or even for a year but for quite\na long time. Yet the nice things the \" Fra \"\nsays about the actor are quite true except\nthat note about books and the actor. The\n\" Fra \" says, \" My heart goes out to the\n44 play actor. They give more and get less than\n\" any other class of people who stand in\nDouglas' three dollar shoes \". Well, of course\neverybody's heart goes out to the play actor,\nand they give a great deal, but we are not\ngoing to begin miowling about what they\ndon't get. There is nothing pathetic about\nthe actor at any rate, and we don't want the\npublic to shed a silent tear as they think of\nthe 44 poor lone actor \" etc, etc. £?\nThen the \" Fra \" goes on to say that the\nactors are all children, they never grow up.\n\" They are all children—they never grow up.\n\" The gods must love them, for they die\n44 young no matter how long they live. &\n44 Their innocence, their hope, their gullibility,\ni( their fond and foolish belief that they are\n\" 'on', when all the time rogues are playing\n44 them for muskellunge, would be funny if\n\" it were not pathetic. They ail love books,\n44 but few own a book case. They all love\n44 art, but few possess a picture. Yet\n\" E. S. Willard, for example, always carries\n44 twenty choice volumes with him, and before\n44 he enters his room at the hotel these\n44 books are placed on their portable shelf,\n44 and over them sits a little bronze bust of\n44 Shakespeare, while on the wall is an old\n44 framed engraving. And so this mime makes\n44 himself believe that he is ever at home,\n44 and he points you to what he calls his\n44 44 treasures \"—the little shelf of books, the\n44 bust and the one picture. \"\nThis strikes us as charming; so simple a\npicture. We see the simple and rather\npathetic Mr E. S. Willard arriving sadly at\nthe hotel in New York in a pair of Douglas'\nthree dollar shoes. We hear him going up\nin the elevator whistling the while a few bars\nof 44 Home, sweet home dropping a sigh\nwhich shall be caught by the attentive and\ntrembling elevator boy so that the elevator\nboy shall shortly say to his fellows who\ndwell in the servants' appartments, \"The poor\nactor upstair, the poor actor! \" And then the\n44 poor actor upstairs \" passes into (oh woe,\noh woe!) his meagre appartments costing\nbut a mere twenty dollars a day. We see\nhim turning up that tenth rate illuminant,\nthe electric light, sighing the while as he\nremembers all the rich and prosperous who\ncan afford their candle. We seem to see him\ncasting a despairing eye round the room,\nflinging himself upon his books and his\npictures and loving them for ten minutes.\nNow really, Mr Fra, you are ridiculous when\nyou talk of the actor, for the actor as a rule\ndoes not love his books very much, nor does\nhe love his pictures. But when he does he does\nnot want it so emphasized as to make it appear\nunusual on his part that he should. What\nis unusual in a man carrying forty or fifty7\nbooks with him, or a portfolio of drawings,\nor a good sized book in which he has pasted\nall the engravings of which he is most fond?\nFor really there are quite a number of\nactors who carry these things with them and\nsit in a comfortable but inexpensive little\nroom studying them. But these men certainly\ngo in for none of the humbug which we\nassociate with the man who sends his fourteen\nor twenty books ahead of him to be put in\nhis expensive hotel room with his bust of\nShakespeare above them as a sort of\nadvertisement that he is a \"literary fellow\" or\nthat he is artistically inclined.\nAgain, the 44 Fra \" says, 44 Out upon that\n44 colloused crew who use the word 44 actress\"\n44 as an epithet! The actress is a woman—\n-44 usually a woman without a home. She\n44 lives in the glare of the lime=light. All of\n44 her actions are subjected to a blaze of\n44 criticism.\nThis would be a heart=rending tale if we\ndid not remember that the actress is a\nvery practical sensible woman, and that if she\nhas no home she has a very comfortable\nlodging everywhere. 44 She lives in the glare\nof the lime=light \", does she ? But ask Madame\nSarah Bernhardt what she thinks of the lime-\nlight on the stage and off the stage and she\nwill tell you she finds them both quite\nharmless and perhaps very amusing.\nBut when all this criticism is said and\ndone 44 the Fra \" remains a right good magazine\nand we all wish it good luck and a little less\nhustle and a little better perspective in its\npictures of the 44 poor player \"."}]}, {"article_id": "bm-bmtnaau-1908-08-01-c021", "article_bluemountain": "bmtnaau_1908-08_01#c021", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "124", "page_fin": "124", "image_debut": 20, "image_fin": 20, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.10.3", "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": 20, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.20", "debut_caractere": 4997, "fin_caractere_exclue": 5447, "texte": "BOOKS, JOURNAES AND MAGAZINES\nRECEIVED uz> & &\n\" Gemma Bellincioni \" by Frans Mijnssen. \" The\nNew York Dramatic Mirror y\\ New York. \" Ri vista\ndi Roma \" Revue Napoleonienne\n\" The Balance \", Moscow. \"Argus \" Helsingfors. \" Vj\nSzemle Budapest. \" II Teatro Illustrato Milan.\n\" 77re Bibelot Portland, Maine, U. S. A. \" 77fe\nPapyrus East Orange, New Jersey, U. S. A. \" The\nFrayy, East Aurora, New York. \" Die Schaubuhne\nBerlin. \"Ie Temoin \", Paris. JZ? £?"}]}, {"article_id": "bm-bmtnaau-1908-08-01-c023", "article_bluemountain": "bmtnaau_1908-08_01#c023", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "125", "page_fin": "127", "image_debut": 21, "image_fin": 25, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.11", "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": 21, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 3721, "texte": "FOREIGN NOTES\n\nfollowing questions were recently put\nby the Editor of 44 The Mask\" to the\ncorrespondents of this journal in the large\ncentres of Europe. JZ? JZ?\nL Does the work in the Theatres in your\ncity show hasty conception and careless\nperformance, or careful thought and slow and\npainstaking execution? JZ? JZ>\n2. Is the Public contented with what it\nreceives in the Theatres, or, if there are\nthree or four sections of the Public, are\nthey divided on this point? &\nWe print below some of the replies\nreceived and a further series will be published\nnext month, and as reports arrive.\n\nENGLAND\nR.S., London\nyour request to report whether the Theatres\nK show signs of careful or hasty work finds\nme compelled to reply, Hasty work. Haste,\nin fact, characterizes the entire world of the\nTheatre. They seem to be working against\ntime. I questioned some stage hands the\nother day. \" Plenty to do, Sir, \" they\nanswered, 44 to get ready in time; but it will\nbe all right on the night \". That is typical\nof the whole Theatre. So long as they are\n44 ready on the night \" it doesn't much matter\nhow it's ready. jg?\nOn many a first night I have been to lately\nthe actors have not known the words of their\nparts. Perhaps this is one of those details\nin which the manager may be inaccurate,...\nof that 1 am not able to speak; the scenery\nand general management of the stages reveal\nmuch hasty work. What happens to be good\nis good through happening. zz?\nMiss Isadora Duncan and 44 twenty Parisian\ndancers \" have been here this month, and here\nagain haste predominates, for surely it was\nonly over luiste which caused Mr Frohman\nto describe twenty poor little German, Belgian,\nPolish and Dutch girls as 44 Parisian Dancers \".\nThese little girls have been trained in Berlin\nand have visited several cities in Europe\nwhere they have exhibited their games; they\nmay have danced in Paris,..., but this does\nnot make them 44 Parisian dancers. \" JZ?\nAnd surely it was only over-haste which made\nMr Frohman announce on the posters that\nthe music was from Gluck's LVPHIGENIA\ninstead of IPHIGENIA. £/\nAccording to \"The Stage\", a reliable authority\non all matters pertaining to vaudeville, Mr\nCharles Frohman is going to be still more\nhasty in America. \"The Stage\" announces that\nMr AI Levering, who is Charles Frohman's\nright-hand man at the Aldwych in London,\nsuddenly turned up in New York lately\nand is making arrangements for the appea-\nrance of Miss Isadora Duncan there, professedly\nat one of the theatres, but as a matter of fact,\n44 1 he Stage \" has every reason to believe that\nMr Frohman is contemplating an excursion into\nthe vaudeville field, and to that end is quietly\nmaking arrangements for Miss Dnncan and a\nfew others (i), for preliminary experiments,\nwhich, if successful, will be enlarged upon.\nWith this end in view several artists have\nbeen approached, with regard to the supply\nof high-class acts. & &\nMiss Duncan in the vaudeville field is the\nmost colossal idea which Mr Frohman ever\ninvented; but it also shows haste.\nMr Frohman describes Miss Duncan as 44 The\nsensation of the Continent \". This also shows\nhaste. We may shortly expect such notices\nas the following: 44 Mr Frohman presents\nMadame Duse, the Rage of the Earth \". and\n44 Mr Frohman presents Miss Ellen Terry, the\nMirth-provoker of the World that is to\nsay, if Madame Duse and Miss Ellen Terry\npermit such vulgarity. &\n& This haste in matters of art has been\ndirectly imported from America. It is\nspreading over Europe. Art will in time\nbe taught in the schools by hustling tutors\nwho will tell their pupils that Art is hustling\nmesmerism. Twenty Parisian Dancers 111\nTremendous, Mr Frohman, simply tremen-\ndous! ...But isn't it swindling the public?^"}, {"page_pdf": 21, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.21", "debut_caractere": 4069, "fin_caractere_exclue": 4957, "texte": "GERMANY\nG.N., Berlin\nI regret 1 cannot send you word that the\nTheatres show signs of careful work.\nEnergetic work in plenty, but all far too\nhasty. The stages seem to be the experiment\ntables of the 44 artists \" and the public is\nthe dog upon whom these experiments are\ntried. It is human vivisection of the most\ninhuman character. I wish I could reply to\nyour question more cheerfully. JZ?\n\nSWEDEN\nM.M., Stockholm\na scrap of careful work to be seen here,...\ndenotes haste. If there is\nanyone doing some careful work here in the\ntheatre we have not seen him nor heard of it.\nThere is a public here which wants better\nwork, ...I believe this is so generally, but here\nthe suppliers refuse to take any notice of\nthe demand. I regret I cannot say otherwise.\n\nDENMARK\n\nVX/e see nothing but the same bad work in\nthe theatre today as we saw formerly. I\nreturned here from 1ta1y,.... went to the"}, {"page_pdf": 22, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.22", "debut_caractere": 0, "fin_caractere_exclue": 5534, "texte": "theatre,.... expected to see something\nbeautiful,.... (though why one should expect\nthe impossible Heaven only knows), and saw\nwhat I had seen before, if anything a trifle\nworse. Low humouristic plays from the pen\nof our beloved idol. Ibsen seldom if ever\nproduced here. Bernard Shaw's \" Arms and\nthe Man\" once performed. A bad spirit\nbroods over the theatre. If you ask the\nmanagers why the work is so bad they tell\nyou that the public wants bad art. There are\nmany of us here who do not believe that the\npublic wants bad art in the theatre any more\nthan in books or in the galleries. <£> &\nThere are signs that the new spirit may\nawaken in our theatre's art, but the signs are\nnot to be seen in those theatres whose duty\nit is to reveal it. & & JZ?\n\nR., Copenhagen.\n\nO.R., Copenhagen\n*lphe theatres of Copenhagen have too great\na fear of experimenting. They are doing\nhonourable work, but their efforts are\nunsuccessful owing to their adherence to\nthe old methods, and their first thought is\nthe economic question. Not even the experi-\nment (and failure) of a \" Thdatre intime\nsuch as Strindberg's \" Theatre intime \" in\nStockholm, has been risked on any Copenhagen\nstage. & jg> &\nThe productions,...at least those on the\nstage of the Royal Theatre, are given with\nvery great care and after numerous rehearsals,\nthe aim of the director always being the\nimitation of nature and the production of\nnaturalistic illusion. <&The staging is especially\ncareful in historical plays, everything being\nprepared in minute detail. The stage is\narranged like a room in a historical museum.\nWith the scenes and costumes the manager\nis able to cope and can be sure of obtaining\nsome results. Not so with the actors.. The\nactors here are undisciplined. They are too\nmuch bound by the correct, pedantic and\nunimaginative school. When one of them\ndoes break free it is only to take liberties\nwith the text and to disregard stage direction,\nand this of course merely achieves the\nabsurdity of spoiling the harmony of the play.\nI have heard other, and intelligent people\nsay that they do not visit the theatres because\nthe theatre does not preserve the illusion. I\nshould think that these people would be\npersuaded to go if the theatre did not make\nany pretension of creating such illusion but\nset out on some other new and less tedious\npath. Certainly most people here are\ndissatisfied with the theatres, the one half\nlaying the fault on the actors, the other on\nthe dramatists. Of a revival of the Art of the\nTheatre nothing is as yet to be heard.\n\nAUSTRIA\nA.S.L., Vienna.\nHPhe Vienna Theatre habitues form a highly\ncritical class so that any form of\ncarelessness or slovenliness in a performance\nwould at once be met with sure signs of\nmisapprobation, lor the Viennese, being\ntrained as they are from their earliest youth\nto a right appreciation of the Theatre, are\nquick to assertVtheir judgment.\n& The Theatre has a great past; it may\nwell look forward to great future. We are\nin a transition state, but there is plenty of\nmovement, and movement means thought\nand thought progress.; The mere fact that\nthe audience is one trained to an intellectual\nunderstanding of what is enrolled before\nthem places the management on the qui vive.\nThe managers know what is demanded of\nthem and must do everything in their power\nto keep up a certain standard of excellence;\ntherefore the performances as a rule show\nslow and painstaking execution. This is to\nbe seen at all the theatres. The leading role\nis played by the Imperial Theatre. Here\nfor ages the youth of Vienna have been\neducated in the classical drama and here\nthe love of the Theatre is engendered,and\nwhat is more, classical nights always pay.\nThose who have not the wherewithal to\npurchase seats are content to stand for hours\nwaiting for the opening of the doors for\nthe chance of obtaining a standing place for\nthe performance, and eveii the errand boys\nmay be seen reading Reclame's editions of\nthe classics, Schiller, Shakespeare, Grlllparzer,\nGoethe. This shows a deep-rooted inborn\nlove for the drama which, tenderly fostered,\nexpands and sends its branches everywhere.\nAnd thus critical audiences are trained. But\nthe Imperial Theatre does not confine itself\nto the classics let it be said. Next to this\nconies the Deutches Volkstheater which is\nas a rule visited by the same critical audience\nas the Imperial Theatre, and where the same\ndemands are made and responded to. These\ntwo form a class to themselves. <£? &\nThere is still another and a higher class,\nbut by far in the minority, which demands\nmore than these two theatres can offer, and\ntherefore seldom visits them. These yearn for\nsomething higher than the usual performances\nboth as regards the acting and the stage\ndecorations. These look forward to a bright\nfuture, and Duse is their ideal. And she has\nsown good seeds here which time will surely\nfructify.\nOf the sections of the public who desire\na mere nothing but a few hours amusement\nwithout any real intellectual enjoyment here\nis no place to speak. There are always such\nin all large cities as the numbers of theatres\ndevoted to such entertainment can testify.\nBut it must be maintained that even here\nthe audience is a highly critical one.\n& But the theatre forms but one half of the\neducation of the Viennese. Music is as\ninborn to them as is the drama, and these\ntwin sisters go hand in hand. Mahler has\ntrained an audience, highly sensitive, cultured,\nand hence critical and drastic as lie was, it\nwould be well would the theatre managers\nfollow more in his wake."}, {"page_pdf": 25, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 5084, "texte": "FINLAND\nG. C., Helsingfors.\nOwr theatres suffer from the curse of all\ntowns—the frequent change of programme\non account of which the actors cannot prepare\nserious, really artistic work, but are compelled\nto be satisfied with very superficial results.\nIt Is impossible even for gifted actors to hold\nout against this system; they lose their\nenergy and J their artistic conscience, their\ncreations become empty and j monotonous.\nThe exceptions from this rule are few. In\naddition it seems as if the Finns were] not\nspecially gifted for acting, their nature being\ntoo reserved. Finland has only one eminent\nactress, Ida Aalberg, but the days when she\ngave us her best work are past. The only\ncomfort for the j lovers of the art* of J the\ntheatre in Finland are therefore the foreign\nactors and actresses, who visit us.\n& The public is divided into two great\ngroups, one Finnish and one Swedish. The\nformer is naive,\" enthusiastic and relatively\nuncultivated; the latter more cultivated, but\nalso more 44 blase \" and more uninterested.\nNeither of these takes great interest in the\nattempts to create a better state of things\nwith regard to the theatre; there are only,\nin either group, a few young men who try\nto fight for such optimistic dreams, but\nhitherto as it seems with no great success.\n\nHOLLAND\nJ. v.H., Nordwijk.\n\\/our two questions about the theatre reach\n* me here where I had hoped to escape\nfrom all thought of the theatre and art\nand think only of the sea and of nature, but\nnow that you brought back to my mind\nthe theatre of Holland, with its performances\nand its public I will do my best to say nice\nthings about it,... if the sea, so turbulent,\never in revolt, will permit me. &\n& Let me say then one good thing for the\nDutch theatre. It is dead I mean if the\nsea is alive. It was ugly before its death\nand it is now uglier afterwards,...if the stretch\nof sand that I see and the blue water in front\nof me are beautiful. Every piece of work\non its boards shows the hastiest of conceptions\nand the most utterly careless perfor®\nmance,...if what I am looking at now exhibits\nwhat may be called patient preparation and\nthoughtful execution.\n& And now you ask whether the public is\ncontented with what it receives in the Dutch\ntheatre.\n1 have been sitting here an hour and I\nhave not seen a discontented face the whole\ntime. When I have visited the] theatres in\nAmsterdam or the Hague I have seen every face\ndiscontented, gloomy, petulant or desperate.\n1 cannot tell you whether the public are\ncontented with what they see in the theatres;\n1 can only report to you the expression of\ntheir faces. &\nNow let me qualify this statement by\nanother. 1 have seen these same faces lighting\nup with pleasure and becoming quite agreeable\nto look on. That has been when an occasional\nvisitor fromJforeign; lands, with a particular\ngenius all his orj her own, has brought\nsomething of beauty ,to our theatres: or it\nhas been when music has taken the place of\nthe plays and actors. I should like to say\nthat I have jin ] these instances found the\npublic a very enthusiastic public. I have in\nsome instances seen the theatres so crowded\nthat they could not hold another person.\nSo it seems to \\me that when any Dutch\nmanager or actor or singer or dancer or even\nscene painter or costumier makes up his\nmind to bring something beautiful before us\nwe shall receive it with enthusiasm. When\na man of genius shall arrive in the Dutch\ntheatre, (and I agree with your Englishman,\nCraig, that he need not be a dramatist), I\ndo not think there will be any doubt as to\nthe reception he will receive. &\n\nAMERICA\nProf. G. B. Baker; Harvard\n44 Co iong as the theatres [in America\nrun like bargain counters, with the\nmanagement continually on the outlook for\nready sellers, the drama in America will\nremain at a low ebb. jgr &\n44 Nothing is more contemptuous than the\nway the theatrical managers treat the\nAmerican public. They think Americans\nwould be unable to recognize a good thing\nif they should see it unless it already should\nhave been declared a success by Paris or\nshould bear the name of a well-known\nauthor \".\n\nLONDON\nR.S.\n'T'he scene used by Miss Isadora Duncan,\n* which everyone has taken for the work\nof Mr Gordon Craig is not by him, but is rather\na poor imitation of his work. We should have\nthought Miss Duncan the last person in the\nworld to have been satisfied with an imitation.\n\nFLORENCE\nft will be of interest to our readers to iearn\n\"that Mr Gordon Craig has been invited to\nBerlin to produce '• King Lear\" and the\nTrilogy by Aeschylus; that he has also been\ninvited to Holland to produce that remarkabel\nplay, 44 Everyman \"; to Moscow to produce a\nplay by Shakespeare which has not yet been\ndecided upon, and to London. & &\n& if • the production] at Moscow is vto be\n44 Hamlet\", and should|the production in\nLondon be 44 Macbeth \" as it is suggested, it\nwill be a phenomenal sign of the trend of\nevents. We cannot call to mind any stage\nmanager who has been invited to four different\nlands to produce plays of this magnitude, and\nespecially within so short a space of time. £?"}]}, {"article_id": "bm-bmtnaau-1908-08-01-c025", "article_bluemountain": "bmtnaau_1908-08_01#c025", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "125", "page_fin": "125", "image_debut": 21, "image_fin": 21, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.11.2", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.21", "debut_caractere": 15, "fin_caractere_exclue": 589, "texte": "following questions were recently put\nby the Editor of 44 The Mask\" to the\ncorrespondents of this journal in the large\ncentres of Europe. JZ? JZ?\nL Does the work in the Theatres in your\ncity show hasty conception and careless\nperformance, or careful thought and slow and\npainstaking execution? JZ? JZ>\n2. Is the Public contented with what it\nreceives in the Theatres, or, if there are\nthree or four sections of the Public, are\nthey divided on this point? &\nWe print below some of the replies\nreceived and a further series will be published\nnext month, and as reports arrive."}]}, {"article_id": "bm-bmtnaau-1908-08-01-c026", "article_bluemountain": "bmtnaau_1908-08_01#c026", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "125", "page_fin": "125", "image_debut": 21, "image_fin": 21, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.11.3", "titre_corps": "ENGLAND", "titre_sommaire": "ENGLAND", "signature_source": "R.S.", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.21", "debut_caractere": 591, "fin_caractere_exclue": 3721, "texte": "ENGLAND\nR.S., London\nyour request to report whether the Theatres\nK show signs of careful or hasty work finds\nme compelled to reply, Hasty work. Haste,\nin fact, characterizes the entire world of the\nTheatre. They seem to be working against\ntime. I questioned some stage hands the\nother day. \" Plenty to do, Sir, \" they\nanswered, 44 to get ready in time; but it will\nbe all right on the night \". That is typical\nof the whole Theatre. So long as they are\n44 ready on the night \" it doesn't much matter\nhow it's ready. jg?\nOn many a first night I have been to lately\nthe actors have not known the words of their\nparts. Perhaps this is one of those details\nin which the manager may be inaccurate,...\nof that 1 am not able to speak; the scenery\nand general management of the stages reveal\nmuch hasty work. What happens to be good\nis good through happening. zz?\nMiss Isadora Duncan and 44 twenty Parisian\ndancers \" have been here this month, and here\nagain haste predominates, for surely it was\nonly over luiste which caused Mr Frohman\nto describe twenty poor little German, Belgian,\nPolish and Dutch girls as 44 Parisian Dancers \".\nThese little girls have been trained in Berlin\nand have visited several cities in Europe\nwhere they have exhibited their games; they\nmay have danced in Paris,..., but this does\nnot make them 44 Parisian dancers. \" JZ?\nAnd surely it was only over-haste which made\nMr Frohman announce on the posters that\nthe music was from Gluck's LVPHIGENIA\ninstead of IPHIGENIA. £/\nAccording to \"The Stage\", a reliable authority\non all matters pertaining to vaudeville, Mr\nCharles Frohman is going to be still more\nhasty in America. \"The Stage\" announces that\nMr AI Levering, who is Charles Frohman's\nright-hand man at the Aldwych in London,\nsuddenly turned up in New York lately\nand is making arrangements for the appea-\nrance of Miss Isadora Duncan there, professedly\nat one of the theatres, but as a matter of fact,\n44 1 he Stage \" has every reason to believe that\nMr Frohman is contemplating an excursion into\nthe vaudeville field, and to that end is quietly\nmaking arrangements for Miss Dnncan and a\nfew others (i), for preliminary experiments,\nwhich, if successful, will be enlarged upon.\nWith this end in view several artists have\nbeen approached, with regard to the supply\nof high-class acts. & &\nMiss Duncan in the vaudeville field is the\nmost colossal idea which Mr Frohman ever\ninvented; but it also shows haste.\nMr Frohman describes Miss Duncan as 44 The\nsensation of the Continent \". This also shows\nhaste. We may shortly expect such notices\nas the following: 44 Mr Frohman presents\nMadame Duse, the Rage of the Earth \". and\n44 Mr Frohman presents Miss Ellen Terry, the\nMirth-provoker of the World that is to\nsay, if Madame Duse and Miss Ellen Terry\npermit such vulgarity. &\n& This haste in matters of art has been\ndirectly imported from America. It is\nspreading over Europe. Art will in time\nbe taught in the schools by hustling tutors\nwho will tell their pupils that Art is hustling\nmesmerism. Twenty Parisian Dancers 111\nTremendous, Mr Frohman, simply tremen-\ndous! ...But isn't it swindling the public?^"}]}, {"article_id": "bm-bmtnaau-1908-08-01-c027", "article_bluemountain": "bmtnaau_1908-08_01#c027", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "125", "page_fin": "125", "image_debut": 21, "image_fin": 21, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.11.3.1", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.21", "debut_caractere": 3723, "fin_caractere_exclue": 4067, "texte": "(1) Who can these \"few others\" be?... Most mysterious.\nPossibly the same \"Twenty Parisian dancers\" warmed up\nagain, this time probably described as \" Forty Moorish\ndancers\"? .... Or may we expect the Napoleon of the\nTheatrical world to present in one and the same theatre on\nthe same evening Miss Duncan, the White-eyed Kaffir, and\nSandow ? & &"}]}, {"article_id": "bm-bmtnaau-1908-08-01-c028", "article_bluemountain": "bmtnaau_1908-08_01#c028", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "125", "page_fin": "125", "image_debut": 21, "image_fin": 21, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.11.4", "titre_corps": "GERMANY", "titre_sommaire": "GERMANY", "signature_source": "G.N.", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.21", "debut_caractere": 4069, "fin_caractere_exclue": 4459, "texte": "GERMANY\nG.N., Berlin\nI regret 1 cannot send you word that the\nTheatres show signs of careful work.\nEnergetic work in plenty, but all far too\nhasty. The stages seem to be the experiment\ntables of the 44 artists \" and the public is\nthe dog upon whom these experiments are\ntried. It is human vivisection of the most\ninhuman character. I wish I could reply to\nyour question more cheerfully. JZ?"}]}, {"article_id": "bm-bmtnaau-1908-08-01-c029", "article_bluemountain": "bmtnaau_1908-08_01#c029", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "125", "page_fin": "125", "image_debut": 21, "image_fin": 21, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.11.5", "titre_corps": "SWEDEN", "titre_sommaire": "SWEDEN", "signature_source": "M.M.", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.21", "debut_caractere": 4461, "fin_caractere_exclue": 4823, "texte": "SWEDEN\nM.M., Stockholm\na scrap of careful work to be seen here,...\ndenotes haste. If there is\nanyone doing some careful work here in the\ntheatre we have not seen him nor heard of it.\nThere is a public here which wants better\nwork, ...I believe this is so generally, but here\nthe suppliers refuse to take any notice of\nthe demand. I regret I cannot say otherwise."}]}, {"article_id": "bm-bmtnaau-1908-08-01-c030", "article_bluemountain": "bmtnaau_1908-08_01#c030", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "125", "page_fin": "126", "image_debut": 21, "image_fin": 22, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.11.6", "titre_corps": "DENMARK", "titre_sommaire": "DENMARK", "signature_source": "R.", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.21", "debut_caractere": 4825, "fin_caractere_exclue": 4957, "texte": "DENMARK\n\nVX/e see nothing but the same bad work in\nthe theatre today as we saw formerly. I\nreturned here from 1ta1y,.... went to the"}, {"page_pdf": 22, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.22", "debut_caractere": 0, "fin_caractere_exclue": 767, "texte": "theatre,.... expected to see something\nbeautiful,.... (though why one should expect\nthe impossible Heaven only knows), and saw\nwhat I had seen before, if anything a trifle\nworse. Low humouristic plays from the pen\nof our beloved idol. Ibsen seldom if ever\nproduced here. Bernard Shaw's \" Arms and\nthe Man\" once performed. A bad spirit\nbroods over the theatre. If you ask the\nmanagers why the work is so bad they tell\nyou that the public wants bad art. There are\nmany of us here who do not believe that the\npublic wants bad art in the theatre any more\nthan in books or in the galleries. <£> &\nThere are signs that the new spirit may\nawaken in our theatre's art, but the signs are\nnot to be seen in those theatres whose duty\nit is to reveal it. & & JZ?\n\nR., Copenhagen."}]}, {"article_id": "bm-bmtnaau-1908-08-01-c031", "article_bluemountain": "bmtnaau_1908-08_01#c031", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "126", "page_fin": "126", "image_debut": 22, "image_fin": 22, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.11.7", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "O.R.", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 22, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.22", "debut_caractere": 769, "fin_caractere_exclue": 2530, "texte": "O.R., Copenhagen\n*lphe theatres of Copenhagen have too great\na fear of experimenting. They are doing\nhonourable work, but their efforts are\nunsuccessful owing to their adherence to\nthe old methods, and their first thought is\nthe economic question. Not even the experi-\nment (and failure) of a \" Thdatre intime\nsuch as Strindberg's \" Theatre intime \" in\nStockholm, has been risked on any Copenhagen\nstage. & jg> &\nThe productions,...at least those on the\nstage of the Royal Theatre, are given with\nvery great care and after numerous rehearsals,\nthe aim of the director always being the\nimitation of nature and the production of\nnaturalistic illusion. <&The staging is especially\ncareful in historical plays, everything being\nprepared in minute detail. The stage is\narranged like a room in a historical museum.\nWith the scenes and costumes the manager\nis able to cope and can be sure of obtaining\nsome results. Not so with the actors.. The\nactors here are undisciplined. They are too\nmuch bound by the correct, pedantic and\nunimaginative school. When one of them\ndoes break free it is only to take liberties\nwith the text and to disregard stage direction,\nand this of course merely achieves the\nabsurdity of spoiling the harmony of the play.\nI have heard other, and intelligent people\nsay that they do not visit the theatres because\nthe theatre does not preserve the illusion. I\nshould think that these people would be\npersuaded to go if the theatre did not make\nany pretension of creating such illusion but\nset out on some other new and less tedious\npath. Certainly most people here are\ndissatisfied with the theatres, the one half\nlaying the fault on the actors, the other on\nthe dramatists. Of a revival of the Art of the\nTheatre nothing is as yet to be heard."}]}, {"article_id": "bm-bmtnaau-1908-08-01-c032", "article_bluemountain": "bmtnaau_1908-08_01#c032", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "126", "page_fin": "126", "image_debut": 22, "image_fin": 22, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.11.8", "titre_corps": "AUSTRIA", "titre_sommaire": "AUSTRIA", "signature_source": "A.S.L.", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 22, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.22", "debut_caractere": 2532, "fin_caractere_exclue": 5534, "texte": "AUSTRIA\nA.S.L., Vienna.\nHPhe Vienna Theatre habitues form a highly\ncritical class so that any form of\ncarelessness or slovenliness in a performance\nwould at once be met with sure signs of\nmisapprobation, lor the Viennese, being\ntrained as they are from their earliest youth\nto a right appreciation of the Theatre, are\nquick to assertVtheir judgment.\n& The Theatre has a great past; it may\nwell look forward to great future. We are\nin a transition state, but there is plenty of\nmovement, and movement means thought\nand thought progress.; The mere fact that\nthe audience is one trained to an intellectual\nunderstanding of what is enrolled before\nthem places the management on the qui vive.\nThe managers know what is demanded of\nthem and must do everything in their power\nto keep up a certain standard of excellence;\ntherefore the performances as a rule show\nslow and painstaking execution. This is to\nbe seen at all the theatres. The leading role\nis played by the Imperial Theatre. Here\nfor ages the youth of Vienna have been\neducated in the classical drama and here\nthe love of the Theatre is engendered,and\nwhat is more, classical nights always pay.\nThose who have not the wherewithal to\npurchase seats are content to stand for hours\nwaiting for the opening of the doors for\nthe chance of obtaining a standing place for\nthe performance, and eveii the errand boys\nmay be seen reading Reclame's editions of\nthe classics, Schiller, Shakespeare, Grlllparzer,\nGoethe. This shows a deep-rooted inborn\nlove for the drama which, tenderly fostered,\nexpands and sends its branches everywhere.\nAnd thus critical audiences are trained. But\nthe Imperial Theatre does not confine itself\nto the classics let it be said. Next to this\nconies the Deutches Volkstheater which is\nas a rule visited by the same critical audience\nas the Imperial Theatre, and where the same\ndemands are made and responded to. These\ntwo form a class to themselves. <£? &\nThere is still another and a higher class,\nbut by far in the minority, which demands\nmore than these two theatres can offer, and\ntherefore seldom visits them. These yearn for\nsomething higher than the usual performances\nboth as regards the acting and the stage\ndecorations. These look forward to a bright\nfuture, and Duse is their ideal. And she has\nsown good seeds here which time will surely\nfructify.\nOf the sections of the public who desire\na mere nothing but a few hours amusement\nwithout any real intellectual enjoyment here\nis no place to speak. There are always such\nin all large cities as the numbers of theatres\ndevoted to such entertainment can testify.\nBut it must be maintained that even here\nthe audience is a highly critical one.\n& But the theatre forms but one half of the\neducation of the Viennese. Music is as\ninborn to them as is the drama, and these\ntwin sisters go hand in hand. Mahler has\ntrained an audience, highly sensitive, cultured,\nand hence critical and drastic as lie was, it\nwould be well would the theatre managers\nfollow more in his wake."}]}, {"article_id": "bm-bmtnaau-1908-08-01-c033", "article_bluemountain": "bmtnaau_1908-08_01#c033", "volume": "bmtnaau_1908-08_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": 23, "image_fin": 23, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.11.9", "titre_corps": "Isadora Duncan Dancing", "titre_sommaire": "Isadora Duncan Dancing", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 22, "texte": "Isadora Duncan Dancing"}]}, {"article_id": "bm-bmtnaau-1908-08-01-c034", "article_bluemountain": "bmtnaau_1908-08_01#c034", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "127", "page_fin": "127", "image_debut": 25, "image_fin": 25, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.11.10", "titre_corps": "FINLAND", "titre_sommaire": "FINLAND", "signature_source": "G. C.", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 1290, "texte": "FINLAND\nG. C., Helsingfors.\nOwr theatres suffer from the curse of all\ntowns—the frequent change of programme\non account of which the actors cannot prepare\nserious, really artistic work, but are compelled\nto be satisfied with very superficial results.\nIt Is impossible even for gifted actors to hold\nout against this system; they lose their\nenergy and J their artistic conscience, their\ncreations become empty and j monotonous.\nThe exceptions from this rule are few. In\naddition it seems as if the Finns were] not\nspecially gifted for acting, their nature being\ntoo reserved. Finland has only one eminent\nactress, Ida Aalberg, but the days when she\ngave us her best work are past. The only\ncomfort for the j lovers of the art* of J the\ntheatre in Finland are therefore the foreign\nactors and actresses, who visit us.\n& The public is divided into two great\ngroups, one Finnish and one Swedish. The\nformer is naive,\" enthusiastic and relatively\nuncultivated; the latter more cultivated, but\nalso more 44 blase \" and more uninterested.\nNeither of these takes great interest in the\nattempts to create a better state of things\nwith regard to the theatre; there are only,\nin either group, a few young men who try\nto fight for such optimistic dreams, but\nhitherto as it seems with no great success."}]}, {"article_id": "bm-bmtnaau-1908-08-01-c035", "article_bluemountain": "bmtnaau_1908-08_01#c035", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "127", "page_fin": "127", "image_debut": 25, "image_fin": 25, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.11.11", "titre_corps": "HOLLAND", "titre_sommaire": "HOLLAND", "signature_source": "J. v. H.", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.25", "debut_caractere": 1292, "fin_caractere_exclue": 3589, "texte": "HOLLAND\nJ. v.H., Nordwijk.\n\\/our two questions about the theatre reach\n* me here where I had hoped to escape\nfrom all thought of the theatre and art\nand think only of the sea and of nature, but\nnow that you brought back to my mind\nthe theatre of Holland, with its performances\nand its public I will do my best to say nice\nthings about it,... if the sea, so turbulent,\never in revolt, will permit me. &\n& Let me say then one good thing for the\nDutch theatre. It is dead I mean if the\nsea is alive. It was ugly before its death\nand it is now uglier afterwards,...if the stretch\nof sand that I see and the blue water in front\nof me are beautiful. Every piece of work\non its boards shows the hastiest of conceptions\nand the most utterly careless perfor®\nmance,...if what I am looking at now exhibits\nwhat may be called patient preparation and\nthoughtful execution.\n& And now you ask whether the public is\ncontented with what it receives in the Dutch\ntheatre.\n1 have been sitting here an hour and I\nhave not seen a discontented face the whole\ntime. When I have visited the] theatres in\nAmsterdam or the Hague I have seen every face\ndiscontented, gloomy, petulant or desperate.\n1 cannot tell you whether the public are\ncontented with what they see in the theatres;\n1 can only report to you the expression of\ntheir faces. &\nNow let me qualify this statement by\nanother. 1 have seen these same faces lighting\nup with pleasure and becoming quite agreeable\nto look on. That has been when an occasional\nvisitor fromJforeign; lands, with a particular\ngenius all his orj her own, has brought\nsomething of beauty ,to our theatres: or it\nhas been when music has taken the place of\nthe plays and actors. I should like to say\nthat I have jin ] these instances found the\npublic a very enthusiastic public. I have in\nsome instances seen the theatres so crowded\nthat they could not hold another person.\nSo it seems to \\me that when any Dutch\nmanager or actor or singer or dancer or even\nscene painter or costumier makes up his\nmind to bring something beautiful before us\nwe shall receive it with enthusiasm. When\na man of genius shall arrive in the Dutch\ntheatre, (and I agree with your Englishman,\nCraig, that he need not be a dramatist), I\ndo not think there will be any doubt as to\nthe reception he will receive. &"}]}, {"article_id": "bm-bmtnaau-1908-08-01-c036", "article_bluemountain": "bmtnaau_1908-08_01#c036", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "127", "page_fin": "127", "image_debut": 25, "image_fin": 25, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.11.12", "titre_corps": "AMERICA", "titre_sommaire": "AMERICA", "signature_source": "G. B. Baker", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.25", "debut_caractere": 3591, "fin_caractere_exclue": 4104, "texte": "AMERICA\nProf. G. B. Baker; Harvard\n44 Co iong as the theatres [in America\nrun like bargain counters, with the\nmanagement continually on the outlook for\nready sellers, the drama in America will\nremain at a low ebb. jgr &\n44 Nothing is more contemptuous than the\nway the theatrical managers treat the\nAmerican public. They think Americans\nwould be unable to recognize a good thing\nif they should see it unless it already should\nhave been declared a success by Paris or\nshould bear the name of a well-known\nauthor \"."}]}, {"article_id": "bm-bmtnaau-1908-08-01-c037", "article_bluemountain": "bmtnaau_1908-08_01#c037", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "127", "page_fin": "127", "image_debut": 25, "image_fin": 25, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.11.13", "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": 25, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.25", "debut_caractere": 4106, "fin_caractere_exclue": 4382, "texte": "LONDON\nR.S.\n'T'he scene used by Miss Isadora Duncan,\n* which everyone has taken for the work\nof Mr Gordon Craig is not by him, but is rather\na poor imitation of his work. We should have\nthought Miss Duncan the last person in the\nworld to have been satisfied with an imitation."}]}, {"article_id": "bm-bmtnaau-1908-08-01-c038", "article_bluemountain": "bmtnaau_1908-08_01#c038", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "127", "page_fin": "127", "image_debut": 25, "image_fin": 25, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.11.14", "titre_corps": "FLORENCE", "titre_sommaire": "FLORENCE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.25", "debut_caractere": 4384, "fin_caractere_exclue": 5084, "texte": "FLORENCE\nft will be of interest to our readers to iearn\n\"that Mr Gordon Craig has been invited to\nBerlin to produce '• King Lear\" and the\nTrilogy by Aeschylus; that he has also been\ninvited to Holland to produce that remarkabel\nplay, 44 Everyman \"; to Moscow to produce a\nplay by Shakespeare which has not yet been\ndecided upon, and to London. & &\n& if • the production] at Moscow is vto be\n44 Hamlet\", and should|the production in\nLondon be 44 Macbeth \" as it is suggested, it\nwill be a phenomenal sign of the trend of\nevents. We cannot call to mind any stage\nmanager who has been invited to four different\nlands to produce plays of this magnitude, and\nespecially within so short a space of time. £?"}]}, {"article_id": "bm-bmtnaau-1908-08-01-c040", "article_bluemountain": "bmtnaau_1908-08_01#c040", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "128", "page_fin": "128", "image_debut": 26, "image_fin": 26, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.12", "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": 26, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.26", "debut_caractere": 0, "fin_caractere_exclue": 3873, "texte": "EDITORIAL NOTES\n\nJ ast month we spoke about the parodies of\nLife and Death of Jesus Christ which\nwere exhibited to the public through the\ncinemetograph. We asked our readers to\ncommunicate with us should they come across\nany like horror. Mr Chronander, the well-\nknown sculptor of Goteborg, writes us, \" 1\n44 have seen similar horrible things in Sweden,\n44 only they were much worse than those I have\n44 seen in Italy, an added danger being that in\n44 our case the shows were warmly recommen=\n44 ded by clergymen. The productions professed\n44 to be cinemetographed from the religious\n44 plays of Ober Ammergau, but as a matter\n44 of fact I believe that the films of all these\n44 so-called 44 religious \" horrors come from\n44 the United States, where hypocrisy and\n44 Mammon agree well together.\nTp wo suhscribers have written to us to\ncomplain that they have discovered errors\nin the text of their copies of 44 The Mask \".\nThis leads us to fear lest these errorrs may\nhave crept into other copies whose owners\nhave borne the discovery without complaint,\nand we therefore ooffer a comprehensive\napology for our Printers' errors to all readers\nof 44 The Mask \", past, psesent or to come.\nThe proof Readers are English, but the\nCompositors are Italian. JZ/\nNow, an Italian compositor, like all\nItalian workmen, is a spirited and igenious\nperson with a preference fer doing things\nin his ownw ay. If you direct your\ncarpinter to make you a square table he will\nprobably turn out a round one. You remon-\nstrate, even protest. He is aggrieved, and\nin no sense abashed, it seemed to him that\na round table would be batter, and so a round\ntable it is, ....and remains. You tell your\ngardener that a certain bed is adapted for\nspinach. He smilies as if in affirmation,....\nbut none the less the ground yields peasl\nSo it is with the compositor.\n& The MSS are supplied to him type written :\nhe sets to work, and in due time supplies\nhis proof.\n& A large staff of proof readers than sets\nto work in its turn to undoe most of what\nthe compositer has done. The latter then\nsteps forwardagain, eliminates a few errors,\nsubstitutes fresh ones for the rest and....the\noffice staff once more bends its forses to\nthe task. & So it goes on.\n& Truly, the Italians are a charming and\ndelightful race 111 &\nP. S. We believe that the compositors\nare notquitesoignorant of the English\nlanguage as we had imagined, for we note\nthat they have made, and evaded the correction\nof, mere mistakes in this paragraph than in\nall the preceding pages, as if in silent protest\nagainst our criticism of them, and to let us\nknow what they, on their side, think of us!!\nVft/e asked a very well-known theatrical\nDramaturg of Berlin whether his\ncountrymen liked the hustling methods of\ndealing with the Art of the Stage which Mr\nFrohrnan has imported into Europe. He\nreplied that he had never heard of Mr Frohrnan.\nWe explained all about Mr Frohman's many\ntheatres in America, England and Cunard,\nand somewhat warmly encouraged him to\nadmit that at anyrate the energy of Mr\nFrohrnan was remarkable.\nHe would not have it for a moment that such\na wholesale trade in an art could be either\ngood in itself or lead to good results.\n44 Take care what you are about. If you\n44 don't resist the introduction of such a system\n44 and if you don't stop it while there is time,\n44 your English theatre will become a business\n44 like your sports are in danger of becoming.\n44 Your sportsmen and artists should together\n44 resist the dangerous approach of the\n44 Theatrical Trust and the Sports Trust \",\nThere is much to be said for this. If sport\nis the athleticism of the body, Art is the\nathleticism of the mind.\nGordon Craig wishes it to be understood\nthat he is not the Editor of 44 The Mask \".\nHe acts as artistic adviser to the journal,\nbut the control of the literary matter is in\nthe hands of Mr John Semar. & &\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1908-08-01-c042", "article_bluemountain": "bmtnaau_1908-08_01#c042", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "128", "page_fin": "128", "image_debut": 26, "image_fin": 26, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.12.2", "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": 26, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.26", "debut_caractere": 17, "fin_caractere_exclue": 3873, "texte": "J ast month we spoke about the parodies of\nLife and Death of Jesus Christ which\nwere exhibited to the public through the\ncinemetograph. We asked our readers to\ncommunicate with us should they come across\nany like horror. Mr Chronander, the well-\nknown sculptor of Goteborg, writes us, \" 1\n44 have seen similar horrible things in Sweden,\n44 only they were much worse than those I have\n44 seen in Italy, an added danger being that in\n44 our case the shows were warmly recommen=\n44 ded by clergymen. The productions professed\n44 to be cinemetographed from the religious\n44 plays of Ober Ammergau, but as a matter\n44 of fact I believe that the films of all these\n44 so-called 44 religious \" horrors come from\n44 the United States, where hypocrisy and\n44 Mammon agree well together.\nTp wo suhscribers have written to us to\ncomplain that they have discovered errors\nin the text of their copies of 44 The Mask \".\nThis leads us to fear lest these errorrs may\nhave crept into other copies whose owners\nhave borne the discovery without complaint,\nand we therefore ooffer a comprehensive\napology for our Printers' errors to all readers\nof 44 The Mask \", past, psesent or to come.\nThe proof Readers are English, but the\nCompositors are Italian. JZ/\nNow, an Italian compositor, like all\nItalian workmen, is a spirited and igenious\nperson with a preference fer doing things\nin his ownw ay. If you direct your\ncarpinter to make you a square table he will\nprobably turn out a round one. You remon-\nstrate, even protest. He is aggrieved, and\nin no sense abashed, it seemed to him that\na round table would be batter, and so a round\ntable it is, ....and remains. You tell your\ngardener that a certain bed is adapted for\nspinach. He smilies as if in affirmation,....\nbut none the less the ground yields peasl\nSo it is with the compositor.\n& The MSS are supplied to him type written :\nhe sets to work, and in due time supplies\nhis proof.\n& A large staff of proof readers than sets\nto work in its turn to undoe most of what\nthe compositer has done. The latter then\nsteps forwardagain, eliminates a few errors,\nsubstitutes fresh ones for the rest and....the\noffice staff once more bends its forses to\nthe task. & So it goes on.\n& Truly, the Italians are a charming and\ndelightful race 111 &\nP. S. We believe that the compositors\nare notquitesoignorant of the English\nlanguage as we had imagined, for we note\nthat they have made, and evaded the correction\nof, mere mistakes in this paragraph than in\nall the preceding pages, as if in silent protest\nagainst our criticism of them, and to let us\nknow what they, on their side, think of us!!\nVft/e asked a very well-known theatrical\nDramaturg of Berlin whether his\ncountrymen liked the hustling methods of\ndealing with the Art of the Stage which Mr\nFrohrnan has imported into Europe. He\nreplied that he had never heard of Mr Frohrnan.\nWe explained all about Mr Frohman's many\ntheatres in America, England and Cunard,\nand somewhat warmly encouraged him to\nadmit that at anyrate the energy of Mr\nFrohrnan was remarkable.\nHe would not have it for a moment that such\na wholesale trade in an art could be either\ngood in itself or lead to good results.\n44 Take care what you are about. If you\n44 don't resist the introduction of such a system\n44 and if you don't stop it while there is time,\n44 your English theatre will become a business\n44 like your sports are in danger of becoming.\n44 Your sportsmen and artists should together\n44 resist the dangerous approach of the\n44 Theatrical Trust and the Sports Trust \",\nThere is much to be said for this. If sport\nis the athleticism of the body, Art is the\nathleticism of the mind.\nGordon Craig wishes it to be understood\nthat he is not the Editor of 44 The Mask \".\nHe acts as artistic adviser to the journal,\nbut the control of the literary matter is in\nthe hands of Mr John Semar. & &\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1908-08-01-c043", "article_bluemountain": "bmtnaau_1908-08_01#c043", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "128", "page_fin": "128", "image_debut": 26, "image_fin": 26, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.12.2.1", "titre_corps": "Porta Romana. Florence", "titre_sommaire": "Porta Romana. Florence", "signature_source": "E. Thesleff", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 26, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.26", "debut_caractere": 3936, "fin_caractere_exclue": 3971, "texte": "Porta Romana. Florence. E. Thesleff"}]}, {"article_id": "bm-bmtnaau-1908-08-01-c044", "article_bluemountain": "bmtnaau_1908-08_01#c044", "volume": "bmtnaau_1908-08_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=bmtnaau190808-01.2.13", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.2", "debut_caractere": 1754, "fin_caractere_exclue": 2143, "texte": "ALMANACK FOR\nARCHITECTURE\n1?\nm\nGIGIGIGIGIGIGICHjISIBIGISISIEIEIEIEISI\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\ni IN Mini mmmmmmmmmmmmmmmmmmmmmmmm\nSCHUSTER & BUFLEB. G. M. B. H.\nBERLIN W 30 * NOLLENDORFSTR. 31. 32\n* BOOKS ANCIENT AND MODERN"}]}, {"article_id": "bm-bmtnaau-1908-08-01-c045", "article_bluemountain": "bmtnaau_1908-08_01#c045", "volume": "bmtnaau_1908-08_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=bmtnaau190808-01.2.14", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.2", "debut_caractere": 2145, "fin_caractere_exclue": 2559, "texte": "THE BUTTERFLY\nQUARTERLY\nIS A NEW PUBLICATION, CAREFULLY\nPRINTED FROM EXCELLENT TYPE,\nON FINE TONED PAPER, Bxio in: IN\nSIZE, THE EDITION BEING LIMITED\nTO 500 NUMBERED COPIES. IT\nCONTAINS VERSES, TALES,\nTRANSLATIONS, REPRINTS,\nDRAWINGS, WOOD-CUTS, BOOK-\nPLATES, AND OTHER MATTERS OF\nBOOKISH INTEREST. 0 &\nYEARLY SUBSCRIPTION\nDOT,TARS 1.25 POST FREE. &\nTHE BUTTERFLY QUARTERLY\n1126 WALNUT STREET\nPHILADELPHIA\nU. S. A."}]}, {"article_id": "bm-bmtnaau-1908-08-01-c047", "article_bluemountain": "bmtnaau_1908-08_01#c047", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "130", "page_fin": "130", "image_debut": 28, "image_fin": 28, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.16", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 28, "page_imprimee": "130", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.28", "debut_caractere": 0, "fin_caractere_exclue": 617, "texte": "& \"VIESSEE\" (The Balance) &\nA RUSSIAN LITERARY & ART MAGAZINE PUBLISHED MONTHLY IN MOSCOW BY\nTHE SCORPION PRESS\n\" The Balance \" contains Poetry, Fiction, Drama, and Essays on Art and Literature by\nthe best modern authors, both Russian & Foreign. jgr\nThe Journal has correspondents in all the chief cities of Europe. jz?\n\" The 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.\nJS> CHIEF - EDITOR; SERGE POLIAKOFF. &"}]}, {"article_id": "bm-bmtnaau-1908-08-01-c048", "article_bluemountain": "bmtnaau_1908-08_01#c048", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "130", "page_fin": "130", "image_debut": 28, "image_fin": 28, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.17", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 28, "page_imprimee": "130", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.28", "debut_caractere": 619, "fin_caractere_exclue": 2185, "texte": "& THE MOSHER BOOKS\n& & M D C C C X CI-MCMVIII & &\nFor a dozen years the most artistic volumes at their price that have been issued in America\nhave been published, not from New York or Boston, nor even in Philadelphia or Chicago\nbut it Portland, Maine. In that little city Thomas B. Mosher has been printing, without\nflourish of trumpets or wide advertising, volume after volume which in artistic excellence\nare not excelled by the issues of any publishing house in the world. Then, too, Mosher has\nreprinted only the gems of literature that have been declared of the first water; gems that\nare, beyond objection, jewels of the world's treasury of brilliant writing. We may also\nassert that the question of gain has been secondary in Mosher's calculations. He has put\nout very small editions, and he has made them so beautiful in all that concerns their make-\nup that it is doubtful if he has ever gauged the expenditure by the possible profit. Never-\ntheless, he must have done so, but in doing so he excites our admiration.\nQUY CARLETON LEE in Baltimore Sun for Dec. 18, 1907.^\nMy new Catalogue a remarkable piece of book-work in itself explains this unusual\ncompliment, and is sent free 011 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, but\nyou are treated to some very genuine prose & verse not found in every cut and-\ndecidedly-dried anthology.\nTHOMAS B. MOSHER & PORTLAND. MAINE & U. S. A."}]}, {"article_id": "bm-bmtnaau-1908-08-01-c049", "article_bluemountain": "bmtnaau_1908-08_01#c049", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "130", "page_fin": "130", "image_debut": 28, "image_fin": 28, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.18", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 28, "page_imprimee": "130", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.28", "debut_caractere": 2187, "fin_caractere_exclue": 3698, "texte": "A PORTFOLIO OF ETCHINGS. &\nBy Gordon Craig & with a preface.\nthirty portfolios will be issued, although ten or twenty additional copies of some of\nthe plates will be printed according to the condition of the plate. The plates will then\nbe destroyed. Each portfolio will be numbered. Each set consists of twelve designs loosely\nmounted on grey card and contained in a grey cloth box portfolio with fastenings. Each\nplate is signed by the artist. Size of portfolio 48x30 ctms. & Average size of plate.\n14 2/3 xl 5 2/3 ctms. The price for a portfolio will be L. 16 .o. o, (400 Francs or 320 Marks).\n'\"These etchings were made by the artist in the Spring of 1907 at Florence, and represent\nhis most serious work. Connected as they are with his dream of an Ideal Theatre, they\nin no way have anything in common with the modern stage.\n*c Movement\", writes Mr Craig, \" was at the roots of the Ancient Theatre and will ever\n\" remain the very Essence of the Art. & &\n\" We must translate Movement through the medium of inanimate forms and thereby produce\n\" once more an Impersonal Art which shall take its place by the side of its two sister\n\" Arts, Music and Architecture \".\nt9v\\Jf■/,*fi»r+>»V£S•#*--X~ l ~ 4 %. > v » * * . * x « c . * V «. t\nORDER FORM\nTo The Publishers,\nThe Editorial Office of \" The Mask \" 2 Lung'Arno Acciaiuoli, Florence. Italy. £?\nPlease send me the Portfolio of Etchings by Edward Gordon Craig, In payment for which\n1 enclose the sum of L. 16.0.0, (or 400 Francs or 320 Marks) & &\nSigned\nAddress."}]}, {"article_id": "bm-bmtnaau-1908-08-01-c050", "article_bluemountain": "bmtnaau_1908-08_01#c050", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "131", "page_fin": "131", "image_debut": 29, "image_fin": 29, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.19", "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": 29, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 521, "texte": "LIBRAIRIE ANCIENNE\nT. DE MARIN IS & Co. £r 5 Via Vecchletti - FIRENZE\nJ»I»»\nWsa\n41&\nrd?:h\n•AJV\nI HI l\nfmr\n- ■\n/-x\nflfl\nf\nill\n&\n3\n»if.\n«,*\nA\nA.\nID\n••I*l\n*«»<\ng\n&\n11 »\n■■s:\nU\n»ii\n«>\nSSr\nujlfe\nv : —-f I\n■r~-~4 f QS\n2*\n111\n'Mi\n00\n\"l\nmi\n—N\naa\ni\n111!\nmm\nfoot\nOJ\nnan\ntn\ntil\nIMM <\nan\n1 »i\nitu\nit\n46\nHi'\nX\ni^r\n0 0\n00\nllltl\nLi-\nlt n\nnao.n\nU\n7^\nMl**\n-i 3\nmi *\nVIJ\n«T\nTncfff:\nir^£b£\n3C3\nn/v\nC2f3£H\nGO\na c\n:A\ntit\nrurw\nFine Collection of MSS., Incunabula, rate and curious books XV-XIX cent.\nIllustrated Catalogues free on application."}]}, {"article_id": "bm-bmtnaau-1908-08-01-c051", "article_bluemountain": "bmtnaau_1908-08_01#c051", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "131", "page_fin": "131", "image_debut": 29, "image_fin": 29, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.20", "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": 29, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.29", "debut_caractere": 523, "fin_caractere_exclue": 816, "texte": "THE SOCIETY OF FOUR\na\nHAVE PURCHASED ONE\nOR TWO BEAUTIFUL\nWORKS OF ART OF\nTHE LATE QUATTROCEN-\nTO AND EARLY SEICENTO\nCOMMUNICATIONS PROM\nTHOSE DESIROUS OF PURCHA-\nSING SHOULD BE ADDRESSED\nTO THE \" SOCIETY OF FOUR \" AT\nTHE ADVERTISING OFFICES\nOF \" THE MASK BORGO SAN\nJACOPO, 8. FLORENCE (ITALY)"}]}, {"article_id": "bm-bmtnaau-1908-08-01-c052", "article_bluemountain": "bmtnaau_1908-08_01#c052", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "131", "page_fin": "131", "image_debut": 29, "image_fin": 29, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.21", "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": 29, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.29", "debut_caractere": 818, "fin_caractere_exclue": 1078, "texte": ": /\ne temoin.\nLE PLUS BEAU JOURNAL SATIRIQUE\nLE PLUS VIVANT, LE PLUS\nACTUEL, LE PLUS QAI, LE PLUS\nARTISTIQUE. £> & £>\nUS/ UZZ Us/ UsZ J£Z\nABONNEMENT, I AN, FRS 7.00\nSPECIMEN No. GRATUITSUR DEMANDE\nADMINISTRATION, PARIS, 18 - RUE\nH6O£SIPPE-MOREAU, NO. 1. JG? J0"}]}, {"article_id": "bm-bmtnaau-1908-08-01-c053", "article_bluemountain": "bmtnaau_1908-08_01#c053", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "132", "page_fin": "132", "image_debut": 30, "image_fin": 30, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.22", "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": 30, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.30", "debut_caractere": 146, "fin_caractere_exclue": 566, "texte": "ANTONIO FRILLI\nAWARDED PRIZES\nAT 48 NATIONAL &\nINTERNATIONAL\nEXHIBITIONS\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.\nORAMD PRIX\n1904\nPURVEYOR TO 10\nIMPERIAL & ROYAL\nFAMILIES & &\nFLORENCE\nVia dei Fossi 4 &\n£> (ESTABLISHED i860)"}]}, {"article_id": "bm-bmtnaau-1908-08-01-c054", "article_bluemountain": "bmtnaau_1908-08_01#c054", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "132", "page_fin": "132", "image_debut": 30, "image_fin": 30, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.23", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 30, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.30", "debut_caractere": 568, "fin_caractere_exclue": 784, "texte": "Die Schaubiihne\nA weekly Theatrical Jour-\nnal Edited by Siegfried\nJacobsohn.\nVerlag Oesterheld & Co.\nLietzenburgerstrasse 60\nBerlin W. 15.\nSingle copy . . M. pf. 30\nQuarterly . . . „ 3. „ 50\nYearly . . . . „ 12. „ 00"}]}, {"article_id": "bm-bmtnaau-1908-08-01-c055", "article_bluemountain": "bmtnaau_1908-08_01#c055", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "132", "page_fin": "132", "image_debut": 30, "image_fin": 30, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.24", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 30, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.30", "debut_caractere": 786, "fin_caractere_exclue": 1163, "texte": "THE MASK\nIs at the disposal of readers at the\nfollowing places in Florence &\nGabinetto Vieusseux Grand Hotel\nHotel de la Ville & Hotel Washington\nHotel Bristol & Biblioteca Filosofica\n-01 French Lemon's Bank. and the\nfollowing Restaurants & Cafes\nReininghaus Gambrinus Melini\n& Paskowski Giacosa Lapi\nDoney Troller. &\nWith the opening of the season this\nlist will be Increased."}]}, {"article_id": "bm-bmtnaau-1908-08-01-c056", "article_bluemountain": "bmtnaau_1908-08_01#c056", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "132", "page_fin": "132", "image_debut": 30, "image_fin": 30, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.25", "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": 30, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.30", "debut_caractere": 1165, "fin_caractere_exclue": 1419, "texte": "NEW YORK DRAMATIC\nMIRROR\nThe oldest and most reliable American\ntheatrical paper, published every week\nat 121 West 42nd Street. New York, U.S.A.\nSample copies on request free of\ncharge. Foreign subscriptions 50 Dollars\none year; 1.70 Dollars three months."}]}, {"article_id": "bm-bmtnaau-1908-08-01-c057", "article_bluemountain": "bmtnaau_1908-08_01#c057", "volume": "bmtnaau_1908-08_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "132", "page_fin": "132", "image_debut": 30, "image_fin": 30, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.2.26", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 30, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.30", "debut_caractere": 1421, "fin_caractere_exclue": 1737, "texte": "Philosophical\nLending Library\n5000 volumes 011 Philosophy, Religion,\nMysticism, Occultism, ecc. English\nphilosophical Books & Reviews. Rea-\nding and lecture room, lectures every\nSunday free for subscribers Sub-\nscription terms very moderate. Pro-\nspectus and catalogue on application.\nPIAZZA DONATELLO 5 - Tel. 15=30"}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.1", "texte": "EuteA!°J Isadora Duncan.\nVol. I. N.° 6. AUGUST 1008\nTHE MASK\nA MONTHLY JOURNAL OF THE\nART OF THE THEATRE\nEUROPEAN & AMERICAN AGENTS.\n[LONDON. D. J. RIDER 36 St Martin's Court. Charing Cross Road. W. C. 0\nBERLIN. SOEE GERMAN AGENT - SCHUSTER & IWFTJiB- Nollendorfstrasse 31. W-\n| AMSTERDAM, KIRBERGER & KESPER. 134 Rokin.\n■ BUDAPEST. NAGEE OTTO Museum-ICa 0 -0 0\n1 M O S C O U, \"LA BALANCE \" Office, Place du Theatre 0 0 0 0 0\nI PHILADELPHIA. U . S. A.\" THE BUTTERFLY \" Office. nab Walnut Street.\n■ FLORENCE. 3 lung'arno ac c 1 aiu ou 1. 0 0 0 0 0\n& PRICE ONE SHILLING, NET MONTLY"}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.2", "texte": "|;H A M L E TIL\n: : =\nhave the pleasure of announcing the publication of an Edition of Hamlet\" which\nwe believe will be without its parallel in the History of the European Stage.\nEdition will be printed on hand-made paper, the text of the 1st Folio will be\nadopted, and the De Vinne type used. This Edition will contain Text of the Play,\nDescriptions and Designs for each Scene, each Costume, each piece of Furniture used.\nIt will also contain ground plans of each scene and full directions as to how to light\nthe play. Every movement of the Actors will be noted at the side of the Text, and\nat times a design will help the student to the full significance of the movements.\ndesigns will be engraved upon wood, and in some cases otherwise reproduced,\nif not injurious to the beauty of the book as a whole.\n'pVhis Edition will be the work of Mr Gordon Craig, the reason impelling\nhim to such a task being the absense of any stage directions by Shakespeare,\nand the desire to give expression of what he considers to be the entire Art\nof the Stage Director.\nwork will be a very large one, possibly stretching into three volumes. The size,\nwill be that of \" The Mask The first few pages will be found in the subscribers'\ncopies of \" The Mask \" for 1908, but will not be found in the ordinary edition. The\nwork may be completed in 1909, when the full details of the edition will be announced.\ndesirous of obtaining the entire book when ready, can apply by letter to the\nPublishers of \" The Mask \". The book will be an expensive one, and it is not\nlikely that a popular edition will be issued for some time.\n& FOR ADVERTISEMENTS ADDRESS TO \" THE MASK » ADVERTISING OFFICE: 8 BORGO S. JACOPO &\n& & FLORENCE ITA t Y OR TO THE LONDON., GERMAN, OR OTHER AGENTS &\n\nALMANACK FOR\nARCHITECTURE\n1?\nm\nGIGIGIGIGIGIGICHjISIBIGISISIEIEIEIEISI\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\ni IN Mini mmmmmmmmmmmmmmmmmmmmmmmm\nSCHUSTER & BUFLEB. G. M. B. H.\nBERLIN W 30 * NOLLENDORFSTR. 31. 32\n* BOOKS ANCIENT AND MODERN\n\nTHE BUTTERFLY\nQUARTERLY\nIS A NEW PUBLICATION, CAREFULLY\nPRINTED FROM EXCELLENT TYPE,\nON FINE TONED PAPER, Bxio in: IN\nSIZE, THE EDITION BEING LIMITED\nTO 500 NUMBERED COPIES. IT\nCONTAINS VERSES, TALES,\nTRANSLATIONS, REPRINTS,\nDRAWINGS, WOOD-CUTS, BOOK-\nPLATES, AND OTHER MATTERS OF\nBOOKISH INTEREST. 0 &\nYEARLY SUBSCRIPTION\nDOT,TARS 1.25 POST FREE. &\nTHE BUTTERFLY QUARTERLY\n1126 WALNUT STREET\nPHILADELPHIA\nU. S. A."}, {"page_pdf": 4, "page_imprimee": "[108]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.4", "texte": "A PEEPSHOW JULIUS OLIVER"}, {"page_pdf": 5, "page_imprimee": "109", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.5", "texte": "THEJ°URNALRET\n\nCONTENTS\nJS? AFTER THE PRACTISE THE THEORY&\n& A LETTER TO ELLEN TERRY FROM HER SON, GORDON CRAIG &\nTHE ARCHITECTURE AND COSTUME OF CORIOLANUS by E. W. GODWIN REALISM\nAND THE ACTOR. JOHN SEMAR A WORD ABOUT THE THEATRE, by W. S. LANDOR.\nAT BORCHARDT'S IN BERLIN by GORDON CRAIG JG? TWO ACTORS; A COMPARISON,\nby JOHN BALANCE BOOK REVIEWS FOREIGN NOTES EDITORIAL NOTES &\nENGRAVINGS by GORDON CRAIG JULIUS OLIVER E. THESLEFF CARR & OTHERS\nREPRODUCTION OF A DRAWING IN INK OF MISS ISADORA DUNCAN. & &\n\nA LETTER TO ELLEN TERRY\nfrom her son.\nas Benvenuto Cellini, according to the modern poet, said to Michelangelo,\n44 Michael, let us talk about art\" so I to you, Mamma, let us discuss the theatre. \"\nYou know how we always discuss the theatre; I, talking for about four hours at a stretch and\nyou saying; 44 Yes, my dear, I know, \" and I, with forefinger uplifted saying, 44 Don't you\nsee, don't you see?\" While I'm quite unconscious that, before I was, you saw. So let us\ncontinue at a distance the 44 Don't you sees \" and the 44 I knows \".\nTo begin with it is a particularly fine day here. 44 Here \" is Italy, 44 here \" is Florence, and\n44 here \" is the perfect hill on which San Miniato is built. Sun of optimism all over the place,\nand in the middle of it your son and his optimism.\nThe Newspaper comes here every day. 1 continually read of your nightly conversion\nof Captain Brassbound, and sometimes of Nance Oldfield. Do you remember the fearful\nrapidity with which Nance Oldfield first leapt upon the Lyceum Stage? Was it three days\nthat the play was produced in or twelve? it was not much longer at any rate.\nWhat an excellently bad actor I was! And what a dreadfully good actress you were!\nHow exceedingly difficult it is for young actors and actresses when playing with masters of the\nart to do anything at all, unless the young actor or actress is a little bit brilliant, rather\nstupid, and absolutely conceited. How difficult it is to do anything but sit down and look\non. One feels such a duffer. They must all feel duffers. The ease with which the great actor\npasses from thought to thought with hardly a movement of a muscle; the control the great\nactors have over their voice, so that they can say many things in one sentence; the way in\nwhich they are able to pass from one side of the stage to the other without seeming\nto have moved at all; all these things are amazing and confounding for the young actor,\nmaking him impatient that he cannot do this or anything like this. ... And then, when the\nson of his mother cannot do this .... 44 orror on 'orror's 'ed haccumulates\" as the old\nprompter used to say. & And here's the funny thing, too, about it; that a most intellectual,\na most ideal mind, if trained for thirty years, could not do it, could it?.... does it ? ....has\nit ever been known to ? JS?\nCan acting ever be taught? No; you've said so many hundreds of times. No, But though\nyou are not so good a critic as your daughter, meine liebe Schwester Edy, who is a superb\ncritic, you are quite right; you must be... Don't you mean that you cannot teach acting\nin the same way as you can teach Algebra and Euclid, and also that you cannot teach\nacting as you can teach the rules of proportion or as you can teach counterpoint? & These\nthings have laws which hold good for all artists, architects and musicians; and by following\nwhich a decently musical or artistic soul can create beautiful harmonies, pictures or buildings,\nbut by disregarding which can be created hideous confusion.... 44 I know, my dear, I know\";\n\nr. , .\nThe ease of the\ngreat actor. js?\ncannot he\ntaught. &"}, {"page_pdf": 6, "page_imprimee": "110", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.6", "texte": "A LETTER TO\nELLEN TERRY.\n\na gentle and a sweet sniff, a raising of tlie head as if looking far into the distance, and\nin your movements I hear your answer. &\nBut how right you are, how entirely right. Acting cannot be taught. And as it cannot\nbe taught, acting will ever remain one of those beautiful chance products, which seldom\nare seen in their full beauty. How many times in a century is it seen? Six or eight?\nI dare say you in your generosity would say ten. And how many actors are there in the\nworld today? &\nI am writing a fearsome looking paper which commences \" Acting is not an art. Actors are\nnot artists, \" and the rest of it. & Now that's a bright way to begin, but when you read it\nyon will know what it all means. You will know that I am following up that which you\nassert,... that acting cannot be taught, that it has no laws: that obviously, if this is true\nit is no art. & &\n1 think if it had any laws you would have found them out long ago and would have told\nme. Then what also supports what I advance is the fact that Madame Duse speaks in\nsomething of the same strain, saying that until all the actors die of the plague the stage\nwill not be saved. & As you know she goes on to say, \" They poison the air, they make art\nimpossible;\" and she probably includes herself, don't you think so, because she is not vain\nor stupid. She probably means that to stop acting altogether, and for the theatre to be\nthoroughly swept out, brushing aside all the plays, all the costumes and the rest of the\nLord Mayor's Show, would leave the place so blank and so fresh in its emptiness that when\nthe people of the theatre once more entered it they would enter in a different spirit, and\nin royal trim; courage up, pride up, and purpose fixed; and with those qualities behind\nthem they would be capable of creating works of their own without assistance of the\nplaywright, of the costumier or of the orchestra. 1 think that is her opinion. The staff\non which her flag waves has no end. The flag can go up and up without reaching the top.\nI believe that the great actors possess the power of creating pieces of work without\nassistance of any one else; that is to say, 1 believe that you, or one of the few others,\ncould, taking some theme or some two themes, ... let us say the idea of Meeting and the\nidea of Parting out of these things, by movement, scene, and voice, put before\nthe audience all the different meaning of all the joys and sorrows that are wrapped up\nin the idea of Meeting and the idea of Parting. Especially could a woman do this,\nLet us, as it were, now make such a piece. We search in our imagination or our memory,\nor wherever it is to be found, for the vision of those particular places where meeting smust\nhave happened. We gather them all together, ten, twenty, forty, a hundred. Some we throw\naway for some reason or another as valueless. Those which we have retained, those which\nwe have selected, we put down, either in our memory if we are clever enough, or on paper,\nor better still with a few touches of the pencil on paper. Those which we have selected\nmean so much to us that when they are set before an audience, in the right way, they will\nmean as much to them. They cannot fail to do so. &So far so good. & &\n& We next picture to ourself, or call up from our remembrance, from the thousand\nand one sources.... books, pictures, and what we wi11,... those exquisite and appealing\nmovements which conveyed the thought, which created those moments... or those\nmovements which anticipated a meeting, and which lay in the very meeting itself. &\nWe recall to mind, or appealing to our imagination, we beseech it to remind us of all those\nsounds which are connected with this theme. Not merely sounds of the voice, but those\nsounds innumerable by which even a blind man can tell what is happening and what has\nhappened and what is about to happen, as clearly as if he could see it. &\nHaving got together this material, these three separate collections, as it were, of things done,\nthings seen, things heard, (and even while we were collecting them, we have been particular\nto put aside and commingle only those which were of the same family), we can say we have\ngathered together so many \" Harmonies \" in movement, scene, and voice on this theme.\nWe know that no artist will express these in the same way, and in the expression is the\nindefinable quality which here cannot be talked about. One will make his movements\nsymbolical, another will make them realistic. One will make his scenes a vision, retaining\nonly the very essence of the ideas which he has gathered together; another will make his\na realistic scene. One will utter sounds musical in their quality, and will convey a sense,\na hint of the thing; another will state facts, using matter-of-fact words; and in either case\n\nA beautiful\nchance product.\nMadame Duse.\nScene.\nM o v e in e u t\nHarmonies."}, {"page_pdf": 7, "page_imprimee": "111", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.7", "texte": "success can be attained, although the finer success conies with the imaginative treatment.\nLet us take a meeting; one special one that I can think of. JS? Do you remembet the\netching of Blind Tobit by Rembrandt? Get it and look at it now. x? & The picture\nrepresents him in the moment when he hears the voice outside the door, and rising, hurries\nacross the room, his face glowing, his body trembling. The old man makes for his own\nshadow, which grows larger and larger on the wall as he advances. He has missed the door\nentirely. We see in the picture how in rising he has overturned a spinning wheel. We see\na little dog, unconscious of his blindness, is running between his legs. Yet on he goes,\nhopelessly, towards his own shadow.... (a very dramatic invention), and soon the expected\none will arrive. JZ? & & JZ? & jg? &\nWhat we do not see in the picture but what we can imagine from it, is that beautiful yet\nrestless state of waiting previous to this meeting; and we can imagine the beautiful patience\nwhich such a figure would convey to an audience, as silently in his room he waits for the\nappointed time of his delivery. & 1 can imagine the many little noises in the room, the\nlarger noises outside, and from the multitudinous examples which nature has to offer, we can\nselect a dozen, or two dozens at the most, of the significant scunds which will emphasize\neither the patience, the anxiety, thev restlessness, the fear, or the love of old Tobit for the\none who is coming. & I can hear him as he sits there waiting*, an old Jewish book of the\nlaw on his knees, which he holds as a young woman holds a buich of flowers....; I can hear\nhim repeating in a deep soft voice law after law, and then bursting forth with the familiar\nwords of his prayer for extermination. & I find in these wordf; sufficient use of the voice\nand sufficient suggestion by words for my purpose. & Soon tie voice of the one who is\ncoming, will be heard far off. We know what the tones mean without hearing a word. It\nis the old love cry of \" I am here \", and his cry which answers is but the same response\n\" Here am I\". & jg? &\nAnd so with the hundreds of actual meetings which are recorded in history; and so with t le\nabstract ideas of Meeting and Parting You, and the other great workers in the theatie,\ncould present such to the audience. & & &\nWe have talked about this, I think, but not so much in detail as now; and 1 think you have\nagreed, when the question has come up, as to what the gain would be. We have found\nthe gain to be a certain spontaneity, in as much as the performer was not hampered in his\nexpression by having to fit himself to the shape and size of the dramatist. &\nI was speaking to somebody about this the other day, when they asked me did I mean Dumb\nShow. <£? Surely it is only in the theatre that such a word could have been coined.\nA very negative affair, dumb show; and to be negative is not the business of the Theatre or\nof any Art. This presentation or vision, or whatever you like to call it, would not tai:e\nthe place of words, for having a natural and particular material of its own for expressing\nall it would wish to, it would be sufficient for itself; it already has \"A place\" and would\nleave words to keep their own place. & & &.\nFlorence, March 18, igoy.\n\nA LETTER TO\nELLEN TERRY.\n\nBli 11 d To bit.\nNot Dumb Show."}, {"page_pdf": 8, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.8", "texte": "THE ARCHITECTURE AND COSTUME OF\nCORIOLANUS\nby Edward W. Godwin, F.S.A.\nr|phe early days of Rome are known to us only in the form of legends, tales, or stories, and\nnot as history or contemporary record. The legend most favoured by the Romans tells\nus that the town was founded by Romulus or Romus, a descendant of the Trojan hero\nAineias, the mythic son of Aphrodite, who is supposed to have escaped from Troy, and after\nsundry flirtations with winds and waves in the Mediterranean, and with ladies on the coast\nof Africa, found rest at last in the Italian peninsula. After this Romulus reigned certain\nkings of whom stories are told as mythical as those concerning 44 the founder. \" But out\nof the legend we gather here and there fragments which are capable of being pieced together\ninto something like a probable entity. Thus, close by the Latin city of Rome, the Mons\nPalatums, were certain Sabine and Etruscan settlements: one of these, the Sabine town\nof the Quirites, called Curium, stood on the hills to the north, or the Mons Quirinalis and\nthe Capitolinus. These two towns appear to have early made a league, but Instead of\nremaining two cities or forming one people, they assumed the position of two distinct peoples,\nyet free citizens of the one city of Rome. The early kings were not hereditary, but were\nelected alternately from the Romans and the Quirites. We have the names of seven of\nthese monarchs. The fifth and seventh were Etruscans from Tarquinii, and the last, Lucius\nTarquinius Superbus, described as cruel and lawless, was deposed and banished B. C. 510.\nThe acts of this king, of his son Sextus in the case of his cousin's wife—to which Shakspere\ndevotes his longest poem— and the ill odour which appears to have enveloped the whole\nfamily, were too much for the Romans, and so they determined to have 110 more kings,\nand entrusted the Government to two leaders, afterwards called Praetors, and later still\nConsuls. Under the kings the people had been divided into the two classes of Patrician\nand Plebeian. When the monarchy came to an end, the leaders and magistrate of Rome\nwere elected from the Patricians by the whole body of the people; but after a little while\nthe Plebeians rose against the idea of the Patricians enjoying special privileges, and, after\nmuch stormy disputing, the Plebeians gradually gained the day, and at last, in B. C. '366,\nthey elected one of themselves to be Consul. Now the story of Coriolanus comes to us as\na legend, and long before the time of authentic history. It belongs to the period of the\nCommonwealth, and is therefore subsequent to B. C. 510. But it must also be subsequent\nto B. C. 494, for in that year the Plebeians, impoverished by war and smarting under oppression,\nretired to the Mons Sacer, three miles from Rome, and could not be induced to return\nuntil the right of appointing tribunes was conceded them. At first the number of the\ntribunes was limited to two. but in B. C. 457 the number was Increased to ten, and our\nplay presents us with five, so that the story must fall between the years 494*457* But the\ntext says Coriolanus was sixteen years old when Tarqum besieged Rome. If this refers to\nthe story of the last attack Coriolanus must have been born B.C. 514; he would consequently\nhave been twenty years old when the first Plebeian Tribunes were appointed in 494.\nAnd now what sort of towns were Rome and Corioli in those early days—the days of Darius\nKing of Persia? We can have very little hesitation in replying that Rome, like Corioli, was\nessentially Etruscan. The later or Etruscan kings had done much to improve Rome by the\nerection of new buildings and a general encouragement of their native arts. So, therefore,\n\nThe early Kings\nPa trie ia n <£*\nPie h ei an.\nThe date of\nCo r iol a 1111 s ."}, {"page_pdf": 9, "page_imprimee": "113", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.9", "texte": "it is to Etruria and her Asiatic birthplace we must turn if we wish to get an idea of Rome\nbefore its destruction by the Gauls (B. C. 390). & jg? &\nOf Etruscan buildings very little now remains; amphitheatres, theatres, city walls and tombs\nmay be seen, but no temples, palaces, or dwelling houses. At Tusculum and Arpino pointed\narches with horizontal joints occur very similar to the early Greek work at Thoricus and\nMycena?. Sutri still possesses its amphitheatre, cut, as so many of the tombs are, out of\nthe solid rock. But in none of these works is there the slightest indication of anything\napproaching elaboration, and if any \" order \" existed it was most likely to have been some\nsimple form of the lonic, or in other words one founded on Asiatic traditions. We have\nthe arch proper (of radiating construction) in Assyria—in the drain beneath the south-east\npalace at Nimroud—we find it in Etruria and in the Etruscan work of the Cloaca Maxima,\nbuilt during the Roman monarchy. We have in Greece—at Thoricus and Mycenae—the pointed\narch built in horizontal courses, and we find it again in Etruria,—at Caere, Arpino, and\nTusculum, whilst at Assos in Asia Minor the pointed and the semicircular arch occur in the\nsame gateway one behind the other. The natural inference of this is that the early architecture\nof Rome was that of Etruria, and that the architecture of Etruria, like its people, descended\nthrough the Pelasgic from the Asiatic race. The bracket capital, of which the lonic was the\nfinal outcome, may therefore be taken as the index of the style. The temples and palaces\nwere no doubt small, and in great part constructed of wood, the material so much favoured\nin Assyria and Syria. The ordinary houses would scarcely be of more durable material, but\nthe town walls, gateways, and tombs were evidently of stone strongly and carefully knit\ntogether. Vitruvius says the Etruscans had two kinds of plans for temples, one circular like\ntheir tumuli, and one rectangular, arranged with three cella?. Both, however, were compara=\ntively small, in fact, building appears to have flourished in this confederacy more under the\nengineer than under the architect: for even the tombs at Caste! d'Asso show nothing more than\nsloping walls, sloping door jambs, and extremely broad mouldings relieved by small members,\nthe section of which is unlike anything we know as Greek or Roman. But on the other hand,\nCoriolanus tells us (Act iii., Sc. 3) that his Rome had \" large temples and that the seaport\ntown of Antium was a \" goodly city \" of \" fair edifices. \" Turning now to the scenery as\nset down in the play, we find no less than twenty-eight scenes, twenty of which are\narchitectural. These twenty are divided between the cities of Rome, Corioli, and Antium.\nIn Rome we have—\n1. A street. (Act i. Sc, 1, which may be made to serve for the public place in Act ii.\nSc. 1; Act iv. Sc. 6; Act v: Sc. 1 and 4; as also for the street scenes, Act iii. Sc. 1;\nand Act iv. Sc. 2.)\n2. An apartment in Marcius's house. (Act i. Sc. 3, which may also do duty for Act iii. Sc. 2.)\n3. The Capitol. (Act ii. Sc. 2.)\n4. The market-place. (Act ii. Sc. 3, and Act iii. Sc. 3.)\n5. Before a gate of the city. (Act iv. Sc. 1.)\nHere the most important architectural scene is that numbered 3, which, under the word\n\" Capitol, \" introduces us to the interior of the temple of Jupiter, designed under Tarquinius\nPriscus, finished during the reign of the last king, Lucius Tarquinius Superbus, and dedicated\nin the third year of the Commonwealth or Republic, B.C. 507. Nothing whatever now\nremains of this Etruscan work. All we know is that it had three cellse side by side under\nthe same roof: the central one, larger than the others, was dedicated to Jupiter, that on\nthe left to Juno, and that 011 the right to Minerva. Of the other scenes I have only to say\nthat the character of the buildings would partake very much of that already described in\nmy first article on the Greek plays (1). The walls of the city and\nthe lower storeys of the better class of houses would be built of large blocks of stone,\nsquared in courses or polygonal. Going round the city we should see arched or semi-circular-\nheaded gateways, square flanking turrets or towers, and embattled walls. Within the houses,\ncourts, with small rooms surrounding them, might be seen, and where upper storeys occur,\ncolonnades might be introduced on the top of th£ ground-floor walls, the whole covered\neither with flat or pointed roofs. In the best of the Patrician houses we should find two\nsuch courts, the outer one for the men, and the inner one for the women, and it would be\n\n4? THE\nARCHITECTURE\nAND COSTUME\nOF CORIOLANUS.\n\nH t t u sea n\nhuil(l i n g s\nVitruv i us .\nThe Scenery.\nThe city of Rome\n\n(1) This article wili be shortly republished in \" The Mask \" jgr & jg? &"}, {"page_pdf": 10, "page_imprimee": "114", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.10", "texte": "& THE\nARCHITECTURE\nAND COSTUME\nOF CORIOLANUS.\n\nin this last that the third Scene of the first Act would take place. The houses of the\nPatricians would be of stogie, terra cotta and wood, the tenements of the Plebeians would\nbe mere hovels, chiefly composed of wood, mud, and thatch. & jgr\nTurning now to Corioli the architectural scenery consists of\n1. The senate-house (interior, Act i. Sc. 2).\n2. Before the walls (Act i. Sc. 4 and 7).\n3. Within the town.\nThe walls, gateways, and streets would be much the same as in Rome, and the Senate\nHouse might be constructed on the theatre plan—a semicircle with raised seats, perhaps\ncut out of the solid rock, and covered with a velarium. Passing on to Antium we have\n1. An open place before the house of Aufidius (Act iv. Sc. 4).\n2. A hall in the same I ouse (Act iv. Sc. 5).\n3. A public place (Act v. Sc. 5, may very well be the same as No. 1).\nHere we have only to deal with the house of the \" General of the Volsces, \" and taking\ninto consideration the words of Coriolanus in the opening speech of the fourth Act, we may\nnot be wrong in assuming this house to be the most palatial-looking residence of the three\ntowns illustrated in the scrnery of this play. The exterior would probably be little different\nfrom those already desci ibed in my third article on the Greek plays. The interior\nis here clearly the atrium or area; the roof might have been supported by square or round\npillars, but possibly only by four cross beams. Whichever way we take it the scene can\nhardly fail to be impressive if properly carried out. The dark, muffled, meanly-clothed figure\nof Coriolanus, the busy servants, the chaplet-crowned gay Aufidius, the bright painted walls,\nthe terra-cotta figures and ornaments, the fountain, the shadowy recesses, the soft notes of\nthe flute, and the murmur of the wine drinkers (for dinner is just over, the tables have\n*\nbeen changed, and the ser> ants are fetching the wine), are ingredients for a picture, on\nstage or canvas, which could scarcely fail to command the attention of multitudes—that is\nif the lime-light did not exist. So long, however, as theatres are what they are, it is sincerely\nto be hoped no one will be quite fool enough to attempt to put this play upon the stage.\nThe scenery is extremely difficult to arrange, the costume as yet hardly understood even by\nthe best antiquaries, and al ove all there is no actor living who can act, speak or even look\nthe part of the hero of this tragedy, and certainly no actress physically or mentally capable\nof impersonating Volumnia. Modern actors and actresses have no conception of the drama\ndirectly it becomes poetry. The dignity and beauty of art are old-fashioned things, quite\nout of keeping with the modern spirit that delights in chaff and mockery, and fondly\nbelieves them to be the outcome of wit. To mock at love, religion, education; to jeer the\nunfortunate; to chaff the suicide; and ridicule the justice and majesty of the law are the\nthings which succeed if done with a sufficient amount of absurdity, and 1 may add accompanied\nby a sufficient number of 1 retty girls and pretty songs. This mockery is unquestionably\nthe central spirit of the age, and those who take it and mould it for the stage into an hour's\namusement for us are the artists who, perhaps, best represent, and who will be most\nidentified with, the age. Of Mr. Gilbert and Mr. Sullivan we ought only to speak in words\nof praise: their work within the limits assigned is wholly admirable and altogether to be\npreferred to the dull commonplaces or the smart impertinences of modern English \" comedy.\"\nBut of the people who, having become tired with burlesque of classic myth, and, bored with\nstagy reflections of their own vapid lives, now prefer to see the passions of their own lives\nburlesqued rather than demand Che poetical drama, and by the demand cause the supply of\nthe poetical or artistic actor—of these people one might fairly hold opinion with Pythagoras,\nthat souls of animals infuse themselves into the trunks of men. &\nHaving delivered one more word against that detestable pretence, the modern stage, 1\nwould say a few words on the cortume of the people and time to which the play refers. And\nfirst we must remember that in costume as in architecture the Roman style, as we generally\nunderstand the expression, had no existence—had not, in fact, come into being at the period\nabove fixed as that wherein we must seek the action, viz., B. C. 494*457. Etruria is the\nfirst country to which we ought t> look, and it is fortunate that we possess in the British\nMuseum a singularly interesting Etruscan monument that contains in the modelling of its\nburnt clay almost all the information we can need for completing the mise-eii-scene of\nCoriolanus. The visitor to the Museum, having passed along the Roman gallery, finds himself\n\nThe city of\nCori o 1 i\nThe House.\nThe difficulty of\nprod u c i 11 g\nCoriolanus.\nThe spirit of\n111 o c ke ry .\nThe Costume."}, {"page_pdf": 11, "page_imprimee": "115", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.11", "texte": "& THE\nARCHITECTURE\nAND COSTUME\nOF CORIOLANUS.\n\nat the upper audi of the Great Egyptian room or gallery: here in a central position, cutting\noff, so to speak, the end of the large room, so that it appears as a cross gallery in continuation\nof and uniting the Roman and the Graeco-Roman rooms, is the terra-cotta Etruscan\nmonument to which I have referred. This large and valuable relic belongs to the Castellani\nCollection, and was found at Cerventri, the modern title of the old Etruscan city of Caere—a\ncity of great antiquity and territorial importance and in such close connection with Rome\nthat she received the vestal virgins when the Gauls cried havoc and ldt slip their dogs of\nwar upon the banks of Tiber. Now let any one examine well the figures in the single combat\nrepresented In the bas-relief on the front of the monument, and then go to the first vase\nroom and look at the figures of Hector and Menelaus fighting over the body of Euphorbos\non the Greek pinax or plate in the table case, at the upper end of the room, or if he inspects\nthe bas-relief with Mr. Thompson's admirable photograph of the plnax in his hand, he cannot\nfail to recognise an extraordinary similitude between the Etruscan model and the Greek\npainting, which Dr. Birch dates about B. C. 600. If, again, we compare the civil costume\nrepresented on the Caere Monument with those exhibited on the Assyrian slabs and the\nfragments in the table cases, we cannot long hesitate in arriving at the conclusion that the\nmen of Corioli and the inhabitants of Rome and Antium before the Gaulish invasion still\nobeyed in externals at least the Asiatic influence of tradition. Compared with the Greek\nand later Roman costume, the dresses of the figures before us show a marked scantiness\nof material. The women's dress consists of a tunic reaching to just above the ankle, cut\nsquare, looped with two or three buttons, making it high in the neck, and producing shoulder\nsleeves. This tunic is secured by a very broad waist or breast-belt, and over the shoulders\nand arms a capacious shawl is worn, which is evidently used as the outdoor garment and\nordinary covering for the head. The hair is dressed in more than one fashion, but a caul\nconfining the back hair and a fillet round the front hair, with short curls over the forehead\nis the fashion most affected, although the hair on the principal figure is worn in long tight\nbraids. One lady has her back hair divided into three portions, the central portion being\nby far the largest, and these are confined within a triple or three-lobed caul, one division\nfalling over the back and one behind each ear, an arrangement which appears to me a decided\nimprovement on the single caul. Besides military and civil costume, these bas-reliefs furnish\nus with illustrations of furniture, so that we need not trouble to search much further for\nevidence wherewith to complete the mise-enscene of this play of Coriolanus.\nThe text Is singularly free from anachronisms, and the poet follows the story as told by\nPlutarch with an accuracy which neither fetters the poet nor detracts from the poetry,\nand which adds the charm of a strong and vivid reality to every person and every scene.\nThe references to such things as coals, mailed hands, drums, steel pikes, pack-saddles,\nmummers, spectacles, gloves, handkerchiefs, groats, churchyards, &c., and the introduction\nof the names Hob and Dick, (1) are made in the slightest manner, and are entirely out-weighed\nby the references to customs and things of the date of the story. With regard to architecture\nand furniture we have reference made to embroidered hangings, in Volumnia's first speech\nto cushions and to stalls, bulks, windows, lead-flats, ridged roofs, and temples that could\nbe burnt \"in their cement.\" Little mention is made of costume and implements,\nbut we hear of bats and clubs, of cobbled shoes, doublets, leaden spoons, caps, pins, veils,\nscarfs, targets, or circular shields and buckled helms.\n\nAn Etruscan\nmonum en t.\nTli e wo me 11' s\ndress . &\nThe text.\n\n(t) There might have been an early Galen before the Galen of history A. D. 130-200"}, {"page_pdf": 12, "page_imprimee": "116", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.12", "texte": "REALISM & THE ACTOR.\nA REPLY TO A CRITICISM.\nby John Semar .\ncontemporary, The Stage, is nothing if not incorrect\nin matters of detail. A writer in its columns informs his\nreaders that The Mask is printed in Milan, that it has\nbeen interrogating sundry English and foreign actors on the\nrelation of Realism to the stage, that it affects a 44 bizarre\nmake-up \" and 44 bears heavily the mark of preciosity. \"\nThe correct facts of the case are that The Mask is printed\nin Florence, that it has been interrogating the opinions of playwrights, critics, play=goers,\nand stage managers as well as actors on this matter of stage Realism: that it does not affect\nany 44 make-up \" at all and intends to bear no characteristic mark 44 heavily. \" &\n& The writer in The Stage goes on to accuse The Mask of not acting like The Stage would\nhave acted. He says it is a pity that The Mask did not define what is meant by Realism:\nin other words, he hints that The Stage would have consulted the experts and would have\nprefaced their opinions by giving its own. This is what the writer in The Stage says:\n44 It seems a pity that The Mask did not define what it meant by realism. Apparently\n44 it takes realism and reality to be one and the same. It would perhaps be better to regard\n44 realistic treatment as that treatment which favours a close approximation to the real. \"\nWe think that the experts have really described Realism better than the writer in The Stage,\nmuch as we would like to look upon this writer in the London theatrical journal as an\nexpert.\nThe writer then goes on to say that The Mask dissembled. He continues, 44 Why did\n44 the Mask dissemble thus? Here is Mr Beerbohm Tree saying 'Obviously' to No. 2, and\n44 4To all ' to No. 3. \" In other words, he implies that Mr Beerbohm Tree is careless and that\nhe is off=»hand. The questions were very plain to understand, as readers of The Mask will\nremember. To the first, 44 Do you consider Realism in acting to be a frank representation\nof human nature? \" Mr Tree replies 44 Obviously \".... and obviously that is just what realism is,\nfor the experts admit as much. Before replying the experts had time to consider what a\nfrank representation of a character might degenerate to 44 if the actor should be allowed the\nsame liberty as is permitted to the writer or the painter. \" And then we asked, 44 Should\nthis liberty be allowed? \" the two questions forming one. Mr Tree replied (i) 44 Obviously \"\nand (2) 44 Why not?\" Mr Grundy replied (1) 44 Yes \", (2) 44 Most certainly not.\" Mr Gordon\nCraig replied, (1) 44 Yes \", and (2) 44 The actor will never ask for this liberty. \"\n*£? Now, all these gentlemen are supposed to know how much liberty is allowed to the\nwriter and the painter,.... not merely to the old writers and painters, but to the modern\nwriters and painters. With them it is perrnissable to paint and write of subjects which it\nis obviously {surely obviously) impossible for the actor to represent without being pelted\nwith eggs and onions.\nMr Tree asks why he and his fellows shall not be allowed to represent in a frank way\nand with the same liberty as the writer and painter, the episodes of Samson and Delilah,\nPerseus and Andromeda, The Annunciation, Judith and Holofernes and others which The\nStage,.... the very organ of the foot lights, says are 44 too startling to mention with a\nrespectable Lord Chamberlain about.\" <£? JZJ\nNow, how would it be possible to do this? Surely, as Mr Grundy points out, the actor\nbeing flesh and blood makes this impossible. Why? We want to know why. On what grounds?\nesthetic or moral? We think the reply would be Both. It would be really ridiculous to see\nthe Perseus which the most realistic painters and sculptors have shown us is the Perseus\nfor the eye, the real Perseus, and therefore the Perseus for the Realists, walking about on\nthe stage of His Majesty's Theatre with a pair of sandals on, a helmet, and very little else.\nAnd it is because it would be ridiculous that it would be immoral. Surely Mr Tree would\nbe the first to say this if he has not said it already.\nJS? But no, strangely enough we turn to his answer and we find that he sees no reason\nwhy he or any other actor should not give a frank representation of Perseus. He may\n\nThe correct facts\nA \"Stage'\ncl efi 11 itio 11.\nMr Beerbohm\nTree .\nThe liberty of\npainter & writer\nPerseus."}, {"page_pdf": 13, "page_imprimee": "117", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.13", "texte": "REALISM & THE\nACTOR: A REPLY\nTO A CRITICISM.\n\nadvance that he would represent Perseus in a different way, than, for instance, Benvenuto\nCellini; that he would cover him in a toga or in any case in a short skirt with fleshings.\nBut if so the thing becomes doubly ridiculous. Perhaps Mr Tree would advance that ridicule\nis the best weapon to employ against a monster. But to he ridiculous? Surely\nno hero was ever ridiculous except in Mr Shaw's mockeries? Mr Tree may say, \"Why\nshould I go out of my way to enact Perseus? 1 never suggested I should enact Perseus.\nYou asked me whether I wished for the same liberty in my expression of the passions as\nthat permitted to the writer or the painter. \" Well then, we reply, if Perseus does not\nsuit you, let us take some other instance where the role is agreable to you. Let us take\nAdam for example. There is hardly a great poet or a great painter who has not depicted\nincidents from the life of Adam and Eve, and those painters and poets who have excelled most\nhave treated the subject in the most austere manner possible. & jg? &\nNow let us agree with Mr Tree that it would be possible for him to treat the subject\nin an austere manner. It is not necessary for him to represent every incident in the life\nof Adam. Here he has a wide area and can choose what incidents he wishes, but he must\nadmit that unless the passions represented here are primitive ones he would most certainly\nfail in his representation. And if you clothe Adam and Eve you again become ridiculous.\nMilton does not clothe Adam and Eve, neither does Kranach clothe Adam and Eve. The\npainter who represented Adam and Eve in costume would be ridiculous. &\n& Of course Mr Tree may say that he would take an incident after the Fall: that he would\nassume hunting costume, forest=like in character and that on the rise of the curtain Eve\nwould be discovered making a pair of little pantaloons for Cain. But the first glimpse that\nI\nthe pit had of a jacket or a pair of breeches would be enough to settle the fortunes of\nthe play, and Mr Tree knows this. Then what does he mean b}' asking why the actor should\nnot be allowed the same liberty of expression as that permitted to the writer and the\npainter ?\nWhat we want to draw attention to is a very important fact. It is the difference\nbetween the stage and the fine arts. And our purpose in doing so is to uphold the opinion\nexpressed by Mr Craig that acting is not an art and the actor not an artist; not because\nhe is a whit less intelligent than other men, but because the nature of his work does not\npermit us to regard it as a fine art.\nThe arts have won the liberty to express what they wish. The writer and the painter\nhave from the earliest time had full liberty. The musician, owing to the mystery of his\nmedium, has even a fuller liberty. Beethoven, Wagner and the other masters of music\nexpress certain things in their music by which, if the public saw them in actuality on the\nstage, it would be outraged, for the public is not always able to accept the truth of beauty\nthrough the channels of its understanding. It is impossible for the public to understand\nthe simplicity of great truth, and so this mystical medium of the musician appeals merely\nto its senses. No one can say what the musician means though many understand what he\nhints at, and as there is no statement made the communication is a private one. It is not\nquite the same with the writer and the painter, and the communion between actor and\naudience is entirely a pubiic thing. & 1 jz? & & & &\nAgain, we may hear the music of the musician without seeing the musician himself.\nWe can see the painting of the painter without seeing him and we can read the words of\nthe poet without seeing him. Therefore when Milton begins\n\" Haste thee, nymph, and bring with thee\nJest and youthful jollity\nwe do not feel we are going to be put to the inconvenience of having to witness a nymph\nclad as Milton describes her going through the pantomime of the poetry: no, thank\nheaven, not even when the poetry of pantomime will have been restored. &\nWhen we go to the Academy, and a Royal Academician, following the tradition of his\npredecessors, is permitted to paint for us a \" Venus at the Bath \" we are quite certain that\nwe shall not run the risk of the figure beginning to move and later on of being obliged\nto be introduced to her at the Duke of Mac Butland's. But think of the tedious bore it\nwould be if we were to go to the theatre to witness Miss Melpomene Smith's undraped\nrepresentation of Andromeda chained to the rock, if we knew that we should meet the lady the\n\nAdam. &\nAfter the Fall.\nAn iin port ant\nfa c t . x&\nMilton.\nAt the Academy.\nA 11 d r o 111 e d a."}, {"page_pdf": 14, "page_imprimee": "118", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.14", "texte": "REALISM & THE\nACTORft A. REPV Y\nTO A CRITICISM,\n\nfollowing day at a garden party, (i) We should be sure to run this risk because the thing\nwould be dubbed \" classic art and of course classic art is even admitted into Society.\nAnd one would think what a bore also for the great classic interpreter herself! Fancy\nMilton arriving at the garden party of his period leading his Eve by the hand, or fancy\nBotticelli coming into the banquet hall with his Venus on his arm! Say what you will,\nthere is a difference between the actuality of the nude figure on the stage or in a room\nand the suggestion of the nude in painting and sculpture. Those people who do not see it\nnever will. We shall come back to this point once regularly every quarter. & J. S.\n\n(I) There Is of course a section of society that likes to meet the actor off the stage, but we are doubtful whether the section\nof society which likes to meet classical nudities off the stage can be very great. Again, if you meet them off the\nstage why go to see them on the stage? They bring their art with them into the drawing room, or rather they bring\nthe materials of their art. Why then take the trouble tc pay ten shilliigs to see them on the stage? Is it because\neverybody does ? Is it because It is the rage of the moment ? Well, when we come to the rage of the moment we are\ngetting right outside art altogether. Here we get away from the writer and the painter. Here we have the real roaring\nbrutality of the modern theatre at its\n\nA WORD ON THE THEATRE spoken\nby W. S. Landor under the mask of Epicurus.\nEeontion. Theophrastus would persuade us that, according to your system, we not only\nshould decline the succour of the wretched, but avoid the sympathies that poets and historians\nwould awaken in us. Probably for the sake of introducing some idle verses, written by a\nfriend of his, he says that, following the guidance of Epicurus, we should altogether shun\nthe theatre; and not only when Prometheus and Gsdipus and Philoetetes are introduced,\nbut even when generous and kindly sentiments are predominant, if they partake of that\ntenderness which belongs to pity & & & &\n& & Epicurus! although it would be very interesting, no doubt, to hear more of\nwhat you do after dinner—(aside to him) now don't smile; 1 shall never forgive you if you\nsay a single word—yet 1 would rather hear a little about the theatre, and whether you\nthink at last that women should frequent it; for you have often said the contrary. &\n& Epicurus. I think they should visit it rarely; not because it excites their affections, but\nbecause it deadens them. To me nothing is so odious as to be at once among the rabble\nand among the heroes, and, while I am receiving into my heart the most exquisite of\nhuman sensations, to feel upon my shoulder the hand of some inattentive and insensible\nyoung officer.\nEeontiou. Oh very bad indeed! horrible! Ternissei. You quite fire at the idea. &\nEeontion. Not I: I don't care about it. Temissa. Not about what is very bad indeed?\nquite horrible? Eeontion. I seldom go thither.\nEpicurus. The theatre is delightful when we erect it in our own house or arbour, and\nwhen there is but one spectator. &\n& Eeoutiou. You must lose the illusion in great part, if you only read the tragedy, which\nI fancy to be your meaning.\n& Epicurus. I lose the less of it. Do not imagine that the illusion is, or can be, or ought\nto be, complete. If it were possible, no Phalaris or Perillus could devise a crueller torture.\nHere are two imitations: first, the poet's of the sufferer; secondly, the* actor's of both; poetry\nis superinduced. No man in pain ever uttered the better part of the language used by\nSophocles. We admit it, and willingly, and are at least as much illuded by it as by anything\nelse we hear or see upon the stage. Poets and statuaries and painters give us an adorned\nimitation of the object, so skilfully treated that we receive it for a correct one. This is\nthe only illusion they aim at; this is the perfection of their arts. rz? jz?\n& Eeoniion. Do you derive no pleasure from the representation of a consummate actor ?\n4? Epicurus. High pleasure; but liable to be overturned in an instant ; pleasure at the mercy\nof anyone who sits beside me. <& & &"}, {"page_pdf": 15, "page_imprimee": "119", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.15", "texte": "AT BORCHARTS IN BERLIN. 1906.\nby Gordon Craig\nthe stream of waiters and the eaters, I feel conscious of the presence of a certain\nspirit of the Theatre. Here is no play certainly, no words: and no series of incidents, no\ndevelopment of any great character. Yet it is Drama. It is enough: there is an impression,\nand a strong one, created by these two ideas. The idea of the Eaters and their Feeding.\nThe idea of the Servers and their Service. &\nThen comes on me the wish to attempt to transport on to the stage that which is before\nme. To do this 1 must give it a Form. Full of interest I start. <&?■ &\nI find the conventional forms are useless. No five act play is before me: no Tragedy,\nno Comedy. A study; a sketch; an impression, a specimen. The Eaters and the Serving\nMen. Strangest medley of manners at surface with undercurrents even stranger.\njZ> How treat this impression of half an hour, how hint at the hidden by unveiling that\nwhich may be seen\nTwo treatments; and the easiest occurs the quickest tome. The modern characterization\nof the modern play. For the moment I see no other opening. The powerful picture of two\nof the eaters, their amazingly entertaining actions, their particular little ways never alike\nfor an instant; the air of friendship which passes from one to the other and the more\ncertain undercurrent,—the sense of animosity. Two beings from different worlds, but\neach a snob; both rich but common men, they seem to resemble two animals I have seen;\nthe long protracted dinner with its courses ever on the crescendo; the cackle of pompous\ninsipidity. <6?\nAnd then the more serious human element, the Waiters; the only workers in the room.\nEach a personality, and a very marked one. jZ? jZ? jZ? z?\nThe first, who evidently owns a couple of horses in the country and possibly has his\nown gardener who attends carefully to the peaches. The second, who might be the son of\nsome sea captain; with him is the sea's tinge of melancholy, but with all the airs of a\ngentleman. One imagines him dressed In the uniform of a naval officer and somehow it\nwould suit him. A third would wear with a grace the army uniform, and judging by his\nkeen eye, his courteous manipulation of the guests and swift control over the hundred\nhidden cooks, he must be a man of personal magnetism. jz> AH of these men are distinguished.\nNearly all have the manners of gentlemen. jZ? jZ? &\nAnd to bring the whole impression on to the stage? Although the method of\ncharacterization seemed at first the easiest one there now appear insurmountable barriers!\nFor we must consider our means, our material. jz/\nIf we are to show all this intricate work in detail, we need actors of personality to undertake\neach role. We may draw twelve strongly defined characters and we shall look in vain for twelve\nsuch actors of character in one theatre. We might find twelve such if we had thirty theatres to\npick from each one man. For the subtlety, the humour, the exceedingly delicate differences\nand strangely interesting manner of each of the figures in this scene is extraordinary. And\nnot merely is it difficult for lack of actors, for Iti away actors would be wasted. Pantomimists,\nthat is to say, the actor at his best, would be of more use: but alas, few pantomimists exist.\nAnd then, although it is the waiters who make the most impression on me as I sit here\nwatching them, when we come to transfer it to a platform or a canvass it is not necessarily\nthrough these figures of the waiters that we shall produce the same impression as I am\nnow receiving. More likely will it be through something to do with line, colour, movement,\n—things far removed from impersonation or representation; which have little to do with\nthe reproduction of actualities.\nSo that the treatment must be a fresh one. Characterization is of no use here. And not\nfor this reason alone—not merely for lack of actors. This Impression is not to be brought\nbefore us on the stage by means of a Realistic treatment in which characterization plays\nthe all important part, but by a Fantastic treatment, a sweeping glance, the impression\nseized en masse, the individuals merged in the Atmosphere or Tone. Then and then only\nis it possible to put on the stage this impression which is without a story and must remain\nalso wthout characterization. &\n\nThe Treatment\nThe Waiters.\nTli e m a teri al.\nPa n torn i m ists.\nA ires h\nt re at me nt ."}, {"page_pdf": 16, "page_imprimee": "120", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.16", "texte": "AT BORCHARTS\nIN BERLIN.\n\n& To show this stream of waiters,—men who have chosen a joyful and artistic service,\nthat of bringing food from the kitchen, which to us is the Unknown, to the eaters, and who\ndo their service in a masterly way, pouring out a glass of water as they would pour out\na glass of the most rich and costly wine, handling a roll of bread as though it would break\nand spoil if passed hurridSy through the air, who by and through their life which they are\nrevealing to me as they pass hurridly to and fro are revealing much more than their mere\nexternal life; who raise that life into a kind of ideal existence for me.\n& Therefore facts are only to be dimly shown, only by suggestion, not by statement. And this\nsuggestion is not to be produced by merely cutting down the present material used in the\ntheatre; is not to be shown by merely lowering the Sights upon the present material; is\nnot to be shown by manipulating with a little more reserve the material of the modern\ntheatre, but by choosing new materia! altogether. For the Art of the Theatre is after all\nto reveal, to show by means of movement a Glimpse or a Vision of all things. And to this\nVision belongs Proportion far more than all ell else. We can no longer be put off with\nthe modern makeshift. Man and the voice of man, that little personality and that little\nvoice, loom far too large in the modern theatre and throw all things out of proportion-\ndestroying all harmony by their aggressiveness. And this single impression of the eaters and\nthe waiters is but one of many that the Theatre was born to convey; and it can convey such\nimpressions, be they either of eating, of travelling or of meditating, of common things or\nof high things only by the second treatment I have spoken of, the imaginative and\nimpressionistic treatment. And great actors are not needed for such work. Their talent\nor genius is in the development of character, and, as I have said, character has here\ndwindled and we see fifteen figures who pass and repass, their acts and actions starting\na certain rhythm, conveying a certain sense; the other two figures who are seated by\ntheir movements complete that rhythm. & & <£>\n& And why have I said nothing of words, for character, plot, story, is told by words\nThese indeed shall play their part in the general Impression, but their part is, as it were,\nbut to add touches of colour; they shall bring colour to the impression, If one may so\nspeak, a colour of sound, and not a noisy and vulgar exhibition of sound which on our\nstages of today degenerates into chatter or shouting So that the words will not be to\nexplain, to make mathematically clear, to lay bare. Our Impression of these few moments\n(like most of our impressions) is a strangely suggestive vision, all vague, yet clear enough\nto those who have eyes and senses to understand: so clear that we who watch can supply\nthe words, the very thoughts of these figures who eat and who wait. Therefore in bringing\nour impressions to you we must leave it vague yet clear enough f0r....y0u. &\nAnd will not all this be very dull? you ask. &\n& Indeed, the opposite of dull,—delightful. I have chosen the most ordinary Impression\nfor my illustration and you will easily see how a far higher and more carefully selected\ntheme would respond to such a treatment. The higher we go the easier and the more\ndelightful. A long sustained impression such as the great writers from to\nMaeterlinck give us, that 1 do not claim ; that is not in the nature of such visions, for what\nFoe tells us is true of poems, is doubly true of visions,—that there can be no such thing\nas a long one. Let them glide into being, live for a few moments and then fade.\n\nA joyful &\nArtistic service.\nSuggestion, not\nSt at e m e 11 t.\nWords & their\npart.\nWhat Poe tells\nUS.JP Jc?"}, {"page_pdf": 17, "page_imprimee": "121", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.17", "texte": "TWO ACTORS: A COMPARISON.\nby John Balance\nHjp here are serious actors, and there are actors who are not serious.\n1 hose who are not serious should not be asked their opinion 011\nimportant matters relating to the stage because it creates the\nimpression that the intelligence of the actor is at a very Sow level. In the New York\nDramatic Mirror, July 4th, I came across two paragraphs side by side which serve to\nillustrate what I mean. The two actors are Louis James and the elder Sothern. &\nHere are the two paragraphs reprinted side by side.\nI, OV I S JAMBS & <&■ SOTHERN\n\" I don't know why Peer Gynt should be\nhard to understand.\" Louis James looked\nup with earnest eyes from the well lemoned\nglass of iced tea on the veranda of Nacbolish\n(Don't Care Villa), his Summer home at\nMonmouth Beach, N. J. it. was one of the\nrare, serious James moments.\n\"He is an egotist, a rollicking daredevil,\na soldier of fortune, and an incurable liar.\nThose are not unfamiliar roles on the stage\nor off it. 1 intend to cut the play down a\nthird. There's a lot that can be spared. The\npiece has been weighted down by a pile of\njunk that I intend to throw out of it, a lot\nof scenery that meant nothing, and some\nanticlimaxes that meant less than nothing.\nFor instance, in the scene when Peer tosses\nhis mother on the roof and walks away\nlaughing at her ends the act. To let old\nwomen come on and commiserate with her\nabout her bad boy spoils the effect. He has\nshown by tossing his mother on the roof\nand marching away laughing that he has no\nreverence. That is a point made without any\ncackling of old women. I shall try to bring\nout the lightness and humor in It. There is\nplenty of it, especially when he tells his\nmother the lie about his hunting feat. \"\n& \" Earnestness—doing everything as well as\nI know—never acting on the impulse of the\nmoment, and thoroughly understanding\nwhatever I have to do, are the chief reasons\nfor my getting on. Much of my success I\nowe to study of the elder Wallack and to\nRachel. Wallack showed me the necessity\nof conveying at a rehearsal what you intend\nto do at night, and the importance of paying\nstrict attention to the minutest detail. He\nwas one of the greatest stage=managers I\never met. His actors had to be able to give\na reason for everything they did. If they\ncouldn't give a reason they stopped doing it.\n\" I gave up my engagement for six weeks\nto study Rachel. There was a fascination\nabout her acting that was grim, almost\npainful. She had less action than any artist\nI have ever seen, but she was so intensely in\nearnest, and her passion was so overwhelming\nthough subdued that one was lost in wonder.\nI learned from her that one of the chief\nelements of whatever success 1 expected must\nbe earnestness, intensity, and thorough\nidentification with every part in which 1\nmight be engaged. There is not an audience in\nthe world which will not quickly detect the\nsympathy between the actor and his play. \"\nNew York Dramatic Mirror, July 4.\nj cannot conceive anything less serious than Mr Louis James' attitude, nor anything more\nthorough than Sothern's. Louis James may be a finer actor than Sothern, but that is not\nwhat I am concerned with here,.... and perhaps Mr Louis James' words have been incorrectly\nreported, though looking at the paragraph carefully this does not seem to be the case. So\nthat if the actor has been correctly reported he makes himself out to be the most careless\nstudent of a play and the most amazing vandal who ever cut up a dramatic master piece.\nPerhaps it is one of the \" rare careless James moments. \" It certainly is not a serious\nmoment. & &\nFirst of all, he does not see why \" Peer Gynt\" should be hard to understand. Then he\nexplains why he does not find \" Peer Gynt\" hard to understand, and he gives Ibsen the\ncredit of writing an ordinary everyday rollicking dare devil character, and he says that\n\" Peer uvnt,, is not an unfamiliar role on the stage; and therefore being a not unfamiliar\nrole he intends to cut the play down a third. You notice that he says there is a lot of\nthis master piece by Ibsen which can be spared, and in spite of Ibsen telling us that the\nplay has to be performed in thirty eight different scenes, Mr James intends to throw out\nof it a lot of scenes which mean nothing to him and some anticlimaxes which mean less\nthan nothing to him.\nOne would have thought that Ibsen, who wrote this play, would have known better\nthan Mr James how many scenes were necessary and also something about the climax and\nanticlimax of the tragedy. He is complimentary to Ibsen in saying that he appreciates\n\n& The two\nparagraphs.\nThe two\nattitudes.\nPeer Gynt ."}, {"page_pdf": 18, "page_imprimee": "122", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.18", "texte": "that the character has plenty of lightness and humour, and he is spirited in saying that he\nwill try to bring all this out. Evidently this is the result of drinking \" well lemoned iced\ntea \" on the verandah of a Villa called the 44 Don't Care Villa. \" & & & &\nI think that any body reading this James paragraph must admit that it is about the funniest\nthing that ever has appeared in print about an actor. Here we have a man who may be, for all\nwe know, a very fine actor; but who on the face of it turns his profession into a joke, tie\nintends to cut down the play a third. Why, it is tremendous! He does not intend to cut\ndown Mr Claude Fitch's play, or one by Mr Stephen Phillips because Mr Phillips and Mr\nFitch are alive, and because they would tell him their reasons for the length of their plays:\nbut not having Ibsen at his elbow to tell him the simple yet profound reasons why this\nplay 44 Peer Oynt\" is a certain length, why it is in thirty eight scenes and why there are\nanti-climaxes and a climax, Mr James is unable to see himself in the role, and in his despair\nhe comes to the conclusion that what he cannot understand cannot be of any value\nand so he cuts it out.\nWhat he can understand is that 44 Peer Ciynt\" is an egoist, is a dare devil, a soldier of\nfortune and an incurable liar because the man tells many lies during the play, (lies of an\nenormously poetical character), because he wanders from land to land seeking his fortune,\nbecause he experiences many daring adventures and because he is continually soliloquising\nabout himself. But any child can understand as much. Any member of the audience who\ngoes to the theatre can read as much from the book without going to see Mr James. What\nthe actor is for is to show us those things which we cannot see for ourselves: not to cut\nout that third part of the play which puzzles us just because it puzzles him. And then on\nthe top of it all for Mr James to say \" I don't know why Peer Gynt should be hard to\nunderstand!!!..!!\" Mr James seems to have found it so hard to understand that he throws up\nthe sponge.\nNow, this is very typical of a certain kind of actor. This is a type which has probably\nalways existed, but he is a type which everybody should try to put out of existence. He\nlowers the standard. He is the worst type. He is a far worse type than that which says\n\" I'm not acting for Art's sake. I am acting for my bread and butter. The only day which\ninterests me is Friday morning when I receive my salary. \" This is a type easily to be\nunderstood and which does no one harm but himself. JSZ &\nBut Mr James stands for the type of actor who is serious, who undertakes to bring to\nthe nation the serious master pieces. There is no more serious work than \" Peer Gynt „\nin the whole range of the modern drama. Perhaps we may say that there never has been\na play so difficult to understand since the birth of dramatic literature; and therefore\nthose actors who undertake to represent such a play accept a very serious trust; they stand\nfor all that is highest in the intellect and the character of the stage. Therefore when such\nan actor takes such a master piece and cuts it down a third, upsets the sequence of the\nscenes, misunderstands the anti»climaxes and talks about Ibsen's passages as 44 spoiling the\n44 effect \" it lowers the standard of the type which he is there to uphold, and gives the\nimpression that the most intelligent type of actor is an out and out ignoramus. &\nNow turn to the paragraph where Sothern speaks. He is essentially the type of the\nserious actor. He does not talk in a slap-dash manner about cutting master pieces: his\nvoice is very quiet and modest, and all young actors should follow what he says here. He is\nreally typical of the fine serious actors. He gives up an engagement for six weeks to study\nRachel. He understands how wonderful it is in her that she had less action than any other\nactress he had ever seen. He understands the grimness of her acting which he describes\nas being 44 almost painful. \"He does not talk about 44 effect\" but rather about 44 thoroughly\nunderstanding 44 Doing everything as well as he knows how 44 never acting on the\nimpulse of the moment\".... 44 paying strict attention to details \".... 44 being able to give a\nreason for everything he does\".... <4 if not able to find this reason, then not doing it.\" &\nJZ? Comparing the statements of James and Sothern we find that the first has a bad influence\non the young actor while the second has a good influence. The first teaches the young\nactor to say 44 that which I cannot understand must be nonsense \". The second will teach\nhim to go on working until he thoroughly understands the most difficult things. James\nwould teach the young actor to avoid difficulties, Sothern to surmount them. & &\n& James, therefore, would create the mentally flabby actor, Sothern would create the\n\nTWO ACTORS: A\nCOMPARISON.\n\nA compliment\nfor 1 h s en.\nWhat Mi James\ncan understand.\nThe worst type\nof actor.\nA serious work.\nSothern."}, {"page_pdf": 19, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.19", "texte": "mentally athletic actor. James, although he would not admit it, is body and soul for the\n44 pretty-pretty\" actor: Sothern is for the strong actor,.... \"Her acting was grim, almost\npainful. \" James is playing down to the public: Sothern is playing up to the public. All that\nis best in the American theatre will follow Sothern and will try to forget Louis James as he\nsits with 44 a well lemoned glass of iced tea \" on the verandah of \" Don't Care Villa. \"\n\nBOOK REVIEWS\n\n& 44 THfi FRA »: MONTH!, Y. F,lhett\nHubbard, fiast Aurora. New York. 35 cents\na copy. 3 Dollars a year. &\n44 HPhe Fra \" is a right good magazine and\nwill be all the better when it has grown\nup and developed itself. It is one of those\nfew journals in America not formed upon a\nEuropean model. It springs from American\nsoil and its sap is American. Its strength is\nthere right enough and it has power to\nspare: ..it might do well to waste a little upon\npreliminary experiments which it might burn.\n44 The Fra \" is certainly as strong as an oak\nor a bean, ...and if not as cultured as a bean\nor an oak it is only for lack of time. We are\nall apt to forget that the bean and the oak or\nany of the thousand marvellous works of na-\nture are all consummate works of art. We\nare apt to say things are not natural unless\nthey are rude; to think of nature as a kind\nof careless workman, a regular hooligan who\nthrows up any old rock and calls it the Carrara\nor Rocky Mountains; who plants its oaks and\nbeans quite careless of form and style.\nWe make a blunder when we think so\nand when we attempt to fashion our works\nof art in the same manner. & If anything\nthis is rather the fault of timidity than\nof Democracy. Why should Democracy be a\nwhit less cultured than any other Socialism?\nBecause we are democratic it does not alter\nthe oak or the bean, and these, together with\nall other natural growths, are always orderly,\nobedient to the oldest traditions, detesting\nmodern innovations and casting out all\nrevolutionary elements from their being. The\nbean, just because we eat it, is not a gross\nthing nor an ill-cultured thing. It is the\nperfection of design; no architect could be\nmore fastidious, no jeweller more delicate\nthan is the force which fashions this marvel.\nThis being the case, we fail to see why pas-\nsages like the following should not be better\nconstructed, more fastidiously fashioned and\nmore delicate.\n44 IF you happen to meet a gent who has\n44 in his hatband a price-tag, you must never\n44 see it, and certainly not call his attention\n44 to it, If you do it will probably cost you\n\" Coco-Cola for the crowd. I ran across the\n44 game in Georgia and found it popular from\n44 Atlanta to the sea.\" &\n& 44 THE FRA stands for art, Art is not a\n44 thing separate and apart—Art is away. Art\n44 is the beautiful way. Art should extend to\n44 every function of life, for our environment\n44 as well as our actions should be graceful,\n44 harmonious, beautiful. THE FRA stands\n44 for the art of living.\"\n44 The44 Fra \" stands for art \" and is full of\nthe praise of nature, but it goes in for being\nfar more comic than art can ever be, and\nnature is never comic; the sea does not\ncontain one drop of the comic; only man,\nwho sails the sea, manages to create atoms\nof that strange and often poisonous atmo-\nsphere. jgr\n& The designs in 44 The Fra \" are also far\nfrom good; they do not in any way reveal\na study of nature. The initial cliches are all\nalike and none seem to have been even\nengraved by the good honest hand of a wood\nengraver. &\nThe title page is dreadful. Now, whoever\ndesigned it will chuckle when he reads this,\nfor whatever else he (or she) is he is a man\nor woman who knows what he or she wants.\nAnd he has put it there. Glaringly it stands;\nand in the middle those wonderful words,\n44 Success is ten per cent opportunity and\nninety per cent intelligent hustle\nNow, young, old or middle-aged man,\nwhoever you are who wrote that or designed\nthat title page, we advise you to go and spend\nan hour or so dissecting a common bean, the\ncommoner the better, and see if one hundred\nper cent of its success is not due to a slow\nand cautious development founded upon\ntradition.\nWalt Whitman is really at the roots of\n44 The Fra and who wouldn't have such a\nsoil to grow from? Whitman is at the roots\nof most of the fine sproutings of today. But\n44 The Fra \" has forgotten that caution which\nWhitman was never too hasty to forget.\nWe hope 44 The Fra \" will forgive our\nimpertinence, ....we are in the critical vein\ntoday.... and we hope the44 Fra \" will commence\ntraining a few of his fellow workers in the\nexcellent craft of wood-engraving. It takes\nquite as long to make a good wood cut as\nto make a bad electrotype, and the result is\nfar finer.... for the engraver. You can't make\na hustling cut. You must be patient, free\nfrom nervous haste, and cut away in the same\nspirit as you fire a rifle when there's a\nwager on. You don't hustle then,... but you\nhave to be no less intelligent; and only so can\nyou succeed, and hit your bull's eye."}, {"page_pdf": 20, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.20", "texte": "Most of the type used in \" The Fra \" is\ngood, but the capital letters are ill-shapen.\nThe 44 Fra's \" cook wouldn't bake a bean\nwhich looked so ill=>shapen as the R on the\nfirst page. The P and the D in \" Open\nRoad \" would scare any horse that came upon\nthem suddenly at a sharp turning.\nThe play»actors ought to like \" The Fra \"\nand ought to take it in as \" The Fra \"\nsays nice soft things about the actor.\nPerhaps it is a friend; perhaps not. \" The\nMask \", being a friend, says sharp and hard\nthings about the actor. Tha tis because 44 The\nMask \" is not going to be a friend for an hour\nor a month or even for a year but for quite\na long time. Yet the nice things the \" Fra \"\nsays about the actor are quite true except\nthat note about books and the actor. The\n\" Fra \" says, \" My heart goes out to the\n44 play actor. They give more and get less than\n\" any other class of people who stand in\nDouglas' three dollar shoes \". Well, of course\neverybody's heart goes out to the play actor,\nand they give a great deal, but we are not\ngoing to begin miowling about what they\ndon't get. There is nothing pathetic about\nthe actor at any rate, and we don't want the\npublic to shed a silent tear as they think of\nthe 44 poor lone actor \" etc, etc. £?\nThen the \" Fra \" goes on to say that the\nactors are all children, they never grow up.\n\" They are all children—they never grow up.\n\" The gods must love them, for they die\n44 young no matter how long they live. &\n44 Their innocence, their hope, their gullibility,\ni( their fond and foolish belief that they are\n\" 'on', when all the time rogues are playing\n44 them for muskellunge, would be funny if\n\" it were not pathetic. They ail love books,\n44 but few own a book case. They all love\n44 art, but few possess a picture. Yet\n\" E. S. Willard, for example, always carries\n44 twenty choice volumes with him, and before\n44 he enters his room at the hotel these\n44 books are placed on their portable shelf,\n44 and over them sits a little bronze bust of\n44 Shakespeare, while on the wall is an old\n44 framed engraving. And so this mime makes\n44 himself believe that he is ever at home,\n44 and he points you to what he calls his\n44 44 treasures \"—the little shelf of books, the\n44 bust and the one picture. \"\nThis strikes us as charming; so simple a\npicture. We see the simple and rather\npathetic Mr E. S. Willard arriving sadly at\nthe hotel in New York in a pair of Douglas'\nthree dollar shoes. We hear him going up\nin the elevator whistling the while a few bars\nof 44 Home, sweet home dropping a sigh\nwhich shall be caught by the attentive and\ntrembling elevator boy so that the elevator\nboy shall shortly say to his fellows who\ndwell in the servants' appartments, \"The poor\nactor upstair, the poor actor! \" And then the\n44 poor actor upstairs \" passes into (oh woe,\noh woe!) his meagre appartments costing\nbut a mere twenty dollars a day. We see\nhim turning up that tenth rate illuminant,\nthe electric light, sighing the while as he\nremembers all the rich and prosperous who\ncan afford their candle. We seem to see him\ncasting a despairing eye round the room,\nflinging himself upon his books and his\npictures and loving them for ten minutes.\nNow really, Mr Fra, you are ridiculous when\nyou talk of the actor, for the actor as a rule\ndoes not love his books very much, nor does\nhe love his pictures. But when he does he does\nnot want it so emphasized as to make it appear\nunusual on his part that he should. What\nis unusual in a man carrying forty or fifty7\nbooks with him, or a portfolio of drawings,\nor a good sized book in which he has pasted\nall the engravings of which he is most fond?\nFor really there are quite a number of\nactors who carry these things with them and\nsit in a comfortable but inexpensive little\nroom studying them. But these men certainly\ngo in for none of the humbug which we\nassociate with the man who sends his fourteen\nor twenty books ahead of him to be put in\nhis expensive hotel room with his bust of\nShakespeare above them as a sort of\nadvertisement that he is a \"literary fellow\" or\nthat he is artistically inclined.\nAgain, the 44 Fra \" says, 44 Out upon that\n44 colloused crew who use the word 44 actress\"\n44 as an epithet! The actress is a woman—\n-44 usually a woman without a home. She\n44 lives in the glare of the lime=light. All of\n44 her actions are subjected to a blaze of\n44 criticism.\nThis would be a heart=rending tale if we\ndid not remember that the actress is a\nvery practical sensible woman, and that if she\nhas no home she has a very comfortable\nlodging everywhere. 44 She lives in the glare\nof the lime=light \", does she ? But ask Madame\nSarah Bernhardt what she thinks of the lime-\nlight on the stage and off the stage and she\nwill tell you she finds them both quite\nharmless and perhaps very amusing.\nBut when all this criticism is said and\ndone 44 the Fra \" remains a right good magazine\nand we all wish it good luck and a little less\nhustle and a little better perspective in its\npictures of the 44 poor player \".\n\nBOOKS, JOURNAES AND MAGAZINES\nRECEIVED uz> & &\n\" Gemma Bellincioni \" by Frans Mijnssen. \" The\nNew York Dramatic Mirror y\\ New York. \" Ri vista\ndi Roma \" Revue Napoleonienne\n\" The Balance \", Moscow. \"Argus \" Helsingfors. \" Vj\nSzemle Budapest. \" II Teatro Illustrato Milan.\n\" 77re Bibelot Portland, Maine, U. S. A. \" 77fe\nPapyrus East Orange, New Jersey, U. S. A. \" The\nFrayy, East Aurora, New York. \" Die Schaubuhne\nBerlin. \"Ie Temoin \", Paris. JZ? £?"}, {"page_pdf": 21, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.21", "texte": "FOREIGN NOTES\n\nfollowing questions were recently put\nby the Editor of 44 The Mask\" to the\ncorrespondents of this journal in the large\ncentres of Europe. JZ? JZ?\nL Does the work in the Theatres in your\ncity show hasty conception and careless\nperformance, or careful thought and slow and\npainstaking execution? JZ? JZ>\n2. Is the Public contented with what it\nreceives in the Theatres, or, if there are\nthree or four sections of the Public, are\nthey divided on this point? &\nWe print below some of the replies\nreceived and a further series will be published\nnext month, and as reports arrive.\n\nENGLAND\nR.S., London\nyour request to report whether the Theatres\nK show signs of careful or hasty work finds\nme compelled to reply, Hasty work. Haste,\nin fact, characterizes the entire world of the\nTheatre. They seem to be working against\ntime. I questioned some stage hands the\nother day. \" Plenty to do, Sir, \" they\nanswered, 44 to get ready in time; but it will\nbe all right on the night \". That is typical\nof the whole Theatre. So long as they are\n44 ready on the night \" it doesn't much matter\nhow it's ready. jg?\nOn many a first night I have been to lately\nthe actors have not known the words of their\nparts. Perhaps this is one of those details\nin which the manager may be inaccurate,...\nof that 1 am not able to speak; the scenery\nand general management of the stages reveal\nmuch hasty work. What happens to be good\nis good through happening. zz?\nMiss Isadora Duncan and 44 twenty Parisian\ndancers \" have been here this month, and here\nagain haste predominates, for surely it was\nonly over luiste which caused Mr Frohman\nto describe twenty poor little German, Belgian,\nPolish and Dutch girls as 44 Parisian Dancers \".\nThese little girls have been trained in Berlin\nand have visited several cities in Europe\nwhere they have exhibited their games; they\nmay have danced in Paris,..., but this does\nnot make them 44 Parisian dancers. \" JZ?\nAnd surely it was only over-haste which made\nMr Frohman announce on the posters that\nthe music was from Gluck's LVPHIGENIA\ninstead of IPHIGENIA. £/\nAccording to \"The Stage\", a reliable authority\non all matters pertaining to vaudeville, Mr\nCharles Frohman is going to be still more\nhasty in America. \"The Stage\" announces that\nMr AI Levering, who is Charles Frohman's\nright-hand man at the Aldwych in London,\nsuddenly turned up in New York lately\nand is making arrangements for the appea-\nrance of Miss Isadora Duncan there, professedly\nat one of the theatres, but as a matter of fact,\n44 1 he Stage \" has every reason to believe that\nMr Frohman is contemplating an excursion into\nthe vaudeville field, and to that end is quietly\nmaking arrangements for Miss Dnncan and a\nfew others (i), for preliminary experiments,\nwhich, if successful, will be enlarged upon.\nWith this end in view several artists have\nbeen approached, with regard to the supply\nof high-class acts. & &\nMiss Duncan in the vaudeville field is the\nmost colossal idea which Mr Frohman ever\ninvented; but it also shows haste.\nMr Frohman describes Miss Duncan as 44 The\nsensation of the Continent \". This also shows\nhaste. We may shortly expect such notices\nas the following: 44 Mr Frohman presents\nMadame Duse, the Rage of the Earth \". and\n44 Mr Frohman presents Miss Ellen Terry, the\nMirth-provoker of the World that is to\nsay, if Madame Duse and Miss Ellen Terry\npermit such vulgarity. &\n& This haste in matters of art has been\ndirectly imported from America. It is\nspreading over Europe. Art will in time\nbe taught in the schools by hustling tutors\nwho will tell their pupils that Art is hustling\nmesmerism. Twenty Parisian Dancers 111\nTremendous, Mr Frohman, simply tremen-\ndous! ...But isn't it swindling the public?^\n\n(1) Who can these \"few others\" be?... Most mysterious.\nPossibly the same \"Twenty Parisian dancers\" warmed up\nagain, this time probably described as \" Forty Moorish\ndancers\"? .... Or may we expect the Napoleon of the\nTheatrical world to present in one and the same theatre on\nthe same evening Miss Duncan, the White-eyed Kaffir, and\nSandow ? & &\n\nGERMANY\nG.N., Berlin\nI regret 1 cannot send you word that the\nTheatres show signs of careful work.\nEnergetic work in plenty, but all far too\nhasty. The stages seem to be the experiment\ntables of the 44 artists \" and the public is\nthe dog upon whom these experiments are\ntried. It is human vivisection of the most\ninhuman character. I wish I could reply to\nyour question more cheerfully. JZ?\n\nSWEDEN\nM.M., Stockholm\na scrap of careful work to be seen here,...\ndenotes haste. If there is\nanyone doing some careful work here in the\ntheatre we have not seen him nor heard of it.\nThere is a public here which wants better\nwork, ...I believe this is so generally, but here\nthe suppliers refuse to take any notice of\nthe demand. I regret I cannot say otherwise.\n\nDENMARK\n\nVX/e see nothing but the same bad work in\nthe theatre today as we saw formerly. I\nreturned here from 1ta1y,.... went to the"}, {"page_pdf": 22, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.22", "texte": "theatre,.... expected to see something\nbeautiful,.... (though why one should expect\nthe impossible Heaven only knows), and saw\nwhat I had seen before, if anything a trifle\nworse. Low humouristic plays from the pen\nof our beloved idol. Ibsen seldom if ever\nproduced here. Bernard Shaw's \" Arms and\nthe Man\" once performed. A bad spirit\nbroods over the theatre. If you ask the\nmanagers why the work is so bad they tell\nyou that the public wants bad art. There are\nmany of us here who do not believe that the\npublic wants bad art in the theatre any more\nthan in books or in the galleries. <£> &\nThere are signs that the new spirit may\nawaken in our theatre's art, but the signs are\nnot to be seen in those theatres whose duty\nit is to reveal it. & & JZ?\n\nR., Copenhagen.\n\nO.R., Copenhagen\n*lphe theatres of Copenhagen have too great\na fear of experimenting. They are doing\nhonourable work, but their efforts are\nunsuccessful owing to their adherence to\nthe old methods, and their first thought is\nthe economic question. Not even the experi-\nment (and failure) of a \" Thdatre intime\nsuch as Strindberg's \" Theatre intime \" in\nStockholm, has been risked on any Copenhagen\nstage. & jg> &\nThe productions,...at least those on the\nstage of the Royal Theatre, are given with\nvery great care and after numerous rehearsals,\nthe aim of the director always being the\nimitation of nature and the production of\nnaturalistic illusion. <&The staging is especially\ncareful in historical plays, everything being\nprepared in minute detail. The stage is\narranged like a room in a historical museum.\nWith the scenes and costumes the manager\nis able to cope and can be sure of obtaining\nsome results. Not so with the actors.. The\nactors here are undisciplined. They are too\nmuch bound by the correct, pedantic and\nunimaginative school. When one of them\ndoes break free it is only to take liberties\nwith the text and to disregard stage direction,\nand this of course merely achieves the\nabsurdity of spoiling the harmony of the play.\nI have heard other, and intelligent people\nsay that they do not visit the theatres because\nthe theatre does not preserve the illusion. I\nshould think that these people would be\npersuaded to go if the theatre did not make\nany pretension of creating such illusion but\nset out on some other new and less tedious\npath. Certainly most people here are\ndissatisfied with the theatres, the one half\nlaying the fault on the actors, the other on\nthe dramatists. Of a revival of the Art of the\nTheatre nothing is as yet to be heard.\n\nAUSTRIA\nA.S.L., Vienna.\nHPhe Vienna Theatre habitues form a highly\ncritical class so that any form of\ncarelessness or slovenliness in a performance\nwould at once be met with sure signs of\nmisapprobation, lor the Viennese, being\ntrained as they are from their earliest youth\nto a right appreciation of the Theatre, are\nquick to assertVtheir judgment.\n& The Theatre has a great past; it may\nwell look forward to great future. We are\nin a transition state, but there is plenty of\nmovement, and movement means thought\nand thought progress.; The mere fact that\nthe audience is one trained to an intellectual\nunderstanding of what is enrolled before\nthem places the management on the qui vive.\nThe managers know what is demanded of\nthem and must do everything in their power\nto keep up a certain standard of excellence;\ntherefore the performances as a rule show\nslow and painstaking execution. This is to\nbe seen at all the theatres. The leading role\nis played by the Imperial Theatre. Here\nfor ages the youth of Vienna have been\neducated in the classical drama and here\nthe love of the Theatre is engendered,and\nwhat is more, classical nights always pay.\nThose who have not the wherewithal to\npurchase seats are content to stand for hours\nwaiting for the opening of the doors for\nthe chance of obtaining a standing place for\nthe performance, and eveii the errand boys\nmay be seen reading Reclame's editions of\nthe classics, Schiller, Shakespeare, Grlllparzer,\nGoethe. This shows a deep-rooted inborn\nlove for the drama which, tenderly fostered,\nexpands and sends its branches everywhere.\nAnd thus critical audiences are trained. But\nthe Imperial Theatre does not confine itself\nto the classics let it be said. Next to this\nconies the Deutches Volkstheater which is\nas a rule visited by the same critical audience\nas the Imperial Theatre, and where the same\ndemands are made and responded to. These\ntwo form a class to themselves. <£? &\nThere is still another and a higher class,\nbut by far in the minority, which demands\nmore than these two theatres can offer, and\ntherefore seldom visits them. These yearn for\nsomething higher than the usual performances\nboth as regards the acting and the stage\ndecorations. These look forward to a bright\nfuture, and Duse is their ideal. And she has\nsown good seeds here which time will surely\nfructify.\nOf the sections of the public who desire\na mere nothing but a few hours amusement\nwithout any real intellectual enjoyment here\nis no place to speak. There are always such\nin all large cities as the numbers of theatres\ndevoted to such entertainment can testify.\nBut it must be maintained that even here\nthe audience is a highly critical one.\n& But the theatre forms but one half of the\neducation of the Viennese. Music is as\ninborn to them as is the drama, and these\ntwin sisters go hand in hand. Mahler has\ntrained an audience, highly sensitive, cultured,\nand hence critical and drastic as lie was, it\nwould be well would the theatre managers\nfollow more in his wake."}, {"page_pdf": 23, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.23", "texte": "Isadora Duncan Dancing"}, {"page_pdf": 25, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.25", "texte": "FINLAND\nG. C., Helsingfors.\nOwr theatres suffer from the curse of all\ntowns—the frequent change of programme\non account of which the actors cannot prepare\nserious, really artistic work, but are compelled\nto be satisfied with very superficial results.\nIt Is impossible even for gifted actors to hold\nout against this system; they lose their\nenergy and J their artistic conscience, their\ncreations become empty and j monotonous.\nThe exceptions from this rule are few. In\naddition it seems as if the Finns were] not\nspecially gifted for acting, their nature being\ntoo reserved. Finland has only one eminent\nactress, Ida Aalberg, but the days when she\ngave us her best work are past. The only\ncomfort for the j lovers of the art* of J the\ntheatre in Finland are therefore the foreign\nactors and actresses, who visit us.\n& The public is divided into two great\ngroups, one Finnish and one Swedish. The\nformer is naive,\" enthusiastic and relatively\nuncultivated; the latter more cultivated, but\nalso more 44 blase \" and more uninterested.\nNeither of these takes great interest in the\nattempts to create a better state of things\nwith regard to the theatre; there are only,\nin either group, a few young men who try\nto fight for such optimistic dreams, but\nhitherto as it seems with no great success.\n\nHOLLAND\nJ. v.H., Nordwijk.\n\\/our two questions about the theatre reach\n* me here where I had hoped to escape\nfrom all thought of the theatre and art\nand think only of the sea and of nature, but\nnow that you brought back to my mind\nthe theatre of Holland, with its performances\nand its public I will do my best to say nice\nthings about it,... if the sea, so turbulent,\never in revolt, will permit me. &\n& Let me say then one good thing for the\nDutch theatre. It is dead I mean if the\nsea is alive. It was ugly before its death\nand it is now uglier afterwards,...if the stretch\nof sand that I see and the blue water in front\nof me are beautiful. Every piece of work\non its boards shows the hastiest of conceptions\nand the most utterly careless perfor®\nmance,...if what I am looking at now exhibits\nwhat may be called patient preparation and\nthoughtful execution.\n& And now you ask whether the public is\ncontented with what it receives in the Dutch\ntheatre.\n1 have been sitting here an hour and I\nhave not seen a discontented face the whole\ntime. When I have visited the] theatres in\nAmsterdam or the Hague I have seen every face\ndiscontented, gloomy, petulant or desperate.\n1 cannot tell you whether the public are\ncontented with what they see in the theatres;\n1 can only report to you the expression of\ntheir faces. &\nNow let me qualify this statement by\nanother. 1 have seen these same faces lighting\nup with pleasure and becoming quite agreeable\nto look on. That has been when an occasional\nvisitor fromJforeign; lands, with a particular\ngenius all his orj her own, has brought\nsomething of beauty ,to our theatres: or it\nhas been when music has taken the place of\nthe plays and actors. I should like to say\nthat I have jin ] these instances found the\npublic a very enthusiastic public. I have in\nsome instances seen the theatres so crowded\nthat they could not hold another person.\nSo it seems to \\me that when any Dutch\nmanager or actor or singer or dancer or even\nscene painter or costumier makes up his\nmind to bring something beautiful before us\nwe shall receive it with enthusiasm. When\na man of genius shall arrive in the Dutch\ntheatre, (and I agree with your Englishman,\nCraig, that he need not be a dramatist), I\ndo not think there will be any doubt as to\nthe reception he will receive. &\n\nAMERICA\nProf. G. B. Baker; Harvard\n44 Co iong as the theatres [in America\nrun like bargain counters, with the\nmanagement continually on the outlook for\nready sellers, the drama in America will\nremain at a low ebb. jgr &\n44 Nothing is more contemptuous than the\nway the theatrical managers treat the\nAmerican public. They think Americans\nwould be unable to recognize a good thing\nif they should see it unless it already should\nhave been declared a success by Paris or\nshould bear the name of a well-known\nauthor \".\n\nLONDON\nR.S.\n'T'he scene used by Miss Isadora Duncan,\n* which everyone has taken for the work\nof Mr Gordon Craig is not by him, but is rather\na poor imitation of his work. We should have\nthought Miss Duncan the last person in the\nworld to have been satisfied with an imitation.\n\nFLORENCE\nft will be of interest to our readers to iearn\n\"that Mr Gordon Craig has been invited to\nBerlin to produce '• King Lear\" and the\nTrilogy by Aeschylus; that he has also been\ninvited to Holland to produce that remarkabel\nplay, 44 Everyman \"; to Moscow to produce a\nplay by Shakespeare which has not yet been\ndecided upon, and to London. & &\n& if • the production] at Moscow is vto be\n44 Hamlet\", and should|the production in\nLondon be 44 Macbeth \" as it is suggested, it\nwill be a phenomenal sign of the trend of\nevents. We cannot call to mind any stage\nmanager who has been invited to four different\nlands to produce plays of this magnitude, and\nespecially within so short a space of time. £?"}, {"page_pdf": 26, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.26", "texte": "EDITORIAL NOTES\n\nJ ast month we spoke about the parodies of\nLife and Death of Jesus Christ which\nwere exhibited to the public through the\ncinemetograph. We asked our readers to\ncommunicate with us should they come across\nany like horror. Mr Chronander, the well-\nknown sculptor of Goteborg, writes us, \" 1\n44 have seen similar horrible things in Sweden,\n44 only they were much worse than those I have\n44 seen in Italy, an added danger being that in\n44 our case the shows were warmly recommen=\n44 ded by clergymen. The productions professed\n44 to be cinemetographed from the religious\n44 plays of Ober Ammergau, but as a matter\n44 of fact I believe that the films of all these\n44 so-called 44 religious \" horrors come from\n44 the United States, where hypocrisy and\n44 Mammon agree well together.\nTp wo suhscribers have written to us to\ncomplain that they have discovered errors\nin the text of their copies of 44 The Mask \".\nThis leads us to fear lest these errorrs may\nhave crept into other copies whose owners\nhave borne the discovery without complaint,\nand we therefore ooffer a comprehensive\napology for our Printers' errors to all readers\nof 44 The Mask \", past, psesent or to come.\nThe proof Readers are English, but the\nCompositors are Italian. JZ/\nNow, an Italian compositor, like all\nItalian workmen, is a spirited and igenious\nperson with a preference fer doing things\nin his ownw ay. If you direct your\ncarpinter to make you a square table he will\nprobably turn out a round one. You remon-\nstrate, even protest. He is aggrieved, and\nin no sense abashed, it seemed to him that\na round table would be batter, and so a round\ntable it is, ....and remains. You tell your\ngardener that a certain bed is adapted for\nspinach. He smilies as if in affirmation,....\nbut none the less the ground yields peasl\nSo it is with the compositor.\n& The MSS are supplied to him type written :\nhe sets to work, and in due time supplies\nhis proof.\n& A large staff of proof readers than sets\nto work in its turn to undoe most of what\nthe compositer has done. The latter then\nsteps forwardagain, eliminates a few errors,\nsubstitutes fresh ones for the rest and....the\noffice staff once more bends its forses to\nthe task. & So it goes on.\n& Truly, the Italians are a charming and\ndelightful race 111 &\nP. S. We believe that the compositors\nare notquitesoignorant of the English\nlanguage as we had imagined, for we note\nthat they have made, and evaded the correction\nof, mere mistakes in this paragraph than in\nall the preceding pages, as if in silent protest\nagainst our criticism of them, and to let us\nknow what they, on their side, think of us!!\nVft/e asked a very well-known theatrical\nDramaturg of Berlin whether his\ncountrymen liked the hustling methods of\ndealing with the Art of the Stage which Mr\nFrohrnan has imported into Europe. He\nreplied that he had never heard of Mr Frohrnan.\nWe explained all about Mr Frohman's many\ntheatres in America, England and Cunard,\nand somewhat warmly encouraged him to\nadmit that at anyrate the energy of Mr\nFrohrnan was remarkable.\nHe would not have it for a moment that such\na wholesale trade in an art could be either\ngood in itself or lead to good results.\n44 Take care what you are about. If you\n44 don't resist the introduction of such a system\n44 and if you don't stop it while there is time,\n44 your English theatre will become a business\n44 like your sports are in danger of becoming.\n44 Your sportsmen and artists should together\n44 resist the dangerous approach of the\n44 Theatrical Trust and the Sports Trust \",\nThere is much to be said for this. If sport\nis the athleticism of the body, Art is the\nathleticism of the mind.\nGordon Craig wishes it to be understood\nthat he is not the Editor of 44 The Mask \".\nHe acts as artistic adviser to the journal,\nbut the control of the literary matter is in\nthe hands of Mr John Semar. & &\n\nJ. S.\n\n& ALL RIGHTS RESERVED & &\nGERENTE RESPONS ABIEE, GINO DUCCI\n\nPorta Romana. Florence. E. Thesleff"}, {"page_pdf": 27, "page_imprimee": "129", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.27", "texte": "|T H E MASK.I\nTHJ?\nJOHN BALANCE ALEXANDER HEVESI JEAN JACQUES OLIVIER\nCARL BEHRENS H. von HOFMANNSTHAL WOLFE &\nALLEN JAN van HOLT & WILLEM ROYAARDS\niUNNAR CASTREN & EDWARD HUTTON WILL ROTHENSTEIN\nGORDON CRAIQ & ANDREAS JYNGE OTTO RUNG\nJ. PAUL COOPER & ELLEN KEY j& RUDOLPH SCHMERZ J&\nISADORA DUNCAN JAN KLAASSEN MARTIN SHAW &\nA. FRIEDENTHAL & FRITZ LAPIDOTH ELLEN TERRY j&\nLOUIS FULEP & D. NEVILE LEES E. THESLEFF\nADOLF FURST & & M. LYKIARDOPOULOS JAN C. de VOS uS?\nJ ULIUSZ GERMAN HALDANE MACFALL PHILIP WAHLSTROM\nIVO HAUPTMANN NEUWERT NOWACZYNSKI H. WILSON.\njz> HELEN ZIMMERN\n\"TIIE MASK\" HAS CORRESPONDENTS IN THE FOEEOWING CITIES\nAMSTERDAM jz? & THE HAGUE & ROME J& &\nBERLIN & HELSINGFORS j& SAN FRANCISCO\nBUDAPES T& & LONDON & STOCKHOLM &\nCOPE N HA GEN & & MADRID VIENNA &\nDRESDEN MUNCHEN j& j& WARSAW j& &\nDUBLIN PARIS WEIMAR &\nPHILADELPHIA &\n& SPECIAL NOTICE.\nFEW COPIES OF THE EDITION DE LUXE ARE STILL UNSUBSCRIBED FOR AND\nCOST L. 3. 5. o. FOR THE YEAR. & & & & &\n11118 B mniM.yujDjjjuiLi\nYEARLY \\ England, 16 Shillings 8 Italy, 17 Lire, j\nSUBSCRIPTION 1 (iermany,i6 Marks 1 Russia 8 Roubles ' POST FREE\nAmerica, 4 Dollars j France 20 Francs. )\nORDER FORM\nTo the Editor, (or)\nTo Mr.\nA .. Bookseller\nAddress\nPlease put down my name as a subscriber to \"The Mask\" for one year, or six months\ncommencing with the number, in payment of which subscription, including postage,\nI enclose the sum of Signed\nAddress"}, {"page_pdf": 28, "page_imprimee": "130", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.28", "texte": "& \"VIESSEE\" (The Balance) &\nA RUSSIAN LITERARY & ART MAGAZINE PUBLISHED MONTHLY IN MOSCOW BY\nTHE SCORPION PRESS\n\" The Balance \" contains Poetry, Fiction, Drama, and Essays on Art and Literature by\nthe best modern authors, both Russian & Foreign. jgr\nThe Journal has correspondents in all the chief cities of Europe. jz?\n\" The 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.\nJS> CHIEF - EDITOR; SERGE POLIAKOFF. &\n\n& THE MOSHER BOOKS\n& & M D C C C X CI-MCMVIII & &\nFor a dozen years the most artistic volumes at their price that have been issued in America\nhave been published, not from New York or Boston, nor even in Philadelphia or Chicago\nbut it Portland, Maine. In that little city Thomas B. Mosher has been printing, without\nflourish of trumpets or wide advertising, volume after volume which in artistic excellence\nare not excelled by the issues of any publishing house in the world. Then, too, Mosher has\nreprinted only the gems of literature that have been declared of the first water; gems that\nare, beyond objection, jewels of the world's treasury of brilliant writing. We may also\nassert that the question of gain has been secondary in Mosher's calculations. He has put\nout very small editions, and he has made them so beautiful in all that concerns their make-\nup that it is doubtful if he has ever gauged the expenditure by the possible profit. Never-\ntheless, he must have done so, but in doing so he excites our admiration.\nQUY CARLETON LEE in Baltimore Sun for Dec. 18, 1907.^\nMy new Catalogue a remarkable piece of book-work in itself explains this unusual\ncompliment, and is sent free 011 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, but\nyou are treated to some very genuine prose & verse not found in every cut and-\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\nthe plates will be printed according to the condition of the plate. The plates will then\nbe destroyed. Each portfolio will be numbered. Each set consists of twelve designs loosely\nmounted on grey card and contained in a grey cloth box portfolio with fastenings. Each\nplate is signed by the artist. Size of portfolio 48x30 ctms. & Average size of plate.\n14 2/3 xl 5 2/3 ctms. The price for a portfolio will be L. 16 .o. o, (400 Francs or 320 Marks).\n'\"These etchings were made by the artist in the Spring of 1907 at Florence, and represent\nhis most serious work. Connected as they are with his dream of an Ideal Theatre, they\nin no way have anything in common with the modern stage.\n*c Movement\", writes Mr Craig, \" was at the roots of the Ancient Theatre and will ever\n\" remain the very Essence of the Art. & &\n\" We must translate Movement through the medium of inanimate forms and thereby produce\n\" once more an Impersonal Art which shall take its place by the side of its two sister\n\" Arts, Music and Architecture \".\nt9v\\Jf■/,*fi»r+>»V£S•#*--X~ l ~ 4 %. > v » * * . * x « c . * V «. t\nORDER FORM\nTo The Publishers,\nThe Editorial Office of \" The Mask \" 2 Lung'Arno Acciaiuoli, Florence. Italy. £?\nPlease send me the Portfolio of Etchings by Edward Gordon Craig, In payment for which\n1 enclose the sum of L. 16.0.0, (or 400 Francs or 320 Marks) & &\nSigned\nAddress."}, {"page_pdf": 29, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.29", "texte": "LIBRAIRIE ANCIENNE\nT. DE MARIN IS & Co. £r 5 Via Vecchletti - FIRENZE\nJ»I»»\nWsa\n41&\nrd?:h\n•AJV\nI HI l\nfmr\n- ■\n/-x\nflfl\nf\nill\n&\n3\n»if.\n«,*\nA\nA.\nID\n••I*l\n*«»<\ng\n&\n11 »\n■■s:\nU\n»ii\n«>\nSSr\nujlfe\nv : —-f I\n■r~-~4 f QS\n2*\n111\n'Mi\n00\n\"l\nmi\n—N\naa\ni\n111!\nmm\nfoot\nOJ\nnan\ntn\ntil\nIMM <\nan\n1 »i\nitu\nit\n46\nHi'\nX\ni^r\n0 0\n00\nllltl\nLi-\nlt n\nnao.n\nU\n7^\nMl**\n-i 3\nmi *\nVIJ\n«T\nTncfff:\nir^£b£\n3C3\nn/v\nC2f3£H\nGO\na c\n:A\ntit\nrurw\nFine Collection of MSS., Incunabula, rate and curious books XV-XIX cent.\nIllustrated Catalogues free on application.\n\nTHE SOCIETY OF FOUR\na\nHAVE PURCHASED ONE\nOR TWO BEAUTIFUL\nWORKS OF ART OF\nTHE LATE QUATTROCEN-\nTO AND EARLY SEICENTO\nCOMMUNICATIONS PROM\nTHOSE DESIROUS OF PURCHA-\nSING SHOULD BE ADDRESSED\nTO THE \" SOCIETY OF FOUR \" AT\nTHE ADVERTISING OFFICES\nOF \" THE MASK BORGO SAN\nJACOPO, 8. FLORENCE (ITALY)\n\n: /\ne temoin.\nLE PLUS BEAU JOURNAL SATIRIQUE\nLE PLUS VIVANT, LE PLUS\nACTUEL, LE PLUS QAI, LE PLUS\nARTISTIQUE. £> & £>\nUS/ UZZ Us/ UsZ J£Z\nABONNEMENT, I AN, FRS 7.00\nSPECIMEN No. GRATUITSUR DEMANDE\nADMINISTRATION, PARIS, 18 - RUE\nH6O£SIPPE-MOREAU, NO. 1. JG? J0"}, {"page_pdf": 30, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190808-01.1.30", "texte": "Printed f@r the Proprietor by E. iMorandi, Tlpografla Bodoniana, Via Florence, an,d published at The Office\n2 Enng'Arno Acciaioli £?£/£?£?£? JZ?\n\nANTONIO FRILLI\nAWARDED PRIZES\nAT 48 NATIONAL &\nINTERNATIONAL\nEXHIBITIONS\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.\nORAMD PRIX\n1904\nPURVEYOR TO 10\nIMPERIAL & ROYAL\nFAMILIES & &\nFLORENCE\nVia dei Fossi 4 &\n£> (ESTABLISHED i860)\n\nDie Schaubiihne\nA weekly Theatrical Jour-\nnal Edited by Siegfried\nJacobsohn.\nVerlag Oesterheld & Co.\nLietzenburgerstrasse 60\nBerlin W. 15.\nSingle copy . . M. pf. 30\nQuarterly . . . „ 3. „ 50\nYearly . . . . „ 12. „ 00\n\nTHE MASK\nIs at the disposal of readers at the\nfollowing places in Florence &\nGabinetto Vieusseux Grand Hotel\nHotel de la Ville & Hotel Washington\nHotel Bristol & Biblioteca Filosofica\n-01 French Lemon's Bank. and the\nfollowing Restaurants & Cafes\nReininghaus Gambrinus Melini\n& Paskowski Giacosa Lapi\nDoney Troller. &\nWith the opening of the season this\nlist will be Increased.\n\nNEW YORK DRAMATIC\nMIRROR\nThe oldest and most reliable American\ntheatrical paper, published every week\nat 121 West 42nd Street. New York, U.S.A.\nSample copies on request free of\ncharge. Foreign subscriptions 50 Dollars\none year; 1.70 Dollars three months.\n\nPhilosophical\nLending Library\n5000 volumes 011 Philosophy, Religion,\nMysticism, Occultism, ecc. English\nphilosophical Books & Reviews. Rea-\nding and lecture room, lectures every\nSunday free for subscribers Sub-\nscription terms very moderate. Pro-\nspectus and catalogue on application.\nPIAZZA DONATELLO 5 - Tel. 15=30"}]}