{"numero_id": "bm-bmtnaau-1908-10-01", "volume": "bmtnaau_1908-10_01", "ocr_sha256": "ae858cbfc3cc9aa1091cc2152643b9994861445cf606ccbea5f39143960c2cfe", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1908/10_01/bmtnaau_1908-10_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1908/10_01/bmtnaau_1908-10_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01", "articles": [{"article_id": "bm-bmtnaau-1908-10-01-c002", "article_bluemountain": "bmtnaau_1908-10_01#c002", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 3, "image_fin": 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=bmtnaau190810-01.2.2", "titre_corps": "SOME OPINIONS ABOUT THE MASK, ITS APPEARANCE, ITS ARTICLES AND ITS AIMS", "titre_sommaire": "SOME OPINIONS ABOUT THE MASK, ITS APPEARANCE, ITS ARTICLES AND ITS AIMS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.3", "debut_caractere": 0, "fin_caractere_exclue": 3347, "texte": "SOME OPINIONS\nABOUT THE MASK,\nITS APPEARANCE, ITS\nARTICLES AND ITS AIMS.\nj® SATURDAY REVIEW. 44 A new journal of which\nthe second number has appeared, printed in a very\noriginal way, with woodcuts,.... and articles... on all\ntopics connected with the theatre. Such a journal, if it\ncould receive sufficient support, would have a distinct\nvalue of its own. \"\nPAEE MAEE GAZETTE. 44 A new theatrical journal called The Mask, of which\nthe first number has just appeared, seems worthy of a really hearty welcome. There\nis not a page in it which is not interesting and stimulating in a fine way, and many\nare both \". <&r jgr\nThe same journal, referring to The Mask's championship of the Censor says,\n44 a writer who takes his side strongly deserves gratitude, whatever his view may\nbe; for it is only by Sincerity and Courage that the cause of Art can be usefully\nserved.\nWESTMINSTER GAZETTE• \" The Mask; a curious, interesting, revolutionary\nmagazine concerning the theatre. \" 44 The Mask, by the way, is a quite remarkable,\nrevolutionary magazine, which, unlike any purely theatrical magazine that I can\nrecollect, is rich in intelligence, eager discussion of theatrical affairs, treating drama\nand the stage seriously as great matters of art, and striking fiercely against the idea\nthat a playhouse should be a mere place of entertainment. '' This 44 interesting\nmagazine is likely to have a great effect upon the drama of the future. There is no\ntrace of somnolence in The Mask.\nMORNING POST. 44 Among the least expected editorial sallies are a protest\nagainst the stage treatment of religious subjects,.... 44 Salome \" is not forgotten....\nand the assertion 44 the censor is not only a blessing, he is a necessity. \"\n& THE SPHERE• The Mask has now reached its fifth number. In the first place\nthe format is most engaging. It is a nice f01i0.... printed in a thick black type on\na rough paper. It contains many delightful woodcuts by Mr Craig of his own and\nother's composition.... strange designs of beautiful simplicity which give new life to\nthe art of Bewick. As for the literary matter, it is a torrent of idt*as. \" &\nlAVERPOOI, COURIER• \" The Mask is a new 44 monthly journal of the art of\nthe theatre \", and if anything were required to prove how deeply the possibilities\nof the drama are now impressing some of the most eager and imperative minds in\nEurope, the contents and appearance of its first number would provide evidence and\nto spare in a manner of the utmost dignity it attempts to 44 bring before an\nintelligent public many ancient and modern aspects of the Theatre's art, which have\nbeen too long disregarded or forgotten \". We wish The Mask a longer life than\nambitious periodicals of the kind are generally permitted to enjoy. \"\n44 The second number of The Mask has now reached us from its Florentine printing\nplace, and by the delicacy of its format, the pleasantness and dignity of its types, the\ncareful excellence with which its illustrations have been reproduced, the character\nof the illustrations themselves, and the curious distinction and sincerity of its literary\ncontents, it seems to prove that the artistic centre of Europe has once again shifted\nto Italy. \" &\nMr HAEBANE MACFAIJ, in THE BAII,Y GRAPHIC. & 44 For one among us who is\ninterested in the art of painting a dozen are beckoned to tine Theatre; yet, oddly"}, {"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 3750, "texte": "enough, while painting has its several sumptuous magazines, the theatre has not one\nworthy of it. From today we are to be rid of this unseemliness, for The Mask, from\nits headquarters in Florence, makes its first appearance here and throughout Europe,\nto do for the Art of the Theatre what The Studio has essayed to do for the arts of\npainting and of sculpture and of the crafts allied thereto. It is to be the mouthpiece\nof a group of young men of distinction upon the Continent, whose work is devoted\nto the theatre and to all that the theatre means.... men without fanaticisms as to\nvague \" reforms \" of the theatre so much as urged by the aim of ridding the theatre\nof certain ugly defects and weaknesses. Undoubtedly its staff is a strong one... The\nresults ought, to say the least of it, to be vastly interesting, for the personality of\nthe man whose artistry influences its pages has already cast that influence over the\ntheatre of Germany and Italy and Russia particularly of Germany. \"\nTHM LADY'S PICTORIAL. \" Not playgoers alone, but all who are interested\nin the art of the theatre will welcome No. I of a characteristically unconventional\nshilling magazine called The Mask, published in Florence.... In format, in type, in\ncontents, The Mask is unique, and, despite a certain air of preciosity, it is not\nmerely clever, but gives utterance to some very sane views upon many phases of the\nart of the stage. \"\n& OXFORD CHRONICLE. \" The Mask \" a highly aesthetic production, with\nits blunt type on rough paper, its wide margins, its wood»cuts, initials, and tail\npieces, and its artistic cover in green and black. \" & & &\nWHAT'S ON. \" Edited, printed and published in Florence, the first number of\na new monthly Journal, The Mask, devoted to the art of the theatre, makes a welcome\naddition and sets a splendid example to the sordid mass of monthly literature already\nin circulation.\n& THE SUNDAY CALL, EASTON Pa. U. S. A. \" Here is the finest magazine of\nits kind in the w0r1d.... I commend The Mask to all those who think they see the\ndawn of a New Theatre in America. \" &\n& MANCHESTER GUARDIAN. \" The Mask continues to provide interesting,\nprovocative, and debatable matter for those who care about the theatre. \" &\nMiss ELLEN TERRY writes. \" What a splendid number of The Mask this\nlast is! \" & & & & & &\nMr EDWARD HUTTON writes. I think The Mask improves every time you\nsend it to me ,r„ & & &\n& PUBLISHERS CIRCULAR. \" The July number is the fifth of a new Art\nmagazine, entitled The Mask, which is printed in English in Italy and does great\ncredit to the Tfpografia Bodoniana of E. Morandi of Florence. It is a bold folio\npage,.... the pritnt has dignity, the get=up distinction, and the text, so far as we are\nable to judge, is worthy of its handsome setting. Somehow one gets the impression\nthat to some extent The Mask exists to make known the aims and ideals of Mr\nGordon Craig;.... that they are sane and sensible ideas is shown, we think, by his\nanswers to the Editorial questions.\" (Realism and the Actor J?\n& PARIS AMERICAN* \" I have received a double number, that is to say, the\nnumbers for May and June bound in one, of a singularly clever magazine. It is\ncalled The Mask, is in its fifth month and is devoted to the Art of the Theatre. A\nmore artistic publication it is not possible to make. It is artistic in design, in paper,\nin letter-press, in color, in illustration, in its articles. Art peeps out of every pore.\nPile the adjective artistic mountain high, in Its positive, comparative and superlative\ndegrees, upon every conceivable aspect of this magazine, and you will not be excessive\nnor will you break the back of any noun. Its thought is strong and fearless. It has\na staff of strong writers and clever \" &&&<£?•&"}]}, {"article_id": "bm-bmtnaau-1908-10-01-c004", "article_bluemountain": "bmtnaau_1908-10_01#c004", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[148]", "page_fin": "[148]", "image_debut": 6, "image_fin": 6, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.2.3", "titre_corps": "DESIGN FOR PROLOGUE: TAMING OF THE SHREW", "titre_sommaire": "DESIGN FOR PROLOGUE: TAMING OF THE SHREW", "signature_source": "GORDON CRAIG", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 6, "page_imprimee": "[148]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 58, "texte": "DESIGN FOR PROLOGUE: TAMING OF THE SHREW. by GORDON CRAIG."}]}, {"article_id": "bm-bmtnaau-1908-10-01-c005", "article_bluemountain": "bmtnaau_1908-10_01#c005", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "149", "page_fin": "149", "image_debut": 7, "image_fin": 7, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.2.4", "titre_corps": "CONTENTS", "titre_sommaire": "CONTENTS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.7", "debut_caractere": 148, "fin_caractere_exclue": 560, "texte": "CONTENTS\nAFTER THE PRACTISE THE THEORY &\nSOME EVIL TENDENCIES OF THE MODERN THEATRE by GORDON UKAiu\n&MR TREE, Tim STAGH & Tim MASK by JOHN SEMAR THE ARCHITECTURE\n& COSTUME OF SHAKESPEARES GREEK PLAYS by E. W. GODWIN 0 THE REFORM\nSTAGE AT MUNICH: A LETTER from GORDON CRAIG 0 BOOK REVIEWS 0 FOREIGN\nNOTES 0 EDITORIAL NOTES 0 ENGRAVINGS by GORDON CRAIG, J, OLIVER, CHARLES\nBORROW, E. THESLEFF & OTHERS. 0 0 0 0 & &"}]}, {"article_id": "bm-bmtnaau-1908-10-01-c006", "article_bluemountain": "bmtnaau_1908-10_01#c006", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "149", "page_fin": "154", "image_debut": 7, "image_fin": 12, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.2.5", "titre_corps": "SOME EVIL TENDENCIES OF THE MODERN THEATRE", "titre_sommaire": "SOME EVIL TENDENCIES OF THE MODERN THEATRE", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.7", "debut_caractere": 562, "fin_caractere_exclue": 3264, "texte": "SOME EVIL TENDENCIES OF THE\nMODERN THEATRE\nby Gordon Craig.\n\ns I step before you to speak about the theatre do not mistake\nme for a reformer. I beg of you do not do that. When I\nbecome a reformer, that is to say, a surgeon and a physician\nin one, I shall take Hamlet's advice and \" reform it altogether\",\nbeginning with myself and ending with the lime-light man.\n& But to be a reformer one must be in the position of a\nreformer; that is to say, one must have at least half a dozen\nor a dozen theatres in different parts of the world so that\nthe reforms spread evenly. Two small progressive theatres\nin Paris, London or Berlin are quite useless towards improving\nthe state of things in the theatre.... its state as an art and\nan institution. Those who live in London or Berlin know very\nlittle what is passing in the two French theatres. Those who live in Paris and London have\nseldom heard of the Berlin theatres. And those who live in Berlin and Paris hardly know that\nany such theatres exist in England. & And so it is that these gallant little theatres which\nmake daily efforts to improve the state of things, bring about no marked nor lasting\nimprovement, because all their energy and occasional good deeds evaporate after a few\nthousand people have left the theatre. And the Art of the Theatre still remains unknown.\nIt would be quite another matter, (and 1 should be unable to write as 1 do), if any of\nthese theatres had discovered kaws for the art of the theatre; for these theatres to be\nunknown, unheard of, would matter but little to the men who are busy all the time\nsearching for the truths which are the basis of all things. One of the evil tendencies\nof the modern theatre is to forget this entirely.... to aim at being heard of for a few days\nand months, to make an effect in front of a full audience for two or three hundred\nevenings, and there an end. To reform this.... would it not need the headlong strength\nof some profoundly stupid giant? & &\n1 write, then, as an 0n100ker,.... not as a casual onlooker nor as an irritable one, but\nmore as one who takes a loving interest in watching the growth of plants in a beautiful\ngarden. The eye of such a man is instantly arrested by the weeds. Nothing seems so\nfoolish or so abominable to him as the weeds which absorb the goodness from the soil,\nrobbing the other plants of that goodness and altogether spoiling the beauty of the garden;\nand it is the weeds, the evil tendencies of the modern theatre, that I am concerned with here.\n& Bear in mind that when 1 speak of the theatre 1 do not allude especially to what is\ncalled the English theatre; nor do I mean that which they call the French theatre; 1 do\n\nNot a Reformer.\nAn Onlooker."}, {"page_pdf": 8, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.8", "debut_caractere": 45, "fin_caractere_exclue": 4893, "texte": "not particularly mean what is called the German theatre, nor the Italian, Scandinavian nor\nRussian theatres. All theatres of all lands are alike in all things except language, and,\nalas, the weeds so closely resemble each other that it is positively comic. &\n& 1 speak then of the Theatre as a whole, the Theatre of Europe and America, for I have\nseen none other; though I believe, from what I hear, that the Eastern theatre abstains\nfrom offences to the intelligence. & & & &\nThe tendency of the western theatre is to disregard the vital principles of the art...\nTo invent or borrow with haste so-called reforms which may attract the Public, not\nthose which are necessary to the health of the art.... To encourage piracy and imitation\ninstead of cultivating natural resource.... To take the keys of the place from their rightful\nkeepers, the artists, and to hand them over to the \" Business man \" or anyone. &\n& I write, as I say, as an onlooker, but I have been for over fifteen years a worker in\nthe theatre. This 1 say for the benefit of those who may not know and who question my\nauthority for these statements.\nI have many times written that there is only one way to obtain unity in the art of the\ntheatre. I suppose it is unnecessary to explain why unity should be there as in other\ngreat arts; I suppose it offends no one to admit that unless unity reigns \" chaos is come\nagain; I suppose this is quite clear; » ? - I & Very well then - So far, so good. And it\nshould not be difficult to make clear how this unity is to be obtained. 1 have attempted\nthis in my book ** The Art of the Theatre \", and now 1 wish to make clear by what\nprocess unity is lost.\n& Let me make a list, (an incomplete one, but it will serve) of the different workers in\nthe theatre. When I have made this list I will tell you how many are head-cooks and how\nthey assist in the spoiling of the broth.\nFirst and foremost, there is the proprietor of the theatre. Secondly, there is the\nbusiness manager who rents the theatre. Thirdly, there is the stage director,.... sometimes\nthree or four of these. There are also three or four other business men. Then we come\nto the chief actor and the chief actress. Then we have the actor and the actress who are\nnext to the chief; that is to say, who are ready to step into their places if required.^Then\nthere are from twenty to sixty other actors and actresses. Besides this, there is a gentleman\nwho designs scenes. Another who designs costumes. A third who devotes his time to\narranging lights. A fourth who attends to the machinery; (generally the hardest worker\nin the theatre). And then we have from twenty to a hundred under-workers,.... scene\npainters, costume makers, lime-light manipulators, dressers, scene-shifters, under machinists\nextra ladies and gentlemen, cleaners, programme sellers,.... and there we have the bunch.\nNow look carefully at this list. We see seven heads and two very influential members.\nSeven directors instead of one, and nine opinions instead of one. JZ?\n& Now then, it is impossible for a work of art ever to be produced where more than\none brain is permitted to direct; and if works of art are not seen in the theatre this\none reason is a sufficient one, though there are plenty more. & & &\n& Do you wish to know why there are seven masters instead of one? It is because there\nis no one man in the theatre who is a master in himself;.... that is to s*iy, there is no one\nman capable of inventing and rehearsing a play: capable of designing, and superintending\nthe construction of both scenery and costume: of writing any necessary music: of inventing\nsuch machinery as is needed and the lighting that is to be used.\n& No manager of a theatre has made these things his study; and it is a disgrace to the\nWestern theatre that this statement can be made. You have but to ask any manager in\nLondon, Berlin or Paris whether he can invent that which is to be presented in his theatre.\nOr ask him whether he can invent and design the scenes which are to be shown on his\nstage. Or ask him whether he knows anything about historic or imaginative costume; and\nwhether he knows a beautiful colour from an ugly one. Whether he can even combine\nlovely tones and colours together so as to form a whole, and whether he knows anything\nof the hand, the wrist, the arm, the neck, and all the rest of the values of the body in\nmovement. Ask him whether he knows how much light is sufficient to fully illumine\ntwenty cubic feet, and how much will over light twenty cubic feet and so waste the light.\nAsk him if he knows the weight of wood and cloth, or If he can tell you how swiftly or\nhow slowly a stage floor is able to be raised or lowered. Ask him any of these things, and\n\nThe Theatre\nas a whole.\nThe Western\nTheatre.\nThe need of\nUnity . &\nA list of workers\nSeven\nDirect 9 r s •\nWhy there are\nso many. &"}, {"page_pdf": 9, "page_imprimee": "151", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 4595, "texte": "he will blandly tell you (with shame be it spoken) it is not his business. And then\nthis remarkable master ol the art of the theatre will call up his co-workers, and, pointing\nto them, he wiSl say, 44 These are my assistants\n& He is not speaking the truth. They are not his assistants, they are his masters. They\nlead him with a hook in his nose like the great Leviathon which we see in pictures of the\nolder day pageants. He looks mighty terrible, but he is only made of emptiness covered\nwith paste board. Is not this a fine master? Is not this a pretty way to obtain this same\nunity, this one thing vital to the art?\n& So then we have to turn to the six other masters, each of whom help towards the patch-\nwork, and see if they will help us to a reasonable answer. The regisseur, or stage-manager,\nis under the delusion that in truth he is the one who is the artist,.... the inventor.... the\nmaster.... but, poor fellow, he is nothing of the kind, for no one is the master: each\nthrowing into the broth whatever ingredient he will. All are petty masters, each hindering\nthe other. Many of the regisseurs or stage-managers are known to me. I have worked\nwith some; others I have spoken with; but all are under the delusion that 1 mention. It\nis a kind of delusion of despair, for regisseurs are really very good workers and spare\nthemselves no pains when they are in the threatre. They should have spared no pains to\nprepare themselves for their task, before entering the theatre. & & &\n& As our questions to the director of the theatre met with such a lamentable reply, let\nus see whether the regisseur, or stage manager, will be able to give us a better answer.\nLet us ask him.... let us ask any regisseur in Europe or America.... if he can imagine and\ninvent that which is to be presented to the audience; that is to say, the piece, the play, the\nIdea, or whatever you may call it. Let us ask him whether he can design the scenes and\ncostumes for that piece, and whether he can superintend their construction.... that is to\nsay, whether he knows the secrets of line and colour and their manipulation. Let us ask\nhim whether he can direct without the aid of experts the different workmen who are\nemployed on account of their utility, not on account of their imagination. & And if there\nis one such man in Europe or America who can reply 4 Yes ' to all these questions, he is\nthe man to whom the control of the stages of Europe and America should be offered; for\nsuch a man would be able to train others to acquire the same capacities as himself, for\nhe would know what was necessary. And when you have ten such men in Europe you\nhave a new theatre. But there are not ten as you will find out if you ask. I could not\ntell you the name of one.\nAnd so it is that unity, as I have said, is absent from the art of the theatre. & &\n& Yet there are several brains in the theatre, who know that if they could find the secret\nwhich would produce this unity they would have discovered a very good thing indeed. In\nGermany there are a few such men searching in the top-most branches of the tree. But,\nas they do not think to search at the roots, their search leads them into strange acts. They\nmean very well, but they act very queerly. They are red hot in the pursuit, but they run\nblindfold.\n& The tendency of these men is to borrow. They borrow from every conceivable source.\nThey borrow from the painters, they borrow from the architects, the even borrow from\ntheir own fellows, any idea, so long as it is attractive; and so long as the idea has a plain\nenough base on which to build a little structure of sense, it is quickly transferred into\nthe theatre.\n& What away for one who wishes to be called an artist to act I Clever artists\nillustrating week after week In the comic papers of Germany find their ideas seized on\nand thrust upon the stage of the 44 Moderne \" theatre. 44 Jugend \" decorates Shakespeare\nand Bernard Shaw, and 44 Simplicissimus \"is useful for Gorky and Wedekind. & &\n& These things are experimental and rash innovations, dangerous alike to the art and to\nthe public. Hastiness characterizes all things in the theatre of today; hasty reforms, hasty\npreparation, hasty ideas as hastily carried out. The directors show an eagerness today to\nsecure the studio painters to design scenes for them. £>&&&&\nHow strange this is! Do they not see that they are inviting into their theatre that\nwhich in time will turn and rend it asunder, adding a fresh wound to an already mutilated\ncorpse.\nDo they not also see that to invite the studio painters into the theatre is an insult to those"}, {"page_pdf": 9, "page_imprimee": "151", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.9", "debut_caractere": 4642, "fin_caractere_exclue": 4755, "texte": "Not assistants\nbut masters.\nThe Regisseurs.\nThe search for\nnni t y .\nThe borrowing\nfever . &\nThe studio\npainters."}, {"page_pdf": 10, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.10", "debut_caractere": 0, "fin_caractere_exclue": 4825, "texte": "scene painters whose families have worked in the theatre for hundreds of years; and do\nthey not also see that the peculiar merit of the studio painter is of no avail inside a theatre,\nand that to engage a man who paints the side of a house would be a shrewder act on their\npart? & One curious side of this question of the painter being invited to cooperate in the\ntheatre is that I am looked on as supporting the tendency, and, in fact, am pointed out as\nan example of the success which attends the movement, whereas I am against the whole\nthing from beginning to end. &&&&&&&&\nIf the painter could bring any release for the art which lies so bound, firstly by convention,\nsecondly by the unintelligence and incapacity of those who are supposed to be its masters (?),\nthen their coming would be a welcome thing; but it is not release they bring; they bring\none more fettor. It is not their fault to offer their service; if is our fault to accept it.\nWe borrow, and we borrow and we borrow. We are already so much in debt that we are\nnearly in despair. And we are in such haste.... Why, this even makes the borrowing careless.\nThe bad is copied as swiftly and as thoughtlessly as the good. Any picture, any design,\nprovided it is flashy enough or eccentric enough, is seized on by these hasty and thoughtless\ndirectors and regisseurs, squeezed, and its juice, bitter or sweet, extracted from it.\nYet this hurrying and blundering is not so strange after all, and anyone who has lived a\nyear in a theatre can understand it. Day.... afternoon.... evening.... night, these gentlemen\nof the theatre are continually on the rush. (I am speaking of the \" moderne \" theatres;\nthose which are supposed to be on the advance.) Rehearsing in the morning.,., seeing\npeople in the midday.... studying parts.... looking at scenery.... play reading.... attending\nreceptions.... an author to see.... a critic to entertain.... an artist to catch.... incessant\nquarrels to smooth over.... at least one new play to be brought out each month.... capital to\nfind.... building to superintend.... always one incessant hustle. & & & &\nWhere, then, is the time to stop and consider about the art of the thing? This may do\nvery well for an oil business or a large grocery; these things thrive by hustling: not so\nan Art. In this haste all thought of the principles or the beauty of the art is lost sight of\nand all desire to produce beauty departs. &\nAfter all, we must admit that beauty by the side of intrigue is but a poor sort of a thing\nto follow; and a sort of burlesque intrigue is the goddess of the theatre of today. Burlesque\nintrigue, that is exactly the class of diplomacy in the theatre.... and how seriously these little\nimitation diplomatists go about their work!\nIt is very curious to read in De Goncourt's Memoirs of the impression the two brothers\nreceived when they wished to honour the theatre by bringing their work on to its stage.\nEdmond de Goncourt, a true courtier of distinction, surrounded by these burlesque\ndiplomatists of the theatre.... what a picture he paints for us! How keenly we feel, when\nreading the account of his different interviews with these gentlemen, how vulgar and\ncontemptable the situation must have been.\nIt horrifies and disgusts me to think that for ever and for ever and for ever such men as\nDe Goncourt, De Musset, Victor Hugo, Dumas, Goethe, Browning, and all the great writers\nand all the men of truest distinction in the world should be put in such a humiliating\nposition; and not only is it that which disgusts me, but it is shameful that it is ever the\ntheatre which should put these men in this position. & Must the theatre continually\ncry out that it contains none but the fifth rate men? Must the men of the theatre continually\nact when in the presence of other artists? And if they act, must they for ever continue to\nact ignominiously, so that the whole world cries out, \" Behold an actor, and a damn bad\nactor into the bargain!\" The actor has lately been priding himself that he has raised\nhimself from the old position when he was held as a vagabond and a thief. This is especially\nthe case in England. Would to goodness that he had remained a vagabond and a thief,\nso that he had not lost his distinction; for to become a gentleman in name, but grow vulgar\nto the core, is to be many times worse than a vagabond and a thief.\nLet the theatre drop its stupid games of amateur diplomacy. When it does its work itself\nthere will be no longer need for anything of the kind. When it drops this bad habit it\nwill have time to attend to the things which are of more importance and it will then have the\nspirit to look at things squarely.\nBut now to return to the tendency to invite the painters and other artists to assist us in\nour work, and the haste which characterizes everything we do. & & &"}, {"page_pdf": 10, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.10", "debut_caractere": 4872, "fin_caractere_exclue": 4974, "texte": "They bring no\nrelease.\nA continual rush\nDe Goncourt.\nBetter\nvagabondage\nthan vulgarity.\nTwo Tendencies"}, {"page_pdf": 11, "page_imprimee": "153", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 4724, "texte": "These two tendencies have driven the best workers out of the theatre. Century after\ncentury the artists of the theatre, despairing of ever seeing the stage awaken from its state\nof drunken lethargy, depart from the theatre and go elsewhere. & & &\nThe result Is that today there are no more artists in the theatre. The heads of the theatre\nare always men with a certain amount of business capacity; we may; in fact, call them\nbusiness men. &£?&&&\nThe business man employs one or two people who know what a tree looks like as\ndistinguished from a cat, and of course that is very useful. And so when the business man\nwants a tree his workman brings him 0ne.... How simple! When he wants a forest, Say, in\nthe \" Midsummer Night's Dream \", his man brings him one. He does not paint 0ne,... of course\nnot! That would be risky; risky and difficult. No, he has asked for a forest, and his man\nbrings him the real and original thing, tree by tree. \"There you are, Mr Manager,\nthere's your forest for you\", and Mr Manager replies, \"By Jingo, so it is! What a\nmagnificent artist you are!\" And then he runs out into the highways and byways/having\nfirst put on his celuloid cuffs, and says to all his relations and customers; \" Walk up,\ngentlemen! come and look at the scene which 1 have prepared for you! Have you ever seen\na scene like that? I flatter myself that nature can't do better....\" And his customers\ngasp. They gasp at the innocence of the man. All they can politely say to him is \"It is\nvery realistic!... \" And so through this crass innocence, realism reigns in the theatre.... for\nthe people are ever polite. £/ & jg?\nNot only does the manager demand a forest and is supplied with one, but he says to his\nactors \"Why don't you walk about and talk like ordinary beings? Be natural! Be natural!\nBe natural! \" And he will applaud any little mistake like tripping over the carpet, or\nfalling off a chair, if it is an accident, and will say \" Oh! Capital! Capital! that's most\nnatural! put that in every evening\". Anything to get a sense of chance there. & The\nidea of make-believe seems to him a preposterous idea when he can get the real thing. &\nIn England when he wants an army he sends one of his assistants to bring him half a\ndozen men from the so and so regiment and puts them into the armour of the Barusch\nPeriod. He never thinks of training all his men to appear military as soldiers are. He\ndoesn't reason in that way at all, but keeps on repeating, \" What's the good of imitation when\nyou Can get the real article?\" &\nAnd what is the g00d?... If you want the real article. Realism does want the real\narticle, and art has nothing whatever to do with realism. There are people who hold that\nrealism on the stage is not the bringing of real things in front of you. & If it is not this,\nwhat is it? & & & & &\nLet us try to state. Let us say that when we make a realistic production we aim to put\ninto a semi-real shape that which is already quite real. We aim to invest it with\nsomething life-like so that it appears to have a pulse in it, flesh and blood, and to\npossess other actual qualities. And now one turns to the real thing to find what we\nhave to copy. We gaze long at a face. We see it is not beautiful, that it is not strong,\nthat it is not healthy, and that it is everything which art detests. We look closely at a tree.\nWe see it is in decay, that the leaves are falling, that it is half a skeleton. We look carefully\nat a building, we are struck by the quantity of bricks used and overcome by the thought\nof the labor and pain it must have cost to put all the bricks in the right place. And so we\nfind that to look closely at reality is to be terrified by what we see; and, if not terrified,\nsaddened. & How unreasonable it is to say that the artist exists to copy the defects\nand blemishes of nature! How ridiculous to say that man is gifted with vision in order to\nchronicle faults! To say that faults are beautiful and defects are charming is a platitude.\nThey may or may not be, but not in Art. Do they perhaps make a work of art more\ninteresting? 1 think not. One may say only that they are a trifle comic and that Is all.\nAnd so in time realism produces and ends in the comic,.... realism is caricature. The theatre,\nwith its realism, will end in the music hall, for realism cannot go upwards, but always\ntends downwards. Down it goes until we reach the depths And then, Aharchy!\nAriel is destroyed and Caliban reigns. & & & & & &\nAnd 1 do not really believe there is very much to be done; not that 1 am at all a pessimist\nin regard to the Art, because 1 know well enough that this will emerge unaided in due\ntime; but there is not very much to be done at present by the people who are now in power"}, {"page_pdf": 11, "page_imprimee": "153", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.11", "debut_caractere": 4771, "fin_caractere_exclue": 4852, "texte": "The business\nman . &\n& W ha t he\nwants . &\nArt and Realism\nRealism is\ncaricature."}, {"page_pdf": 12, "page_imprimee": "154", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.12", "debut_caractere": 45, "fin_caractere_exclue": 3191, "texte": "for if they began \" doing things \" they would probably only make matters worse instead\nof better. Affectation would be added to vulgarity. j® j® Gr j®\nSomething may be done by the younger men, but not if they are under the influence of\ntheir eiders, because then you get an old young man. £? Something is being done in England\nat the miniature Court Theatre, but the influence of the author is too strong there.... an\nauthor who uses the theatre for purposes of reclame. £? Something is being done in the\nDeutches Theatre in Berlin, but the influence of Jugend and Simplicissimus and Business\nmen is too strong there. Besides, that Theatre shows signs of the borrowing fever at a\ndreadfully high temperature. Then there is also the little art Theatre in Moscow; full of\nenergy, loving realism so well that they even turn realism itself into a joke. Then\nthere is Lugng Poe's \"L'Oevre\" and Antoine's Theatre, the two solitary efforts of Paris;\nbut how little is achieved can be gauged by the last production by Antoine's of \"Julius Caesar\".\ns® If all these little theatre were moving forward in the same direction, all of them having\none common idea and following one code of laws, then some little good might be expected\nbecause they would all be in unison and in harmony; and the old-fashioned theatre with\nits plays and its scenery and its real actors would certainly be improved. 4® 4®\nTo expect what ought to happen.... to expect the managers of these theatres to meet in\ncouncil and to take an oath of allegiance to serve no other Muse but the Muse of their art,\nno longer to remain in bondage to the Muse of Literature or Painting, but to strike the\nfirst new note in honour of their own Goddess.... this ideal hope can only remain a dream,\nfor man is vain and selfish; and besides, the Laws of the Art have not yet been inscribed.\nAnd it is because of this, because the Laws have not yet been inscribed, because neither\nthe priests nor the worshippers know the Laws, that all action is useless at present, j®\nThe Laws must be discovered and recorded. Not what each of us personally takes to be\nthe law, but what it actually is. j® We can come to no disappointment by finding out.\nIf all of us fail to find the thing and one comes along who makes it clear, who will there\nbe to deny him? 4® The worst of it is that no one wants to find the law nowadays, but every-\none wants to force his own ideas, trumpery or the reverse, upon the rest,... or to make\nmoney. A great vanity and a petty selfishness tie our tongues and our brains, 4® 4®\nWhat the art of the theatre, (or rather we must call it the work of the theatre at present)\nlacks, is form. It spreads, it wanders, it has no form. It is this which makes the difference\nbetween the work of the theatre and the fine arts. To say that it lacks form is to say that\nit lacks beauty. In art, where there is no form there can be no beauty. 4® 4® j®\nHow then can it obtain this form? Only by developing slowly under the laws. And these\n1aw5?...?... I have searched for them, and 1 believe lam finding some of them. j® 4®\n\nWhat is being\nd on e . j®\nAn oath of\nallegiance.\nThe lack of\nF or m . j®"}]}, {"article_id": "bm-bmtnaau-1908-10-01-c009", "article_bluemountain": "bmtnaau_1908-10_01#c009", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "154", "page_fin": "154", "image_debut": 12, "image_fin": 12, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.2.5.3", "titre_corps": "DESIGN FOR A MASK", "titre_sommaire": "DESIGN FOR A MASK", "signature_source": "E. THESLEFF", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 12, "page_imprimee": "154", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.12", "debut_caractere": 3193, "fin_caractere_exclue": 3224, "texte": "DESIGN FOR A MASK. E. THESLEFF."}]}, {"article_id": "bm-bmtnaau-1908-10-01-c010", "article_bluemountain": "bmtnaau_1908-10_01#c010", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "155", "page_fin": "155", "image_debut": 13, "image_fin": 13, "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=bmtnaau190810-01.2.6", "titre_corps": "REALISM AND THE ACTOR AGAIN : MR TREE, \"THE STAGE\" and \"THE MASK\"", "titre_sommaire": "REALISM AND THE ACTOR AGAIN : MR TREE, \"THE STAGE\" and \"THE MASK\"", "signature_source": "JOHN SEMAR", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 13, "page_imprimee": "155", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 4110, "texte": "REALISM AND THE\nACTOR AGAIN.\nMR TREE, \"THE STAGE\"\nand \"THE MASK\"\nJOHN SEMAR.\n\" Hjphe Stage\" has been at it again! The Stage has been\ntrying to get Mr Beerbohm Tree out of a difficulty into\nwhich he had never fallen. Mr Tree holds a certain opinion\nabout Realism and the Actor, and, he having stated that\nopinion very clearly, The Stage like the old grandmother is\nwringing its hands over what it considers an indiscretion on the part of its grandson.\nThe Stage is quite stupid this time. It actually misinterprets our questions \" Do you\nconsider Realism and Acting to be a frank representation of human nature?\" and\n\" Should the Actor be allowed the same liberty in the expression of the passions as is\npermitted to the writer and the painter?\" It says that these two questions mean 44 Do you\napprove of nude exhibitions on the Stage?\". , &\nThe Stage accuses The Mask of being an eccentric journal, but if this is not sheer madness\non their part, we should be unable to say what modern English madness is to-day. In our\nlast but one number it is made quite obvious to any right thinking person that realism is\nabominable, on the Stage, and that to be entirely realistic, even though you are governed\nby Art, is to be entirely what is called 4 improper'.\nWe only speak about the external part of the realistic exhibitions which those in favor of\nrealism advocate, because the external part of it is the first part to be considered. We\ncome later on to the internal and more subtle things; but if realism will not stand the\nfirst test which is brought to it, how mudh less will it stand the later tests? If The Stage\nis shocked at the idea of a nude Adam in the theatre, then surely it should also be shocked\nat the idea of the naked thoughts of an Adam, and yet it is not shocked at this: because we\nhave no doubt the writer reads his Bible and his Milton every day (i). & &\nWhen these questions were received by the different gentlemen who were courteous enough\nto answer them, they, no doubt, said to themselves, \" Let us see what realistic representation\non the Stage would entail, no matter what the subject should be \". (You probably recollect,\nMr Stage, that all subjects are open to the poet and the painter). Then they would probably\nrun through in their minds the different subjects taken both by the poet and the painter. Now\nwe ask The Stage to call to mind those subjects which are most favored by poets and by\npainters. Prom time immemorial they have been the subjects which we mentioned and which\nseem to amaze The Stage as something new. Why, surely it is quite a well-known and\nancient fact that the stories of Perseus, & Andromeda, of the Annunciation, of Judith and\nHolofernes, & of The Fall, have been the very first subjects chosen by all painters and poets\nsince they first began to paint and write? Now we were perfectly certain when we started\nthis enquiry that these subjects should Not be put upon the stage, not because it is immoral\nto represent them, but because it would be ridiculous to attempt such a thing and therefore,\nknowing how much the opinion of well-known men influences the public mind, we thought\nwe would ask those best entitled to speak on the subject their opinion.\nThe Stage says that the question of nude representations upon the Stage was never put\nbefore these gentlemen; but bless your heart, dear Stage, who ever said it was? But\nyou cannot deny, try how you may, that the subjects where liberty is allowed the writer\nand the painter are the very subjects where the question of nudity does come in. K we\nare wrong you must prove your point, but you keep on proving it back-wards at present.\nWe should say that the best thing is to say nothing more about it, and it will be swiftly\nforgotten.... And, by the way, would it be possible for you to stop flattering us by calling\nus 'eccentric'? We pray you we implore you don't throw us into the briar bush!\nA misinter-\npretationt.\nThe external\npart. &\nA well-known\n& ancient fact.\n(I) We hope so, at any rate!\nNext month we shall publish the opinion of MISS EEEEN TERRY on the subject\nof Realism and the Actor. Ed."}]}, {"article_id": "bm-bmtnaau-1908-10-01-c012", "article_bluemountain": "bmtnaau_1908-10_01#c012", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "156", "page_fin": "158", "image_debut": 14, "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=bmtnaau190810-01.2.7", "titre_corps": "THE ARCHITECTURE AND COSTUME OF SHAKESPEARE'S GREEK PLAYS", "titre_sommaire": "THE ARCHITECTURE AND COSTUME OF SHAKESPEARE'S GREEK PLAYS", "signature_source": "E. W. Godwin", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 14, "page_imprimee": "156", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.14", "debut_caractere": 0, "fin_caractere_exclue": 3635, "texte": "THE ARCHITECTURE\nAND COSTUME OF\nSHAKESPEARE'S GREEK\nPLAYS\nby E. W. Godwin.\n*Y*he two plays which I bracketed together in my introductory\nnotes on the Greek plays a belonging in their action to\nthe palmy days of classic art were Winter's Tale and Timon\nof Athens (B. C. 430-497). That there is as considerable\ndifference in the classical character of these two works one\nmust at once admit. That the classic element in the Winter's\nTale is overlapped by English medievalism to an extent\nwhich is at times startling cannot be questioned by anyone\nafter reading the fourth Act. That quite apart from the\nintroduction of sixteenth-century English country life there\nare strange anachronisms respecting places and people must\nbe conceded. As, for example, the introduction of the Oracle\nof Delphi as an integral part of the plot, the mention of the\nEmperor of Russia as Hermione's father, the presence of Julio\nRomano in Sicily as a painter of sculpture, and the existence\nof a country with a sea-coast called, Bohemia, and ruled over\nby a king called Polixenes. Nevertheless, I am not by any\nmeans prepared to say with some readers of this play, that\nit is a comedy quite removed from the sphere of reality. The\nItalian painter and the Emperor of Russia slip into the text\nalmost unobserved, and but for the picture of the English\nvillage festival, together with one or two slight references to\ncostume, we should have a play almost wholly free from\nanachronism. & & & &\n& The important part in the plot played by the\nPhythia, or priestess, at Delphos recalls a time anterior\nto 371 B. C., when the oracle was popular; the names of the dramatis persoiiso\nare Greek down to the names of the shepherdesses and pedlar, and the state of society,\ndivided as it is between two classes—the aristocrat and the labourer—might take us back\neven to the heroic age. Then for \" Bohemia\" I would venture to read Boeotia, and so get\nrid of the geographical difficulty. Finally, as to the English character of the fourth Act,\nwe may bear in mind that a shepherd's life was very much the same in the heroic age as\nit was in the Elizabethan or any other age; and that the Boeotian poet Hesiod, in the\n\\\n\" Works and Days,\" gives us pictures of a simple country life very little different from those\ngiven us by the English poet in the Winter's Tale. We have, therefore, to choose some\ndate before 371 B. C. for the period of the action. I say 371 B. C., because after this time\nthe Delphic oracle had so far lost its hold upon the public faith, and its old towering influence\nhad been so much reduced by the exhibition of manifest favouritism, that it would hardly\nhave attracted a colony so far removed as Sicily. Nor, on the other hand, must we venture\nto go too far back, for fear we reach an art period wherein the extremely realistic painted\nstatue as we have it suggested in the play would have been impossible—impossible to the\nfirst or Archaic period as a matter of course, impossible to the second or Ideal period\n(464-433 B. C.) as a matter of art, which artists at least can readily understand. It is to\nthe beginning of the naturalistic, or third and last, period of Greek art (430-407) that I would\nrefer the action of the Winter's Tale; and thus it comes to be bracketed with Timon of Athens,\nwhich is really a Greek history, Timon, the misanthrope, and Alcibialdes, the general of the\nAthenian forces, being prominent names in Athenian history from 422-404 B. C. &\n& & The architectural scenery in the Winter's Tale is Sicilian, and includes.\n\nStrange\nanachronisms\nA time anterior\nto 371 B. C.\nThe Delphic.\nOracle.\nThe architectu-\nral scenery."}, {"page_pdf": 15, "page_imprimee": "157", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 4700, "texte": "i. A street scene (before the palace).\nI 2. A room in the palace of Leontes.\n< 3. The outer room of a prison.\n4. A court of Justice.\n5. A room in Paulina's house.\n<o> The palace of Polixenes appears once only in the short opening scene of the fourth Act,\nhut this scene might just as well be a country road or a garden as a palace. The five Scenes\nabove enumerated may be reduced to four without doing the slightest violence to the text,\nand without incurring any archaeological improbability, by uniting Nos. 3 and 4, so making\nthe court of justice serve for the second Act. Nor would it be very difficult with careful\nattention to the planning and setting of the scene to reduce the list still further by uniting\nNo. 2 with 3 and 4. Now, although the period of the action belongs to the naturalistic, or\nclast style of Greek art, it is necessary to remember that a Classic city, as a rule, was no\nnecessarily built in one style, any more than a Gothic town was. That just as London and\nYork, Coventry or Bristol in A. D. 1430 exhibited buildings of a variety of dates up to th\npurest work of the thirteenth century, and beyond that to at least the middle of the twelfth\nentury, so in Agrigentum for a century and a half, and in Leontini and Syracuse for three\nenturief, the builders' hands had been busy before Polixenes came on his unfortunate visit\nto Leontes. set &\nBut whatever variety existed in the proportions of column and entablature, whatever\nchanges and refinements were developed under the indubitable art-culture of the Sicilians,\nDoric was the prevailing character of the architecture. On public buildings like the temples\nand palaces, colour, gold and varnish, were lavishly used outside as well as inside when the\nwork was of porous stone and stuccoed, but they were perhaps applied in less quantity when\nthe work was of marble. M. Hittorff, who, in 1823-4 travelled in Sicily in company with the\nGerman architects Zanth and Stier, tells us that the body of the walls were painted a pale\ngolden yellow, the triglyphs and mutules blue, the metopes and tympanum red, and on some\nparts were traces of green, all used in various degrees of intensity. Other antiquaries tell\nus that \" the white marble never remained naked,\" and that even the portions intended to\nbe white received a transparent coating, that the blue used was of a grey opaque character,\nthat the red was transparent, and that the green was very delicate although bright. The streets\nwere narrow, and were paved with irregular polygons of stone, and every building was not exactly\na repetition of a peristylar temple. Indeed the majority of houses appear from Aristophanes\nto have been very deficient in their internal arrangement, and to have been built on very\nlimited plots of ground. There seem to have been no sanitary provisions of any kind, and the\npoultry lived, Irish-fashion, in the room where the beautiful Myrrhina carded her wool or\nplied her distaff. The roofs of many of the houses were flat, and thither the women retired,\nsome to indulge in wine, some to mourn for Adonis (i). The Nestorian house, illustrated in\nLayard's \" Nineveh,\" may be taken as giving a fair idea of the general appearance of the\ncommon class of Greek tenements. But, again, a Greek town was not made up wholly of\nthe lower class of dwellings any more than it was of temples or palaces. In the\nThesmophoriazusae and Ecclesiazusae we meet with residences of more than one storey where,\ntoo, the women of the house have a distinct suite of rooms to themselves, where some of\nthe upper windows look into the street, and where bay trees and statues shade the entrances.\nStill with the extension of plan and increase of means here indicated there was scarcely any\naddition to the walls in the shape of architectural detail. Nor did the ordinary\ndomestic building of Greece partake of anything like what we understand by the words\narchitectural style until a hundred years after the time now under our consideration.\nThe difference between the houses of the lower and the upper classes was one depending\nchiefly on size, solidity, and paint. The palace of Leontes towards the street might be\nrepresented as a massive stuccoed wall of two storeys covered with painted decorations and\npictures, pierced above by plain square windows with folding shutters, and below by a wide\nand lofty doorway set in a frame of Doric antee entablature and triple step-raised threshold.\nThe doors themselves should be folding, with framework of plates of bronze studded with\ngold, two large golden rings used as knockers, and numerous square panels filled with ivory\nbas reliefs, painted and gilded, and backed by bronze or wood. Before the antse might be"}, {"page_pdf": 15, "page_imprimee": "157", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.15", "debut_caractere": 4730, "fin_caractere_exclue": 4847, "texte": "&Do r i c\nArc hitecture.\nAristophanes.\nA Greek town♦\nThe palace\nof Leontes\n\n(l)Lyslstrata. See also Ezeklei, chap. 8."}, {"page_pdf": 16, "page_imprimee": "158", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.16", "debut_caractere": 28, "fin_caractere_exclue": 2864, "texte": "placed marble statues (i) of Apollo and Hermes, and before these, and by the side of them,\nthe bay and the laurel, with marble seats beneath them, extended avenue-like to the line\nof the street.\n& The interior or room of the palace might be either the aoXri or peristyle, the open part\ncovered with a linen velarium, or a hall arranged on a theatre-like plan. Such an addition\nto a royal palace might be unusual, although not impossible, for the half circle was a form\nof ground plan by no means limited to the uses of the drama. But whichever plan may be\nselected, there must be no lack of imagery portrayed upon the walls round about—amber\ncolour and ivory, bright red and gold, grey blues and silver, tender green and bronze may\nall be there. There too we may have curtains of the rich Tyrian purple, covered with\nembroidery in gold, white and red. The wall paintings might be arranged in two or three\nrows, the lowermost level being some four or five feet from the floor, The subjects would\nbe taken from the stories of gods and heroes—Aphrodite's envy of Psyche, or the labours\nof Hercules; how Jason won the guarded fleece of gold, or how Theseus escaped the labyrinth—\nwhilst some rooms would be wholly given up to the story of the siege of Troy or the\nwanderings of Odysseus. But unfortunately such scenery as that of the kind here suggested\nis practically impossible in this generation. We may have artists equal to save the work\nfrom being ridiculous, but no manager would be mad enough to pay for it, while actors and\nactresses work from low motives, are sand-blind to art, and therefore utterly incompetent\nto act in the poetical drama.\n& Paulina's house would of course be very Inferior to the royal palace, and yet we must\nremember that the text indicates a place of refinement, a house where art was honoured,\nwhere sculpture was at home, and where the latest and best work was enshrined god-like\nwithin a tabenacle, tent, curtain, or velum. These curtains were movable in three ways,\ndrawn aside, by beyng either by being lowered to the floor, or by being raised to the ceiling.\nThey were either of fine wool or thick linen, and some were sumptuous in wealth of lovely\ncolour and woven figure. An open or half open gallery or corridor, the roof resting on squared\nposts of timber or masses of stuccoed masonry, statues on cylindrical pedestals, a wall with\na painted band or two of ornament, a recess for Hermione, and a general amberish tone of\ncolour over all are the chief ingredients for this scene. & & & &\nThe costume for the Winter's Tale would be so much like that for Timon of Athens,\nthat I defer its consideration until we have gone through the scenery of the latter.\n\nThe interior.\nPaulina's House\n\n(1) Statues in the open air had {ivjviaxoi or metal disks above the head to protect them from falling matter."}]}, {"article_id": "bm-bmtnaau-1908-10-01-c015", "article_bluemountain": "bmtnaau_1908-10_01#c015", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "159", "page_fin": "160", "image_debut": 17, "image_fin": 18, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.2.8", "titre_corps": "THE THEATRE", "titre_sommaire": "THE THEATRE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 17, "page_imprimee": "159", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 5213, "texte": "THE THEATRE\n\nIN GERMANY, HOLLAND, RUSSIA &\nENGLAND. A Series of Letters from\nGordon Craig.\n\n?y| y dear Semar.\nOn leaving Florence you asked me to send\nyou some news of the theatres that I should\nsee in Germany, England, Holland and Russia,\nand 1 had no sooner arrived at Munich than\n1 wanted to send you news enough to fill\nthree of The Mask. &\nOn getting as far as Amsterdam, 1 wanted to\nsend you more news, and now that I am in\nEngland, 1 see that it is absolutely necessary\nto delay no longer. &\nTo write to you about the Art of the Theatre\n1 don't intend, because the art of the theatre\npositively does not exist, but one can write\nabout the activity and inactivity of the\ntheatre, and if you ask me where the theatre\nis most active, I reply it is in Germany. The\nGerman activity is not only impulsive but\nsystematic, and this combination is going to\nbring the German theatre in twenty years to\nthe foremost position in Europe. 1 judge\nby what 1 see and not by what I hear, and\nthis is what 1 have seen in Munich.\n1 have seen Princes lending their name and\ngiving their money to the furtherance of the\ntheatre. I have seen a new building which\nhas been erected in Munich by the architect,\nProfessor Littmann. 1 have been over this\ntheatre, and 1 can assure you that it is first\nclass, that it is not a foolish affair with\nseveral balconies one over the other, with\nunnecessary gilt or marble columns, with\nunnecessary draperies of plush or silk, or\nwith some vast chandelier, or with the ordinary\norchestra boxes and the ordinary stage. It is\nquite out of the ordinary in every way, and\nyet you see Princes support it, without\ncalling it eccentric, and, what is more, the\npeople support it. I myself tried to obtain\na seat for the evening's performance, and\nalthough it was at the end of the season, it\nwas impossible to do so. Through the courtesy\nof Professor Littmann I was able to go on to\nthe stage, during the day, and into the\nauditorium, and 1 was shown the scenic\ndevices and those for lighting. &\nThey were unlike others that I have seen.\nThe question is not whether they were good\nor whether they were bad, the only thing\nthat 1 shall draw your attention to at all\nis, that although they are entirely new,\nentirely original, they are receiving\nsupport, and not a sort of timid support, but\nthe whole hearty support of the city of\nMunich; then 1 arrive in England to find not\none city giving any support from its heart to\nany original idea which may be in the heads\nof the younger generation in England, and\nthis is nothing short of disgraceful. In England\nwe have, 1 suppose, as much intelligence, as\nmuch taste, and perhaps as much genius as\nin other lands. Beauty? my dear Semar, the\nbeauty of England is extraordinary, the beauty\nof its people is amazing, but its energy seems\na little bit at rest. &\n1 fully believe that all the artists are playing\ngolf, or shooting pheasants. 1 can imagine\nthat they say to themselves they would\nrather be in the open air than sitting in a\nroom to be insulted by a lot of rich titled\ndormice, to whom it has never occurred that\nthere is something better than sleeping.\nBefore I left England, I thought it was the\nfault of the Actor-Managers and the men in\nthe theatre. The former seemed to me a most\nwicked people; but the Actor-Managers are\nnot entirely to blame. It is the country that\nis to blame, it is the rich gentlemen of England\nwho are to blame. What right have I for\nsaying this? Why, my stay in Germany\nof about four years, my visit to Russia and\nto Holland, and then on the top of it this last\nstay of two days in Munich. One sees and\nrealises these things in a flash; one waits,\nlooks, enquires, wonders, and suddenly it\nbecomes quite clear; and unless the gentlemen\nof England wake up, putting aside the coat\nof the snob, assuming the coat of the gentle-\nman, the theatre will not revive; until the\nday when the English gentleman finds he has\nlost all his money, that it has been taken by\na foreign nation, and in despair he looks\nround for some one who can help him. Then\nhe will look to the artists and the workers.\n1 am not a Socialist. 1 love the idea of the\nswagger Lords of England; but it no longer\ncontains swaggering Lords with their swag-\ngering ways; they are all somnambulists; white-\nfaced, white-bearded; they creep up and down\nthe towns from Dover to Carlisle, muttering\nto themselves, \" Thank God! Father left me\nwell off. Now I shall have no more worry! \"\nBut they certainly will have a great deal\nmore worry, and it seems to me, in away\nthey don't expect. No I lam not a Socialist,\nmy dear Semar,.... not yet!\nNow a word or two more about the Munich\ntheatre,... though in the Munchener Kuntsler\nTheatre (which means the Artist's Theatre\nof Munich) to a certain section of English\nartists, perhaps the best section, there is\nsomething alarming, something incidentally\nof what they would calf an Art-y theatre,\nArt with a capital *A\\ But do you know Art\nis now allowed to have a capital 4A' as well as\nany other work? I have seen War with a\ncapital 'W' and what is against Art with a\ncapital *A'? & & &\nI cannot tell you all the plays that they\nproduce, but it is sufficient to speak here\nof \" Faust \", which they commence at six"}, {"page_pdf": 18, "page_imprimee": "160", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.18", "debut_caractere": 0, "fin_caractere_exclue": 4543, "texte": "o'clock in the evening in order that\nthey should not be obliged to cut it; of the\n44Das Wundertheater\", the play which possibly\nmany people have not heard of, by that little-\nknown writer, Cervantes. Of the 44 Die\nDeutschen Kleinstadter \", of 4 Twelfth Night';\nbesides these, of the44 May Queen also of the\n\"Little dance Legend\", \"Herr Peter Squenz\",\nand other interesting works. (1 believe The\nStudio speaks of \"As you like it \" but I think\nthey mean 4 Twelfth Night '). jp\nThese productions are the work of the artists\nand the actors, but they are not unknown\nactors, or actors who call themselves inde-\npendent. They are the actors of the Royal\nTheater, that is to say, they are what is called\nconventional actors. 1 wonder if there were\nfound a man generous enough to build an\nArt theatre in England, whether the chief\ntheatres would lend their actors? The\nOrchestra in the little Munich theatre is not\nmerely a scratch one, it is the Munich\nPhilharmonic Orchestra. & &\nNow from such a beginning, from such a\ncombination of actors, musicians, and design-\ners, (not to speak of the Stage-Managers,\nwho are the best that can be obtained,) much\nis to be expected. From such a combination\nIn England, we could expect as much. Al-\nthough 1 was unable to see the performance,\n1 know that it must have been very excellent,\nand very excellent because very thorough.\n1 did see the Stage, and of that t will tell\nyou something.\n& It was very small, but vfery complete.\nNothing seemed to have been left to chance.\nRopes, Scenery, Lights, seemed to be all out of\nthe way; everything seemed to have been, as\nit were, put into the cupboard. The Scenes\nwhich were in use were all hung up, but\n1 cannot describe how they were hung\nup, how well done, how cleverly done. The\nScene was set tor the evening, chairs and\ntables covered. The Scenery, although it\nhad been in use for several months, showed\nno sign of wear whatever; even the corners\nwhere two pieces meet together seemed\nto be as fresh as the day they were made.\nEverything seemed so good, so well nursed.\n1 was enchanted by what 1 saw, it said this\none thing so clearly to me; it said 44 We\n\"Germans are not prepared to say whether\n44 the performance will be artistic or not; we\n44 are not prepared to say whether a genius is\n44 comfng into the theatre or a fool; but we are\n44 determined that whether it is a fool or a\n44 genius, he shall find everything in perfect\n44 order and he shall have nothing to complain\n44 of as to our arrangements. Unless we give\n44 him a good machine (not necessarily an\n44elaborate machine) the work will not have a\n44fair chance\". & & J&\nIt would be something to find out the way\nthe Germans set about such a task; it would\nbe very interesting to note whether it is a\nCommittee which produces all this system,\nor whether it is the national training, or\nwhether It is dependant upon a man's per-\nsonality. I think it must be the national\ntraining. \" Right-about Turn I Quick March 1\nEyes Right!\" Something of this. The ap-\npliances on the Stage of the Theatre seemed\nto me to have come from all parts of the\nearth, for this is the German characteristic,\n...to refuse nothing if he thinks it will be of use.\n1 have not told you of the building itself. It\nis beautiful in appearance; it would take too\nlong to describe its charms, but here again\nits beauty is of secondary importance, what\nis paramount being its practicalness and its\nusefulness. You enter the building and\nstraight in front of you is the Box Office. On\neach side are steps leading to your seats, the\nwords indicating the direction you are to\ntake being made part of the decoration, not,\nas in England, a sort of label on the wall.\nThere is much more to be said and I will\nwrite you again about this and other theatres,\nand let us hope that soon some united action\nwill be taken in England in this matter of\na new theatre. First, that the English\ngentleman shall understand the part that he\nis to play; then that the organiser too shall\nlearn what part he is to play; then, finally,\nthat the artist may be called upon to fill the\nbeautifuland systematic theatre with beautiful\nthings.\nP.S. By-the-bye, in going through the stage-\ndoor of the theatre 1 saw there the following\nwords, 44 Sprechen Streng Verboten \", which\nmeans 44 Speaking Strictly Forbidden \". The\nfirst moment 1 thought 1 was in Heaven. 1\nthought 4At last they have discovered the\nArt of the Theatre \". But no, they have not\ngot so far with the Art.... Queer!... but the\nclue is in that very Sprechen streng verboten.\n\nGORDON CRAIG."}]}, {"article_id": "bm-bmtnaau-1908-10-01-c017", "article_bluemountain": "bmtnaau_1908-10_01#c017", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "159", "page_fin": "160", "image_debut": 17, "image_fin": 18, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.2.8.2", "titre_corps": "IN GERMANY, HOLLAND, RUSSIA & ENGLAND : A Series of Letters from Gordon Craig", "titre_sommaire": "IN GERMANY, HOLLAND, RUSSIA & ENGLAND : A Series of Letters from Gordon Craig", "signature_source": "GORDON CRAIG", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 17, "page_imprimee": "159", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.17", "debut_caractere": 13, "fin_caractere_exclue": 5213, "texte": "IN GERMANY, HOLLAND, RUSSIA &\nENGLAND. A Series of Letters from\nGordon Craig.\n\n?y| y dear Semar.\nOn leaving Florence you asked me to send\nyou some news of the theatres that I should\nsee in Germany, England, Holland and Russia,\nand 1 had no sooner arrived at Munich than\n1 wanted to send you news enough to fill\nthree of The Mask. &\nOn getting as far as Amsterdam, 1 wanted to\nsend you more news, and now that I am in\nEngland, 1 see that it is absolutely necessary\nto delay no longer. &\nTo write to you about the Art of the Theatre\n1 don't intend, because the art of the theatre\npositively does not exist, but one can write\nabout the activity and inactivity of the\ntheatre, and if you ask me where the theatre\nis most active, I reply it is in Germany. The\nGerman activity is not only impulsive but\nsystematic, and this combination is going to\nbring the German theatre in twenty years to\nthe foremost position in Europe. 1 judge\nby what 1 see and not by what I hear, and\nthis is what 1 have seen in Munich.\n1 have seen Princes lending their name and\ngiving their money to the furtherance of the\ntheatre. I have seen a new building which\nhas been erected in Munich by the architect,\nProfessor Littmann. 1 have been over this\ntheatre, and 1 can assure you that it is first\nclass, that it is not a foolish affair with\nseveral balconies one over the other, with\nunnecessary gilt or marble columns, with\nunnecessary draperies of plush or silk, or\nwith some vast chandelier, or with the ordinary\norchestra boxes and the ordinary stage. It is\nquite out of the ordinary in every way, and\nyet you see Princes support it, without\ncalling it eccentric, and, what is more, the\npeople support it. I myself tried to obtain\na seat for the evening's performance, and\nalthough it was at the end of the season, it\nwas impossible to do so. Through the courtesy\nof Professor Littmann I was able to go on to\nthe stage, during the day, and into the\nauditorium, and 1 was shown the scenic\ndevices and those for lighting. &\nThey were unlike others that I have seen.\nThe question is not whether they were good\nor whether they were bad, the only thing\nthat 1 shall draw your attention to at all\nis, that although they are entirely new,\nentirely original, they are receiving\nsupport, and not a sort of timid support, but\nthe whole hearty support of the city of\nMunich; then 1 arrive in England to find not\none city giving any support from its heart to\nany original idea which may be in the heads\nof the younger generation in England, and\nthis is nothing short of disgraceful. In England\nwe have, 1 suppose, as much intelligence, as\nmuch taste, and perhaps as much genius as\nin other lands. Beauty? my dear Semar, the\nbeauty of England is extraordinary, the beauty\nof its people is amazing, but its energy seems\na little bit at rest. &\n1 fully believe that all the artists are playing\ngolf, or shooting pheasants. 1 can imagine\nthat they say to themselves they would\nrather be in the open air than sitting in a\nroom to be insulted by a lot of rich titled\ndormice, to whom it has never occurred that\nthere is something better than sleeping.\nBefore I left England, I thought it was the\nfault of the Actor-Managers and the men in\nthe theatre. The former seemed to me a most\nwicked people; but the Actor-Managers are\nnot entirely to blame. It is the country that\nis to blame, it is the rich gentlemen of England\nwho are to blame. What right have I for\nsaying this? Why, my stay in Germany\nof about four years, my visit to Russia and\nto Holland, and then on the top of it this last\nstay of two days in Munich. One sees and\nrealises these things in a flash; one waits,\nlooks, enquires, wonders, and suddenly it\nbecomes quite clear; and unless the gentlemen\nof England wake up, putting aside the coat\nof the snob, assuming the coat of the gentle-\nman, the theatre will not revive; until the\nday when the English gentleman finds he has\nlost all his money, that it has been taken by\na foreign nation, and in despair he looks\nround for some one who can help him. Then\nhe will look to the artists and the workers.\n1 am not a Socialist. 1 love the idea of the\nswagger Lords of England; but it no longer\ncontains swaggering Lords with their swag-\ngering ways; they are all somnambulists; white-\nfaced, white-bearded; they creep up and down\nthe towns from Dover to Carlisle, muttering\nto themselves, \" Thank God! Father left me\nwell off. Now I shall have no more worry! \"\nBut they certainly will have a great deal\nmore worry, and it seems to me, in away\nthey don't expect. No I lam not a Socialist,\nmy dear Semar,.... not yet!\nNow a word or two more about the Munich\ntheatre,... though in the Munchener Kuntsler\nTheatre (which means the Artist's Theatre\nof Munich) to a certain section of English\nartists, perhaps the best section, there is\nsomething alarming, something incidentally\nof what they would calf an Art-y theatre,\nArt with a capital *A\\ But do you know Art\nis now allowed to have a capital 4A' as well as\nany other work? I have seen War with a\ncapital 'W' and what is against Art with a\ncapital *A'? & & &\nI cannot tell you all the plays that they\nproduce, but it is sufficient to speak here\nof \" Faust \", which they commence at six"}, {"page_pdf": 18, "page_imprimee": "160", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.18", "debut_caractere": 0, "fin_caractere_exclue": 4543, "texte": "o'clock in the evening in order that\nthey should not be obliged to cut it; of the\n44Das Wundertheater\", the play which possibly\nmany people have not heard of, by that little-\nknown writer, Cervantes. Of the 44 Die\nDeutschen Kleinstadter \", of 4 Twelfth Night';\nbesides these, of the44 May Queen also of the\n\"Little dance Legend\", \"Herr Peter Squenz\",\nand other interesting works. (1 believe The\nStudio speaks of \"As you like it \" but I think\nthey mean 4 Twelfth Night '). jp\nThese productions are the work of the artists\nand the actors, but they are not unknown\nactors, or actors who call themselves inde-\npendent. They are the actors of the Royal\nTheater, that is to say, they are what is called\nconventional actors. 1 wonder if there were\nfound a man generous enough to build an\nArt theatre in England, whether the chief\ntheatres would lend their actors? The\nOrchestra in the little Munich theatre is not\nmerely a scratch one, it is the Munich\nPhilharmonic Orchestra. & &\nNow from such a beginning, from such a\ncombination of actors, musicians, and design-\ners, (not to speak of the Stage-Managers,\nwho are the best that can be obtained,) much\nis to be expected. From such a combination\nIn England, we could expect as much. Al-\nthough 1 was unable to see the performance,\n1 know that it must have been very excellent,\nand very excellent because very thorough.\n1 did see the Stage, and of that t will tell\nyou something.\n& It was very small, but vfery complete.\nNothing seemed to have been left to chance.\nRopes, Scenery, Lights, seemed to be all out of\nthe way; everything seemed to have been, as\nit were, put into the cupboard. The Scenes\nwhich were in use were all hung up, but\n1 cannot describe how they were hung\nup, how well done, how cleverly done. The\nScene was set tor the evening, chairs and\ntables covered. The Scenery, although it\nhad been in use for several months, showed\nno sign of wear whatever; even the corners\nwhere two pieces meet together seemed\nto be as fresh as the day they were made.\nEverything seemed so good, so well nursed.\n1 was enchanted by what 1 saw, it said this\none thing so clearly to me; it said 44 We\n\"Germans are not prepared to say whether\n44 the performance will be artistic or not; we\n44 are not prepared to say whether a genius is\n44 comfng into the theatre or a fool; but we are\n44 determined that whether it is a fool or a\n44 genius, he shall find everything in perfect\n44 order and he shall have nothing to complain\n44 of as to our arrangements. Unless we give\n44 him a good machine (not necessarily an\n44elaborate machine) the work will not have a\n44fair chance\". & & J&\nIt would be something to find out the way\nthe Germans set about such a task; it would\nbe very interesting to note whether it is a\nCommittee which produces all this system,\nor whether it is the national training, or\nwhether It is dependant upon a man's per-\nsonality. I think it must be the national\ntraining. \" Right-about Turn I Quick March 1\nEyes Right!\" Something of this. The ap-\npliances on the Stage of the Theatre seemed\nto me to have come from all parts of the\nearth, for this is the German characteristic,\n...to refuse nothing if he thinks it will be of use.\n1 have not told you of the building itself. It\nis beautiful in appearance; it would take too\nlong to describe its charms, but here again\nits beauty is of secondary importance, what\nis paramount being its practicalness and its\nusefulness. You enter the building and\nstraight in front of you is the Box Office. On\neach side are steps leading to your seats, the\nwords indicating the direction you are to\ntake being made part of the decoration, not,\nas in England, a sort of label on the wall.\nThere is much more to be said and I will\nwrite you again about this and other theatres,\nand let us hope that soon some united action\nwill be taken in England in this matter of\na new theatre. First, that the English\ngentleman shall understand the part that he\nis to play; then that the organiser too shall\nlearn what part he is to play; then, finally,\nthat the artist may be called upon to fill the\nbeautifuland systematic theatre with beautiful\nthings.\nP.S. By-the-bye, in going through the stage-\ndoor of the theatre 1 saw there the following\nwords, 44 Sprechen Streng Verboten \", which\nmeans 44 Speaking Strictly Forbidden \". The\nfirst moment 1 thought 1 was in Heaven. 1\nthought 4At last they have discovered the\nArt of the Theatre \". But no, they have not\ngot so far with the Art.... Queer!... but the\nclue is in that very Sprechen streng verboten.\n\nGORDON CRAIG."}]}, {"article_id": "bm-bmtnaau-1908-10-01-c018", "article_bluemountain": "bmtnaau_1908-10_01#c018", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "160", "page_fin": "161", "image_debut": 18, "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=bmtnaau190810-01.2.9", "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": 18, "page_imprimee": "160", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.18", "debut_caractere": 4545, "fin_caractere_exclue": 5169, "texte": "BOOK REVIEWS\n\nTim PAPYRUS, MONTHLY. Michael\nMonohan, New Jersey, U. S. A. & &\n\\\\7e have received two copies of The\n\" Papyrus, a Magazine of Individuality\nedited by Michael Monohan. These two\nnumbers are very full of things about Mr Oscar\nWilde and include translations from Andr£\nGides book and from other writers who have\npreserved for us the faint suggestion of some\nof the good things felt and said by Wilde.\nFor instance, it must surely interest\nreaders of The Mask to remember that Wilde\ndid not think well of his plays 44 My plays\nare not great \", said he;441 think nothing of\nthem;... but if you only knew how amusing"}, {"page_pdf": 19, "page_imprimee": "161", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 3724, "texte": "they are.... incidentally most of them are the\nresult of bets.\" & & &\nHow delightful this is! Here we have Wilde\ndoing, merely for a bet, what other English\nplaywrights cannot do even from a sense of\nduty \\\nAlthough we like the article by the Editor on\nOscar Wilde's repentance, for ourselves we\ncannot somehow look upon Wilde in at all\nthe sane way. What is there so special about\nwhat is called his 44 repentance,\" or his\nsorrow, or his sin or his punishment as\ncompared with that of other men of equal\ngreatness? The sins of the world are\nextremely broad cast, and the punishment\nseldom, thank Heaven, reaches the sinful one.\nAlas, on the contrary, how often the blow\ndashes out the brains of some unfortunate!\nRepentance is very seldom seen,... again thank\nHeaven for it; and sorrow!... who has ever\nseen sorrow? Surely that pain worthy of the\nname is too great to show itself and too\nbeautiful ever to be described? It so often\ndegenerates into the maudlin, and that is what\nthe writers upon Wilde are apt to do. So, from\nbeing painted as the most outrageous\nvillain of 1895, the picture is now being\ntouched up to the other extreme and nearly\nevery other word written about him is sorrow,\nrepentance, morality, crucified, anguish,\ncharitable,... all these suggesting far too much\nthe martyr, which seems foolish towards the\npeople and really for the first time cruel\ntowards Wilde.\nOf course it is only the natural result of the\nstupidity which did not know how to deal\nwith his case. But it is this very stupidity\nwhich is the culpret and which we yet cannot\ndare to treat as the culpret but which we are\nobliged to look upon as the patient; this\nstupidity which caused the English nation to\noppress Wilde until, as they now see, he is\nbecoming a veritable hero; whereas Wilde was\nnot a hero at all, but merely a very remarkable\nintelligence and a man whom some considered\na great artist, with, we suppose, a good father\nand a good mother and all the advantages of\nlife and a sincere admiration for Queen\nVictoria. &\nAnd since we are on the subject of Wilde let\nus add here rather a good anecdote which we\nhave not come across in print although it may\nhave been told many times.\nWilde was rehearsing one of his plays. He\nwas trying to persuade an unwilling actor to\ndo a certain thing in a certain way and the\nactor would always do another thing in\nanother way. At last the actor lost his\ntemper and in desperation cried out, 44 Look\n\" here, Mr Wilde, you know you can lead a\n44 horse to the brook, don't you know, but\n44 you can't make him drink \".44 No \", replied\nWilde, 44 No, but you can make him\n44 pretend to! \"\nThe Papyrus also contains an excellent\nattack upon Dr George M. Gould, who gets\nmore pummelling in three pages than he has\nprobably ever received in his life. It will be\nremembered that Mr Gould was the friend of\nLafcadio Hearn and attacked him both as man\nand as artist after he had died. & &\nWe shall read The Papytus with interest\neach month, and this is more than we can\nsay of most of the American magazines which\nreach us.\n\nBOOKS, JOURNALS AND MAGAZINES\nRECEIVED & & & &\n44 The Training of The Imagination, by James\nRhoades John Lane. London & New York. „II\nNuovo Giornale 11 lust rat o Florence. & 44 The\nBook News Monthly \" Philadelphia, Pa. U. S. A\n44 What's On London. &44 Le TGmoin Paris.\n44 La Balance Moscow. \" Paris American\nParis. 44 The Fra East Aurora. New York. &\n44 The Bibelot Portland, Maine U. S. A. 44 The\nPapyrus \", East Orange., New Jersey U. S. A. &\n44 Current Literature \" New York. u The Studio \",\nLondon. 44 The New York Dramatic Mirror \",\nNew York. &44 Rivista di Roma \", Rome. 44 Argus \",\nHelsingfors. 44 Die Schaubuhne \", Berlin. \"II\nTeatro Illustrato 99 Milan. & & &"}]}, {"article_id": "bm-bmtnaau-1908-10-01-c020", "article_bluemountain": "bmtnaau_1908-10_01#c020", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "160", "page_fin": "161", "image_debut": 18, "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=bmtnaau190810-01.2.9.2", "titre_corps": "THE PAPYRUS, MONTHLY. Michael Monohan", "titre_sommaire": "THE PAPYRUS, MONTHLY. Michael Monohan", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 18, "page_imprimee": "160", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.18", "debut_caractere": 4559, "fin_caractere_exclue": 5169, "texte": "Tim PAPYRUS, MONTHLY. Michael\nMonohan, New Jersey, U. S. A. & &\n\\\\7e have received two copies of The\n\" Papyrus, a Magazine of Individuality\nedited by Michael Monohan. These two\nnumbers are very full of things about Mr Oscar\nWilde and include translations from Andr£\nGides book and from other writers who have\npreserved for us the faint suggestion of some\nof the good things felt and said by Wilde.\nFor instance, it must surely interest\nreaders of The Mask to remember that Wilde\ndid not think well of his plays 44 My plays\nare not great \", said he;441 think nothing of\nthem;... but if you only knew how amusing"}, {"page_pdf": 19, "page_imprimee": "161", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 3053, "texte": "they are.... incidentally most of them are the\nresult of bets.\" & & &\nHow delightful this is! Here we have Wilde\ndoing, merely for a bet, what other English\nplaywrights cannot do even from a sense of\nduty \\\nAlthough we like the article by the Editor on\nOscar Wilde's repentance, for ourselves we\ncannot somehow look upon Wilde in at all\nthe sane way. What is there so special about\nwhat is called his 44 repentance,\" or his\nsorrow, or his sin or his punishment as\ncompared with that of other men of equal\ngreatness? The sins of the world are\nextremely broad cast, and the punishment\nseldom, thank Heaven, reaches the sinful one.\nAlas, on the contrary, how often the blow\ndashes out the brains of some unfortunate!\nRepentance is very seldom seen,... again thank\nHeaven for it; and sorrow!... who has ever\nseen sorrow? Surely that pain worthy of the\nname is too great to show itself and too\nbeautiful ever to be described? It so often\ndegenerates into the maudlin, and that is what\nthe writers upon Wilde are apt to do. So, from\nbeing painted as the most outrageous\nvillain of 1895, the picture is now being\ntouched up to the other extreme and nearly\nevery other word written about him is sorrow,\nrepentance, morality, crucified, anguish,\ncharitable,... all these suggesting far too much\nthe martyr, which seems foolish towards the\npeople and really for the first time cruel\ntowards Wilde.\nOf course it is only the natural result of the\nstupidity which did not know how to deal\nwith his case. But it is this very stupidity\nwhich is the culpret and which we yet cannot\ndare to treat as the culpret but which we are\nobliged to look upon as the patient; this\nstupidity which caused the English nation to\noppress Wilde until, as they now see, he is\nbecoming a veritable hero; whereas Wilde was\nnot a hero at all, but merely a very remarkable\nintelligence and a man whom some considered\na great artist, with, we suppose, a good father\nand a good mother and all the advantages of\nlife and a sincere admiration for Queen\nVictoria. &\nAnd since we are on the subject of Wilde let\nus add here rather a good anecdote which we\nhave not come across in print although it may\nhave been told many times.\nWilde was rehearsing one of his plays. He\nwas trying to persuade an unwilling actor to\ndo a certain thing in a certain way and the\nactor would always do another thing in\nanother way. At last the actor lost his\ntemper and in desperation cried out, 44 Look\n\" here, Mr Wilde, you know you can lead a\n44 horse to the brook, don't you know, but\n44 you can't make him drink \".44 No \", replied\nWilde, 44 No, but you can make him\n44 pretend to! \"\nThe Papyrus also contains an excellent\nattack upon Dr George M. Gould, who gets\nmore pummelling in three pages than he has\nprobably ever received in his life. It will be\nremembered that Mr Gould was the friend of\nLafcadio Hearn and attacked him both as man\nand as artist after he had died. & &\nWe shall read The Papytus with interest\neach month, and this is more than we can\nsay of most of the American magazines which\nreach us."}]}, {"article_id": "bm-bmtnaau-1908-10-01-c021", "article_bluemountain": "bmtnaau_1908-10_01#c021", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "161", "page_fin": "161", "image_debut": 19, "image_fin": 19, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.2.9.3", "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": 19, "page_imprimee": "161", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.19", "debut_caractere": 3055, "fin_caractere_exclue": 3724, "texte": "BOOKS, JOURNALS AND MAGAZINES\nRECEIVED & & & &\n44 The Training of The Imagination, by James\nRhoades John Lane. London & New York. „II\nNuovo Giornale 11 lust rat o Florence. & 44 The\nBook News Monthly \" Philadelphia, Pa. U. S. A\n44 What's On London. &44 Le TGmoin Paris.\n44 La Balance Moscow. \" Paris American\nParis. 44 The Fra East Aurora. New York. &\n44 The Bibelot Portland, Maine U. S. A. 44 The\nPapyrus \", East Orange., New Jersey U. S. A. &\n44 Current Literature \" New York. u The Studio \",\nLondon. 44 The New York Dramatic Mirror \",\nNew York. &44 Rivista di Roma \", Rome. 44 Argus \",\nHelsingfors. 44 Die Schaubuhne \", Berlin. \"II\nTeatro Illustrato 99 Milan. & & &"}]}, {"article_id": "bm-bmtnaau-1908-10-01-c022", "article_bluemountain": "bmtnaau_1908-10_01#c022", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "161", "page_fin": "163", "image_debut": 19, "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=bmtnaau190810-01.2.10", "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": 19, "page_imprimee": "161", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.19", "debut_caractere": 3726, "fin_caractere_exclue": 5001, "texte": "FOREIGN NOTES\n\nXXfe print below the replies received from\n* Holland and Warsaw to the following\nquestions:\n1. Does the work in the Theatres in your\ncity show hasty conception and careless\nperformance, or careful thought and slow\nand painstaking execution?\n2. Is the Public contented with what\nit receives in the Theatres, or, if there are\nthree or four sections of the Public, are they\ndivided on this point?\n\nHOLLAND\n\nHphe Hague has not one theatrical company\n* of its own. Until the end of the season\nwe had the Residentietoneelgeselschap, but\nneither the energy and great capacity of Mr\nBrondgeest, its leader and chief actor, nor\nthe youthful talent of Miss Alice Plato and\na few others were able to overcome the\nindifference of our public. The Company gave\nits performances in a big hall which was never\nbuilt for such a purpose, and where the\nhearing is bad and the seats uncomfortable.\nThis may be one of the reasons of Mr\nBrondgeest's want of success.\nOther companies from Amsterdam and\nRotterdam give performances at the Hague,\nbut as all are obliged to travel from town to\ntown with a very large and varied repertoire,\nperformances are not as a rule prepared as\ncarefully as would be possible under less\ntrying circumstances.\nIn the only theatrical building we have"}, {"page_pdf": 20, "page_imprimee": "162", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.20", "debut_caractere": 0, "fin_caractere_exclue": 5421, "texte": "performances are given by the Royal Opera\n(French) twice a week and every other Sunday.\nIn a large hall, (The Het Gebouw), not however\nbetter fitted for theatrical performances than\nthat of the Zoo, several Dutch and foreign\ncompanies also act. Their financial success is\non the whole very doubtful: only operettas\nin Dutch translations or in German are always\napplauded.\nThe general public goes to the Royal Theatre\nand most of the playgoers content themselves\nwith the performances given by the royal\ncompany from Amsterdam. Artists and\nauthors, however,... in fact the greater part\nof the more literary and artistic public, do\nnot generally seek artistic enjoyment there.\nMost critics are rather severe about the Royal\nCompany, which is the only one subsidized\nby Her Majesty the Queen. The Government\ndoes not subsidize any theatre.\nFrom time to time a few young artists and\namateurs, desirous of bringing Art on to the\nstage, endeavour to please connoisseurs under\nthe lead of one or two well known actors.\nBut connoisseurs are few, and as the great\nmajority of the public only pays attention to\nthem so long as the enterprise may be\nconsidered as new and more or less a topic\nof the day, they do not usually win more than\na passing success. Business men are very\nsceptical about these generous attempts to\nreform the Dutch stage! Notwithstanding\nthat scepticism, next season two of these\ncompanies will begin anew to struggle for\nArt,... and for life! & & &\nAs a general rule I may say that all companies\nare apt to study Dutch plays somewhat better\nand with more care than foreign ones. Not\none of them comes up to the mark in\nShakespeare or in German classics. We have\nsome good individual actors for that kind of\nwork, but as yet not one good \"ensemble\".\nAs to your second question, 1 regret to say\nthat the public at large do not manifest any\nenthusiasm for the stage in this country, and\ntherefore do not consider theatrical matters\nto be of enough importance to occupy\nthemselves about them in any other way\nthan by going to the theatres, 0r.... staying\nat home. A very few actors and actresses\nare popular, but if they leave a company\nbecause they are not engaged for the next\nseason people suffer them to go without\nfinding fault with the managers who deprive\nthem of the opportunity of witnessing these\nartists. &\n\nF. L. The Hague.\n\nWARSAW\nB. N.\nTheatre in Warsaw for many years has\nexisted under conditions which render\nimpossible any development or any careful\nand conscientious work. & &\nBeing administered by Russian magistrates\nwho do not understand the Polish language,\nand who not only ruin the Theatre financially\nbut also lower it artistically, having the right\nof decision in the choice of the pieces to be\nplayed and in the alotment of the roles, the\ntheatre in Warsaw has fallen very iow. Nor\nis there any regisseur capable of raising it.\nThe theatre has excellent actors, but the\nadministration systematically discourages\nthem, their salaries at times not being paid\nfor months. & & &\nSo it is that the Warsaw Theatre, once\none of the best in Europe, has ceased to\ninterest the public, whose artistic aspirations\nhave been crushed by recent political events.\nWarsaw has long been awaiting a radical\nchange in this state of affairs.\n\nMUNICH\nTHE REFORM STAGE\n\nnpfoe Germans, ever energetic, ever splendidly\n* patriotic, entirely in earnest, ....and, oh the\nimportance of it!... are nowhere more in\nearnest, nowhere more patriotic or energetic\nthan in Munchen. & & &\nWhether they turn their attention to\narchitecture, painting, furniture, journalism\nor the theatre they bring to their studies the\nsame determined attitude. Their new\nmuseums, bridges, decorations, illustrated\npapers, are all alive. Englishmen who have\nread The Studio know this. The Studio,\never at the disposal of the energetic suppliers\nof articles sent from Germany, prints again\nand again illustrated papers showing and\ntelling of all the activity of the Munich\nartists.\nTake up The Studio of the last five or six\nyears and you will find many hundreds of\nphotographs showing the German idea of what\nan Exhibition should be, of what a bridge,\nmuseum, shop, theatre, table or chair\nshould look like. Especially famous are the\nMunchen artists for their arrangement of\nexhibitions. They do not merely open a few\nrooms and hang up a quantity of pictures.\nThey build a temporary but beautiful palace\nfor the works of art, and each picture or\nstatue has its special setting; they allow\nplenty of room for each design, and everything\nis done with thought. & &\nThis year this energetic attention has been\ndevoted to the Theatre; and the Studio has\nput itself at the disposal of a German writer\nwho tells us what the Theatre is and betrays\nat the same time what it is not. Thus we\nhave the following report: & &\nA masterly achievement, and one which is\nto have a far=reaching effect, is\nthe building which bears the title \" Miinchener\nKiinstler-Theater.\" The designer of this\n\" artist^tlieatrey\" Prof* Max had\nalready had more than one opportunity of\nshowing the way to new ideas and methods\nin theatre construction, from both the\npractical and artistic points of view. It may\nbe sufficient to mention here the Prince\nRegent Theatre in Munich, built on the\namphitheatre system, and the new Court\nTheatre at Weimar; and now this new theatre\nin the Exhibition Park exists as the result of\na self-sacrificing resolution to provide a place"}, {"page_pdf": 21, "page_imprimee": "163", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 5103, "texte": "where the movement for the reform of the\nstage may find expression. &\nThe aim of this reform movement, it may be\nsaid, is to bring about a decided change from\nthe naturalistic system of representing local\n\" colour \" on the stage, with its accompani-\nment of mechanical apparatus and decorative\ndevices of various kinds, all utterly lacking\nin artistic effect, and calculated only to delude\nthe spectator. Instead of that close imitation\nof houses and streets, of rocks and woods,\nconstructed of plaster and canvas, which has\nformed the customary stage-setting, the\nscenery in this \" Kiinstler-Theater,\" by being\nrestricted to the most essential and\ncharacteristic elements, partakes more of the\nnature of suggestion than representation.\nAll the details of the setting are of course\nderived from nature, but they are so simplified\nand refined in accordance with certain purely\ndramatic ideas that instead of a mere crude\nimitation of nature a poetic symbolism is\nintroduced. In this way the scenery, which\noften enough is so obtrusive as to divert the\nattention of the spectators from the dramatic\nproceedings, is kept in the background, and\ninterest can thus be concentrated on the ptay\nitself. & &\nThis idea is by no means a new one. Even\na century ago Goethe and Schinkel advocated\na reform in the same sense, and others have\ndone so since, but only now at Munich are\ntheir views finding practical realisation.\nAt the inauguration of the theatre Goethe's\n\" Faust\" was given in Eritz Erler's fine\nsetting, and the enthusiastic reception\naccorded to the new mise=>en=>seene of a\ndrama which offers such an extensive variety\nof scene proved the power of these ideas to\ncarry conviction. The performances which\nfollowed \" As You Like It,\" clothed by Julius\nDiez in a joyous, richly garb; the\npastoral play, \" The May Queen, \" which\nH. Huschbeck has arranged with a most tender\npoetic feeling; and the \" Tanzlegendchen \"\nto which Hans Beatus Wieland has given an\nextraordinarily picturesque effect hy the\ndecorations and costumes designed by him\nfor it—all emphasised the merits of this reform\nin the most striking way.\nAs only a comparatively small sum of money\nwas set aside for the construction of the\nbuilding it was incumbent on the architect\nto exercise the strictest economy, and by\ndispensing with an upper-stage he was able\nto cover both auditorium and stage with one\nroof. The wardrobes have been placed under\nthe auditorium, which takes the form of a\nsloping amphitheatre divided into twenty-two\nrows of seats. A refreshment room was\nlikewise dispensed with. In various ways,\nthen, both space and money have been\neconomised, and a very appreciable saving of\nthe latter has been effected by the use of\nplaster for a large part of the interior wall\nsurface. The auditorium has no plaster\ndecoration; the ceiling is panelled with pine\nslightly toned, while the walls are lined with\nstained oak relieved by inlays of darker wood.\nThe curtain Is of blue silk with applique\nembroidery, by Margarete von Brauchitsch.\nThe auditorium terminates in a row of boxes\ncommunicating with the foyer, the walls of\nwhich Julius Msssel has decorated with\nsymbolical paintings. The orchestra, in front\nof and below the stage, has been so arranged\nthat it can be easily covered over when no\nmusical accompaniment is required. The stage\nitself is at once simple and practical. It is\nonly 26 feet (8 metres) deep; a landscape\nforms the background, but there is no visible\nconnection between it and the floor, which\nhas been expressly made low, while in place\nof the coulisses there are tower-like sliding\nstructures which make possible a great\nvariation of scenery. It is well to add that\nthe architect has carried this undertaking\nthrough without any material recompense,\nand out of pure enthusiasm for the cause\nof reform\". & &\nin the above lengthy quotation the italics are\nBy referring to them the reader will\nsee that this reform of the stage which is\ncalled a masterly achievement refers only to\nthe stage setting, the scenery and the\ncostumes. Masterly it seems to be according\nto the report of Mr Craig, who has visited\nthe theatre,... but we note that he speaks\nonly in praise of the systematic organization,\nand not of the Art, although he has words\nof praise for Professor Littmann's building.\njg? We regret that it has been the work of\nthe painters, for the world needs no more\nreminder that the painters are men of brains\nand energy, We still await the Ideal Theatre,...\nthe only theatre,... that dreamed of by the\nartists of the Theatre, made and built with\nthe hands and filled with the brains of the\nartists of the Theatre.\n\nQ. N.\n\nS TRA TFORD-ON-A\nAt the Memorial Theatre. \" Twelfth Night \"\nwill be the play for the second Annual General\nPerformance of the British Empire Shakes-\npeare Society, to be held, (under the direction\nof Mr Actor Bond,) on September 30th,\nOctober Ist, 2nd and 3rd. There will be two\nmatinees and two evening performances, and\nthe two casts that will be employed drawn\nas they will be from all over the kingdom,....\nwill be representative of the acting members\nof the Society"}]}, {"article_id": "bm-bmtnaau-1908-10-01-c024", "article_bluemountain": "bmtnaau_1908-10_01#c024", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "161", "page_fin": "161", "image_debut": 19, "image_fin": 19, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.2.10.2", "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": 19, "page_imprimee": "161", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.19", "debut_caractere": 3741, "fin_caractere_exclue": 4134, "texte": "XXfe print below the replies received from\n* Holland and Warsaw to the following\nquestions:\n1. Does the work in the Theatres in your\ncity show hasty conception and careless\nperformance, or careful thought and slow\nand painstaking execution?\n2. Is the Public contented with what\nit receives in the Theatres, or, if there are\nthree or four sections of the Public, are they\ndivided on this point?"}]}, {"article_id": "bm-bmtnaau-1908-10-01-c025", "article_bluemountain": "bmtnaau_1908-10_01#c025", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "161", "page_fin": "162", "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=bmtnaau190810-01.2.10.3", "titre_corps": "HOLLAND", "titre_sommaire": "HOLLAND", "signature_source": "F. L.", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 19, "page_imprimee": "161", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.19", "debut_caractere": 4136, "fin_caractere_exclue": 5001, "texte": "HOLLAND\n\nHphe Hague has not one theatrical company\n* of its own. Until the end of the season\nwe had the Residentietoneelgeselschap, but\nneither the energy and great capacity of Mr\nBrondgeest, its leader and chief actor, nor\nthe youthful talent of Miss Alice Plato and\na few others were able to overcome the\nindifference of our public. The Company gave\nits performances in a big hall which was never\nbuilt for such a purpose, and where the\nhearing is bad and the seats uncomfortable.\nThis may be one of the reasons of Mr\nBrondgeest's want of success.\nOther companies from Amsterdam and\nRotterdam give performances at the Hague,\nbut as all are obliged to travel from town to\ntown with a very large and varied repertoire,\nperformances are not as a rule prepared as\ncarefully as would be possible under less\ntrying circumstances.\nIn the only theatrical building we have"}, {"page_pdf": 20, "page_imprimee": "162", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.20", "debut_caractere": 0, "fin_caractere_exclue": 2346, "texte": "performances are given by the Royal Opera\n(French) twice a week and every other Sunday.\nIn a large hall, (The Het Gebouw), not however\nbetter fitted for theatrical performances than\nthat of the Zoo, several Dutch and foreign\ncompanies also act. Their financial success is\non the whole very doubtful: only operettas\nin Dutch translations or in German are always\napplauded.\nThe general public goes to the Royal Theatre\nand most of the playgoers content themselves\nwith the performances given by the royal\ncompany from Amsterdam. Artists and\nauthors, however,... in fact the greater part\nof the more literary and artistic public, do\nnot generally seek artistic enjoyment there.\nMost critics are rather severe about the Royal\nCompany, which is the only one subsidized\nby Her Majesty the Queen. The Government\ndoes not subsidize any theatre.\nFrom time to time a few young artists and\namateurs, desirous of bringing Art on to the\nstage, endeavour to please connoisseurs under\nthe lead of one or two well known actors.\nBut connoisseurs are few, and as the great\nmajority of the public only pays attention to\nthem so long as the enterprise may be\nconsidered as new and more or less a topic\nof the day, they do not usually win more than\na passing success. Business men are very\nsceptical about these generous attempts to\nreform the Dutch stage! Notwithstanding\nthat scepticism, next season two of these\ncompanies will begin anew to struggle for\nArt,... and for life! & & &\nAs a general rule I may say that all companies\nare apt to study Dutch plays somewhat better\nand with more care than foreign ones. Not\none of them comes up to the mark in\nShakespeare or in German classics. We have\nsome good individual actors for that kind of\nwork, but as yet not one good \"ensemble\".\nAs to your second question, 1 regret to say\nthat the public at large do not manifest any\nenthusiasm for the stage in this country, and\ntherefore do not consider theatrical matters\nto be of enough importance to occupy\nthemselves about them in any other way\nthan by going to the theatres, 0r.... staying\nat home. A very few actors and actresses\nare popular, but if they leave a company\nbecause they are not engaged for the next\nseason people suffer them to go without\nfinding fault with the managers who deprive\nthem of the opportunity of witnessing these\nartists. &\n\nF. L. The Hague."}]}, {"article_id": "bm-bmtnaau-1908-10-01-c026", "article_bluemountain": "bmtnaau_1908-10_01#c026", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "162", "page_fin": "162", "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=bmtnaau190810-01.2.10.4", "titre_corps": "WARSAW", "titre_sommaire": "WARSAW", "signature_source": "B. N", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 20, "page_imprimee": "162", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.20", "debut_caractere": 2348, "fin_caractere_exclue": 3259, "texte": "WARSAW\nB. N.\nTheatre in Warsaw for many years has\nexisted under conditions which render\nimpossible any development or any careful\nand conscientious work. & &\nBeing administered by Russian magistrates\nwho do not understand the Polish language,\nand who not only ruin the Theatre financially\nbut also lower it artistically, having the right\nof decision in the choice of the pieces to be\nplayed and in the alotment of the roles, the\ntheatre in Warsaw has fallen very iow. Nor\nis there any regisseur capable of raising it.\nThe theatre has excellent actors, but the\nadministration systematically discourages\nthem, their salaries at times not being paid\nfor months. & & &\nSo it is that the Warsaw Theatre, once\none of the best in Europe, has ceased to\ninterest the public, whose artistic aspirations\nhave been crushed by recent political events.\nWarsaw has long been awaiting a radical\nchange in this state of affairs."}]}, {"article_id": "bm-bmtnaau-1908-10-01-c027", "article_bluemountain": "bmtnaau_1908-10_01#c027", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "162", "page_fin": "163", "image_debut": 20, "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=bmtnaau190810-01.2.10.5", "titre_corps": "MUNICH : THE REFORM STAGE", "titre_sommaire": "MUNICH : THE REFORM STAGE", "signature_source": "Q. N", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 20, "page_imprimee": "162", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.20", "debut_caractere": 3261, "fin_caractere_exclue": 5421, "texte": "MUNICH\nTHE REFORM STAGE\n\nnpfoe Germans, ever energetic, ever splendidly\n* patriotic, entirely in earnest, ....and, oh the\nimportance of it!... are nowhere more in\nearnest, nowhere more patriotic or energetic\nthan in Munchen. & & &\nWhether they turn their attention to\narchitecture, painting, furniture, journalism\nor the theatre they bring to their studies the\nsame determined attitude. Their new\nmuseums, bridges, decorations, illustrated\npapers, are all alive. Englishmen who have\nread The Studio know this. The Studio,\never at the disposal of the energetic suppliers\nof articles sent from Germany, prints again\nand again illustrated papers showing and\ntelling of all the activity of the Munich\nartists.\nTake up The Studio of the last five or six\nyears and you will find many hundreds of\nphotographs showing the German idea of what\nan Exhibition should be, of what a bridge,\nmuseum, shop, theatre, table or chair\nshould look like. Especially famous are the\nMunchen artists for their arrangement of\nexhibitions. They do not merely open a few\nrooms and hang up a quantity of pictures.\nThey build a temporary but beautiful palace\nfor the works of art, and each picture or\nstatue has its special setting; they allow\nplenty of room for each design, and everything\nis done with thought. & &\nThis year this energetic attention has been\ndevoted to the Theatre; and the Studio has\nput itself at the disposal of a German writer\nwho tells us what the Theatre is and betrays\nat the same time what it is not. Thus we\nhave the following report: & &\nA masterly achievement, and one which is\nto have a far=reaching effect, is\nthe building which bears the title \" Miinchener\nKiinstler-Theater.\" The designer of this\n\" artist^tlieatrey\" Prof* Max had\nalready had more than one opportunity of\nshowing the way to new ideas and methods\nin theatre construction, from both the\npractical and artistic points of view. It may\nbe sufficient to mention here the Prince\nRegent Theatre in Munich, built on the\namphitheatre system, and the new Court\nTheatre at Weimar; and now this new theatre\nin the Exhibition Park exists as the result of\na self-sacrificing resolution to provide a place"}, {"page_pdf": 21, "page_imprimee": "163", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 4631, "texte": "where the movement for the reform of the\nstage may find expression. &\nThe aim of this reform movement, it may be\nsaid, is to bring about a decided change from\nthe naturalistic system of representing local\n\" colour \" on the stage, with its accompani-\nment of mechanical apparatus and decorative\ndevices of various kinds, all utterly lacking\nin artistic effect, and calculated only to delude\nthe spectator. Instead of that close imitation\nof houses and streets, of rocks and woods,\nconstructed of plaster and canvas, which has\nformed the customary stage-setting, the\nscenery in this \" Kiinstler-Theater,\" by being\nrestricted to the most essential and\ncharacteristic elements, partakes more of the\nnature of suggestion than representation.\nAll the details of the setting are of course\nderived from nature, but they are so simplified\nand refined in accordance with certain purely\ndramatic ideas that instead of a mere crude\nimitation of nature a poetic symbolism is\nintroduced. In this way the scenery, which\noften enough is so obtrusive as to divert the\nattention of the spectators from the dramatic\nproceedings, is kept in the background, and\ninterest can thus be concentrated on the ptay\nitself. & &\nThis idea is by no means a new one. Even\na century ago Goethe and Schinkel advocated\na reform in the same sense, and others have\ndone so since, but only now at Munich are\ntheir views finding practical realisation.\nAt the inauguration of the theatre Goethe's\n\" Faust\" was given in Eritz Erler's fine\nsetting, and the enthusiastic reception\naccorded to the new mise=>en=>seene of a\ndrama which offers such an extensive variety\nof scene proved the power of these ideas to\ncarry conviction. The performances which\nfollowed \" As You Like It,\" clothed by Julius\nDiez in a joyous, richly garb; the\npastoral play, \" The May Queen, \" which\nH. Huschbeck has arranged with a most tender\npoetic feeling; and the \" Tanzlegendchen \"\nto which Hans Beatus Wieland has given an\nextraordinarily picturesque effect hy the\ndecorations and costumes designed by him\nfor it—all emphasised the merits of this reform\nin the most striking way.\nAs only a comparatively small sum of money\nwas set aside for the construction of the\nbuilding it was incumbent on the architect\nto exercise the strictest economy, and by\ndispensing with an upper-stage he was able\nto cover both auditorium and stage with one\nroof. The wardrobes have been placed under\nthe auditorium, which takes the form of a\nsloping amphitheatre divided into twenty-two\nrows of seats. A refreshment room was\nlikewise dispensed with. In various ways,\nthen, both space and money have been\neconomised, and a very appreciable saving of\nthe latter has been effected by the use of\nplaster for a large part of the interior wall\nsurface. The auditorium has no plaster\ndecoration; the ceiling is panelled with pine\nslightly toned, while the walls are lined with\nstained oak relieved by inlays of darker wood.\nThe curtain Is of blue silk with applique\nembroidery, by Margarete von Brauchitsch.\nThe auditorium terminates in a row of boxes\ncommunicating with the foyer, the walls of\nwhich Julius Msssel has decorated with\nsymbolical paintings. The orchestra, in front\nof and below the stage, has been so arranged\nthat it can be easily covered over when no\nmusical accompaniment is required. The stage\nitself is at once simple and practical. It is\nonly 26 feet (8 metres) deep; a landscape\nforms the background, but there is no visible\nconnection between it and the floor, which\nhas been expressly made low, while in place\nof the coulisses there are tower-like sliding\nstructures which make possible a great\nvariation of scenery. It is well to add that\nthe architect has carried this undertaking\nthrough without any material recompense,\nand out of pure enthusiasm for the cause\nof reform\". & &\nin the above lengthy quotation the italics are\nBy referring to them the reader will\nsee that this reform of the stage which is\ncalled a masterly achievement refers only to\nthe stage setting, the scenery and the\ncostumes. Masterly it seems to be according\nto the report of Mr Craig, who has visited\nthe theatre,... but we note that he speaks\nonly in praise of the systematic organization,\nand not of the Art, although he has words\nof praise for Professor Littmann's building.\njg? We regret that it has been the work of\nthe painters, for the world needs no more\nreminder that the painters are men of brains\nand energy, We still await the Ideal Theatre,...\nthe only theatre,... that dreamed of by the\nartists of the Theatre, made and built with\nthe hands and filled with the brains of the\nartists of the Theatre.\n\nQ. N."}]}, {"article_id": "bm-bmtnaau-1908-10-01-c028", "article_bluemountain": "bmtnaau_1908-10_01#c028", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "163", "page_fin": "163", "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=bmtnaau190810-01.2.10.6", "titre_corps": "STRATFORD-ON-AVON", "titre_sommaire": "STRATFORD-ON-AVON", "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": "163", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.21", "debut_caractere": 4633, "fin_caractere_exclue": 5103, "texte": "S TRA TFORD-ON-A\nAt the Memorial Theatre. \" Twelfth Night \"\nwill be the play for the second Annual General\nPerformance of the British Empire Shakes-\npeare Society, to be held, (under the direction\nof Mr Actor Bond,) on September 30th,\nOctober Ist, 2nd and 3rd. There will be two\nmatinees and two evening performances, and\nthe two casts that will be employed drawn\nas they will be from all over the kingdom,....\nwill be representative of the acting members\nof the Society"}]}, {"article_id": "bm-bmtnaau-1908-10-01-c030", "article_bluemountain": "bmtnaau_1908-10_01#c030", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "164", "page_fin": "166", "image_debut": 22, "image_fin": 24, "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=bmtnaau190810-01.2.11", "titre_corps": "EDITORIAL NOTES", "titre_sommaire": "EDITORIAL NOTES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 22, "page_imprimee": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.22", "debut_caractere": 0, "fin_caractere_exclue": 5054, "texte": "EDITORIAL NOTES\n\n& The 44 New York Dramatic Mirror \" a\nshort time ago contained a column about\nscenic artists, and it devoted a third of a\nleading article to speaking about scenic\nartists and their work. What do you think\nthey talked about all the time ? Business,\norders, orders, business and again business,\norders I Truly it takes one's breath away.\nOne would have thought that there might\nhave been a word or two about other things\nthan business and orders, but there was a\nwhole column and a third in a cheerful vein\nabout the 4 shop ' of it all. &\n44 The outlook for business is good \" said\nMr D. F. Dodge at the American Theatre,\n44 Our business this year is fair to that of\nlast year \" said Mr Edward Unitt,44 has not\nfallen off to any extent \". <4 Business has\nbeen much worse this year than last \" said\nMr D. H. Armbruster. 44 Business has been\na little slow this year \" said Mr Gates.\nj& I am looking at the column as I write\nand have been looking at it for ten minutes\nand I am unable to find words to express\nhow utterly stupid and short-sighted is such\nchatter in a newspaper. For the theatre is\nnot a business, and as it begins to be looked\nupon more and more as a business, so do\nthe receipts begin to decrease and decrease.\nReceipts of all kinds. The actors neither get\nthe same salaries nor the same plays as for-\nmerly. The audiences neither get the same\nperformances nor can they get in for the\nsmall sum as formerly. This treating of the\ntheatre as a business must stop if the theatre\nis to revive not merely as an art, but as an\ninstitution. No art was ever a success in any\nway whatever when it began to be treated\nin a commercial way. Who was the man\nthat killed the goose with the golden eggs?\nIt is awfully bad business anyhow, and it\nseems to me that to kill even the poorest\ngoose of an artist that lays golden eggs is\nidiocy. (1) It is well to keep the artist alive.\nHowever, there is a new kind of artist\ncoming up to-day, and he may be described as\nthe fighting artist. The next development\nwill be the organising artist and then I see\nthe day coming when if the business man\nbegins meddling with what does not concern\nhim he will be removed. It will be a beau-\ntiful day!....\nOrofessor Richard Burton, who has been\n* lately manifesting much energy as a\nspeaker on theatrical matters, recently,\naccording to The New York Dramatic\nMirror, delivered an interesting lecture at\nLos Angeles on the Municipal Theatre as\nan institution. In this lecture he warmly\nadvocated its establishment, declaring that\nin all cases where the system has been tried\n44 it is not only a social and educational\nnecessity, but it pays\".\n44 The Anglo-Saxon race \" continues Professor\n44 Burton, is almost blind, like a bat, to the\n44 tremendous social and educational influence\n44 of the theatre on modern life. The theatre\n44 is one of five great influences apart from the\n44 home. The other four are the public library,\n44 the church, the newspaper and the school.\n44 Except for the theatre, all of these have\n44 been enlightened and developed. There is\n44 a historical reason why this indifference to\n44 the theatre exists. It began with the Puritan\n44 prejudice in England, which survives even\n44 today. Other nations have not held this\n44 prejudice, and have regarded the theatre as\n44 an educational power. Many of them have\n44 backed it governmentally and subsidized it.\"\n44 Professor Burton \", the Dramatic\nMirror continues, 44 contends that the\n44 municipal theatre can be put on a business\n44 basis as well as on the basis of social\n44 improvement.\"\nThe business side of the question we do not\ndoubt: but it is not clever finance which is\ngoing to save the Theatre: it is Art, and of\nthat we see little hope in the scheme which\nProfessor Burton so blithely and confidently\nsets forth. & &\nObviously, Professor Burton is an optimist,\nand he has a touching belief in the infallibility\nof Bumbledom. His idea of the way in which\na city can help the theatre is first, by a mayor's\nveto of improper performances; second, by\nmunicipal appropriation and control: and of\ncourse that is all very we 11,... in theory.\nBut has Professor Burton had much experience\nin mayors,... especially provincial ones? Does\nhe realise that it is an office which, while it\nmay be held this year by an Earl of Warwick,\nmay pass next year to a pork butcher, a\npawnbroker or a tailor,... all doubtless\nestimable callings, but not those in which we\nusually look for men of great culture or\ndiscernment in matters relating to an art?\nWe have heard that the spirit of Elijah\ndescended on Elisha through the wearing of\na mantle: we have never yet noted that the\nspirit of the artist decended upon an honest\ntradesman through the donning of the mayoral\nchain. And unless he bring with him the\nspirit of the artist, how is the theatre to reap\nany benefit from this intervention of the\nmayor? &\nAgain, we cannot see eye to eye with Professor\nBurton in his second proposition, nor believe\n\n(1) We do hope we are not incorrect, and that, If we are,\nThe Stage will correct us."}, {"page_pdf": 23, "page_imprimee": "165", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 5620, "texte": "that in \" municipal appropriation and control\"\nlies the panacea of all those ills to which the\nmodern stage in heir.\nWe have usually been struck by the fact that\nthe corporate intelligence of a body of men\nis less, not greater, than the intelligence of\neach individually; which fact, unless we\ntranspose it and argue that the united folly\nof all is greater than the single folly of each,\nseems a refutation of Enclid's axium that the\nwhole is greater than its parts. Jg?\nBe that as it may, we have small hope of any\ngood accruing to the theatre from municipal\ncontrol, What reason have we to suppose\nthat a Mayor and Corporation would prove\nmore enlightened than the ordinary manager?\nIf they stood in the place of the manager or\nproprietor their aim would doubtless be to\nmake money, even as his is: Art might then,\nas now, have to go to the wall. &\nWe are entirely in accord with Professor\nBurton as to the tremendous social and\neducational influence of the theatre, but it is\nthrough men, not municipal bodies, that its\npossibilities will be realised, and these men\nwill have to be the artists. &\nIt is by helping the artists individually in\ntheir work, by facilitating, through grants of\nmoney, their studies and their experiments,\nthat we believe the only means lies by which\nthe municipality can afford the theatre any\nreal or adequate aid. jg?\n\\KJ* hope our readers will excuse us for\n* not giving them a quantity of Paragraphs\nfull of uninforming information. We trust\nthe day is far distant when we shall be\nforced into topical monotonies such as\nthe following, which may be of use to the\ntrade but are a bore alike to the artist and\nthe lover of art. \" George Arliss is not a\n\" parent, but he owns a parrot upon which\n\" he lavishes parental affection. A creature\n\" in the newest color mode of gray and pink\n\" feathers, and with impudent beak and\n\" staring green eyes, and a sweeter vpice\n\" than any other of his kind, helps to receive\n\" visitors in the Arliss drawing room. If it\n\" shouts disconcerting personal remarks at\n\" the visitor it is gently chided but is never\n\" sent from the room. Its name is Dinky\n\" Bits \". jg? \" Richard Harding Davis\n\" has been appointed a deputy sherriff of\n\" West Chester County. He has a summer\n\" home in the town of New Castle. \" or,\n\" Teddy Gamble spent the week end on his\n\" yacht cruising up the Hudson. He was\n\" accompanied by several friends. \" or \" Burt\n\" King, recently with the Poli Stock at\n\" Scranton, Pa... and his wife, Adele Lane,\n\" spent the week end in the Catskills, fishing\n\" and getting ready for the strenuous\n\" rehearsals on which they are to soon enter \"\nor \" Mr. Billy Downes, comedian, late\n\" Newman and Downes, \" later \" Downes\n\" and Langford, \" was initiated into the\n\" Terriers' Association on Sunday. Griff,\n\" in the chair, performed the ceremony. \"\nor \" Mr. Oswald Brookes is commencing at\n\" th© Grand, Swansea, on Monday next what\n\" he terms a Walter Howard season of two\n\" weeks. Two plays of Mr. Howard will\n\" form the repertory; The Midnight Wedding\n\" and Man and Wife. jg/ & jgr\nTheatrical journals often contain interesting\nannouncements which could be easily curtai-\nled in a single page, but the eighteen or\nnineteen other pages of these journals are\nliterally packed with paragraphs of the\nabove description. jg?\n& How dreary it must be week after week\nfor the actors apd vaudeville artists to read\nsuch things! That such papers reflect the\nModern Theatre is certain, and if these\njournals are compared with the journals of\nthe Arts of Architecture, Painting and Poetry\nthe relative position of Acting as an Art will\nbe ascertained. jg? jg? &\njg? This was one of the reasons for founding\nThe Mask.... so that it should no longer be\nsaid that the stage was the only art which\npossessed trade instead of art journals.\nThe nearest approach in England to an\nart journal was The Theatre, now quietly at\nrest. It tried to be an art journal, and it\ncould have become one if the actor managers\nhad not prevented its growth. That was the\nresult of permitting actor managers to run\nthe journal. The Mask hopes to avoid that\ndanger. £*&&&&\ncritics write in the journals of 'Mr\n* Frohman's production of \" such and\nsuch a play, they create in the public mind\nthe impression that Mr Frohman really\nhas produced a play himself; that he is\nresponsible for the good or bad ideas\nwhich crop up now and then during the\nperformance, and that the \"picture,\"\n\" grouping,\" \" business,\" etc, is the work of\nhis hand and brain. <£? /£>\nIt is not. Therefore it is incorrect to speak\nof Mr Frohman's \" production \" of this or that\nplay because the credit is not Mr Frohman's,...\nonly the cash is his, and, being in many\nthings of an Eastern turn of mind, he is\ncontent to \" take the cash and let the\ncredit go.\" & & &\nTherefore, gentlemen of the Press, be so\ngood as to give the credit of these productions\nto the Stage Managers. And also be careful\nnot to give the credit to the wrong Stage\nManager. There are generally two, and\nsometimes a third. Jg?\nLet us suppose that Mr Tree, for instance,\nis too busy with other things to be able to\ndevote himself to the actual stage management\nand so calls in the assistance of Mr Louis\nCalvert. Very good then; give Mr Calvert\nthe credit of the production of the play which\nhe has actually produced, jgr s &\nAnd do not forget his assistant. His assistant\nis the man who sees to it that the ropes don't\nfoul, that the curtain does not tear, that the\ngauzes do not catch nor the platforms give\nway. He it is who sees that the actors are not\nlate and the supers not unwashed. He keeps\nthe watch and the play commences and en"}, {"page_pdf": 24, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 5153, "texte": "to time if he is a capable assistant. He is not\nan artist, but unless he is a disciplinarian\nthe play may easily be a failure. &\nTherefore when you criticise the production\nof the play be careful to bear in mind that\nthere are two or more men behind the curtain\nacting as stage managers.\nIt there is a wait between the acts of fifteen\nminutes do not accuse the artists of this. Make\na savage attack upon the under stage\nmanager,... the man who holds the watch and\nis supposed to be a capable munipulator of\neven the most difficult scenes and a capable\ncontroller of the vastest of stage crowds.\nOn the other hand, if the scenes are ugly, do\nnot lay tho blame on the wrong man. Then\nit is that the artist should come in for 3'our\ncensure. Theatrical critics are greatly at\nfault for not ascertaining who is responsible\nand who is not. We would be inclined to\nsuggest that the critics should be invited to\nvisit an important production during the\nrehearsals when they wish, so that they would\nbe able where the weak places in stage\nproduction come in. Seeing seeing for\nthemselves, they would be the better able to\ncriticize, not only the results, but the methods\nwhich lead to those results. JE?\nHphe New York Dramatic Mirror of August\n29th, in a paragraph relating to Mr George\nAde, the playwright, tells us that Mr Ade\n44 scoffs at the idea that play-writing may be\nregarded as an art \". The journal goes on\nto quote his own words: & &\n& 44 I don't believe there is a man living\n44 who could make a reputation in literature\n44 by writing a play. The conditions are all\n44 against it. Usually by the time a play is\n44 produced there is nothing left of its original\n44 form, style or destiny. The author and\n44 his manuscript are put through a mangling\n44 process that flattens them both first, and\n44 after that the actor and the stage manager\n44 trim them &\nNow surely this is a very strong confirmation\nof the truth which has been again and again\nagain proclaimed by writers in The Mask,....\nthat the art of literature and the art of the\ntheatre are independent each of the other,\nand that any attempt to unite them is to\nthe loss of both. &\nIf by the time a play is produced there is,\nas Mr Ade affirms, 44 nothing left of its\noriginal form, style or destiny it is\nobviously harmful to any play to be brought\ninto the theatre. Why should the playwright\nproduce a work of art only to have it mangled,\ndistorted and spoiled?\nOf course if it was not a work of art when\nit left his hands, and if the new play which\nthe manager puts on his stage,.... (obviously\nnew, since it retains nothing of its 44 original\nform, style or destiny \"), is one, then it seems\nto prove that the manager, director, or what\nyou please to call him, is capable of creating\nfor himself what is necessary to set upon his\nstage, and that so the effort of the playwright\nwas superfluous. jg?\nBut suppose that the playwright had produced\na literary work of art? That being so, it\nwas complete when the last word was written.\nWhy, therefore, did he not leave it so? Why\ndid he not let it go direct from him, the\nartist, to the reader, the thoughts transmitted\nswiftly and vividly through the medium of\nthe printed word ? Why suffer it to be\ntreated in so cavalier a manner by actors and\nstage managers alike?\nIf the playwright be a man who, having\nwritten his play, can then design the scenery\nand costumes which shall visualise for the\npeople the images which he, as poet, conceived;\nif he can so direct and control and unite the\nmovements of the actors that they may\ninterpret, not merely the words, but that far\nmore subtle and elusive thing, the spiiit, of\nthe play; if his literary gift be but one detail\nof his complete equipment as an artist of the\ntheatre, then his entrance into the theatre\nwill harm neither himself nor it: he will no\nlonger be the stranger within the gates.\nBut so long as the poet brings nothing but\nwords with him he must inevitably suffer\nthrough the mutilation of those words,\nthrough their misinterpretation by the actors,\nthrough their false setting by the scene\npainter and designer of costumes. &\nSt is significant to recall, in this connection,\nthe fact that Ibsen hated to see his own\nplays on the stage. \" The actors writes\nMr Haldane Macfall in his book on the poet\nwhich was reviewed in the March number of\nThe Mask, \" came between him and his\nconception of the characters, often distorting\nthem for ever The scenery interposed\nitself between him and the dream country\nin which he had hitherto seen those charac=\nters move: by bringing his plays into the\ntheatre the poet, far from gaining, suffered\nan irremediable loss. & & &\nNo, the literary artist should keep out of\nthe theatre if only for his own sake. His\nwork suffers by being brought there, and he,\nas creator, suffers in and through his\nwork.\nSt would be interesting to ascertain how\nmany of the modern playwrights would, by\nagreeing with Ibsen, and with the opinion\nnow expressed by Mr Ade, confirm the fact\nthat the art of literature, complete in itself,\ncan only undergo mutilation or distortion\nby any attempt to bring about an arbitrary\nunion with another and independent art."}]}, {"article_id": "bm-bmtnaau-1908-10-01-c032", "article_bluemountain": "bmtnaau_1908-10_01#c032", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "164", "page_fin": "166", "image_debut": 22, "image_fin": 24, "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=bmtnaau190810-01.2.11.2", "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": 22, "page_imprimee": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.22", "debut_caractere": 17, "fin_caractere_exclue": 5054, "texte": "& The 44 New York Dramatic Mirror \" a\nshort time ago contained a column about\nscenic artists, and it devoted a third of a\nleading article to speaking about scenic\nartists and their work. What do you think\nthey talked about all the time ? Business,\norders, orders, business and again business,\norders I Truly it takes one's breath away.\nOne would have thought that there might\nhave been a word or two about other things\nthan business and orders, but there was a\nwhole column and a third in a cheerful vein\nabout the 4 shop ' of it all. &\n44 The outlook for business is good \" said\nMr D. F. Dodge at the American Theatre,\n44 Our business this year is fair to that of\nlast year \" said Mr Edward Unitt,44 has not\nfallen off to any extent \". <4 Business has\nbeen much worse this year than last \" said\nMr D. H. Armbruster. 44 Business has been\na little slow this year \" said Mr Gates.\nj& I am looking at the column as I write\nand have been looking at it for ten minutes\nand I am unable to find words to express\nhow utterly stupid and short-sighted is such\nchatter in a newspaper. For the theatre is\nnot a business, and as it begins to be looked\nupon more and more as a business, so do\nthe receipts begin to decrease and decrease.\nReceipts of all kinds. The actors neither get\nthe same salaries nor the same plays as for-\nmerly. The audiences neither get the same\nperformances nor can they get in for the\nsmall sum as formerly. This treating of the\ntheatre as a business must stop if the theatre\nis to revive not merely as an art, but as an\ninstitution. No art was ever a success in any\nway whatever when it began to be treated\nin a commercial way. Who was the man\nthat killed the goose with the golden eggs?\nIt is awfully bad business anyhow, and it\nseems to me that to kill even the poorest\ngoose of an artist that lays golden eggs is\nidiocy. (1) It is well to keep the artist alive.\nHowever, there is a new kind of artist\ncoming up to-day, and he may be described as\nthe fighting artist. The next development\nwill be the organising artist and then I see\nthe day coming when if the business man\nbegins meddling with what does not concern\nhim he will be removed. It will be a beau-\ntiful day!....\nOrofessor Richard Burton, who has been\n* lately manifesting much energy as a\nspeaker on theatrical matters, recently,\naccording to The New York Dramatic\nMirror, delivered an interesting lecture at\nLos Angeles on the Municipal Theatre as\nan institution. In this lecture he warmly\nadvocated its establishment, declaring that\nin all cases where the system has been tried\n44 it is not only a social and educational\nnecessity, but it pays\".\n44 The Anglo-Saxon race \" continues Professor\n44 Burton, is almost blind, like a bat, to the\n44 tremendous social and educational influence\n44 of the theatre on modern life. The theatre\n44 is one of five great influences apart from the\n44 home. The other four are the public library,\n44 the church, the newspaper and the school.\n44 Except for the theatre, all of these have\n44 been enlightened and developed. There is\n44 a historical reason why this indifference to\n44 the theatre exists. It began with the Puritan\n44 prejudice in England, which survives even\n44 today. Other nations have not held this\n44 prejudice, and have regarded the theatre as\n44 an educational power. Many of them have\n44 backed it governmentally and subsidized it.\"\n44 Professor Burton \", the Dramatic\nMirror continues, 44 contends that the\n44 municipal theatre can be put on a business\n44 basis as well as on the basis of social\n44 improvement.\"\nThe business side of the question we do not\ndoubt: but it is not clever finance which is\ngoing to save the Theatre: it is Art, and of\nthat we see little hope in the scheme which\nProfessor Burton so blithely and confidently\nsets forth. & &\nObviously, Professor Burton is an optimist,\nand he has a touching belief in the infallibility\nof Bumbledom. His idea of the way in which\na city can help the theatre is first, by a mayor's\nveto of improper performances; second, by\nmunicipal appropriation and control: and of\ncourse that is all very we 11,... in theory.\nBut has Professor Burton had much experience\nin mayors,... especially provincial ones? Does\nhe realise that it is an office which, while it\nmay be held this year by an Earl of Warwick,\nmay pass next year to a pork butcher, a\npawnbroker or a tailor,... all doubtless\nestimable callings, but not those in which we\nusually look for men of great culture or\ndiscernment in matters relating to an art?\nWe have heard that the spirit of Elijah\ndescended on Elisha through the wearing of\na mantle: we have never yet noted that the\nspirit of the artist decended upon an honest\ntradesman through the donning of the mayoral\nchain. And unless he bring with him the\nspirit of the artist, how is the theatre to reap\nany benefit from this intervention of the\nmayor? &\nAgain, we cannot see eye to eye with Professor\nBurton in his second proposition, nor believe\n\n(1) We do hope we are not incorrect, and that, If we are,\nThe Stage will correct us."}, {"page_pdf": 23, "page_imprimee": "165", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 5620, "texte": "that in \" municipal appropriation and control\"\nlies the panacea of all those ills to which the\nmodern stage in heir.\nWe have usually been struck by the fact that\nthe corporate intelligence of a body of men\nis less, not greater, than the intelligence of\neach individually; which fact, unless we\ntranspose it and argue that the united folly\nof all is greater than the single folly of each,\nseems a refutation of Enclid's axium that the\nwhole is greater than its parts. Jg?\nBe that as it may, we have small hope of any\ngood accruing to the theatre from municipal\ncontrol, What reason have we to suppose\nthat a Mayor and Corporation would prove\nmore enlightened than the ordinary manager?\nIf they stood in the place of the manager or\nproprietor their aim would doubtless be to\nmake money, even as his is: Art might then,\nas now, have to go to the wall. &\nWe are entirely in accord with Professor\nBurton as to the tremendous social and\neducational influence of the theatre, but it is\nthrough men, not municipal bodies, that its\npossibilities will be realised, and these men\nwill have to be the artists. &\nIt is by helping the artists individually in\ntheir work, by facilitating, through grants of\nmoney, their studies and their experiments,\nthat we believe the only means lies by which\nthe municipality can afford the theatre any\nreal or adequate aid. jg?\n\\KJ* hope our readers will excuse us for\n* not giving them a quantity of Paragraphs\nfull of uninforming information. We trust\nthe day is far distant when we shall be\nforced into topical monotonies such as\nthe following, which may be of use to the\ntrade but are a bore alike to the artist and\nthe lover of art. \" George Arliss is not a\n\" parent, but he owns a parrot upon which\n\" he lavishes parental affection. A creature\n\" in the newest color mode of gray and pink\n\" feathers, and with impudent beak and\n\" staring green eyes, and a sweeter vpice\n\" than any other of his kind, helps to receive\n\" visitors in the Arliss drawing room. If it\n\" shouts disconcerting personal remarks at\n\" the visitor it is gently chided but is never\n\" sent from the room. Its name is Dinky\n\" Bits \". jg? \" Richard Harding Davis\n\" has been appointed a deputy sherriff of\n\" West Chester County. He has a summer\n\" home in the town of New Castle. \" or,\n\" Teddy Gamble spent the week end on his\n\" yacht cruising up the Hudson. He was\n\" accompanied by several friends. \" or \" Burt\n\" King, recently with the Poli Stock at\n\" Scranton, Pa... and his wife, Adele Lane,\n\" spent the week end in the Catskills, fishing\n\" and getting ready for the strenuous\n\" rehearsals on which they are to soon enter \"\nor \" Mr. Billy Downes, comedian, late\n\" Newman and Downes, \" later \" Downes\n\" and Langford, \" was initiated into the\n\" Terriers' Association on Sunday. Griff,\n\" in the chair, performed the ceremony. \"\nor \" Mr. Oswald Brookes is commencing at\n\" th© Grand, Swansea, on Monday next what\n\" he terms a Walter Howard season of two\n\" weeks. Two plays of Mr. Howard will\n\" form the repertory; The Midnight Wedding\n\" and Man and Wife. jg/ & jgr\nTheatrical journals often contain interesting\nannouncements which could be easily curtai-\nled in a single page, but the eighteen or\nnineteen other pages of these journals are\nliterally packed with paragraphs of the\nabove description. jg?\n& How dreary it must be week after week\nfor the actors apd vaudeville artists to read\nsuch things! That such papers reflect the\nModern Theatre is certain, and if these\njournals are compared with the journals of\nthe Arts of Architecture, Painting and Poetry\nthe relative position of Acting as an Art will\nbe ascertained. jg? jg? &\njg? This was one of the reasons for founding\nThe Mask.... so that it should no longer be\nsaid that the stage was the only art which\npossessed trade instead of art journals.\nThe nearest approach in England to an\nart journal was The Theatre, now quietly at\nrest. It tried to be an art journal, and it\ncould have become one if the actor managers\nhad not prevented its growth. That was the\nresult of permitting actor managers to run\nthe journal. The Mask hopes to avoid that\ndanger. £*&&&&\ncritics write in the journals of 'Mr\n* Frohman's production of \" such and\nsuch a play, they create in the public mind\nthe impression that Mr Frohman really\nhas produced a play himself; that he is\nresponsible for the good or bad ideas\nwhich crop up now and then during the\nperformance, and that the \"picture,\"\n\" grouping,\" \" business,\" etc, is the work of\nhis hand and brain. <£? /£>\nIt is not. Therefore it is incorrect to speak\nof Mr Frohman's \" production \" of this or that\nplay because the credit is not Mr Frohman's,...\nonly the cash is his, and, being in many\nthings of an Eastern turn of mind, he is\ncontent to \" take the cash and let the\ncredit go.\" & & &\nTherefore, gentlemen of the Press, be so\ngood as to give the credit of these productions\nto the Stage Managers. And also be careful\nnot to give the credit to the wrong Stage\nManager. There are generally two, and\nsometimes a third. Jg?\nLet us suppose that Mr Tree, for instance,\nis too busy with other things to be able to\ndevote himself to the actual stage management\nand so calls in the assistance of Mr Louis\nCalvert. Very good then; give Mr Calvert\nthe credit of the production of the play which\nhe has actually produced, jgr s &\nAnd do not forget his assistant. His assistant\nis the man who sees to it that the ropes don't\nfoul, that the curtain does not tear, that the\ngauzes do not catch nor the platforms give\nway. He it is who sees that the actors are not\nlate and the supers not unwashed. He keeps\nthe watch and the play commences and en"}, {"page_pdf": 24, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 5153, "texte": "to time if he is a capable assistant. He is not\nan artist, but unless he is a disciplinarian\nthe play may easily be a failure. &\nTherefore when you criticise the production\nof the play be careful to bear in mind that\nthere are two or more men behind the curtain\nacting as stage managers.\nIt there is a wait between the acts of fifteen\nminutes do not accuse the artists of this. Make\na savage attack upon the under stage\nmanager,... the man who holds the watch and\nis supposed to be a capable munipulator of\neven the most difficult scenes and a capable\ncontroller of the vastest of stage crowds.\nOn the other hand, if the scenes are ugly, do\nnot lay tho blame on the wrong man. Then\nit is that the artist should come in for 3'our\ncensure. Theatrical critics are greatly at\nfault for not ascertaining who is responsible\nand who is not. We would be inclined to\nsuggest that the critics should be invited to\nvisit an important production during the\nrehearsals when they wish, so that they would\nbe able where the weak places in stage\nproduction come in. Seeing seeing for\nthemselves, they would be the better able to\ncriticize, not only the results, but the methods\nwhich lead to those results. JE?\nHphe New York Dramatic Mirror of August\n29th, in a paragraph relating to Mr George\nAde, the playwright, tells us that Mr Ade\n44 scoffs at the idea that play-writing may be\nregarded as an art \". The journal goes on\nto quote his own words: & &\n& 44 I don't believe there is a man living\n44 who could make a reputation in literature\n44 by writing a play. The conditions are all\n44 against it. Usually by the time a play is\n44 produced there is nothing left of its original\n44 form, style or destiny. The author and\n44 his manuscript are put through a mangling\n44 process that flattens them both first, and\n44 after that the actor and the stage manager\n44 trim them &\nNow surely this is a very strong confirmation\nof the truth which has been again and again\nagain proclaimed by writers in The Mask,....\nthat the art of literature and the art of the\ntheatre are independent each of the other,\nand that any attempt to unite them is to\nthe loss of both. &\nIf by the time a play is produced there is,\nas Mr Ade affirms, 44 nothing left of its\noriginal form, style or destiny it is\nobviously harmful to any play to be brought\ninto the theatre. Why should the playwright\nproduce a work of art only to have it mangled,\ndistorted and spoiled?\nOf course if it was not a work of art when\nit left his hands, and if the new play which\nthe manager puts on his stage,.... (obviously\nnew, since it retains nothing of its 44 original\nform, style or destiny \"), is one, then it seems\nto prove that the manager, director, or what\nyou please to call him, is capable of creating\nfor himself what is necessary to set upon his\nstage, and that so the effort of the playwright\nwas superfluous. jg?\nBut suppose that the playwright had produced\na literary work of art? That being so, it\nwas complete when the last word was written.\nWhy, therefore, did he not leave it so? Why\ndid he not let it go direct from him, the\nartist, to the reader, the thoughts transmitted\nswiftly and vividly through the medium of\nthe printed word ? Why suffer it to be\ntreated in so cavalier a manner by actors and\nstage managers alike?\nIf the playwright be a man who, having\nwritten his play, can then design the scenery\nand costumes which shall visualise for the\npeople the images which he, as poet, conceived;\nif he can so direct and control and unite the\nmovements of the actors that they may\ninterpret, not merely the words, but that far\nmore subtle and elusive thing, the spiiit, of\nthe play; if his literary gift be but one detail\nof his complete equipment as an artist of the\ntheatre, then his entrance into the theatre\nwill harm neither himself nor it: he will no\nlonger be the stranger within the gates.\nBut so long as the poet brings nothing but\nwords with him he must inevitably suffer\nthrough the mutilation of those words,\nthrough their misinterpretation by the actors,\nthrough their false setting by the scene\npainter and designer of costumes. &\nSt is significant to recall, in this connection,\nthe fact that Ibsen hated to see his own\nplays on the stage. \" The actors writes\nMr Haldane Macfall in his book on the poet\nwhich was reviewed in the March number of\nThe Mask, \" came between him and his\nconception of the characters, often distorting\nthem for ever The scenery interposed\nitself between him and the dream country\nin which he had hitherto seen those charac=\nters move: by bringing his plays into the\ntheatre the poet, far from gaining, suffered\nan irremediable loss. & & &\nNo, the literary artist should keep out of\nthe theatre if only for his own sake. His\nwork suffers by being brought there, and he,\nas creator, suffers in and through his\nwork.\nSt would be interesting to ascertain how\nmany of the modern playwrights would, by\nagreeing with Ibsen, and with the opinion\nnow expressed by Mr Ade, confirm the fact\nthat the art of literature, complete in itself,\ncan only undergo mutilation or distortion\nby any attempt to bring about an arbitrary\nunion with another and independent art."}]}, {"article_id": "bm-bmtnaau-1908-10-01-c033", "article_bluemountain": "bmtnaau_1908-10_01#c033", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "166", "page_fin": "166", "image_debut": 24, "image_fin": 24, "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=bmtnaau190810-01.2.12", "titre_corps": "CRITICISMS CRITICISED", "titre_sommaire": "CRITICISMS CRITICISED", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 24, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.24", "debut_caractere": 5155, "fin_caractere_exclue": 5382, "texte": "CRITICISMS CRITICISED.\n\nJ. S.\n| Tnder this Sheading we shall, each month,\nhave a word or two to say upon criticism\nwhich has appeared in the Press, and which\npurports to explain to the public the views\nor the work of artists. &"}]}, {"article_id": "bm-bmtnaau-1908-10-01-c034", "article_bluemountain": "bmtnaau_1908-10_01#c034", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "166", "page_fin": "166", "image_debut": 24, "image_fin": 24, "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=bmtnaau190810-01.2.12.1", "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": 24, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.24", "debut_caractere": 5179, "fin_caractere_exclue": 5382, "texte": "J. S.\n| Tnder this Sheading we shall, each month,\nhave a word or two to say upon criticism\nwhich has appeared in the Press, and which\npurports to explain to the public the views\nor the work of artists. &"}]}, {"article_id": "bm-bmtnaau-1908-10-01-c035", "article_bluemountain": "bmtnaau_1908-10_01#c035", "volume": "bmtnaau_1908-10_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=bmtnaau190810-01.2.13", "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=bmtnaau190810-01.1.2", "debut_caractere": 1331, "fin_caractere_exclue": 1710, "texte": "ALMANACK FOR\nARCHITECTURE\n•(•TECHNICAL*\n: J\nT(j[(Jl G] GlGlGlGlt3lElGlGlS]l^Elg|tj!Esll\nA NEW CATALOGUE\nCONTAINING MORE THAN A HUNDRED\nPAGES OF TEXT, AND ALSO ILLUSTRA-\nTIONS IN BLACK AND WHITE AND IN\nCOLOUR. * * * * *\nCopies will be sent free on\napplication to all Art - lovers\nSCHUSTER & B U F L E B. G. M. B. H.\nBERLIN W 30 * NOLLENDORFSTR. 31. 32\n* BOOKS ANCIENT AND MODERN *"}]}, {"article_id": "bm-bmtnaau-1908-10-01-c036", "article_bluemountain": "bmtnaau_1908-10_01#c036", "volume": "bmtnaau_1908-10_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=bmtnaau190810-01.2.14", "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=bmtnaau190810-01.1.2", "debut_caractere": 1712, "fin_caractere_exclue": 2125, "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.\nYEARLY SUBSCRIPTION\nDOLLARS 1.25 POST FREE.\nS &\nTHE BUTTERFLY QUARTERLY\n1126 WALNUT STREET\nPHILADELPHIA\nU. S. A.\n&"}]}, {"article_id": "bm-bmtnaau-1908-10-01-c038", "article_bluemountain": "bmtnaau_1908-10_01#c038", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "168", "page_fin": "168", "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=bmtnaau190810-01.2.16", "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": 26, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.26", "debut_caractere": 0, "fin_caractere_exclue": 199, "texte": "m\nPs mAw;£ £&& :; wv\nm\niORM\nI\n»S«\nBHD\nOCH\nI\n«?5R\nThe principal Artistic and Literary\npublication of Scandinavia. j&\nYearly subscription Francs: 20\nWahlstrom & Widstrand, Stockholm\nPublished Month 1 y"}]}, {"article_id": "bm-bmtnaau-1908-10-01-c039", "article_bluemountain": "bmtnaau_1908-10_01#c039", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "168", "page_fin": "168", "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=bmtnaau190810-01.2.17", "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": 26, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.26", "debut_caractere": 201, "fin_caractere_exclue": 1770, "texte": "THE MOSHER BOOKS\n£> MDCC C X C I-M CMV I I I£>\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.\nGUY CARLETON LEE in Baltimore Sun for Dec. 18, jg/\nMy new Catalogue a remarkable piece of book-work in itself explains this unusual\ncompliment, and is sent free on 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 c& verse not found in every cut and-\ndecidedly-dried anthology. & jgr &/j&\nTHOMAS B. MOSHER PORTLAND. MAINE & U. S. A."}]}, {"article_id": "bm-bmtnaau-1908-10-01-c040", "article_bluemountain": "bmtnaau_1908-10_01#c040", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "168", "page_fin": "168", "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=bmtnaau190810-01.2.18", "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": 26, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.26", "debut_caractere": 1772, "fin_caractere_exclue": 3207, "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'Tphese 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\" Movementwrites 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 & & & &\nORDER FORM\nTo The Publishers,\nThe Editorial Office of \" The Mask \" 8, Borgo San Jacopo p. 2. Florence. Italy. &\nPlease send me the Portfolio of Etchings by Edward Gordon Craig, in payment for which\nI enclose the sum of L. 16.0.0, (or 400 Francs or 320 Marks) &\nSigned\nAddress."}]}, {"article_id": "bm-bmtnaau-1908-10-01-c041", "article_bluemountain": "bmtnaau_1908-10_01#c041", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "169", "page_fin": "169", "image_debut": 27, "image_fin": 27, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.2.19", "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": 27, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 471, "texte": "LIBRAIRIE ANCIENNE &\nT. DE MARINIS & Co. 5 Via Vecchiettl - FIRENZE\nELZu\ni\ni\n1\na\nrtfki\nmrt>^\n>wt\nnnr\n\\n\nan\nw\n• »•\nA.\niG\n• •\nC\nem\n-a\n•••«•\n«0\n.aa*\n111\nH*\n«\nLQ\nill\n£'\nMTULftJ)\ntin\noa\nr'«\n4\n00\nai\nJdSH\nin\nm\noon\nin\n111\ntil\ni\niitu\n• •\non\n111\n* •\n&\n* I\nmi\nM\nll»«!\nz\nII\nOf\n510\n-\n1111 l\nli-\nnt\nsm\nJU»\njar\n»••••\n—TVU\n1111 l\nSt\nQfia\ntW\nCO\n5 I\nlII*\nTltf\nill**\nruruxr\nFine Collection of MSS., Incunabula, rate and curious books XV-XIX cent,\nIllustrated Catalogues free on application."}]}, {"article_id": "bm-bmtnaau-1908-10-01-c042", "article_bluemountain": "bmtnaau_1908-10_01#c042", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "169", "page_fin": "169", "image_debut": 27, "image_fin": 27, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.2.20", "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": 27, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.27", "debut_caractere": 473, "fin_caractere_exclue": 768, "texte": "THE SOCIETY OF FOUR\na\nC\nHAVE PURCHASED ONE\nOR TWO BEAUTIFUL\nWORKS OF ART OF\nTHE LATE QUATTROCEN-\nTO AND EARLY SEICENTO\nCOMMUNICATIONS FROM\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-1908-10-01-c043", "article_bluemountain": "bmtnaau_1908-10_01#c043", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "169", "page_fin": "169", "image_debut": 27, "image_fin": 27, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.2.21", "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": 27, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.27", "debut_caractere": 770, "fin_caractere_exclue": 1237, "texte": "THE PAPYRUS\nEdited by Michael Monahan\nA Magazine for the Magazine»Weary\nCHICAGO NEWS.—The Papyrus holds a unique\nplace among the magazines and is always stimu-\nlating And interesting.\nERNEST McGAFFEY.— The Papyrus is a stor-\nmy petrel flying over an Infinite sea of bosh. &\nPUTNAM'S MONTHLY.—There is sun, wind and\nrain in Michael Monahan's whimsical fancies.\nSubscription One Dollar a Year\n25 cts: additional for foreign countries\nTHE PAPYRUS\nEAST ORANGE, NEW JERSEY"}]}, {"article_id": "bm-bmtnaau-1908-10-01-c044", "article_bluemountain": "bmtnaau_1908-10_01#c044", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "169", "page_fin": "169", "image_debut": 27, "image_fin": 27, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.2.22", "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": 27, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.27", "debut_caractere": 1239, "fin_caractere_exclue": 1788, "texte": "Every reader of the English language will be\nInterested in a Magazine that is doing the work of\nThe Book News Monthly\nan Illustrated magazine devoted to Literature and\nArt, published in Philadelphia, Pa., U. S. A, at\n10 c. a copy, L. 1,00 a year. & &\nThe purpose of THE BOOK NEWS MONTHLY is\nto Save Time, to Interest, Instruct, and Guide the\nGeneral Hea<ter. £?&&&£?\nSpecimen copy sent free to any part of the world\nAgents for Subscriptions in England: &\nThe International News Company.\nAddress:\n£/ THE BOOK NEWS MONTHLY,\nPhiladelphia, Pa., U. S. A."}]}, {"article_id": "bm-bmtnaau-1908-10-01-c045", "article_bluemountain": "bmtnaau_1908-10_01#c045", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "170", "page_fin": "170", "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=bmtnaau190810-01.2.23", "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": 28, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.28", "debut_caractere": 140, "fin_caractere_exclue": 554, "texte": "ANTONIO FRILLI\nPURVEYOR TO 10\nIMPERIAL & ROYAL\nFAMILIES & &\nFLORENCE\nVia dei Fossi 4\n0 (ESTABLISHED i860)\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.\nGRAND PRIX\n1904"}]}, {"article_id": "bm-bmtnaau-1908-10-01-c046", "article_bluemountain": "bmtnaau_1908-10_01#c046", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "170", "page_fin": "170", "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=bmtnaau190810-01.2.24", "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": 28, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.28", "debut_caractere": 556, "fin_caractere_exclue": 811, "texte": "DINI & CELLAI\nArtistic & Decorative Terra Cotta of\nSign a\nVia dei Fossi N. i - FLORENCE\n4\nReproduction of sculptures of Old and\nJVlodern masters M Statues •- Busts «\nVases >- Bas-reliefs M pountains «H Doors\nCHimney-pieces « Bases etc. etc. In\nevery style"}]}, {"article_id": "bm-bmtnaau-1908-10-01-c047", "article_bluemountain": "bmtnaau_1908-10_01#c047", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "170", "page_fin": "170", "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=bmtnaau190810-01.2.25", "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": 28, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.28", "debut_caractere": 813, "fin_caractere_exclue": 1018, "texte": "Die Schaubuhne\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-1908-10-01-c048", "article_bluemountain": "bmtnaau_1908-10_01#c048", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "170", "page_fin": "170", "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=bmtnaau190810-01.2.26", "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": 28, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.28", "debut_caractere": 1020, "fin_caractere_exclue": 1279, "texte": "NEW YORK DRAMATIC\n£? MIRROR\nThe oldest and most reliable American\ntheatrical paper, published every week\nat i2i West 42nd Street. New York, U.S.A.\nSample copies on request free of\ncharge. Foreign subscriptions 5.50 Dollars\none year; 1.70 Dollars three months."}]}, {"article_id": "bm-bmtnaau-1908-10-01-c049", "article_bluemountain": "bmtnaau_1908-10_01#c049", "volume": "bmtnaau_1908-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "170", "page_fin": "170", "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=bmtnaau190810-01.2.27", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 28, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.28", "debut_caractere": 1281, "fin_caractere_exclue": 1695, "texte": "Q . P. VIEUSSEUX\nFLORENCE <£? VIA VECCHIETTI, 5 &\nReading rooms, containing the best English\nnewspapers and reviews.-Latesttelegrams\nOpen daily 8 a.m. to 10 p.m. Sundays 8\na.m. to 12 p.m. Subscription 35.00 a year.\nCiidilating library containing thousand\nvolumes in English, French, Italian, German,\nsome Spanish and Russian. Open daily\n9 a.m. to 5 p.m. except Sundays. Books\nsent to all parts of Italy and abroad."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.1", "texte": "\" A quite Remarkable Magazine... Rich in Intelligence \"\n& WESTMINSTER GAZETTE Aug. . 1908.\nVol. I. N.° 8. OCTOBER 1008\nTHE MASK\nA MONTHLY JOURNAL OF THE\nART OF THE THEATRE\nEUROPEAN & AMERICAN AGENTS.\nLONDON. D. J. RIDER 36 St Martin's Court. Charing Cross Road. W. C. ■& &\nBERLIN. SOX® GERMAN AGENT - SCHUSTER & BUFEEB. Nollendoristiasse TP-\nAMSTERDAM, KIRBEROER &KESPER. 134 Rokin. £>&&&&\nBU DAP EST. NAGEE OTTO Museum-Korut, ■£> £> J0\nM O S C O U. \"LA BALANCE \" Office, Place du Theatre J? Sp & JP j?\nPHILADELPHIA. U. S. A. \"THE BUTTERFLY » Office. 1126 Walnut Street. j\nFLORENCE, s. BONGO S . TACOEO &\n& PRICE ONE SHILLING NET. MONTHLY\nNEXT MONTH: \" REALISM & THE ACTOR\", by\nMiss Ellen Terry"}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.2", "texte": "|NEW ADDRESS.\nThe present offices not being sufficiently roomy to carry on the increasing work\nof the magazine, THE EDITORIAL & PUBLISHING DEPARTMENTS of\nTHE MASK will shortly be transferred to new premises. Pending this\nremoval ALL COMMUNICATIONS should be addressed to the Advertising\noffice, 8 BOROO SAN JACOPO.\nAH Subscribers, Contributors and Agents are asked to make a note of this.\nTHE MASK, 8, BORGO SAN JACOPO, FLORENCE\n1 «,.,immw,m*m,Bm™^.mmm«U\nTO OUR READERS^\nThe November number of The Mask will contain a contribution on Realism & the\nActor by Miss Ellen Terry.\nA long and valuable article by Mr Martin Harvey will shortly be published.\nMr Gordon Craig will continue his series of Letters on the Theatres of Europe \"\nS/>£C/i4I AfOr/C£ TO S\nSubscribers' copies for November will contain a special presentation print, (Lithograph).\nOf these only sufficient for Subscribers* copies will be printed, the original then\nbeing destroyed. If you wish your series of The Mask to be perfect from the\nbeginning, and have not already subscribed you should do so AT ONCE. Next\nweek may be too late to insure your obtaining a copy of this lithograph.\n& SEND YOUR SUBSCRIPTION TODAY! & &\nFOR ADVERTISEMENTS ADDRESS TO \" THE MASK\" ADVERTISING OFFICE: 8 BORGO S. JACOPO\n& FLORENCE &IT A I Y OR TO THE LONDON., GERMAN, OR OTHER AGENTS\n\nALMANACK FOR\nARCHITECTURE\n•(•TECHNICAL*\n: J\nT(j[(Jl G] GlGlGlGlt3lElGlGlS]l^Elg|tj!Esll\nA NEW CATALOGUE\nCONTAINING MORE THAN A HUNDRED\nPAGES OF TEXT, AND ALSO ILLUSTRA-\nTIONS IN BLACK AND WHITE AND IN\nCOLOUR. * * * * *\nCopies will be sent free on\napplication to all Art - lovers\nSCHUSTER & B U F L E B. G. M. B. H.\nBERLIN 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.\nYEARLY SUBSCRIPTION\nDOLLARS 1.25 POST FREE.\nS &\nTHE BUTTERFLY QUARTERLY\n1126 WALNUT STREET\nPHILADELPHIA\nU. S. A.\n&"}, {"page_pdf": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.3", "texte": "SOME OPINIONS\nABOUT THE MASK,\nITS APPEARANCE, ITS\nARTICLES AND ITS AIMS.\nj® SATURDAY REVIEW. 44 A new journal of which\nthe second number has appeared, printed in a very\noriginal way, with woodcuts,.... and articles... on all\ntopics connected with the theatre. Such a journal, if it\ncould receive sufficient support, would have a distinct\nvalue of its own. \"\nPAEE MAEE GAZETTE. 44 A new theatrical journal called The Mask, of which\nthe first number has just appeared, seems worthy of a really hearty welcome. There\nis not a page in it which is not interesting and stimulating in a fine way, and many\nare both \". <&r jgr\nThe same journal, referring to The Mask's championship of the Censor says,\n44 a writer who takes his side strongly deserves gratitude, whatever his view may\nbe; for it is only by Sincerity and Courage that the cause of Art can be usefully\nserved.\nWESTMINSTER GAZETTE• \" The Mask; a curious, interesting, revolutionary\nmagazine concerning the theatre. \" 44 The Mask, by the way, is a quite remarkable,\nrevolutionary magazine, which, unlike any purely theatrical magazine that I can\nrecollect, is rich in intelligence, eager discussion of theatrical affairs, treating drama\nand the stage seriously as great matters of art, and striking fiercely against the idea\nthat a playhouse should be a mere place of entertainment. '' This 44 interesting\nmagazine is likely to have a great effect upon the drama of the future. There is no\ntrace of somnolence in The Mask.\nMORNING POST. 44 Among the least expected editorial sallies are a protest\nagainst the stage treatment of religious subjects,.... 44 Salome \" is not forgotten....\nand the assertion 44 the censor is not only a blessing, he is a necessity. \"\n& THE SPHERE• The Mask has now reached its fifth number. In the first place\nthe format is most engaging. It is a nice f01i0.... printed in a thick black type on\na rough paper. It contains many delightful woodcuts by Mr Craig of his own and\nother's composition.... strange designs of beautiful simplicity which give new life to\nthe art of Bewick. As for the literary matter, it is a torrent of idt*as. \" &\nlAVERPOOI, COURIER• \" The Mask is a new 44 monthly journal of the art of\nthe theatre \", and if anything were required to prove how deeply the possibilities\nof the drama are now impressing some of the most eager and imperative minds in\nEurope, the contents and appearance of its first number would provide evidence and\nto spare in a manner of the utmost dignity it attempts to 44 bring before an\nintelligent public many ancient and modern aspects of the Theatre's art, which have\nbeen too long disregarded or forgotten \". We wish The Mask a longer life than\nambitious periodicals of the kind are generally permitted to enjoy. \"\n44 The second number of The Mask has now reached us from its Florentine printing\nplace, and by the delicacy of its format, the pleasantness and dignity of its types, the\ncareful excellence with which its illustrations have been reproduced, the character\nof the illustrations themselves, and the curious distinction and sincerity of its literary\ncontents, it seems to prove that the artistic centre of Europe has once again shifted\nto Italy. \" &\nMr HAEBANE MACFAIJ, in THE BAII,Y GRAPHIC. & 44 For one among us who is\ninterested in the art of painting a dozen are beckoned to tine Theatre; yet, oddly"}, {"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.4", "texte": "enough, while painting has its several sumptuous magazines, the theatre has not one\nworthy of it. From today we are to be rid of this unseemliness, for The Mask, from\nits headquarters in Florence, makes its first appearance here and throughout Europe,\nto do for the Art of the Theatre what The Studio has essayed to do for the arts of\npainting and of sculpture and of the crafts allied thereto. It is to be the mouthpiece\nof a group of young men of distinction upon the Continent, whose work is devoted\nto the theatre and to all that the theatre means.... men without fanaticisms as to\nvague \" reforms \" of the theatre so much as urged by the aim of ridding the theatre\nof certain ugly defects and weaknesses. Undoubtedly its staff is a strong one... The\nresults ought, to say the least of it, to be vastly interesting, for the personality of\nthe man whose artistry influences its pages has already cast that influence over the\ntheatre of Germany and Italy and Russia particularly of Germany. \"\nTHM LADY'S PICTORIAL. \" Not playgoers alone, but all who are interested\nin the art of the theatre will welcome No. I of a characteristically unconventional\nshilling magazine called The Mask, published in Florence.... In format, in type, in\ncontents, The Mask is unique, and, despite a certain air of preciosity, it is not\nmerely clever, but gives utterance to some very sane views upon many phases of the\nart of the stage. \"\n& OXFORD CHRONICLE. \" The Mask \" a highly aesthetic production, with\nits blunt type on rough paper, its wide margins, its wood»cuts, initials, and tail\npieces, and its artistic cover in green and black. \" & & &\nWHAT'S ON. \" Edited, printed and published in Florence, the first number of\na new monthly Journal, The Mask, devoted to the art of the theatre, makes a welcome\naddition and sets a splendid example to the sordid mass of monthly literature already\nin circulation.\n& THE SUNDAY CALL, EASTON Pa. U. S. A. \" Here is the finest magazine of\nits kind in the w0r1d.... I commend The Mask to all those who think they see the\ndawn of a New Theatre in America. \" &\n& MANCHESTER GUARDIAN. \" The Mask continues to provide interesting,\nprovocative, and debatable matter for those who care about the theatre. \" &\nMiss ELLEN TERRY writes. \" What a splendid number of The Mask this\nlast is! \" & & & & & &\nMr EDWARD HUTTON writes. I think The Mask improves every time you\nsend it to me ,r„ & & &\n& PUBLISHERS CIRCULAR. \" The July number is the fifth of a new Art\nmagazine, entitled The Mask, which is printed in English in Italy and does great\ncredit to the Tfpografia Bodoniana of E. Morandi of Florence. It is a bold folio\npage,.... the pritnt has dignity, the get=up distinction, and the text, so far as we are\nable to judge, is worthy of its handsome setting. Somehow one gets the impression\nthat to some extent The Mask exists to make known the aims and ideals of Mr\nGordon Craig;.... that they are sane and sensible ideas is shown, we think, by his\nanswers to the Editorial questions.\" (Realism and the Actor J?\n& PARIS AMERICAN* \" I have received a double number, that is to say, the\nnumbers for May and June bound in one, of a singularly clever magazine. It is\ncalled The Mask, is in its fifth month and is devoted to the Art of the Theatre. A\nmore artistic publication it is not possible to make. It is artistic in design, in paper,\nin letter-press, in color, in illustration, in its articles. Art peeps out of every pore.\nPile the adjective artistic mountain high, in Its positive, comparative and superlative\ndegrees, upon every conceivable aspect of this magazine, and you will not be excessive\nnor will you break the back of any noun. Its thought is strong and fearless. It has\na staff of strong writers and clever \" &&&<£?•&"}, {"page_pdf": 6, "page_imprimee": "[148]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.6", "texte": "DESIGN FOR PROLOGUE: TAMING OF THE SHREW. by GORDON CRAIG."}, {"page_pdf": 7, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.7", "texte": "„ LT _ 4 W THE JOURNAL OF THE ART\nR'L U I? MM A L.J 1/ OF THE THEATRE.\n1 | ™ IWS ZA IV VOLUME ONE, No. EIGHT\nI I | 1 i * *.l 1.4J1V OCTOBER ipo 8.\n\nCONTENTS\nAFTER THE PRACTISE THE THEORY &\nSOME EVIL TENDENCIES OF THE MODERN THEATRE by GORDON UKAiu\n&MR TREE, Tim STAGH & Tim MASK by JOHN SEMAR THE ARCHITECTURE\n& COSTUME OF SHAKESPEARES GREEK PLAYS by E. W. GODWIN 0 THE REFORM\nSTAGE AT MUNICH: A LETTER from GORDON CRAIG 0 BOOK REVIEWS 0 FOREIGN\nNOTES 0 EDITORIAL NOTES 0 ENGRAVINGS by GORDON CRAIG, J, OLIVER, CHARLES\nBORROW, E. THESLEFF & OTHERS. 0 0 0 0 & &\n\nSOME EVIL TENDENCIES OF THE\nMODERN THEATRE\nby Gordon Craig.\n\ns I step before you to speak about the theatre do not mistake\nme for a reformer. I beg of you do not do that. When I\nbecome a reformer, that is to say, a surgeon and a physician\nin one, I shall take Hamlet's advice and \" reform it altogether\",\nbeginning with myself and ending with the lime-light man.\n& But to be a reformer one must be in the position of a\nreformer; that is to say, one must have at least half a dozen\nor a dozen theatres in different parts of the world so that\nthe reforms spread evenly. Two small progressive theatres\nin Paris, London or Berlin are quite useless towards improving\nthe state of things in the theatre.... its state as an art and\nan institution. Those who live in London or Berlin know very\nlittle what is passing in the two French theatres. Those who live in Paris and London have\nseldom heard of the Berlin theatres. And those who live in Berlin and Paris hardly know that\nany such theatres exist in England. & And so it is that these gallant little theatres which\nmake daily efforts to improve the state of things, bring about no marked nor lasting\nimprovement, because all their energy and occasional good deeds evaporate after a few\nthousand people have left the theatre. And the Art of the Theatre still remains unknown.\nIt would be quite another matter, (and 1 should be unable to write as 1 do), if any of\nthese theatres had discovered kaws for the art of the theatre; for these theatres to be\nunknown, unheard of, would matter but little to the men who are busy all the time\nsearching for the truths which are the basis of all things. One of the evil tendencies\nof the modern theatre is to forget this entirely.... to aim at being heard of for a few days\nand months, to make an effect in front of a full audience for two or three hundred\nevenings, and there an end. To reform this.... would it not need the headlong strength\nof some profoundly stupid giant? & &\n1 write, then, as an 0n100ker,.... not as a casual onlooker nor as an irritable one, but\nmore as one who takes a loving interest in watching the growth of plants in a beautiful\ngarden. The eye of such a man is instantly arrested by the weeds. Nothing seems so\nfoolish or so abominable to him as the weeds which absorb the goodness from the soil,\nrobbing the other plants of that goodness and altogether spoiling the beauty of the garden;\nand it is the weeds, the evil tendencies of the modern theatre, that I am concerned with here.\n& Bear in mind that when 1 speak of the theatre 1 do not allude especially to what is\ncalled the English theatre; nor do I mean that which they call the French theatre; 1 do\n\nNot a Reformer.\nAn Onlooker."}, {"page_pdf": 8, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.8", "texte": "SOME EVIL\nTENDENCIES\nOF THE MODERN\nTHEATRE.\n\nnot particularly mean what is called the German theatre, nor the Italian, Scandinavian nor\nRussian theatres. All theatres of all lands are alike in all things except language, and,\nalas, the weeds so closely resemble each other that it is positively comic. &\n& 1 speak then of the Theatre as a whole, the Theatre of Europe and America, for I have\nseen none other; though I believe, from what I hear, that the Eastern theatre abstains\nfrom offences to the intelligence. & & & &\nThe tendency of the western theatre is to disregard the vital principles of the art...\nTo invent or borrow with haste so-called reforms which may attract the Public, not\nthose which are necessary to the health of the art.... To encourage piracy and imitation\ninstead of cultivating natural resource.... To take the keys of the place from their rightful\nkeepers, the artists, and to hand them over to the \" Business man \" or anyone. &\n& I write, as I say, as an onlooker, but I have been for over fifteen years a worker in\nthe theatre. This 1 say for the benefit of those who may not know and who question my\nauthority for these statements.\nI have many times written that there is only one way to obtain unity in the art of the\ntheatre. I suppose it is unnecessary to explain why unity should be there as in other\ngreat arts; I suppose it offends no one to admit that unless unity reigns \" chaos is come\nagain; I suppose this is quite clear; » ? - I & Very well then - So far, so good. And it\nshould not be difficult to make clear how this unity is to be obtained. 1 have attempted\nthis in my book ** The Art of the Theatre \", and now 1 wish to make clear by what\nprocess unity is lost.\n& Let me make a list, (an incomplete one, but it will serve) of the different workers in\nthe theatre. When I have made this list I will tell you how many are head-cooks and how\nthey assist in the spoiling of the broth.\nFirst and foremost, there is the proprietor of the theatre. Secondly, there is the\nbusiness manager who rents the theatre. Thirdly, there is the stage director,.... sometimes\nthree or four of these. There are also three or four other business men. Then we come\nto the chief actor and the chief actress. Then we have the actor and the actress who are\nnext to the chief; that is to say, who are ready to step into their places if required.^Then\nthere are from twenty to sixty other actors and actresses. Besides this, there is a gentleman\nwho designs scenes. Another who designs costumes. A third who devotes his time to\narranging lights. A fourth who attends to the machinery; (generally the hardest worker\nin the theatre). And then we have from twenty to a hundred under-workers,.... scene\npainters, costume makers, lime-light manipulators, dressers, scene-shifters, under machinists\nextra ladies and gentlemen, cleaners, programme sellers,.... and there we have the bunch.\nNow look carefully at this list. We see seven heads and two very influential members.\nSeven directors instead of one, and nine opinions instead of one. JZ?\n& Now then, it is impossible for a work of art ever to be produced where more than\none brain is permitted to direct; and if works of art are not seen in the theatre this\none reason is a sufficient one, though there are plenty more. & & &\n& Do you wish to know why there are seven masters instead of one? It is because there\nis no one man in the theatre who is a master in himself;.... that is to s*iy, there is no one\nman capable of inventing and rehearsing a play: capable of designing, and superintending\nthe construction of both scenery and costume: of writing any necessary music: of inventing\nsuch machinery as is needed and the lighting that is to be used.\n& No manager of a theatre has made these things his study; and it is a disgrace to the\nWestern theatre that this statement can be made. You have but to ask any manager in\nLondon, Berlin or Paris whether he can invent that which is to be presented in his theatre.\nOr ask him whether he can invent and design the scenes which are to be shown on his\nstage. Or ask him whether he knows anything about historic or imaginative costume; and\nwhether he knows a beautiful colour from an ugly one. Whether he can even combine\nlovely tones and colours together so as to form a whole, and whether he knows anything\nof the hand, the wrist, the arm, the neck, and all the rest of the values of the body in\nmovement. Ask him whether he knows how much light is sufficient to fully illumine\ntwenty cubic feet, and how much will over light twenty cubic feet and so waste the light.\nAsk him if he knows the weight of wood and cloth, or If he can tell you how swiftly or\nhow slowly a stage floor is able to be raised or lowered. Ask him any of these things, and\n\nThe Theatre\nas a whole.\nThe Western\nTheatre.\nThe need of\nUnity . &\nA list of workers\nSeven\nDirect 9 r s •\nWhy there are\nso many. &"}, {"page_pdf": 9, "page_imprimee": "151", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.9", "texte": "he will blandly tell you (with shame be it spoken) it is not his business. And then\nthis remarkable master ol the art of the theatre will call up his co-workers, and, pointing\nto them, he wiSl say, 44 These are my assistants\n& He is not speaking the truth. They are not his assistants, they are his masters. They\nlead him with a hook in his nose like the great Leviathon which we see in pictures of the\nolder day pageants. He looks mighty terrible, but he is only made of emptiness covered\nwith paste board. Is not this a fine master? Is not this a pretty way to obtain this same\nunity, this one thing vital to the art?\n& So then we have to turn to the six other masters, each of whom help towards the patch-\nwork, and see if they will help us to a reasonable answer. The regisseur, or stage-manager,\nis under the delusion that in truth he is the one who is the artist,.... the inventor.... the\nmaster.... but, poor fellow, he is nothing of the kind, for no one is the master: each\nthrowing into the broth whatever ingredient he will. All are petty masters, each hindering\nthe other. Many of the regisseurs or stage-managers are known to me. I have worked\nwith some; others I have spoken with; but all are under the delusion that 1 mention. It\nis a kind of delusion of despair, for regisseurs are really very good workers and spare\nthemselves no pains when they are in the threatre. They should have spared no pains to\nprepare themselves for their task, before entering the theatre. & & &\n& As our questions to the director of the theatre met with such a lamentable reply, let\nus see whether the regisseur, or stage manager, will be able to give us a better answer.\nLet us ask him.... let us ask any regisseur in Europe or America.... if he can imagine and\ninvent that which is to be presented to the audience; that is to say, the piece, the play, the\nIdea, or whatever you may call it. Let us ask him whether he can design the scenes and\ncostumes for that piece, and whether he can superintend their construction.... that is to\nsay, whether he knows the secrets of line and colour and their manipulation. Let us ask\nhim whether he can direct without the aid of experts the different workmen who are\nemployed on account of their utility, not on account of their imagination. & And if there\nis one such man in Europe or America who can reply 4 Yes ' to all these questions, he is\nthe man to whom the control of the stages of Europe and America should be offered; for\nsuch a man would be able to train others to acquire the same capacities as himself, for\nhe would know what was necessary. And when you have ten such men in Europe you\nhave a new theatre. But there are not ten as you will find out if you ask. I could not\ntell you the name of one.\nAnd so it is that unity, as I have said, is absent from the art of the theatre. & &\n& Yet there are several brains in the theatre, who know that if they could find the secret\nwhich would produce this unity they would have discovered a very good thing indeed. In\nGermany there are a few such men searching in the top-most branches of the tree. But,\nas they do not think to search at the roots, their search leads them into strange acts. They\nmean very well, but they act very queerly. They are red hot in the pursuit, but they run\nblindfold.\n& The tendency of these men is to borrow. They borrow from every conceivable source.\nThey borrow from the painters, they borrow from the architects, the even borrow from\ntheir own fellows, any idea, so long as it is attractive; and so long as the idea has a plain\nenough base on which to build a little structure of sense, it is quickly transferred into\nthe theatre.\n& What away for one who wishes to be called an artist to act I Clever artists\nillustrating week after week In the comic papers of Germany find their ideas seized on\nand thrust upon the stage of the 44 Moderne \" theatre. 44 Jugend \" decorates Shakespeare\nand Bernard Shaw, and 44 Simplicissimus \"is useful for Gorky and Wedekind. & &\n& These things are experimental and rash innovations, dangerous alike to the art and to\nthe public. Hastiness characterizes all things in the theatre of today; hasty reforms, hasty\npreparation, hasty ideas as hastily carried out. The directors show an eagerness today to\nsecure the studio painters to design scenes for them. £>&&&&\nHow strange this is! Do they not see that they are inviting into their theatre that\nwhich in time will turn and rend it asunder, adding a fresh wound to an already mutilated\ncorpse.\nDo they not also see that to invite the studio painters into the theatre is an insult to those\n\nSOME EVIL\nTENDENCIES\nOF THE MODERN\nTHEATRE.\n\nNot assistants\nbut masters.\nThe Regisseurs.\nThe search for\nnni t y .\nThe borrowing\nfever . &\nThe studio\npainters."}, {"page_pdf": 10, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.10", "texte": "scene painters whose families have worked in the theatre for hundreds of years; and do\nthey not also see that the peculiar merit of the studio painter is of no avail inside a theatre,\nand that to engage a man who paints the side of a house would be a shrewder act on their\npart? & One curious side of this question of the painter being invited to cooperate in the\ntheatre is that I am looked on as supporting the tendency, and, in fact, am pointed out as\nan example of the success which attends the movement, whereas I am against the whole\nthing from beginning to end. &&&&&&&&\nIf the painter could bring any release for the art which lies so bound, firstly by convention,\nsecondly by the unintelligence and incapacity of those who are supposed to be its masters (?),\nthen their coming would be a welcome thing; but it is not release they bring; they bring\none more fettor. It is not their fault to offer their service; if is our fault to accept it.\nWe borrow, and we borrow and we borrow. We are already so much in debt that we are\nnearly in despair. And we are in such haste.... Why, this even makes the borrowing careless.\nThe bad is copied as swiftly and as thoughtlessly as the good. Any picture, any design,\nprovided it is flashy enough or eccentric enough, is seized on by these hasty and thoughtless\ndirectors and regisseurs, squeezed, and its juice, bitter or sweet, extracted from it.\nYet this hurrying and blundering is not so strange after all, and anyone who has lived a\nyear in a theatre can understand it. Day.... afternoon.... evening.... night, these gentlemen\nof the theatre are continually on the rush. (I am speaking of the \" moderne \" theatres;\nthose which are supposed to be on the advance.) Rehearsing in the morning.,., seeing\npeople in the midday.... studying parts.... looking at scenery.... play reading.... attending\nreceptions.... an author to see.... a critic to entertain.... an artist to catch.... incessant\nquarrels to smooth over.... at least one new play to be brought out each month.... capital to\nfind.... building to superintend.... always one incessant hustle. & & & &\nWhere, then, is the time to stop and consider about the art of the thing? This may do\nvery well for an oil business or a large grocery; these things thrive by hustling: not so\nan Art. In this haste all thought of the principles or the beauty of the art is lost sight of\nand all desire to produce beauty departs. &\nAfter all, we must admit that beauty by the side of intrigue is but a poor sort of a thing\nto follow; and a sort of burlesque intrigue is the goddess of the theatre of today. Burlesque\nintrigue, that is exactly the class of diplomacy in the theatre.... and how seriously these little\nimitation diplomatists go about their work!\nIt is very curious to read in De Goncourt's Memoirs of the impression the two brothers\nreceived when they wished to honour the theatre by bringing their work on to its stage.\nEdmond de Goncourt, a true courtier of distinction, surrounded by these burlesque\ndiplomatists of the theatre.... what a picture he paints for us! How keenly we feel, when\nreading the account of his different interviews with these gentlemen, how vulgar and\ncontemptable the situation must have been.\nIt horrifies and disgusts me to think that for ever and for ever and for ever such men as\nDe Goncourt, De Musset, Victor Hugo, Dumas, Goethe, Browning, and all the great writers\nand all the men of truest distinction in the world should be put in such a humiliating\nposition; and not only is it that which disgusts me, but it is shameful that it is ever the\ntheatre which should put these men in this position. & Must the theatre continually\ncry out that it contains none but the fifth rate men? Must the men of the theatre continually\nact when in the presence of other artists? And if they act, must they for ever continue to\nact ignominiously, so that the whole world cries out, \" Behold an actor, and a damn bad\nactor into the bargain!\" The actor has lately been priding himself that he has raised\nhimself from the old position when he was held as a vagabond and a thief. This is especially\nthe case in England. Would to goodness that he had remained a vagabond and a thief,\nso that he had not lost his distinction; for to become a gentleman in name, but grow vulgar\nto the core, is to be many times worse than a vagabond and a thief.\nLet the theatre drop its stupid games of amateur diplomacy. When it does its work itself\nthere will be no longer need for anything of the kind. When it drops this bad habit it\nwill have time to attend to the things which are of more importance and it will then have the\nspirit to look at things squarely.\nBut now to return to the tendency to invite the painters and other artists to assist us in\nour work, and the haste which characterizes everything we do. & & &\n\nSOME EVIL\nTENDENCIES\nOF THE MODERN\nTHEATRE.\n\nThey bring no\nrelease.\nA continual rush\nDe Goncourt.\nBetter\nvagabondage\nthan vulgarity.\nTwo Tendencies"}, {"page_pdf": 11, "page_imprimee": "153", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.11", "texte": "These two tendencies have driven the best workers out of the theatre. Century after\ncentury the artists of the theatre, despairing of ever seeing the stage awaken from its state\nof drunken lethargy, depart from the theatre and go elsewhere. & & &\nThe result Is that today there are no more artists in the theatre. The heads of the theatre\nare always men with a certain amount of business capacity; we may; in fact, call them\nbusiness men. &£?&&&\nThe business man employs one or two people who know what a tree looks like as\ndistinguished from a cat, and of course that is very useful. And so when the business man\nwants a tree his workman brings him 0ne.... How simple! When he wants a forest, Say, in\nthe \" Midsummer Night's Dream \", his man brings him one. He does not paint 0ne,... of course\nnot! That would be risky; risky and difficult. No, he has asked for a forest, and his man\nbrings him the real and original thing, tree by tree. \"There you are, Mr Manager,\nthere's your forest for you\", and Mr Manager replies, \"By Jingo, so it is! What a\nmagnificent artist you are!\" And then he runs out into the highways and byways/having\nfirst put on his celuloid cuffs, and says to all his relations and customers; \" Walk up,\ngentlemen! come and look at the scene which 1 have prepared for you! Have you ever seen\na scene like that? I flatter myself that nature can't do better....\" And his customers\ngasp. They gasp at the innocence of the man. All they can politely say to him is \"It is\nvery realistic!... \" And so through this crass innocence, realism reigns in the theatre.... for\nthe people are ever polite. £/ & jg?\nNot only does the manager demand a forest and is supplied with one, but he says to his\nactors \"Why don't you walk about and talk like ordinary beings? Be natural! Be natural!\nBe natural! \" And he will applaud any little mistake like tripping over the carpet, or\nfalling off a chair, if it is an accident, and will say \" Oh! Capital! Capital! that's most\nnatural! put that in every evening\". Anything to get a sense of chance there. & The\nidea of make-believe seems to him a preposterous idea when he can get the real thing. &\nIn England when he wants an army he sends one of his assistants to bring him half a\ndozen men from the so and so regiment and puts them into the armour of the Barusch\nPeriod. He never thinks of training all his men to appear military as soldiers are. He\ndoesn't reason in that way at all, but keeps on repeating, \" What's the good of imitation when\nyou Can get the real article?\" &\nAnd what is the g00d?... If you want the real article. Realism does want the real\narticle, and art has nothing whatever to do with realism. There are people who hold that\nrealism on the stage is not the bringing of real things in front of you. & If it is not this,\nwhat is it? & & & & &\nLet us try to state. Let us say that when we make a realistic production we aim to put\ninto a semi-real shape that which is already quite real. We aim to invest it with\nsomething life-like so that it appears to have a pulse in it, flesh and blood, and to\npossess other actual qualities. And now one turns to the real thing to find what we\nhave to copy. We gaze long at a face. We see it is not beautiful, that it is not strong,\nthat it is not healthy, and that it is everything which art detests. We look closely at a tree.\nWe see it is in decay, that the leaves are falling, that it is half a skeleton. We look carefully\nat a building, we are struck by the quantity of bricks used and overcome by the thought\nof the labor and pain it must have cost to put all the bricks in the right place. And so we\nfind that to look closely at reality is to be terrified by what we see; and, if not terrified,\nsaddened. & How unreasonable it is to say that the artist exists to copy the defects\nand blemishes of nature! How ridiculous to say that man is gifted with vision in order to\nchronicle faults! To say that faults are beautiful and defects are charming is a platitude.\nThey may or may not be, but not in Art. Do they perhaps make a work of art more\ninteresting? 1 think not. One may say only that they are a trifle comic and that Is all.\nAnd so in time realism produces and ends in the comic,.... realism is caricature. The theatre,\nwith its realism, will end in the music hall, for realism cannot go upwards, but always\ntends downwards. Down it goes until we reach the depths And then, Aharchy!\nAriel is destroyed and Caliban reigns. & & & & & &\nAnd 1 do not really believe there is very much to be done; not that 1 am at all a pessimist\nin regard to the Art, because 1 know well enough that this will emerge unaided in due\ntime; but there is not very much to be done at present by the people who are now in power\n\nSOME EVIL\nTENDENCIES\nOF THE MODERN\nTHEATRE.\n\nThe business\nman . &\n& W ha t he\nwants . &\nArt and Realism\nRealism is\ncaricature."}, {"page_pdf": 12, "page_imprimee": "154", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.12", "texte": "SOME EVIL\nTENDENCIES\nOF THE MODERN\nTHEATRE.\n\nfor if they began \" doing things \" they would probably only make matters worse instead\nof better. Affectation would be added to vulgarity. j® j® Gr j®\nSomething may be done by the younger men, but not if they are under the influence of\ntheir eiders, because then you get an old young man. £? Something is being done in England\nat the miniature Court Theatre, but the influence of the author is too strong there.... an\nauthor who uses the theatre for purposes of reclame. £? Something is being done in the\nDeutches Theatre in Berlin, but the influence of Jugend and Simplicissimus and Business\nmen is too strong there. Besides, that Theatre shows signs of the borrowing fever at a\ndreadfully high temperature. Then there is also the little art Theatre in Moscow; full of\nenergy, loving realism so well that they even turn realism itself into a joke. Then\nthere is Lugng Poe's \"L'Oevre\" and Antoine's Theatre, the two solitary efforts of Paris;\nbut how little is achieved can be gauged by the last production by Antoine's of \"Julius Caesar\".\ns® If all these little theatre were moving forward in the same direction, all of them having\none common idea and following one code of laws, then some little good might be expected\nbecause they would all be in unison and in harmony; and the old-fashioned theatre with\nits plays and its scenery and its real actors would certainly be improved. 4® 4®\nTo expect what ought to happen.... to expect the managers of these theatres to meet in\ncouncil and to take an oath of allegiance to serve no other Muse but the Muse of their art,\nno longer to remain in bondage to the Muse of Literature or Painting, but to strike the\nfirst new note in honour of their own Goddess.... this ideal hope can only remain a dream,\nfor man is vain and selfish; and besides, the Laws of the Art have not yet been inscribed.\nAnd it is because of this, because the Laws have not yet been inscribed, because neither\nthe priests nor the worshippers know the Laws, that all action is useless at present, j®\nThe Laws must be discovered and recorded. Not what each of us personally takes to be\nthe law, but what it actually is. j® We can come to no disappointment by finding out.\nIf all of us fail to find the thing and one comes along who makes it clear, who will there\nbe to deny him? 4® The worst of it is that no one wants to find the law nowadays, but every-\none wants to force his own ideas, trumpery or the reverse, upon the rest,... or to make\nmoney. A great vanity and a petty selfishness tie our tongues and our brains, 4® 4®\nWhat the art of the theatre, (or rather we must call it the work of the theatre at present)\nlacks, is form. It spreads, it wanders, it has no form. It is this which makes the difference\nbetween the work of the theatre and the fine arts. To say that it lacks form is to say that\nit lacks beauty. In art, where there is no form there can be no beauty. 4® 4® j®\nHow then can it obtain this form? Only by developing slowly under the laws. And these\n1aw5?...?... I have searched for them, and 1 believe lam finding some of them. j® 4®\n\nWhat is being\nd on e . j®\nAn oath of\nallegiance.\nThe lack of\nF or m . j®\n\nDESIGN FOR A MASK. E. THESLEFF."}, {"page_pdf": 13, "page_imprimee": "155", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.13", "texte": "REALISM AND THE\nACTOR AGAIN.\nMR TREE, \"THE STAGE\"\nand \"THE MASK\"\nJOHN SEMAR.\n\" Hjphe Stage\" has been at it again! The Stage has been\ntrying to get Mr Beerbohm Tree out of a difficulty into\nwhich he had never fallen. Mr Tree holds a certain opinion\nabout Realism and the Actor, and, he having stated that\nopinion very clearly, The Stage like the old grandmother is\nwringing its hands over what it considers an indiscretion on the part of its grandson.\nThe Stage is quite stupid this time. It actually misinterprets our questions \" Do you\nconsider Realism and Acting to be a frank representation of human nature?\" and\n\" Should the Actor be allowed the same liberty in the expression of the passions as is\npermitted to the writer and the painter?\" It says that these two questions mean 44 Do you\napprove of nude exhibitions on the Stage?\". , &\nThe Stage accuses The Mask of being an eccentric journal, but if this is not sheer madness\non their part, we should be unable to say what modern English madness is to-day. In our\nlast but one number it is made quite obvious to any right thinking person that realism is\nabominable, on the Stage, and that to be entirely realistic, even though you are governed\nby Art, is to be entirely what is called 4 improper'.\nWe only speak about the external part of the realistic exhibitions which those in favor of\nrealism advocate, because the external part of it is the first part to be considered. We\ncome later on to the internal and more subtle things; but if realism will not stand the\nfirst test which is brought to it, how mudh less will it stand the later tests? If The Stage\nis shocked at the idea of a nude Adam in the theatre, then surely it should also be shocked\nat the idea of the naked thoughts of an Adam, and yet it is not shocked at this: because we\nhave no doubt the writer reads his Bible and his Milton every day (i). & &\nWhen these questions were received by the different gentlemen who were courteous enough\nto answer them, they, no doubt, said to themselves, \" Let us see what realistic representation\non the Stage would entail, no matter what the subject should be \". (You probably recollect,\nMr Stage, that all subjects are open to the poet and the painter). Then they would probably\nrun through in their minds the different subjects taken both by the poet and the painter. Now\nwe ask The Stage to call to mind those subjects which are most favored by poets and by\npainters. Prom time immemorial they have been the subjects which we mentioned and which\nseem to amaze The Stage as something new. Why, surely it is quite a well-known and\nancient fact that the stories of Perseus, & Andromeda, of the Annunciation, of Judith and\nHolofernes, & of The Fall, have been the very first subjects chosen by all painters and poets\nsince they first began to paint and write? Now we were perfectly certain when we started\nthis enquiry that these subjects should Not be put upon the stage, not because it is immoral\nto represent them, but because it would be ridiculous to attempt such a thing and therefore,\nknowing how much the opinion of well-known men influences the public mind, we thought\nwe would ask those best entitled to speak on the subject their opinion.\nThe Stage says that the question of nude representations upon the Stage was never put\nbefore these gentlemen; but bless your heart, dear Stage, who ever said it was? But\nyou cannot deny, try how you may, that the subjects where liberty is allowed the writer\nand the painter are the very subjects where the question of nudity does come in. K we\nare wrong you must prove your point, but you keep on proving it back-wards at present.\nWe should say that the best thing is to say nothing more about it, and it will be swiftly\nforgotten.... And, by the way, would it be possible for you to stop flattering us by calling\nus 'eccentric'? We pray you we implore you don't throw us into the briar bush!\nA misinter-\npretationt.\nThe external\npart. &\nA well-known\n& ancient fact.\n(I) We hope so, at any rate!\nNext month we shall publish the opinion of MISS EEEEN TERRY on the subject\nof Realism and the Actor. Ed."}, {"page_pdf": 14, "page_imprimee": "156", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.14", "texte": "THE ARCHITECTURE\nAND COSTUME OF\nSHAKESPEARE'S GREEK\nPLAYS\nby E. W. Godwin.\n*Y*he two plays which I bracketed together in my introductory\nnotes on the Greek plays a belonging in their action to\nthe palmy days of classic art were Winter's Tale and Timon\nof Athens (B. C. 430-497). That there is as considerable\ndifference in the classical character of these two works one\nmust at once admit. That the classic element in the Winter's\nTale is overlapped by English medievalism to an extent\nwhich is at times startling cannot be questioned by anyone\nafter reading the fourth Act. That quite apart from the\nintroduction of sixteenth-century English country life there\nare strange anachronisms respecting places and people must\nbe conceded. As, for example, the introduction of the Oracle\nof Delphi as an integral part of the plot, the mention of the\nEmperor of Russia as Hermione's father, the presence of Julio\nRomano in Sicily as a painter of sculpture, and the existence\nof a country with a sea-coast called, Bohemia, and ruled over\nby a king called Polixenes. Nevertheless, I am not by any\nmeans prepared to say with some readers of this play, that\nit is a comedy quite removed from the sphere of reality. The\nItalian painter and the Emperor of Russia slip into the text\nalmost unobserved, and but for the picture of the English\nvillage festival, together with one or two slight references to\ncostume, we should have a play almost wholly free from\nanachronism. & & & &\n& The important part in the plot played by the\nPhythia, or priestess, at Delphos recalls a time anterior\nto 371 B. C., when the oracle was popular; the names of the dramatis persoiiso\nare Greek down to the names of the shepherdesses and pedlar, and the state of society,\ndivided as it is between two classes—the aristocrat and the labourer—might take us back\neven to the heroic age. Then for \" Bohemia\" I would venture to read Boeotia, and so get\nrid of the geographical difficulty. Finally, as to the English character of the fourth Act,\nwe may bear in mind that a shepherd's life was very much the same in the heroic age as\nit was in the Elizabethan or any other age; and that the Boeotian poet Hesiod, in the\n\\\n\" Works and Days,\" gives us pictures of a simple country life very little different from those\ngiven us by the English poet in the Winter's Tale. We have, therefore, to choose some\ndate before 371 B. C. for the period of the action. I say 371 B. C., because after this time\nthe Delphic oracle had so far lost its hold upon the public faith, and its old towering influence\nhad been so much reduced by the exhibition of manifest favouritism, that it would hardly\nhave attracted a colony so far removed as Sicily. Nor, on the other hand, must we venture\nto go too far back, for fear we reach an art period wherein the extremely realistic painted\nstatue as we have it suggested in the play would have been impossible—impossible to the\nfirst or Archaic period as a matter of course, impossible to the second or Ideal period\n(464-433 B. C.) as a matter of art, which artists at least can readily understand. It is to\nthe beginning of the naturalistic, or third and last, period of Greek art (430-407) that I would\nrefer the action of the Winter's Tale; and thus it comes to be bracketed with Timon of Athens,\nwhich is really a Greek history, Timon, the misanthrope, and Alcibialdes, the general of the\nAthenian forces, being prominent names in Athenian history from 422-404 B. C. &\n& & The architectural scenery in the Winter's Tale is Sicilian, and includes.\n\nStrange\nanachronisms\nA time anterior\nto 371 B. C.\nThe Delphic.\nOracle.\nThe architectu-\nral scenery."}, {"page_pdf": 15, "page_imprimee": "157", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.15", "texte": "i. A street scene (before the palace).\nI 2. A room in the palace of Leontes.\n< 3. The outer room of a prison.\n4. A court of Justice.\n5. A room in Paulina's house.\n<o> The palace of Polixenes appears once only in the short opening scene of the fourth Act,\nhut this scene might just as well be a country road or a garden as a palace. The five Scenes\nabove enumerated may be reduced to four without doing the slightest violence to the text,\nand without incurring any archaeological improbability, by uniting Nos. 3 and 4, so making\nthe court of justice serve for the second Act. Nor would it be very difficult with careful\nattention to the planning and setting of the scene to reduce the list still further by uniting\nNo. 2 with 3 and 4. Now, although the period of the action belongs to the naturalistic, or\nclast style of Greek art, it is necessary to remember that a Classic city, as a rule, was no\nnecessarily built in one style, any more than a Gothic town was. That just as London and\nYork, Coventry or Bristol in A. D. 1430 exhibited buildings of a variety of dates up to th\npurest work of the thirteenth century, and beyond that to at least the middle of the twelfth\nentury, so in Agrigentum for a century and a half, and in Leontini and Syracuse for three\nenturief, the builders' hands had been busy before Polixenes came on his unfortunate visit\nto Leontes. set &\nBut whatever variety existed in the proportions of column and entablature, whatever\nchanges and refinements were developed under the indubitable art-culture of the Sicilians,\nDoric was the prevailing character of the architecture. On public buildings like the temples\nand palaces, colour, gold and varnish, were lavishly used outside as well as inside when the\nwork was of porous stone and stuccoed, but they were perhaps applied in less quantity when\nthe work was of marble. M. Hittorff, who, in 1823-4 travelled in Sicily in company with the\nGerman architects Zanth and Stier, tells us that the body of the walls were painted a pale\ngolden yellow, the triglyphs and mutules blue, the metopes and tympanum red, and on some\nparts were traces of green, all used in various degrees of intensity. Other antiquaries tell\nus that \" the white marble never remained naked,\" and that even the portions intended to\nbe white received a transparent coating, that the blue used was of a grey opaque character,\nthat the red was transparent, and that the green was very delicate although bright. The streets\nwere narrow, and were paved with irregular polygons of stone, and every building was not exactly\na repetition of a peristylar temple. Indeed the majority of houses appear from Aristophanes\nto have been very deficient in their internal arrangement, and to have been built on very\nlimited plots of ground. There seem to have been no sanitary provisions of any kind, and the\npoultry lived, Irish-fashion, in the room where the beautiful Myrrhina carded her wool or\nplied her distaff. The roofs of many of the houses were flat, and thither the women retired,\nsome to indulge in wine, some to mourn for Adonis (i). The Nestorian house, illustrated in\nLayard's \" Nineveh,\" may be taken as giving a fair idea of the general appearance of the\ncommon class of Greek tenements. But, again, a Greek town was not made up wholly of\nthe lower class of dwellings any more than it was of temples or palaces. In the\nThesmophoriazusae and Ecclesiazusae we meet with residences of more than one storey where,\ntoo, the women of the house have a distinct suite of rooms to themselves, where some of\nthe upper windows look into the street, and where bay trees and statues shade the entrances.\nStill with the extension of plan and increase of means here indicated there was scarcely any\naddition to the walls in the shape of architectural detail. Nor did the ordinary\ndomestic building of Greece partake of anything like what we understand by the words\narchitectural style until a hundred years after the time now under our consideration.\nThe difference between the houses of the lower and the upper classes was one depending\nchiefly on size, solidity, and paint. The palace of Leontes towards the street might be\nrepresented as a massive stuccoed wall of two storeys covered with painted decorations and\npictures, pierced above by plain square windows with folding shutters, and below by a wide\nand lofty doorway set in a frame of Doric antee entablature and triple step-raised threshold.\nThe doors themselves should be folding, with framework of plates of bronze studded with\ngold, two large golden rings used as knockers, and numerous square panels filled with ivory\nbas reliefs, painted and gilded, and backed by bronze or wood. Before the antse might be\n\nSHAKESPEARE'S\nGREEK PLAYS.\n\n&Do r i c\nArc hitecture.\nAristophanes.\nA Greek town♦\nThe palace\nof Leontes\n\n(l)Lyslstrata. See also Ezeklei, chap. 8."}, {"page_pdf": 16, "page_imprimee": "158", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.16", "texte": "SHAKESPEARE'S\nGREEK PLAYS.\n\nplaced marble statues (i) of Apollo and Hermes, and before these, and by the side of them,\nthe bay and the laurel, with marble seats beneath them, extended avenue-like to the line\nof the street.\n& The interior or room of the palace might be either the aoXri or peristyle, the open part\ncovered with a linen velarium, or a hall arranged on a theatre-like plan. Such an addition\nto a royal palace might be unusual, although not impossible, for the half circle was a form\nof ground plan by no means limited to the uses of the drama. But whichever plan may be\nselected, there must be no lack of imagery portrayed upon the walls round about—amber\ncolour and ivory, bright red and gold, grey blues and silver, tender green and bronze may\nall be there. There too we may have curtains of the rich Tyrian purple, covered with\nembroidery in gold, white and red. The wall paintings might be arranged in two or three\nrows, the lowermost level being some four or five feet from the floor, The subjects would\nbe taken from the stories of gods and heroes—Aphrodite's envy of Psyche, or the labours\nof Hercules; how Jason won the guarded fleece of gold, or how Theseus escaped the labyrinth—\nwhilst some rooms would be wholly given up to the story of the siege of Troy or the\nwanderings of Odysseus. But unfortunately such scenery as that of the kind here suggested\nis practically impossible in this generation. We may have artists equal to save the work\nfrom being ridiculous, but no manager would be mad enough to pay for it, while actors and\nactresses work from low motives, are sand-blind to art, and therefore utterly incompetent\nto act in the poetical drama.\n& Paulina's house would of course be very Inferior to the royal palace, and yet we must\nremember that the text indicates a place of refinement, a house where art was honoured,\nwhere sculpture was at home, and where the latest and best work was enshrined god-like\nwithin a tabenacle, tent, curtain, or velum. These curtains were movable in three ways,\ndrawn aside, by beyng either by being lowered to the floor, or by being raised to the ceiling.\nThey were either of fine wool or thick linen, and some were sumptuous in wealth of lovely\ncolour and woven figure. An open or half open gallery or corridor, the roof resting on squared\nposts of timber or masses of stuccoed masonry, statues on cylindrical pedestals, a wall with\na painted band or two of ornament, a recess for Hermione, and a general amberish tone of\ncolour over all are the chief ingredients for this scene. & & & &\nThe costume for the Winter's Tale would be so much like that for Timon of Athens,\nthat I defer its consideration until we have gone through the scenery of the latter.\n\nThe interior.\nPaulina's House\n\n(1) Statues in the open air had {ivjviaxoi or metal disks above the head to protect them from falling matter."}, {"page_pdf": 17, "page_imprimee": "159", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.17", "texte": "THE THEATRE\n\nIN GERMANY, HOLLAND, RUSSIA &\nENGLAND. A Series of Letters from\nGordon Craig.\n\n?y| y dear Semar.\nOn leaving Florence you asked me to send\nyou some news of the theatres that I should\nsee in Germany, England, Holland and Russia,\nand 1 had no sooner arrived at Munich than\n1 wanted to send you news enough to fill\nthree of The Mask. &\nOn getting as far as Amsterdam, 1 wanted to\nsend you more news, and now that I am in\nEngland, 1 see that it is absolutely necessary\nto delay no longer. &\nTo write to you about the Art of the Theatre\n1 don't intend, because the art of the theatre\npositively does not exist, but one can write\nabout the activity and inactivity of the\ntheatre, and if you ask me where the theatre\nis most active, I reply it is in Germany. The\nGerman activity is not only impulsive but\nsystematic, and this combination is going to\nbring the German theatre in twenty years to\nthe foremost position in Europe. 1 judge\nby what 1 see and not by what I hear, and\nthis is what 1 have seen in Munich.\n1 have seen Princes lending their name and\ngiving their money to the furtherance of the\ntheatre. I have seen a new building which\nhas been erected in Munich by the architect,\nProfessor Littmann. 1 have been over this\ntheatre, and 1 can assure you that it is first\nclass, that it is not a foolish affair with\nseveral balconies one over the other, with\nunnecessary gilt or marble columns, with\nunnecessary draperies of plush or silk, or\nwith some vast chandelier, or with the ordinary\norchestra boxes and the ordinary stage. It is\nquite out of the ordinary in every way, and\nyet you see Princes support it, without\ncalling it eccentric, and, what is more, the\npeople support it. I myself tried to obtain\na seat for the evening's performance, and\nalthough it was at the end of the season, it\nwas impossible to do so. Through the courtesy\nof Professor Littmann I was able to go on to\nthe stage, during the day, and into the\nauditorium, and 1 was shown the scenic\ndevices and those for lighting. &\nThey were unlike others that I have seen.\nThe question is not whether they were good\nor whether they were bad, the only thing\nthat 1 shall draw your attention to at all\nis, that although they are entirely new,\nentirely original, they are receiving\nsupport, and not a sort of timid support, but\nthe whole hearty support of the city of\nMunich; then 1 arrive in England to find not\none city giving any support from its heart to\nany original idea which may be in the heads\nof the younger generation in England, and\nthis is nothing short of disgraceful. In England\nwe have, 1 suppose, as much intelligence, as\nmuch taste, and perhaps as much genius as\nin other lands. Beauty? my dear Semar, the\nbeauty of England is extraordinary, the beauty\nof its people is amazing, but its energy seems\na little bit at rest. &\n1 fully believe that all the artists are playing\ngolf, or shooting pheasants. 1 can imagine\nthat they say to themselves they would\nrather be in the open air than sitting in a\nroom to be insulted by a lot of rich titled\ndormice, to whom it has never occurred that\nthere is something better than sleeping.\nBefore I left England, I thought it was the\nfault of the Actor-Managers and the men in\nthe theatre. The former seemed to me a most\nwicked people; but the Actor-Managers are\nnot entirely to blame. It is the country that\nis to blame, it is the rich gentlemen of England\nwho are to blame. What right have I for\nsaying this? Why, my stay in Germany\nof about four years, my visit to Russia and\nto Holland, and then on the top of it this last\nstay of two days in Munich. One sees and\nrealises these things in a flash; one waits,\nlooks, enquires, wonders, and suddenly it\nbecomes quite clear; and unless the gentlemen\nof England wake up, putting aside the coat\nof the snob, assuming the coat of the gentle-\nman, the theatre will not revive; until the\nday when the English gentleman finds he has\nlost all his money, that it has been taken by\na foreign nation, and in despair he looks\nround for some one who can help him. Then\nhe will look to the artists and the workers.\n1 am not a Socialist. 1 love the idea of the\nswagger Lords of England; but it no longer\ncontains swaggering Lords with their swag-\ngering ways; they are all somnambulists; white-\nfaced, white-bearded; they creep up and down\nthe towns from Dover to Carlisle, muttering\nto themselves, \" Thank God! Father left me\nwell off. Now I shall have no more worry! \"\nBut they certainly will have a great deal\nmore worry, and it seems to me, in away\nthey don't expect. No I lam not a Socialist,\nmy dear Semar,.... not yet!\nNow a word or two more about the Munich\ntheatre,... though in the Munchener Kuntsler\nTheatre (which means the Artist's Theatre\nof Munich) to a certain section of English\nartists, perhaps the best section, there is\nsomething alarming, something incidentally\nof what they would calf an Art-y theatre,\nArt with a capital *A\\ But do you know Art\nis now allowed to have a capital 4A' as well as\nany other work? I have seen War with a\ncapital 'W' and what is against Art with a\ncapital *A'? & & &\nI cannot tell you all the plays that they\nproduce, but it is sufficient to speak here\nof \" Faust \", which they commence at six"}, {"page_pdf": 18, "page_imprimee": "160", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.18", "texte": "o'clock in the evening in order that\nthey should not be obliged to cut it; of the\n44Das Wundertheater\", the play which possibly\nmany people have not heard of, by that little-\nknown writer, Cervantes. Of the 44 Die\nDeutschen Kleinstadter \", of 4 Twelfth Night';\nbesides these, of the44 May Queen also of the\n\"Little dance Legend\", \"Herr Peter Squenz\",\nand other interesting works. (1 believe The\nStudio speaks of \"As you like it \" but I think\nthey mean 4 Twelfth Night '). jp\nThese productions are the work of the artists\nand the actors, but they are not unknown\nactors, or actors who call themselves inde-\npendent. They are the actors of the Royal\nTheater, that is to say, they are what is called\nconventional actors. 1 wonder if there were\nfound a man generous enough to build an\nArt theatre in England, whether the chief\ntheatres would lend their actors? The\nOrchestra in the little Munich theatre is not\nmerely a scratch one, it is the Munich\nPhilharmonic Orchestra. & &\nNow from such a beginning, from such a\ncombination of actors, musicians, and design-\ners, (not to speak of the Stage-Managers,\nwho are the best that can be obtained,) much\nis to be expected. From such a combination\nIn England, we could expect as much. Al-\nthough 1 was unable to see the performance,\n1 know that it must have been very excellent,\nand very excellent because very thorough.\n1 did see the Stage, and of that t will tell\nyou something.\n& It was very small, but vfery complete.\nNothing seemed to have been left to chance.\nRopes, Scenery, Lights, seemed to be all out of\nthe way; everything seemed to have been, as\nit were, put into the cupboard. The Scenes\nwhich were in use were all hung up, but\n1 cannot describe how they were hung\nup, how well done, how cleverly done. The\nScene was set tor the evening, chairs and\ntables covered. The Scenery, although it\nhad been in use for several months, showed\nno sign of wear whatever; even the corners\nwhere two pieces meet together seemed\nto be as fresh as the day they were made.\nEverything seemed so good, so well nursed.\n1 was enchanted by what 1 saw, it said this\none thing so clearly to me; it said 44 We\n\"Germans are not prepared to say whether\n44 the performance will be artistic or not; we\n44 are not prepared to say whether a genius is\n44 comfng into the theatre or a fool; but we are\n44 determined that whether it is a fool or a\n44 genius, he shall find everything in perfect\n44 order and he shall have nothing to complain\n44 of as to our arrangements. Unless we give\n44 him a good machine (not necessarily an\n44elaborate machine) the work will not have a\n44fair chance\". & & J&\nIt would be something to find out the way\nthe Germans set about such a task; it would\nbe very interesting to note whether it is a\nCommittee which produces all this system,\nor whether it is the national training, or\nwhether It is dependant upon a man's per-\nsonality. I think it must be the national\ntraining. \" Right-about Turn I Quick March 1\nEyes Right!\" Something of this. The ap-\npliances on the Stage of the Theatre seemed\nto me to have come from all parts of the\nearth, for this is the German characteristic,\n...to refuse nothing if he thinks it will be of use.\n1 have not told you of the building itself. It\nis beautiful in appearance; it would take too\nlong to describe its charms, but here again\nits beauty is of secondary importance, what\nis paramount being its practicalness and its\nusefulness. You enter the building and\nstraight in front of you is the Box Office. On\neach side are steps leading to your seats, the\nwords indicating the direction you are to\ntake being made part of the decoration, not,\nas in England, a sort of label on the wall.\nThere is much more to be said and I will\nwrite you again about this and other theatres,\nand let us hope that soon some united action\nwill be taken in England in this matter of\na new theatre. First, that the English\ngentleman shall understand the part that he\nis to play; then that the organiser too shall\nlearn what part he is to play; then, finally,\nthat the artist may be called upon to fill the\nbeautifuland systematic theatre with beautiful\nthings.\nP.S. By-the-bye, in going through the stage-\ndoor of the theatre 1 saw there the following\nwords, 44 Sprechen Streng Verboten \", which\nmeans 44 Speaking Strictly Forbidden \". The\nfirst moment 1 thought 1 was in Heaven. 1\nthought 4At last they have discovered the\nArt of the Theatre \". But no, they have not\ngot so far with the Art.... Queer!... but the\nclue is in that very Sprechen streng verboten.\n\nGORDON CRAIG.\n\nBOOK REVIEWS\n\nTim PAPYRUS, MONTHLY. Michael\nMonohan, New Jersey, U. S. A. & &\n\\\\7e have received two copies of The\n\" Papyrus, a Magazine of Individuality\nedited by Michael Monohan. These two\nnumbers are very full of things about Mr Oscar\nWilde and include translations from Andr£\nGides book and from other writers who have\npreserved for us the faint suggestion of some\nof the good things felt and said by Wilde.\nFor instance, it must surely interest\nreaders of The Mask to remember that Wilde\ndid not think well of his plays 44 My plays\nare not great \", said he;441 think nothing of\nthem;... but if you only knew how amusing"}, {"page_pdf": 19, "page_imprimee": "161", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.19", "texte": "they are.... incidentally most of them are the\nresult of bets.\" & & &\nHow delightful this is! Here we have Wilde\ndoing, merely for a bet, what other English\nplaywrights cannot do even from a sense of\nduty \\\nAlthough we like the article by the Editor on\nOscar Wilde's repentance, for ourselves we\ncannot somehow look upon Wilde in at all\nthe sane way. What is there so special about\nwhat is called his 44 repentance,\" or his\nsorrow, or his sin or his punishment as\ncompared with that of other men of equal\ngreatness? The sins of the world are\nextremely broad cast, and the punishment\nseldom, thank Heaven, reaches the sinful one.\nAlas, on the contrary, how often the blow\ndashes out the brains of some unfortunate!\nRepentance is very seldom seen,... again thank\nHeaven for it; and sorrow!... who has ever\nseen sorrow? Surely that pain worthy of the\nname is too great to show itself and too\nbeautiful ever to be described? It so often\ndegenerates into the maudlin, and that is what\nthe writers upon Wilde are apt to do. So, from\nbeing painted as the most outrageous\nvillain of 1895, the picture is now being\ntouched up to the other extreme and nearly\nevery other word written about him is sorrow,\nrepentance, morality, crucified, anguish,\ncharitable,... all these suggesting far too much\nthe martyr, which seems foolish towards the\npeople and really for the first time cruel\ntowards Wilde.\nOf course it is only the natural result of the\nstupidity which did not know how to deal\nwith his case. But it is this very stupidity\nwhich is the culpret and which we yet cannot\ndare to treat as the culpret but which we are\nobliged to look upon as the patient; this\nstupidity which caused the English nation to\noppress Wilde until, as they now see, he is\nbecoming a veritable hero; whereas Wilde was\nnot a hero at all, but merely a very remarkable\nintelligence and a man whom some considered\na great artist, with, we suppose, a good father\nand a good mother and all the advantages of\nlife and a sincere admiration for Queen\nVictoria. &\nAnd since we are on the subject of Wilde let\nus add here rather a good anecdote which we\nhave not come across in print although it may\nhave been told many times.\nWilde was rehearsing one of his plays. He\nwas trying to persuade an unwilling actor to\ndo a certain thing in a certain way and the\nactor would always do another thing in\nanother way. At last the actor lost his\ntemper and in desperation cried out, 44 Look\n\" here, Mr Wilde, you know you can lead a\n44 horse to the brook, don't you know, but\n44 you can't make him drink \".44 No \", replied\nWilde, 44 No, but you can make him\n44 pretend to! \"\nThe Papyrus also contains an excellent\nattack upon Dr George M. Gould, who gets\nmore pummelling in three pages than he has\nprobably ever received in his life. It will be\nremembered that Mr Gould was the friend of\nLafcadio Hearn and attacked him both as man\nand as artist after he had died. & &\nWe shall read The Papytus with interest\neach month, and this is more than we can\nsay of most of the American magazines which\nreach us.\n\nBOOKS, JOURNALS AND MAGAZINES\nRECEIVED & & & &\n44 The Training of The Imagination, by James\nRhoades John Lane. London & New York. „II\nNuovo Giornale 11 lust rat o Florence. & 44 The\nBook News Monthly \" Philadelphia, Pa. U. S. A\n44 What's On London. &44 Le TGmoin Paris.\n44 La Balance Moscow. \" Paris American\nParis. 44 The Fra East Aurora. New York. &\n44 The Bibelot Portland, Maine U. S. A. 44 The\nPapyrus \", East Orange., New Jersey U. S. A. &\n44 Current Literature \" New York. u The Studio \",\nLondon. 44 The New York Dramatic Mirror \",\nNew York. &44 Rivista di Roma \", Rome. 44 Argus \",\nHelsingfors. 44 Die Schaubuhne \", Berlin. \"II\nTeatro Illustrato 99 Milan. & & &\n\nFOREIGN NOTES\n\nXXfe print below the replies received from\n* Holland and Warsaw to the following\nquestions:\n1. Does the work in the Theatres in your\ncity show hasty conception and careless\nperformance, or careful thought and slow\nand painstaking execution?\n2. Is the Public contented with what\nit receives in the Theatres, or, if there are\nthree or four sections of the Public, are they\ndivided on this point?\n\nHOLLAND\n\nHphe Hague has not one theatrical company\n* of its own. Until the end of the season\nwe had the Residentietoneelgeselschap, but\nneither the energy and great capacity of Mr\nBrondgeest, its leader and chief actor, nor\nthe youthful talent of Miss Alice Plato and\na few others were able to overcome the\nindifference of our public. The Company gave\nits performances in a big hall which was never\nbuilt for such a purpose, and where the\nhearing is bad and the seats uncomfortable.\nThis may be one of the reasons of Mr\nBrondgeest's want of success.\nOther companies from Amsterdam and\nRotterdam give performances at the Hague,\nbut as all are obliged to travel from town to\ntown with a very large and varied repertoire,\nperformances are not as a rule prepared as\ncarefully as would be possible under less\ntrying circumstances.\nIn the only theatrical building we have"}, {"page_pdf": 20, "page_imprimee": "162", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.20", "texte": "performances are given by the Royal Opera\n(French) twice a week and every other Sunday.\nIn a large hall, (The Het Gebouw), not however\nbetter fitted for theatrical performances than\nthat of the Zoo, several Dutch and foreign\ncompanies also act. Their financial success is\non the whole very doubtful: only operettas\nin Dutch translations or in German are always\napplauded.\nThe general public goes to the Royal Theatre\nand most of the playgoers content themselves\nwith the performances given by the royal\ncompany from Amsterdam. Artists and\nauthors, however,... in fact the greater part\nof the more literary and artistic public, do\nnot generally seek artistic enjoyment there.\nMost critics are rather severe about the Royal\nCompany, which is the only one subsidized\nby Her Majesty the Queen. The Government\ndoes not subsidize any theatre.\nFrom time to time a few young artists and\namateurs, desirous of bringing Art on to the\nstage, endeavour to please connoisseurs under\nthe lead of one or two well known actors.\nBut connoisseurs are few, and as the great\nmajority of the public only pays attention to\nthem so long as the enterprise may be\nconsidered as new and more or less a topic\nof the day, they do not usually win more than\na passing success. Business men are very\nsceptical about these generous attempts to\nreform the Dutch stage! Notwithstanding\nthat scepticism, next season two of these\ncompanies will begin anew to struggle for\nArt,... and for life! & & &\nAs a general rule I may say that all companies\nare apt to study Dutch plays somewhat better\nand with more care than foreign ones. Not\none of them comes up to the mark in\nShakespeare or in German classics. We have\nsome good individual actors for that kind of\nwork, but as yet not one good \"ensemble\".\nAs to your second question, 1 regret to say\nthat the public at large do not manifest any\nenthusiasm for the stage in this country, and\ntherefore do not consider theatrical matters\nto be of enough importance to occupy\nthemselves about them in any other way\nthan by going to the theatres, 0r.... staying\nat home. A very few actors and actresses\nare popular, but if they leave a company\nbecause they are not engaged for the next\nseason people suffer them to go without\nfinding fault with the managers who deprive\nthem of the opportunity of witnessing these\nartists. &\n\nF. L. The Hague.\n\nWARSAW\nB. N.\nTheatre in Warsaw for many years has\nexisted under conditions which render\nimpossible any development or any careful\nand conscientious work. & &\nBeing administered by Russian magistrates\nwho do not understand the Polish language,\nand who not only ruin the Theatre financially\nbut also lower it artistically, having the right\nof decision in the choice of the pieces to be\nplayed and in the alotment of the roles, the\ntheatre in Warsaw has fallen very iow. Nor\nis there any regisseur capable of raising it.\nThe theatre has excellent actors, but the\nadministration systematically discourages\nthem, their salaries at times not being paid\nfor months. & & &\nSo it is that the Warsaw Theatre, once\none of the best in Europe, has ceased to\ninterest the public, whose artistic aspirations\nhave been crushed by recent political events.\nWarsaw has long been awaiting a radical\nchange in this state of affairs.\n\nMUNICH\nTHE REFORM STAGE\n\nnpfoe Germans, ever energetic, ever splendidly\n* patriotic, entirely in earnest, ....and, oh the\nimportance of it!... are nowhere more in\nearnest, nowhere more patriotic or energetic\nthan in Munchen. & & &\nWhether they turn their attention to\narchitecture, painting, furniture, journalism\nor the theatre they bring to their studies the\nsame determined attitude. Their new\nmuseums, bridges, decorations, illustrated\npapers, are all alive. Englishmen who have\nread The Studio know this. The Studio,\never at the disposal of the energetic suppliers\nof articles sent from Germany, prints again\nand again illustrated papers showing and\ntelling of all the activity of the Munich\nartists.\nTake up The Studio of the last five or six\nyears and you will find many hundreds of\nphotographs showing the German idea of what\nan Exhibition should be, of what a bridge,\nmuseum, shop, theatre, table or chair\nshould look like. Especially famous are the\nMunchen artists for their arrangement of\nexhibitions. They do not merely open a few\nrooms and hang up a quantity of pictures.\nThey build a temporary but beautiful palace\nfor the works of art, and each picture or\nstatue has its special setting; they allow\nplenty of room for each design, and everything\nis done with thought. & &\nThis year this energetic attention has been\ndevoted to the Theatre; and the Studio has\nput itself at the disposal of a German writer\nwho tells us what the Theatre is and betrays\nat the same time what it is not. Thus we\nhave the following report: & &\nA masterly achievement, and one which is\nto have a far=reaching effect, is\nthe building which bears the title \" Miinchener\nKiinstler-Theater.\" The designer of this\n\" artist^tlieatrey\" Prof* Max had\nalready had more than one opportunity of\nshowing the way to new ideas and methods\nin theatre construction, from both the\npractical and artistic points of view. It may\nbe sufficient to mention here the Prince\nRegent Theatre in Munich, built on the\namphitheatre system, and the new Court\nTheatre at Weimar; and now this new theatre\nin the Exhibition Park exists as the result of\na self-sacrificing resolution to provide a place"}, {"page_pdf": 21, "page_imprimee": "163", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.21", "texte": "where the movement for the reform of the\nstage may find expression. &\nThe aim of this reform movement, it may be\nsaid, is to bring about a decided change from\nthe naturalistic system of representing local\n\" colour \" on the stage, with its accompani-\nment of mechanical apparatus and decorative\ndevices of various kinds, all utterly lacking\nin artistic effect, and calculated only to delude\nthe spectator. Instead of that close imitation\nof houses and streets, of rocks and woods,\nconstructed of plaster and canvas, which has\nformed the customary stage-setting, the\nscenery in this \" Kiinstler-Theater,\" by being\nrestricted to the most essential and\ncharacteristic elements, partakes more of the\nnature of suggestion than representation.\nAll the details of the setting are of course\nderived from nature, but they are so simplified\nand refined in accordance with certain purely\ndramatic ideas that instead of a mere crude\nimitation of nature a poetic symbolism is\nintroduced. In this way the scenery, which\noften enough is so obtrusive as to divert the\nattention of the spectators from the dramatic\nproceedings, is kept in the background, and\ninterest can thus be concentrated on the ptay\nitself. & &\nThis idea is by no means a new one. Even\na century ago Goethe and Schinkel advocated\na reform in the same sense, and others have\ndone so since, but only now at Munich are\ntheir views finding practical realisation.\nAt the inauguration of the theatre Goethe's\n\" Faust\" was given in Eritz Erler's fine\nsetting, and the enthusiastic reception\naccorded to the new mise=>en=>seene of a\ndrama which offers such an extensive variety\nof scene proved the power of these ideas to\ncarry conviction. The performances which\nfollowed \" As You Like It,\" clothed by Julius\nDiez in a joyous, richly garb; the\npastoral play, \" The May Queen, \" which\nH. Huschbeck has arranged with a most tender\npoetic feeling; and the \" Tanzlegendchen \"\nto which Hans Beatus Wieland has given an\nextraordinarily picturesque effect hy the\ndecorations and costumes designed by him\nfor it—all emphasised the merits of this reform\nin the most striking way.\nAs only a comparatively small sum of money\nwas set aside for the construction of the\nbuilding it was incumbent on the architect\nto exercise the strictest economy, and by\ndispensing with an upper-stage he was able\nto cover both auditorium and stage with one\nroof. The wardrobes have been placed under\nthe auditorium, which takes the form of a\nsloping amphitheatre divided into twenty-two\nrows of seats. A refreshment room was\nlikewise dispensed with. In various ways,\nthen, both space and money have been\neconomised, and a very appreciable saving of\nthe latter has been effected by the use of\nplaster for a large part of the interior wall\nsurface. The auditorium has no plaster\ndecoration; the ceiling is panelled with pine\nslightly toned, while the walls are lined with\nstained oak relieved by inlays of darker wood.\nThe curtain Is of blue silk with applique\nembroidery, by Margarete von Brauchitsch.\nThe auditorium terminates in a row of boxes\ncommunicating with the foyer, the walls of\nwhich Julius Msssel has decorated with\nsymbolical paintings. The orchestra, in front\nof and below the stage, has been so arranged\nthat it can be easily covered over when no\nmusical accompaniment is required. The stage\nitself is at once simple and practical. It is\nonly 26 feet (8 metres) deep; a landscape\nforms the background, but there is no visible\nconnection between it and the floor, which\nhas been expressly made low, while in place\nof the coulisses there are tower-like sliding\nstructures which make possible a great\nvariation of scenery. It is well to add that\nthe architect has carried this undertaking\nthrough without any material recompense,\nand out of pure enthusiasm for the cause\nof reform\". & &\nin the above lengthy quotation the italics are\nBy referring to them the reader will\nsee that this reform of the stage which is\ncalled a masterly achievement refers only to\nthe stage setting, the scenery and the\ncostumes. Masterly it seems to be according\nto the report of Mr Craig, who has visited\nthe theatre,... but we note that he speaks\nonly in praise of the systematic organization,\nand not of the Art, although he has words\nof praise for Professor Littmann's building.\njg? We regret that it has been the work of\nthe painters, for the world needs no more\nreminder that the painters are men of brains\nand energy, We still await the Ideal Theatre,...\nthe only theatre,... that dreamed of by the\nartists of the Theatre, made and built with\nthe hands and filled with the brains of the\nartists of the Theatre.\n\nQ. N.\n\nS TRA TFORD-ON-A\nAt the Memorial Theatre. \" Twelfth Night \"\nwill be the play for the second Annual General\nPerformance of the British Empire Shakes-\npeare Society, to be held, (under the direction\nof Mr Actor Bond,) on September 30th,\nOctober Ist, 2nd and 3rd. There will be two\nmatinees and two evening performances, and\nthe two casts that will be employed drawn\nas they will be from all over the kingdom,....\nwill be representative of the acting members\nof the Society"}, {"page_pdf": 22, "page_imprimee": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.22", "texte": "EDITORIAL NOTES\n\n& The 44 New York Dramatic Mirror \" a\nshort time ago contained a column about\nscenic artists, and it devoted a third of a\nleading article to speaking about scenic\nartists and their work. What do you think\nthey talked about all the time ? Business,\norders, orders, business and again business,\norders I Truly it takes one's breath away.\nOne would have thought that there might\nhave been a word or two about other things\nthan business and orders, but there was a\nwhole column and a third in a cheerful vein\nabout the 4 shop ' of it all. &\n44 The outlook for business is good \" said\nMr D. F. Dodge at the American Theatre,\n44 Our business this year is fair to that of\nlast year \" said Mr Edward Unitt,44 has not\nfallen off to any extent \". <4 Business has\nbeen much worse this year than last \" said\nMr D. H. Armbruster. 44 Business has been\na little slow this year \" said Mr Gates.\nj& I am looking at the column as I write\nand have been looking at it for ten minutes\nand I am unable to find words to express\nhow utterly stupid and short-sighted is such\nchatter in a newspaper. For the theatre is\nnot a business, and as it begins to be looked\nupon more and more as a business, so do\nthe receipts begin to decrease and decrease.\nReceipts of all kinds. The actors neither get\nthe same salaries nor the same plays as for-\nmerly. The audiences neither get the same\nperformances nor can they get in for the\nsmall sum as formerly. This treating of the\ntheatre as a business must stop if the theatre\nis to revive not merely as an art, but as an\ninstitution. No art was ever a success in any\nway whatever when it began to be treated\nin a commercial way. Who was the man\nthat killed the goose with the golden eggs?\nIt is awfully bad business anyhow, and it\nseems to me that to kill even the poorest\ngoose of an artist that lays golden eggs is\nidiocy. (1) It is well to keep the artist alive.\nHowever, there is a new kind of artist\ncoming up to-day, and he may be described as\nthe fighting artist. The next development\nwill be the organising artist and then I see\nthe day coming when if the business man\nbegins meddling with what does not concern\nhim he will be removed. It will be a beau-\ntiful day!....\nOrofessor Richard Burton, who has been\n* lately manifesting much energy as a\nspeaker on theatrical matters, recently,\naccording to The New York Dramatic\nMirror, delivered an interesting lecture at\nLos Angeles on the Municipal Theatre as\nan institution. In this lecture he warmly\nadvocated its establishment, declaring that\nin all cases where the system has been tried\n44 it is not only a social and educational\nnecessity, but it pays\".\n44 The Anglo-Saxon race \" continues Professor\n44 Burton, is almost blind, like a bat, to the\n44 tremendous social and educational influence\n44 of the theatre on modern life. The theatre\n44 is one of five great influences apart from the\n44 home. The other four are the public library,\n44 the church, the newspaper and the school.\n44 Except for the theatre, all of these have\n44 been enlightened and developed. There is\n44 a historical reason why this indifference to\n44 the theatre exists. It began with the Puritan\n44 prejudice in England, which survives even\n44 today. Other nations have not held this\n44 prejudice, and have regarded the theatre as\n44 an educational power. Many of them have\n44 backed it governmentally and subsidized it.\"\n44 Professor Burton \", the Dramatic\nMirror continues, 44 contends that the\n44 municipal theatre can be put on a business\n44 basis as well as on the basis of social\n44 improvement.\"\nThe business side of the question we do not\ndoubt: but it is not clever finance which is\ngoing to save the Theatre: it is Art, and of\nthat we see little hope in the scheme which\nProfessor Burton so blithely and confidently\nsets forth. & &\nObviously, Professor Burton is an optimist,\nand he has a touching belief in the infallibility\nof Bumbledom. His idea of the way in which\na city can help the theatre is first, by a mayor's\nveto of improper performances; second, by\nmunicipal appropriation and control: and of\ncourse that is all very we 11,... in theory.\nBut has Professor Burton had much experience\nin mayors,... especially provincial ones? Does\nhe realise that it is an office which, while it\nmay be held this year by an Earl of Warwick,\nmay pass next year to a pork butcher, a\npawnbroker or a tailor,... all doubtless\nestimable callings, but not those in which we\nusually look for men of great culture or\ndiscernment in matters relating to an art?\nWe have heard that the spirit of Elijah\ndescended on Elisha through the wearing of\na mantle: we have never yet noted that the\nspirit of the artist decended upon an honest\ntradesman through the donning of the mayoral\nchain. And unless he bring with him the\nspirit of the artist, how is the theatre to reap\nany benefit from this intervention of the\nmayor? &\nAgain, we cannot see eye to eye with Professor\nBurton in his second proposition, nor believe\n\n(1) We do hope we are not incorrect, and that, If we are,\nThe Stage will correct us."}, {"page_pdf": 23, "page_imprimee": "165", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.23", "texte": "that in \" municipal appropriation and control\"\nlies the panacea of all those ills to which the\nmodern stage in heir.\nWe have usually been struck by the fact that\nthe corporate intelligence of a body of men\nis less, not greater, than the intelligence of\neach individually; which fact, unless we\ntranspose it and argue that the united folly\nof all is greater than the single folly of each,\nseems a refutation of Enclid's axium that the\nwhole is greater than its parts. Jg?\nBe that as it may, we have small hope of any\ngood accruing to the theatre from municipal\ncontrol, What reason have we to suppose\nthat a Mayor and Corporation would prove\nmore enlightened than the ordinary manager?\nIf they stood in the place of the manager or\nproprietor their aim would doubtless be to\nmake money, even as his is: Art might then,\nas now, have to go to the wall. &\nWe are entirely in accord with Professor\nBurton as to the tremendous social and\neducational influence of the theatre, but it is\nthrough men, not municipal bodies, that its\npossibilities will be realised, and these men\nwill have to be the artists. &\nIt is by helping the artists individually in\ntheir work, by facilitating, through grants of\nmoney, their studies and their experiments,\nthat we believe the only means lies by which\nthe municipality can afford the theatre any\nreal or adequate aid. jg?\n\\KJ* hope our readers will excuse us for\n* not giving them a quantity of Paragraphs\nfull of uninforming information. We trust\nthe day is far distant when we shall be\nforced into topical monotonies such as\nthe following, which may be of use to the\ntrade but are a bore alike to the artist and\nthe lover of art. \" George Arliss is not a\n\" parent, but he owns a parrot upon which\n\" he lavishes parental affection. A creature\n\" in the newest color mode of gray and pink\n\" feathers, and with impudent beak and\n\" staring green eyes, and a sweeter vpice\n\" than any other of his kind, helps to receive\n\" visitors in the Arliss drawing room. If it\n\" shouts disconcerting personal remarks at\n\" the visitor it is gently chided but is never\n\" sent from the room. Its name is Dinky\n\" Bits \". jg? \" Richard Harding Davis\n\" has been appointed a deputy sherriff of\n\" West Chester County. He has a summer\n\" home in the town of New Castle. \" or,\n\" Teddy Gamble spent the week end on his\n\" yacht cruising up the Hudson. He was\n\" accompanied by several friends. \" or \" Burt\n\" King, recently with the Poli Stock at\n\" Scranton, Pa... and his wife, Adele Lane,\n\" spent the week end in the Catskills, fishing\n\" and getting ready for the strenuous\n\" rehearsals on which they are to soon enter \"\nor \" Mr. Billy Downes, comedian, late\n\" Newman and Downes, \" later \" Downes\n\" and Langford, \" was initiated into the\n\" Terriers' Association on Sunday. Griff,\n\" in the chair, performed the ceremony. \"\nor \" Mr. Oswald Brookes is commencing at\n\" th© Grand, Swansea, on Monday next what\n\" he terms a Walter Howard season of two\n\" weeks. Two plays of Mr. Howard will\n\" form the repertory; The Midnight Wedding\n\" and Man and Wife. jg/ & jgr\nTheatrical journals often contain interesting\nannouncements which could be easily curtai-\nled in a single page, but the eighteen or\nnineteen other pages of these journals are\nliterally packed with paragraphs of the\nabove description. jg?\n& How dreary it must be week after week\nfor the actors apd vaudeville artists to read\nsuch things! That such papers reflect the\nModern Theatre is certain, and if these\njournals are compared with the journals of\nthe Arts of Architecture, Painting and Poetry\nthe relative position of Acting as an Art will\nbe ascertained. jg? jg? &\njg? This was one of the reasons for founding\nThe Mask.... so that it should no longer be\nsaid that the stage was the only art which\npossessed trade instead of art journals.\nThe nearest approach in England to an\nart journal was The Theatre, now quietly at\nrest. It tried to be an art journal, and it\ncould have become one if the actor managers\nhad not prevented its growth. That was the\nresult of permitting actor managers to run\nthe journal. The Mask hopes to avoid that\ndanger. £*&&&&\ncritics write in the journals of 'Mr\n* Frohman's production of \" such and\nsuch a play, they create in the public mind\nthe impression that Mr Frohman really\nhas produced a play himself; that he is\nresponsible for the good or bad ideas\nwhich crop up now and then during the\nperformance, and that the \"picture,\"\n\" grouping,\" \" business,\" etc, is the work of\nhis hand and brain. <£? /£>\nIt is not. Therefore it is incorrect to speak\nof Mr Frohman's \" production \" of this or that\nplay because the credit is not Mr Frohman's,...\nonly the cash is his, and, being in many\nthings of an Eastern turn of mind, he is\ncontent to \" take the cash and let the\ncredit go.\" & & &\nTherefore, gentlemen of the Press, be so\ngood as to give the credit of these productions\nto the Stage Managers. And also be careful\nnot to give the credit to the wrong Stage\nManager. There are generally two, and\nsometimes a third. Jg?\nLet us suppose that Mr Tree, for instance,\nis too busy with other things to be able to\ndevote himself to the actual stage management\nand so calls in the assistance of Mr Louis\nCalvert. Very good then; give Mr Calvert\nthe credit of the production of the play which\nhe has actually produced, jgr s &\nAnd do not forget his assistant. His assistant\nis the man who sees to it that the ropes don't\nfoul, that the curtain does not tear, that the\ngauzes do not catch nor the platforms give\nway. He it is who sees that the actors are not\nlate and the supers not unwashed. He keeps\nthe watch and the play commences and en"}, {"page_pdf": 24, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.24", "texte": "to time if he is a capable assistant. He is not\nan artist, but unless he is a disciplinarian\nthe play may easily be a failure. &\nTherefore when you criticise the production\nof the play be careful to bear in mind that\nthere are two or more men behind the curtain\nacting as stage managers.\nIt there is a wait between the acts of fifteen\nminutes do not accuse the artists of this. Make\na savage attack upon the under stage\nmanager,... the man who holds the watch and\nis supposed to be a capable munipulator of\neven the most difficult scenes and a capable\ncontroller of the vastest of stage crowds.\nOn the other hand, if the scenes are ugly, do\nnot lay tho blame on the wrong man. Then\nit is that the artist should come in for 3'our\ncensure. Theatrical critics are greatly at\nfault for not ascertaining who is responsible\nand who is not. We would be inclined to\nsuggest that the critics should be invited to\nvisit an important production during the\nrehearsals when they wish, so that they would\nbe able where the weak places in stage\nproduction come in. Seeing seeing for\nthemselves, they would be the better able to\ncriticize, not only the results, but the methods\nwhich lead to those results. JE?\nHphe New York Dramatic Mirror of August\n29th, in a paragraph relating to Mr George\nAde, the playwright, tells us that Mr Ade\n44 scoffs at the idea that play-writing may be\nregarded as an art \". The journal goes on\nto quote his own words: & &\n& 44 I don't believe there is a man living\n44 who could make a reputation in literature\n44 by writing a play. The conditions are all\n44 against it. Usually by the time a play is\n44 produced there is nothing left of its original\n44 form, style or destiny. The author and\n44 his manuscript are put through a mangling\n44 process that flattens them both first, and\n44 after that the actor and the stage manager\n44 trim them &\nNow surely this is a very strong confirmation\nof the truth which has been again and again\nagain proclaimed by writers in The Mask,....\nthat the art of literature and the art of the\ntheatre are independent each of the other,\nand that any attempt to unite them is to\nthe loss of both. &\nIf by the time a play is produced there is,\nas Mr Ade affirms, 44 nothing left of its\noriginal form, style or destiny it is\nobviously harmful to any play to be brought\ninto the theatre. Why should the playwright\nproduce a work of art only to have it mangled,\ndistorted and spoiled?\nOf course if it was not a work of art when\nit left his hands, and if the new play which\nthe manager puts on his stage,.... (obviously\nnew, since it retains nothing of its 44 original\nform, style or destiny \"), is one, then it seems\nto prove that the manager, director, or what\nyou please to call him, is capable of creating\nfor himself what is necessary to set upon his\nstage, and that so the effort of the playwright\nwas superfluous. jg?\nBut suppose that the playwright had produced\na literary work of art? That being so, it\nwas complete when the last word was written.\nWhy, therefore, did he not leave it so? Why\ndid he not let it go direct from him, the\nartist, to the reader, the thoughts transmitted\nswiftly and vividly through the medium of\nthe printed word ? Why suffer it to be\ntreated in so cavalier a manner by actors and\nstage managers alike?\nIf the playwright be a man who, having\nwritten his play, can then design the scenery\nand costumes which shall visualise for the\npeople the images which he, as poet, conceived;\nif he can so direct and control and unite the\nmovements of the actors that they may\ninterpret, not merely the words, but that far\nmore subtle and elusive thing, the spiiit, of\nthe play; if his literary gift be but one detail\nof his complete equipment as an artist of the\ntheatre, then his entrance into the theatre\nwill harm neither himself nor it: he will no\nlonger be the stranger within the gates.\nBut so long as the poet brings nothing but\nwords with him he must inevitably suffer\nthrough the mutilation of those words,\nthrough their misinterpretation by the actors,\nthrough their false setting by the scene\npainter and designer of costumes. &\nSt is significant to recall, in this connection,\nthe fact that Ibsen hated to see his own\nplays on the stage. \" The actors writes\nMr Haldane Macfall in his book on the poet\nwhich was reviewed in the March number of\nThe Mask, \" came between him and his\nconception of the characters, often distorting\nthem for ever The scenery interposed\nitself between him and the dream country\nin which he had hitherto seen those charac=\nters move: by bringing his plays into the\ntheatre the poet, far from gaining, suffered\nan irremediable loss. & & &\nNo, the literary artist should keep out of\nthe theatre if only for his own sake. His\nwork suffers by being brought there, and he,\nas creator, suffers in and through his\nwork.\nSt would be interesting to ascertain how\nmany of the modern playwrights would, by\nagreeing with Ibsen, and with the opinion\nnow expressed by Mr Ade, confirm the fact\nthat the art of literature, complete in itself,\ncan only undergo mutilation or distortion\nby any attempt to bring about an arbitrary\nunion with another and independent art.\n\nCRITICISMS CRITICISED.\n\nJ. S.\n| Tnder this Sheading we shall, each month,\nhave a word or two to say upon criticism\nwhich has appeared in the Press, and which\npurports to explain to the public the views\nor the work of artists. &\n\n& & ALL RIGHTS RESERVED &\nGERENTE RESPONSABILE, GINO DUCCI £?"}, {"page_pdf": 25, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.25", "texte": "THE MASKJ\nAMONG THE; WRITERS & ARTISTS CONTRIBUTING TO \" THE MASK » ARE\nJOHN BALANCE -S> ALEXANDER HEVESI JEAN JACQUES OLIVIER\nCARL BEHRENS H. von HOFMANNSTHAL WOLFE PLANKS\nRUPERT BROOKE & JAN van HOLT jz> j0 WILLEM ROYAARDS\nALLEN EDWARD HUTTON & WILL ROTHENSTEIN\nQUNNAR CASTREN jZf ANDREAS JYNQE -<S> OTTO RUNG sS>\nGORDON CRAIG & ELLEN KEY £> RUDOLPH SCHMERZ £>\nJ. PAUL COOPER J0 JAN KLAASSEN MARTIN SHAW J0\nISADORA DUNCAN 0 FRITZ LAPIDOTH £> ELLEN TERRY 0\nA. FRIEDE N TH AL uS> D. NEVILE LEES jSr E.THESLEFF 0 -S>\nLOUIS FULEP jSf M. LYKIARDOPOULOS JAN C. d 6 VOS 0 0\nADOLF FURST & J0 HALDANE MACFALL PHILIP WAHLSTROM\nJULIUSZ GERMAN NEUWERTNOWACZYNSKI.fi> H. WILSON. 0 0\nIVO HAUPTMANN C. NICHOLSON JZ> JZ> HELEN ZIMMERN JZf\n\"THE MASK\" HAS CORRESPONDENTS IN THE FOEEOWING CITIES\nAMSTERDAM .fi> jS> THE HAGUE JZf J0 jZJ JZf jZf\nBERLIN jZ> j& OHELSINGFORS JZf 0 SAN FRANCISCO jS\nBUDA P E S Tjo jZJ JZf LONDON STOCKHOLM jS\nCOPENHAGEN jZJ jZf MADRID j£> jZ> jZf VIENNA jZ/ jZJ jZf\nDRESDEN jZf JZf JZf MUNCHEN jZJ jZf £f WARSAW jZf jZf JZf\nDUBLIN JZf JZf JZf PARIS £f JZf WEIMAR JZf\nFLOR E N C E.fi> -fi> jZf PHILADELPHIA &\nJZ>SPECIAL NOTICE. JS> JZ?\nA FEW COPIES OF THE EDITION DE LUXE ARE STILL UNSUBSCRIBED FOR AND\nCOST L. 3. 5. o. FOR THE YEAR. jZf jZJ JZf jZJ j& £f JZf\nvpapi v i England, 16 Shillings | Italy, 17 Lire, j\nciißcrDiDTinN ) Germany, 16 Marks i Russia 8 Roubles • POST FREE\nsutsswKiFiiwi | America, 4 Dollars | France 20 Francs. )\n'* 4 »-k. <• <•» '-•*»«». •.fflf-'i ,'i»f y>» „ . »v-w -• «. 4' >mi»ft * ■» rn &I»» w* 4 ) .jv« »P( b |ft\nORDER FORM\nTo the Editor, (or)\nTo Mr. Bookseller\nAddress\nPlease put down my name as a subscriber to \"The Mask\" for one year, or six months\ncommencing with the number, in payment of which subscription, including postage,\nI enclose the sum of Signed\nAddress"}, {"page_pdf": 26, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.26", "texte": "m\nPs mAw;£ £&& :; wv\nm\niORM\nI\n»S«\nBHD\nOCH\nI\n«?5R\nThe principal Artistic and Literary\npublication of Scandinavia. j&\nYearly subscription Francs: 20\nWahlstrom & Widstrand, Stockholm\nPublished Month 1 y\n\nTHE MOSHER BOOKS\n£> MDCC C X C I-M CMV I I I£>\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.\nGUY CARLETON LEE in Baltimore Sun for Dec. 18, jg/\nMy new Catalogue a remarkable piece of book-work in itself explains this unusual\ncompliment, and is sent free on 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 c& verse not found in every cut and-\ndecidedly-dried anthology. & jgr &/j&\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'Tphese 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\" Movementwrites 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 & & & &\nORDER FORM\nTo The Publishers,\nThe Editorial Office of \" The Mask \" 8, Borgo San Jacopo p. 2. Florence. Italy. &\nPlease send me the Portfolio of Etchings by Edward Gordon Craig, in payment for which\nI enclose the sum of L. 16.0.0, (or 400 Francs or 320 Marks) &\nSigned\nAddress."}, {"page_pdf": 27, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.27", "texte": "LIBRAIRIE ANCIENNE &\nT. DE MARINIS & Co. 5 Via Vecchiettl - FIRENZE\nELZu\ni\ni\n1\na\nrtfki\nmrt>^\n>wt\nnnr\n\\n\nan\nw\n• »•\nA.\niG\n• •\nC\nem\n-a\n•••«•\n«0\n.aa*\n111\nH*\n«\nLQ\nill\n£'\nMTULftJ)\ntin\noa\nr'«\n4\n00\nai\nJdSH\nin\nm\noon\nin\n111\ntil\ni\niitu\n• •\non\n111\n* •\n&\n* I\nmi\nM\nll»«!\nz\nII\nOf\n510\n-\n1111 l\nli-\nnt\nsm\nJU»\njar\n»••••\n—TVU\n1111 l\nSt\nQfia\ntW\nCO\n5 I\nlII*\nTltf\nill**\nruruxr\nFine Collection of MSS., Incunabula, rate and curious books XV-XIX cent,\nIllustrated Catalogues free on application.\n\nTHE SOCIETY OF FOUR\na\nC\nHAVE PURCHASED ONE\nOR TWO BEAUTIFUL\nWORKS OF ART OF\nTHE LATE QUATTROCEN-\nTO AND EARLY SEICENTO\nCOMMUNICATIONS FROM\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\nTHE PAPYRUS\nEdited by Michael Monahan\nA Magazine for the Magazine»Weary\nCHICAGO NEWS.—The Papyrus holds a unique\nplace among the magazines and is always stimu-\nlating And interesting.\nERNEST McGAFFEY.— The Papyrus is a stor-\nmy petrel flying over an Infinite sea of bosh. &\nPUTNAM'S MONTHLY.—There is sun, wind and\nrain in Michael Monahan's whimsical fancies.\nSubscription One Dollar a Year\n25 cts: additional for foreign countries\nTHE PAPYRUS\nEAST ORANGE, NEW JERSEY\n\nEvery reader of the English language will be\nInterested in a Magazine that is doing the work of\nThe Book News Monthly\nan Illustrated magazine devoted to Literature and\nArt, published in Philadelphia, Pa., U. S. A, at\n10 c. a copy, L. 1,00 a year. & &\nThe purpose of THE BOOK NEWS MONTHLY is\nto Save Time, to Interest, Instruct, and Guide the\nGeneral Hea<ter. £?&&&£?\nSpecimen copy sent free to any part of the world\nAgents for Subscriptions in England: &\nThe International News Company.\nAddress:\n£/ THE BOOK NEWS MONTHLY,\nPhiladelphia, Pa., U. S. A."}, {"page_pdf": 28, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190810-01.1.28", "texte": "Printed for the Proprietor by jg. MorandL Tlpografla Bodonlana, Via Pint!, Florence, and published at The Office\nS, Borgo S. Jacopo. J£? &\n\nANTONIO FRILLI\nPURVEYOR TO 10\nIMPERIAL & ROYAL\nFAMILIES & &\nFLORENCE\nVia dei Fossi 4\n0 (ESTABLISHED i860)\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.\nGRAND PRIX\n1904\n\nDINI & CELLAI\nArtistic & Decorative Terra Cotta of\nSign a\nVia dei Fossi N. i - FLORENCE\n4\nReproduction of sculptures of Old and\nJVlodern masters M Statues •- Busts «\nVases >- Bas-reliefs M pountains «H Doors\nCHimney-pieces « Bases etc. etc. In\nevery style\n\nDie Schaubuhne\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\nNEW YORK DRAMATIC\n£? MIRROR\nThe oldest and most reliable American\ntheatrical paper, published every week\nat i2i West 42nd Street. New York, U.S.A.\nSample copies on request free of\ncharge. Foreign subscriptions 5.50 Dollars\none year; 1.70 Dollars three months.\n\nQ . P. VIEUSSEUX\nFLORENCE <£? VIA VECCHIETTI, 5 &\nReading rooms, containing the best English\nnewspapers and reviews.-Latesttelegrams\nOpen daily 8 a.m. to 10 p.m. Sundays 8\na.m. to 12 p.m. Subscription 35.00 a year.\nCiidilating library containing thousand\nvolumes in English, French, Italian, German,\nsome Spanish and Russian. Open daily\n9 a.m. to 5 p.m. except Sundays. Books\nsent to all parts of Italy and abroad."}]}