{"numero_id": "bm-bmtnaau-1908-11-01", "volume": "bmtnaau_1908-11_01", "ocr_sha256": "e87e500a577b67c09e476750dc186ba177f2f398bcffdae62aa3a3a15b03609a", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1908/11_01/bmtnaau_1908-11_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1908/11_01/bmtnaau_1908-11_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01", "articles": [{"article_id": "bm-bmtnaau-1908-11-01-c002", "article_bluemountain": "bmtnaau_1908-11_01#c002", "volume": "bmtnaau_1908-11_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=bmtnaau190811-01.2.2", "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=bmtnaau190811-01.1.3", "debut_caractere": 0, "fin_caractere_exclue": 3338, "texte": "SOME OPINIONS\nABOUT THE MASK,\nITS APPEARANCE, ITS\nARTICLES AND ITS AIMS.\n<& SATURDAY REVIEW. \"A new journal printed\nin a very original way, with woodcuts,.... and articles,...\non all topics connected with the theatre. Such a journal,\nif it could receive sufficient support, would have a\ndistinct value of its own.\nPAEE MAEE GAZETTE. \" A new theatrical journal called The Mask,,., seems\nworthy of a really hearty welcome. There is not a page in it which is not interesting\nand stimulating in a fine way, and many are both \". &\nThe same journal, referring to The Mask\\s championship of the Censor says, \" a\nwriter who takes his side strongly deserves gratitude, whatever his view may be; for\nit is only by Sincerity and Courage that the cause of Art can be usefully served.\"\nWESTMINSTER GAZETTE• \" 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 \" interesting\nmagazine is likely to have a great effect upon the drama of the future. There is no\ntrace of somnolence in The Mask. &?&&<&&&&?\n•\n& MORNING POST. •« Among the least expected editorial sallies are a protest\nagainst the stage treatment of religious subjects,... \" Salome \" is not forgotten....\nand the assertion \" the censor is not only a blessing, he is a necessity.\" &\nTHE SPHERE- The Mask has now reached its fifth number. In the first place\nthe format is most engaging. It is a nice folio.... printed in a thick black type 011\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 ideas. \" <£>\n& EIVERPOOI/ COURIER. \" The Mask is a new \" 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 \" 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.\"\n\"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. JSO? JS&\nMr HAI/DANE MACFAEE in THE DAIEY GRAPHIC. \" For one among us who\ninterested in the art of painting a dozen are beckoned to the Theatre; yet, oddly\nenough, 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"}, {"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 3549, "texte": "its 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.\" &\nTHE 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. & &\nOXFORD 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. \" & &\nTHE SUNDAY CALL, EASTON Pa. U. S. A. \"Here is tbe finest magazine of\nits kind in the world.... 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.\" &\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 Tipografia Bodoniana of E. Morandi of Florence. It is a bold folio\npage,.... the print 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\ntha 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 &\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 e\\ ery 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 artists.\" JZ?\n& THE NEW AGE. \" The Mask is the most beautiful magazine published. \" &\nWHAT'S ON. \" The Mask, devoted to the art of the sordid mass of montly literature\nalready in circulation. \" &\nMICHAEL MONOHAN, (The Papyrus. East Orange, New Jersey U. S. A.J\nwrites, \" The Mask is brave, brilliant and inspiring.\" & & & &\nMr MARTIN HARVEY writes, \"Your most delightful and significant journal.\"\nMiss ELLEN TERRY writes. \" What a splendid number of The Mask this\nlast is! \"\n& Mr EDWARD HUTTON writes. \" I think The Mask improves every time you\nsend it to me\". jg? & & & & &"}]}, {"article_id": "bm-bmtnaau-1908-11-01-c004", "article_bluemountain": "bmtnaau_1908-11_01#c004", "volume": "bmtnaau_1908-11_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[166]", "page_fin": "[166]", "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=bmtnaau190811-01.2.3", "titre_corps": "A DESIGN FOR A STAGE SCENE", "titre_sommaire": "A DESIGN FOR A STAGE SCENE", "signature_source": "JULIUS OLIVER", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 6, "page_imprimee": "[166]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 43, "texte": "A DESIGN FOR A STAGE SCENE by JULIUS OLIVER"}]}, {"article_id": "bm-bmtnaau-1908-11-01-c005", "article_bluemountain": "bmtnaau_1908-11_01#c005", "volume": "bmtnaau_1908-11_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "167", "page_fin": "167", "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=bmtnaau190811-01.2.4", "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": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.7", "debut_caractere": 13, "fin_caractere_exclue": 373, "texte": "CONTENTS\n& AFTER THE PRACTISE THE THEORY&\n& CHARACTER AND THE ACTOR by J. MARTIN HARVEY. THE BERLIN\nTHEATRE by JOHN BALANCE. J0 THE OPINIONS ON THE SUBJECT OF \" REALISM\nAND THE ACTOR OF ELLEN TERRY, YVETTE QUILBERT AND FELIX DUQUESNEL. uS?\nBOOK REVIEWS. £> FOREIGN NOTES. EDITORIAL NOTES. & ENGRAVINGS by JULIUS\nOLIVER, GORDON CRAIG, CHARLES BORROW AND OTHERS."}]}, {"article_id": "bm-bmtnaau-1908-11-01-c006", "article_bluemountain": "bmtnaau_1908-11_01#c006", "volume": "bmtnaau_1908-11_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "167", "page_fin": "174", "image_debut": 7, "image_fin": 14, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.2.5", "titre_corps": "CHARACTER AND THE ACTOR", "titre_sommaire": "CHARACTER AND THE ACTOR", "signature_source": "J. Martin Harvey", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.7", "debut_caractere": 375, "fin_caractere_exclue": 3084, "texte": "CHARACTER AND THE ACTOR\nby J. Martin Harvey.\nam reminded at this moment of an account which was\nrecently given to me of a young Irish poet who was called\nupon to deliver a lecture upon the Drama. He was given,\nunfortunately for him, three months in which to prepare\nit. Had it been three days, a brilliant and illuminating\nimpression would almost surely have been the result. But\nwith the larger leisure of many weeks he was able to toil\nto Sieights from which the prospect of his subject could be\nscanned back to the beginning of tragedy in the Thespian\ncart of the Attic poet, six hundred years before the Christian\nera. From this remote period he traced its slow development,\ntill after three solid hours the lecturer sat down with the\napology that he had barely reached his subject. Our poet might have taken warning by the\nprolixity of Polonius, who, to prove Hamlet was mad, went back to the consideration of why\n44 day was day, \" 44 night night,\" and 44 time was time,\" till he was bidden to proceed with 44\nmore matter and less art.\" For, after all, time is time, and it seems to me that if 1 am to\nrelease you at all to-day 1 must keep before me this fundamental truth and simplify my\naddress.\n& At the outset, however, I would pray for indulgence, for never was a task undertaken\nwith greater alacrity or the more heartily repented of at leisure. The consideration of\n44 Character and the Actor\" is as fascinating as the width of the subject is appalling.\nPondering upon the matter I become aware that the consideration embraces 44 Character\nand Art,\" and on that road where is one to stop?\n& And yet, that I may present my reflections in order, I must first consider the nature of\nthe art of acting. I take it for granted that acting is an art. I know this has been disputed;\nnever, I think, by a great thinker or of a great actor. I know of no definition of art which\nis not essentially the definition of great acting. It would be as useless to deny that in much\nacting there is little art, as there is little art in much painting and sculpture. &\n& Some have been found, it is true, to speak of the art of acting as a sham—Mr. Augustine\nBirrell, for instance. Well, the words 44 sham \\ and 44 imitation \" are synonymous, and Mr.\nBirrell, in his essay on Actors, in choosing the word 44 sham \" is doing so purposely to belittle\nan art, in describing which Shakespeare has, with profound sympathy and understanding,\nchosen the word 44 imitation.\" And I will venture to say that in no way is the character\nof a man more surely indicated than by his choice of words. All art is imitation—a\nA lecture delivered before the etbological Society, 3rd January 1908.\n\nThe da u get\nof prolixity,\nThe Subject."}, {"page_pdf": 8, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.8", "debut_caractere": 25, "fin_caractere_exclue": 4750, "texte": "representation of nature, or, if Mr. Birrell still prefers the expression, all art is a sham.\nWhat has the great French sculptor, Rodin, said? & & &\n& \" People tell me I create, that is not true. God alone creates, man but reveals. My one\n\" effort is to * represent' what I find in God's creation—above all in the form of man, which\n\" is the highest, most perfect of architectural constructions.\"\n& If Rodin thinks thus highly of the representations of man's body, what does he think,\nI wonder, of the representations of man's soul, the province of the actor? Let us seek for\na definition of this art of acting from one whose opinion is incontrovertible, from one who\nlived his life among them, inspired them to their loftiest efforts, the greatest human\nunderstanding this world has known—let us seek of Shakespeare himself. &\n& We shall find it—the most luminous definition of the art of acting—in Hamlet's second\nsoliloquy. He says:— \"Is it not monstrous that this player here\nBut in a fiction, in a dream of passion\nGould force his soul so to his own conceit\nThat from her working all his visage wanned.\"\nThen comes a description of the effect of the actor's art upon the vehicles of his\nexpression. \" Tears in his eyes, Distraction in 's aspect.\" And so on.\nI doubt whether a more subtle, or a more accurate description of the actor's mental and\npsychical process at the moment of exercising his art will ever be expressed. &\nHow it is possible that an actor can \" force his soul so to his own conceit,\" that tears\nwill spring to his eyes, that, in other words, his physical functions will operate involuntarily,\nand that his whole function will suit with forms to his conceit, may be even now something\nof a mystery. But though Shakespeare was not concerned for the moment with this question,\nhe seems almost to have anticipated what may be the reason for the curious mental condition\nof the actor when imitating Humanity. & & & &\n& May I venture to suggest that an explanation of this psychical process may be found in\nthe discoveries of psychic research? The fact that \" man is the microcosm of the universe \"\nseems to have received additional proof by the evidence of recent researches in hypnotic\nsuggestion. It seems more and more clear that man is composed of many egos, if I may use\nthe expression, and as in hypnotic suggestion the subject will answer in keeping with an\nidentity of which in its normal condition it is unconscious, so in the exercise of his art by\nan actor, one off the innumerable egos of which he is composed will live before us, in the\nperson of the artist who has called up one off these separate identities. & & &\nThis is the explanation, it seems to me, of the creative element in the actor, this is what\nShakespeare calls the \" conceit,\" viz., the conception, what can be born, and to what he\nrealized the actor could force his soul, This, it seems to me, is what, at its noblest\nand highest, is called inspiration. This is what Garrick speaks of when he says;—\n\" I pronounce that the greatest strokes of genius have been unknown to the actor himself\n\" till circumstances and the warmth of the scene have sprung the mine, as much to his own\n\" surprise as to that of the audience.\" & & & & &\nSir Henry Irving, I think, has said that an actor, in the exercise of his art, is calling\nupon a certain duality of mind, and 1 would venture to go further and to suggest that the\nactor is myriad-minded, and that the greater number of egos he can express, and the more\ncompletely he can express the complex nature of each of these egos, the greater actor he is.\n\" 'Tis in ourselves that we are thus or thus.\"\nThe Dramatist would seem to possess the same capacity for sebMdentification with other\nbeings, and in this light Shakespeare is the greatest of all artists, because he could express\nan almost infinite number of egos and so completely that the man Shakespeare himself can\nonly be found by inference.\n& When a great actor performs a part, he is the man he represents: it is not a question\nof pretence, of assumption, of sham, of mimicry, it is one of his many egos, one of his own\ncreatures, which is speaking. I say \" creature,\" for observe, ladies and gentlemen, Shakespeare\nallows to the actor the power to create. &\n& \" Is it not monstrous that this player.... could force his soul so to his own conceit.\"\n& Now observe another point in his definition, strikingly precise. \" Force his soul\"—not\nhis mind—his soul. His mind is not forced, that is calm, alert, critical, intent upon the\nexpression of his soul, intent upon the means he is using, upon his audience, upon the effect\n\nRodin *\nA luminous\ndefinition*\nMany egos.\nGarr i c k\nThe greatest\nof artists,\nShake speare} s\ndefinition."}, {"page_pdf": 9, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 4934, "texte": "he is making, watching his creature, curbing him at times, noting the inflexions of his voice,\nstoring up knowledge of technique. He has given birth to a creature and he watches him\nlive. \" His whole function suiting with forms to his conceit.\" That is Shakespeare's definition\nof the art of acting, and in the light of this brilliant illumination upon the subject w© may\ndisregard the poor little glimmer of Mr. Augustine Birrell's pronouncement, when he says,\n\" The art of acting is the art of mimicry, or the representation of feigned emotions called\nup by sham situations.\" Such a little flicker of light upon the subject as this, is only\nsufficient to make Mr. Birrell's own right honourable darkness visible.\n& Those who had the privilege of hearing Mr. Walkley's address on \" Some aspects of the\nModern Stage,\" will call to mind that he referred to the actor as \" something less than a\nman \"—whatever such a nebulous description as that may mean—and found that there was\n\" something unmanly in the actor's making capital out of his physical advantages.\" That\nMr. Birrell should betray strange ignorance on a question of Dramatic art is not surprising,\nbut that Mr. Walkley, who nightly sits in judgment upon plays and actors, should plumb a\nlower depth of Philistinism even than Mr. Birrell, gives one furiously to think. During what\n\" brain=storm \" did Mr. Walkley utter this nonsense? What physical advantages did they\npossess which made such unmanly creatures of Kean, of Garrick, of Robson, of Burbage, of\nBetterton, of Dillon? If physical advantage enter into the question at all, and the great\nFrench actor, Le Kain, does not even mention this as a requisite for the actor, the eminence\nwhich these men attained is a direct proof that physical advantages are not the actor's capital,\nfor they triumphed in spite of the fact that they possessed none. The veriest tyro of\ntheatrical history knows that most of the great men and great women have succeeded on\nthe stage, in spite of their lack of physical advantages. But if they had possessed physical\nadvantages why would it have been unmanly to use them? If this infantile argument held\ngood, the \" heavenly choir\" of an Adelina Patti would be a subject for scorn, and the\nthunders of Demosthenes himself would have been unmanly, because he used the physical\nadvantage of the voice which God had given him. &\n& Such arguments as those of Mr. Walkley and Mr. Birrell would not justify the time spent\non their serious consideration were it not for this danger, that the unthinking may accept\nsuch statements seriously, coming from men who may conceivably carry some authority.\nThe wisdom and the wide tolerance of the generation we have the good fortune to live\nin have made it superfluous to defend either actors or their art. But occasionally, I take\nit, an actor is justified in trying to explain something of the mysteries of his art, lest the\n\" dicta \" of such gentlemen as I have referred to come to be accepted by the unreflecting.\nIf we cannot think for ourselves let us at least adopt the conclusions of great original\nthinkers, and on the subject of the art of acting, let us adopt the conclusions of the world,\nrather than those of the chief Secretary for Ireland. In a word, let us accept Shakespeare's\ndefinition of the art of acting and proceed. & & &\n& Now, what of the actor himself? Can we speak of the actor himself? Which of these\ninnumerable egos are we to speak of? We see the character which Shakespeare has created,\nbut where is the man Shakespeare himself? You will find him in his work, in his artistic\nselection, in the theme of his tragedies, in the motive of his comedies. In a word, you will\nfind the man in his art. And there, too, you will find the actor. You will find the man\nbehind the actor in the guiding intelligence, the critical faculty, the artistic point of view,\nand that aspect of his own personal character which he brings to bear on his interpretations.\nNow an actor is called upon, or his own idiosyncrasy impels him, to interpret a variety\nof beings, noble and ignoble. Do these interpretations affect the actor's character? That\ndepends, it seems to me, upon the strength of his own personal character. &\n£> Is his character tarnished by the exhibition of the ignoble, the unworthy? Not necessarily,\nnot even, I think, frequently.\n& Let us look for a moment at the worst period of the Restoration. It is astonishing that\nthrough this morass of immorality any human being could walk unblemished; yet several\nexamples of private worth at once spring forward among the interpreters of that incredibly\ncorrupt Drama which the morals of the period brought forth—Betterton, Mistress Bracegirdle,\nMistress Saunderson, who later became Mistress Betterton. & &\n& Says Mr. Clark Russell in his \"Representative Actors —\"It is almost impossible to\n44 believe that any woman could have been found to publicly pronounce some of the language"}, {"page_pdf": 9, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.9", "debut_caractere": 4961, "fin_caractere_exclue": 5050, "texte": "Mr. Birrell &\nMr. Walk ley.\nt, e K a i n .\nThe actor\nhims e 1 f .\nThe Restoration\nDrama ."}, {"page_pdf": 10, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.10", "debut_caractere": 0, "fin_caractere_exclue": 4868, "texte": "44 that is to be read in the plays of Dryden and Wycherly. Yet among the actresses in these\n44 and even worst dramas the reputations of some have been handed down to us as\n44 unimpeachable. Such was Mistress Betterton, such was Mistress Bracegirdle. Later on,\n44 when the licensing of plays cante in vogue, a fine was levied upon any actor or actress\n44 giving utterance to an immoral sentence. Among the first who were mulcted for this\n44 offence were Betterton and Mistress Bracegirdle.\" &\nBetterton! for fifty-one years the pride of the English Theatre, a man who 44 off the stage,\nwas/* says an article in the 44 Cornhil! Magazine \" of 1862, 44 exemplary in his bearing, true\nto every duty, as good a country gentleman on his farm in Berkshire as he was perfect\nactor in town.\" The venerable representative of all that was most honourable in the drama\nof his day, fined for giving voice to the immorality of a play of Dryden's, yet whose private\nworth was so little affected thereby, that Addison could say, that the name of 44 Betterton\nought to be recorded with the same respect as Roscius among the Romans,\" and whose bones\nwere laid to rest by a grateful country in the Abbey at Westminster. &\nMistress Betterton! the mouthpiece of the indecencies of Nat Lee and Congreve, yet of\nwhom Colley Gibber could write:— 44 She was the faithful companion of her husband and his\nfellow labourer for five and forty years, and was a woman of unblemished and sober life.\"\njgr Mistress Bracegirdle! that 44 Diana of the stage,\" as Dr. Doran calls her, and of whom\nhe gives us this delightful thumbnail sketch. Says he :— .£?&&&\n& 44 Before Mistress Bracegirdle, Congreve and Lord Lovelace, at the head of a troop of\n44 bodkined fops, worshipped in vain. The noblest of the troop, and it reckoned the Dukes\n44 of Devonshire and the Earl of Halifax, were wont at the coffeehouse and over a bottle, to\n44 extol the Gibraltar-dike virtue, if I may so speak, of this incomparable woman. 4 Come,'\n44 said Halifax, 4 you are always praising the virtue, why don't you reward the lady who will\n44 not sell it? 1 propose a subscription, and there are 200 guineas pour encourager les\n44 autresFour times that amount was raised, and with it the nobles, with their swords in\n44 their hands, waited on Mistress Bracegirdle, who accepted their testimonial, as it was\n44 intended, in honour of her virtue. 1 will only add that had Mistress Bracegirdle been\n44 rewarded for her charity, the recompense would have been at least as appropriate. For\n44 it is true of her, that when the poor saw her, they blessed her, and we may add, she richly\n44 merited their well-earned benedictions.\"\nThus Dr. Doran. And so little was the private character of this lady injured by uttering\nthe gross indecencies of the Restoration Drama that Dibden declares her name was always\nmentioned with 44 great respect, both on account of her public merit and her private virtues.\"\nOf the rank and file of the Restoration actors and actresses we naturally know less\nthan of the conspicuous and representative example I have mentioned, but it is obvious that\nin spite of the degrading material in which they worked, their characters might emerge\nspotless. How was this possible? I venture to suggest that either the Ego which spoke in\nthese interpretations, was constantly controlled by the superior strength of their own\npersonal character, or that the 44 Dramatis Personse \" of the Restoration Drama had no capacity\nto receive the breath of life which an actor can bestow upon them. That therefore the Ego\nwas not called upon to live, and that those mere puppets of an hour required nothing more\nthan the voice and gesture of an actor to give them that slight semblance of reality which\nwas necessary. For we must remember that the fame of Betterton rests, not on such pup-\npets as the 44 Belvilles,\" the 44 Dorimants, and the 44 Lovemores,\" but on Hamlet, Lear and\nMacbeth. jg?\n<&/ To gather some illustrations nearer home, we are all aware that at a comparatively early\nstage in his career Sir Henry Irving possessed almost a monopoly for the representation of\nvillains, as the amiable Mr E. S. Willard also acquired a decade or so later. Can it be\ncontended that the daily interpretation of passions which disgrace humanity, affected the\nmoral fibre of either of these gentlemen? Surely not. I think we may safely conclude that\nthe character of the actor or the actress is not necessarily degraded by the interpretation\nor voicing of what is unworthy.\nAnd what of the other side of the question? Does the constant illustration of all that is\nnoble, tolerant, charitable and high-minded, help to refine and to elevate the character of\nthe illustrator? I think it does. In support of this opinion we have the overwhelming\nevidence of Sir Henry Irving, who said that he never performed the part of Becket9 without"}, {"page_pdf": 10, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.10", "debut_caractere": 4898, "fin_caractere_exclue": 5019, "texte": "Betterton.\nMistress\nBetter ton.\nMistress\nBracegirdle.\nThe ran k\na n d file.\nSir Ilenry\nIrving.\nThe influence\nof 44 Becket"}, {"page_pdf": 11, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 4905, "texte": "feeling a better man after it. It seems to me that we must return to the same conclusion. It\nis the character of the man behind the actor which is the determining factor. A man of\nintrinsic or acquired high-mindedness and honesty can come scatheless through work which\nmay be degrading, and may add to his own beauty of character by contact with what is noble.\nI am aware that to many enlightened minds, it would appear superfluous to assert this,\nbut I would ask any such to consider that there may still be found those who, from love of\nadvertisement, from motives of envy and Jealousy misrepresent the influence upon the actor\nof the exercise of his art.\n& It is with this consideration in view that I would to your remembrance one of the\nmost remarkable instances of the steady development of character side by side with the\nsteady prosecution of the art of acting. I refer to Shakespeare himself. It does not seem to\nhave been widely realised, until Mr. Sidney Lee pointed it out, that Shakespeare 44 remained\na prominent member of the actors' profession till near the end of his life.\" Of the parts\nhe played we have only scanty knowledge, though we have reason to believe they were\nimportant. I cannot do better than quote Mr. Sidney Lee's words:— & &\n44 That Shakespeare chafed under some of the conditions of the actors' calling is commonly\n\" inferred from the 'Sonnets.' There he reproaches himself with becoming * a motley to the\n44 view,' and chides fortune for having provided for Ms livelihood nothing better than 4 public\n44 means that public manners breed,' whence his name received a brand. If such self-pity is to\n44 be literally interpreted, it only reflected an evanescent mood. His interest in all that\n44 touched the efficiency of his profession was permanently active. His highest ambitions lay,\n44 it is true, elsewhere than in acting, and at an early period of hjs theatrical career he\n44 undertook, with triumphant success, the labours of a playwright. But he pursued the\n44 profession of an actor loyally and uninterruptedly until he resigned all connection with\n44 the theatres within a few years of his death. \"\n<£? And to digress, perhaps, a little, we may say: 44 How well he knew them!\" Their\nfaults, their weaknesses, their powers of imagination, their humour, their complex and\ndifficult art. Is there one word of scorn for his calling—with the exception of this one\npassage Mr. Sidney Lee quotes from the sonnets? that, too, written when a young man—and\nthe meaning of which is still disputed. One word of scorn for his fellow-members of that\ncalling, through whose medium his creatures were to be re-animated with the gift of 44 form\nand moving \" ? Not one, I think. Shakespeare's references to his fellow actors are always\nmade with the tenderness and charity of true knowledge and actual experience. And yet\nhow he must have suffered at their hands! The members of the Globe Theatre Company\nwere not all Burbages, Alleynes or Hemminges. What pigmies must his creatures some-\ntimes have appeared in flesh and blood, beside his own sublime imagination! What inevitable\nheart-burnings must there have been among his company, as each fresh play was cast.\nWhat was said when the author, himself a fellowplayer, was announced to appear as the\nGhost in 44 Hamlet\"? In spite of it all, how deeply he must have been beloved by his associates,\nwhen Hemming© and Condell, his fellow actors, seven years after his death, brought together\nhis precious manuscripts for publication; not for pecuniary gain, scarcely it would seem\nwith a full understanding of the genius of the poet, but in the enthusiasm of their love for\ntheir dead comrade. What is the uppermost thought in their minds? What are the words\nof their dedication? 44 To keepe the memory of so worthy a Friend and Fellow alive, as was\nour Shakespeare.\" Nor did Shakespeare, In his will, forget his old comrades in art. 44 To\neach of his 4 fellows ' John Hemminge, Richard Burbage and Henry Condell, he leaves twenty-\nsix shillings and eight pence with which to buy memorial rings.\" & & &\nThis apparent digression, it seems to me, proves much. Here was the greatest creative\nartist that ever lived, not only maturing his stupendous powers as a dramatist, living in\nbeloved, and loving comradeship with his fellow-actors, 44 pursuing,\" as Mr. Sidney Lee says,\n44 the profession of an actor loyally and uninterruptedly,\" but at the same time developing\nhis own character. & &\n& Says Professor Dowden in his subtle and fascinating work, 44 Shakespeare, his mind and\nart\":— 44 It is clearly ascertainable from his plays and poems that Shakespeare's will grew\nwith advancing age, beyond measure, calmer and more strong.\" In other words, Shakespeare\nwas gaining that 44 captaincy of the soul \" which the dramatic critic of 44 The Times \" has\naffirmed is what a man must necessarily lose in the exercise of an actor's calling."}, {"page_pdf": 11, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.11", "debut_caractere": 4932, "fin_caractere_exclue": 5040, "texte": "Mr Sidney I<ee.\nShakespeare\nas actor.\nHis fellow\nactors.\nProofs of\naffection.\nD evel op me lit\nof character."}, {"page_pdf": 12, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.12", "debut_caractere": 25, "fin_caractere_exclue": 4978, "texte": "Is there any reason why the \" captaincy of the soul\" may fee lost in the practice of the\nactor's art? None, because the man is an artist, None, because the work of his life is the\nimitation of humanity.\njg/ Here, ladies and gentlemen, I think I might leave this portion of my reflections. Reflections\nsketchy and immature, I greatly fear. I would call them suggestions rather than conclusions.\nSuggestions which may lead perhaps other and more capable students to enlarge upon, and\nmay I venture to propose a subject to Shakespearian scholars—a subject hitherto almost\ndisregarded, viz., \"Shakespeare, the actor?\" It seems curious that this side of Shakespeare's\nlife should not have invited more consideration and research. Might I venture to hope that\nMr. Sidney Lee, who has touched upon the subject in his delightful biography, will, some\nday, greatly enlarge our knowledge of this side of Shakespeare's life; all important, it seems\nto me, when we consider the fact that the practice of his profession as an actor must have\nabsorbed by far the greater portion of his days, and that his character and outlook upon\nlife were developing in the midst of daily devotion to this calling. & &\nAnd now I would dwell for a little upon the question—To what extent is acting affected\nby character? 1 am not sure that such poor reflections as I will try to express do not\nequally apply to character and all art. I find myself continually seeking illustrations from the\narts of painting, sculpture and dramatic literature.\nThe conviction I would like to impart is of greater importance than art. It is m >re\nimportant to the world at large. I feel it is more important even to the artist himself. £?\nIt seems to me a right instinct which urges people to seek for the man behind the artist.\nIs the instinct which urges people to accept charily the artist who works alone for art's\nsake, also right? Perhaps it is. jg?\n& At the moment when man began to express himself through a piece of work, art began,\nand in recognising a work of art, we recognise the mind and character of the man who\nwrought it. And that mind and character is never stationary. It is either developing or\ndeteriorating. I might venture the suggestion that at the moment that art is practised solely\nfor the sake of art, decadence has set in, decadence of character, and hence, it seems to\nme, of art. There seems a subtle truth in Eleonora Duse's words, when she says:—\n& \" If the sight of the blue skies fills you with joy, if a blade of grass springing up in the\n\" fields has power to move you, rejoice, for your soul is alive; and then aspire to learn that\n\" other truth—that the least of what you receive can be divided. To help and share—that is\n\"the sum of all knowledge, that is the meaning of & & &\nNow, the artist who practises art for art's sake does not share with humanity at large.\nHe is apt to keep his point of view and his sense of beauty to himself, or to share only\nwith a few equally exclusive fellow-artists. &\n\" The Herd,\" as humanity at large is so often referred to by these elect, are scorned,\nand it seems to me that the really great artists love humanity and do not scorn it.\njgr A similar companionship was that old Bohemianism which, in addition to being a\ncomradeship in artistic endeavour was largely a protest against, and a defiance of the realities\nof daily life. Such defiance one may be excused for taking to be an indication of some\nweakness in the character. I think he is a stronger man who can admit the claims of fact\nwhile practising the imitation of nature or humanity, than he who dodges a dun in a ecstatic\ndisregard of his duties as a simple citizen. The most incorrigible Bohemian, the most\nprecious and exclusive in the Brotherhood of the Elect, might well reflect, perhaps, that\nwhile Shakespeare was projecting the greatest tragedies in literature, he was also suing\nPhilip Rogers, at Stratford=on»Avon, for L i 9s. iod., due to him for malt supplied.\nI would again return to Professor Dowden's reference to the development of Shakespeare's\nmind and art in comparison with that of his early contemporaries, Marlowe and Green.\nCalling our attention to the reckless Bohemianism of the last-named ill-balanced but brilliant\nDramatic artists, he says:— \"It must have appeared to Shakespeare (who well understood\n\" honest frolic) a poor affair, a flimsy kind of idealism—this reckless knocking of a man's\n\" head against the solid laws of the universe. The protest against our subjections to law\n\" made by such men as Marlowe and Green, was a vulgar and superficial protest.\"\n& What was the end of the Bohemian Marlowe? An ignominious death in a tavern brawl—\nthat of the greater artist, who had won the captaincy of his soul, through that noble\ndevelopment of his mind and art \" which was based on a resolute fidelity to the\n\nActing &\nChara c t e r.\nThe origin\nof art .\nBleonora Dusc.\nSharing with\nh u ni a n it y.\nBohemian ism.\nMarlowe &\nGreen ."}, {"page_pdf": 13, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 4885, "texte": "facts of life,\" an honoured retirement upon his estate at Stratford - on-Avon.\nAnd I will venture to say that the cultivation of the character is of more consequence\nto the actor than to any other artist. & &\nThe loss of character is the loss of self®discipline, and the actor's self-discipline is more\ntried than in any other art. The poet in his retreat, the sculptor and the artist in the\nquiet of their studios, know nothing of the difficulties of performing their work amidst the\ndistractions of that busy hive of activity, the modern theatre. The very irritability which\nis a necessary condition of an actor's nervous system, renders him doubly susceptible to the\nloss of his self-restraint. The very applause of an audience night after night, tests his sense of\nproportion, and makes it trebly difficult but trebly important that he should discipline his\nemotions and control his highly®wrought nervous organisation. & & & &\n& That \" Imitation of Humanity,\" which Shakespeare describes as the actor's art is a constant\nassault upon a due recognition of the \" solid laws of the universe \". The imitation of humanity\nmay so easily become confused with the facts of humanity, that he may lose that sanity of\nmind, without which his character cannot develop. In the Sight of his cherished imitation\nof Macbeth the butcher's bill may easily become a prosaic and negligible quantity. The\npower to imitate humanity—that art which Voltaire has described as the most difficult of\nall arts—must be balanced with a knowledge and an understanding of the facts of actual\ndaily life. Without this balance the character deteriorates, and thus, slowly but certainly,\nthe deterioration is visible in his work, and the end is reached in bitterness and\nblind conflict with those very imperturbable facts which he has ignored or defied.\n*£? The artist's fate is in his own hands. There is nothing in the imitation of humanity or\nnature which brings inevitable deterioration, & & & & &\n& Betterton went further and thought a strict preparatory discipline of the character before\nadopting the stage as a profession was essential. For, he says, \"there is no manner of doubt\n\" but that the lives and Characters of those Persons, who are the Vehicles, as I may call them,\n\" of these Instructions must contribute very much to the impression the Fable and Mora! will\n\" make. For to hear Virtue, Religion, Honour, recommended by a Sinner, an Atheist, or a\n\" Rake, makes them a Jest to many People, who would hear the same done with Awe by\n\" Persons of known Reputation in those Particulars.\"\nSuch preparation of his mental state, as this of Betterton's, when he was to become\nthe interpreter of a great character, is not unusual. It is not, I hope, unbecoming in me\nto speak of a very remarkable instance of such mental, I may almost say spiritual, preparation.\n& When Sir Henry Irving played \" Hamlet,\" he deliberately lived the life almost of an\nanchorite. So solemn a charge he held his interpretation, so essential did he consider the\nfine poise of his spirit while being the medium of so great a creation, that throughout the\nrun of the Shakesperian tragedy at the Lyceum Theatre, he purposely refrained from\nindulging in any social distractions, or allowing his mental equilibrium to be disturbed from\na sweet serenity and a continual self-restraint, jg? <£?\n& Here is a picture on the reverse side. An actor was to make his appearance in a role\nof not less importance than \" Hamlet,\" The night came, the theatre was only half filled,\nand many of the critics were so little interested, that their seats were empty or occupied\nonly during a portion of the evening. The actor's pride was wounded, the empty seats galled\nhim, a taint of irritability and defiance grew through his representation, he lost his self®\nrestraint, and he failed. Not, I take it, that he did not understand his creature, but a lower\nside of his own nature gradually obtruded itself, and stained the fine qualities of the noble\ncreature he was representing. &&&&&&&&\n& To those artists who have not realised the necessity of developing their own character,\nin order that it may speak through their work, how inexplicable, how heart=breaking it\nmust be, when they find that the practice of their art has carried them to a certain point\nand never further. In spite of perfect technique, great intelligence, long experience, physical\nendowment, their audiences are unmoved; while another artist, with these qualifications\npossessed only to a limited extent, will enter profoundly into their affections—and why?\nFor ever and ever, it seems to me, the same reason. This one possesses already, or has\nachieved by the development of character, sympathy, and love of humanity, while to the\nother, humanity has been an object of scorn. It is the character of the actor which is\nspeaking in his interpretations. As Duse has said:— &<£?&&&"}, {"page_pdf": 13, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.13", "debut_caractere": 4912, "fin_caractere_exclue": 5047, "texte": "Self discipline*\nImitation of\nh u m a n i ty.\nBetterton*\nIrving's self\\~\nd i s c i p line*\nThe reverse\npict u r e .\nArrested\nprogress ."}, {"page_pdf": 14, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.14", "debut_caractere": 25, "fin_caractere_exclue": 4517, "texte": "& \" The artist«actor gives the best of himself—through his interpretations he unveils his\ninner soul.\" &\n& May I paraphrase the dictum once pronounced by a dramatic author on the essentials\nof pSay=writing? He said there were three. First, Construction—Second, Construction-\nThird, Construction! Then I would say of the essentials for the building up of an actor that\nthey are Character, Character, Character! & jg? &\nYes, it seems to me that it is a right instinct which urg ;s us to seek the man in his\nwork. According to our discovery do we place him in our hearts and affections, or in our\nintelligence, and no one can doubt that it was the heart and the affection of the nation\nwhich spoke, when it demanded that Sir Henry Irving should be laid to rest in the Abbey\nat Westminster.\nI know, of course, that many actors of genius, possessed, too, of great qualities of heart,\ndo not repose in Westminster Abbey—that their end was obscure, unhonoured. Why?\nBecause the unthinking world has sometimes spoken slightingly of a life devoted to Art?\nNever! Because of the medium in which they worked? Never! But because in the sad\ninstances I have in my mind, for reasons into which it were only painful to inquire, they\nhad step by step lost that \" captaincy of the soul,\" by vices acquired or of the blood which\nfinally left them 44 lagging superfluous.\" Because, in a word, their characters had deteriorated.\nThe train of thought which this consideration opens up covers too vast a field for me\nto pursue, I only touch upon it to enforce my conviction that the actor in imitating Humanity\nis largely dominated by one of his many egos, and that he, in turn, must acquire the force\nof character to keep in subjection the worse or ignoble traits of these egos. Let us follow\nthe advice of old Cronus to his son, 44 My boy, paint what you see, but if it is only a pigsty,\ndignify it.\" And as we hang the picture of the pigsty on our walls and look at it with ever\nfresh delight, let us remember that the work of art gives us Joy because we see the character\nof the man behind the art, who has purposely selected the beautiful side of his subject and\ndisregarded the base. &\n& The power of an actor of well=disciplined character over his audience is immense; that\npower, as Sir Theodore Martin has said, is \"divine in its origin.\" May I quote .another\neloquent passage from the same brilliant and rarely endowed critic;— &\n\"The power of his genius, which has been reflected to him in the palpable emotion or\n\" ringing plaudits of his audience, has opened up to them a world of poetry and emotion, which,\n\" but for him, they would never have known. His 6so potent art' has awakened them to a\n\" knowledge of their own hearts, 4 shown them noble lights in their own soul.' It has lifted\n44 them for a time above the commonplace of their daily life; it has widened the sphere of\n44 their sympathies, flashed light upon the conceptions of the greatest poets which has made\n44 them living realities, and in doing this, it has communicated impulses which may exercise\n44 a lasting influence for good on the lives of thousands. Not in vain has he lived, who owes\n44 such success to having wrought with a pure aim to turn to the highest account the\nspecial gift of genius.\"\nIf ever there was an actor to whom these eloquent words could apply it is to my great\nmaster, Sir Henry Irving. Never, perhaps, was there an actor whose character, one felt\ninstinctively, was more highly and nobly developed through his art. & &\n& Ladies and gentlemen, I was for fifteen years under him, and was never nearer to him,\nin one sense, than the veriest boy in the gallery of his theatre. There was something\nenigmatical, mysterious and baffling about him. But it was because, through his art, I was\nunconsciously brought face to face with his soul, his great, enduring, steadfast soul, that\nI adored him. It was for the same reason that the English people adored him, and it is for\nhis steadfast soul, rather than his rare accomplishments, that his name will be imperishable.\nIf our Saviour has sometimes puzzled us because, during His ministry on this earth, He\nsaid nothing about art, we may be sure that it was not because He ignored the supreme\nimportance of Art in our daily life; but because His first care was for the character and He\nmust have known that if the character is noble, noble Art will follow. & &\n\nThree e s°*\nsen tials.\nThe man\nbehind the\nwork, jg?\nSir Theodore\nMartin.\nThe secret of\nIrving* s power."}]}, {"article_id": "bm-bmtnaau-1908-11-01-c009", "article_bluemountain": "bmtnaau_1908-11_01#c009", "volume": "bmtnaau_1908-11_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "175", "page_fin": "177", "image_debut": 15, "image_fin": 17, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.2.6", "titre_corps": "THE BERLIN THEATRE", "titre_sommaire": "THE BERLIN THEATRE", "signature_source": "John Balance", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 15, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 4456, "texte": "THE BERLIN THEATRE\nby John Balance\ngreat energy characterises the Berlin Theatre. This is its\nbest quality. Some of the old-fashioned theatres presenting\npieces in the traditional manner are good. These theatres\nbelieve in the old-fashioned way of acting, that is to say, the\nactors deliver their lines grandiloquently or simply, but never\ninsigniflcently. Their scenery is grandiose and often succeeds\nin being fine. They change their plays very often and they\npresent those plays in a more or less unmutilated condition.\nThe Meiningin theatre taught them much which they have not\nforgotten. On the other hand there has sprung up lately a theatre\nwhich is called the Moderne theatre, a kind of up-to-date affair\nwhich succeeds in being up to date and very little else. This\ntheatre also has energy, and in so far as it possesses this energy it deserves unqualified\npraise. It does not go to sleep: it may be described as a wide-awake theatre. & &\n& What a pity it is that this activity of the Moderne theatre in Berlin is not able to produce\nanything resembling a work of art; for the truth is that the Moderne theatre is without\ngreat actors, without what may be called sumptuous productions. & &\n& Added to this, the Moderne theatre is anything but original: it poses as being \" original \".\nIt derives its ideas from foreign lands, it makes a poor copy of these ideas, and it serves\nthese ideas up to the public for the most part as though they were its own. in one or two\ninstances it has acknowledged the source of these ideas, which it fondly belives it has annexed\nand improved on, although it is obvious to anyone of artistic feeling that the copy is as\npoor as copies generally are.\n& Now the theatre which offends most in the way I have described is the Deutches Theater\nin Berlin. First, it derives its ideas entirely from foreign countries, from Russia and England.\nSecondly, it presents these ideas in a tasteless way. Thirdly, although it possesses many\nvery capable actors it possesses no great actor or actress. Fourthly, its productions may be\ndescribed as the opposite of sumptuous. & &\n& Now let us consider these points one by one. &\nIts most grave offence is its lack of originality and therefore of inspiration. As with all\nimitations, the productions at the Deutches Theater lack fire. They seem but faint echoes of\nsomething else. They may be good enough for the good folk in Berlin, who perhaps do not know\nthe difference between the beauty of an original and the emptiness of a copy, but it will\nnot do for other lands where the critics have informed themselves as to the originators of\nthe ideas presented. The critic, on seeing a realistic performance at the Deutches Theater\nknows that it has been derived from the art theatre in Moscow of which Mr Stanislowsky is\nthe head, and on seeing a performance of a poetic play they will know that the ideas have\nbeen derived from Mr Gordon Craig of England. <£? & & &\nNow this is not merely a chance statement, for the director of the Deutches Theater has\nhimself admitted as much. Upon the production of the \" Winter's Tale \"in Berlin the director,\nHerr Reinhardt, was heard to say that at last they had been able to produce a play in just\nthe same way as Mr Craig is famous for. The statement, not very creditable to the\nDeutches Theater, was made in a triumphant tone, Mr Craig having refused to produce\nanything at this theatre, although he was invited five times to produce different plays\nthere. Mr. Craig was asked to produce \"The Tempest,\" \"Caesar and Cleopatra\" by Bernad Shaw,\n\"King Lear,\" the \"Orestaiea,\" \"Macbeth,\" and in two cases the management even went so far\nas to send him the contract. But the conditions imposed by a management preferring bad taste\nto distinction always prevented him from being able to respond to them. And so the manager,\nafter having visited Mr Craig's studio with artist friends and carefully studied his work,\ngoes back and commissions one of these artists who had visited the studio with him to make\nsome imitations of Mr Craig's work. Although this was the first time the manager\nacknowledged \" borrowing \", ....to call it by a nice name.... this was not the first time the\nimitation had been made. The first time was in \" Salome when Mr Craig's earliest work\nwas imitated. Later on it was \" Twelfth Night\n\nThe <s Modetne \"\nThe a tie ,\nIt poses as\n\" Original \"\nThe \" Deutches\nTheater. \"\nIts lack of\nOriginality.\nImitations of\nCraig's work."}, {"page_pdf": 16, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.16", "debut_caractere": 21, "fin_caractere_exclue": 4978, "texte": "& Now the curious part of all this is that with the Germans there is an idea that if a man\ninvents something it is public property and may be copied by any one, no matter how\nbadly. The only actual harm it does is to the nation which indulges in this license. It prevents\nit from ever exercising its own imagination. Its work therefore becomes stodgy rather than\nathletic, Still, as I have said before, this reveals an energy which is rare in most other\nlands.\nThe most famous German imitation of the methods employed by the Russians in their\nstaging of a realistic play, is in the case of 44 Nachtasyla rather poor example being the\nmanner in which \" Frishlings Erwachen \" was produced. When this Russian theatrical company\nvisited Berlin with their whole productions one might have supposed that the Germans\nwould have been abashed. Not at all, They were heard saying, 44 We did this before or\n44 You see we have the same ideas \". But the critic, that is to say, one who is not hasty in\nhis judgments, will see all the difference between the production by Mr Stanislowsky of a\nrealistic play and one by the Deutches Theater. &\nPerhaps the most vulgar production which is to be laid to the account of the Deutches\nTheater is that of the 44 Merchant of Venice \". This production is nothing short of dreadful;\nand for the following reasons. It is a jumble of cheap realism and sentimentality, for poetry\ngone to seed is sentimentality. They tried to turn this masterpiece, with its wonderful\nmusic and poetry, into an up=to=date bit of fun. Thus all the poetry of the lines was lost,\nall the poetry of movement lost, all the poetry of of diction lost, all the poetry of scene\nlost and all the poetry of feeling lost.\n& We have the old and traditionally fine actor, Schildkraut, as Shylock: we see him battling\nagainst these terrible odds. Here and there he produces for 11s the old feeling of the play,\nwhich the management is all the time trying to destroy. What can be thought of a\nproduction of this play where the actors are told to create an impression of realism by\ngabbling their lines as though they were at the street corner down in some disreputable\nneighbourhood in the Bowery? The men all smack each other on the back just as if they\nwere going to say, 44 What's yours, old chap? or 44 Mine's a whisky and soda \". And, mind\nyou, this includes Bassanio, Graziano, Lorenzo and all the distinguished gallants of the\npeerless imagination of Shakespeare 1... !... Horribie!\n& Then we have Portia, and a train of girls giggling and smirking about the different\nsuitors who are coming to woo Portia. Instead of the lady of Belmont, that extraordinary\ncreation of Shakespeare, we have a not very distinguished shop girl surrounded by her\ncompanions. They deliver their lines about the approach of the suitors just as any bevy of\nill=bred girls would giggle, 44 Ow, 'ere 'e comes! Ow, I sy! Don't be so silly! Go on!\" And\nthis is no exaggeration. Anything more vulgar than the young people in this play is impossible\nto conceive. May it is what the management calls 44 making the thing vivacious\". No\nFrench management would have been guilty of such a sin against good taste. It revealed\nin a flash, the class of mind which directs the performances of the theatre. The suitors\nthe Prince of Morocco and Bassanio, when they arrived, justified the behaviour of these\ngirls. It was like a lottery in which a woman was the prize. That is not the\nimpression which Henry Irving created when he produced the play; nor Mr Daly nor Mr\nBeerbohm Tree. Neither was it the impression which should be produced. &\nThe court of justice was another parody. That amazing scene, which America and England\nwitnessed in its perfection when presented by Henry Irving and his company was made\nludicrous and common. In vain did Shylock attempt to bring seriousness into the\nrepresentation. The management were determined to turn it into a farce. Thus we have\nPortia with a beard and moustache, strutting about like a very small turkey cock, and a\nrow of fool'sh looking senators all shaking their heads about nothing, and a rowdy lot of\nGermans pretending to be distinguished Italians of the 16th century, but shouting and\ngesticulating as though they were on a field of battle delivering orders. Shakespeare,\nwho had drawn either a Jew who was fierce or a Jew who was much wronged, had in this\ntheatre to put up with a Jew who was a fool, for none but a fool would associate with a\nrowdy crew of irresponsible young men and misses as this Jew was made to do.\nI can only think that their reason for doing this, was, that they thought they were treating\nit in a 44 realistic \" manner, which of course is not the right treatment. And even here we\nshould not have minded so much if the Shylock or the Portia had been interpreted by a\n\nThe danger\nof copying.\nThe 44 Merchant\nof Venice. }>\nSchildki a at\nas 44 Shylock \"\nA German\n44 Portia \"\nThe court\nof justice.\nA mistaken\ntreatment."}, {"page_pdf": 17, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 4703, "texte": "superlatively great actor or actress. But this was not the case: neither would it have been\npossible for a great actor to prove his quality in such surroundings. Herr Schildkraut\nnot being the manager of the theatre was handicapped by the stage manager. In any other\ntheatre his performance would have been valued and all else would have given way for it.\n& The production of the Merchant of Venice, ....the scenery, lighting, costume, etc. can be\nsaid to have been done better elsewhere. Henry Irving did it a thousand times better and\nin a far more original manner, and that was twenty eight years ago. & &\nCritics, considering the value of a poetic stage production, should bear in mind that the\nfirst quality necessary is that distinction which Irving was so well able to bring into all his work\nno matter if it were only in the choice of a costume or in the performance of a part. Nothing with\nhim was hurridly done. All the characters must be of the Shakespearian breed, must have the\nstamp of Shakespeare on them. All the scenes must have the colour and the grace of\nShakespeare's comedy, not the dowdy clumsiness of low class modern life. &\n& And so you see in spite of the imitations which the Deutches theater goes in for, they\nare neither realistic like Stanislosky nor idealistic like Craig. In the case of the \" Salome \"\nthey had the same vast blue sky cloth which Mr Craig first introduced in London\nin 1900 and which he repeated in many of his other productions on account of the\ntragic quality of the colour. And instead of being content with this they heaped\na lot of bad architectural doors and pillars round about, they filled the stage with\nshouting actors whose movements were crude and modern, and a German lady was told to\nperform the part of Salome. But the draw back of the German actor and actress is that\nthey can only do that which they have thought out; they must always \"think out\" what\nthey do. The result was that Salome's performance was invested with a little \" thought out\"\npassion. Instead of the performance which a Mimi Aguglia would have given us, a thing so\nabandoned that by its very force it leapt the gulf betwixt vulgarity and the terrible, the\nGerman lady was content to remain on this side of the chasm and to represent for us\nsomething which was lifeless,\n& And now the productions. They may be described as \"cheap\",... possibly because they\nare cheap, though this does not follow. The Germans, unlike the Americans, are\nfrightened of spending money, and there is a particular kind of theatrical management that\nshakes in its shoes at the idea of spending money, though it demands its fair pound of flesh\nin return from the poor martyred audience. I should not be surprised if the management of\nthe Deutches Theater could be classed in this category. & & &\nThe actors cannot be accused of looking very thin, but, on the other hand the production\nis extremely thin; and the idea is forced upon us that perhaps, perhaps, this theatre is run\nso as to bring in a fat income to some man or group of men who, not content with making\nmoney by legitimate means, turn to the arts and squeeze the artists and the art of its life's\nblood.\n& We know there are many such theatres in the world, and they are a disgrace to the\nmanagement which permits such a system. & Here again we are forced to speak of Henry\nIrving. It was not his habit to be what is called \" stingy \" or to stint anything, no matter\nhow costly, towards the attainment of what he considered perfection. That and that alone\nis the right attitude for a management to take, and if they are not able to run the theatre\nwith their own money they should only accept capitalists whe are willing to agree to these\nconditions. Capitalists who possess the same spirit as the old patrons,... lovers and supporters\nof the Dramatic art, not capitalists who drain the resources of a theatre at the same time as\nthey pretend to support it. These are odious to all right spirited actors, actresses or\ntheatrical managers, and the loan of their mere money is death to the theatre.\nNo, the Deutches Theater is by no means an ideal theatre although we may give it\nunqualified praise for its energy. How this energy will be appreciated when the company\nvisits New York in the spring remains to be seen, for the American public have already\nseen how Shakespeare ought-to be played, and they have seen Henry Irving, Salvini, Madame\nDuse, Sarah Bernhardt and Ellen Terry. One thing is quite clear from all this. The\nDeutsches Theater is not today one of the first theatres in Europe when judged by artistic\nstandards: and its business transactions are.... well, queer, to say the least of \" it \" is right\ngrammar I believe."}, {"page_pdf": 17, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.17", "debut_caractere": 4726, "fin_caractere_exclue": 4823, "texte": "A necessary\nquality .\n\" Salome \"\n\" Cheap \"\nproduction s.\nThe capitalist.\nNot an ide a 1\ntheatre ."}]}, {"article_id": "bm-bmtnaau-1908-11-01-c011", "article_bluemountain": "bmtnaau_1908-11_01#c011", "volume": "bmtnaau_1908-11_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "178", "page_fin": "179", "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=bmtnaau190811-01.2.7", "titre_corps": "REALISM AND THE ACTOR : AN INTERNATIONAL SYMPOSIUM", "titre_sommaire": "REALISM AND THE ACTOR : AN INTERNATIONAL SYMPOSIUM", "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": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.18", "debut_caractere": 0, "fin_caractere_exclue": 2934, "texte": "REALISM AND THE ACTOR.\nAN INTERNATIONAL SYMPOSIUM\nthis subject, which has aroused so much discussion,\nand upon which opinions have been gathered from\nleading authorities in England, France, Germany, Austria,\nHolland, we now print the last three replies which have\nreached us,.... those of Miss ESSen Terry, Madam Yvette\nGuilbe and M. F£lix Du Quesnel. & &\nTHE QUESTIONS.\nI. Do you consider Realism in acting to be a frank representation\nof human nature?\nII. In your opinion should the Actor be allowed the same liberty\nin his expression of the Passions, as is permitted to the\nWriter or the Painter?\nIII. Do you think that Realism appeals to the General Public\nor only to a limited section of Playgoers ? &\nTHE ANSWERS.\nEllen Terry London.\nI. I dislike Realism as the word seems to be understood today. Reality seems to be\nill»expressed by means of Realism, for reality seems to me to be more than mere\nbrutality, and Realism is often only this. It is called \" Holding the mirror up to\nNature \" whereas, it seems to me to be lowering the mirror so as to reflect the inferior\ndetails of human nature. Acting should not be a frank representation of human\nnature.\nII. I do not think an actor should be allowed the same liberty in the expression of the\npassions as is permitted to the writer and the painter. He should, in time, if possible,\nfollow the laws which have guided the architect and the musician. JS?\nIII. As for the Public,... the Public should beware and undertake its responsibilities. I hope\nI am not deceived in believing that the Public will follow an actor or a manager whose\naim is for the highest.\nYvette Guilbert Paris.\nI. Impossible de considerer sur la scene, le realisme absolu, tel quel existe dans la nature\nhumaine, pour la bonne raison que la nature humaine est sincere, dansses expressions,\net que Fart dramatique n'est qu'une eternelle parodie des sentiments. Parodie des\n&tres, qui ne sont jamais en verite ce qu'ils disent au public etre. Parodie des decors,\nqui ne sont jamais des Verites, mais des toiles peints pour parodier la nature, et des bouts\nde bois pour parodier des chateaux. Le soleil et le jour et la nuit sont des trues de\nlumiere, les visages des heros ne sont que des images resultant des maquillages, rien\nnulle part ne reste Vrai, Nature, et tout dans Fart du theatre est mensonge! L'amour, la\nhaine, les pleurs, les rires, tout est factice. L'art du comedien consiste •* a nous faire\ncroire \" a des mensonges. Done le Realisme n' est point possible dans cet art inferieur\na cause de son manque de verite; on s'en approche, on ne Fatteint pas. L'art du\ncomedien n'est point un art; le comedien n'est point un artiste. II excelle a imiter, a\nrendre la pensde d'autrui; il ne cree rien; il ne mets qu'un peu de couleur sur un\ndnorrne dessin sans le quel il ne peut rien! II anime un enfant mort,... voila son seul\nmerite; mais on lui fournit Fenfant! et la est Finferiority d'un tel art. &"}, {"page_pdf": 19, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 2167, "texte": "II. Oui, Tacteur a droit a la rneme liberte que les peintres ou les ecrivains d'exprimer les\npassions. L/ecrivain se sert de mots, Tacteur a le droit d* employer \" I,es mots.\" Le\npeintre se sert des conleurs; Tacteur se sert des couleurs de sa voix, une voix claire,\nrouge, exprimera le triomphe, la joie: Une voix sombre, noiie, la douleur: une voix\ngaie, rose, la jeunesse: une voix tendre, dorde, ardente, de feu, Tamour: ...done les\nprecedes de Tecrivain et du peintre servent Tacteur et T autorisent a prendre les memes\nliberies.\nIff. 1,6 Realisme, je le repete, n'existe pas sur I,a Scene. Le Public se trompe quand il\ncroit Se voir. La presence raeme du comedien le detruit! Seule la litterature peut en\nen des pages de verites faire surgir du cerveau Vimage reelle voulue par Tecrivain, et\nle public en general aime I,a Verite, le redl, la sincerite en art, pourvu que cette vdrite\nreste \" celle qu} il admet>} I Mais si une \\6rit6, un realisme \" inattendu \" lui est prdsente,\nil ne comprend plus, et la verity devient une exagdration, un mensonge.\nF 61 i x d u Qu e snel Paris.\nI. Le realisme, dans Taction Thd&trale, pent se rapprocher de Taction humaine, il n' en\nest, jamais, quoi qiT on fasse, la reproduction absolument exacte, d* abord parcequ* il\nn'est qu' un fiction, ensuite parceque la representation Thdatrale a forcement des limites,\ndont le comedien ne peut sortir, et des conventions fatales qui r£sultent de la combinaison\ndes moyens d' execution, dont il ne peut s'affranchir. &\nII. 11 n' y a aucune raison de refuser au comedien la liberte d' exprimer les passions, qu'on\naccorde au peintre ou au litterateur, en observant toutefois que cette liberte se trouvera\nforcement contenue dans les limites que la situation materielle du Theatre lui impose.\nIII. L'execution realiste peut £tre saissisante, pour le Public tout entier, ou seulement pour\nun elite, ceci depend de la qualite du Public et aussi de la qualite de T execution. On\npeut cependant affirmer presqu' h coup suir, que pour le Public, le spectacle le plus\nintdressant est celui qui lui donne, sans le blesser par T outrance, la plus exacte\n/\nreproduction de la vdrite. &&&&<&&&&"}]}, {"article_id": "bm-bmtnaau-1908-11-01-c014", "article_bluemountain": "bmtnaau_1908-11_01#c014", "volume": "bmtnaau_1908-11_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "180", "page_fin": "181", "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=bmtnaau190811-01.2.8", "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": 20, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.20", "debut_caractere": 0, "fin_caractere_exclue": 4870, "texte": "BOOK REVIEWS\n\n\" The Story of My Jyife Terry,\nHutchinson & Co. 6j- net. &\nA delightful book, witty and well written;\nthe words well marshalled, but here and\nthere incorrect or conveying an occasional\nwrong impression. &\nHere lies the difficulty in writing about men\nand women,... so different from writing of\nscience, art and trifles of that description.\nOne seldom gives a wrong impression of these\nthings, for these things are ours to give of\nthem what impression we choose. <£? But men\nand women, their thoughts, character, acts,\nare not ours, and no amount of attempted\nexplanation can explain them and we never\ncapture them. Yet we have a knack of sizing\nup a Napoleon or a Plato as if we knew him,\nor ever could know the least hint of him and\nwe feel satisfied that we have drawn a fairly\ngood picture of him. & &>\nMiss Ellen Terry draws for us the picture of\nHenry Irving, gives sketches of other people,\nincluding her son and daughter, and we are\ninclined to believe that she is satisfied that\nthe pictures are likenesses. We are of another\nopinion for the reason stated above.\nMiss Terry prefaces her book by Walt\nWhitman's famous passage, &\n\" When I read the book, the biography\nfamous,\n\" And is this then (said 1) what the author\ncalls a man's life?\n\" And so will some one when I am dead\nand gone write my life ?\n\" (As if any man really knew aught of my\nlife?\n\" Why even I myself often think know\nlittle or nothing of my real life,\n\" Only a few hints, a few diffused faint\nclews and indirections\n\" 1 seek for my own use to trace out here).\n\" As if any man really knew aught of my life!\"\n& Quoting this line Miss Terry renders\nworthless all she writes of other people. It\nsounds like the voice of Irving saying,... \" As\nif any man really knew aught of my life \".\nWhitman's verse was but the prelude to his\nown song of himself and is out of place\nelsewhere. & & &\nI think we are correct in saying that Miss\nTerry, like so many of her predecessors, has\nreceived assistance in the writing of her book.\nThe hands are Esau's, yet somehow the voice\nis often another's. This gives us a slight fee-\nling of insecurity as we read,... insecurity as\nto accuracy. &\nTo this assistant writer we must lay the\nblame of certain inaccurate statements made\nin the book in regard to the work of Mr\nGordon Craig, jg?\nOn Page 326 Miss Terry is supposed to have\nsaid, \" At the Imperial Theatre, where I spent\nmy financially unfortunate season in April\n1903, I gave my son a free hand The last\nthree words are so incorrect that i take this\nopportunity of contradicting the statement\nas emphatically as the Editor of The Mask\nwill permit me to do. &\nA free hand suggests both carte blanche and\na competent management. I am in a position\nto state that Mr Craig had neither of these\nto support him, and that his hands were tied.\nThe management was timid, as is proved by\nthe fact that it took off the play after a very\nshort run which, with competent management\n(I speak here of business management) might\nhave proved an overwhelming commercial\nsuccess. Such an aim would, in Germany,\nhave been instantly supported by a strong\nsyndicate.\nAnother passage on Page 327, which makes\nMiss Terry say that \"my son always consi-\ndered the pictorial side of the scene before\nits dramatic significance \" is entirely mislead-\ning: for those who know Mr Craig as one\nof the few thorough and serious artists, one\nwho stands alone in his art, know that he\ndislikes stage pictures, and that only the Drama\nas a whole claims his attention. He even\nconsiders the actor and actress of minor\nimportance beside the Drama itself. &\nAnother incorrect statement on the same\npage is to the effect that \" the great height\nof the proscenium made his lighting lose all\nits value <£? Perhaps this statement is only\nmisleading on account of the choice of the\nword \"value\". Had \"force\" or \"glare\"\nbeen used, the passage would have had mean-\ning. It is so utterly unlike Miss Terry to\nspeak in this way of her son's work that we\ncan only attribute it to her collaborator. &\nThis assistant was not Mr James Carew.\nThis collaborator has also been careless in\nthe proof-reading, for why should the page\nrelating to Mr Craig's stage work be headed\n\"my son's woodcuts?\" On^page 326, where\nthe woodcuts are spoken of, another error\noccurs. The Walt Whitman head was by no\nmeans the first wood engraving made by Mr\nCraig: obviously no one,... not even Crawhall\nhimself.... could have made such a cut without\nprevious experience.\nThese four errors in two pages concerning\nher son's aim and work are not to be laid\nto the charge of Miss Ellen Terry; but if\nother facts in the book are so distorted,\nit will be a good thing if the second edition\nis carefully revised before it is allowed to\nappear. &\nAlso it may reasonably be asked, what urged\nMiss Terry to omit the words, \"for my own\nuse \" when quoting Walt Whitman's poem at"}, {"page_pdf": 21, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 2981, "texte": "the head of her Introduction? If it is a custom\nto cut plays by great authors, need it become\nas usual to cut their poems? Yet the boosk\nwhet e ever we hear the real voice of Ellen\nTerry, is more humorous... courageous... &\ngenerous than many books of the last century.\nRevue Napolieime. Monthly. Rome.\nA n excellent little review containing really\ninteresting articles and conversations on\nand with the great Napoleon. The journal\nis printed in three languages, English, Italian\nand French with occasional illustrations\nwhich add interest to the numbers.\n& That the magazine should exist at all is\nstrange. We hear much today of the\nactor, of the personality of this man and that\nwoman, yet when they are no longer with\nus how little they influence things! This\nlittle journal, the echo of that really great\npersonality, Buonaparte, proves its force,\nActors very often remind us of halfpenny\nNapoleons. In attempting through what they\ncall character and personality to overpower\nall those they come in touch with they\ncreate in those people a kind of amazed\nstupefaction by this assumed strength. Put\nthe actor against any other man and he will\nget the better of him. The other will not\nbe conviced but he will be stupified, and the\nactor, absolutely unconscious of the real\neffect he has created, takes the stupifaction\nfor admiration. <£?\nThere is no doubt about it that the sooner\nthe actor drops the role of a great personality\nthe better for him and his work, for although\nhe assumes the role he cannot carry it out\nto the end. First of all there is not the call\nfor him to be so very \" great \" a man. He\nhas not to deal with kings, continents and\narmies but with the imitation of these things.\nHe is continually pretending to turn other\nkings off their thrones, slaying the usurper\nor becoming betrothed to a Queen of France\nor he is a great Priest overturning religions\nand substituting others, and all this produces\nin him the attitude of a man who holds the\nFate of Europe in his hand. Bat the attitude\nis not enough to qualify him to assume these\nroles off the stage and therefore if his art\nis to be held in reverence the actor's\npersonality off the stage must be an entirely\nunassuming one. He must be as simple as\nany other artist. This quality of sernplicity\nwe often find in the little comedians, who\nof all people on the stage are the least spoilt.\n& But we recommend this review\n\" Napoleonienne \" to the actors, for in it they\ncan see the difference between a great man\nand one who apes a great man.\n\nMAGAZINES RECEIVED &\n\" The Book News Monthly \" Philadelphia, Pa. U.S.A\n\" What's On \", London. \" Le TSmoin\", Paris. £?\nThe Fra \", East Aurora. New York. &\n\" The Bibelot Portland, Maine U. S. A. £> \" The\nPapyrus \", East Orange., New Jersey U. S. A.\n\"Current Literature\" New York. & \"The Studio\",\nLondon. & \" The New York Dramatic Mirror \",\nNew York. <£? \"Ri vista di Roma Iconic. \"Argus \",\nHelsingfors. & \" Die Schaubuhne Berlin. \"II\nTeatro (llustrato \" Milan. & &"}]}, {"article_id": "bm-bmtnaau-1908-11-01-c016", "article_bluemountain": "bmtnaau_1908-11_01#c016", "volume": "bmtnaau_1908-11_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "180", "page_fin": "181", "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=bmtnaau190811-01.2.8.2", "titre_corps": "\"THE STORY OF MY LIFE\". Ellen Terry", "titre_sommaire": "\"THE STORY OF MY LIFE\". Ellen Terry", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 20, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.20", "debut_caractere": 14, "fin_caractere_exclue": 4870, "texte": "\" The Story of My Jyife Terry,\nHutchinson & Co. 6j- net. &\nA delightful book, witty and well written;\nthe words well marshalled, but here and\nthere incorrect or conveying an occasional\nwrong impression. &\nHere lies the difficulty in writing about men\nand women,... so different from writing of\nscience, art and trifles of that description.\nOne seldom gives a wrong impression of these\nthings, for these things are ours to give of\nthem what impression we choose. <£? But men\nand women, their thoughts, character, acts,\nare not ours, and no amount of attempted\nexplanation can explain them and we never\ncapture them. Yet we have a knack of sizing\nup a Napoleon or a Plato as if we knew him,\nor ever could know the least hint of him and\nwe feel satisfied that we have drawn a fairly\ngood picture of him. & &>\nMiss Ellen Terry draws for us the picture of\nHenry Irving, gives sketches of other people,\nincluding her son and daughter, and we are\ninclined to believe that she is satisfied that\nthe pictures are likenesses. We are of another\nopinion for the reason stated above.\nMiss Terry prefaces her book by Walt\nWhitman's famous passage, &\n\" When I read the book, the biography\nfamous,\n\" And is this then (said 1) what the author\ncalls a man's life?\n\" And so will some one when I am dead\nand gone write my life ?\n\" (As if any man really knew aught of my\nlife?\n\" Why even I myself often think know\nlittle or nothing of my real life,\n\" Only a few hints, a few diffused faint\nclews and indirections\n\" 1 seek for my own use to trace out here).\n\" As if any man really knew aught of my life!\"\n& Quoting this line Miss Terry renders\nworthless all she writes of other people. It\nsounds like the voice of Irving saying,... \" As\nif any man really knew aught of my life \".\nWhitman's verse was but the prelude to his\nown song of himself and is out of place\nelsewhere. & & &\nI think we are correct in saying that Miss\nTerry, like so many of her predecessors, has\nreceived assistance in the writing of her book.\nThe hands are Esau's, yet somehow the voice\nis often another's. This gives us a slight fee-\nling of insecurity as we read,... insecurity as\nto accuracy. &\nTo this assistant writer we must lay the\nblame of certain inaccurate statements made\nin the book in regard to the work of Mr\nGordon Craig, jg?\nOn Page 326 Miss Terry is supposed to have\nsaid, \" At the Imperial Theatre, where I spent\nmy financially unfortunate season in April\n1903, I gave my son a free hand The last\nthree words are so incorrect that i take this\nopportunity of contradicting the statement\nas emphatically as the Editor of The Mask\nwill permit me to do. &\nA free hand suggests both carte blanche and\na competent management. I am in a position\nto state that Mr Craig had neither of these\nto support him, and that his hands were tied.\nThe management was timid, as is proved by\nthe fact that it took off the play after a very\nshort run which, with competent management\n(I speak here of business management) might\nhave proved an overwhelming commercial\nsuccess. Such an aim would, in Germany,\nhave been instantly supported by a strong\nsyndicate.\nAnother passage on Page 327, which makes\nMiss Terry say that \"my son always consi-\ndered the pictorial side of the scene before\nits dramatic significance \" is entirely mislead-\ning: for those who know Mr Craig as one\nof the few thorough and serious artists, one\nwho stands alone in his art, know that he\ndislikes stage pictures, and that only the Drama\nas a whole claims his attention. He even\nconsiders the actor and actress of minor\nimportance beside the Drama itself. &\nAnother incorrect statement on the same\npage is to the effect that \" the great height\nof the proscenium made his lighting lose all\nits value <£? Perhaps this statement is only\nmisleading on account of the choice of the\nword \"value\". Had \"force\" or \"glare\"\nbeen used, the passage would have had mean-\ning. It is so utterly unlike Miss Terry to\nspeak in this way of her son's work that we\ncan only attribute it to her collaborator. &\nThis assistant was not Mr James Carew.\nThis collaborator has also been careless in\nthe proof-reading, for why should the page\nrelating to Mr Craig's stage work be headed\n\"my son's woodcuts?\" On^page 326, where\nthe woodcuts are spoken of, another error\noccurs. The Walt Whitman head was by no\nmeans the first wood engraving made by Mr\nCraig: obviously no one,... not even Crawhall\nhimself.... could have made such a cut without\nprevious experience.\nThese four errors in two pages concerning\nher son's aim and work are not to be laid\nto the charge of Miss Ellen Terry; but if\nother facts in the book are so distorted,\nit will be a good thing if the second edition\nis carefully revised before it is allowed to\nappear. &\nAlso it may reasonably be asked, what urged\nMiss Terry to omit the words, \"for my own\nuse \" when quoting Walt Whitman's poem at"}, {"page_pdf": 21, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 2517, "texte": "the head of her Introduction? If it is a custom\nto cut plays by great authors, need it become\nas usual to cut their poems? Yet the boosk\nwhet e ever we hear the real voice of Ellen\nTerry, is more humorous... courageous... &\ngenerous than many books of the last century.\nRevue Napolieime. Monthly. Rome.\nA n excellent little review containing really\ninteresting articles and conversations on\nand with the great Napoleon. The journal\nis printed in three languages, English, Italian\nand French with occasional illustrations\nwhich add interest to the numbers.\n& That the magazine should exist at all is\nstrange. We hear much today of the\nactor, of the personality of this man and that\nwoman, yet when they are no longer with\nus how little they influence things! This\nlittle journal, the echo of that really great\npersonality, Buonaparte, proves its force,\nActors very often remind us of halfpenny\nNapoleons. In attempting through what they\ncall character and personality to overpower\nall those they come in touch with they\ncreate in those people a kind of amazed\nstupefaction by this assumed strength. Put\nthe actor against any other man and he will\nget the better of him. The other will not\nbe conviced but he will be stupified, and the\nactor, absolutely unconscious of the real\neffect he has created, takes the stupifaction\nfor admiration. <£?\nThere is no doubt about it that the sooner\nthe actor drops the role of a great personality\nthe better for him and his work, for although\nhe assumes the role he cannot carry it out\nto the end. First of all there is not the call\nfor him to be so very \" great \" a man. He\nhas not to deal with kings, continents and\narmies but with the imitation of these things.\nHe is continually pretending to turn other\nkings off their thrones, slaying the usurper\nor becoming betrothed to a Queen of France\nor he is a great Priest overturning religions\nand substituting others, and all this produces\nin him the attitude of a man who holds the\nFate of Europe in his hand. Bat the attitude\nis not enough to qualify him to assume these\nroles off the stage and therefore if his art\nis to be held in reverence the actor's\npersonality off the stage must be an entirely\nunassuming one. He must be as simple as\nany other artist. This quality of sernplicity\nwe often find in the little comedians, who\nof all people on the stage are the least spoilt.\n& But we recommend this review\n\" Napoleonienne \" to the actors, for in it they\ncan see the difference between a great man\nand one who apes a great man."}]}, {"article_id": "bm-bmtnaau-1908-11-01-c017", "article_bluemountain": "bmtnaau_1908-11_01#c017", "volume": "bmtnaau_1908-11_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "181", "page_fin": "181", "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=bmtnaau190811-01.2.8.3", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.21", "debut_caractere": 2519, "fin_caractere_exclue": 2981, "texte": "MAGAZINES RECEIVED &\n\" The Book News Monthly \" Philadelphia, Pa. U.S.A\n\" What's On \", London. \" Le TSmoin\", Paris. £?\nThe Fra \", East Aurora. New York. &\n\" The Bibelot Portland, Maine U. S. A. £> \" The\nPapyrus \", East Orange., New Jersey U. S. A.\n\"Current Literature\" New York. & \"The Studio\",\nLondon. & \" The New York Dramatic Mirror \",\nNew York. <£? \"Ri vista di Roma Iconic. \"Argus \",\nHelsingfors. & \" Die Schaubuhne Berlin. \"II\nTeatro (llustrato \" Milan. & &"}]}, {"article_id": "bm-bmtnaau-1908-11-01-c018", "article_bluemountain": "bmtnaau_1908-11_01#c018", "volume": "bmtnaau_1908-11_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "181", "page_fin": "182", "image_debut": 21, "image_fin": 22, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.2.9", "titre_corps": "FOREIGN NOTES", "titre_sommaire": "FOREIGN NOTES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.21", "debut_caractere": 2983, "fin_caractere_exclue": 3004, "texte": "FOREIGN NOTES\n\nLONDON"}]}, {"article_id": "bm-bmtnaau-1908-11-01-c020", "article_bluemountain": "bmtnaau_1908-11_01#c020", "volume": "bmtnaau_1908-11_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "181", "page_fin": "182", "image_debut": 21, "image_fin": 22, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.2.9.2", "titre_corps": "LONDON", "titre_sommaire": "LONDON", "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": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.21", "debut_caractere": 2998, "fin_caractere_exclue": 3004, "texte": "LONDON"}]}, {"article_id": "bm-bmtnaau-1908-11-01-c021", "article_bluemountain": "bmtnaau_1908-11_01#c021", "volume": "bmtnaau_1908-11_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "181", "page_fin": "181", "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=bmtnaau190811-01.2.9.2.1", "titre_corps": "MADAM Y'VETTE GUILBERT", "titre_sommaire": "MADAM Y'VETTE GUILBERT", "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": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.21", "debut_caractere": 3006, "fin_caractere_exclue": 4241, "texte": "MADAM V VETTE G UIRBERT\nThe event of importance to the theatre here\nhas been the return of Madam Yvettte\nOuilbert. London has not been merely\nenthusiastic: London has begun to under®\nstand:.... and to understand this great woman\nwho links the acting of the Past and the\nFuture by her unique genius is not easy.\nYet Londoners who are always given an easy\nthing to annoy them, and who always return\nthe compliment by taking it easy, have this\ntime proved that the Profound in the Theatre\nis also the Popular.\nThe managers of the Coliseum have been very,\nvery clever to invite Madam Guilbert to sing\nfor their public, for their public is a\nremarkably intellectual and artistic one. It\nis clever of the managers of the Coliseum to\nhave perceived this. It is not their fault that\nan extremely well=built but bad dancer ruins\ntwenty minutes of the programme. The\nSalome Dance and the Cleopatra Dance are\nthe two worst exhibitions, (unless we include\nMiss Allen's) we have ever seen. From\nremarks made by the audience we gather that\nthey endorse our opinion. Vulgarity does not\nappeal to the Coliseum audience: it is no\ngood for a few critics to say it does: it\ndoes not, and Mr Slater's having perceived\nthis proves that he possesses genius."}]}, {"article_id": "bm-bmtnaau-1908-11-01-c022", "article_bluemountain": "bmtnaau_1908-11_01#c022", "volume": "bmtnaau_1908-11_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "181", "page_fin": "182", "image_debut": 21, "image_fin": 22, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.2.9.2.2", "titre_corps": "STAGE LOVERS", "titre_sommaire": "STAGE LOVERS", "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": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.21", "debut_caractere": 4243, "fin_caractere_exclue": 5173, "texte": "ST AGE ROVERS & &\nHphe youths and maidens of the English stage\nhave not improved in the matter of speaking\npoetry. They invest it with a kind of mock\n=prayer=!ike atmosphere. When a young girl\ntells her stage lover that she is all the world\nto him she suggests that she is thinking of\nthe world and his wife at church, and what\nthey will say when the banns are published.\nAdd to this a kind of tremulous sea sickness\nin voice and appearance, and you have a\npicture of the stage maiden in a love scene.\nThis is awful! awful!! Awful!!! &\nThe young man is no better. He is a young\nhypocrite, not a lover, not a man. He\neffectually pumps up his emotion before our\neyes,... oh, horrible!... and he seems to look\nmore in pity than in love upon the object\nof his choice. The result is an impression of\nsensuality,... sensuality to a degree which only\nthe English actors know how to achieve. &\nThe young people generally paint their faces"}, {"page_pdf": 22, "page_imprimee": "182", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.22", "debut_caractere": 0, "fin_caractere_exclue": 532, "texte": "very white, and thereby add a horror to an\nalready horrid exhibition. & &\nWhy pale? Why quavering voice? Why this\nsingsong, earnest, mouth-drawn religious\nfervour? A sense of fear strikes the beholder.\nThe man fears the girl, the girl the man; yet\nthey proceed with their parody. & &\nWe offer this advice to stage lovers in\nEngland. Make the voice firm and deep.\nDo not sing or look like a curate. Do not\npretend to be timid ....why should you ?...,\nSmile sometimes,... and try to look as if\nyou were thinking and feeling something."}]}, {"article_id": "bm-bmtnaau-1908-11-01-c023", "article_bluemountain": "bmtnaau_1908-11_01#c023", "volume": "bmtnaau_1908-11_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "182", "page_fin": "182", "image_debut": 22, "image_fin": 22, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.2.9.2.3", "titre_corps": "WILHELM", "titre_sommaire": "WILHELM", "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": "182", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.22", "debut_caractere": 534, "fin_caractere_exclue": 871, "texte": "W 1 L H E E M & & & &\nAt the \"Empire\" Wilhelm shows what a master\nhe is of delicate effects in costume. He arrives\nat a simple and most refined result by the\nexercise of a talent all his own. He is not an\nimitator. A designer of costumes, bred in\nthe theatre, he proclaims clearly the\ndifference between the professional and the\namateur."}]}, {"article_id": "bm-bmtnaau-1908-11-01-c024", "article_bluemountain": "bmtnaau_1908-11_01#c024", "volume": "bmtnaau_1908-11_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "182", "page_fin": "182", "image_debut": 22, "image_fin": 22, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.2.9.2.4", "titre_corps": "CONCERNING ENGLISH AMATEURS", "titre_sommaire": "CONCERNING ENGLISH AMATEURS", "signature_source": "G. N", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 22, "page_imprimee": "182", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.22", "debut_caractere": 873, "fin_caractere_exclue": 4264, "texte": "CONCERNING ENGLISH AMATEURS.\nG. N.\nnphe Amateur threatens in that whispering\nway of his to meddle with the Theatre.\nHe wants to \" produce \" plays. He lisps his\nanathema upon the Professional Theatre, and\nsays \" his idea \" Is something quite different.\nHe then sets about copying Harker, Wilhelm,\nGordon Craig and Percy Anderson. He is\n(alas!) often a distinguished illustrator of\nchildren's fairy books or a designer and maker\nof stained-glass windows. He has perhaps\nlately made illustrations to a Shakespeare\nplay, and feels that by right of this he may\nclaim kinship with the Theatre. How many\ntimes has it to be repeated that the Theatre\nis not for the amateur: that it is as difficult\na study as the earth has to offer, and that no\none but he who gives his whole life to this\nstudy can hope to bring any light into the\nTheatre.\nIt is an impertinence on the part of these\nexcellent \" designers \" to waste the time of\nthe stage and of the public. A production\nof Shakespeare on the stage is an entirely\ndifferent problem from the illustration of his\nplays in a book. It takes nothing short of a\nlife-time for an artist to learn the limitations\nof the stage, and only a stage manager can\never thoroughly know these limitations. An\nillustrator whose whole charm lies in the\nstrangely sharp quality of his pen work and\nthe faint and delicate washes of colour which\nhe adds to his designs, will give the scene\npainter and costumier a most ungrateful\ntask if he brings such designs for their\nconsideration. & & & &\nMr C. Ricketts, for instance, has lately been\ncasting longing eyes at the stage, and has been\nstudying the results achieved by some of the\ngentlemen above mentioned. His imitations\nare on a level with the imitations of Miss\nMaud Allen. Perhaps admiration of Mr Craig's\nwork has been the cause of this sincerest\nform of flattery,... but this seems no excuse.\nThere is no excuse for the amateur. The\nStage of England has young stage managers,\nscene and costume designers and mechanics\nenough without the intrusion 1of the\noutsider, The young stage of England is\ndeveloping in an unmistakable and remarkable\ndirection, and that by reason of the practical\nknowledge possessed by young fellows who\nare at present unknown, but whose names\nare bound in time to add lustre to the stage\nof this century. & &\nThe Mask must, and no doubt will, keep\nthese young men in remembrance, for The\nMask is the champion of the stage managers\nand the practical workers no less than of the\nartists of the Theatre. If artists are rare in\nthe Theatre, good, practical and hard workers\nneed not be, and inventive stage managers\nshould soon win to good positions, not because\nthey can be affable and echo every word of\nthe actor-manager, (a danger to be avoided\nby practise), but because through practical\nknowledge they can stand their ground and\nbe of incalculable value to the actor-manager,\nwho learns to respect them. When these\nyoung stage managers shall have thoroughly\nproved their capabilities there will be fewer\nactor-stage-managers. & &\nBut, alas!, this will never prevent that\ndisastrous growth the amateur stage manager.\nHe goes on growing in the British Isles,... a\nnervous flabby growth, incapable of either\nart ideas or practical ideas, but ever full of\nthe large sounding words, * Ideas', 'Grandeur',\n'Nature',., words which, on his lips, prove \"easy\nlike the wind \",..eand nothing more."}]}, {"article_id": "bm-bmtnaau-1908-11-01-c025", "article_bluemountain": "bmtnaau_1908-11_01#c025", "volume": "bmtnaau_1908-11_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "182", "page_fin": "184", "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=bmtnaau190811-01.2.10", "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": "182", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.22", "debut_caractere": 4266, "fin_caractere_exclue": 4903, "texte": "EDITORIAL NOTES\n\nJs Realism illegal? Should it, when carried\nso far as violence, be prevented by law?\nCertainly, by all the laws of taste.\nOnly the other day the Realism of the stage\nproved again its dangerous power. It is\nreported that. 44 While Desdemona was being\n44 strangled during a performance of44 Othello \"\n44 at a theatre in Luebeck, a man rose in the\n44 pit, his face purple with rage, and aimed a\n44 revolver at Othello. After he had been\n44 disarmed he explained that he had come\n44 to the theatre for the first time in his life,\n44 and was possessed of too chivalrous a\n44 spirit to see a woman murdered before his\n44 eyes."}, {"page_pdf": 23, "page_imprimee": "183", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 5562, "texte": "The danger is not evident at first sight: it\nis none the less clearly inferred. The sudden\ndeath of a bad actor or two would be nothing\nto alarm us. On the oih?r hand, the slow\nbut deadly influence upon the audience which\nis exercised by the exhibition of deeds of\nviolence realistically represented is a very\ndecided danger. It is a danger just because\nit no longer terrifies us as it should do. We\nare no longer alive to or convinced of the\nhorror of it. If we were convinced we should\nrise from our seats and endeavour to prevent\nthe violence or revenge the victim.\nBut we do nothing so healthy. No, we sit\nstill and comfortable in our rather expensive\nstall or dress circle seat and enjoy the tragedy\nimmensely. There lies the danger.\n44 Well but, we are not children \"....44 Whoever\ntakes scenes of violence seriously? \"....44 Who\nwants to be convinced of the horror of such\nthings?\" These and numerous other quick\nand thoughtless retorts pour out of the\nmouths of the horror=lovers. &\n44 But we are not horror lovers \". Then you\nare worse. You are merely professed horror\nhaters bored to death by that which you\nprofess to detest. Or perhaps you are not\neven so serious as that. You sit in the stalls in\nfull view of the rest of the house, and as they\nsee you accepting the murders, seductions,\ntreacheries and all the other brutalities as a\nmatter of course they sit still and say nothing.\nSeldom is any member in the cheaper seats\ncarried away so far as to raise his revolver,\nor even to utter a shriek. Men and women\nalike follow the example set them by those\nwho sit in the better parts of the house: they\nrefuse to be moved by the spectacle, and they\nquiet their nerves by saying, 44 How well he's\npretending to do it!\"\nWhat? Does anyone protest against this view?\nDoes anyone hold that the audience is moved?\nWe say again that they are not moved. If they\nwere moved how could they keep their seats\nbefore such scenes? How prevent themselves\nfrom leaping upon the stage and destroying\nlago and saving Othello from the awful\ntragedy ? Moved ? indeed they are not moved.\nTheir nerves are tickled, no more,.... and that\nis the danger. & & & &\nDy the way, what a lovely man Mr Frank\nLea Short must bel He wants a play,\nand he advertises for it quite simply. As he\nis evidently a believer in advertisement there\nis no reason why we should not give him\none free of charge. Here is his style. The\nsize of the type used by him in the American\nJournal is too large to get into this column\nso a reduction must serve the purpose. Now\nfor it!\nATTENTION! AUTHORS 11\nI WANT A GOOD PLAY\nFOR PRODUCTION IN NEW YORK\nNo restrictions, providing the play is good.\nEvery manuscript submitted will be carefully\nread and considered. & &\nFRANK LEA SHORT, 133 West 45th Street,\nNew York. & jg?\n& No, but isn't it tremendous? Especially\nthe \"Attention! Authors!!\" And isn't it rather\ndashing to Messrs Pinero, Jones, Grundy,\nShaw and the others who, whatever else\nthey can't do, can write good plays,.... do\nwrite them; ...plays which Mr Short may, we\nsuppose, procure for production if he likes.\nBut to go about procuring a good Play in the\nwrong way,.... and such a wrong way, is\ndelicious. &\nthink Mr Baughan misunderstands Mr\nTree, and we are sure Mr Baughan\nmisunderstands Mr Craig. Writing of these\ntwo he says: jgr & &\n44 Possibly a good deal has been written on the\n44 aesthetics of stage scenery, but the\n44 productions of our stage recognise no\n44 aesthetic canons. On the one hand, we have\n44 the lavish magnificence of His Majesty's\n44 Theatre, which attempts to carry out what\n44 has been shabbily done for years, and is\n44 not a new thing; on the other, there are\n44 the experiments of Mr. Gordon Craig, whose\n44 obsession it is to produce schemes of colour\n44 and line which often dwarf the players in\n44 a quaint manner. Mr Gordon Craig views\n44 his stage as so much material for his designs,\n44 and I contend that is wrong, for the players\n44 are of the first importance. His experiments\n44 have this merit, however. They do not\n44 bring to our notice by emphasis that scenery\n44 at its best is but a flimsy make=believe.\n44 Tliatj I take it, should be the basis of any\n44 aesthetic consideration of the subject\".\nThis is warranted to give an entirely\nerroneous idea to the public; it is really\nguaranteed to do a great deal of mischief.\nWhat we want in a critic is that, at any rate,\nhe may be quite sure of his facts. How is\nMr Baughan sure that His Majesty's Theatre\nattempts to carry out with lavish magnificence\nwhat has been shabbily done for years! &\nHow does Mr Baughan know that Mr Craig's\naim is to produce schemes of color and line\nor that Mr Craig views his stage as so much\nmaterial for designs? Surely, if, as Pope says,\n44 The proper study of mankind is Man,\" then\nthe proper study of the critic should be the\nartist, and this is what Mr Baughan does not\nseem to have begun to do. &\nHis statement about Mr Craig is wrong from\nbeginning to end. <€*&&>&■\nWhy should this first=class critic be content\nto open his interesting Essay with a false\nstatement, when by making enquiries in the\nright quarters, he could have ascertained what\nMr Craig's views are, or what his aim is?\n& Mr Baughan is at perfect liberty to state,\nas he does a little further on, that the\nappearance of reality must be the first object\nof a dramatic representation, although most\nartists would disagree with him entirely on\nthis point; still, he is giving his opinion, and\nthat must interest us all. But when he\nmisstates the opinions of artists, he over»steps\nall <£? & & &"}, {"page_pdf": 24, "page_imprimee": "184", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 5181, "texte": "A critic should be more careful than to do\nsuch a thing, and we feel very decidedly that\na critic should confine himself to one of two\nthings: he should either write about the\ntheory of the art, or, he should write about\nthe theatre as it is to-day, accepting its\nvulgarities as things not to be avoided, and\ntaking a decided stand in favor of the modern\ntheatre as it is. But to be neither a theory\nstudent of the art nor to be a thorough\nstudent of the modern theatre puts a critic\nin an awkard position from which, in time,\nhe will not be able to extricate himself. &\nWe have heard it said that a critic is not often\nallowed to write all he would, and it is implied\nby this that his best is with=held from us. But,\nis not this a little bit of an excuse? What\nEditor ever refused a brilliant criticism ?\nwhat critic was ever rejected for taking up\na definite position ?\nWe should that Mr Baughan could, with great\nadvantage to himself, spend two years\nstudying Mr Tree's work at His Majesty's\nTheatre. He would then learn the difficulties\nwhich beset the modern theatre and he would\nthen perhaps understand, He would have\nto study it from the stage itself and not from\nthe front of the house. & &\nThere is less excuse for Mr Baughan making\nmistakes about Mr Craig's works, for if he\nlikes he can read what Mr Craig has written\nand whenever he chooses to do so; he will\nthen have no excuse for making further mis=\nstatements as to Mr. Craig's intention in\nhis art. & &\n\nSCHOLARSHIPS ON PROHIBITIVE\nTERMS. & & &\nOn the face of it seems as thought Mr Lee\nSchubert must have the interests of his\nprofession seriously at heart, for we learn that\n\" to stimulate interest in dramatic art among\nthe younger members of the profession\" he\nhas decided to establish two prizes which are\nto take the form of yearly scholarships at\nthe Theatre in Paris and will be\nawarded at the end of each season to \" the\nmost deserviug actor and actress in the\nSchubert Dramatic Company.\"\nThis seems quite an excellent proposal at first\nsight and highly to Mr Schubert's credit; but\nlet us reserve our judgment while we listen\nto the terms.\nFirst, \"the candidate must be between the\nages of twenty and thirty \"; that is to say,\ntalent before twenty cannot be recognised ;\ntalent after thirty must \"abandon hope \". But\nwhy \" between twenty and thirty \". Have not\ninnumerable artists evinced very remarkable\npowers before that date, or, developing more\ntardily, shown but a small proportion until\nafter it ? Rachel was famous at seventeen ;\nIrving was, we believe, past thirty before he\nattained distinction in his work.\nAgain, \"they must have a speaking role of\nsome importance, but no stars or players\nwho are * featured' will be admitted to the\ncompetition \". Thus we see that, having eli»\ninitiated a large number by his age limit,\nMr Schubert further narrows down the\npossible candidates by cutting out all who\nhave,... it is to be assumed by a marked\ndisplay of talent.... worked their way forward\nto the honourable position of 44 stars \". But\nof course, the reward of being 4 featured '\nshould be of itself sufficient without that\nadditional prize of a year in Paris at the\nTheatre &\nHaving thus clearly laid down the limits of\nthe class which may dare to aspire to his\nscholarships, Mr Schubert goes on to explain\nwhat will be required of those on whom the\nfinal choice shall fall. & &\nThey will be sent abroad for a whole year,\nand, besides studying at the Theatre\n44 they will he expected to gain a knowledge\nof the drama in such centres as London,\nBerlin and Vienna ». The italics are ours.\nThe threat contained in this paragraph is\nterrible. How on earth is a poor devil of a\nyoung actor of twenty or thirty to gain this\nknowledge in these cities ? He is far more\nlikely to gain it in the Plains of America or\nin the forests of Africa; in fact, our opinion\nis that he will gain it anywhere more easily\nthan in London, Berlin or Vienna where\nliberty of thought is not permitted to the\nyoung artist.\nMr Schubert may 44 expect \" him to gain this\nknowledge, but as to realisation of his\nexpectations we have the gravest doubts. &\nThen in his last condition Mr Schubert shows\na prudence and caution worthy of the\nbusiness manager.\nFearing lest, while his chosen scholars are\nseeking a knowledge of the drama in foreign\ncountries, the directors of the drama in those\ncountries should have too appreciative an eye\nto their budding genius, he insists that the\nwinners shall44 sign a five years contract with\nthe Schuberts before leaving\nOh, wise Mr Schubert: The bunch of carrots\nwhich you dangle will attract, we believe,\njust that race to which carrots are proverbially\nmost attractive, for the wise men and the\nartists know better than to accept carrots,...\nor scholarships ....on prohibitive terms. &\n\nTHE MASK A- THE ARCHITECT\nWe wish to take this opportunity of publicly\nacknowledging the great kindness and\ncourtesy of the Publishers of The Architect,\nin allowing us to reprint the series of\ninteresting and valuable articles on the\nScenery and Costume of Shakespeare's Plays\nby the late Mr E. W. Godwin, of which series\nthey hold the copyright. From The Mask\nto The Architect, very many thanks! &"}]}, {"article_id": "bm-bmtnaau-1908-11-01-c027", "article_bluemountain": "bmtnaau_1908-11_01#c027", "volume": "bmtnaau_1908-11_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "182", "page_fin": "184", "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=bmtnaau190811-01.2.10.2", "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": 22, "page_imprimee": "182", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.22", "debut_caractere": 4283, "fin_caractere_exclue": 4903, "texte": "Js Realism illegal? Should it, when carried\nso far as violence, be prevented by law?\nCertainly, by all the laws of taste.\nOnly the other day the Realism of the stage\nproved again its dangerous power. It is\nreported that. 44 While Desdemona was being\n44 strangled during a performance of44 Othello \"\n44 at a theatre in Luebeck, a man rose in the\n44 pit, his face purple with rage, and aimed a\n44 revolver at Othello. After he had been\n44 disarmed he explained that he had come\n44 to the theatre for the first time in his life,\n44 and was possessed of too chivalrous a\n44 spirit to see a woman murdered before his\n44 eyes."}, {"page_pdf": 23, "page_imprimee": "183", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 5562, "texte": "The danger is not evident at first sight: it\nis none the less clearly inferred. The sudden\ndeath of a bad actor or two would be nothing\nto alarm us. On the oih?r hand, the slow\nbut deadly influence upon the audience which\nis exercised by the exhibition of deeds of\nviolence realistically represented is a very\ndecided danger. It is a danger just because\nit no longer terrifies us as it should do. We\nare no longer alive to or convinced of the\nhorror of it. If we were convinced we should\nrise from our seats and endeavour to prevent\nthe violence or revenge the victim.\nBut we do nothing so healthy. No, we sit\nstill and comfortable in our rather expensive\nstall or dress circle seat and enjoy the tragedy\nimmensely. There lies the danger.\n44 Well but, we are not children \"....44 Whoever\ntakes scenes of violence seriously? \"....44 Who\nwants to be convinced of the horror of such\nthings?\" These and numerous other quick\nand thoughtless retorts pour out of the\nmouths of the horror=lovers. &\n44 But we are not horror lovers \". Then you\nare worse. You are merely professed horror\nhaters bored to death by that which you\nprofess to detest. Or perhaps you are not\neven so serious as that. You sit in the stalls in\nfull view of the rest of the house, and as they\nsee you accepting the murders, seductions,\ntreacheries and all the other brutalities as a\nmatter of course they sit still and say nothing.\nSeldom is any member in the cheaper seats\ncarried away so far as to raise his revolver,\nor even to utter a shriek. Men and women\nalike follow the example set them by those\nwho sit in the better parts of the house: they\nrefuse to be moved by the spectacle, and they\nquiet their nerves by saying, 44 How well he's\npretending to do it!\"\nWhat? Does anyone protest against this view?\nDoes anyone hold that the audience is moved?\nWe say again that they are not moved. If they\nwere moved how could they keep their seats\nbefore such scenes? How prevent themselves\nfrom leaping upon the stage and destroying\nlago and saving Othello from the awful\ntragedy ? Moved ? indeed they are not moved.\nTheir nerves are tickled, no more,.... and that\nis the danger. & & & &\nDy the way, what a lovely man Mr Frank\nLea Short must bel He wants a play,\nand he advertises for it quite simply. As he\nis evidently a believer in advertisement there\nis no reason why we should not give him\none free of charge. Here is his style. The\nsize of the type used by him in the American\nJournal is too large to get into this column\nso a reduction must serve the purpose. Now\nfor it!\nATTENTION! AUTHORS 11\nI WANT A GOOD PLAY\nFOR PRODUCTION IN NEW YORK\nNo restrictions, providing the play is good.\nEvery manuscript submitted will be carefully\nread and considered. & &\nFRANK LEA SHORT, 133 West 45th Street,\nNew York. & jg?\n& No, but isn't it tremendous? Especially\nthe \"Attention! Authors!!\" And isn't it rather\ndashing to Messrs Pinero, Jones, Grundy,\nShaw and the others who, whatever else\nthey can't do, can write good plays,.... do\nwrite them; ...plays which Mr Short may, we\nsuppose, procure for production if he likes.\nBut to go about procuring a good Play in the\nwrong way,.... and such a wrong way, is\ndelicious. &\nthink Mr Baughan misunderstands Mr\nTree, and we are sure Mr Baughan\nmisunderstands Mr Craig. Writing of these\ntwo he says: jgr & &\n44 Possibly a good deal has been written on the\n44 aesthetics of stage scenery, but the\n44 productions of our stage recognise no\n44 aesthetic canons. On the one hand, we have\n44 the lavish magnificence of His Majesty's\n44 Theatre, which attempts to carry out what\n44 has been shabbily done for years, and is\n44 not a new thing; on the other, there are\n44 the experiments of Mr. Gordon Craig, whose\n44 obsession it is to produce schemes of colour\n44 and line which often dwarf the players in\n44 a quaint manner. Mr Gordon Craig views\n44 his stage as so much material for his designs,\n44 and I contend that is wrong, for the players\n44 are of the first importance. His experiments\n44 have this merit, however. They do not\n44 bring to our notice by emphasis that scenery\n44 at its best is but a flimsy make=believe.\n44 Tliatj I take it, should be the basis of any\n44 aesthetic consideration of the subject\".\nThis is warranted to give an entirely\nerroneous idea to the public; it is really\nguaranteed to do a great deal of mischief.\nWhat we want in a critic is that, at any rate,\nhe may be quite sure of his facts. How is\nMr Baughan sure that His Majesty's Theatre\nattempts to carry out with lavish magnificence\nwhat has been shabbily done for years! &\nHow does Mr Baughan know that Mr Craig's\naim is to produce schemes of color and line\nor that Mr Craig views his stage as so much\nmaterial for designs? Surely, if, as Pope says,\n44 The proper study of mankind is Man,\" then\nthe proper study of the critic should be the\nartist, and this is what Mr Baughan does not\nseem to have begun to do. &\nHis statement about Mr Craig is wrong from\nbeginning to end. <€*&&>&■\nWhy should this first=class critic be content\nto open his interesting Essay with a false\nstatement, when by making enquiries in the\nright quarters, he could have ascertained what\nMr Craig's views are, or what his aim is?\n& Mr Baughan is at perfect liberty to state,\nas he does a little further on, that the\nappearance of reality must be the first object\nof a dramatic representation, although most\nartists would disagree with him entirely on\nthis point; still, he is giving his opinion, and\nthat must interest us all. But when he\nmisstates the opinions of artists, he over»steps\nall <£? & & &"}, {"page_pdf": 24, "page_imprimee": "184", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 1469, "texte": "A critic should be more careful than to do\nsuch a thing, and we feel very decidedly that\na critic should confine himself to one of two\nthings: he should either write about the\ntheory of the art, or, he should write about\nthe theatre as it is to-day, accepting its\nvulgarities as things not to be avoided, and\ntaking a decided stand in favor of the modern\ntheatre as it is. But to be neither a theory\nstudent of the art nor to be a thorough\nstudent of the modern theatre puts a critic\nin an awkard position from which, in time,\nhe will not be able to extricate himself. &\nWe have heard it said that a critic is not often\nallowed to write all he would, and it is implied\nby this that his best is with=held from us. But,\nis not this a little bit of an excuse? What\nEditor ever refused a brilliant criticism ?\nwhat critic was ever rejected for taking up\na definite position ?\nWe should that Mr Baughan could, with great\nadvantage to himself, spend two years\nstudying Mr Tree's work at His Majesty's\nTheatre. He would then learn the difficulties\nwhich beset the modern theatre and he would\nthen perhaps understand, He would have\nto study it from the stage itself and not from\nthe front of the house. & &\nThere is less excuse for Mr Baughan making\nmistakes about Mr Craig's works, for if he\nlikes he can read what Mr Craig has written\nand whenever he chooses to do so; he will\nthen have no excuse for making further mis=\nstatements as to Mr. Craig's intention in\nhis art. & &"}]}, {"article_id": "bm-bmtnaau-1908-11-01-c028", "article_bluemountain": "bmtnaau_1908-11_01#c028", "volume": "bmtnaau_1908-11_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "184", "page_fin": "184", "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=bmtnaau190811-01.2.10.3", "titre_corps": "SCHOLARSHIPS ON PROHIBITIVE TERMS", "titre_sommaire": "SCHOLARSHIPS ON PROHIBITIVE TERMS", "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": "184", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.24", "debut_caractere": 1471, "fin_caractere_exclue": 4781, "texte": "SCHOLARSHIPS ON PROHIBITIVE\nTERMS. & & &\nOn the face of it seems as thought Mr Lee\nSchubert must have the interests of his\nprofession seriously at heart, for we learn that\n\" to stimulate interest in dramatic art among\nthe younger members of the profession\" he\nhas decided to establish two prizes which are\nto take the form of yearly scholarships at\nthe Theatre in Paris and will be\nawarded at the end of each season to \" the\nmost deserviug actor and actress in the\nSchubert Dramatic Company.\"\nThis seems quite an excellent proposal at first\nsight and highly to Mr Schubert's credit; but\nlet us reserve our judgment while we listen\nto the terms.\nFirst, \"the candidate must be between the\nages of twenty and thirty \"; that is to say,\ntalent before twenty cannot be recognised ;\ntalent after thirty must \"abandon hope \". But\nwhy \" between twenty and thirty \". Have not\ninnumerable artists evinced very remarkable\npowers before that date, or, developing more\ntardily, shown but a small proportion until\nafter it ? Rachel was famous at seventeen ;\nIrving was, we believe, past thirty before he\nattained distinction in his work.\nAgain, \"they must have a speaking role of\nsome importance, but no stars or players\nwho are * featured' will be admitted to the\ncompetition \". Thus we see that, having eli»\ninitiated a large number by his age limit,\nMr Schubert further narrows down the\npossible candidates by cutting out all who\nhave,... it is to be assumed by a marked\ndisplay of talent.... worked their way forward\nto the honourable position of 44 stars \". But\nof course, the reward of being 4 featured '\nshould be of itself sufficient without that\nadditional prize of a year in Paris at the\nTheatre &\nHaving thus clearly laid down the limits of\nthe class which may dare to aspire to his\nscholarships, Mr Schubert goes on to explain\nwhat will be required of those on whom the\nfinal choice shall fall. & &\nThey will be sent abroad for a whole year,\nand, besides studying at the Theatre\n44 they will he expected to gain a knowledge\nof the drama in such centres as London,\nBerlin and Vienna ». The italics are ours.\nThe threat contained in this paragraph is\nterrible. How on earth is a poor devil of a\nyoung actor of twenty or thirty to gain this\nknowledge in these cities ? He is far more\nlikely to gain it in the Plains of America or\nin the forests of Africa; in fact, our opinion\nis that he will gain it anywhere more easily\nthan in London, Berlin or Vienna where\nliberty of thought is not permitted to the\nyoung artist.\nMr Schubert may 44 expect \" him to gain this\nknowledge, but as to realisation of his\nexpectations we have the gravest doubts. &\nThen in his last condition Mr Schubert shows\na prudence and caution worthy of the\nbusiness manager.\nFearing lest, while his chosen scholars are\nseeking a knowledge of the drama in foreign\ncountries, the directors of the drama in those\ncountries should have too appreciative an eye\nto their budding genius, he insists that the\nwinners shall44 sign a five years contract with\nthe Schuberts before leaving\nOh, wise Mr Schubert: The bunch of carrots\nwhich you dangle will attract, we believe,\njust that race to which carrots are proverbially\nmost attractive, for the wise men and the\nartists know better than to accept carrots,...\nor scholarships ....on prohibitive terms. &"}]}, {"article_id": "bm-bmtnaau-1908-11-01-c029", "article_bluemountain": "bmtnaau_1908-11_01#c029", "volume": "bmtnaau_1908-11_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "184", "page_fin": "184", "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=bmtnaau190811-01.2.10.4", "titre_corps": "THE MASK & THE ARCHITECT", "titre_sommaire": "THE MASK & THE ARCHITECT", "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": "184", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.24", "debut_caractere": 4783, "fin_caractere_exclue": 5181, "texte": "THE MASK A- THE ARCHITECT\nWe wish to take this opportunity of publicly\nacknowledging the great kindness and\ncourtesy of the Publishers of The Architect,\nin allowing us to reprint the series of\ninteresting and valuable articles on the\nScenery and Costume of Shakespeare's Plays\nby the late Mr E. W. Godwin, of which series\nthey hold the copyright. From The Mask\nto The Architect, very many thanks! &"}]}, {"article_id": "bm-bmtnaau-1908-11-01-c031", "article_bluemountain": "bmtnaau_1908-11_01#c031", "volume": "bmtnaau_1908-11_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=bmtnaau190811-01.2.11", "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=bmtnaau190811-01.1.2", "debut_caractere": 742, "fin_caractere_exclue": 915, "texte": "ay§^\nSlORD\n!\n%\nBID\nOCH\n4\nat\nThe principal Artistic and Literary\npublication of Scandinavia.\nYearly subscription Francs: 30\nWahlstrom & Widstrand, Stockholm\nPublished Monthly"}]}, {"article_id": "bm-bmtnaau-1908-11-01-c032", "article_bluemountain": "bmtnaau_1908-11_01#c032", "volume": "bmtnaau_1908-11_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=bmtnaau190811-01.2.12", "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=bmtnaau190811-01.1.2", "debut_caractere": 917, "fin_caractere_exclue": 1386, "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 &nd 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-1908-11-01-c033", "article_bluemountain": "bmtnaau_1908-11_01#c033", "volume": "bmtnaau_1908-11_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=bmtnaau190811-01.2.13", "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=bmtnaau190811-01.1.2", "debut_caractere": 1388, "fin_caractere_exclue": 1939, "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 Header. & & &\nSpecimen copy sent free to any part of the world\n& Agents for Subscriptions in England: &\n& The International News Company. &\nAddress:\nTHE BOOR NEWS MONTHLY,\nPhiladelphia, Pa., U. S. A."}]}, {"article_id": "bm-bmtnaau-1908-11-01-c034", "article_bluemountain": "bmtnaau_1908-11_01#c034", "volume": "bmtnaau_1908-11_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=bmtnaau190811-01.2.14", "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=bmtnaau190811-01.1.2", "debut_caractere": 1941, "fin_caractere_exclue": 3505, "texte": ">2? THE MOSHER BOOKS\nJS> JS> J& MDCCCXCI-MCMVIII\nFor a dozen years the most artistic volumes at their price that have been issued in America\nhave been published, not from New York or Boston, nor even in Philadelphia or Chicago\nbut it Portland, Maine. In that little city Thomas B. Mosher has been printing, without\nflourish of trumpets or wide advertising, volume after volume which in artistic excellence\nare not excelled by the issues of any publishing house in the world. Then, too, Mosher has\nreprinted only the gems of literature that have been declared of the first water; gems that\nare, beyond objection, jewels of the world's treasury of brilliant writing. We may also\nassert that the question of gain has been secondary in Mosher's calculations. He has put\nout very small editions, and he has made them so beautiful in all that concerns their make-\nup that it is doubtful if he has ever gauged the expenditure by the possible profit. Never-\ntheless, he must have done so, but in doing so he excites our admiration.\nGUY CARLETON LEE in Baltimore Sun for Dec. 18, 1907.^\nMy new Catalogue — a remarkable piece of book-work in itself — explains this unusual\ncompliment, and is sent free 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 & verse not found in every cut and-\ndecidedly-dried anthology.\nTHOMAS B. MOSHER PORTLAND. MAINE U. S. A."}]}, {"article_id": "bm-bmtnaau-1908-11-01-c035", "article_bluemountain": "bmtnaau_1908-11_01#c035", "volume": "bmtnaau_1908-11_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "185", "page_fin": "185", "image_debut": 25, "image_fin": 25, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.2.15", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "185", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.25", "debut_caractere": 1518, "fin_caractere_exclue": 1521, "texte": "Baa"}]}, {"article_id": "bm-bmtnaau-1908-11-01-c036", "article_bluemountain": "bmtnaau_1908-11_01#c036", "volume": "bmtnaau_1908-11_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "186", "page_fin": "186", "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=bmtnaau190811-01.2.16", "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": "186", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.26", "debut_caractere": 0, "fin_caractere_exclue": 1414, "texte": "THE WOOD ENGRAVERS of San LEONARDO\nEX L1BRIS Are y\nIf you are you will desire that which can add to the beauty\n& completeness of your Books, & cannot do without A BOOK\nPLATE. In design your Book Plate must be grave yet charming, for its\nduty is to act as watchman at the doors of all books, whether religious or profane.\nIf you would possess such a Book Plate, simple, charming and distinguished, write\nto the Wood Engravers of San Leonardo, directing your lettei to them at the\nARENA GOLDON1 — VIA DEI SERRAGLI — FLORENCE (ITALY) and\nyou will receive all the information you desire. & jg/\nPUBLISHERS MARKS, LETTER PAPER HEADINGS, THEATRE PROGRAMMES AND\nSOUVENIRS; EXHIBITION CATALOGUES, CHRISTMAS AND NEW YEAR CARDS DESIGNED\nAND PRINTED BY US.\namxrajBeesraaaaLSgai\nWe do not make any attempt to compete with the cheap, popular and hastily made\ndesigns which may be obtained by the crowd: our designs are engraved by hand\non picked box=wood, and printed on our hand=press on specially selected papers obtained\nfrom Holland and England. From the first design to the last print the work is\nexecuted and supervised by artists, and therefore art=lovers may be confident that,\nin sending their commissions to us, they are ensuring a work which shall\nbe as careful in its execution as beautiful and distinguished in its design.\nTHE WOOD ENGRAVERS OF SAN LEONARDO. & &\nARENA GOLDONI - VIA DEI SERRAGEI - FLORENCE - ITALY."}]}, {"article_id": "bm-bmtnaau-1908-11-01-c037", "article_bluemountain": "bmtnaau_1908-11_01#c037", "volume": "bmtnaau_1908-11_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "186", "page_fin": "186", "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=bmtnaau190811-01.2.17", "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": "186", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.26", "debut_caractere": 1416, "fin_caractere_exclue": 2859, "texte": "A PORTFOLIO OF ETCHINGS. &\n& By 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 x 15 2/3 ctms. The price for a portfolio will be L. 16 . o . o, (400 Francs or 320 Marks),\nnphese etchings were made by the artist in the Spring of 1907 at Florence, and represent\nhis most serious work. Connected as they are with his dream of an Ideal Theatre, they\nin no way have anything in common with the modern stage.\n\" Movement\", writes Mr Craig, \" was at the roots of the Ancient Theatre and will ever\n\" remain the very Essence of the Art. &\n\" We must translate Movement through the medium of inanimate forms and thereby produce\n\"once more an Impersonal Art which, shall take its place by the side of its two sister\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-1908-11-01-c038", "article_bluemountain": "bmtnaau_1908-11_01#c038", "volume": "bmtnaau_1908-11_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "187", "page_fin": "187", "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=bmtnaau190811-01.2.18", "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": 27, "page_imprimee": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 505, "texte": "LIBRAIRIE ANCIENNE\nT. DE MARINIS & Co. 5 Via Vecchietti - FIRENZE\n2E3\nIS\ncswBcr\nVaihu\nuwi\nnnr\nvn\nit\nm\n5JL\nas\n\\\\u\n• *«\ni\nIV\n-V- ••'\n111\n•••\n• •\n-a\n••« $»\n•in\nI Ml\nIII\n01\nIt*\nMl\nu\n/£\nNC\n1\nJLIU!\nMil\nMil\n00\n'»»\nIII!\nt\n0 0\nin*\nM\n£INJ\niTol\nm\naan\n111\nin\nit\nli\nIIMI\nji: 1100 ll\n■ e\n• I\nIS t f\n111'i\n1*\nOf\n310\n<u\nlllll\na.\nin\n£\n••••*\nu\nnil*\n\"■'■li ny\nfit\nWu\nOca\ntvlt\nrvXTLTTU\nOO\n»t\nKM\n• ii ••\nrtruv\nFine Collection of MSS,, Incunabula, rate and curious books XV-XIX cent.\nIllustrated Catalogues free on application."}]}, {"article_id": "bm-bmtnaau-1908-11-01-c039", "article_bluemountain": "bmtnaau_1908-11_01#c039", "volume": "bmtnaau_1908-11_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "187", "page_fin": "187", "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=bmtnaau190811-01.2.19", "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": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.27", "debut_caractere": 507, "fin_caractere_exclue": 868, "texte": "ALMANACK FOR\nARCHITECTURE\na\nGlSlG1t51151GlEI01EaBl.SliasU51E113EIE113\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. 33\n* BOOKS ANCIENT AND MODERN *"}]}, {"article_id": "bm-bmtnaau-1908-11-01-c040", "article_bluemountain": "bmtnaau_1908-11_01#c040", "volume": "bmtnaau_1908-11_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "187", "page_fin": "187", "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=bmtnaau190811-01.2.20", "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": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.27", "debut_caractere": 870, "fin_caractere_exclue": 1129, "texte": "NEW YORK DRAMATIC\nMIRROR\nThe oldest and most reliable American\ntheatrical paper, published every week\nat 121 West 42nd Street. New York, U.S.A.\n& Sample, copies on request free of\ncharge. Foreign subscriptions 5.50 Dollars\none year; 1.70 Dollars three months."}]}, {"article_id": "bm-bmtnaau-1908-11-01-c041", "article_bluemountain": "bmtnaau_1908-11_01#c041", "volume": "bmtnaau_1908-11_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "187", "page_fin": "187", "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=bmtnaau190811-01.2.21", "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": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.27", "debut_caractere": 1131, "fin_caractere_exclue": 1669, "texte": "EDITION DE LUXE.\nSPECIAL NOTICE TOBOOKLOVERS\n15 copies of \" The Mask \" will be printed\nMonthly upon a yellow hand®made deckle-\nedged paper identical in appearance and\ntexture with that made in the same district\nof Fabriano in the year 1315. This edition\nwill contain Etchings and other prints\nsigned by the artist, which will not be\nincluded in the popular edition. &\nYearly subscription: England, L. 3.5.0 Post Free\n„ ,, „ Germany, Marks 67,00 „ ,,\n„ ,, ,, America Dollars 16.00 „ ,,\nh »* »» Italy Lire 82.00 ,,\n„ Russia Roubles 3000 „ „"}]}, {"article_id": "bm-bmtnaau-1908-11-01-c042", "article_bluemountain": "bmtnaau_1908-11_01#c042", "volume": "bmtnaau_1908-11_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "188", "page_fin": "188", "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=bmtnaau190811-01.2.22", "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": 28, "page_imprimee": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.28", "debut_caractere": 146, "fin_caractere_exclue": 565, "texte": "ANTONIO FRILLI\nPURVEYOR TO io\nIMPERIAL & ROYAL\nFAMILIES £>\nThe largest Establishment of Sculpture in\nMarble Reproductions from the Antique\n& Original Works. Portraits. Monuments,\nMantels, Pedestals, & Garden Seats,\nVases Fountains Flower-stands, etc:\nESTIMATES GIVEN ON APPLICATION\nST LOUIS MO.\nGRAND PRIX\n19 04\nFLORENCE\nVia. dei Fossi 4 &\n£> (ESTABLISHED i860)\nAWARDED PRIZES\nAT 48 NATIONAL &\nINTERNATIONAL\nEXHIBITIONS"}]}, {"article_id": "bm-bmtnaau-1908-11-01-c043", "article_bluemountain": "bmtnaau_1908-11_01#c043", "volume": "bmtnaau_1908-11_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "188", "page_fin": "188", "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=bmtnaau190811-01.2.23", "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": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.28", "debut_caractere": 567, "fin_caractere_exclue": 819, "texte": "DINI & CELLAI\nArtistic & Decorative Terra Cotta of\nSigna\nVia dei JFossi N. I - FLORENCE\n♦\nJRepPoduetion of sculptures of Old and\nJWodefn masters « Statues - Busts «\nVases M Bas-reliefs - Fountains - Doors\nChimney-pieees - Bases etc. etc. in\nevery style"}]}, {"article_id": "bm-bmtnaau-1908-11-01-c044", "article_bluemountain": "bmtnaau_1908-11_01#c044", "volume": "bmtnaau_1908-11_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "188", "page_fin": "188", "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=bmtnaau190811-01.2.24", "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": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.28", "debut_caractere": 821, "fin_caractere_exclue": 1240, "texte": "G. P. VIEUSSEUX\nFLORENCE £? VIA VECCHIETTI, 5 £>\nReading rooms, containing the best English\nnewspapers and reviews.-Latesttelegrams\n— Open daily 8 a.m. to 10 p.m. Sundays 8\na.m. to 12 p.m. Subscription 35.00 a year.\nCiicnlating 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."}]}, {"article_id": "bm-bmtnaau-1908-11-01-c045", "article_bluemountain": "bmtnaau_1908-11_01#c045", "volume": "bmtnaau_1908-11_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "188", "page_fin": "188", "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=bmtnaau190811-01.2.25", "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": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.28", "debut_caractere": 1242, "fin_caractere_exclue": 1494, "texte": "I .\njlppj\nf A\nU\ne temoin.\nLE PLUS BEAU JOURNAL SAT1RIQUE\nLE PLUS VIVANT, LE PLUS\nACTUEL, LE PLUS QAI, LE PLUS\nARTISTIQUE. & & j0\nj£f\nABONNEMENT, 1 AN, FRS 7.00 &\nSPECIMEN No. QRATUIT SUR DEMANDE\nADMINISTRATION, PARIS, 18 - RUE\nHEQESIPPE-MOREAU, No. JSf"}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.1", "texte": "K S Miss Ellen Terry\n& Madam Yvette Guilbert\nVol. I. N.° 9. NOVEMBER 1008\nTHE MASK\nA MONTHLY JOURNAL OF THE\nART OF THE THEATRE\nEUROPEAN & AMERICAN AGENTS.\nL O N DON. O. J. RIDER 36 St Martin's Court. Charing Cross Road. W. C. £? £/\nBERLIN. SOEE GERMAN AGENT - SCHUSTER & BUFEEB. Nollendorfstiasse 3X. w.\nAMSTERDAM, KIRBERQER & KESPER. 134 Roktn.\nBUDAPEST. NAG EE OTTO Museum-Kornt, a £f jp & J& &\nM O S C O U. \"LA BALANCE \" Office, Place du Theatre £> £>\nPHILADELPHIA. U. S. A. « THE BUTTERFLY \" Office. ua6 Walnut Street. 0\nFLORENCE. «, BOBGO s. JACOPO & & & & & &\nPRICE ONE SHILLING NET, MONTHLY\n44 The most beautyful Magazine published \"\n£> NEW AGE &"}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.2", "texte": "I NEW ADDRESS.I\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 AZ,Z, COMMUNICATIONS should be addressed to the Advertising\nOffice, BORGO SAN JACOPO. *\nAll Subscribers, Contributors and Agents are asked to make a note of this.\nTHE MASK, 8, BORGO SAN JACOPO, FLORENCE\nwmtimmmmmKmrnmemmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmammmmmmmmmmmmmmmmmmumm■ minmml ■„ juanin. .mm nwuimiwu. mmtmmmmnmmmmmmmmmmmmmmmmmBmKimmmoKt\n& FOR ADVERTISEMENTS ADDRESS TO \" THE MASK \" ADVERTISING OFFICE : S BORGO S. JACOPO\n& & FLORENCE &IT A L Y OR TO THE LONDON,, GERMAN, OR OTHER AGENTS & &\n\nay§^\nSlORD\n!\n%\nBID\nOCH\n4\nat\nThe principal Artistic and Literary\npublication of Scandinavia.\nYearly subscription Francs: 30\nWahlstrom & Widstrand, Stockholm\nPublished Monthly\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 &nd 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 Header. & & &\nSpecimen copy sent free to any part of the world\n& Agents for Subscriptions in England: &\n& The International News Company. &\nAddress:\nTHE BOOR NEWS MONTHLY,\nPhiladelphia, Pa., U. S. A.\n\n>2? THE MOSHER BOOKS\nJS> JS> J& MDCCCXCI-MCMVIII\nFor a dozen years the most artistic volumes at their price that have been issued in America\nhave been published, not from New York or Boston, nor even in Philadelphia or Chicago\nbut it Portland, Maine. In that little city Thomas B. Mosher has been printing, without\nflourish of trumpets or wide advertising, volume after volume which in artistic excellence\nare not excelled by the issues of any publishing house in the world. Then, too, Mosher has\nreprinted only the gems of literature that have been declared of the first water; gems that\nare, beyond objection, jewels of the world's treasury of brilliant writing. We may also\nassert that the question of gain has been secondary in Mosher's calculations. He has put\nout very small editions, and he has made them so beautiful in all that concerns their make-\nup that it is doubtful if he has ever gauged the expenditure by the possible profit. Never-\ntheless, he must have done so, but in doing so he excites our admiration.\nGUY CARLETON LEE in Baltimore Sun for Dec. 18, 1907.^\nMy new Catalogue — a remarkable piece of book-work in itself — explains this unusual\ncompliment, and is sent free 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 & verse not found in every cut and-\ndecidedly-dried anthology.\nTHOMAS B. MOSHER PORTLAND. MAINE U. S. A."}, {"page_pdf": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.3", "texte": "SOME OPINIONS\nABOUT THE MASK,\nITS APPEARANCE, ITS\nARTICLES AND ITS AIMS.\n<& SATURDAY REVIEW. \"A new journal printed\nin a very original way, with woodcuts,.... and articles,...\non all topics connected with the theatre. Such a journal,\nif it could receive sufficient support, would have a\ndistinct value of its own.\nPAEE MAEE GAZETTE. \" A new theatrical journal called The Mask,,., seems\nworthy of a really hearty welcome. There is not a page in it which is not interesting\nand stimulating in a fine way, and many are both \". &\nThe same journal, referring to The Mask\\s championship of the Censor says, \" a\nwriter who takes his side strongly deserves gratitude, whatever his view may be; for\nit is only by Sincerity and Courage that the cause of Art can be usefully served.\"\nWESTMINSTER GAZETTE• \" 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 \" interesting\nmagazine is likely to have a great effect upon the drama of the future. There is no\ntrace of somnolence in The Mask. &?&&<&&&&?\n•\n& MORNING POST. •« Among the least expected editorial sallies are a protest\nagainst the stage treatment of religious subjects,... \" Salome \" is not forgotten....\nand the assertion \" the censor is not only a blessing, he is a necessity.\" &\nTHE SPHERE- The Mask has now reached its fifth number. In the first place\nthe format is most engaging. It is a nice folio.... printed in a thick black type 011\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 ideas. \" <£>\n& EIVERPOOI/ COURIER. \" The Mask is a new \" 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 \" 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.\"\n\"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. JSO? JS&\nMr HAI/DANE MACFAEE in THE DAIEY GRAPHIC. \" For one among us who\ninterested in the art of painting a dozen are beckoned to the Theatre; yet, oddly\nenough, 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"}, {"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.4", "texte": "its 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.\" &\nTHE 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. & &\nOXFORD 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. \" & &\nTHE SUNDAY CALL, EASTON Pa. U. S. A. \"Here is tbe finest magazine of\nits kind in the world.... 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.\" &\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 Tipografia Bodoniana of E. Morandi of Florence. It is a bold folio\npage,.... the print 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\ntha 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 &\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 e\\ ery 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 artists.\" JZ?\n& THE NEW AGE. \" The Mask is the most beautiful magazine published. \" &\nWHAT'S ON. \" The Mask, devoted to the art of the sordid mass of montly literature\nalready in circulation. \" &\nMICHAEL MONOHAN, (The Papyrus. East Orange, New Jersey U. S. A.J\nwrites, \" The Mask is brave, brilliant and inspiring.\" & & & &\nMr MARTIN HARVEY writes, \"Your most delightful and significant journal.\"\nMiss ELLEN TERRY writes. \" What a splendid number of The Mask this\nlast is! \"\n& Mr EDWARD HUTTON writes. \" I think The Mask improves every time you\nsend it to me\". jg? & & & & &"}, {"page_pdf": 6, "page_imprimee": "[166]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.6", "texte": "A DESIGN FOR A STAGE SCENE by JULIUS OLIVER"}, {"page_pdf": 7, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.7", "texte": "THE JOURNAL\n\nCONTENTS\n& AFTER THE PRACTISE THE THEORY&\n& CHARACTER AND THE ACTOR by J. MARTIN HARVEY. THE BERLIN\nTHEATRE by JOHN BALANCE. J0 THE OPINIONS ON THE SUBJECT OF \" REALISM\nAND THE ACTOR OF ELLEN TERRY, YVETTE QUILBERT AND FELIX DUQUESNEL. uS?\nBOOK REVIEWS. £> FOREIGN NOTES. EDITORIAL NOTES. & ENGRAVINGS by JULIUS\nOLIVER, GORDON CRAIG, CHARLES BORROW AND OTHERS.\n\nCHARACTER AND THE ACTOR\nby J. Martin Harvey.\nam reminded at this moment of an account which was\nrecently given to me of a young Irish poet who was called\nupon to deliver a lecture upon the Drama. He was given,\nunfortunately for him, three months in which to prepare\nit. Had it been three days, a brilliant and illuminating\nimpression would almost surely have been the result. But\nwith the larger leisure of many weeks he was able to toil\nto Sieights from which the prospect of his subject could be\nscanned back to the beginning of tragedy in the Thespian\ncart of the Attic poet, six hundred years before the Christian\nera. From this remote period he traced its slow development,\ntill after three solid hours the lecturer sat down with the\napology that he had barely reached his subject. Our poet might have taken warning by the\nprolixity of Polonius, who, to prove Hamlet was mad, went back to the consideration of why\n44 day was day, \" 44 night night,\" and 44 time was time,\" till he was bidden to proceed with 44\nmore matter and less art.\" For, after all, time is time, and it seems to me that if 1 am to\nrelease you at all to-day 1 must keep before me this fundamental truth and simplify my\naddress.\n& At the outset, however, I would pray for indulgence, for never was a task undertaken\nwith greater alacrity or the more heartily repented of at leisure. The consideration of\n44 Character and the Actor\" is as fascinating as the width of the subject is appalling.\nPondering upon the matter I become aware that the consideration embraces 44 Character\nand Art,\" and on that road where is one to stop?\n& And yet, that I may present my reflections in order, I must first consider the nature of\nthe art of acting. I take it for granted that acting is an art. I know this has been disputed;\nnever, I think, by a great thinker or of a great actor. I know of no definition of art which\nis not essentially the definition of great acting. It would be as useless to deny that in much\nacting there is little art, as there is little art in much painting and sculpture. &\n& Some have been found, it is true, to speak of the art of acting as a sham—Mr. Augustine\nBirrell, for instance. Well, the words 44 sham \\ and 44 imitation \" are synonymous, and Mr.\nBirrell, in his essay on Actors, in choosing the word 44 sham \" is doing so purposely to belittle\nan art, in describing which Shakespeare has, with profound sympathy and understanding,\nchosen the word 44 imitation.\" And I will venture to say that in no way is the character\nof a man more surely indicated than by his choice of words. All art is imitation—a\nA lecture delivered before the etbological Society, 3rd January 1908.\n\nThe da u get\nof prolixity,\nThe Subject."}, {"page_pdf": 8, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.8", "texte": "CHARACTER\nAND THE ACTOR\n\nrepresentation of nature, or, if Mr. Birrell still prefers the expression, all art is a sham.\nWhat has the great French sculptor, Rodin, said? & & &\n& \" People tell me I create, that is not true. God alone creates, man but reveals. My one\n\" effort is to * represent' what I find in God's creation—above all in the form of man, which\n\" is the highest, most perfect of architectural constructions.\"\n& If Rodin thinks thus highly of the representations of man's body, what does he think,\nI wonder, of the representations of man's soul, the province of the actor? Let us seek for\na definition of this art of acting from one whose opinion is incontrovertible, from one who\nlived his life among them, inspired them to their loftiest efforts, the greatest human\nunderstanding this world has known—let us seek of Shakespeare himself. &\n& We shall find it—the most luminous definition of the art of acting—in Hamlet's second\nsoliloquy. He says:— \"Is it not monstrous that this player here\nBut in a fiction, in a dream of passion\nGould force his soul so to his own conceit\nThat from her working all his visage wanned.\"\nThen comes a description of the effect of the actor's art upon the vehicles of his\nexpression. \" Tears in his eyes, Distraction in 's aspect.\" And so on.\nI doubt whether a more subtle, or a more accurate description of the actor's mental and\npsychical process at the moment of exercising his art will ever be expressed. &\nHow it is possible that an actor can \" force his soul so to his own conceit,\" that tears\nwill spring to his eyes, that, in other words, his physical functions will operate involuntarily,\nand that his whole function will suit with forms to his conceit, may be even now something\nof a mystery. But though Shakespeare was not concerned for the moment with this question,\nhe seems almost to have anticipated what may be the reason for the curious mental condition\nof the actor when imitating Humanity. & & & &\n& May I venture to suggest that an explanation of this psychical process may be found in\nthe discoveries of psychic research? The fact that \" man is the microcosm of the universe \"\nseems to have received additional proof by the evidence of recent researches in hypnotic\nsuggestion. It seems more and more clear that man is composed of many egos, if I may use\nthe expression, and as in hypnotic suggestion the subject will answer in keeping with an\nidentity of which in its normal condition it is unconscious, so in the exercise of his art by\nan actor, one off the innumerable egos of which he is composed will live before us, in the\nperson of the artist who has called up one off these separate identities. & & &\nThis is the explanation, it seems to me, of the creative element in the actor, this is what\nShakespeare calls the \" conceit,\" viz., the conception, what can be born, and to what he\nrealized the actor could force his soul, This, it seems to me, is what, at its noblest\nand highest, is called inspiration. This is what Garrick speaks of when he says;—\n\" I pronounce that the greatest strokes of genius have been unknown to the actor himself\n\" till circumstances and the warmth of the scene have sprung the mine, as much to his own\n\" surprise as to that of the audience.\" & & & & &\nSir Henry Irving, I think, has said that an actor, in the exercise of his art, is calling\nupon a certain duality of mind, and 1 would venture to go further and to suggest that the\nactor is myriad-minded, and that the greater number of egos he can express, and the more\ncompletely he can express the complex nature of each of these egos, the greater actor he is.\n\" 'Tis in ourselves that we are thus or thus.\"\nThe Dramatist would seem to possess the same capacity for sebMdentification with other\nbeings, and in this light Shakespeare is the greatest of all artists, because he could express\nan almost infinite number of egos and so completely that the man Shakespeare himself can\nonly be found by inference.\n& When a great actor performs a part, he is the man he represents: it is not a question\nof pretence, of assumption, of sham, of mimicry, it is one of his many egos, one of his own\ncreatures, which is speaking. I say \" creature,\" for observe, ladies and gentlemen, Shakespeare\nallows to the actor the power to create. &\n& \" Is it not monstrous that this player.... could force his soul so to his own conceit.\"\n& Now observe another point in his definition, strikingly precise. \" Force his soul\"—not\nhis mind—his soul. His mind is not forced, that is calm, alert, critical, intent upon the\nexpression of his soul, intent upon the means he is using, upon his audience, upon the effect\n\nRodin *\nA luminous\ndefinition*\nMany egos.\nGarr i c k\nThe greatest\nof artists,\nShake speare} s\ndefinition."}, {"page_pdf": 9, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.9", "texte": "he is making, watching his creature, curbing him at times, noting the inflexions of his voice,\nstoring up knowledge of technique. He has given birth to a creature and he watches him\nlive. \" His whole function suiting with forms to his conceit.\" That is Shakespeare's definition\nof the art of acting, and in the light of this brilliant illumination upon the subject w© may\ndisregard the poor little glimmer of Mr. Augustine Birrell's pronouncement, when he says,\n\" The art of acting is the art of mimicry, or the representation of feigned emotions called\nup by sham situations.\" Such a little flicker of light upon the subject as this, is only\nsufficient to make Mr. Birrell's own right honourable darkness visible.\n& Those who had the privilege of hearing Mr. Walkley's address on \" Some aspects of the\nModern Stage,\" will call to mind that he referred to the actor as \" something less than a\nman \"—whatever such a nebulous description as that may mean—and found that there was\n\" something unmanly in the actor's making capital out of his physical advantages.\" That\nMr. Birrell should betray strange ignorance on a question of Dramatic art is not surprising,\nbut that Mr. Walkley, who nightly sits in judgment upon plays and actors, should plumb a\nlower depth of Philistinism even than Mr. Birrell, gives one furiously to think. During what\n\" brain=storm \" did Mr. Walkley utter this nonsense? What physical advantages did they\npossess which made such unmanly creatures of Kean, of Garrick, of Robson, of Burbage, of\nBetterton, of Dillon? If physical advantage enter into the question at all, and the great\nFrench actor, Le Kain, does not even mention this as a requisite for the actor, the eminence\nwhich these men attained is a direct proof that physical advantages are not the actor's capital,\nfor they triumphed in spite of the fact that they possessed none. The veriest tyro of\ntheatrical history knows that most of the great men and great women have succeeded on\nthe stage, in spite of their lack of physical advantages. But if they had possessed physical\nadvantages why would it have been unmanly to use them? If this infantile argument held\ngood, the \" heavenly choir\" of an Adelina Patti would be a subject for scorn, and the\nthunders of Demosthenes himself would have been unmanly, because he used the physical\nadvantage of the voice which God had given him. &\n& Such arguments as those of Mr. Walkley and Mr. Birrell would not justify the time spent\non their serious consideration were it not for this danger, that the unthinking may accept\nsuch statements seriously, coming from men who may conceivably carry some authority.\nThe wisdom and the wide tolerance of the generation we have the good fortune to live\nin have made it superfluous to defend either actors or their art. But occasionally, I take\nit, an actor is justified in trying to explain something of the mysteries of his art, lest the\n\" dicta \" of such gentlemen as I have referred to come to be accepted by the unreflecting.\nIf we cannot think for ourselves let us at least adopt the conclusions of great original\nthinkers, and on the subject of the art of acting, let us adopt the conclusions of the world,\nrather than those of the chief Secretary for Ireland. In a word, let us accept Shakespeare's\ndefinition of the art of acting and proceed. & & &\n& Now, what of the actor himself? Can we speak of the actor himself? Which of these\ninnumerable egos are we to speak of? We see the character which Shakespeare has created,\nbut where is the man Shakespeare himself? You will find him in his work, in his artistic\nselection, in the theme of his tragedies, in the motive of his comedies. In a word, you will\nfind the man in his art. And there, too, you will find the actor. You will find the man\nbehind the actor in the guiding intelligence, the critical faculty, the artistic point of view,\nand that aspect of his own personal character which he brings to bear on his interpretations.\nNow an actor is called upon, or his own idiosyncrasy impels him, to interpret a variety\nof beings, noble and ignoble. Do these interpretations affect the actor's character? That\ndepends, it seems to me, upon the strength of his own personal character. &\n£> Is his character tarnished by the exhibition of the ignoble, the unworthy? Not necessarily,\nnot even, I think, frequently.\n& Let us look for a moment at the worst period of the Restoration. It is astonishing that\nthrough this morass of immorality any human being could walk unblemished; yet several\nexamples of private worth at once spring forward among the interpreters of that incredibly\ncorrupt Drama which the morals of the period brought forth—Betterton, Mistress Bracegirdle,\nMistress Saunderson, who later became Mistress Betterton. & &\n& Says Mr. Clark Russell in his \"Representative Actors —\"It is almost impossible to\n44 believe that any woman could have been found to publicly pronounce some of the language\n\nCHARACTER\nAND THE ACTOR\n\nMr. Birrell &\nMr. Walk ley.\nt, e K a i n .\nThe actor\nhims e 1 f .\nThe Restoration\nDrama ."}, {"page_pdf": 10, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.10", "texte": "44 that is to be read in the plays of Dryden and Wycherly. Yet among the actresses in these\n44 and even worst dramas the reputations of some have been handed down to us as\n44 unimpeachable. Such was Mistress Betterton, such was Mistress Bracegirdle. Later on,\n44 when the licensing of plays cante in vogue, a fine was levied upon any actor or actress\n44 giving utterance to an immoral sentence. Among the first who were mulcted for this\n44 offence were Betterton and Mistress Bracegirdle.\" &\nBetterton! for fifty-one years the pride of the English Theatre, a man who 44 off the stage,\nwas/* says an article in the 44 Cornhil! Magazine \" of 1862, 44 exemplary in his bearing, true\nto every duty, as good a country gentleman on his farm in Berkshire as he was perfect\nactor in town.\" The venerable representative of all that was most honourable in the drama\nof his day, fined for giving voice to the immorality of a play of Dryden's, yet whose private\nworth was so little affected thereby, that Addison could say, that the name of 44 Betterton\nought to be recorded with the same respect as Roscius among the Romans,\" and whose bones\nwere laid to rest by a grateful country in the Abbey at Westminster. &\nMistress Betterton! the mouthpiece of the indecencies of Nat Lee and Congreve, yet of\nwhom Colley Gibber could write:— 44 She was the faithful companion of her husband and his\nfellow labourer for five and forty years, and was a woman of unblemished and sober life.\"\njgr Mistress Bracegirdle! that 44 Diana of the stage,\" as Dr. Doran calls her, and of whom\nhe gives us this delightful thumbnail sketch. Says he :— .£?&&&\n& 44 Before Mistress Bracegirdle, Congreve and Lord Lovelace, at the head of a troop of\n44 bodkined fops, worshipped in vain. The noblest of the troop, and it reckoned the Dukes\n44 of Devonshire and the Earl of Halifax, were wont at the coffeehouse and over a bottle, to\n44 extol the Gibraltar-dike virtue, if I may so speak, of this incomparable woman. 4 Come,'\n44 said Halifax, 4 you are always praising the virtue, why don't you reward the lady who will\n44 not sell it? 1 propose a subscription, and there are 200 guineas pour encourager les\n44 autresFour times that amount was raised, and with it the nobles, with their swords in\n44 their hands, waited on Mistress Bracegirdle, who accepted their testimonial, as it was\n44 intended, in honour of her virtue. 1 will only add that had Mistress Bracegirdle been\n44 rewarded for her charity, the recompense would have been at least as appropriate. For\n44 it is true of her, that when the poor saw her, they blessed her, and we may add, she richly\n44 merited their well-earned benedictions.\"\nThus Dr. Doran. And so little was the private character of this lady injured by uttering\nthe gross indecencies of the Restoration Drama that Dibden declares her name was always\nmentioned with 44 great respect, both on account of her public merit and her private virtues.\"\nOf the rank and file of the Restoration actors and actresses we naturally know less\nthan of the conspicuous and representative example I have mentioned, but it is obvious that\nin spite of the degrading material in which they worked, their characters might emerge\nspotless. How was this possible? I venture to suggest that either the Ego which spoke in\nthese interpretations, was constantly controlled by the superior strength of their own\npersonal character, or that the 44 Dramatis Personse \" of the Restoration Drama had no capacity\nto receive the breath of life which an actor can bestow upon them. That therefore the Ego\nwas not called upon to live, and that those mere puppets of an hour required nothing more\nthan the voice and gesture of an actor to give them that slight semblance of reality which\nwas necessary. For we must remember that the fame of Betterton rests, not on such pup-\npets as the 44 Belvilles,\" the 44 Dorimants, and the 44 Lovemores,\" but on Hamlet, Lear and\nMacbeth. jg?\n<&/ To gather some illustrations nearer home, we are all aware that at a comparatively early\nstage in his career Sir Henry Irving possessed almost a monopoly for the representation of\nvillains, as the amiable Mr E. S. Willard also acquired a decade or so later. Can it be\ncontended that the daily interpretation of passions which disgrace humanity, affected the\nmoral fibre of either of these gentlemen? Surely not. I think we may safely conclude that\nthe character of the actor or the actress is not necessarily degraded by the interpretation\nor voicing of what is unworthy.\nAnd what of the other side of the question? Does the constant illustration of all that is\nnoble, tolerant, charitable and high-minded, help to refine and to elevate the character of\nthe illustrator? I think it does. In support of this opinion we have the overwhelming\nevidence of Sir Henry Irving, who said that he never performed the part of Becket9 without\n\nC H A RAGTER\nAND THE ACTOR\n\nBetterton.\nMistress\nBetter ton.\nMistress\nBracegirdle.\nThe ran k\na n d file.\nSir Ilenry\nIrving.\nThe influence\nof 44 Becket"}, {"page_pdf": 11, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.11", "texte": "feeling a better man after it. It seems to me that we must return to the same conclusion. It\nis the character of the man behind the actor which is the determining factor. A man of\nintrinsic or acquired high-mindedness and honesty can come scatheless through work which\nmay be degrading, and may add to his own beauty of character by contact with what is noble.\nI am aware that to many enlightened minds, it would appear superfluous to assert this,\nbut I would ask any such to consider that there may still be found those who, from love of\nadvertisement, from motives of envy and Jealousy misrepresent the influence upon the actor\nof the exercise of his art.\n& It is with this consideration in view that I would to your remembrance one of the\nmost remarkable instances of the steady development of character side by side with the\nsteady prosecution of the art of acting. I refer to Shakespeare himself. It does not seem to\nhave been widely realised, until Mr. Sidney Lee pointed it out, that Shakespeare 44 remained\na prominent member of the actors' profession till near the end of his life.\" Of the parts\nhe played we have only scanty knowledge, though we have reason to believe they were\nimportant. I cannot do better than quote Mr. Sidney Lee's words:— & &\n44 That Shakespeare chafed under some of the conditions of the actors' calling is commonly\n\" inferred from the 'Sonnets.' There he reproaches himself with becoming * a motley to the\n44 view,' and chides fortune for having provided for Ms livelihood nothing better than 4 public\n44 means that public manners breed,' whence his name received a brand. If such self-pity is to\n44 be literally interpreted, it only reflected an evanescent mood. His interest in all that\n44 touched the efficiency of his profession was permanently active. His highest ambitions lay,\n44 it is true, elsewhere than in acting, and at an early period of hjs theatrical career he\n44 undertook, with triumphant success, the labours of a playwright. But he pursued the\n44 profession of an actor loyally and uninterruptedly until he resigned all connection with\n44 the theatres within a few years of his death. \"\n<£? And to digress, perhaps, a little, we may say: 44 How well he knew them!\" Their\nfaults, their weaknesses, their powers of imagination, their humour, their complex and\ndifficult art. Is there one word of scorn for his calling—with the exception of this one\npassage Mr. Sidney Lee quotes from the sonnets? that, too, written when a young man—and\nthe meaning of which is still disputed. One word of scorn for his fellow-members of that\ncalling, through whose medium his creatures were to be re-animated with the gift of 44 form\nand moving \" ? Not one, I think. Shakespeare's references to his fellow actors are always\nmade with the tenderness and charity of true knowledge and actual experience. And yet\nhow he must have suffered at their hands! The members of the Globe Theatre Company\nwere not all Burbages, Alleynes or Hemminges. What pigmies must his creatures some-\ntimes have appeared in flesh and blood, beside his own sublime imagination! What inevitable\nheart-burnings must there have been among his company, as each fresh play was cast.\nWhat was said when the author, himself a fellowplayer, was announced to appear as the\nGhost in 44 Hamlet\"? In spite of it all, how deeply he must have been beloved by his associates,\nwhen Hemming© and Condell, his fellow actors, seven years after his death, brought together\nhis precious manuscripts for publication; not for pecuniary gain, scarcely it would seem\nwith a full understanding of the genius of the poet, but in the enthusiasm of their love for\ntheir dead comrade. What is the uppermost thought in their minds? What are the words\nof their dedication? 44 To keepe the memory of so worthy a Friend and Fellow alive, as was\nour Shakespeare.\" Nor did Shakespeare, In his will, forget his old comrades in art. 44 To\neach of his 4 fellows ' John Hemminge, Richard Burbage and Henry Condell, he leaves twenty-\nsix shillings and eight pence with which to buy memorial rings.\" & & &\nThis apparent digression, it seems to me, proves much. Here was the greatest creative\nartist that ever lived, not only maturing his stupendous powers as a dramatist, living in\nbeloved, and loving comradeship with his fellow-actors, 44 pursuing,\" as Mr. Sidney Lee says,\n44 the profession of an actor loyally and uninterruptedly,\" but at the same time developing\nhis own character. & &\n& Says Professor Dowden in his subtle and fascinating work, 44 Shakespeare, his mind and\nart\":— 44 It is clearly ascertainable from his plays and poems that Shakespeare's will grew\nwith advancing age, beyond measure, calmer and more strong.\" In other words, Shakespeare\nwas gaining that 44 captaincy of the soul \" which the dramatic critic of 44 The Times \" has\naffirmed is what a man must necessarily lose in the exercise of an actor's calling.\n\nCHARACTER\nAND THE ACTOR\n\nMr Sidney I<ee.\nShakespeare\nas actor.\nHis fellow\nactors.\nProofs of\naffection.\nD evel op me lit\nof character."}, {"page_pdf": 12, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.12", "texte": "CHARACTER\nAND THE ACTOR\n\nIs there any reason why the \" captaincy of the soul\" may fee lost in the practice of the\nactor's art? None, because the man is an artist, None, because the work of his life is the\nimitation of humanity.\njg/ Here, ladies and gentlemen, I think I might leave this portion of my reflections. Reflections\nsketchy and immature, I greatly fear. I would call them suggestions rather than conclusions.\nSuggestions which may lead perhaps other and more capable students to enlarge upon, and\nmay I venture to propose a subject to Shakespearian scholars—a subject hitherto almost\ndisregarded, viz., \"Shakespeare, the actor?\" It seems curious that this side of Shakespeare's\nlife should not have invited more consideration and research. Might I venture to hope that\nMr. Sidney Lee, who has touched upon the subject in his delightful biography, will, some\nday, greatly enlarge our knowledge of this side of Shakespeare's life; all important, it seems\nto me, when we consider the fact that the practice of his profession as an actor must have\nabsorbed by far the greater portion of his days, and that his character and outlook upon\nlife were developing in the midst of daily devotion to this calling. & &\nAnd now I would dwell for a little upon the question—To what extent is acting affected\nby character? 1 am not sure that such poor reflections as I will try to express do not\nequally apply to character and all art. I find myself continually seeking illustrations from the\narts of painting, sculpture and dramatic literature.\nThe conviction I would like to impart is of greater importance than art. It is m >re\nimportant to the world at large. I feel it is more important even to the artist himself. £?\nIt seems to me a right instinct which urges people to seek for the man behind the artist.\nIs the instinct which urges people to accept charily the artist who works alone for art's\nsake, also right? Perhaps it is. jg?\n& At the moment when man began to express himself through a piece of work, art began,\nand in recognising a work of art, we recognise the mind and character of the man who\nwrought it. And that mind and character is never stationary. It is either developing or\ndeteriorating. I might venture the suggestion that at the moment that art is practised solely\nfor the sake of art, decadence has set in, decadence of character, and hence, it seems to\nme, of art. There seems a subtle truth in Eleonora Duse's words, when she says:—\n& \" If the sight of the blue skies fills you with joy, if a blade of grass springing up in the\n\" fields has power to move you, rejoice, for your soul is alive; and then aspire to learn that\n\" other truth—that the least of what you receive can be divided. To help and share—that is\n\"the sum of all knowledge, that is the meaning of & & &\nNow, the artist who practises art for art's sake does not share with humanity at large.\nHe is apt to keep his point of view and his sense of beauty to himself, or to share only\nwith a few equally exclusive fellow-artists. &\n\" The Herd,\" as humanity at large is so often referred to by these elect, are scorned,\nand it seems to me that the really great artists love humanity and do not scorn it.\njgr A similar companionship was that old Bohemianism which, in addition to being a\ncomradeship in artistic endeavour was largely a protest against, and a defiance of the realities\nof daily life. Such defiance one may be excused for taking to be an indication of some\nweakness in the character. I think he is a stronger man who can admit the claims of fact\nwhile practising the imitation of nature or humanity, than he who dodges a dun in a ecstatic\ndisregard of his duties as a simple citizen. The most incorrigible Bohemian, the most\nprecious and exclusive in the Brotherhood of the Elect, might well reflect, perhaps, that\nwhile Shakespeare was projecting the greatest tragedies in literature, he was also suing\nPhilip Rogers, at Stratford=on»Avon, for L i 9s. iod., due to him for malt supplied.\nI would again return to Professor Dowden's reference to the development of Shakespeare's\nmind and art in comparison with that of his early contemporaries, Marlowe and Green.\nCalling our attention to the reckless Bohemianism of the last-named ill-balanced but brilliant\nDramatic artists, he says:— \"It must have appeared to Shakespeare (who well understood\n\" honest frolic) a poor affair, a flimsy kind of idealism—this reckless knocking of a man's\n\" head against the solid laws of the universe. The protest against our subjections to law\n\" made by such men as Marlowe and Green, was a vulgar and superficial protest.\"\n& What was the end of the Bohemian Marlowe? An ignominious death in a tavern brawl—\nthat of the greater artist, who had won the captaincy of his soul, through that noble\ndevelopment of his mind and art \" which was based on a resolute fidelity to the\n\nActing &\nChara c t e r.\nThe origin\nof art .\nBleonora Dusc.\nSharing with\nh u ni a n it y.\nBohemian ism.\nMarlowe &\nGreen ."}, {"page_pdf": 13, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.13", "texte": "facts of life,\" an honoured retirement upon his estate at Stratford - on-Avon.\nAnd I will venture to say that the cultivation of the character is of more consequence\nto the actor than to any other artist. & &\nThe loss of character is the loss of self®discipline, and the actor's self-discipline is more\ntried than in any other art. The poet in his retreat, the sculptor and the artist in the\nquiet of their studios, know nothing of the difficulties of performing their work amidst the\ndistractions of that busy hive of activity, the modern theatre. The very irritability which\nis a necessary condition of an actor's nervous system, renders him doubly susceptible to the\nloss of his self-restraint. The very applause of an audience night after night, tests his sense of\nproportion, and makes it trebly difficult but trebly important that he should discipline his\nemotions and control his highly®wrought nervous organisation. & & & &\n& That \" Imitation of Humanity,\" which Shakespeare describes as the actor's art is a constant\nassault upon a due recognition of the \" solid laws of the universe \". The imitation of humanity\nmay so easily become confused with the facts of humanity, that he may lose that sanity of\nmind, without which his character cannot develop. In the Sight of his cherished imitation\nof Macbeth the butcher's bill may easily become a prosaic and negligible quantity. The\npower to imitate humanity—that art which Voltaire has described as the most difficult of\nall arts—must be balanced with a knowledge and an understanding of the facts of actual\ndaily life. Without this balance the character deteriorates, and thus, slowly but certainly,\nthe deterioration is visible in his work, and the end is reached in bitterness and\nblind conflict with those very imperturbable facts which he has ignored or defied.\n*£? The artist's fate is in his own hands. There is nothing in the imitation of humanity or\nnature which brings inevitable deterioration, & & & & &\n& Betterton went further and thought a strict preparatory discipline of the character before\nadopting the stage as a profession was essential. For, he says, \"there is no manner of doubt\n\" but that the lives and Characters of those Persons, who are the Vehicles, as I may call them,\n\" of these Instructions must contribute very much to the impression the Fable and Mora! will\n\" make. For to hear Virtue, Religion, Honour, recommended by a Sinner, an Atheist, or a\n\" Rake, makes them a Jest to many People, who would hear the same done with Awe by\n\" Persons of known Reputation in those Particulars.\"\nSuch preparation of his mental state, as this of Betterton's, when he was to become\nthe interpreter of a great character, is not unusual. It is not, I hope, unbecoming in me\nto speak of a very remarkable instance of such mental, I may almost say spiritual, preparation.\n& When Sir Henry Irving played \" Hamlet,\" he deliberately lived the life almost of an\nanchorite. So solemn a charge he held his interpretation, so essential did he consider the\nfine poise of his spirit while being the medium of so great a creation, that throughout the\nrun of the Shakesperian tragedy at the Lyceum Theatre, he purposely refrained from\nindulging in any social distractions, or allowing his mental equilibrium to be disturbed from\na sweet serenity and a continual self-restraint, jg? <£?\n& Here is a picture on the reverse side. An actor was to make his appearance in a role\nof not less importance than \" Hamlet,\" The night came, the theatre was only half filled,\nand many of the critics were so little interested, that their seats were empty or occupied\nonly during a portion of the evening. The actor's pride was wounded, the empty seats galled\nhim, a taint of irritability and defiance grew through his representation, he lost his self®\nrestraint, and he failed. Not, I take it, that he did not understand his creature, but a lower\nside of his own nature gradually obtruded itself, and stained the fine qualities of the noble\ncreature he was representing. &&&&&&&&\n& To those artists who have not realised the necessity of developing their own character,\nin order that it may speak through their work, how inexplicable, how heart=breaking it\nmust be, when they find that the practice of their art has carried them to a certain point\nand never further. In spite of perfect technique, great intelligence, long experience, physical\nendowment, their audiences are unmoved; while another artist, with these qualifications\npossessed only to a limited extent, will enter profoundly into their affections—and why?\nFor ever and ever, it seems to me, the same reason. This one possesses already, or has\nachieved by the development of character, sympathy, and love of humanity, while to the\nother, humanity has been an object of scorn. It is the character of the actor which is\nspeaking in his interpretations. As Duse has said:— &<£?&&&\n\nCHARACTER\nAND THE ACTOR\n\nSelf discipline*\nImitation of\nh u m a n i ty.\nBetterton*\nIrving's self\\~\nd i s c i p line*\nThe reverse\npict u r e .\nArrested\nprogress ."}, {"page_pdf": 14, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.14", "texte": "CHARACTER\nAND THE ACTOR\n\n& \" The artist«actor gives the best of himself—through his interpretations he unveils his\ninner soul.\" &\n& May I paraphrase the dictum once pronounced by a dramatic author on the essentials\nof pSay=writing? He said there were three. First, Construction—Second, Construction-\nThird, Construction! Then I would say of the essentials for the building up of an actor that\nthey are Character, Character, Character! & jg? &\nYes, it seems to me that it is a right instinct which urg ;s us to seek the man in his\nwork. According to our discovery do we place him in our hearts and affections, or in our\nintelligence, and no one can doubt that it was the heart and the affection of the nation\nwhich spoke, when it demanded that Sir Henry Irving should be laid to rest in the Abbey\nat Westminster.\nI know, of course, that many actors of genius, possessed, too, of great qualities of heart,\ndo not repose in Westminster Abbey—that their end was obscure, unhonoured. Why?\nBecause the unthinking world has sometimes spoken slightingly of a life devoted to Art?\nNever! Because of the medium in which they worked? Never! But because in the sad\ninstances I have in my mind, for reasons into which it were only painful to inquire, they\nhad step by step lost that \" captaincy of the soul,\" by vices acquired or of the blood which\nfinally left them 44 lagging superfluous.\" Because, in a word, their characters had deteriorated.\nThe train of thought which this consideration opens up covers too vast a field for me\nto pursue, I only touch upon it to enforce my conviction that the actor in imitating Humanity\nis largely dominated by one of his many egos, and that he, in turn, must acquire the force\nof character to keep in subjection the worse or ignoble traits of these egos. Let us follow\nthe advice of old Cronus to his son, 44 My boy, paint what you see, but if it is only a pigsty,\ndignify it.\" And as we hang the picture of the pigsty on our walls and look at it with ever\nfresh delight, let us remember that the work of art gives us Joy because we see the character\nof the man behind the art, who has purposely selected the beautiful side of his subject and\ndisregarded the base. &\n& The power of an actor of well=disciplined character over his audience is immense; that\npower, as Sir Theodore Martin has said, is \"divine in its origin.\" May I quote .another\neloquent passage from the same brilliant and rarely endowed critic;— &\n\"The power of his genius, which has been reflected to him in the palpable emotion or\n\" ringing plaudits of his audience, has opened up to them a world of poetry and emotion, which,\n\" but for him, they would never have known. His 6so potent art' has awakened them to a\n\" knowledge of their own hearts, 4 shown them noble lights in their own soul.' It has lifted\n44 them for a time above the commonplace of their daily life; it has widened the sphere of\n44 their sympathies, flashed light upon the conceptions of the greatest poets which has made\n44 them living realities, and in doing this, it has communicated impulses which may exercise\n44 a lasting influence for good on the lives of thousands. Not in vain has he lived, who owes\n44 such success to having wrought with a pure aim to turn to the highest account the\nspecial gift of genius.\"\nIf ever there was an actor to whom these eloquent words could apply it is to my great\nmaster, Sir Henry Irving. Never, perhaps, was there an actor whose character, one felt\ninstinctively, was more highly and nobly developed through his art. & &\n& Ladies and gentlemen, I was for fifteen years under him, and was never nearer to him,\nin one sense, than the veriest boy in the gallery of his theatre. There was something\nenigmatical, mysterious and baffling about him. But it was because, through his art, I was\nunconsciously brought face to face with his soul, his great, enduring, steadfast soul, that\nI adored him. It was for the same reason that the English people adored him, and it is for\nhis steadfast soul, rather than his rare accomplishments, that his name will be imperishable.\nIf our Saviour has sometimes puzzled us because, during His ministry on this earth, He\nsaid nothing about art, we may be sure that it was not because He ignored the supreme\nimportance of Art in our daily life; but because His first care was for the character and He\nmust have known that if the character is noble, noble Art will follow. & &\n\nThree e s°*\nsen tials.\nThe man\nbehind the\nwork, jg?\nSir Theodore\nMartin.\nThe secret of\nIrving* s power."}, {"page_pdf": 15, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.15", "texte": "THE BERLIN THEATRE\nby John Balance\ngreat energy characterises the Berlin Theatre. This is its\nbest quality. Some of the old-fashioned theatres presenting\npieces in the traditional manner are good. These theatres\nbelieve in the old-fashioned way of acting, that is to say, the\nactors deliver their lines grandiloquently or simply, but never\ninsigniflcently. Their scenery is grandiose and often succeeds\nin being fine. They change their plays very often and they\npresent those plays in a more or less unmutilated condition.\nThe Meiningin theatre taught them much which they have not\nforgotten. On the other hand there has sprung up lately a theatre\nwhich is called the Moderne theatre, a kind of up-to-date affair\nwhich succeeds in being up to date and very little else. This\ntheatre also has energy, and in so far as it possesses this energy it deserves unqualified\npraise. It does not go to sleep: it may be described as a wide-awake theatre. & &\n& What a pity it is that this activity of the Moderne theatre in Berlin is not able to produce\nanything resembling a work of art; for the truth is that the Moderne theatre is without\ngreat actors, without what may be called sumptuous productions. & &\n& Added to this, the Moderne theatre is anything but original: it poses as being \" original \".\nIt derives its ideas from foreign lands, it makes a poor copy of these ideas, and it serves\nthese ideas up to the public for the most part as though they were its own. in one or two\ninstances it has acknowledged the source of these ideas, which it fondly belives it has annexed\nand improved on, although it is obvious to anyone of artistic feeling that the copy is as\npoor as copies generally are.\n& Now the theatre which offends most in the way I have described is the Deutches Theater\nin Berlin. First, it derives its ideas entirely from foreign countries, from Russia and England.\nSecondly, it presents these ideas in a tasteless way. Thirdly, although it possesses many\nvery capable actors it possesses no great actor or actress. Fourthly, its productions may be\ndescribed as the opposite of sumptuous. & &\n& Now let us consider these points one by one. &\nIts most grave offence is its lack of originality and therefore of inspiration. As with all\nimitations, the productions at the Deutches Theater lack fire. They seem but faint echoes of\nsomething else. They may be good enough for the good folk in Berlin, who perhaps do not know\nthe difference between the beauty of an original and the emptiness of a copy, but it will\nnot do for other lands where the critics have informed themselves as to the originators of\nthe ideas presented. The critic, on seeing a realistic performance at the Deutches Theater\nknows that it has been derived from the art theatre in Moscow of which Mr Stanislowsky is\nthe head, and on seeing a performance of a poetic play they will know that the ideas have\nbeen derived from Mr Gordon Craig of England. <£? & & &\nNow this is not merely a chance statement, for the director of the Deutches Theater has\nhimself admitted as much. Upon the production of the \" Winter's Tale \"in Berlin the director,\nHerr Reinhardt, was heard to say that at last they had been able to produce a play in just\nthe same way as Mr Craig is famous for. The statement, not very creditable to the\nDeutches Theater, was made in a triumphant tone, Mr Craig having refused to produce\nanything at this theatre, although he was invited five times to produce different plays\nthere. Mr. Craig was asked to produce \"The Tempest,\" \"Caesar and Cleopatra\" by Bernad Shaw,\n\"King Lear,\" the \"Orestaiea,\" \"Macbeth,\" and in two cases the management even went so far\nas to send him the contract. But the conditions imposed by a management preferring bad taste\nto distinction always prevented him from being able to respond to them. And so the manager,\nafter having visited Mr Craig's studio with artist friends and carefully studied his work,\ngoes back and commissions one of these artists who had visited the studio with him to make\nsome imitations of Mr Craig's work. Although this was the first time the manager\nacknowledged \" borrowing \", ....to call it by a nice name.... this was not the first time the\nimitation had been made. The first time was in \" Salome when Mr Craig's earliest work\nwas imitated. Later on it was \" Twelfth Night\n\nThe <s Modetne \"\nThe a tie ,\nIt poses as\n\" Original \"\nThe \" Deutches\nTheater. \"\nIts lack of\nOriginality.\nImitations of\nCraig's work."}, {"page_pdf": 16, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.16", "texte": "THE BERLIN\nTHEATRE.\n\n& Now the curious part of all this is that with the Germans there is an idea that if a man\ninvents something it is public property and may be copied by any one, no matter how\nbadly. The only actual harm it does is to the nation which indulges in this license. It prevents\nit from ever exercising its own imagination. Its work therefore becomes stodgy rather than\nathletic, Still, as I have said before, this reveals an energy which is rare in most other\nlands.\nThe most famous German imitation of the methods employed by the Russians in their\nstaging of a realistic play, is in the case of 44 Nachtasyla rather poor example being the\nmanner in which \" Frishlings Erwachen \" was produced. When this Russian theatrical company\nvisited Berlin with their whole productions one might have supposed that the Germans\nwould have been abashed. Not at all, They were heard saying, 44 We did this before or\n44 You see we have the same ideas \". But the critic, that is to say, one who is not hasty in\nhis judgments, will see all the difference between the production by Mr Stanislowsky of a\nrealistic play and one by the Deutches Theater. &\nPerhaps the most vulgar production which is to be laid to the account of the Deutches\nTheater is that of the 44 Merchant of Venice \". This production is nothing short of dreadful;\nand for the following reasons. It is a jumble of cheap realism and sentimentality, for poetry\ngone to seed is sentimentality. They tried to turn this masterpiece, with its wonderful\nmusic and poetry, into an up=to=date bit of fun. Thus all the poetry of the lines was lost,\nall the poetry of movement lost, all the poetry of of diction lost, all the poetry of scene\nlost and all the poetry of feeling lost.\n& We have the old and traditionally fine actor, Schildkraut, as Shylock: we see him battling\nagainst these terrible odds. Here and there he produces for 11s the old feeling of the play,\nwhich the management is all the time trying to destroy. What can be thought of a\nproduction of this play where the actors are told to create an impression of realism by\ngabbling their lines as though they were at the street corner down in some disreputable\nneighbourhood in the Bowery? The men all smack each other on the back just as if they\nwere going to say, 44 What's yours, old chap? or 44 Mine's a whisky and soda \". And, mind\nyou, this includes Bassanio, Graziano, Lorenzo and all the distinguished gallants of the\npeerless imagination of Shakespeare 1... !... Horribie!\n& Then we have Portia, and a train of girls giggling and smirking about the different\nsuitors who are coming to woo Portia. Instead of the lady of Belmont, that extraordinary\ncreation of Shakespeare, we have a not very distinguished shop girl surrounded by her\ncompanions. They deliver their lines about the approach of the suitors just as any bevy of\nill=bred girls would giggle, 44 Ow, 'ere 'e comes! Ow, I sy! Don't be so silly! Go on!\" And\nthis is no exaggeration. Anything more vulgar than the young people in this play is impossible\nto conceive. May it is what the management calls 44 making the thing vivacious\". No\nFrench management would have been guilty of such a sin against good taste. It revealed\nin a flash, the class of mind which directs the performances of the theatre. The suitors\nthe Prince of Morocco and Bassanio, when they arrived, justified the behaviour of these\ngirls. It was like a lottery in which a woman was the prize. That is not the\nimpression which Henry Irving created when he produced the play; nor Mr Daly nor Mr\nBeerbohm Tree. Neither was it the impression which should be produced. &\nThe court of justice was another parody. That amazing scene, which America and England\nwitnessed in its perfection when presented by Henry Irving and his company was made\nludicrous and common. In vain did Shylock attempt to bring seriousness into the\nrepresentation. The management were determined to turn it into a farce. Thus we have\nPortia with a beard and moustache, strutting about like a very small turkey cock, and a\nrow of fool'sh looking senators all shaking their heads about nothing, and a rowdy lot of\nGermans pretending to be distinguished Italians of the 16th century, but shouting and\ngesticulating as though they were on a field of battle delivering orders. Shakespeare,\nwho had drawn either a Jew who was fierce or a Jew who was much wronged, had in this\ntheatre to put up with a Jew who was a fool, for none but a fool would associate with a\nrowdy crew of irresponsible young men and misses as this Jew was made to do.\nI can only think that their reason for doing this, was, that they thought they were treating\nit in a 44 realistic \" manner, which of course is not the right treatment. And even here we\nshould not have minded so much if the Shylock or the Portia had been interpreted by a\n\nThe danger\nof copying.\nThe 44 Merchant\nof Venice. }>\nSchildki a at\nas 44 Shylock \"\nA German\n44 Portia \"\nThe court\nof justice.\nA mistaken\ntreatment."}, {"page_pdf": 17, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.17", "texte": "superlatively great actor or actress. But this was not the case: neither would it have been\npossible for a great actor to prove his quality in such surroundings. Herr Schildkraut\nnot being the manager of the theatre was handicapped by the stage manager. In any other\ntheatre his performance would have been valued and all else would have given way for it.\n& The production of the Merchant of Venice, ....the scenery, lighting, costume, etc. can be\nsaid to have been done better elsewhere. Henry Irving did it a thousand times better and\nin a far more original manner, and that was twenty eight years ago. & &\nCritics, considering the value of a poetic stage production, should bear in mind that the\nfirst quality necessary is that distinction which Irving was so well able to bring into all his work\nno matter if it were only in the choice of a costume or in the performance of a part. Nothing with\nhim was hurridly done. All the characters must be of the Shakespearian breed, must have the\nstamp of Shakespeare on them. All the scenes must have the colour and the grace of\nShakespeare's comedy, not the dowdy clumsiness of low class modern life. &\n& And so you see in spite of the imitations which the Deutches theater goes in for, they\nare neither realistic like Stanislosky nor idealistic like Craig. In the case of the \" Salome \"\nthey had the same vast blue sky cloth which Mr Craig first introduced in London\nin 1900 and which he repeated in many of his other productions on account of the\ntragic quality of the colour. And instead of being content with this they heaped\na lot of bad architectural doors and pillars round about, they filled the stage with\nshouting actors whose movements were crude and modern, and a German lady was told to\nperform the part of Salome. But the draw back of the German actor and actress is that\nthey can only do that which they have thought out; they must always \"think out\" what\nthey do. The result was that Salome's performance was invested with a little \" thought out\"\npassion. Instead of the performance which a Mimi Aguglia would have given us, a thing so\nabandoned that by its very force it leapt the gulf betwixt vulgarity and the terrible, the\nGerman lady was content to remain on this side of the chasm and to represent for us\nsomething which was lifeless,\n& And now the productions. They may be described as \"cheap\",... possibly because they\nare cheap, though this does not follow. The Germans, unlike the Americans, are\nfrightened of spending money, and there is a particular kind of theatrical management that\nshakes in its shoes at the idea of spending money, though it demands its fair pound of flesh\nin return from the poor martyred audience. I should not be surprised if the management of\nthe Deutches Theater could be classed in this category. & & &\nThe actors cannot be accused of looking very thin, but, on the other hand the production\nis extremely thin; and the idea is forced upon us that perhaps, perhaps, this theatre is run\nso as to bring in a fat income to some man or group of men who, not content with making\nmoney by legitimate means, turn to the arts and squeeze the artists and the art of its life's\nblood.\n& We know there are many such theatres in the world, and they are a disgrace to the\nmanagement which permits such a system. & Here again we are forced to speak of Henry\nIrving. It was not his habit to be what is called \" stingy \" or to stint anything, no matter\nhow costly, towards the attainment of what he considered perfection. That and that alone\nis the right attitude for a management to take, and if they are not able to run the theatre\nwith their own money they should only accept capitalists whe are willing to agree to these\nconditions. Capitalists who possess the same spirit as the old patrons,... lovers and supporters\nof the Dramatic art, not capitalists who drain the resources of a theatre at the same time as\nthey pretend to support it. These are odious to all right spirited actors, actresses or\ntheatrical managers, and the loan of their mere money is death to the theatre.\nNo, the Deutches Theater is by no means an ideal theatre although we may give it\nunqualified praise for its energy. How this energy will be appreciated when the company\nvisits New York in the spring remains to be seen, for the American public have already\nseen how Shakespeare ought-to be played, and they have seen Henry Irving, Salvini, Madame\nDuse, Sarah Bernhardt and Ellen Terry. One thing is quite clear from all this. The\nDeutsches Theater is not today one of the first theatres in Europe when judged by artistic\nstandards: and its business transactions are.... well, queer, to say the least of \" it \" is right\ngrammar I believe.\n\nTHE BERLIN\nTHEATRE.\n\nA necessary\nquality .\n\" Salome \"\n\" Cheap \"\nproduction s.\nThe capitalist.\nNot an ide a 1\ntheatre ."}, {"page_pdf": 18, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.18", "texte": "REALISM AND THE ACTOR.\nAN INTERNATIONAL SYMPOSIUM\nthis subject, which has aroused so much discussion,\nand upon which opinions have been gathered from\nleading authorities in England, France, Germany, Austria,\nHolland, we now print the last three replies which have\nreached us,.... those of Miss ESSen Terry, Madam Yvette\nGuilbe and M. F£lix Du Quesnel. & &\nTHE QUESTIONS.\nI. Do you consider Realism in acting to be a frank representation\nof human nature?\nII. In your opinion should the Actor be allowed the same liberty\nin his expression of the Passions, as is permitted to the\nWriter or the Painter?\nIII. Do you think that Realism appeals to the General Public\nor only to a limited section of Playgoers ? &\nTHE ANSWERS.\nEllen Terry London.\nI. I dislike Realism as the word seems to be understood today. Reality seems to be\nill»expressed by means of Realism, for reality seems to me to be more than mere\nbrutality, and Realism is often only this. It is called \" Holding the mirror up to\nNature \" whereas, it seems to me to be lowering the mirror so as to reflect the inferior\ndetails of human nature. Acting should not be a frank representation of human\nnature.\nII. I do not think an actor should be allowed the same liberty in the expression of the\npassions as is permitted to the writer and the painter. He should, in time, if possible,\nfollow the laws which have guided the architect and the musician. JS?\nIII. As for the Public,... the Public should beware and undertake its responsibilities. I hope\nI am not deceived in believing that the Public will follow an actor or a manager whose\naim is for the highest.\nYvette Guilbert Paris.\nI. Impossible de considerer sur la scene, le realisme absolu, tel quel existe dans la nature\nhumaine, pour la bonne raison que la nature humaine est sincere, dansses expressions,\net que Fart dramatique n'est qu'une eternelle parodie des sentiments. Parodie des\n&tres, qui ne sont jamais en verite ce qu'ils disent au public etre. Parodie des decors,\nqui ne sont jamais des Verites, mais des toiles peints pour parodier la nature, et des bouts\nde bois pour parodier des chateaux. Le soleil et le jour et la nuit sont des trues de\nlumiere, les visages des heros ne sont que des images resultant des maquillages, rien\nnulle part ne reste Vrai, Nature, et tout dans Fart du theatre est mensonge! L'amour, la\nhaine, les pleurs, les rires, tout est factice. L'art du comedien consiste •* a nous faire\ncroire \" a des mensonges. Done le Realisme n' est point possible dans cet art inferieur\na cause de son manque de verite; on s'en approche, on ne Fatteint pas. L'art du\ncomedien n'est point un art; le comedien n'est point un artiste. II excelle a imiter, a\nrendre la pensde d'autrui; il ne cree rien; il ne mets qu'un peu de couleur sur un\ndnorrne dessin sans le quel il ne peut rien! II anime un enfant mort,... voila son seul\nmerite; mais on lui fournit Fenfant! et la est Finferiority d'un tel art. &"}, {"page_pdf": 19, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.19", "texte": "II. Oui, Tacteur a droit a la rneme liberte que les peintres ou les ecrivains d'exprimer les\npassions. L/ecrivain se sert de mots, Tacteur a le droit d* employer \" I,es mots.\" Le\npeintre se sert des conleurs; Tacteur se sert des couleurs de sa voix, une voix claire,\nrouge, exprimera le triomphe, la joie: Une voix sombre, noiie, la douleur: une voix\ngaie, rose, la jeunesse: une voix tendre, dorde, ardente, de feu, Tamour: ...done les\nprecedes de Tecrivain et du peintre servent Tacteur et T autorisent a prendre les memes\nliberies.\nIff. 1,6 Realisme, je le repete, n'existe pas sur I,a Scene. Le Public se trompe quand il\ncroit Se voir. La presence raeme du comedien le detruit! Seule la litterature peut en\nen des pages de verites faire surgir du cerveau Vimage reelle voulue par Tecrivain, et\nle public en general aime I,a Verite, le redl, la sincerite en art, pourvu que cette vdrite\nreste \" celle qu} il admet>} I Mais si une \\6rit6, un realisme \" inattendu \" lui est prdsente,\nil ne comprend plus, et la verity devient une exagdration, un mensonge.\nF 61 i x d u Qu e snel Paris.\nI. Le realisme, dans Taction Thd&trale, pent se rapprocher de Taction humaine, il n' en\nest, jamais, quoi qiT on fasse, la reproduction absolument exacte, d* abord parcequ* il\nn'est qu' un fiction, ensuite parceque la representation Thdatrale a forcement des limites,\ndont le comedien ne peut sortir, et des conventions fatales qui r£sultent de la combinaison\ndes moyens d' execution, dont il ne peut s'affranchir. &\nII. 11 n' y a aucune raison de refuser au comedien la liberte d' exprimer les passions, qu'on\naccorde au peintre ou au litterateur, en observant toutefois que cette liberte se trouvera\nforcement contenue dans les limites que la situation materielle du Theatre lui impose.\nIII. L'execution realiste peut £tre saissisante, pour le Public tout entier, ou seulement pour\nun elite, ceci depend de la qualite du Public et aussi de la qualite de T execution. On\npeut cependant affirmer presqu' h coup suir, que pour le Public, le spectacle le plus\nintdressant est celui qui lui donne, sans le blesser par T outrance, la plus exacte\n/\nreproduction de la vdrite. &&&&<&&&&"}, {"page_pdf": 20, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.20", "texte": "BOOK REVIEWS\n\n\" The Story of My Jyife Terry,\nHutchinson & Co. 6j- net. &\nA delightful book, witty and well written;\nthe words well marshalled, but here and\nthere incorrect or conveying an occasional\nwrong impression. &\nHere lies the difficulty in writing about men\nand women,... so different from writing of\nscience, art and trifles of that description.\nOne seldom gives a wrong impression of these\nthings, for these things are ours to give of\nthem what impression we choose. <£? But men\nand women, their thoughts, character, acts,\nare not ours, and no amount of attempted\nexplanation can explain them and we never\ncapture them. Yet we have a knack of sizing\nup a Napoleon or a Plato as if we knew him,\nor ever could know the least hint of him and\nwe feel satisfied that we have drawn a fairly\ngood picture of him. & &>\nMiss Ellen Terry draws for us the picture of\nHenry Irving, gives sketches of other people,\nincluding her son and daughter, and we are\ninclined to believe that she is satisfied that\nthe pictures are likenesses. We are of another\nopinion for the reason stated above.\nMiss Terry prefaces her book by Walt\nWhitman's famous passage, &\n\" When I read the book, the biography\nfamous,\n\" And is this then (said 1) what the author\ncalls a man's life?\n\" And so will some one when I am dead\nand gone write my life ?\n\" (As if any man really knew aught of my\nlife?\n\" Why even I myself often think know\nlittle or nothing of my real life,\n\" Only a few hints, a few diffused faint\nclews and indirections\n\" 1 seek for my own use to trace out here).\n\" As if any man really knew aught of my life!\"\n& Quoting this line Miss Terry renders\nworthless all she writes of other people. It\nsounds like the voice of Irving saying,... \" As\nif any man really knew aught of my life \".\nWhitman's verse was but the prelude to his\nown song of himself and is out of place\nelsewhere. & & &\nI think we are correct in saying that Miss\nTerry, like so many of her predecessors, has\nreceived assistance in the writing of her book.\nThe hands are Esau's, yet somehow the voice\nis often another's. This gives us a slight fee-\nling of insecurity as we read,... insecurity as\nto accuracy. &\nTo this assistant writer we must lay the\nblame of certain inaccurate statements made\nin the book in regard to the work of Mr\nGordon Craig, jg?\nOn Page 326 Miss Terry is supposed to have\nsaid, \" At the Imperial Theatre, where I spent\nmy financially unfortunate season in April\n1903, I gave my son a free hand The last\nthree words are so incorrect that i take this\nopportunity of contradicting the statement\nas emphatically as the Editor of The Mask\nwill permit me to do. &\nA free hand suggests both carte blanche and\na competent management. I am in a position\nto state that Mr Craig had neither of these\nto support him, and that his hands were tied.\nThe management was timid, as is proved by\nthe fact that it took off the play after a very\nshort run which, with competent management\n(I speak here of business management) might\nhave proved an overwhelming commercial\nsuccess. Such an aim would, in Germany,\nhave been instantly supported by a strong\nsyndicate.\nAnother passage on Page 327, which makes\nMiss Terry say that \"my son always consi-\ndered the pictorial side of the scene before\nits dramatic significance \" is entirely mislead-\ning: for those who know Mr Craig as one\nof the few thorough and serious artists, one\nwho stands alone in his art, know that he\ndislikes stage pictures, and that only the Drama\nas a whole claims his attention. He even\nconsiders the actor and actress of minor\nimportance beside the Drama itself. &\nAnother incorrect statement on the same\npage is to the effect that \" the great height\nof the proscenium made his lighting lose all\nits value <£? Perhaps this statement is only\nmisleading on account of the choice of the\nword \"value\". Had \"force\" or \"glare\"\nbeen used, the passage would have had mean-\ning. It is so utterly unlike Miss Terry to\nspeak in this way of her son's work that we\ncan only attribute it to her collaborator. &\nThis assistant was not Mr James Carew.\nThis collaborator has also been careless in\nthe proof-reading, for why should the page\nrelating to Mr Craig's stage work be headed\n\"my son's woodcuts?\" On^page 326, where\nthe woodcuts are spoken of, another error\noccurs. The Walt Whitman head was by no\nmeans the first wood engraving made by Mr\nCraig: obviously no one,... not even Crawhall\nhimself.... could have made such a cut without\nprevious experience.\nThese four errors in two pages concerning\nher son's aim and work are not to be laid\nto the charge of Miss Ellen Terry; but if\nother facts in the book are so distorted,\nit will be a good thing if the second edition\nis carefully revised before it is allowed to\nappear. &\nAlso it may reasonably be asked, what urged\nMiss Terry to omit the words, \"for my own\nuse \" when quoting Walt Whitman's poem at"}, {"page_pdf": 21, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.21", "texte": "the head of her Introduction? If it is a custom\nto cut plays by great authors, need it become\nas usual to cut their poems? Yet the boosk\nwhet e ever we hear the real voice of Ellen\nTerry, is more humorous... courageous... &\ngenerous than many books of the last century.\nRevue Napolieime. Monthly. Rome.\nA n excellent little review containing really\ninteresting articles and conversations on\nand with the great Napoleon. The journal\nis printed in three languages, English, Italian\nand French with occasional illustrations\nwhich add interest to the numbers.\n& That the magazine should exist at all is\nstrange. We hear much today of the\nactor, of the personality of this man and that\nwoman, yet when they are no longer with\nus how little they influence things! This\nlittle journal, the echo of that really great\npersonality, Buonaparte, proves its force,\nActors very often remind us of halfpenny\nNapoleons. In attempting through what they\ncall character and personality to overpower\nall those they come in touch with they\ncreate in those people a kind of amazed\nstupefaction by this assumed strength. Put\nthe actor against any other man and he will\nget the better of him. The other will not\nbe conviced but he will be stupified, and the\nactor, absolutely unconscious of the real\neffect he has created, takes the stupifaction\nfor admiration. <£?\nThere is no doubt about it that the sooner\nthe actor drops the role of a great personality\nthe better for him and his work, for although\nhe assumes the role he cannot carry it out\nto the end. First of all there is not the call\nfor him to be so very \" great \" a man. He\nhas not to deal with kings, continents and\narmies but with the imitation of these things.\nHe is continually pretending to turn other\nkings off their thrones, slaying the usurper\nor becoming betrothed to a Queen of France\nor he is a great Priest overturning religions\nand substituting others, and all this produces\nin him the attitude of a man who holds the\nFate of Europe in his hand. Bat the attitude\nis not enough to qualify him to assume these\nroles off the stage and therefore if his art\nis to be held in reverence the actor's\npersonality off the stage must be an entirely\nunassuming one. He must be as simple as\nany other artist. This quality of sernplicity\nwe often find in the little comedians, who\nof all people on the stage are the least spoilt.\n& But we recommend this review\n\" Napoleonienne \" to the actors, for in it they\ncan see the difference between a great man\nand one who apes a great man.\n\nMAGAZINES RECEIVED &\n\" The Book News Monthly \" Philadelphia, Pa. U.S.A\n\" What's On \", London. \" Le TSmoin\", Paris. £?\nThe Fra \", East Aurora. New York. &\n\" The Bibelot Portland, Maine U. S. A. £> \" The\nPapyrus \", East Orange., New Jersey U. S. A.\n\"Current Literature\" New York. & \"The Studio\",\nLondon. & \" The New York Dramatic Mirror \",\nNew York. <£? \"Ri vista di Roma Iconic. \"Argus \",\nHelsingfors. & \" Die Schaubuhne Berlin. \"II\nTeatro (llustrato \" Milan. & &\n\nFOREIGN NOTES\n\nLONDON\n\nMADAM V VETTE G UIRBERT\nThe event of importance to the theatre here\nhas been the return of Madam Yvettte\nOuilbert. London has not been merely\nenthusiastic: London has begun to under®\nstand:.... and to understand this great woman\nwho links the acting of the Past and the\nFuture by her unique genius is not easy.\nYet Londoners who are always given an easy\nthing to annoy them, and who always return\nthe compliment by taking it easy, have this\ntime proved that the Profound in the Theatre\nis also the Popular.\nThe managers of the Coliseum have been very,\nvery clever to invite Madam Guilbert to sing\nfor their public, for their public is a\nremarkably intellectual and artistic one. It\nis clever of the managers of the Coliseum to\nhave perceived this. It is not their fault that\nan extremely well=built but bad dancer ruins\ntwenty minutes of the programme. The\nSalome Dance and the Cleopatra Dance are\nthe two worst exhibitions, (unless we include\nMiss Allen's) we have ever seen. From\nremarks made by the audience we gather that\nthey endorse our opinion. Vulgarity does not\nappeal to the Coliseum audience: it is no\ngood for a few critics to say it does: it\ndoes not, and Mr Slater's having perceived\nthis proves that he possesses genius.\n\nST AGE ROVERS & &\nHphe youths and maidens of the English stage\nhave not improved in the matter of speaking\npoetry. They invest it with a kind of mock\n=prayer=!ike atmosphere. When a young girl\ntells her stage lover that she is all the world\nto him she suggests that she is thinking of\nthe world and his wife at church, and what\nthey will say when the banns are published.\nAdd to this a kind of tremulous sea sickness\nin voice and appearance, and you have a\npicture of the stage maiden in a love scene.\nThis is awful! awful!! Awful!!! &\nThe young man is no better. He is a young\nhypocrite, not a lover, not a man. He\neffectually pumps up his emotion before our\neyes,... oh, horrible!... and he seems to look\nmore in pity than in love upon the object\nof his choice. The result is an impression of\nsensuality,... sensuality to a degree which only\nthe English actors know how to achieve. &\nThe young people generally paint their faces"}, {"page_pdf": 22, "page_imprimee": "182", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.22", "texte": "very white, and thereby add a horror to an\nalready horrid exhibition. & &\nWhy pale? Why quavering voice? Why this\nsingsong, earnest, mouth-drawn religious\nfervour? A sense of fear strikes the beholder.\nThe man fears the girl, the girl the man; yet\nthey proceed with their parody. & &\nWe offer this advice to stage lovers in\nEngland. Make the voice firm and deep.\nDo not sing or look like a curate. Do not\npretend to be timid ....why should you ?...,\nSmile sometimes,... and try to look as if\nyou were thinking and feeling something.\n\nW 1 L H E E M & & & &\nAt the \"Empire\" Wilhelm shows what a master\nhe is of delicate effects in costume. He arrives\nat a simple and most refined result by the\nexercise of a talent all his own. He is not an\nimitator. A designer of costumes, bred in\nthe theatre, he proclaims clearly the\ndifference between the professional and the\namateur.\n\nCONCERNING ENGLISH AMATEURS.\nG. N.\nnphe Amateur threatens in that whispering\nway of his to meddle with the Theatre.\nHe wants to \" produce \" plays. He lisps his\nanathema upon the Professional Theatre, and\nsays \" his idea \" Is something quite different.\nHe then sets about copying Harker, Wilhelm,\nGordon Craig and Percy Anderson. He is\n(alas!) often a distinguished illustrator of\nchildren's fairy books or a designer and maker\nof stained-glass windows. He has perhaps\nlately made illustrations to a Shakespeare\nplay, and feels that by right of this he may\nclaim kinship with the Theatre. How many\ntimes has it to be repeated that the Theatre\nis not for the amateur: that it is as difficult\na study as the earth has to offer, and that no\none but he who gives his whole life to this\nstudy can hope to bring any light into the\nTheatre.\nIt is an impertinence on the part of these\nexcellent \" designers \" to waste the time of\nthe stage and of the public. A production\nof Shakespeare on the stage is an entirely\ndifferent problem from the illustration of his\nplays in a book. It takes nothing short of a\nlife-time for an artist to learn the limitations\nof the stage, and only a stage manager can\never thoroughly know these limitations. An\nillustrator whose whole charm lies in the\nstrangely sharp quality of his pen work and\nthe faint and delicate washes of colour which\nhe adds to his designs, will give the scene\npainter and costumier a most ungrateful\ntask if he brings such designs for their\nconsideration. & & & &\nMr C. Ricketts, for instance, has lately been\ncasting longing eyes at the stage, and has been\nstudying the results achieved by some of the\ngentlemen above mentioned. His imitations\nare on a level with the imitations of Miss\nMaud Allen. Perhaps admiration of Mr Craig's\nwork has been the cause of this sincerest\nform of flattery,... but this seems no excuse.\nThere is no excuse for the amateur. The\nStage of England has young stage managers,\nscene and costume designers and mechanics\nenough without the intrusion 1of the\noutsider, The young stage of England is\ndeveloping in an unmistakable and remarkable\ndirection, and that by reason of the practical\nknowledge possessed by young fellows who\nare at present unknown, but whose names\nare bound in time to add lustre to the stage\nof this century. & &\nThe Mask must, and no doubt will, keep\nthese young men in remembrance, for The\nMask is the champion of the stage managers\nand the practical workers no less than of the\nartists of the Theatre. If artists are rare in\nthe Theatre, good, practical and hard workers\nneed not be, and inventive stage managers\nshould soon win to good positions, not because\nthey can be affable and echo every word of\nthe actor-manager, (a danger to be avoided\nby practise), but because through practical\nknowledge they can stand their ground and\nbe of incalculable value to the actor-manager,\nwho learns to respect them. When these\nyoung stage managers shall have thoroughly\nproved their capabilities there will be fewer\nactor-stage-managers. & &\nBut, alas!, this will never prevent that\ndisastrous growth the amateur stage manager.\nHe goes on growing in the British Isles,... a\nnervous flabby growth, incapable of either\nart ideas or practical ideas, but ever full of\nthe large sounding words, * Ideas', 'Grandeur',\n'Nature',., words which, on his lips, prove \"easy\nlike the wind \",..eand nothing more.\n\nEDITORIAL NOTES\n\nJs Realism illegal? Should it, when carried\nso far as violence, be prevented by law?\nCertainly, by all the laws of taste.\nOnly the other day the Realism of the stage\nproved again its dangerous power. It is\nreported that. 44 While Desdemona was being\n44 strangled during a performance of44 Othello \"\n44 at a theatre in Luebeck, a man rose in the\n44 pit, his face purple with rage, and aimed a\n44 revolver at Othello. After he had been\n44 disarmed he explained that he had come\n44 to the theatre for the first time in his life,\n44 and was possessed of too chivalrous a\n44 spirit to see a woman murdered before his\n44 eyes."}, {"page_pdf": 23, "page_imprimee": "183", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.23", "texte": "The danger is not evident at first sight: it\nis none the less clearly inferred. The sudden\ndeath of a bad actor or two would be nothing\nto alarm us. On the oih?r hand, the slow\nbut deadly influence upon the audience which\nis exercised by the exhibition of deeds of\nviolence realistically represented is a very\ndecided danger. It is a danger just because\nit no longer terrifies us as it should do. We\nare no longer alive to or convinced of the\nhorror of it. If we were convinced we should\nrise from our seats and endeavour to prevent\nthe violence or revenge the victim.\nBut we do nothing so healthy. No, we sit\nstill and comfortable in our rather expensive\nstall or dress circle seat and enjoy the tragedy\nimmensely. There lies the danger.\n44 Well but, we are not children \"....44 Whoever\ntakes scenes of violence seriously? \"....44 Who\nwants to be convinced of the horror of such\nthings?\" These and numerous other quick\nand thoughtless retorts pour out of the\nmouths of the horror=lovers. &\n44 But we are not horror lovers \". Then you\nare worse. You are merely professed horror\nhaters bored to death by that which you\nprofess to detest. Or perhaps you are not\neven so serious as that. You sit in the stalls in\nfull view of the rest of the house, and as they\nsee you accepting the murders, seductions,\ntreacheries and all the other brutalities as a\nmatter of course they sit still and say nothing.\nSeldom is any member in the cheaper seats\ncarried away so far as to raise his revolver,\nor even to utter a shriek. Men and women\nalike follow the example set them by those\nwho sit in the better parts of the house: they\nrefuse to be moved by the spectacle, and they\nquiet their nerves by saying, 44 How well he's\npretending to do it!\"\nWhat? Does anyone protest against this view?\nDoes anyone hold that the audience is moved?\nWe say again that they are not moved. If they\nwere moved how could they keep their seats\nbefore such scenes? How prevent themselves\nfrom leaping upon the stage and destroying\nlago and saving Othello from the awful\ntragedy ? Moved ? indeed they are not moved.\nTheir nerves are tickled, no more,.... and that\nis the danger. & & & &\nDy the way, what a lovely man Mr Frank\nLea Short must bel He wants a play,\nand he advertises for it quite simply. As he\nis evidently a believer in advertisement there\nis no reason why we should not give him\none free of charge. Here is his style. The\nsize of the type used by him in the American\nJournal is too large to get into this column\nso a reduction must serve the purpose. Now\nfor it!\nATTENTION! AUTHORS 11\nI WANT A GOOD PLAY\nFOR PRODUCTION IN NEW YORK\nNo restrictions, providing the play is good.\nEvery manuscript submitted will be carefully\nread and considered. & &\nFRANK LEA SHORT, 133 West 45th Street,\nNew York. & jg?\n& No, but isn't it tremendous? Especially\nthe \"Attention! Authors!!\" And isn't it rather\ndashing to Messrs Pinero, Jones, Grundy,\nShaw and the others who, whatever else\nthey can't do, can write good plays,.... do\nwrite them; ...plays which Mr Short may, we\nsuppose, procure for production if he likes.\nBut to go about procuring a good Play in the\nwrong way,.... and such a wrong way, is\ndelicious. &\nthink Mr Baughan misunderstands Mr\nTree, and we are sure Mr Baughan\nmisunderstands Mr Craig. Writing of these\ntwo he says: jgr & &\n44 Possibly a good deal has been written on the\n44 aesthetics of stage scenery, but the\n44 productions of our stage recognise no\n44 aesthetic canons. On the one hand, we have\n44 the lavish magnificence of His Majesty's\n44 Theatre, which attempts to carry out what\n44 has been shabbily done for years, and is\n44 not a new thing; on the other, there are\n44 the experiments of Mr. Gordon Craig, whose\n44 obsession it is to produce schemes of colour\n44 and line which often dwarf the players in\n44 a quaint manner. Mr Gordon Craig views\n44 his stage as so much material for his designs,\n44 and I contend that is wrong, for the players\n44 are of the first importance. His experiments\n44 have this merit, however. They do not\n44 bring to our notice by emphasis that scenery\n44 at its best is but a flimsy make=believe.\n44 Tliatj I take it, should be the basis of any\n44 aesthetic consideration of the subject\".\nThis is warranted to give an entirely\nerroneous idea to the public; it is really\nguaranteed to do a great deal of mischief.\nWhat we want in a critic is that, at any rate,\nhe may be quite sure of his facts. How is\nMr Baughan sure that His Majesty's Theatre\nattempts to carry out with lavish magnificence\nwhat has been shabbily done for years! &\nHow does Mr Baughan know that Mr Craig's\naim is to produce schemes of color and line\nor that Mr Craig views his stage as so much\nmaterial for designs? Surely, if, as Pope says,\n44 The proper study of mankind is Man,\" then\nthe proper study of the critic should be the\nartist, and this is what Mr Baughan does not\nseem to have begun to do. &\nHis statement about Mr Craig is wrong from\nbeginning to end. <€*&&>&■\nWhy should this first=class critic be content\nto open his interesting Essay with a false\nstatement, when by making enquiries in the\nright quarters, he could have ascertained what\nMr Craig's views are, or what his aim is?\n& Mr Baughan is at perfect liberty to state,\nas he does a little further on, that the\nappearance of reality must be the first object\nof a dramatic representation, although most\nartists would disagree with him entirely on\nthis point; still, he is giving his opinion, and\nthat must interest us all. But when he\nmisstates the opinions of artists, he over»steps\nall <£? & & &"}, {"page_pdf": 24, "page_imprimee": "184", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.24", "texte": "A critic should be more careful than to do\nsuch a thing, and we feel very decidedly that\na critic should confine himself to one of two\nthings: he should either write about the\ntheory of the art, or, he should write about\nthe theatre as it is to-day, accepting its\nvulgarities as things not to be avoided, and\ntaking a decided stand in favor of the modern\ntheatre as it is. But to be neither a theory\nstudent of the art nor to be a thorough\nstudent of the modern theatre puts a critic\nin an awkard position from which, in time,\nhe will not be able to extricate himself. &\nWe have heard it said that a critic is not often\nallowed to write all he would, and it is implied\nby this that his best is with=held from us. But,\nis not this a little bit of an excuse? What\nEditor ever refused a brilliant criticism ?\nwhat critic was ever rejected for taking up\na definite position ?\nWe should that Mr Baughan could, with great\nadvantage to himself, spend two years\nstudying Mr Tree's work at His Majesty's\nTheatre. He would then learn the difficulties\nwhich beset the modern theatre and he would\nthen perhaps understand, He would have\nto study it from the stage itself and not from\nthe front of the house. & &\nThere is less excuse for Mr Baughan making\nmistakes about Mr Craig's works, for if he\nlikes he can read what Mr Craig has written\nand whenever he chooses to do so; he will\nthen have no excuse for making further mis=\nstatements as to Mr. Craig's intention in\nhis art. & &\n\nSCHOLARSHIPS ON PROHIBITIVE\nTERMS. & & &\nOn the face of it seems as thought Mr Lee\nSchubert must have the interests of his\nprofession seriously at heart, for we learn that\n\" to stimulate interest in dramatic art among\nthe younger members of the profession\" he\nhas decided to establish two prizes which are\nto take the form of yearly scholarships at\nthe Theatre in Paris and will be\nawarded at the end of each season to \" the\nmost deserviug actor and actress in the\nSchubert Dramatic Company.\"\nThis seems quite an excellent proposal at first\nsight and highly to Mr Schubert's credit; but\nlet us reserve our judgment while we listen\nto the terms.\nFirst, \"the candidate must be between the\nages of twenty and thirty \"; that is to say,\ntalent before twenty cannot be recognised ;\ntalent after thirty must \"abandon hope \". But\nwhy \" between twenty and thirty \". Have not\ninnumerable artists evinced very remarkable\npowers before that date, or, developing more\ntardily, shown but a small proportion until\nafter it ? Rachel was famous at seventeen ;\nIrving was, we believe, past thirty before he\nattained distinction in his work.\nAgain, \"they must have a speaking role of\nsome importance, but no stars or players\nwho are * featured' will be admitted to the\ncompetition \". Thus we see that, having eli»\ninitiated a large number by his age limit,\nMr Schubert further narrows down the\npossible candidates by cutting out all who\nhave,... it is to be assumed by a marked\ndisplay of talent.... worked their way forward\nto the honourable position of 44 stars \". But\nof course, the reward of being 4 featured '\nshould be of itself sufficient without that\nadditional prize of a year in Paris at the\nTheatre &\nHaving thus clearly laid down the limits of\nthe class which may dare to aspire to his\nscholarships, Mr Schubert goes on to explain\nwhat will be required of those on whom the\nfinal choice shall fall. & &\nThey will be sent abroad for a whole year,\nand, besides studying at the Theatre\n44 they will he expected to gain a knowledge\nof the drama in such centres as London,\nBerlin and Vienna ». The italics are ours.\nThe threat contained in this paragraph is\nterrible. How on earth is a poor devil of a\nyoung actor of twenty or thirty to gain this\nknowledge in these cities ? He is far more\nlikely to gain it in the Plains of America or\nin the forests of Africa; in fact, our opinion\nis that he will gain it anywhere more easily\nthan in London, Berlin or Vienna where\nliberty of thought is not permitted to the\nyoung artist.\nMr Schubert may 44 expect \" him to gain this\nknowledge, but as to realisation of his\nexpectations we have the gravest doubts. &\nThen in his last condition Mr Schubert shows\na prudence and caution worthy of the\nbusiness manager.\nFearing lest, while his chosen scholars are\nseeking a knowledge of the drama in foreign\ncountries, the directors of the drama in those\ncountries should have too appreciative an eye\nto their budding genius, he insists that the\nwinners shall44 sign a five years contract with\nthe Schuberts before leaving\nOh, wise Mr Schubert: The bunch of carrots\nwhich you dangle will attract, we believe,\njust that race to which carrots are proverbially\nmost attractive, for the wise men and the\nartists know better than to accept carrots,...\nor scholarships ....on prohibitive terms. &\n\nTHE MASK A- THE ARCHITECT\nWe wish to take this opportunity of publicly\nacknowledging the great kindness and\ncourtesy of the Publishers of The Architect,\nin allowing us to reprint the series of\ninteresting and valuable articles on the\nScenery and Costume of Shakespeare's Plays\nby the late Mr E. W. Godwin, of which series\nthey hold the copyright. From The Mask\nto The Architect, very many thanks! &\n\n& ALL RIGHTS RESERVED & &\nGERENTE RESPONSABILE, GINO DUCCI &"}, {"page_pdf": 25, "page_imprimee": "185", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.25", "texte": "AMONG THE WRITERS & ARTISTS CONTRIBUTING TO \" THE MASK » ARE\nJOHN BALANCE £r 1VO HAUPTMANN 0 WOLFE PLANKS\nCARL BEHRENS .£> ALEXANDER HEVESI WILLEM ROYAARDS\nRUPERT BROOKE & H. von HOFMANNSTHAL WILL ROTHENSTEIN\nALLEN CAR R 1 JAN van HOLT OTTO RUNQ JZ>\nQUNNAR CASTREN EDWARD HUTTON 0 L. DE S. SCHILLER\nGORDON CRAIG 0 ANDREAS JYNGE 0 RUDOLPH SCHMERZ £>\nJ. PAUL COOPER jp ELLEN KEY MARTIN SHAW\nISADORA DUNCAN 0 JAN KLAASSEN ;Z> ELLEN TERRY j0\nA. FRIEDE N TH A L & FRITZ LAPIDOTH & E. THESLEFF £r £>\nLOUIS FULEP 0 D. NEVILE LEES 0 JAN C. de VOS\nADOLF FURST 0 M. LYKIARDOPOU LOS PHILIP WAHLSTROM\nJULIUSZ GERMAN & HALDANE MACFALL H. WILSON. & 0\nYVETTE GUILBERT C.NICHOLSON 0 & HELEN ZIMMERN &\nMARTIN HARVEY JEAN JACQUES OLIVIER\n■maiuwMmiiimrwiaw minimi! iimii mm —\n\"THE MASK\" HAS CORRESPONDENTS IN THE FOLLOWING CITIES\nAMSTERDAM & THE HAGUE J? ROME £> £> &\nBERLIN & & HELSINGFORS & SAN FRANCISCO\nBUDA P E S Tj& LONDON & & STOCKHOLM &\nCOPENHAGEN MADRID & j& VIENNA & &\nDRESDEN & & & MUNCHEN & j& JZ> WARSAW & & J&\nDUBLIN us? PARIS & & & WEIMAR & j&\n& PHILADELPHIA &\nYFAPIY \\ England, 16 Shillings | Italy, 17 Lire, )\nSUBSCRIPTION i German Marks | Russia 8 Roubles > POST FREE\nf America, 4 Dollars § France 20 Francs. J\nSIGN AND TEAR OFF THIS ORDER FORM\nOvC<• , . . ..\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\n\nBaa"}, {"page_pdf": 26, "page_imprimee": "186", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.26", "texte": "THE WOOD ENGRAVERS of San LEONARDO\nEX L1BRIS Are y\nIf you are you will desire that which can add to the beauty\n& completeness of your Books, & cannot do without A BOOK\nPLATE. In design your Book Plate must be grave yet charming, for its\nduty is to act as watchman at the doors of all books, whether religious or profane.\nIf you would possess such a Book Plate, simple, charming and distinguished, write\nto the Wood Engravers of San Leonardo, directing your lettei to them at the\nARENA GOLDON1 — VIA DEI SERRAGLI — FLORENCE (ITALY) and\nyou will receive all the information you desire. & jg/\nPUBLISHERS MARKS, LETTER PAPER HEADINGS, THEATRE PROGRAMMES AND\nSOUVENIRS; EXHIBITION CATALOGUES, CHRISTMAS AND NEW YEAR CARDS DESIGNED\nAND PRINTED BY US.\namxrajBeesraaaaLSgai\nWe do not make any attempt to compete with the cheap, popular and hastily made\ndesigns which may be obtained by the crowd: our designs are engraved by hand\non picked box=wood, and printed on our hand=press on specially selected papers obtained\nfrom Holland and England. From the first design to the last print the work is\nexecuted and supervised by artists, and therefore art=lovers may be confident that,\nin sending their commissions to us, they are ensuring a work which shall\nbe as careful in its execution as beautiful and distinguished in its design.\nTHE WOOD ENGRAVERS OF SAN LEONARDO. & &\nARENA GOLDONI - VIA DEI SERRAGEI - FLORENCE - ITALY.\n\nA PORTFOLIO OF ETCHINGS. &\n& By 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 x 15 2/3 ctms. The price for a portfolio will be L. 16 . o . o, (400 Francs or 320 Marks),\nnphese etchings were made by the artist in the Spring of 1907 at Florence, and represent\nhis most serious work. Connected as they are with his dream of an Ideal Theatre, they\nin no way have anything in common with the modern stage.\n\" Movement\", writes Mr Craig, \" was at the roots of the Ancient Theatre and will ever\n\" remain the very Essence of the Art. &\n\" We must translate Movement through the medium of inanimate forms and thereby produce\n\"once more an Impersonal Art which, shall take its place by the side of its two sister\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": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.27", "texte": "LIBRAIRIE ANCIENNE\nT. DE MARINIS & Co. 5 Via Vecchietti - FIRENZE\n2E3\nIS\ncswBcr\nVaihu\nuwi\nnnr\nvn\nit\nm\n5JL\nas\n\\\\u\n• *«\ni\nIV\n-V- ••'\n111\n•••\n• •\n-a\n••« $»\n•in\nI Ml\nIII\n01\nIt*\nMl\nu\n/£\nNC\n1\nJLIU!\nMil\nMil\n00\n'»»\nIII!\nt\n0 0\nin*\nM\n£INJ\niTol\nm\naan\n111\nin\nit\nli\nIIMI\nji: 1100 ll\n■ e\n• I\nIS t f\n111'i\n1*\nOf\n310\n<u\nlllll\na.\nin\n£\n••••*\nu\nnil*\n\"■'■li ny\nfit\nWu\nOca\ntvlt\nrvXTLTTU\nOO\n»t\nKM\n• ii ••\nrtruv\nFine Collection of MSS,, Incunabula, rate and curious books XV-XIX cent.\nIllustrated Catalogues free on application.\n\nALMANACK FOR\nARCHITECTURE\na\nGlSlG1t51151GlEI01EaBl.SliasU51E113EIE113\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. 33\n* BOOKS ANCIENT AND MODERN *\n\nNEW YORK DRAMATIC\nMIRROR\nThe oldest and most reliable American\ntheatrical paper, published every week\nat 121 West 42nd Street. New York, U.S.A.\n& Sample, copies on request free of\ncharge. Foreign subscriptions 5.50 Dollars\none year; 1.70 Dollars three months.\n\nEDITION DE LUXE.\nSPECIAL NOTICE TOBOOKLOVERS\n15 copies of \" The Mask \" will be printed\nMonthly upon a yellow hand®made deckle-\nedged paper identical in appearance and\ntexture with that made in the same district\nof Fabriano in the year 1315. This edition\nwill contain Etchings and other prints\nsigned by the artist, which will not be\nincluded in the popular edition. &\nYearly subscription: England, L. 3.5.0 Post Free\n„ ,, „ Germany, Marks 67,00 „ ,,\n„ ,, ,, America Dollars 16.00 „ ,,\nh »* »» Italy Lire 82.00 ,,\n„ Russia Roubles 3000 „ „"}, {"page_pdf": 28, "page_imprimee": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190811-01.1.28", "texte": "& Printed for the Proprietor by E. Morandl, Tlpografla Bodonlana, Via Pintle Florence, and published at The Office\nS> Borgo S. Jacopo. & & & & &\n\nANTONIO FRILLI\nPURVEYOR TO io\nIMPERIAL & ROYAL\nFAMILIES £>\nThe largest Establishment of Sculpture in\nMarble Reproductions from the Antique\n& Original Works. Portraits. 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