{"numero_id": "bm-bmtnaau-1910-01-01", "volume": "bmtnaau_1910-01_01", "ocr_sha256": "3c8420b859d4376d88aa6fe0bffaa88e75dd9d05bb50b193597dd461bd6a8c04", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1910/01_01/bmtnaau_1910-01_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1910/01_01/bmtnaau_1910-01_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01", "articles": [{"article_id": "bm-bmtnaau-1910-01-01-c002", "article_bluemountain": "bmtnaau_1910-01_01#c002", "volume": "bmtnaau_1910-01_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=bmtnaau191001-01.2.2", "titre_corps": "LITERARY CONTENTS", "titre_sommaire": "LITERARY CONTENTS", "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=bmtnaau191001-01.1.2", "debut_caractere": 0, "fin_caractere_exclue": 612, "texte": "LITERARY CONTENTS.\nSUGGESTIONS FOR ESTABLISHING AN ENGLISH ART THEATRE by J. R. PLANCHE. 1879 J*\nDECORATION ON THE STAGE AND THE USE OF MASKS, from A. W. SCHLEGEL'S\n\"DRAMATIC ART AND ART OF THE THEATRE: THE SECOND DIALOGUE\nby GORDON CRAIG. & \" THE ARCHITECTURE AND COSTUME OF ANTONY AND CLEOPATRA\nby E. W. GODWIN, REPRINTED FROM THE \" ARCHITECT \" 0 TWO STAGE CHARACTERS\nby GILBERT k BECKET THE ENGLISH VOICE by ALLEN CARRIC. & VENETIAN\nCOSTUME FROM THE BOOK OF CESARE VECELLIO TRANSLATED by D. NEVILE LEES.\nROARS OF LAUGHTER by JAN VAN HOLT. BOOK REVIEWS. CRITICS CRITICISED. j0\nFOREIGN NOTES. 0 EDITORIAL NOTES."}]}, {"article_id": "bm-bmtnaau-1910-01-01-c003", "article_bluemountain": "bmtnaau_1910-01_01#c003", "volume": "bmtnaau_1910-01_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=bmtnaau191001-01.2.3", "titre_corps": "ILLUSTRATIONS", "titre_sommaire": "ILLUSTRATIONS", "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=bmtnaau191001-01.1.2", "debut_caractere": 614, "fin_caractere_exclue": 1062, "texte": "ILLUSTRATIONS.\nA FLORENTINE WOOD ENGRAVING FROM THE STORY OF UBERTO AND FILOMENA. &\nTHE STAGE PRINCE AND THE STAGE PEASANT by GEORGE CRUICKSHANK. 0 SOME\nSTAGE ROYALTIES by CHARLES BORROW & FOUR VENETIAN COSTUME DESIGNS by\nCESARE VECELLIO. - A SCENE FROM THE SACRA RAPPRESENTAZIONE OF JOSEPH AND\nHIS BRETHEREN. - HEAD AND TAIL PIECES AND INITIAL LETTERS FROM OLD ITALIAN\nDESIGNS, AND DESIGNS BY GORDON CRAIG, JULIUS OLIVER, AND CHARLES BORROW."}]}, {"article_id": "bm-bmtnaau-1910-01-01-c004", "article_bluemountain": "bmtnaau_1910-01_01#c004", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[100]", "page_fin": "[100]", "image_debut": 4, "image_fin": 4, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.2.4", "titre_corps": "An early Florentine Wood Engraving from the story of Uberto and Filomesa", "titre_sommaire": "An early Florentine Wood Engraving from the story of Uberto and Filomesa", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "[100]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 73, "texte": "An early Florentine Wood Engraving from the story of Uberto and Filomesa."}]}, {"article_id": "bm-bmtnaau-1910-01-01-c005", "article_bluemountain": "bmtnaau_1910-01_01#c005", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "101", "page_fin": "103", "image_debut": 5, "image_fin": 7, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.2.5", "titre_corps": "SUGGESTIONS FOR ESTABLISHING AN ENGLISH ART THEATRE", "titre_sommaire": "SUGGESTIONS FOR ESTABLISHING AN ENGLISH ART THEATRE", "signature_source": "J. R. Planché", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "101", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.5", "debut_caractere": 0, "fin_caractere_exclue": 4405, "texte": "The objects.\nAnnual\nSubscriptions\nThe expense.\n\nSUGGESTIONS FOR ESTABLISHING\nAN ENGLISH ART THEATRE\nby J. R. P1anché; Somerset Herald, 1879.\n(0\nhe desirability of the establishment of a theatre in London '* not wholly\ncontrolled by the predominant taste of the public\" was eloquently\nadvocated by Mr. George Godwin, editor of the Builder, in his speech\nas chairman of a meeting of the Society for the Encouragement of the\nFine Arts, at their rooms in Conduit-street, when the late Dr. Doran\ndelivered his lecture, \" For and against Shakspeare,\" and the question\nthen mooted has since been unanimously answered in the affirmative at\nthe Social Science Congress at Cheltenham, where Mr Godwin repro-\nduced his arguments, strengthened by the cordial support of Mr. Henry Irving, Mr. Hermann\nVezin, and several others eminently qualified to pronounce their opinions on the subject.\n& A considerable number of gentlemen, wellwishers to the cause, including many of the\ntheatrical profession, having both publicly and privately expressed their approval of the main\nobject of the movement, the views of some of the original promoters of it are now formu-\nlated for the consideration of all who are interested in its success. & &\nJ£? In the first place, it is necessary to declare as explicitly as possible that no rivalry or\ncompetition is contemplated with any existing establishment, the objects of the direction\nof the proposed theatre being strictly limited 2... .1. To the restoration to the stage of the\nmasterpieces of the great dramatists of the last three centuries, which with some very few\nexceptions have been either wholly neglected or spasmodically revived by modern managers,\nand are unknown to the present generation of playgoers. 2. The production of original\nplays of the highest class, which for commercial or other reasons have, notwithstanding\ntheir intrinsic merit, been unable to obtain representation. And 3. The general cultivation\nand encouragement of histrionic art and the welfare and respectability of its professors.\nIt is believed that these objects can only be attained by the foundation of a theatre on the\nmodel of the Th&itre at Paris ;but it is almost hopeless to expect that, although\nthousands upon thousands are annually voted by our Parliament for the support of acade-\nmies, museums, schoolboards, and other institutions connected with art and education, it\nwould sanction the appropriation of the smallest subsidy in aid of an art in which are com-\nbined the graces of all the others, and of a school which for educational purposes surpasses\nany as yet existing. & <£>&&£?&&&&\n& In default, therefore, of such assistance from Government, at any rate at present, as is\nafforded to the National Theatre in France, the stability of a National Theatre in England\nmust be assured by annual subscriptions amounting to a sum sufficient to cover the natural\nexpenses, and guarantee the direction from loss and the company from a calamity of\ntoo-frequent occurrence,....the choice between taking half-salaries and a sudden termi-\nnation of their engagements, perhaps in the very middle of the season. & &\n& As the raising of such a fund is necessarily the first step to be taken, and as unless sa-\ntisfactorily effected the project must fall to the ground, it may be held useless to enter\ninto an explanation of the mode in which it is suggested the fund should be employed and\nthe theatre conducted; at the same time it is obvious that without some information on\nthose subjects it would be idle to expect any one to subscribe. The following propositions,\nembodying the principal points of the scheme, are therefore respectfully submitted to the\npublic for consideration.\n& It is estimated that the sum of L. 20,000 would be amply sufficient to cover the whole\nexpenses of a season of eight months, or, more strictly speaking, thirty-two weeks, com-\nmencing at the end of October and terminating at the end of June. This estimate is for-\nmed on the rough calculation that the total average daily expenditure would not exceed L100\nor L600 weekly (L 19,300) at starting, that expense being naturally reduced by the gradual\nincrease of scenery, dresses, and decorations available in future seasons, the original cost\n\n(1) This pamphlet, which we believe will be of interest to our readers in view of the proposed establishment of an English National\nTheatre, was published in 1879."}, {"page_pdf": 6, "page_imprimee": "102", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 4623, "texte": "of which must be defrayed during the preceding, and would eventually constitute a valuable\nproperty.\nj& The subscribers to this fund to be considered proprietors, who should have a first charge\non the receipts of the theatre of 3 per cent, per annum interest on the amount of the sums\nindividually subscribed, and in whom should be vested the property of every description\nbelonging to the theatre, before or behind the curtain. They should have power to ap-\npoint the treasurer of the theatre and box-office keeper, and be legally secured against any\nresponsibility beyond the amount of their original subscription. Their privilege to be\nlimited to their personal free admission to any part of the house before the curtain,\nthey except the private boxes with the liberty of securing a seat In advance of the perform-\nance.\n& Assuming the sum raised, the next step would be the possession of a theatre the audi-\ntorium of which was capable of accommodating without inconvenience, at moderate prices\n(say, stalls, 7s.; lower boxes, 5s.; upper ditto, 3spit, 2s.; and gallery, is.), a sufficient\nnumber of persons to produce a receipt of not less than L250 per representation, at periods\nof special attraction, exclusive of private boxes, the number of which would have to be\nregulated according to the construction of the theatre. & & &\ngeneral control of the theatre to be exercised by a board of directors, say seven in\nnumber, none of whom should be either dramatists or actors, but men of acknowledged\neminence In literature and art, and whose names and character would be a sufficient as-\nsurance to the public that their councils would be guided by sound judgment, cultivated\ntaste, and strict impartiality. Their services should be gratuitous. Their privileges, the\nappointment of the acting manager, free access at all times to every part of the house, and\na commodious private box for theis joint occupancy, but not for disposal. & &\nThe acting manager to be entrusted with the formation of the company, the appointment\nof the stage-manager aud his subordinates, the heads, of the scenic and mechanical de-\npartments, the master and mistress of the wardrobe, and the musical director, all salaries\nbeing submitted to the board of directors for sanction previously to the signature of an\nengagement.\n& The acting manager to select the plays for representation (the board of directors having\nthe power of veto), and to decide on the days for their production and repetition. Also to\nmake out \" the bill of the play, \" which should contain simply the title of the piece, the\nname of the author, the distribution of the characters, the time of performance, and the\nprices of admission, or other necessary information. & & & & &\n& With respect to the time of performance, independently of the rapidly-increasing favour\nwith which morning, or more correctly speaking, afternoon representations appear to be\nregarded by the public, there are many and very important advantages attending such a\npractice, which induce the promoters strongly to recommend its adoption by the directors\nof a National Theatre. First of all; the inestimable one of the actor, whose, daily labour\nterminates at an early hour in the evening, leaving the remainder of it to be devoted by\nhim to repose, recreation, or study according to his inclinations, and affording him valuable\nopportunities of visiting other theatres aud witnessing the impersonations of the most dis-\ntinguished artists, English or foreign. To the public the advantages are equally conside-\nrable. The hours from three to six p.m. are specially those which are most at the disposal\nof tho fashionable world, and for all classes the convenience of morning dress, particularly\nin bad weather, the liberty obtained for social or domestic enjoyment in the evening, and\nthe ability to reach even a distant home without the risk of \" missing the last train,\nespecially when accompanied by children,....an anxiety which not only detracts from the\npleasure of the spectators, but constantly compels large parties to rise and hurry from\ntheir seats before the fall of the curtain, to the great annoyance of both actors and audience,\nas well as regret to themselves.... must surely be obvious to very one. Nor should we omit\nto call attention to the profit derivable from the occasional letting of the Theatre in the\nevening for concerts, lectures, &c. Still this is a point which would remain open for\n«s> & & & & & * & &\n& It now only remains for us to suggest the mode by which the subscriptions and receipts\nshould be apportioned for the general benefit of the institution. & & & &"}, {"page_pdf": 6, "page_imprimee": "102", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.6", "debut_caractere": 4652, "fin_caractere_exclue": 4701, "texte": "The Direction.\n& The perfor-\nmance.\nUse of Funds."}, {"page_pdf": 7, "page_imprimee": "103", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.7", "debut_caractere": 29, "fin_caractere_exclue": 4195, "texte": "Salaries, JP\n&o m e\npropositions.\n\nTaking the aforesaid estimate of the weekly expenses as fairly correct, the first sum to\nbe provided would be the interest on th L2o,ooo subscribed, amounting to L600, which, for\nhe fbetter security of the proprietors, it is proposed should be taken from the receipts\nat the doors daily. Excluding Passion-week, Ash-Wednesday, and say four o five days\nbefore Christmas, the number of play-days in the season would amount to 180, and the\ndeduction to about L20 per week, which must be regarded as rent. &\njg? We now come to the working expenses of the establishment, the largest portion of which\nwould of course be the salaries of the company and its officers. Here we arrive at a point\non which there will probably be more difference of opinion than any other. It being\nimpracticable, in the first instance, to place the actors engaged in this projected theatre\nin a relative position to the Membres Societaires of the Thg&tre the question\ntishow nearly we can enable them to approach it beneficially, both as affects their pecu-\nniary and professional interests.\n& As it is the avowed intention to avoid to the extent of their power any cause for the\nhostility of contemporary managements by competition with them in the market for the\nservices of popular artists the promoters suggest that the highest salary should not ex-\nceed L25 or L30 per week. Actors and actresses who, in consequence of their individual\nattraction, can and do command double such sums, are not expected to reduce their terms\nfor the love of art or the cultivation of it in others. The principal object of the national\ntheatre is the education of the profession as much as that of the public, and its promoters\nconfidently believe that there are hundreds on the netropolitan and provincial stages who\nonly require the opportunity, under judicious guidance, to develop the latent genius that\nis smouldering in their souls. Every day the list is increasing of young and intelligent\nwomen and men who have attracted the notice of the press and the experienced playgoer;\nand independently of them; the list of supporters of a proposed national theatre includes\nmembers who have already won their spurs as far as it has been possible for them to do\nso in the class of characters to the interpretation of which they have been limited, and\nwhich, whatever their merits, are not to be named in comparison with those in the standard\ndrama of this country which they have the laudable ambition to prove they are worthy to\niillustrate.\n& To them and all who are inclined to volunteer in this \"forlorn hope,\" as some consider\nt, of the English stage, the following propositions founded on the usages of the \" Theatre\n\" are offered for their consideration. As no play, however attractive, would be\nrepeated any number of days consecutively, the same principal performers would not be\ncalled upon to appear more than twice or three times in the week. If, however, any o\nthem should be required to strengthen the cast of pieces performed on alternate days, they\nwould in addition to their fixed salary receive a stipulated sum per diem, on the principle\nof the French theatre, known therein as their \" feu \" j and it is also suggested that the\nmembers should have a beneficial interest in the succcess of the institution by a distribution\namongst them of one-third of any profits resulting from It in the shape of a percentage\naccording to the annual amount of their fixed salary; the other two-thirds being appro-\npriated, one to a fund to be called the directors' fund, to provide for casualties or extra-\nneous expenses, and the other to the formation of a fund for the gradual paying-off of the\nsubscribing proprietors, with a view to eventually transferring the entire property of the\ntheatre to the members for their sole use and benefit. & &\nIt is unnecessary here to enter into details affecting minor thongh not less important\narrangements, as they must depend upon the adoption or modification of the above pro-\ngramme, which is respectfully submitted to the provisional committee, which has been\nalready formed, and to all well-wishers to the movement. & & & &"}]}, {"article_id": "bm-bmtnaau-1910-01-01-c008", "article_bluemountain": "bmtnaau_1910-01_01#c008", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "104", "page_fin": "104", "image_debut": 8, "image_fin": 8, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.2.6", "titre_corps": "DECORATION ON THE STAGE", "titre_sommaire": "DECORATION ON THE STAGE", "signature_source": "A. W. Schlegel", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 8, "page_imprimee": "104", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.8", "debut_caractere": 0, "fin_caractere_exclue": 1889, "texte": "DECORATION ON THE STAGE.\nA. W. Schlegel. Dramatic Art and Literature.\nQur system of decoration was properly invented for the opera, to which it is also in reality\nbest adapted, It has several unavoidable defects; others which certainly may be, but\nseldom are avoided.\nAmong the inevitable defects I reckon the breaking of the lines in the side scenes from\nevery point of view except one ; the disproportion between the size of the player when he\nappears in the background, and the objects as diminished in the perspective; the unfa*\nvourable lighting from below and behind; the contrast between the painted and the actual\nlights and shades; the impossibility of narrowing the stage at pleasure, so that the inside\nof a palace and a hut have the same length and breadth, etc.\nThe errors which may be avoided are, want of simplicity and of great and reposing\nmasses; overloading the scenery with superfluous and distracting objects, either from the\npainter being desirous of showing his strength in perspective, or not knowing how other*\nwise to fill up the space; an architecture full of mannerism, often altogether unconnected,\nnay, even at variance with possibility, coloured in a motley manner which resembles no\nspecies of stone in the world.\nMost scene»painters owe their success entirely to the spectator's ignorance of the arts\nof design; I have often seen a whole pit enchanted with a decoration from which the eye\nof skill must have turned away with disgust, and in whose place a plain green wall would\nhave been infinitely better. A vitiated taste for splendour of decoration and magnificence\nof dress, has rendered the arrangement of the theatre a complicated and expensive business,\nwhence it frequently happens that the main requisites, good pieces and good players, are\nconsidered as secondary matters; but this is an inconvenience which it is here unnecessary\nto mention, & &"}]}, {"article_id": "bm-bmtnaau-1910-01-01-c009", "article_bluemountain": "bmtnaau_1910-01_01#c009", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "104", "page_fin": "104", "image_debut": 8, "image_fin": 8, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.2.7", "titre_corps": "ON THE USE OF MASKS", "titre_sommaire": "ON THE USE OF MASKS", "signature_source": "A. W. Schlegel", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 8, "page_imprimee": "104", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.8", "debut_caractere": 1891, "fin_caractere_exclue": 3414, "texte": "ON THE USE OF MASKS.\nA. W. Schlegel. Dramatic Art and Literature.\ntragical imitation of the ancients was altogether ideal and rythmical; and in forming\na judgement of It, we must always keep this in view. It was ideal, in so far as it aimed\nat the highest grace and dignity; and rythmical, insomuch as the gestures and inflections\nof voice were more solemnly measured than in real life.\nAs the statuary of the Greeks, setting out, with almost scientific strictness, with the\nmost general conception, sought to embody it again in various general characters which\nwere gradually invested with the charms of life, so that the individual was the last thing\nto which they descended ; in like manner in the mimetic art, they began with the idea\n(the delineation of persons with heroical grandeur, more than human dignity, and ideal\nbeauty,) then passed to character, and made passion the last of all; which, in the collision\nwith the requisitions of either of the others, was forced to give way.\n& Fidelity of representation was less their object than beauty; with us it is exactly the\nreverse. On this principle, the use of masks, which appears astonishing to us, was not only\njustifiable, but absolutely essential; far from considering them as a makeshift, the Greeks\nwould certainly, and with justice too, have looked upon it as a makeshift to be obliged\nto allow a player with vulgar, ignoble, or strongly marked features, to represent an Apollo\nor a Hercules; nay, rather they would have deemed it downright profanation. & &"}]}, {"article_id": "bm-bmtnaau-1910-01-01-c011", "article_bluemountain": "bmtnaau_1910-01_01#c011", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "I", "page_fin": "126", "image_debut": 9, "image_fin": 32, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.2.8", "titre_corps": "THE ART OF THE THEATRE : The Second Dialogue", "titre_sommaire": "THE ART OF THE THEATRE : The Second Dialogue", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 9, "page_imprimee": "I", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 2876, "texte": "THE ART OF THE\nTHEATRE. The Second\nDialogue,\nby Gordon Craig.\n\nA PLAYGOER AND A STAGE\nDIRECTOR ARE CONVERSING\nPLAYGOER\n& I am glad to see you again after so long\nan absence. Where have you been ?\nSTAGE DIRECTOR\n& Abroad. & &\nPLAYGOER\n& What have you been doing all this time ?\nSTAGE DIRECTOR\n& Hunting.\nPLAYGOER\nHave you turned sportsman, then ?\nSTAGE DIRECTOR\n& I have; it keeps one in good health. It\nexercises all the muscles. I shall do better\nwork when I recommence.\nPLAYGOER\n& Tell me about it all, • • where you have\nbeen hunting and what you have bagged.\nSTAGE DIRECTOR\n& I have bagged nothing, for the beast that\nhas occupied me is not caught like a rabbit\nor a hare and is far more wary than a fox.\nBesides, the sport is not in the kill; the\nsport lies in the difficulties which must be\nsurmounted to get at the beast, and there\nis no danger at all after you have found\nhim. I have been hunting the monster of a\nFable. & jg? &\nPLAYGOER\nWhich one ? The Chimsera, the Hydra or\nthe Hippo-griff ?\nSTAGE DIRECTOR\nAH of them in one. They are the\ncomposite parts of an absurd monster called\nThe Theatrical, (i) and I have tracked this\nterrible creature into its thousand and one\ncaverns and conquered him. &\nPLAYGOER\n& You have destroyed him ? &\nSTAGE DIRECTOR\n& Yes,... I have made friends with him.\n(1) See The Mask, October, 1909, Note on page 91.\nPLAYGOER\nWas there any need for you to have gone\nabroad to do this simple piece of byeplay ?\nSTAGE DIRECTOR\nCertainly, for it was only abroad that I\nfound out the poor thing's weak spots. I was\nreally a little frightened at his roar in Eng-\nland and the reports of his cave and its\ncollection of dry skulls were certainly most\nterrifying. But when I got abroad I began\nto hunt cautiously and found him one day\ndancing, another day making imitations of\nme, and the third day he invited me into\nhis cave. &\n& Naturally I accepted the invitation and\ntook bearings. I can now bring him down\nwhen I will.. . only the poor dear would\nnever forgive me and I should never forgive\nmyself.\nPLAYGOER\nI don't know what you are talking about\nbut I suppose its all right. It would amuse\nme much better if you would stay at home\nand produce a few plays instead of wande-\nring about Europe pretending to hunt.\nSTAGE DIRECTOR\nBut why didn't you say so years ago ?\nI should never have dreamed of foreign\nlands if you had but signified your desire\nfor me to stay at home. One must live \" as\nyour Dramatic Critic of the \" Times\" said\nto the Censor Committee, •. • one cannot\nmerely exist on the spoils of other people's\nwars; and so I took to sport and have not\nknown a day's disillusion since.\nPLAYGOER\n& And I have never before felt so disil-\nlusioned. & & & &\nSTAGE DIRECTOR\nWhy what is the matter with you ? £?\nPLAYGOER\nI hate the Theatre. & &\nSTAGE DIRECTOR\nCome now, you exaggerate; you used to\nlove it. I remember you once asked me all"}, {"page_pdf": 10, "page_imprimee": "106", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.10", "debut_caractere": 0, "fin_caractere_exclue": 3924, "texte": "sorts of questions about the Art of the Thea-\ntre and we had no end of a talk.\nPLAYGOER\nI hate it now ... I never go inside a\nTheatre now, and the reports, paragraphs,\nannouncements and interviews make me\nlaugh.\nSTAGE DIRECTOR\nWhy is that? & & &\nPLAYGOER\n& That is what I-want to know. & &\nSTAGE DIRECTOR\nOh, you want me to be your doctor. You\nare hungry for the Theatre and you can't\nswallow it as it is; you want a cure. Well,\nI can't cure you for I cannot alter the Thea-\ntre in a day or during your lifetime, but if\nyou would like to know what your old love\nthe Theatre is going to be one day I will\ntell you.\nPLAYGOER\n& You told me that a long time ago and\nthat has only helped to make me discon-\ntented. &\nSTAGE DIRECTOR\nThat is what I hoped; but now if you\nwill only be patient I believe 1 can do some-\nthing else. £> &\nPLAYGOER\nDon't tell me anything more about the\nArt, or the Temples which are to contain the\nArt, or how its three component parts are\nAction, Scene and Voice, for all that is more\nawful to me than your Chimsera Hippo griff\nmonster seemed to you; it is all so enormous,\ntoo enormous, and impossible. I must be 6000\nyears old before it comes, and I must change\nall my beliefs and customs,... so say nothing\nmore about that, I beg of you. &\nSTAGE DIRECTOR\nAgreed. Not a word on that awful subject\nshall pass my lips.... till you permit it.\nPLAYGOER\nI feel better already. I don't know how\nit is, but whenever I see you coming an\nawful dread seizes me; my teeth chatter,\nmy eyes dilate, my hope leaves me. \" Will\nhe begin?\" I think; \"will he start telling\nme about the Art of the Theatre of the\nFuture?\"^\n& You see, it isn't that I don't believe every\nword you say about it all; what chokes me\nis to see you taking it all so quietly. 1 would\ndo much to assist in the realisation of your\ndream but I see no where to begin, and you\nseem to believe that, when you have told me\nyour Idea, it has been realised,... you leave\nno one anything else to do.\nSTAGE DIRECTOR\nThat is not my intention. &\nPLAYGOER\n& May be not, but that is the impression\nyou leave with me.\nSTAGE DIRECTOR\n& I can only apologize,. .. and now that I\nhave promised not to touch on the Art of\nthe Theatre I propose to amuse you with\nthe affairs of the Theatre. Tonight you will\nbuy two stalls for a musical comedy. &\nPLAYGOER\n& I have not been inside a theatre for two\nyears; that was due to your last talk with\nme, and now you propose to talk me round\nagain into the Gaiety. & &\nSTAGE DIRECTOR\nYes, that is it. The Gaiety Theatre, two\nstalls, third row, near the end of the row.\nNow to begin, . . . and try and not inter-\nrupt me until I have done.\nSome years ago I told you about some\nGiant's work; we talked about the Theatre\nand the proportion of my suggestions stag-\ngered you. I showed you too much. Since\nthen I have shown more. All this has dis-\nheartened you. Now I shall show you less,. . .\nalso the very least. You shall have no com-\nplaint to make against me. When I spoke to\nyou before it was as Artist, and Artists have\nthe same stuff in them as aviators, . . . they\ncan fly. But now I come to earth and shall\ntalk to you like an ordinary stage manager\nwho is less of an artist than an adminis-\ntrator, ... in short, even at the risk of boring a\ngood friend, I shall speak practically to you.\nYou love the Theatre. The fact of your\nnot going inside one for a couple of years\nproves it. You had a new ideal and you never\nfound it realized there. The ideal to be rea-\nlized needed Artists,. .. there were none in\nthe Theatre. You love the Theatre still; yeu\nwould give your head for some good reason\nfor going there again, and I am going to\ngive you a reason. It needs you.\nPLAYGOER\n& May be: but it no longer interests me. I\ncannot give my reasons without giving of-\nfence to many of those who have formerly\ngiven me much pleasure. & & &\nSTAGE DIRECTOR\nFor instance? &&£>£?\nPLAYGOER\nWell, I if call the actor at the Lyceum"}, {"page_pdf": 11, "page_imprimee": "107", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 3976, "texte": "theatrical he will be offended; if I find the\nproduction at the Elysium vulgar I offend the\nproducer whom 1 know personally. Besides,\nhowever much I may protest, the actor and\nthe producer are unable to change their\nmethods. I can neither applaud as formerly nor\nprotest as I do to you, and owing to this I am,\nas 1 tell you, entirely without interest.\nSTAGE DIRECTOR\nIf the cause of your discontent could be\nremoved your interest would revive? &\nPLAYGOER\nImmediately. & & &\nSTAGE DIRECTOR\nTell me, at what are you dissatisfied? I\nam neither the actor nor the producer.\nPLAYGOER\n& No; but to express it definitely at all\nwould make me feel like a traitor to all I\nonce loved. &\nSTAGE DIRECTOR\nAh, then it is you that have changed,...\nnot the theatres.\nPLAYGOER\nPerhaps, perhaps.\nSTAGE DIRECTOR\nAnd you have developed your sense of\nwhat is beautiful. Is it possible then that I see\nbefore me the Ideal spectator in person? ....\nthat you have become one of that audience\nwhich London has been for so long trying to\n\" educate\" & & &\nPLAYGOER\n& No, not that; not so ideal as all that; but\nit does seem to me that you are right. I have\ndeveloped. The plays and the players cannot\nhave altered so enormously in two years,\nwhereas one's outlook may have changed\nentirely. & & &\nSTAGE DIRECTOR\n& And now to you everything on the stage\nlooks as \"weary, stale, flat and unprofitable\"\nas the world did to Hamlet. But be practical,\n1 beg of you. Look at the matter sensibly.\nYou admit that the stage has not altered,\nthat it is yourself only that has undergone\na change. Good, then;... undergo another.\nI do not mean change back again, but change\nforward. &\nPLAYGOER\nExplain to me what you mean. &\nSTAGE DIRECTOR\n& You have looked at the Theatre from two\npoints of view; ascend to a third and better\npoint of view and see what you shall see.\nPLAYGOER\n-0 That interests me. &\nSTAGE DIRECTOR\nFollow me then. At present your interest\nin the Theatre is on a small scale, something\nlike the interest every Englishman takes in\nhis country. You are in the position of a man\nwho dislikes the present government, that\nis all. The Theatre as Institution is compo-\nsed of as many Parties as are the Houses of\nParliament. We have the equivalent of the Con-\nservatives, Liberals, Progressives, Radicals, So-\ncialists, the Labour Party, and even Suffraget-\ntes are an established part of our Institution.\nThese parties take themselves all very\nseriously and that does no harm. But above\nand beyond all parties there are the Impe-\nrialists, .... let us call them by this name,\nat any rate, Idealists. An Imperialist is an\nIdealist. You once belonged to some Theatrical\nparty or other. Let us say you were a Conserva-\ntive. You thought little about the real Conser-\nvatism but you called yourself a Conservative\nand soon you began to weary of the methods of\nyour leaders. You naturally don't wish to be\na turncoat, and you are thrown into a state\nof despondency not knowing what to do\nPLAYGOER\n& Well, I can't veer round and become one\nof the opposite party, can I?\nSTAGE DIRECTOR\n& Certainly not. You cannot honourably be-\ncome a member of any other party. You cannot\ncourt a second disillusion. But there is nothing\nin the way of your becoming an Imperialist.\nBear in mind that I use this word to express the\nhighest ideal, and though I am quite uncertain\nwhat the term implies to you; but will you be\nso good as to accept it (for want of a better,)\nas the best name I can apply to that uni-\nversal party, or brotherhood, which is compo-\nsed of people holding or tolerating many\ndifferent, and opposite, views. &\nPLAYGOER\nWell then, I am to become an Imperialist.\nTell me how to do it.\nSTAGE DIRECTOR\n& My dear fellow, you already look your-\nself again. You are becoming positively\ninterested. We had better go and look for\nthose seats at the Gaiety at once.\nPLAYGOER\nNo, stay here and go on talking. Tell me\nhow to become an Imperialist. & &\nSTAGE DIRECTOR\njp Well, you shall book stalls for \" Twelfth"}, {"page_pdf": 12, "page_imprimee": "108", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.12", "debut_caractere": 0, "fin_caractere_exclue": 4064, "texte": "Night\" at His Majesty's Theatre, a bench for\nthe Elizabethan Stage Society's production\nof \" Samson Agonistes upper circle for Sir\nArthur Pinero's last play at St James and\ngo to the Pit at the Court Theatre to see\nJohn Bull' s other Island Tonight to\nthe Gaiety, tomorrow to hear Bach's Passion\nMusic Drama at St Paul's, the next evening\nto the Empire and in the afternoon to the\nCinematograph in Oxford Street. Neither must\nyou omit to go to visit the suburbs to see our\ngreat actress as \" Portia \" nor fail to attend\none of the British Empire Shakespeare\nSociety's performances. You can do all this in\nten evenings and in the daytime if you have\nthe time you could attend one of Mr Henry\nArthur Jones' lectures on the Drama, a\nmeeting of the Actors' Association if you\ncan get an invitation, and a rehearsal of a\nDrury Lane Drama. In short, see the worst\nand best of everything; see all sides of this\nwork and I promise you that you will begin\nto love the Theatre once more. &\nPLAYGOER\nGoodbye. I knew you could not help me.\nI knew you would tell me to do all this. Why,\nman, I did all this two years ago. £> &\nSTAGE DIRECTOR\nYou are in a bad state indeed.\nPLAYGOER\n& Yes, but do you not see it is all through\nyou ? Some years ago you showed me a\nvisionary picture of what the Theatre might\nbecome with its blessed Temples and its\nbeautiful Art and all the rest of it, and that\non the one hand and this modern Theatre\non the other hand have been to me like deep\nsea and devil. I can relish neither so 1 avoid\nboth. & &\nSTAGE DIRECTOR\nCome abroad. I can show you a theatre\nin the north of Russia that will enchant you.\nPLAYGOER\n& Why do you think so ?\nSTAGE DIRECTOR\nBecause without its being a Temple and\nall that you seem to dread so in my pro-\ngramme, it is the best ordered Theatre in\nEurope. It is an example of what systematic\nReform can do in a Theatre. &\n& Plays, actors, actresses, managers, sce-\nnery, footlights, lime lights, opera glasses,\nrealism, all is there, just as in any other\ntheatre, with this difference; that it beats\nall other theatres at their own game.\n& There are two kinds of Theatre possible,. ..\nthe natural and the artificial. The European\nTheatres are artificial, and this theatre in the\nnorth is also artificial since it makes use\nof the same artificial material as that used by\nthe Opera House in Paris or His Majesty's in\nLondon. The difference is in the use. Besides\nthis their administration is different from\nthat of other European Theatres. Men are\nthe administrators just the same as in England,\nand yet the results are different, for the\nmen have remembered something which our\nadministrators have never learned.\nPLAYGOER\nStop giving me any more vague notions\nof this theatre and tell me in detail some-\nthing of its method. & & &\nSTAGE DIRECTOR\nWith pleasure. & & &\n& This theatre is better than others both In\nthe work of the stage and in the manner of\nthe administration. <£? & &\nPLAYGOER\n& In what does the work of the stage differ?\nYou say they do not use different material\nfrom that employed by the other theatres?\nSTAGE DIRECTOR\nNo, the same. They use actors who paint\ntheir faces, scenes painted on canvas and\nstretched upon wood, footlights and other\nartificial lights, blank verse, phonographs\nand all the rest of it, but they make use of\nthese things with taste. & & &\nPLAYGOER\n& But do none of the other European thea-\ntres do this ?\nSTAGE DIRECTOR\n& Other European theatres make only a\ncasual study of this strange artificial material\nand so they are unable to express with any\ndistinction, and the canvas and the paint\nappear as mere canvas and paint, things\nwhich in themselves ase not interesting.\nPLAYGOER\nThen is there no other theatre where\nthey use these things with taste ?\nSTAGE DIRECTOR\nNo. & & & &\nPLAYGOER\n& I suppose the workers in the Russian thea-\ntre are able to use their material more\ntastefully because they have more technical\nknowledge ? & & & &\nSTAGE DIRECTOR\n& Yes, though I don't understand why you\nask so obvious a question. What do you\nmean ? If instead of a casual study they give"}, {"page_pdf": 13, "page_imprimee": "109", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 3940, "texte": "serious and thorough study to their mate-\nrial it stands to reason that their technique\nis more perfect.\nPLAYGOER\nBut consider the performances at the\nleading London theatres, for example. Is there\nno techinque shown in the use of these ma-\nterials there ? & & &\nSTAGE DIRECTOR\n& If this were so I should not have said no.\nBut I will give you an instance of what I\nmean.\nTake for example, the matter of scenic\nmechanism.\n& There are at least nine or ten professional\nways of bringing a moon on to the stage. We\nknow how the company of actors of Messrs\nBottom and Quince introduced their moon;\nwe know how the sumptuous revival gentle-\nmen manage it in England; we know how\nthe opera manages it, and we know how\nProfessor Herkomer manages it. All these\nways differ in so far as one inventer has been\nmore careless than another in studying the\nexact way in which the moon performs its\npart. &\n& Now after the ten different ways have\nbeen carefully studied by the workers in the\nConstan theatre they will find six other ways,\nwill reject five of them and adopt the sixth\nwhich will be the best. And this sixth way will\nfar exceed all other ways seen in Europe\n1 mean of course technically, for naturally\nArt has nothing to do with the reproduction\nof moons on the stage, and Art is not what\nwe are talking about here. But in every other\nway this moon will be more like actuality than\nany other moon which the theatre of Europe\nhas seen for centuries.\nPLAYGOER\n& How can you make such a statement? You\nare not even half a century old.\nSTAGE DIRECTOR\nNo; but when a good idea has been found\nin the theatre, especially a good idea for\nreproducing some effect in nature, it is never\nforgotten. Those are the things by which the\ngreatest store is laid. Remember, I am not\nholding a brief for the Constan theatre in any\nway except in the production of plays in which\nthey desire to bring realistic effects, and\nI state that for the first time realistic effects\nare actually produced, that there is no slipshod\nwork and no avoiding the difficulty by doing\nwhat \" was done last time \". &\nPLAYGOER\n& You have only proved however that they\nhave more independence and are freer In\nrejecting traditional tricks; you have not\nproved to me that what they do is in better\ntaste.\nSTAGE DIRECTOR\n& Well, I can but tell you it is more like\nnature. Would you say that to be like nature\nis in better taste or would you say that to\nbe like the theatre is in better taste?\nPLAYGOER\n& Certainly to be like nature.\nSTAGE DIRECTOR\nVery well then, your question is answered.\nPLAYGOER\nBut how do the workers in this theatre\narrive at this technical perfection which ena-\nbles them to use their material with such taste?\nSTAGE DIRECTOR\n& How do you arrive at a technical knowledge\nof anything? &\nPLAYGOER\n& By study, of course; but are these the\nonly theatrical workers in all Europe who\ndo study? & & &\nSTAGE DIRECTOR\n& I think we are speaking of technical per-\nfection ? Well then, you did not ask me\nwhether they had a superficial knowledge of\ntheir craft. There are plenty of people who\nstudy but who study badly. The Constan peo-\nple study and experiment more carefully. &\nPLAYGOER\nperhaps they have more talent ?\nSTAGE DIRECTOR\nPossibly. And, as you know, talent is a\nthing which develops by study. & &\nPLAYGOER\nHave they anything at Constan in the\nnature of a school in which to study ? &\nSTAGE DIRECTOR\nYes, their theatre is a school. They are\nin the theatre from morning till night all\nthe year round save for a few weeks holiday\nin the summer. In England you can go into\na theatre on many days in the year and find\nno one there except the carpenters and the\nstage director and a few other officials. In Con-\nstan the place is crowded all day and night,\nand if there is a rehearsal the students are\nthere to witness it, and not giggling and\nplaying the fool but watching every move-\nment and listening to every word. &\nPLAYGOER\nWho do you mean by the students? &"}, {"page_pdf": 14, "page_imprimee": "110", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.14", "debut_caractere": 0, "fin_caractere_exclue": 4288, "texte": "STAGE DIRECTOR\n& Everybody. They are all students. There\nare the two directors to begin with; (the\nthird director occupies himself only with\naffairs); and these two directors are as much\nstudents as anyone else: they are studying\nall the time. Then come the leading actors\nand actresses. There are about twelve of\nthese, each one as good as any star in Europe.\nBut what am I saying ? Each one is a much\nbetter actor or actress than the greatest\nstars in Europe. Then there are about twenty\nfour actors and actresses of what are called\n\" secondary parts \". Many of these are bril-\nliant enough to be included in the first ca-\ntegory only they have not served their\napprenticeship long enough. &\nPLAYGOER\n& What ? If an actor shows especial talent is\nhe not moved up to the first rank at once ?\nSTAGE DIRECTOR\n& No, certainly not. Not until he has gone\nthrough the same experience as the others,\nno matter how talented he may be. Then,\nbesides these whom I have named, there are\nthe very young students. There are about\ntwenty of these. They are most of them men\nand women from the universities, and the\ngirls are not chosen just because they look\npretty but, with the men, are selected for\ntheir capabilities. & & &\nPLAYGOER\n& Is this not so in other lands ? &\nSTAGE DIRECTOR\n& Most certainly not. Half the girls on the\nEnglish stage are chosen because they look\npretty. & & & &\nPLAYGOER\n& But an actress's looks are surely a matter\nof importance? & £/\nSTAGE DIRECTOR\n& Yes, of great importance, and should form\npart of her studies. It has never occurred to\nthe English actresses that it Is a part of their\nwork, and a part which needs great talent and\napplication, to make themselves look nice.\nSome of your most talented actresses in Eng-\nland are by no means what are called pretty\ngirls. That Is to say, their features are far from\nperfect, their complexions are not so fresh as\nthat of an Irish girl on the lakes, but they have\nthe talent by which they can make themselves\nlook this, or that, or the other. Just as it is a\npart of the actor's talent and study to be able\nto make his face into a grotesque mask, so is\nit part of an actresses talent and study to make\nherself look beautiful when she wishes. When\nthis is fully realised, young ladies will cease\nputting their looks forward as a reason for\nobtaining an engagement, and the stage\nwill be less over-crowded and better filled.\nBut now to return to the number of\nworkers at Constan. We had got as far as\nthe students. Besides and below these are\nthe Probationers. &\nPLAYGOER\nWho are they ? &\nSTAGE DIRECTOR\n& They are young people who apply to be\nadmitted to the theatre as students. They\nare told that they must work for a certain\ntime,.... 1 believe one or two years .... in or-\nder to become candidates for the school. Then\nafter an examination before the directors and\nstage managers and actors some of them are\nselected and put into the school. & &\nPLAYGOER\nWhat kind of examination do they undergo?\nSTAGE DIRECTOR\nEach candidate prepares a poem and a fable\nfor recitation. And the examination of the\ncandidates at this theatre proves conclusively\nthat it is the directors of the theatre, and\nnot the Russians, that are so remarkable; for\nthese candidates are no different from any\nother stage aspirants in regard to their\ntalent for dramatic expression. They are dif-\nferent from other students oniy in that they\nare more educated than other theatrical\naspirants, many of them having a considerable\nknowledge of literature, foreign languages,\nart and science.\n& On passing their examination they are put\ninto the school, in which they work daily for a\nterm of years, and in the evenings they may be\nrequired to fill those parts known asu walking\non parts\". Thus while they are studying at the\nschool they are in the midst of the acting nearly\nevery evening, and at the end of a few years it is\npossible, or nearly certain, that they may be\noffered a small engagement by the theatre\nin which they are working. So that here we\nhave, you see, a standing company of about\none hundred.\nPLAYGOER\n& What do you mean by a standing company?\nSTAGE DIRECTOR\n& The same as is meant by a standing army.\nPLAYGOER\n& Then do not the actors leave to take bet-\nter engagements?\nSTAGE DIRECTOR\n& No, for there can be no better engagement."}, {"page_pdf": 15, "page_imprimee": "111", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 4157, "texte": "To be a member of the Constan Art Theatre\nis the ambition of every actor in Russia.\nPLAYGOER\n<£? Would a very talented actor from\nanother theatre apply for membership in this\ncompany? & & &\nSTAGE DIRECTOR\nJZ? May be; but it would take him some time\nto get into the particular atmosphere which\nhas been created by this company, and in\norder to do this he would possibly have to\ntake very small parts to begin with.\nPLAYGOER\n& Then the work there differs entirely from\nthat in other theatres and any one entering\nwould feel very much at sea? £?\nSTAGE DIRECTOR\nPrecisely. & & &\nPLAYGOER\n& Are all the students training to be actors ?\nSTAGE DIRECTOR\n& Yes. & &\nPLAYGOER\n& Then, they do not train stage directors ?\nSTAGE DIRECTOR\nBefore you can be a stage director you\nmust have first been an actor. Their stage\ndirectors are only produced last of all. After\nthey have been several years acting it may\nbe that one or another will show some talent\nas stage manager. This talent is given an op-\nportunity for showing itself and developing\nitself in the following manner:\nAt the end of each season the school\nperforms certain scenes from about ten or\ntwelve different plays. In 1909 among the\nplays which the students selected were the\nfollowing: \" Elga \" and \"Hannele\", by Haupt-\nmann; a play by Sudermann; \" When we\ndead awaken \" by Ibsen, \" La Locandiera \"\nby Goldoni, \"La Citta Morta\" by D'Annunzio,\n\" L' Avare \" by Moliere and about three or\nfour plays by Russian authors. &\n*£> These scenes are in each case represented\nby different members of the school, and a dif-\nferent stage manager is selected for each.\nThe performance takes place in the afternoon.\nThe relations of the students are invited,\nand the directors of the theatre together\nwith the company are also present, and the\nperformance affords an opportunity of reveal-\ning any talent for stage management or\nfor acting which may be latent in the stu-\ndents. The talent displayed in 1909 was in\nmy opinion nothing short of remarkable.\nEach stage manager has at his disposal all\nthat the theatre has to offer him, though of\ncourse it is impossible to paint new scenes;\nstill, he can show his talent by the use of\nwhat is at hand.\nPLAYGOER\nYou spoke to me once long ago about an\nideal stage manager, a man who would com-\nbine all the talents, who had been actor, scene\nand costume designer, who understood the\nlighting of the play, the formation of dance\nand the sense of rhythms; who could rehearse\nthe actors in their parts; who could, in short,\nwith his own brain, finish that work which\nthe poet, for all stage purposes, had left in\nan unfinished condition. Do you find any such\nin Constan ?\nSTAGE DIRECTOR\nI find the nearest approach to such a man.\nThere is very little that the Regisseurs there\ncannot do.\nPLAYGOER\nThere are many people who would say that\nafter all there is nothing very different in\nthis theatre from other theatres except\nthe difference of its greater thoroughness.\nSTAGE DIRECTOR\nThen now I will try and show you wherein\nthe essential difference really lies. I have been\nable so far to explain to you something of the\nsystem. I have tried to show you how superior\nthe Russian method is to any other, but 1 still\ndo not expect you to understand entirely\nwhat I mean, and 1 admit that it would be\nutterly impossible to explain the chief reason\nof this theatre's superiority till you have\ncome into touch with the men who have\ntrained in the theatre and above all with the\nmen who have trained them,.... the directors.\nThere lies the secret, and it will be burled\nwith them. You would understand what 1\nhave been telling you if you were to see\nthem, but even then you still could not lay\ntheir secret bare to any practical advantage.\nPLAYGOER\nDo you who have seen them understand\ntheir secret? & & &\nSTAGE DIRECTOR\n1 understand it but I could not make\nanyone else understand it for the reason that\nit is one of those simple things which no\namount of coaxing can create and no amount\nof antagonism can destroy and no amount of\nexplanation explain. & &\nPLAYGOER\nAnd what is it?\nSTAGE DIRECTOR\nPassionate love for the theatre; and I can\nsay to you without any fear of being thought"}, {"page_pdf": 16, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.16", "debut_caractere": 0, "fin_caractere_exclue": 3952, "texte": "profane, \" greater love hath no man than\nthis, that a man lay down his life for his work.\nPLAYGOER\nBut do they not love the stage in this way\nIn the other theatres? & &\nSTAGE DIRECTOR\n& No, they do not; they do not. There are\nother things for which they would far sooner\ngive their lives before their work;... for\nsocial success, financial success. They are only\nwilling to devote their lives if they can get\neither of these things in exchange. In Constan\nthey have but one desire, that is, to do the\nbest work. Do you think I am severe upon\nthe other theatres ? & &\nI am not. I am prepared to tell any theatre\nwhat it is working for and to point out the\ndifference between its aim and that of the\nConstan theatre. I call to mind the best thea-\ntres in Europe and 1 see clearly what it is\nthey want. It Is quite possible that there are\nmany theatres unknown to me, and that in\nthose theatres there are men to whom I do\na great Injustice by seeming to include them\nin this accusation; but I speak only of those\ntheatres known to me. They are supposed to\nbe the first theatres in Europe. In my opinion\nthey are the very last. Yet It would be quite\npossible for the other theatres to be as good\nas the Constan Art Theatre, that is to say, in\nthe first line, by merely being possessed of\nthe same passionate love for their art.\nAnd now to tell you a few things about\nthe Administration. & &\nP L A Y G O ER\nThat Is what 1 want to hear about. &\nSTAGE DIRECTOR\nTo begin with, the Administration is in\nthe hands of a board of directors. There is\nthe president, five members of the board and\nthe secretary, and five out of these seven\nare artists. The capital is vested in a stock\ncompany composed of merchants of the city\nof Constan, and, like other stock companies,\nthe money and affairs are administered by a\nboard of directors. & & &\nPLAYGOER\n& Then so far it does not differ from other\ntheatres? & & & &\nSTAGE DIRECTOR\nNo? Is it usual then for artists to be in\nthe majority on the board of directors ? 1 think\nyou have overlooked this. But now tell me\nsomething. I am a man entirely innocent of\nbusiness. Supposing 1 had found people to\nhave enough faith in me to put down fifty\nthousand pounds to establish an art theatre\nIn England, what would be the feeling\nexhibited on the last day of the year when\nthe report was read out to the shareholders\nshowing that there was not a penny of\ndividend? & JS>\nPLAYGOER\nThe share holders would examine the books,\nand, having found that the expenses exceeded\nthe income, they would probably change the\nmanagement and advise the production of\nmore popular pieces which would bring more\nmoney into the box office. & &\nSTAGE DIRECTOR\nWhy would they do this? &\nPLAYGOER\n& Because they put their money into the\ntheatre with the idea of making more by it.\nSTAGE DIRECTOR\n& Suppose you were yourself a shareholder\nand I were to point out to you that this\nthing could not possibly pay for one, two or\neven three years, what would you say, know-\ning that there had been a deficit on the first\nyear ? & &\nPLAYGOER\nI should want to examine the situation\nvery thoroughly. &\nSTAGE DIRECTOR\nOh, then, you would not entirely back\nout of it ? & £> & &\nPLAYGOER\n1 should look into the matter thoroughly\nfirst.\nSTAGE DIRECTOR\n& 1 should fake it then that you had become\na share holder because you were interested\nnot only in the making of money but in the\nwork itself ? & & &\nPLAYGOER\nYes; but as I am a business man my pri-\nmary object would be to make money.\nSTAGE DIRECTOR\nWould you think that it would be a\npractical move on your part to go on sup-\nporting such a theatre if it paid no dividend\nfor the first three, four or five years? &\nPLAYGOER\nNo, I should not. &\nSTAGE DIRECTOR\n& Well then, explain to me as a business\nman how it is that there have been business\nmen found in the town of Constan who are\ncontent to wait for ten years to see the\nfirst return for theii money ? &\nPLAYGOER\nIt is inexplicable to me. But 1 suppose"}, {"page_pdf": 17, "page_imprimee": "113", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 3948, "texte": "that the making of money must to them\nhave been a secondary consideration to the\nfurthering of art. And really, if I were an\nextremely wealthy man myself 1 should look\non that as a luxury or a hobby and one which\nI could take pride in being connected with.\nSTAGE DIRECTOR\nWell, you told me you were losing your\ninterest in the drama, and you are a wealthy\nman. Here is a way to revive your interest.\nConnect yourself with such a theatre. You\nwill remember that 1 told you a little time\nago that the theatre needed you. I now see\nthe more clearly that you are the very man\nit needs. But first of all let us see whether,\nshould you take such a charming step, you\nmight not gain in every way without losing\nyour money. Let us return to the theatre at\nConstan and see what happened there.\nPLAYGOER\nYes. But tell me one thing. When was the\nfirst dividend declared ? &\nSTAGE DIRECTOR\n£? At the end of ten years. &\nPLAYGOER\n& But that might happen in any theatre; it\nsounds bad business, but is not peculiar to\nany particular enterprise.\nSTAGE DIRECTOR\nYes, but the fact that after ten years we\nfind the original list of shareholders unchan-\nged, and not only unchanged but increased,\nis rather unusual, is it not; and certainly\nmost encouraging. Do you not find it so ?\nPLAYGOER\nYes, both encouraging and \"inspiring. 1\nreally do think that what you tell me is quite\nsplendid. But could it be done anywhere else ?\nSTAGE DIRECTOR\n& Have you any good reason for thinking\nthat it could not be done? JZ?\nPLAYGOER\nThe fact that like propositions have failed\nin England. jg?\nSTAGE DIRECTOR\n& Has the test ever been made ? &\nPLAYGOER\nProbably not, for I doubt if any body of\nsuch men as you describe as forming the\nConstan stock company could be found in\nEngland. &\nSTAGE DIRECTOR\nThen hath not an Englishman eyes, hath\nhands not an Englishman organs, dimensions,\nsenses, passions \" affections ? Surely you\nmust be wrong in what you say? &\nPLAYGOER\nI think not; because the drama in England\nand also in America has become merely another\ncommercial means for the making of money.\nSTAGE DIRECTOR\nSo it is all over Russia,.... all over Europe.\nBut if you can find thirty or forty such men in\nRussia you can surely find thirty or forty in\nEngland. Besides, think, what is the New\nTheatre in New York but such a theatre? Do\nyou think that its founders want to see a\nreturn for their money in the first two years ?\nPLAYGOER\nThey might wait for two or three years\nbefore receiving a dividend, but they are not\nlikely to wait for ten, although 1 do not think\nthat the making of money is their primary\nobject.\nSTAGE DIRECTOR\nWell then, why do you think these mil-\nlionaires have put their money into this\n*\ntheatre ?\nPLAYGOER\nBecause I think they have been brought\nto a realisation that something has got to be\ndone for the drama in America, and being\nmen in a leading position they feel they are\nexpected to do it. &\nSTAGE DIRECTOR\nAnd if at the end of, let us say, five years,\nthe public agrees that the work being done\nin the theatre is perfect yet the directors\nknow that there has been no profit, will they\ncontinue to support it or will they say that\nthe work is less perfect because the theatre\nhas failed to return a dividend ? &\nPLAYGOER\n& If they realised that the public was satis-\nfied they would continue. But tell me, if the\npublic was satisfied would not that mean that\nthe theatre had been full every evening ?\nSTAGE DIRECTOR\nNot exactly, though it might mean that\nit had been very fairly full every evening.\nBut you must not forget that the expenses\nof running such a theatre are very great. The\nConstan Art Theatre for Instance had very\nnearly full houses for nearly ten years, but\nIts Expenses exceeded its income. &\nPLAYGOER\n&Do you not call that bad business ? &\nSTAGE DIRECTOR\n1 cannot give an opinion upon business.\nBut let me put it to you more clearly, and\ndo you then decide. This Russian theatre has\nhad full houses, it has produced plays which"}, {"page_pdf": 18, "page_imprimee": "114", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.18", "debut_caractere": 0, "fin_caractere_exclue": 4133, "texte": "the public has said are perfect; it is the first\ntheatre in the land; it has done what it set\nout to do. Do you not call that good business?\nPLAYGOER\nYes, I do. & &\nSTAGE DIRECTOR\n& Would you call it good business to have\nbuilt up a reputation which is second to none\nin Eturope ? to be able to command a vast\npublic and the enthusiastic support of staunch\nshareholders ? &\nPLAYGOER\nYes, I suppose I should. &\nSTAGE DIRECTO R\n& You would agree that the shareholders\nhave in their possession something by means\nof which they can now realise what money\nthey like ?\nPLAYGOER\n& How can they do so ?\nSTAGE DIRECTOR\n& By building a second theatre, a large\ntheatre, and by touring round the world.\nPLAYGOER\nWhere is the money coming from when\nyou say that they have only just begun to\nrealise a slight dividend ?\nSTAGE DIRECTOR\nIt will be found. When you ask me to say\nhow, why I can only refer you to the work\nof the last ten years. Nothing daunted the\nworkers in this theatre or seemed to deter\nthem from doing what they wanted to do.\nThey will build this theatre, they will con-\ntinue to give the public the best works In\nthe best way and they will set an example\nto the rest of Europe.\nPLAYGOER\nRather a costly example! &\nSTAGE DIRECTOR\nNot so costly when you think of it for a mo-\nment. It is the belief in Europe that the Rus-\nslans are composed of people less interested\nin art than anyone else. In this their repu-\ntation resembles that of the English. There\nis a general idea also that they are a kind\nof savage race, and by making this demon-\nstration through the artistic theatre they\nhave shown clearly that they are nothing of\nthe kind. In a way this is really a national\ntheatre in the best sense of the word, for\nthe shareholders have the interests of their\nnation at heart. This theatre as I have said\nwill no doubt visit the centres of Europe,\nand at each visit the refinement and culture\nand courage of Russia will be made manifest.\nIn short, it is a very clever commercial stroke\non a very large scale, and English men\ncould do worse than follow their lead. Money\nthat has been sunk in this theatre is not\nwasted money and we shall shortly see the\nfruits oi it. Don't you think that is so ?\nPLAYGOER\n<£? Yes I think so; but looking at it in that\nlight it takes it right away from the com-\nmercial theatre.\nSTAGE DIRECTOR\nWhy of course it does. I was speaking of\nthe theatre as an asset of the nation.\nPLAYGOER\nYes. Well, we are going to have a Natio-\nnal Theatre in England. &\nSTAGE DIRECTOR\nNot at all. We are going to have a Soci-\nety theatre. That in my opinion is very much\nwhat the New Theatre in America is.... a\nSociety theatre. Now nobody wants a Society\ntheatre, least of all the ladies and gentlemen\nwho are obliged to go and sit in their boxes\nand stalls while they are bored to death by\nthe dull performances which take place on the\nstage. Such society theatres bore and im-\npoverish every city of Europe. There is the\nOpera in Paris, the Schauspielhaus in Berlin,\nin Munich, in Vienna. They are not National\nTheatres in the real sense of the word. The\nmen who will make a National Theatre in\nEngland are the same kind of men as those\nwho have made this theatre in Russia. If they\nare to be expensive they must not be a bore,\nthese theatres. The proposed \" National \" the-\natre for London is national in name only. It\nhas no programme and yet it asks for\nsubscriptions on the strength of one. The com-\nmittee may force subscriptions, but no amount\nof forcing can raise the wits,... and it is\nwits and taste that we want in our theatre.\nNow the Russians commence founding their\nNational theatre by first founding an Artistic\ntheatre and testing its honesty of purpose for\nten years. Which of these strikes you as the\nbetter method of obtaining a finely organised\nNational theatre,... the English or the\nRussian ? Which is the most economic,\nthe most regular? which seems to you the\nrightest? In short, if you had a Theatre\nwhich method would you yourself employ?\nPLAYGOER\n£? The Russian method .... if I had the type\nof men and the same point of view. &\nSTAGE DIRECTOR\nTheir point of view differs very slightly"}, {"page_pdf": 19, "page_imprimee": "115", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 4123, "texte": "from that of any of the English manage-\nments, for we must believe the English\nmanagers when they assure us that their aim\nis to do the best possible work. Perhaps the\nmen are of a different strain. But you could\nfind as clever and as enthusiastic fellows over\nhere, and if there Is less sympathetic under-\nstanding of each other's wishes there is more\nsense of discipline in Englishmen. j®\nPLAYGOER\nThen a theatre such as the Constan Art\nTheatre could be founded here? j® j®\nSTAGE DIRECTOR\nj® A theatre, yes; and two or three such\ntheatres. j® j® j® j®\nPLAYGOER\nThat would indeed be an excellent thing.\nSTAGE DIRECTOR\ns® And is it not practical? j® j®\nPLAYGOER\ns® 1 should say absolutely practical. j®\nSTAGE DIRECTOR\nj® Ah, how quick you are to see it and to\nacquiesce now that it has been DONE! If I\nwere to say that what I had been telling\nyou was but an Idea of mine, which I believed\nIn entirely, would that convince you as\nto its practicality ? You are one of the dea-\nrest good fellows, but, by Jove, when you are\nasked to believe in that which does not yet\nexist you are as coy about the whole thing\nas though you were a woman. j® j®\n& The Constan Art Theatre has been in exis-\ntence for over ten years so you believe in\nit and cry out that it is Absolutely Practical.\nPLAYGOER\nj® Well but, isn't it? and how can you ask\nanyone in his senses to believe in a scheme\nwhich has not been tried ? j® j®\nSTAGE DIRECTOR\nj® Caution is never bad; it is the English\nhabit of being over cautious that blights so\nmany many spirited ideas which only need\nthe right support to bring them into the\nplane of actuality. And it is not only in\nwitholding monetary support that Englishmen\nare over-cautious: it is their moral support\nwhich is so often absent, which implies that\nin such matters they are sometimes very\nmuch lacking In moral courage, j® j®\nj® And now tell me again, do you find the\nRussian method perfectly practical? j®\nPLAYGOER\n& Yes, 1 think it is perfectly practical, j®\nSTAGE DIRECTOR\n4® And if I should say that though it is a\nvery practical method of carrying on a modern\nTheatre, which has to open its doors to the\npublic night after night, there is even a more\npractical method of pursuing the study of the\nArt of the Theatre, what would you say?\nPLAYGOER\nj® I should say but explain more\nfully what you mean. j® &\nSTAGE DIRECTOR\n& I mean this. The object of all Ideal Thea-\ntres ... and their directors.... is to excel\nin the Art which it is their privilege to serve.\nThey must be unceasing in the pursuit of the\nIdeal, they must ever aim to go beyond, and\ntherefore they must be very very far-sighted.\nAm I right? j® j® j® j®\nPLAYGOER\nj® 1 suppose you are. Are the directors at\nConstan not far-sighted ? j® j®\nSTAGE DIRECTOR\nj® Very far sighted where their theatre is\nconcerned, less so where the art is concerned.\nThey have to keep their theatre open night\nafter night; it is one of the difficulties iwith\nwhich they are always contending. If they\ncould close their theatre for five years\nand spend that time in making nothing but\nexperiments they would have more time for\nthe pursuit of the Ideal, which we have put\ndown as being the object of all Ideal theatres.\nPLAYGOER\nj® To close such a theatre for five years\nwould be a very serious step to take. j®\nSTAGE DIRECTOR\nj® Very serious; just so serious as the occasion\ndemands. Most theatres in Europe might be\nclosed indefinitely all the year round for fifty\nyears and make experiments all the time\nwithout any valuable results, but this theatre\nin Constan is the exception and it might just\ndiscover the heart of the mystery by so doing.\nAnd 1 think we should be just so far sighted\nas to see how serious is the present position\nof the theatre. j® j® j® j®\nPLAYGOER\nj® But no one can see further than the vanish-\ning point at any time, and I presume that\npoint to be the limit which you set to the\nsight of any director,... it is the furthest\nhe can see. j® j® j® j®\nSTAGE DIRECTOR\nj® Perfectly correct; but remember with\neach advancing step the position of the va-\nnishing point alters and we are thus enabled\ncontinually to see further than before. 4®"}, {"page_pdf": 20, "page_imprimee": "116", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.20", "debut_caractere": 0, "fin_caractere_exclue": 3321, "texte": "PLAYGOER\nThat is true. & & <<&\nSTAGE DIRECTOR\n& Therefore an Art Director of a Theatre\nwho strives to surpass his last achievement\nwill keep his eyes fixed upon this vanishing\npoint on the horizon and will thereby be\nenabled continually to achieve his ever fixed\nbut ever-changing desire to advance, no mat=\nter how slowly he may do so. Do you\nagree with me? &\nPLAYGOER\n1 do.\nSTAGE DIRECTOR\nWhat then is practical to him? £?\nPLAYGOER\nAll that lies before him and all that he\ncan see.\nSTAGE DIRECTOR\n& And if he advance five steps he will see\nless than should he advance a hundred steps.\nPLAYGOER\n& Yes, certainly, twenty times less.\nSTAGE DIRECTOR\nAnd if he advance five hundred steps he\nwill see a hundred times more than if he ad»\nvance but five steps?\nPLAYGOER\nYes, there is no doubt about it. &\nSTAGE DIRECTOR\nAnd he will therefore be able to achieve\na hundred degrees more than by advancing\nfive steps and seeing five degrees further?\nPLAYGOER\nThat is true.\nSTAGE DIRECTOR\nThen practically speaking there Is no limit\nto his achievements provided he can only see\nfar enough ahead; and in order to see very\nfar he must have advanced almost as far as\nhe can see. They say that Art is long and\nlife is short. Do you believe then that there\nis much time to spare in delays or would\nyou advise those who are searching forwards\nto advance without hesitation? &\nPLAYGOER\nThe latter,.... but with caution.\nSTAGE DIRECTOR\nYes, with caution and deliberation; but\nyou will remember that we proved that it\nwas entirely safe for a man to advance pro-\nvided he went towards that which was visi-\nble to him. Now we must see which is the\nbest method of reaching a spot which is vi-\nsible to us. Do you think it is by going\nbackwards? & & &\nPLAYGOER\nCertainly not. How could it be? &\nSTAGE DIRECTOR\n& Or by going sideways, perhaps?\nPLAYGOER\nNo, of course not. &\nSTAGE DIRECTOR\nOr moving in a circle, for caution's sake?\nPLAYGOER\nNo. None of these ways would serve. &\nSTAGE DIRECTOR\nWhy not? & &\nPLAYGOER\n£> Why, they would be absurd. When you\nhave seen something the best way to reach it\nis to go straight towards it. & &\nSTAGE DIRECTOR\nHas this method ever been put into\npractise with success ? & &\nPLAYGOER\nYes. Nearly always. &\nSTAGE DIRECTOR\nIn a hundred cases how often would you\nsay it has been successful?\nPLAYGOER\n& I should say in ninety cases out of a\nhundred. &\nSTAGE DIRECTOR\n1 should think you are right and should\nmyself be inclined to say that a man can\nreach that which he can see in ninety nine\ncases out of a hundred by going straight\ntowards the object. The hundredth time I\nwaive the right as acknowledgement to the\nGoddess Fortuna. It is also reasonable to sup-\npose that by doing so he will, as we have\nsaid, save much time.\nPLAYGOER\nThat is also true; but may 1 beg you to\ntell me what this has to do with the theatre ?\nSTAGE DIRECTOR\nI must ask you to follow me back to that\npoint, the Theatre, a point which you have\nperceived, in a straight line and without any\ndelay. Will you tell me whether the eyes are\ngenerally used for seeing with? £?\nPLAYGOER\n& Why yes, of course they are. JZ/ &\nSTAGE DIRECTOR\n& And would you say that in order to see\nit is more practical to open the eyes than\nto close them? JZ? &\nPLAYGOER\n& The former seems to be more sensible.\nSTAGE DIRECTOR\nYou do not answer my question. Is it"}, {"page_pdf": 21, "page_imprimee": "117", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 3492, "texte": "also practical? j® j® j® j®\nPLAYGOER\nIt is. J® j® j® J® J®\nSTAGE DIRECTOR\nj® And would you say that to look in the\ndirection where you have seen something a\nwhile ago is to stand a good chance of seeing\nit again ? would you say that it is practical?\nPLAYGOER\nI should. j® j® j® &\nSTAGE DIRECTOR\nj® And on arriving at the spot seen, and\nseeing further on a second spot, would it be\npractical to advance further in the same\ndirection so as to reach it? &\nPLAYGOER\nIt would. j® j®\nSTAGE DIRECTOR\nVery well then; you have told me what\nI always suspected to be the truth. You have\nsaid that an artist with imagination is jus-\ntified, and entirely practical, in advancing\ntowards that which he has once seen in his\nimagination. Therefore, my dear fellow, you\nhave only now to tell me one thing more.\nPLAYGOER\nj® What is that? j® j®\nSTAGE DIRECTOR\nYou must tell me whether it is possible\nfor all people to see the same thing. j®\nPLAYGOER\n & £>\nPLAYGOER\n& 1 suppose so; it is the test they go upon.\nSTAGE DIRECTOR\n& And you, could I not prove it to you ? jg/\nPLAYGOER\nWell no; you see I should not be able\nto understand you; my only chance of being\nin sympathy with your tale would be to trust\nin the experts before whom you had laid\nyour proofs.\nSTAGE DIRECTOR\n& But would my tale have any interest for\nyou ? could you have sympathy with what\nyou could not understand ?\nPLAYGOE R\njg/ Oh yes; yet it seems strange on thinking\nabout it.\nSTAGE DIRECTOR\nNot so strange, and yet stranger than you\nsuppose. The strangest part of it all is that\nman should be so lacking in natural instinct\nTo demand proof of all things great and small is always the sign of\nthe little mind. But to demand p oof of great things only and to ac\"\ncept the little is a sign of the smallest intellect. If demonstration is\nat all valuable it is entirely valuable. Is proof valueless ? The question\nhas never been answered.\nand moral courage. If we h*d preserved\nboth, we would not ask for those actual proofs\nand we would believe and understand great\ntruths the more easily. Anyhow it is amusing\nas it is. Where we do not understand or\nbelieve, we become the children of those who\ncan both believe and understand .... that\nis as it should be, being as it is.\nPLAYGOER\n& May I ask you ... &\nSTAGE DIRECTOR\n& But come, let us get on. To believe in the\nidea which I bring you (this North Pole Idea)\nyou will rely upon the Judgment of the wise\nmen before whom I lay the proofs.\n& Those proofs are our little difficulty. In\norder to take observations and soundings, in\norder to bring back minerals, certain birds,\nplants, and such like things which will prove my\nstory I shall have to be very careful, very\nwell equipped and well assisted. To travel\ninto the unknown is to court disaster and\n$\nfew set out without carefully organising their\nequipment. Therefore ship, crew, instru-\nments, all these things are selected only after\nthe most cautious consideration. Neither too\nmuch nor too little of anything must be\ntaken. On such a journey through an unknown\nland and one in which so-called natural con-*\nditions so powerfully play the part of enemy,\nwhere nature seems to defy one to pluck\nout the heart of her mystery, everything\nmust be done to anticipate all emergencies.\nEven when we have prepared everything\nwith the greatest care accidents will still\nthreaten the safety of our expedition. &\nWe shall need enough of everything and\nnot too much; therefore it is not a matter\nof money although enough money is certainly\nnecessary. & £/ &\nPLAYGOER\n& But what has this to do with the Theatre?\nSTAGE DIRECTOR\nPatience for a little and you will see. &\n& We make these provisions after we have\nmade our plan. That is the most difficult part\nof the work, for once made we must follow\nit to the end, while at the same time seizing\nthe fresh opportunities as they present them-\nselves. /&&&&?&\n& Now that we are ready to start consider\nfor one instant what it is we are setting out\nto do. We are about to make a dangerous\nand very difficult expedition into the unknown\nto bring you back a few visible proofs of\nthe known. We are not to bring back the"}, {"page_pdf": 23, "page_imprimee": "119", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 4290, "texte": "Idea itself but only its fringe; for to return\nfrom the unknown with the Idea itself would\ncertainly make you think we were mad,\nwhereas to bring back hints of the Idea satisfies\nyou as to our sanity. & &\nPLAYGOER\nWhat a strange paradox! &\nSTAGE DIRECTOR\nJZ? Well, let us accept it; you want the pretty\nlittle fringe; you shall have it, although it is\nthat fringe that costs so much to obtain\nwhich presents the whole difficulty. And now\nfor the Theatre.... But first a request.\nPLAYGOER\nWhat is it? & &\nSTAGE DIRECTOR\nYou asked me not to speak any more\nabout Temples or about the Art of the Thea-\ntre which I once told you was lost; which a\nbeautiful poet well described to me as having\n44 Iain hid under the roots of the Pyramids\nfor two thousand years, so solemn it is\". Give\nme leave to speak again of this.\nPLAYGOER\nWill you speak to some practical purpose?\nSTAGE DIRECTOR\n& Only so. JZ> & £> &\nPLAYGOER\nYou will not merely tell me what this\nart once meant to us, and what it should\nmean again, but you will show me a prac-\ntical way of bringing it to us once more?^\nSTAGE DIRECTOR\nJZ? That is my intention. &\nPLAYGOER\nYou will not propose to destroy all the\npresent theatres of the world in order to do\nthis, for then I should not listen to you for\nit would be no longer a practical proposition.\nSTAGE DIRECTOR\n& No, I will not do so How delighted\nI am to hear you express the wish that the\npresent Theatres shall in no way be injured!\nIt shows me that your interest in them is\nreviving and that I have already nearly cured\nyou Remember, The Gaiety, 8 o'clock!\nPLAYGOER\n& I have not forgotten, But now your prac-\ntical plan? & &\nSTAGE DIRECTOR\nMy proposal is to discover or rediscover\nthe lost Art of the Theatre by a practical\nexpedition; carried out swiftly and without\nunnecessary expense, into the realms where\nit lies hidden. JZ? £> JZ?\nPLAYGOER\nA good intention. And your method?\nSTAGE DIRECTOR\nThe very simplest. It is based upon the\nmethods employed by Arctic explorers, (i)\nThe discovery of this Art is the exact counter**\npart of the discovery of the North Pole.\nBoth are situated In the same position,\nin the Unknown. We possess clues as to the\nwhereabouts of both; both are shrouded in\nmuch mystery, both realms are themselves, by\nall reports, the very home of mystery and\nbeauty. & & &\nIn preparing for our first expedition, (for\nwe expect to make several) we shall follow\nthe method employed by Nansen. First we\nshall take time we shall take three or\nfour years to make our preparations, and\nthe scheme itself has already been in prepa-\nration for over six years.\n& So it was with Nansen* s project\n& Let me read you an extract from his\n44 Furthest North\" which I have just been\nreading, relating to the plans and prepara-\ntions for his expedition in 1893: &\nJZ? 44 If we turn our attention to the long\n44 list of former expeditions and to their\n\" equipments, it cannot but strike us that\n44 scarcely a single vessel has been built spe-\n44 cially for the purpose ... in fact, the majo-\n\" rity of explorers have not even provided\n44 themselves with vessels which were origi-\n44 ginally intended for ice navigation.\n44 This is the more surprising when we\n44 remember the sums of money that have been\n44 lavished on the equipment of some of these\n44 expeditions. The fact is, they have generally\n44 been in such a hurry to set out that there\n44 has been no time to devote to a more\n44 careful equipment. In many cases, indeed,\n44 preparations were not begun until a few\n44 months before the expedition sailed. The\n44 present expedition, however, could not be\n44 equipped in so short a time, and if the\n44 voyage itself took three years the prepara-\n44 tions took no less time while the scheme\n44 was conceived thrice three years earlier.\n44 Plan after plan did Archer make of the\n44 projected ship; one model after another\n44 was prepared and abandoned. &\n£/ 44 Fresh improvements were constantly\n44 being suggested. The form we finally adhe-\n44 red to may seem to many people by no\n(1) Our attention having been drawn to the fact that this simile of an\nArctic expedition was employed by Mr Charles Frohman in an interview\nwith the \" New York Times \" we take this opportunity of stating\nthat the present MSS was in our hands several months before that\ninterview took place."}, {"page_pdf": 24, "page_imprimee": "120", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 4451, "texte": "\" means beautiful, but that It Is well adapted\n\"to the ends in view I think our expedition\n\" has fully proved.\" & &\njg? Here you see what long and careful pre-\nparation was made before the setting out of\nthe expedition.\nPLAYGOER\nJZ? Yes, and also much money was needed,\nas I suppose it will be for your scheme ? &\nSTAGE DIRECTOR\nCertainly we shall need support, financial\nas well as moral, and we shall get it. uS?\nPLAYGOER\nHow do you know this ? &\nSTAGE DIRECTOR\nPatience a little; I shall come to the\nmatter of expense in due time. When we\nhave our scheme well supported (and L. 5000.0.0\na year guaranteed for five years will be all\nwe shall require,) we shall put the following\nplan into action.\nWe shall build and equip a college, fur-\nnishing it with what is necessary.\nIt will have to contain two theatres, one\nopen air and one roofed in. These two stages,\nclosed and open, are necessary for our expe-\nriments, and on one or on the other, some-\ntimes on both, every theory shall be tested\nand records made of the results, jet j&\nThese records will be written, drawn,\nphotographed or registered on the cinema-\ntograph or gramaphone for future reference,\nbut they will not be made public and will\nbe only for the use of members of the college.\nOther instruments for the study of natu-\nral sound and light will be purchased toge-\nther with the instruments for producing\nthese artificially, and will lead us to the\nbetter knowledge of both sound and light,\nand also to the invention of yet better in-\nstruments through which the purer beauty\nof both sound and light may be passed.\n& In addition, instruments will be purcha-\nsed for the study of motion and some will\nbe especially invented for this purpose.\nTo this equipment we shall add a prin-\nting press, all kinds of carpenters tools, a\nwell stocked library and all things pertaining\nto modern theatres. With these materials\nand instruments we shall pursue the study\nof the stage as it Is today with the intention\nof finding out those weaknesses which have\nbrought it to Its present unfortunate condi-\ntion. We shall, in short, experiment upon\nthe body of the modern theatre in our\nroofed-in theatre, (for you will remember we\nhave two) exactly in the same way as stir®\ngeons and their pupils experiment upon the\nbodies of dead men and animals. &\n& in selecting its method of administration\nthe college will follow the ancient precedent\nof nature. It will consist of a head, a body\nand its members, the leader being selected\nby Election. Those who are to compose the\nExecutive body are less difficult to decide\non, as their task is undoubtedly less difficult.\nIn all there will not be more than thirty\nmen in the college. There will be no women.\nSo now are you clear as to these two\npoints ? .... First, that we shall have a col-\nlege of experiment in which to study the\nthree natural sources of the art, Sound,\nLight and Motion, or, as I have spoken of\nthem elsewhere, voice, scene, and action.\nSecondly, that we shall number In all\nthirty working men who shall singly and\ntogether pursue the study of the three sub*\njects named and the other experiments to\ntest the principles of the modern theatre. Is\nthat clear to you ?\nPLAYGOER\nIt is. But how does your actual work\nresemble that of an Arctic explorer ?\nSTAGE DIRECTOR\nIn this way. We shall have to select a\ncentre from which search parties shall be\nsent in different directions, our object being\nto explore within reason any part of the\nTheatrical world which is unknown to us.\nWe shall at the same time go over much old\nground in the belief that it has never been\nthoroughly examined. No great hopes are\nentertained of finding there anything of\ngreat value but an examination is necessary.\nAs soon as possible we shall push forward\nin the direction of the unknown. Just as\nsearch parties are sent in a certain direction\nwith instructions to sound and make obser-\nvations and then to return to the point [se-\nlected as a base, so will our investigators\npush forward their studies into certain\nregions from which, when they have fully-\nexplored them and collected sufficient evi-\ndence, they will return to the point where they\nhad seperated from us to make known the\nresult of their observations. &\nIf this work proceed as rapidly as we hope\nwe shall advance to a new position at which\nto establish our base within the first year.\nOn the other hand it may prove to be more\ndifficult, in which case we shall have to stay\nwhere we are. & & &"}, {"page_pdf": 25, "page_imprimee": "121", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 4190, "texte": "& Above all I wish to emphasize this point:\nthat no change of base shall ever be made\nuntil every one is fully assured of the prac-\nticality of the next position. <£?\n<£> You will understand that our reason for\npushing forward our base is to facilitate\ncommunication in the event of our search\nparties pushing far into the unknown. By\nthis method, and with sufficient supplies,\nwe can make attempt on attempt to compass\nour end. It Is the only method which sug-\ngests itself to me, and I cannot think of a\nmore practical one, for you must remember\nthat acting on such a plan guarantees con-\ntinual success of one kind or another. Call\nto mind how many important observations\nand records were made not only by those\nwho went furthest north but by those who\nsearched even in those latitudes into which\nmany men had travelled before.\nAt the end of a year our books will hold\nthe records of things hitherto undiscovered,\ndates and results of experiments of incalcu-\nlable value net only to us in our future ef-\nforts but to those who shall resume the\nsearch when we may be obliged to aban-\ndon it. & & &\nPLAYGOER\nThen you think it likely your efforts will\nnot meet with all the success you could\ndesire?\nSTAGE DIRECTOR\nOn the contrary; I think we can be sure of\nexceptional success; as to any final success,\nit is a rare thing to achieve, for finality is\nsomething which probably does not exist.\nNow tell me, does my plan and its method\nof execution appeal to you ? &\nPLAYGOER\nLet me try to say what I think. The plan\nis an Ideal one, and, as your quest is Ideal,\nis in harmony with that for which you\nsearch. But will you find support? Will you,\nto begin with, find the support of the leaders\nof the Theatrical Profession ? &\nSTAGE DIRECTOR\n& Who do you mean? & & &\nPLAYGOER\nWell, to be outspoken, Sir Herbert Tree,\nSir Charles Wyndham, Arthur Bourchier,\nWeedon Grossmith, Cyril Maude,\nSTAGE DIRECTOR\nThe Actor-managers, you mean ?\nPLAYGOER\n& Yes, but I had not finished my list of\nnames, which includes not only all those\nconnected with the Arts in England and even\nsome of those connected with the State, but\nalso certain names of artists abroad. For\ninstance, will the Theatre in Europe support\nyou ? the French Theatre, either the Comedie\nFrangaise or one of the smaller representa-\ntive theatres such as those directed by\nBernhardt, Antoine, or Lugne Poe ? Will the\nGerman theatre give you any support ? The\nState theatres, or Reinhardt, for instance, or\nthe Munchen Art Theatre ? Holland ? what\ncan Holland do ? and Sweden, Russia or\nItaly ? The Constan Art theatre about which\nyou have told me, or Eleonora Duse; about\nwhose ideals I have ever heard so much ?\nAnd then the Americans ? You see I want to\nknow on whom you rely for support, for\nthat is the first requisite to make your\nscheme practical. &\nSTAGE DIRECTOR\n& You have put me an easy question to\nanswer. You have mentioned some of the\nbest known names in the theatrical world.\nIf the proposed college is opposed to all their\ninterests they will not support it. But consider\nwhether this is the case. For instance amongst\nthose you have named are possibly a few men\nof decidedly ideal tendencies. The directors of\nthe Constan Art Theatre are undoubtedly such\nmen. I think we have their support. Madame\nDuse? I think she would never refuse hers.\nThen there is Reinhardt of Berlin. Such a\nscheme is one which is certainly not op-\nposed to his interests. And that Sir Herbert\nBeerbohm Tree' s name will be found in\nsuch company is far more likely than that\nhe should join Issue with those weary gentle-\nmen whose love of adventure has left them.\nMadame Bernhardt and Lugnd Poe are more\nthan likely to applaud our proposals and to\nguarantee them as practical if they read\nand understand them.\nPLAYGOER\n& And will these do no more than give you\ntheir moial support? & &\nSTAGE DIRECTOR\nWhy, what else can they give ? They are\nhard workers In a very difficult profession\nand already their reputation for generosity\nhas been too often imposed upon. If they\nwill give us their hands and bid us God\nspeed it Is all we should ever dream of\nasking for.\nPLAYGOER\nWell but, your capital ? where Is that\ncoming*from? A bundle of Godspeeds are"}, {"page_pdf": 26, "page_imprimee": "122", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.26", "debut_caractere": 0, "fin_caractere_exclue": 3266, "texte": "pretty, but no practical use can be made\nof them.\nSTAGE DIRECTOR\nYou may be right, though everything is\nnot valued by making a practical use of it.\nWe shall expect to receive practical support\nfrom the State. •£?&&&\nPLAYGOER\n& Your confidence inspires me to believe\nyou are right; But there are two things\nwhich you will have to prove to the State\nbefore it will accord you its support.\nSTAGE DIRECTOR\n& What are they ? & jgr &\nPLAYGOER\n<£> First you will have to show clearly that\nthe State would benefit; secondly that the\nadvantage would exceed the cost.\nSTAGE DIRECTOR\nVery well then, let us first consider how\nthe State would benefit.\nThe Theatre affects the People in two\ndifferent ways. It either instructs or it\namuses. There are many ways to instruct\nand to amuse. Now, which would you say\nwas the more instructive, something heard\nor something seen ? & & &\nPLAYGOER\nI would say the latter. & &\nSTAGE DIRECTOR\n& And which would you say was easier of\ncomprehension, the beautiful or the ugly,\nthe noble or the mean ? &\nPLAYGOER\n& If we seek for instruction it is easier to\ncomprehend the beautiful and the noble for\nit is that which we are searching for; if we\nseek for amusement the ignoble and ugly is\npossibly more immediate in its effect.\nSTAGE DIRECTOR\nAnd is the beautiful and the noble more\namusing? &\nPLAYGOER\nI think it is not. &\nSTAGE DIRECTOR\nAnd yet what is that which when you see\nand hear it causes you to feel smilingly\nfrom top to toe ? & &\nPLAYGOER\nThe Beautiful... Truth,... oh, something\nwhich It is quite beyond us to explain.\nSTAGE DIRECTOR\nI think so to. Yet is there not something\nof amusement in it, for we smile; and a smile\nis the whisper of laughter.\nPLAYGOER\n-£? You are right. &\nSTAGE DIRECTOR\n& Perhaps we may call It the very best part\nof amusement ? <£? J& &\nPLAYGOER\nWe may for the sake of argument. &\nSTAGE DIRECTOR\nAnd this Is connected, as we have seen,\nwith the beautiful and the noble; therefore\nthe very best part of amusement is akin to\nthe best part of instruction. &\nPLAYGOER\nIt seems so. &\nSTAGE DIRECTOR\nNow, we have said that the Theatre\neither instructs or amuses. Yet we see that\nsometimes it acts in both ways; in short,\nit both instructs and amuses when it is\nnoblest and most beautiful. & &\nPLAYGOER\nTrue &\nSTAGE DIRECTOR\nWould you say that this feeling which\nfor want of the right word I have called\n\" smiling from top to toe \", is a good or a\nbad feeling ? & &\nPLAYGOER\nI should say it was the very best feeling.\nSTAGE DIRECTOR\nIf fact if you saw hundreds of faces in a\ngathering of people wreathed in smiles you\nwould say that they felt happier than if you\nsaw those faces strained and weary looking.\nPLAYGOER\nWhy certainly I should. &\nSTAGE DIRECTOR\n& And tell me, if you were a King, would\nyou rather see happy faces such as 1 have\ndescribed or gloomy ones ?\nPLAYGOER\nHappy ones, of course.\nSTAGE DIRECTOR\nAnother question; would you prefer to see\nthem smiling or thoughtful ?\nPLAYGOER\nSmiling or thoughtful ? The thoughtful\nface is not necessarily the gloomy face,\nand yet I would prefer that they smiled. &\nSTAGE DIRECTOR\n& Why would you prefer it ?\nPLAYGOER\nBecause then I too should feel like smiling.\nSTAGE DIRECTOR\nA good answer. Now you told me just now\nthat something seen instructs us more than"}, {"page_pdf": 27, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 3783, "texte": "something heard. May 1 take it that you\nmean that what we see is more swiftby and\nmore easily comprended ?\nPLAYGOER\n£? Yes, that is what I mean. &\nSTAGE DIRECTOR\nLet us take an example. We see a finely\nbred horse let loose in a field. He gambles,\narches his neck, looks around splendidly\nwith his eye. If we had never seen a horse\nbefore no description would convey the right\nipmression to us so swiftly as does this seeing\nhim.\nPLAYGOER\nYes that is very true. & &\nSTAGE DIRECTOR\nAnd would a verbal description of the\nhorse delivered at the same time as it be-\ncame visible to us assist us to understand bet-\nter what we see?\nPLAYGOER\nNo, I think it might confuse us, for we\nshould be so much occipued in gazing at the\ncreature. jg?\nSTAGE DIRECTOR\nThen you would not be prepared to hear\nanything about it in addition to seeing it?\nPLAYGOER\nNo, it would rather irritate than assist.\nSTAGE DIRECTOR\n& And yet they say that Instruction is ob-\ntained through the sense of hearing as well\nas through that of sight.\nPLAYGOER\nYes, but the two impressions are likely\nto confound each other if they come to us\nsimultaneously. & & &\nSTAGE DIRECTOR\n<£> Well then, let us put it differently. Sup-\npose the horse in his gambols before us\nshould give expression to his joy and pride\nby neighing what then ? &\nPLAYGOER\nAh, that's true; that would assist us to\ncomprehend; our senses would be delighted.\nSTAGE DIRECTOR\n& The neigh of a horse, then, Is more illu-\nminating than a learned discourse ? Would\nyou smile on hearing It? jg? &\nPLAYGOER\nYes, it is very likely. &\nSTAGE DIRECTOR\nYou would say then that you had been\nperfectly instructed, for you had seen some-\nthing noble and you had heard some playful\nexpression proceeding from that which see-\nnted so noble, and you would smile through\nyour understanding. You would not become\nthoughtful, would you ? &\nPLAYGOER\n& No, no; I should be enchanted.^\nSTAGE DIRECTOR\n& You would; and that is precisely the state\nof mind you achieve in a theatre such as I\nmentioned, where instruction and amusement\nspring from the contemplation by eye and\near of the beautiful. You would be enchain*\nted. A poorer state of mind would be the\nresult should instruction without amusement\nbe offered you; you would be merely instruc-\nted. And a much poorer state of mind\nwould result if you received amusement\nwithout instruction.\n& You will bear in mind that 1 have all\nalong spoken of true Amusement In a high\nsense and true Instruction in the same sense;\nthat is to say, I have spoken of them as two\nthings which it is possible and desirable to\nconnect, and therefore have indicated that\nthey are very much alike and indeed hardly\ndivisable. & & &\nPLAYGOER\nYet they are separated, for the music hall\nechoes with shrieks and howls of the loudest\nlaughter, and the faces of the audience at\nthe Lyceum are very much drawn during the\nperformance of King Lear or Hamlet. &\nSTAGE DIRECTOR\njgr Yes, that is precisely what I am wanting\nto talk about. The division is much too great,\nespecially in England, for in a Music Hall in\nGermany we hear far fewer bursts of rough\nlaughter and the faces at the tragedies are\nless strained and more thoughtful. A perfect\ntheatre would neither tighten nor loosen the\nmuseles of the face and would neither con-\ntract the cells of the brain nor the heart\nstrings. All would be set at ease; and to\nproduce this state of mental and physical\nease in the people is the duty of the theatre\nand its art. &\nPLAYGOER\nBut a perfect theatre is impossible.\nSTAGE DIRECTOR\nWhat do I hear ? what is it you say ? I\nthink we are in England,... no ? I think you\nare an Englishman am I right ? and\nI think you will withdraw that last remark\nof yours at once. &\nPLAYGOER\nYou look so like that horse you were\ndescribing that I do so to avoid your heels!"}, {"page_pdf": 28, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.28", "debut_caractere": 0, "fin_caractere_exclue": 4494, "texte": "STAGE DIRECTOR\nj® Bravo ! And now that it is agreed that it\nis possible to create a perfect theatre here\nin England let us see how we may do so. You\nsay we must prove that the State will be\nbenefitted before we can hope for its sup-\nport. Well, it is the most perfect theatre in\nthe world that we shall offer to the State\nand is not that a benefit? This theatre will\nbe created after some years of toil (i) by fol-\nlowing the method of search which I have\nsketched out for you. j® & j®\nP L A Y G 0 ER\nj® But you have not shown me that the cost\nof this \" expedition\" will be less than the\nadvantage to the State, which will only be\nbenefitted if the gain exceeds the expense.\nSTAGE DIRECTOR\n& 1 will do so In as few words as possible,\nthough, in a short conversation, I cannot\nbring all the proof to bear upon this and\nother points that I could do if the matter\nshould be taken up for more serious enquiry\nby a committee appointed for the purpose.\nThe expenses of our first five years,\nwould be as, I said before, L 35,000.0.0. Now\nL 35,000.0.0 possibly seems to you a great deal\nof money. Let us see, however, what it really\nrepresents. j® j® j® j®\nj® It represents F. Nansen ' s expenses for his\nPolar expedition 1893-96. j® s® j®\nIt represents the cost of one picture in\nthe National Gallery. j®\nj® It represents the cost of about three to\nfive productions at His Majesty ' s Theatre or\nDrury Lane. j® j® j®\nj® It represents about the cost of a single\nPageant in England, 1908. <® j® j®\nj® It represents one quarter of Sarah\nBernhardt's profits for her tour in France\n2880-1881. j® J® <® j® &\nj® It represents the average takings of a\nhundred London theatres for one night, j®\nIt represents the cost of Lyceum produc-\ntions for five years, (3) j® j® <®\nIt represents about a third of the sum\npaid for a single \" Triumph \" in 1634. (3) J®\nj® It represents less than half the sum spent\non enlarging aud improving the Lyceum\ntheatre in 1881. j® j® j® j®\n(1) The Constan Art Theatre, the most perfectly organised and con-\nducted theatre in Europe, has taken ten years to achieve its present\nperfection, and only on the tenth year did it commence to return a\ndividend.\n(2) Cost of p oduction does not include rent of Theatre, salaries,etc.\n(3) The Triumph of Peace. See Symonds, Shakespeare's Predecessors,\nPg 27.\nj® It represents a fifth of the profits of one\nsingle Irving tour in America, (i) j®\nj® Now tell me, do you think L25,000.0.0 a\nlarge sum to pay for the expenses of so im»\nportant a work covering five years\nPLAYGOER\nI do not think so now after what you\nhave told me. j® j® <®\nS TAGE DIRECTOR\nj® Now consider also how much the Public\nhas to pay for the many theatrical experi-\nments made every year. You may say that\nnearly every production in London and the\nprovinces is today an experiment,.... an\nhonest if Incomplete and methodless experi-\nment towards bettering the craft of stage\nwork. The public is led to believe that\nthese experiments are finished works of art\nwhereas they are not works of art at all but\njust honestly intended, though shockingly\nperpetrated, blunders, J® J® J®\nj® Now would it not be cheaper for the\nPublic if someone,... the State, a millionaire,\nor even the Public itself, should pay such\na small modest sum as I have indicated,\nL 25,000,0.0, to cover the expenses of five\nyears serious and practical experiment by\npicked men rather than to continue for ever\nto part yearly with the sum of L 25,000.0.0\nas it is doing today for experiments made in\na hurry and without method ? j® j®\nPLAYGOER\nj® Does the public part with so great a sum\nyearly ? j® j® & j® *£?\nSTAGE DIRECTOR\nj® Let us see if I am correct. Let us saj'\nthat there are 100 theatres in England (2).\nLet us say each of the hundred takes L. 350,0.0\na night from the Public. (3) and let us say\nthey take this for one hundred nights as\nrepresenting a year. (4) ,® & &\nj® We place the whole calculation as low as\npossible and it still reaches a colossal total\nof two millions and a half Stirling taken\nfrom the public in the couise of one year\nfor Rubbish. Have I answered your second\nquestion, then ? j® j® j®\nPLAYGOER\nj® Hardly. I asked you if the advantage to be\nderived by the State would exceed the cost.\nYou have only shown me that the cost is\nexceedingly low in comparison with other\n(1) Sec Brereton' s Life of Irving. Pg 312,\n(2) There are more than six times that number.\n(3) The Lyceum in 1881 could hold L 328.0.0 in one evening.\n(4) Theatres remain open for over 200 nights n a year."}, {"page_pdf": 31, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 4315, "texte": "Stat© and private expenditures, but you have\nyet to show me that the State will reap its\nL 25,000.0.0 worth of advantages.\nSTAGE DIRECTOR\nLet us look into that at once. The state\nwill receive from the College at the end of\nfive years the results of their labours. These\nwill include, (1) a practical demonstration of\nthe best method to be employed for building\nand directing a National Theatre as an Ideal\nTheatre and in a manner hitherto deemed\nimpossible. (2) The improvement by simplifi-\ncation of many of the mechanical appliances\nof the modern stage. (3) The training of stage\nmanagers and of the staff employed to shift\nthe scenery. (4) The training of actors to\nspeak and to move,... the chief difficulties\nof the average actor. (5) The training of a\ngroup of original scene painters, a group of\nperfectly drilled men to execute any given\norder regarding the lights on the stage, for at\npresent, as any visit to a special light rehear-\nsal will show, the lighting staff in a theatre\nis always at sea. & &\nThere are three main reasons for this;\nthe first is that a stage director does\nnot know what he wants, does not\nknow the names or uses of the machines\nemployed or of their parts or what these\nmachines are capable of, and is utterly igno-\nrant of how to obtain a result. He leaves it\nall to accident and chance \" effect.\" The\nsecond reason is that the majority of men\nwho work the machines at evening perfor-\nmances are employed on different work by\nday, and have received but the barest training\nas to their duties. The third reason is that\nthe machines are designed without knowledge\nof the use to which they should serve. Still,\nit must be admitted that the electricians\nhave many unnecessary difficulties to contend\nwith which would be removed if the whole\ncraft of the modern stage were to be studied\nafresh with a view to readjusting its com-\nponent parts. There is only one man to whom\nwe look for this,... the stage manager; but\nhis opportunities of study are few for his time\nis occupied in having to attend to and straigh-\nten out awkward situations created too\noften by the director of the Theatre and by\nthe actors, actresses and supers. If he attempts\nto improve things every one loses their heads.\nWhen the stage manager can have time to\ntrain, and can afterwards be given authority\nand opportunity to train his staff theatres will\ntake a small step in the right direction. A\nt\ncollege is the only place where such training\ncan be received and given. &\n& In short, what we should tender to the\nState In return for its support would be the\nnucleous of an Ideal Theatre on a practical\nbasis, with a college for the subsequent train-\ning of the staff from stage manager to elec-\ntricians, raising all to an Ideal standard\nwhich should not be lowered under any\nexcuse whatever. & &\nYou see then that the College, with its\neyes fixed on the Future and its Ideal firmly\nestablished, would keep its hands and fingers\nbusy with the present,.... The search for\nthe lost Art of the Theatre must be made\nonly after passing through the regions in\nwhich the modern Theatre Is situated. In\npassing we shall re-establish its order; do\nyou understand ? & & &\nPLAYGOER\nI think you have made it clear. And now\none more question. Are you to act as the\nhead of this College ? &\nSTAGE DIRECTOR\nNo. The Head or Leader, as I tell you,\nwill be elected by the members. &\nPLAYGOER\n& And will you not enter for election ? What\nwill the college be without you ? jg/\nSTAGE DIRECTOR\nEverything. With me, nothing. £? &\nPLAYGOER\n& What do you mean ? Will you desert the\nvery scheme you have created ?\nSTAGE DIRECTOR\nNO, I shall never be absent from the Col-\nlege, but I shall not act as either Head,\nBody or Member. &\nPLAYGOER\nWhat will you do then ?\nSTAGE DIRECTOR\nI shall give it its existence, and shall\nthen ask to be permitted free entrance to\nthe college so as to study there whenever I\nwish to. And my reasons for desiring this\nare many. To explain them to you fully would\ntake many years. But you may take it that\nthey are not lazy reasons. I should feel\nhonoured to be a member of such a college.\nPLAYGOER\nBut you will give it more than this. You\nwill yourself make experiments and lend your\ngifts to the work ? & &\nSTAGE DIRECTOR\n& My gifts are few and cannot be lent. I\nwould willingly make experiments if asked"}, {"page_pdf": 32, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.32", "debut_caractere": 0, "fin_caractere_exclue": 2651, "texte": "to do so, but I believe I can be of more use\nto this college at a little distance than con-\nnected with it. &\nPLAYGOER\nJZ? And this is how you would propose to\ndiscover this lost art which you, probably,\nmore than any one else, know most about ?\nSTAGE DIRECTOR\njg> I know very little about it, but possibly\nI know where it is situated better than the\nothers. I can point to the right direction,\nand for this reason I believe I am not alto-\ngether valueless to the efforts of the college.\nIn their search, their experiments, I shall\nbe ever with them, but I shall not lead them\nnor must I be expected to follow them,\nWhenever called upon I shall be at their\nservice but not for any fixed occupation.\nPLAYGOER\njg? Well, you somewhat take my breath away.\nYou prove to me that you know as much or\nmore than the rest of the world about this\nThird Art as you have called it, and you talk\nabout it to me for hours; you give up\neverything in your life for it and you propose\nto plan out the college up to a certain\npoint,.., and then you hand over college,\nidea, plan, to someone else. Have you no fear\nthat the whole thing will become much\nchanged when it leaves your hands ?\nSTAGE DIRECTOR\nIt will certainly change; its existence\ndepends upon this fact; but I have no fear\nbecause of that.\nPLAYGOER\nBut have you no personal desires in\nrelation to this college ? Will you not be a\nlittle pained to see it moving in a wrong-\ndirection ? £? & & & &\nSTAGE DIRECTOR\nIt will not do so. The magnet of the Ideal\nis fixed; attraction has already commenced;\nit is in resisting this that we shall make our\ndiscoveries. There will be men with us who\nwill from time to time become depressed and\ntired and then mistakes are likely to occur...\nand with the mistakes discoveries. But the mis-\ntakes will never be wilfully made from some\nselfish motive and can but be the result of\ntoo great a strain. But these resistances, as\nI said, will only lead us towards our Ideal.\nPLAYGOER\n& But the modern theatre which you pro-\nfess to despise resists the attraction of the\nIdeal.\nSTAGE DIRECTOR\nAh, that is quite different. They resist\nthrough fear; we shall resist through cou-\nrage. We shall hear the call and feel the pull\nand we shall go straight onwards but with\nslow deliberation, making discoveries ail along\nthe way. We shall finally discover what we\nlook for and what attracts us, and then •..\nPLAYGOER\nWhat then ? & &\nSTAGE DIRECTOR\n«£? A question. And for my part I am tho-\nroughly convinced that there will never be\nan end to our journey. Attraction shall never\ncease for us; that will never change, we shall\never be invited,... beckoned ... impelled to\nmove forward."}]}, {"article_id": "bm-bmtnaau-1910-01-01-c013", "article_bluemountain": "bmtnaau_1910-01_01#c013", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "125", "page_fin": "125", "image_debut": 29, "image_fin": 29, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.2.8.2", "titre_corps": "A DESIGN FOR A SCENE FOR \"HAMLET\"", "titre_sommaire": "A DESIGN FOR A SCENE FOR \"HAMLET\"", "signature_source": "GORDON CRAIG", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 29, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 51, "texte": "A DESIGN FOR A SCENE FOR \"HAMLET\". by GORDON CRAIG."}]}, {"article_id": "bm-bmtnaau-1910-01-01-c015", "article_bluemountain": "bmtnaau_1910-01_01#c015", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "127", "page_fin": "130", "image_debut": 33, "image_fin": 36, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.2.9", "titre_corps": "THE ARCHITECTURE AND COSTUME OF ANTONY AND CLEOPATRA", "titre_sommaire": "THE ARCHITECTURE AND COSTUME OF ANTONY AND CLEOPATRA", "signature_source": "E. W. Godwin", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 33, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 4354, "texte": "Thirty six\nscenes. &\nKleopatra's\npalace. &\n\nTHE ARCHITECTURE AND COSTUME\nOF ANTONY AND CLEOPATRA\nby E. W. Godwin.\n(!)\n'jphe Rome of the time of Antony would be in every respect much the same as the Rome\nof Julius Caesar. The difference fn date between the two stories is only a very few years.\nIndeed Antony and Cleopatra may be taken as a continuation of Julius Caesar.\nThe latter play ended with the fall of Brutus at the battle of Philippi, B. C. 42.\nThe other tragedy begins with the death of Fulvia, B. C. 40, and concludes with the\ndeath of Kleopatra B. C. 30. The last of the Ptolemies, passionate and animal as she was,\nseems to have been no worse than were many members of her distinguished family before\nher. The legitimate dynasty became extinct on the death of Ptolemy Alexander II. But\nAlexander had a natural brother—one Dionysius Auletes—who, after much trouble, secured\nfor himself the throne of Egypt, leaving it to his eldest child—the Kleopatra of the drama\n—who was born B. C. 68. There had been already four generations of Kleopatras. The first\nwas a Syrian princess, who was married to Ptolemy Epiphanes, and who bore him two sons\nand two daughters, both of the latter being named after their mother. One of these girls\nwas taken to wife by her brothers in succession, and had a family by each, the eldest son\nof the youngest brother being Ptolemy Soter II., the grandfather of our Kleopatra. JZ?\n& In the tragedy before us we have no less than thirty=six scenes. Of these twenty=five\nare architectural, including the one on board Pompey's galley, which belongs to naval\narchitecture. The other twenty=four are divided between Alexandria, Rome, Messina, and\nAthens, or the respective residences of Kleopatra, Caeesar, Pompeius, and Antonius, but by\nfar the most important of these are those which belong to the City of the Ptolemies. It\nis next to impossible to reduce this play to set scenes, for the unities of time and place\nare quite disregarded by the author. In the first and last Acts a very slight change would\nenable us to bring these into two scenes, if the fourth Scene of the first Act were carried\non to the second Act and the first Scene of the fifth Act omitted, but the second Act car=\nries us in seven scenes from Pompey's house at Messina to the house of Tepidus at Rome,\nthence into Caesar's palace, thence into the streets of Rome, thence to the palace at\nAlexandria, thence to Misenum, and finally leaves us floating on the sea. In the third Act\n(eleven scenes) we are in Alexandria, Rome and Athens; now on the plains of Syria, and\nnow on the promontory of Actium. In the fourth Act of thirteen scenes we are certainly\nconfined to Alexandria and its neighbourhood, but we are perpetually moved about from\nthe inside of the palace to the outside, from within to without the walls, from one camp\nto the other, until we are brought to rest in that remarkable scene—44 the monument\". I\nsee no reason why the scene in the house of Lepidus (Act ii., Scene 2) should not be laid\nin a lesche or under a colonnade before Caesar's house, and thus serve also for the two\nscenes which follow it. Indeed, by the exercise of some little thought and care, the whole\nnumber of the architectural scenes may be fairly reduced, and it is possible without serious\nmutilation to prevent some of the abrupt changes, as for example that brought about by\nthe introduction of Alexandria in the fifth Scene of the second Act; for there does not\nexist, as it seems to me, any great obstacle to this scene forming part of the third in the\nthird Act. 1 cannot at present see that we can do with less architectural scenery than\nthat set down in the following list, unless the scenes at Athens and Messina are omitted\naltogether;— 1. The palace at Alexandria—interior.\n2. A monument at Alexandria.\n3. Caesar's house at Rome—a Iesche or colonnade.\n4. Antony's house at Athens—interior.\n5. Pompey's house at Messina—interior.\n& Of the interior of Kleopatra's palace the play presents us with no less than twelve\nscenes, and with one laid outside or before the palace (Act iv. Sc. 3), but all thirteen could\nreasonably pass in one hall if attention was given to the planning of it. The remains of the\ntemples at Philae, Dendera, and Kalabsche, the relic of the palace at Medinet Habou, and\n\n(1) Reprinted by permission from the Architect, 1875."}, {"page_pdf": 34, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.34", "debut_caractere": 21, "fin_caractere_exclue": 4980, "texte": "the representations of domestic architecture in the fragments of wall paintings in our\nmuseums, are the only authorities available for this important scene, for what is left of the\nold city of Alexandria is little more than an inchoate mass of ruin. The temples and palace,\nhowever, that I have just mentioned must be held to be far inferior to the temples and\npalace of the royal city. A city founded by such a man as Alexander, and that, too, for his\nfavourite natural brother; (i) a city whose chief street was 100 feet wide and nearly four\nmiles long, whose geographical position was such as to command the commerce of the\nknown world, a city where the last dynasty of Egypt's kings resided for nearly three cen-\ntuiies, where one Ptolemy devoted his power to the advancement of art and science by ori-\nginating and devising educational schemes—schemes that would put to shame the largest\nefforts of modern governments; where another Ptolemy carried these designs into noblest\nexecution by the establishment, among other things, of a museum—school, and a library\nthat were among the wonders of the world ; a court where Euclid and Nicomachus, An-\ntiphilus and Apelles were by no means remarkable men; a city where the Aryan and the\nSemitic nations were united, where the Egyptian, the Jew, and the Greek met, as it were\non a level platform—was not a place where architecture or any other art would be likely\nto be underrated. The picturesque irregularity visible in the work at Philse must not,\nhowever, be taken as applicable to the palace of the Ptolemies at Alexandria. That the\nspirit of Greek freedom that freedom without which the Propylea would never have been\n—might have struck root in Alexandria is more than probable, but the day of freedom, of\noriginal art-thought was already far spent; law was taking the place of feeling; geometry\nwas being substituted for the eye; instead of ideas being created facts were collated ; the\nbeautiful was reduced to a system, and art was made science. The evidence of material\nwealth—a splendour lavish as daylight—would be there. Whatever marble and basalt,\npoiphyry and serpentine, bronze or silver, or gold, or any other precious material could do\nwe may be quite sure was not lacking. Mechanics would shine like the sun in construction;\nmultitudes of pillars, and miles of avenue, and corridor, and labyrinth would speak of the\nmighty mass of labour in the service of Egypt; but the creative art power had passed its\nmeridian a full century before the city was founded, and quite two centuries before the\nPtolemies began the objectionable practice of marrying their own sisters. (2) j®\n& The \" monument \" of the play is evidently nothing more than the raised stage at the\nback of the main stage, so common in the theatres of Shakspere's time. An Egyptian mo-\nnument or tomb was constructed on principles which could not possibly admit the poet's\nIdea. But the Greek monument was altogether different. In the one case we find a tomb,\nan architectural grave, a sepulchre; in the other we have a house, a shrine, a temple. The\nlittle memorial of Lysicrates at Athens, and the temple-like Lycian monument discovered\nat Xanthus, and now in our National Museum, are extreme illustrations of one principle of\ndesign. In both the structure consists of two storeys; the ground storey solid and com-\nparatively plain, the upper storey open and enriched with columns, figure sculpture, and\nother ornamental accessories. Now, although acting on a higher platform than the stage\nis always made to look more or less ridiculous by modern scenic arrangements, in proof of\nwhich assertion I may cite Juliet's balcony as a flagrant example, and although I know of\nno instance where this division of stage level has been well carried out, yet even in the\nVeronese and Venetian plays there is no room for reasonable excuse if the scene results in\nfailure; still less In the play under consideration should the acting suffer, inasmuch as the\narea of the monument of Egypt's Queen may be of almost any size. In its architecture, as\ncompared with that of the palace, there might well be marked the vast difference between\nthe arts under the first Ptolemies, when the Aphrodite Anadyomene was painted, and\nthe low condition to which a hundred and fifty years of rapid decline had brought them,\nwhen the last of the Macedonian dynasty ascended the throne. J® & &\nj® Our third Scene-Caesar's house at Rome—needs no further description than what has\nalready been given in the notes on Julius C®sar. Antony's house at Athens might be one\n\nI^aw, not\nPeeling. j®\nj® The \" monu-\nment s® j®\n\n(1) Arsinoe, one of the concubines of Philip of Macedonia, was pregnant with the child afterwards known as Ptolemy I, surnamed\nSoter, when she married Lagus'\n(2) Ptolemy, the big-belly, (146-117) not only married his sister, and this too after she had become his brother' s widow, but divorced her\nin order to marry her daughter by his brother."}, {"page_pdf": 35, "page_imprimee": "129", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.35", "debut_caractere": 24, "fin_caractere_exclue": 4763, "texte": "The Costume,\nOn \" fashion \"\nArchitecture, &\n\nof the old Greek houses or palaces, with its double arrangement of Andronitis and Gynae-\nconitis, or the men's and women's quarters. The fourth and fifth Scenes of the third Act\nintroduce us to two rooms in this house, but there is no reason why one interior should\nnot suffice for both Scenes, if the proper room be selected, which I take it should be the\npillared hall (iiAv) of the Andronitis, which in a Greek house occupies the place of the\nRoman Atrium. The floor might be of mosaic, whilst both the ceiling and walls might be\npainted. Pompey's house at Messina, or Messana, might be either Roman or Greek, or half\nand half. The old Greek city was destroyed by the Carthaginians in B. C. 396, but DIo-\nnysius, tyrant of Syracuse, at once rebuilt it, so that its buildings were well seasoned—\nneither too new nor yet too old—when the Romans came into possession after the First\nPunic War, B.C. 240.\n& The Costume of this play may be taken to be somewhat mixed. That the Roman\nfashions were for the most part accepted wherever the power of Rome had made itself a\nreality may be safely assumed, but then these fashions were themselves moulded on those\nof other nations. Nor was this spirit of Imitation or copyism altogether confined to the\npeople by the banks of the Tiber. It is said of the great Alexander that, after his Persian\nconquests, becoming partial to some of the things he saw in Asia, and desiring to make\nhimself popular with his new subjects, he actually assumed the Persian habit and adopted\nmany of their customs. Everyone knows that the Romans followed his example in regard\nto Greece with a sort of alacrity which was at times almost amusing. But fashion, in old\nas In modern times belongs to the upper classes, so that while I have little hesitation in\nclothing Kleopatra and her court in the habit, or some slight modification of the habit\nprevalent among Greeks more or less adopted also by the Roman aristocracy—the poor\npeople, the clown especially, and perhaps the soothsayer, might very well exhibit In\ntheir dress some tradition of the old nation to which they belonged. (1) The Ionic chiton, the\nchlamys, the peplos, the transparent fine linen vest, chemise, or under tunic were dresses\nwhich obtained throughout the shores of the Mediterranean with but little variation beyond\nthat resulting from increase or decrease in length or breadth of material. No doubt, too*\nthe fashionable ladies of Alexandria had their parasols or umbracula just the same as the\nladies of Athens, Rome or Pompeii. Broad-brimmed straw hats, with low, saucershaped\ncrowns, were also probably worn. Octavla, after her marriage, might appear in the stola\nand the square-cut white pallium, fastened with a fibula or brooch on the right shoulder,\nleaving the right arm free. For the details of the costume for this play it will be sufficient\nto refer to the marbles and bronzes in the British Museum. Among the references to\ncostume In the text of (1) Julius Caesar and (2) Antony and Cleopatra we find mention made\nof (1) leather aprons, crowns, coronets, doublets, cloaks, kerchiefs, nightgowns, dressing\ngowns, with pockets, spurs; (2) the points of a doublet, crowns, crownets,\" and pockets.\nIn Julius Caesar the architectural passages are few and slight— & & &\nMany a time and oft\nHave you climb'd up to walls and battlements,\nTo towers and windows, yea to chimney-tops,\n&c., &c.\nMention Is also made of stone towers and walls of beaten brass, and there are references\nto buildings and places in Rome, e.g., Pompey's porch, Pompey's theatre, the statues of\nOld Brutus and Pompey, images decked with ceremonies or hung with trophies, public\npulpits, and Caesar's walks, arbours, and orchards. In Antony and Cleopatra there is not\none word about architecture or building, but then we have a description of the Queen's\nbarge, which was all overlaid with gold and \" like a burnish'd throne burnt on the water;\"\nits poop was of beaten or repousse gold, its sails were purple and perfumed, the tackle of\nsilk, the oars of silver, and the pavilion or canopy or dais which shadowed the rare Egyptian\nwas cloth of gold of tissue. If a throne was wanted in the market-place for the serpent of\nold Nile and her lover, it was got by setting chairs of gold upon a platform of silver \"a\ntribunal silver'd \" . Shakspere's idea of Kleopatra's person may be gathered from a few\n\n(I) The Queen, according to the text, which follows history in this particular appeared often \"in the habiliments oi the goddess Isis\"\nrue goddess of the Moon; in other words, in a long transparent fine linen tunic, and a pallium fastened by a knot in front, a crown of\notus flowers on her head, and a slstrum in her hand."}, {"page_pdf": 36, "page_imprimee": "130", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.36", "debut_caractere": 23, "fin_caractere_exclue": 990, "texte": "scattered expressions. According to the poet she was of a dark or tawny complexion, the\nwords he puts into her own mouth would even go so far as to make her black and\nwrinkled:\n— Think on me,\nThat am with Phoebus' amorous pinches black,\nAnd wrinkled deep in time ?\nAllowing for the exaggerated language of the woman, we must still, I think, conclude that\nher charms were not to be found In beauty such as Pericles or Phidias delighted in. She\nwas old, very old for Egypt; but even the rough soldier, Enobarbus, says that 44 age cannot\nwither her nor custom stale her infinite variety Not in measured beauty of form or face,\nbut rather in the serpentine or undulating movements of her body, in the changing ei=»\npressions of her full=Hpped wavy mouth and large dark eyes, In her expansive brow... .a\nfeature not so much admired now as in Shakspere's time ; above all, in her wit must we seek\nfor the strange witchery she exercised over Julius Caesar and Mark Antony. &"}]}, {"article_id": "bm-bmtnaau-1910-01-01-c016", "article_bluemountain": "bmtnaau_1910-01_01#c016", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "130", "page_fin": "n. p.", "image_debut": 36, "image_fin": 40, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.2.10", "titre_corps": "TWO STAGE CHARACTERS", "titre_sommaire": "TWO STAGE CHARACTERS", "signature_source": "Gilbert à Beckett", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 36, "page_imprimee": "130", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.36", "debut_caractere": 992, "fin_caractere_exclue": 3743, "texte": "TWO STAGE CHARACTERS\nby Gilbert à Beckett.\n\n(I)\nTHE STAGE PRINCE.\nRoyalty on the stage Is usually very unfortunate; and the\ntreatment it receives is, under even the most favourable\ncircumstances, anything but what it ought to be. If the\nstage monarch is in the height and plenitude of his power,\nthere Is very little respect shown to him. He has to march\nabout in processions with a pasteboard crown on his head,\nwhile the royal ermine is nothing better than flannel with\ntufts of worsted fastened on to it. As to his palace, though\nthe walls are finely painted, there is scarcely one room\nthat he can comfortably sit down in, for the apartments\nare usually as barren of furniture as if a distress for rent\nhad recently cleared them. If he gives a banquet, there is\nnothing to eat but a quantity of artificial flowers in vases, and some imitation fruit, moulded\nall in one a piece on a papier mach6 plateau ; so that, If the fruit were eatable, the plate of\nwhich it forms a part would have to be devoured with it. The stage monarch has generally very\nlittle to say, and perches himself quietly on a very uncomfortable throne raised on a rickety\nplatform, with scarcely room for his feet; while some individuals, turning their backs upon\nhis Majesty, amuse themselves with dancing. He Is frequently sworn at, and imperatively\nordered by the stage=manager, who is a viceroy over him, to get down from his throne,\nthat It may be dragged off at the wing by the scene=shifters just before the fete concludes,\nwhen the monarch sneaks in anywhere among the crowd of supernumeraries who constitute\nhis 44 people \". <£? & &\nHis snubbed Majesty feels that he shall interfere with some Terpsichorean grouping, or\ndestroy the final tableau of a pas de deux, if he does not get out of the way; and he\nkeeps backing and backing, until some of his court, irritated perhaps by the pressure of\nthe royal heels on their plebeian corns, check his further retreat with...Now then,\nstupid ! where are you coming to ? \" But the stage monarch is not always a mere nonentity,\nfor he sometimes takes a very active part, and developes some very remarkable traits of\ncharacter. If he happens to be a king after the pattern of him known familiarly as the\n44 merry monarch \", though in reality a very sad dog, he gets into tavern rows, flirts with\nthe barmaid, cheats the landlord, insults the guests, and Is on the point of being subjected\nto merited chastisement, when some tradesman of the court... .perhaps the milkman or the\nbutcher... .recognizes the King, from which it must be inferred that his Majesty is in the\nhabit of personally taking in the milk or ordering the meat for dinner. If the dramatists\n\n& His trials\njzr 44 A merry\nmonarch \"\n\n(1) Reprinted by permission."}, {"page_pdf": 37, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.37", "debut_caractere": 21, "fin_caractere_exclue": 3549, "texte": "The rightful\nheir.\n\ncan take liberties even with royalty moulded on the model of an English sovereign, it may\nbe supposed that they will run into considerable rampancy when picturing one of the mo-\nnarchs In miniature that are supposed to swarm on the Continent.\nA foreign princedom standing like a suburban villa In its own grounds, with cavalry\nbarracks for six horses, a large roomy outhouse for infantry, and the use of a paddock for\nan occasional review, may admit of considerable latitude in the way of dramatic treatment,\nfor no one knows whether it is right or wrong; and it may be, therefore, perfectly en regie\nfor the small fry of sovereigns to do the sort of things that on the stage we find them\ndoing. Thus it may be very natural for an Italian prince to go away from his dominions,\nleaving the government in the hands of a younger brother or an uncle, who spreads a report\nof the death of the 44 rightful heir, \" when the 64 rightful heir \" might settle the business\nwith the 44 wrongful heir \" by simply coming forward. lie, however, prefers sneaking about\nthe outskirts of a forest, with one 44 trusty retainer, \" and falling in love with the daughter\nof some dealer In firewood, who comes home every evening to talk sentiment about his\nchild, after having been employed all day in felling timber that does not belong to him.\n& The stage prince,\nwhen he does make up\nhis mind to claim his\nrights, issues no pro-\nclamation ; but muffles\nhimself up in an enor-\nmous cloak that he may\nnot be known, and ar-\nrives in his own terri-\ntories during some fete\nthat is being given by\nthe 44 wrongful heir\" to\ncelebrate the feast of\nthe grottoes, ( quaere,\noyster-day ?) or any-\nthing else which makes\na Sine in the play-bill\nand admits of an inci-\ndental ballet.The44right-\nful heir \" keeps judi-\nciously in the back-\nground during the dancing, and the 44 wrongful heir\" eyes him without knowing why;\nand in the intervals of the festivities comes mysteriously forward to tell the orchestra\nthat 44 he don't know how it is, but something seems to weigh at his heart; \"\nand he will occasionally inquire politely of Conscience when it will allow peace to enter the\nguilty breast, from which it has hitherto been a prohibited article. He will ever and anon\neye the 44 rightful heir \" with a suspicion for which he... .or any one else... .cannot account,\nand ultimately he will make some observation from which the stranger in the cloak will\ndissent; and high words will ensue, in which the 44 rightful heir \" will be addressed as\n44 Caitiff! \" and asked by what right he interrupts the festival. Every one will gather round,\nbut no one will know the 44 rightful heir; \" until, throwing off his cloak, he developes a\nblaze of orders, including a terrific freemason's star and a quantity of ornaments in paste,\nticketed up cheap at a pawnbroker's. & & & & & jg?\nThe discovery of the orders, accompanied by a sudden throwing off the hat, will cause\nall to go down on their knees the courtiers exclaiming 44 Sire! \" the female peasants\nmurmuring out 44 the Prince, \" and turning round to each other with 44My gracious,\" 44 Only\nthink,\" *4Did you ever,\" &c., in a series of facetious asides; while the male peasants shout\n14 Our long-lost lord I \" the supernumeraries, who can only be entrusted with a single word,\ncry simply 44 Sire 1 \" and the discomfited 44 wrongful heir,\" covering his face in shame and\nconfusion, mutters out 44 My liege ! \" while the chorus-singers burst into a concluding strain\nof joy, love, and loyalty."}, {"page_pdf": 38, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.38", "debut_caractere": 0, "fin_caractere_exclue": 3400, "texte": "THE STAGE COUNTRYMAN\njf a select committee\nwere appointed to in-\nquire into the state of\nthe rural population,\nand a stage countryman\nwere to be examined\nwith the view of collec-\nting facts relating to the\nrustic character, the se-\nlect committee would\nbe sorely puzzled to\nknow what to make of\nit. £> •£?\n& In the first place the\ncostume of the stage\ncountryman is arranged\nwith an eye to the pic-\nturesque rather than the practical. He frequently wears a very light sky-blue coat, with\na waistcoat of the gayest chintz, as if somebody had given him a window curtain, and he\nhad been seized with the heureuse idee of having a vest made out of it. He has dark blue\nstockings, which are made of silk if he is the first countrjmian, but are ordinarily of grey\nworsted if he Is only one of a party of rustics getting in the harvest or assisting at a vil-\nlage festival. By the way, the dramatic mode of getting in the harvest consists in tossing\nabout a truss of straw with property rakes at the back of the stage, and then coming\nforward to the front to sing a chorus. Village festivities are also of a very mild description\nin their theatrical form, and comprise little more than the luxury of sitting on a bench\noutside an alehouse door, holding in one hand a tin cup filled up above the brim with\nwool, which is occasionally raised to the lips, in accordance with some complimentary\nallusion to John Barleycorn\nTo return, however, to the costume of the stage countryman. The remainder is made\nup of a red wig and a hooked stick, with a small bundle slung across it, and a pair of\ndancing-pumps, in which he is always prepared to walk to London, for the purpose of\nrighting 44 poor sisther Phoebe, \" or telling the 44 great squire \" that he (the stage countryman)\nhas got 44 feelins like, \" and that he (the stage countryman) is as good a 44 mon \" as he\n(the squire): 44thof he (the squire) have gotten a fine coat on his back \"... .a home truth\nwhich sometimes throws the squire into a state of pitiable penitence about something or\nother which there is no proof of his having been guilty of. & &\nThough the dramatic rustic is vividly alive to any wrong, real or imaginary, inflicted\non his own sister, he is often, as far as his own treatment of the fair sex is concerned,\nlittle better than a domestic ruffian. He is either contemptibly soft, accepting as a wife\nsome village coquette, who has been declined on account of her flirting propensities, by\nsome former lover, or he is brutally hard, refusing to fulfil the vows he has plighted to\nsome unfortunate village girl, and setting the yard dog at her if she persists in pursuing\nhim.\nThe occupations of the stage countryman are usually of the very vaguest character* He\nappears to have nothing on earth to do but to avenge his sister for some wrongs not very\nclearly made out, bully the landlord about 44 fearther, \" who is a most unpunctual old man\nin the payment of his rent, flirt with village maidens, grow sentimental about poor old\n44 mither, \" and 44 dom \" the young squire. & &\n& The stage countryman is a character fast disappearing from the drama, and the only\nrusticity now introduced into theatrical pieces is confined to a Yorkshire servant, who\nseems to be retained in a house for the mere purpose of misunderstanding every order he\nreceives, and grossly insulting every visitor of the family. & & & &\n\n& Festivities\nHis manners."}]}, {"article_id": "bm-bmtnaau-1910-01-01-c020", "article_bluemountain": "bmtnaau_1910-01_01#c020", "volume": "bmtnaau_1910-01_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": 40, "image_fin": 40, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.2.10.4", "titre_corps": "SOME STAGE ROYALTIES", "titre_sommaire": "SOME STAGE ROYALTIES", "signature_source": "CHARLES BORROW", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 40, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.40", "debut_caractere": 0, "fin_caractere_exclue": 40, "texte": "SOME STAGE ROYALTIES. by CHARLES BORROW."}]}, {"article_id": "bm-bmtnaau-1910-01-01-c021", "article_bluemountain": "bmtnaau_1910-01_01#c021", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "133", "page_fin": "133", "image_debut": 41, "image_fin": 41, "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=bmtnaau191001-01.2.11", "titre_corps": "THE ENGLISH VOICE", "titre_sommaire": "THE ENGLISH VOICE", "signature_source": "Allen Carric ; Allen Carric", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 41, "page_imprimee": "133", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.41", "debut_caractere": 0, "fin_caractere_exclue": 3769, "texte": "THE ENGLISH VOICE\nby Alien Carric\nAllen Carric.\nEnglish Drawl has come to stay till the End. It was once a jovial gutteral drawl;\nit now affects the lips rather than the throat. It has taken its change for the worse. It\nswaggered once; now it simpers. I do not know the names of all the separate English\nDrawls but I have heard of something called the Oxford Drawl and I have heard of the\nPiccadilly Drawl. I suppose there must be also the Winchester Drawl and the Cavendish\nSquare Drawl, but about the really very famous Drawls only an expert could tell us. £?\nThere are, however, others; those which, so far as I know, have not yet made names for\nthemselves. Their echo is to be heard in the journals and we may label them.\n<£? For instance, the \" Saturday Review Drawl.\" A clear voice is heard for several pages\nand then the drawl,... a bored drawl... the drawl of the wise \" Max. \" I say wise\nadvisedly. His is above all things a drawl of spiritual surrender, of elasticity it swears\nit will not shout. &\nReaders must not find anything silly about this drawl. Whatever it is it is not silly;\nIn fact, when we hear it the speaker stands revealed: we feel we are in the presence\nof a truly wise man: nobility, reverence, modesty and courage, all these we feel are behind\nthat drawl: it compels us, I mean all of us who are not fools.\nThis drawl is a pure English drawl acquired after enormous pains, and the greater the\ncredit to its owner since its owner is not entirely English. Would an Italian ever have had\nthe power to make himself master of this thing ? No! Would a Frenchman have\ndared ? No, a thousand times, No I Only one from the Fatherland could have so dared\nand done.j£>\nAs 1 have hinted, behind this drawl is a divine voice; it has something to say and it\nsays it regularly every Saturday.\n\" Max \" has a reputation for being never dull What is his secret ? .... it is in being\nvery very wise. Such kindly wisdom too, suppressing any ignorance under a pretence of\nnot knowing detesting emphasis,.... admiring all that is elegant and admirable; a tolerant\nwisdom; one never yet known to praise that which it could not understand. This it is to be\nentirely wise,... profound. Yet I have always heard of the \"witty\" Max, the \"clever\"\nMax. As though mere wit and cleverness masqueraded under a drawl. Why, it will be said\nnext that affectation is hid beneath a lisp! 4? & &\n& Surely Max' s is the true English voice. Was it not a voice of this calibre that was heard\non the day when the Armada was sighted ,... \" Ohhh.... Indeed in siiight you\nsaaay ?.... When we've finished our game of booowwls there will be time to\nbeat them\nWhen Wellington uttered the famous \"Up Guards and at 'em \" we know now how it\nmust have been drawled.\nThe voice of Shakespeare reading Hamlet to the Globe company must have sounded thus,\n\"To beeeee, or not to beeeee: thaaat is the queeestion \". I picture the enthusiasm of the\ncompany on hearing this drawl which carries. &\nIf I have not spoken of other journalistic drawls it is that there is none to come after\nthis one. There is none like it, none, Lately it has added a new quality to its already\npeerless tone. It can shout; It states with emphasis what the mighty brain behind it has\nfelt and felt emphatically \" Here is Miss Olive Walter, * Tyltyl' to the life, and perfect\nfrom first to last\". &£>£>&&&\nHjphe Morning stars sang together and all the sons of God shouted for joy. Job XXXVIII.\nghouting Implies cock=sureness, contentment with a definite point of view, one set\nconviction. Wisdom of which the essence is spiritual surrender and elasticity.... wisdom,\nthat immensely complicated thing cannot be shouted. & &\nMax Beerbohm, \" Saturday Review \" Vol 108. Page 749,\nThe \" Saturday\nReview\" Drawl.\nA divine\nvoice. &"}]}, {"article_id": "bm-bmtnaau-1910-01-01-c022", "article_bluemountain": "bmtnaau_1910-01_01#c022", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "134", "page_fin": "n. p.", "image_debut": 42, "image_fin": 43, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.2.12", "titre_corps": "VENETIAN COSTUME : TRANSLATED FROM THE BOOK OF CESARE VECELLIO", "titre_sommaire": "VENETIAN COSTUME : TRANSLATED FROM THE BOOK OF CESARE VECELLIO", "signature_source": "D. Nevile Lees", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 42, "page_imprimee": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.42", "debut_caractere": 0, "fin_caractere_exclue": 4126, "texte": "VENETIAN COSTUME\nTRANSLATED FROM THE BOOK OF CESARE VECELLIO\nby D. Nevile Lees\n0)\nTP*16 cos*ume Doctors of Law or Medicine all over Lombardy is the long toga\nreaching to the ground, with open sleeves, and it is black, in winter of cloth or damask\nor of velvet and in summer of very beautiful Florentine watered silk, or of camlet. Under\nthe which toga such Doctors wear another robe of silk, girded with a belt of velvet with\nsilver clasps or with a silken girdle, which robe reaches to the knee. Beneath they wear\nhose of black cloth or silk, and on their feet they wear slippers of black cloth or of velvet.\nOn their heads they wear caps of rich velvet or of silk brocade. And such costume serves\nthem in the governments, embassies and in the tribunals as evidence that they are serious\npersons and of mature judgment. & & &\nyoung men in love, (giovani innamorati) usually wear a doublet of satin, tabby or\nother silk, pointed or slashed with various patterns in the form of crosses or stars,\nthrough which slashes the coloured linings of taffetas are seen. & & &\nThey wear with the said doublet buttons of gold, and at the neck frills with clean lace,\nand on the head a cap of rich velvet or silk brocade with a scarf round it, gathered in front\ninto the form of a rose, where they usually set some little medallion.\nThey generally have their small clothes of the same stuff, and embroidered silk stockings\nwith shoes of Spanish morocco, and over all they wear a cappetto, (a cloak with a hood\nof silk brocade, a flower in one hand and in the other their handkerchief and their\ngloves.\n& This costume is much used by nobles, alike in Venice and the other cities of Italy,\nespecially by the youths before they don the robes with elbow sleeves which, until eighteen\nor twenty years of age, they do not wear. Thus the greater number wear the costume\nhere described. But many however wear it in black, others In silver or light purple,\nespecially the doublet and small clothes and hose as seen in the picture.^\npeasants who come to Venice at the season of All Saints to sell geese, eggs and other\nfood wear the costume here shown, which consists of a hat of coarse straw on the head\nand a garment reaching halfway to the knee made of roan coloured cloth or of herrettino\nor fratesco, and on their feet shoes of undressed leather against the mud, and to their\nlegs they fasten certain high gaiters of leather; over their frock they put a cloak of roan\ncloth or coarse herrettino, of little value, with a wide collar which falls over the cloak as\nfar as the shoulders, and they hold, resting upon the ground, a staff with a goose or two.\n'Jphe costume here shown is of certain women peasants who come on Saturday to the\nmarket in Venice from the villages of the surrounding parts, the which women, when\nthey enter the city, take off a large wide hat which outside they wear on their heads, and\ncarry it in their hands. This hat is made of coarse straw with a band of red or crimson silk\nround it.\nThey wear an upper dress of another stuff, blue in colour, or hiano, with a rather tight\ncorset, which they lace with little silken cords, somewhat loosely so that one sees the white\nchemisette beneath; and on this corset they wear medallions of gilded silver, and wrapped\naround the head and neck they have a white veil of cotton or other stuff which serves also\nto keep their hair in order. And because they come from outside where there is much mud\nthey fasten up the said dress with a leather belt three fingers wide a handsbreadth from\nthe ground over another underskirt which they wear; and they carry on their shoulders\ntwo baskets with chickens and hens in one, and in the other cheese and eggs and fruit and\nevery kind of thing which is produced at the villas. They wear high boots of stout leather\nas protection against the mud and rain. & & & &\n&Doctors of\nly a w\nVenetian\nyouths.\nMale\nPeasant. &\nPeasant\nwomen.\nOur /eaders will find that the Venetian costume designs, reprinted in The Mask during the past year, are furnishing them by degrees with a\ncomplete series of costume designs for the \" Merchant of Venice. \" Ed;"}]}, {"article_id": "bm-bmtnaau-1910-01-01-c027", "article_bluemountain": "bmtnaau_1910-01_01#c027", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "135", "page_fin": "135", "image_debut": 45, "image_fin": 45, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.2.13", "titre_corps": "ROARS OF LAUGHTER", "titre_sommaire": "ROARS OF LAUGHTER", "signature_source": "Jan van Holt", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 3524, "texte": "ROARS OF LAUGHTER\nby Jan van Holt\nAgreat deal is being said today about Commercialism and Non-commercia-\nlism. They say that commercialism spreads itself from city to city streng-\nthening the few and killing the rest; they say that commercialism is\nentering into the magic circle of the arts.... they say that the artist is\nbecoming commercial they say that the craftmsan is becoming com-\nmercial... they say.... but let them say. & zz?\nAnd then 4i efforts \" are made to suppress commercialism and in doing so commerce\nbecomes a bogey to many who hitherto have only looked upon It as a harmless necessary\ncuriosity.\nJZ? The Power of commercialism Is exaggerated. If commercialism killed or suppressed all\nbeauty we might have reason to think otherwise. But commercialism never touches beauty\nand has never had any success whatever against its supposed enemy. You cannot make\na man commercial, or uncommercial, he is born the one or other and remains so until\nthe end.\nI know a painter who is commercial and one who is not commercial: they have\nworked together for years, yet to this day the one remains commercial and the other\nuncommercial.\nI know a writer who has struggled hard to write such stuff as commercial Journals accept\nand who is utterly unable to do it, and who now goes round collecting his verse and prose\nfrom the editors who of course are delighted to let him have them. He swears he will never\nwrite another word of saleable stuff. He protests in vain for he will do so whenever he\nbecomes commercial; but as he cannot become commercial what does all his talk amount\nto ? It means nothing.\n& I knew an artist who was continually saying \" Now I' ve done something which everyone\nwill understand and which the dealers will jump at\" and he unveiled a statue or a picture,\nand lo, it was even further from the understanding of the dealers than what he had\ndone before. &\nThere was William Blake, who did not care whether he made money or not, whether his\nwork was popular or not; nothing ever made him care. And there is my friend William\nSmith who is quite eager to make money by his designs but who is yet quite unable to\n\" turn out\" designs which shall make money today. Blake and Smith are uncommercial\nand no amount of trying on their part to meet a special demand would make their work\nor their natures any different.\nCommercialism has no power whatever over the artist or man who was born uncom-\nmercial. Uncommercial men are born in every age and because this age is called a com-\nmercial one it makes no difference whatever to the appearance of the uncommercial man.\nIt may make a little difference in the matter of his disappearance, but that is no one' s\nconcern but his own.\n& I am an artist and happen to be noncommercial. I am told that my age is a commercial\none but I am sure it could not be more interestingjor more amusing than it Is,... and to\nbe interested and amused by one' s age is sufficient. One heed not become familiar with\nit; yet as it parades before us like a comic pageant we can at least look on and laugh\nat the exhibition with good humour. One sits in good company for others are looking on:\nthe performers must not forget this and must take courage in the recollection. jtz*\nThe commercial are performing to a crowded house, an audience which is splitting its\nsides with uncontrollable laughter. We pay for our seats; we must not dream of doing\nmore no, not one egg Bravo ! Bravo I Roars of laughter!\nCommeicialism,\nIts power is\nexaggerated. &\nWilliam Blake,\nA comic pageant."}]}, {"article_id": "bm-bmtnaau-1910-01-01-c030", "article_bluemountain": "bmtnaau_1910-01_01#c030", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "136", "page_fin": "141", "image_debut": 46, "image_fin": 51, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.2.14", "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": 46, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.46", "debut_caractere": 0, "fin_caractere_exclue": 4253, "texte": "BOOK REVIEWS\n\nGREEK COSTUME by Ethel Abrahams.\nJohn Murray.\n\"phis book is a really valuable contribution\nto the literature on the subject of Greek\nCostume, each page bearing evidences of close\nstudy and painstaking research.\n& No accessory of a woman's dress or toilet\nseems to have escaped Miss Abraham's at-\ntention and a glance at the alphabetical\nindex shows us that here we may find infor-\nmation on such varied subjects as false hair,\nmirrors, fringes, hair nets, hats, perfumes,\nrouge, sandals, toilet boxes, pins, wigs, cor-\nsets and many more too numerous to name.\n& Nor is the men's dress forgotten, their\narmour, ornaments, tunics, head - dresses,\nsandals and all else pertaining to toilet or\ncostume being carefully described.\nAfter an Introduction devoted to Pre-\nHellenic civilisation the writer passes on to\ndeal successively with the Homeric, Doric\nand Ionic, with the Development of the Ionic\nHimatiort, with Materials and Ornamentation,\nHair and Head-dress, Foot-gear and the\nToilet, and the many and excellent diagrams\nand illustrations taken from ancient statues\nand vase paintings assist the student to a\nclearer understanding of the text. &\n& The arrangement of the chiton is careful-\nly described, and seems to have varied in\nform according to the rank and occupation\nof the wearer, slaves, for example, wearing\na narrow ungirt one with tight sleeves reach-\ning to the wrist, men engaged in active\npursuits a short one with or without sleeves,\nmusicians a long ungirt one, actors a cos-\ntume with long sleeves, \" probably padded to\ncomplete the impression of increased size\nproduced by the high masks and buskins. \"\nNor is it only for the interest of the tech-\nnical information contained that a book on\nthe details of dress and toilet of such a na-\ntion as the Greeks is of interest, but as an\naid to our comprehension of the people\nthemselves; an assistance, by means of the\nouter symbols, to tracing their inner life; for\nas Miss Abrahams concludes her book:\nus? \" It can hardly be questioned that the free-\n\" doni and simplicity of their dress was to a\n\" great extent the cause of the development\n«• of the spendid physique which the Greeks\n\" undoubtedly enjoyed.Their loose draperies\n\" allowed their limbs perfect freedom, and\n\" their bodies were unhampered by constraint\n44 of any kind. In the palaestra and the gym-\n44 nasium, air and sunlight were allowed to\n44 exercise their salutary influence, for the\n44 Greeks were not 4 ashamed of their own na-\n\" ked skin,' and so discarded their clothing\n44 when in pursuit of their athletic occupations.\n44 The healthy state of body thus preserved no\n\" doubt had its share in fostering that healthy\n44 state of mind to which are due the sanity\n44 and sobriety that characterise all Greek\n44 thought, whether expressed in literature,\n44 art, or philosophy. \"\n& The cover of the volume, which is taste-\nfully decorated with one of the designs on\nthe fragment of a sarchofagus, (pg 196)\ncompletes a very delightful book, and one\nwhich every sensible actor and actress will\nbuy at once. &\n\nHANDBUCH BER KOSTUMKUNDE.\nW. Quinke. J. J. Webet. Eeipzic Mks. 7.50.\n'\"phe third and enlarged edition of Herr\nQuinke's work on the History of Costume\nhas reached us. It is profusely illustrated\nand in it we may trace the development of\ncostume from the earliest times down to the\nyear 1848.\n& The study of costume is one of the most\nabsorbing and fascinating to which the stu-\ndent of the stage can give his attention, not\nthat he may slavishly imitate, but that, learn-\ning how races, personalities, characters,\nhave expressed themselves through the me-\ndium of costume during many centuries, he\nmay be enabled to design such dresses for his\nown purposes as shall express the very spirit of\nhis dreams. & & JS?\nIt would be hard for the stage director\nto over-estimate the importance of costume\nas a revelation of the character of the wea-\nrer. It was a wise saying of Ruskin's 44 a\nbeautiful soul will desire to dress itself beau-\ntifully\", and Spenser's old couplet,\n44 For of the soule the bodye forme doth take,\nFor soule is forme, and doth the bodye make \"\nmight not only refer to the influence of the\nspirit in moulding its fleshly garment, but\nalso to the shaping of the outer garment in"}, {"page_pdf": 47, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 4270, "texte": "which that body is wrapped. & &\n& Indeed, in the study of national costumes\nit will be found repeatedly that, not only\ndid the character of a nation determine the\nform of its dress, but that the form of the\ndress reacted upon the life of the nation as\nin the case of the ancient Greeks, whose\nspendid physique is by students attributed\nlargely, and doubtless justly, to the loose\nand unencumbering dress they wore.\nHerr Quinke's book contains 459 costume\ndesigns with descriptive text and is rendered\nmore convenient for reference by a well\narranged index.\n\nO THER DA YS by William Winter.\nMoffat, Yard & Co, Do/s: 3.00 Net. &\n| n this book Mr William Winter, until re-\ncently the dramatic critic of the New York\nHerald, recalls and commemorates a number\nof actors and actresses of the past gene-\nration.\nFinding little but evil in the present, he is\nnot one of those who look on hopefully to\nthe future but finds his consolation in dwel-\nling on the theatrical past. JZ?\nFor the writers and dramatists of his own\nday he seems to have only condemnation,\nfor as a proof of McCullough's 44 sound\njudgment and correct taste \" he quotes his\nwords about Whitman, 44 they have been\nreading some of the spavined stuff that he\nhas written. It is a Profanation to talk of\nsuch a writer as a poet, \" and he himself\ndescribes as \"sickly humbugs\" Maeterlinck,\nSudermann and Shaw. &\n& He has, however, some interesting things\nto tell us of that past generation in which he\npuis his faith. Of Jefferson, for example, we\nread, 44 No actor ever was more scrupulous,\n44 punctilious and imperative In his insistence\n44 on the ideal as opposed to the actual. That\n44 principle was at the basis of his acting. He\n44 abhorred realism. & & &\nAmong those actors and actresses treated\nof, besides Mc Cullough and Jefferson, are\nJohn Brougham, Dion Boucicault, Charlotte\nCushman, Edward Sothern, Laurence Barrett,\nMary Anderson, Adelaide Neilson and Henry\nIrving. & 0\n\nJOSEPH & HIS BRETHREN by Charles\nWells. Henry Frowde.\nThis reprint, with its Introduction by\nAlgernon Swinburne and its note on Rossetti\nand Charles Wells by Theodore Watts Dunton\nis one we would warmly recommend to our\nreaders. jg?\nThe poem was first published in 1824\nunder the pseudonym of H. L. Howard, and\nis far too little known to the student of\nEnglish poetry and drama. &\n& It was from the first almost unanimously\nneglected, although containing proof enough\nthat it was the work of \" one only lesser\nthan the greatest of his time in some of the\ngreatest qualities of his art jzr\n& So completely, in fact, was it forgotten\nthat, to quote Mr Swinburne, 44 Only by such\nhappy chance as sometimes may come to the\nhelp of assiduous research \" has it been\n44 dug up from the cemetaries of literature\n\" At rare casual Intervals \" he goes on, \"some\n44 thin and reedy note of eulogy has been\n44 uttered over the grave of a noble poem, be-\n\" witched, as it were to a sleep like death, and\n\" has always hitherto failed of a hearing\n44 Notwithstanding, the truth remains, that the\n44 author of \" Joseph and his Brethren \" will\n44 some day have to be acknowledged among\n44 the memorable men of the second great\n44 period in our poetry\".\nThis was the play which Rossetti declared\nto be 44 more Shakespearean than anything\nelse out of Shakespeare \", an opinion fully\nendorsed by other men of genius to whose\nnotice the work was brought. &\n£/ In spite of this, however, it remained\nunknown and unread, and, as Mr Watts\nDunton writes, 44 the neglect the book suffered\n44 must always remain a striking example of\n<4 the way in which the prosperity of any work\n44 of art, from a joke to an epic, depends upon\n44 the mind of the public to which it is addres-\nsed and this 4 mind * is too often but a\nmixture of ignorance and &\nIt will be only when the public, instead\nof criticizing or condemning, learns once\nmore to obey and follow the artists, to turn\nto them as teachers from whom to learn\ninstead of treating them as protegds to be\npatronized, that these things will cease\nto be. &\n\nBELL'S MINIATURE SERIES OF\nMUSICIANS.\nPURCELL by J. F. RUN CI MAN. George\nBell & Sons.\nMr Runclman has written a readable\nand instructive book about our great\nNational English Composer goes without\nsaying.\nWe would ask, however, if the vials of his"}, {"page_pdf": 48, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 4429, "texte": "wrath and scorn have not been poured out too\nlavishly upon the unfortunate later composers\nof Church Music. When he asserts, (page is)\nthat 44 the school of English religious com-\n44 posers ended with Orlando Gibbons\n44 in 1625 \" and that 44 since then we have\n44 had no religious musicians \" the name of\nSamuel Sebastion Wesley, to mention no\nothers, at once comes to mind. There was a\ngenius second alone to PurcelTs. &\nAnd on reading (page 51) that *4 Dido and\n44 Aeneas was very well performed by stu«\n44 dents some years since \" it seemed to us\nthat we had heard of other performances\nworth mentioning, and seeking to refresh our\nmemory in Grove's Dictionary,... that Whi-\ntaker of Music.... we chanced upon a little\narticle recording the performances by Messrs\nGordon Craig and Martin Shaw. Memory\nindeed plays strange tricks when Mr Runciman\nmentions an ordinary routine students ma-\ntinee of the Royal College of Music and for-\ngets a series of productions, not only of Dido\nand Aeneas, but the Masque from Diocletian\nwhich, if we are not mistaken, aroused some\nattention in the art world of London.\n& Apart from these points, Mr Runclman's\nlittle brochure should be read by all Purcell\nlovers. & &\n\nMr JUSTICE RAFFLES by E, W,\nHornung. Smith Elder & Co. & jg>\n& This is a book which we warmly recom-\nmend to actors, tinkers, tailors, stars, stage\nmanagers, soldiers, sailors, door keepers and\ndramatists alike, for it is one which passes\nthe time interestingly and is a delightful\ncompanion for the busy man. jgr\n*4 Raffles\" should particularly appeal to\nactors since he has himself something of the\ngood actor about him; at any rate, he has\nthis qualification, ... that he is a rogue and a\nvagabond, which is more than can be said of\nmost actors of today ! jgr\n\n„& The volume deals technically with mate-\nrial itself, the ways of applying it and of\nobtaining the various results desired and\ncontains a valuable series of illustrations\ntaken, in various stages of development,\nfrom the 44 make-ups \" of the writer himself,\none of the finest of which make-ups we find\nto be that of Napoleon. This book is, in fact,\nthe only serious guide that a young actor can\nhave for 44 making up\" faces.\n•£* The book seems to us, however, beyond\nbeing an interesting description of present\nmethods, a remarkably strong argument in\nfavour of the return of the mask to the stage;\nfor if the face of the actor Is, by means of\npaste, powder and colour, to be altered out\nof all recognition, used only as a foundation\nupon which to model the desired features,\nwhy not simply cover the original features\nwith the image of the personality which it\nis wished to represent ? /g? jg?\nWhy paint the face until it resembles a\nmask for a few hours when a mask can be\nmade of ivory or wood which will last for\never ? & jg/\nTHE ART OF THEATRICAL MARE-UP\nby Cavendish Morton. A. &. C. Black.\n5\\-net.\nMr Cavendish Morton is in this book\ntreating of a subject upon which he is, by\nexperience, well qualified to speak, since he\nhas not only his own experiments upon which\nto base his directions but has also had the\nopportunity of watching and studying the\nmethods adopted by Sir Henry Irving, Sir\nHerbert Tree, M. de Max and other masters\nof the craft.\n\nTHE APPRECIATION OF THE DRAMA\nby C. Caffin. Baker & Taylor Co,\nNew York,\n'\"jphis book, which, remarkably well printed\nand illustrated, is worthy of the House\nwhich issues it, pleases us rather for these\ntwo qualities than for any actual value it\nmay have for serious students of the stage:\nfor while Mr Caffin, upon the subject of\npictures, writes with authority, he hardly\ngives us the impression of having devoted to\nthe art and history of the theatre that wide\nand serious study which is necessary for\nthe production of a work which shall be of\nreal assistance to other students. jg?\nSome of the questions he raises go far\ndeeper than one who has not seriously studied\nthe whole history and tendency of the theatre\nthrough the centuries can perceive, as when,\nfor example, in his chapter on \"The Play\"\nthe author writes, 44 If Shakespeare were\nalive today is it reasonable to suppose\n44 that he would not make use of every advan-\n\" tage that the modern stage presents \" ?\nPerhaps he would; perhaps he would not; but\nthe question of importance is rather, would\nhe find advantage in the use of the elaborate\nand complicated adjuncts of the modern\nstage ?\n& Again, when on page 239 Mr Caffin writes"}, {"page_pdf": 49, "page_imprimee": "139", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 4817, "texte": "with reference to the technique of tragedy\n\" The Greek is not so complex or so threaded\n\" through and through with significance of\n\" detail, because the motive is neither so reali-\n\" stic nor so penetratingly psychological \" the\nimpression conveyed is rather that he consi-\nders that our modern drama is an improvement\non the Greek and that the movement has\nbeen progressive, whereas a more serious\nstudent would decide from these two very\nfacts that it had been the rather retrograde\nThere is perhaps a little too much about\nIbsen in the book, and the reader* s own\nintelligence might have been assumed suf-\nficient to enable him to appreciate certain\nrather obvious qualities of the great Scan-\ndinavian playwright without such detailed\nexplanation, but we believe that the average\nplay-goer will find no small pleasure and\ninstruction in this volume, slight though it\nbe, and anything which tends to produce a\nserious interest in the theatre, to lead the\npublic to look upon it as something more\nthan an after-dinner resort for the display\nof diamonds and for social intercourse is wel-\ncome as furthering in some degree the pro-\ngress of the Art. &\n\nfmy * \"W KJ V A V AAA RW CiSwP WXair\nCRIMINAL TYPES IN SHAKESPEARE\nby A. GoIL Met hit en & Co.\nJncreasingly year by year is \"the object\nall sublime \" of modern penal systems, as\nit was of W. S. Gilbert's well known charac-\nter, to \" make the punishment fitthe crime\",\nand, for the achievement of this end,\nto guage the amount of actual culpability in\nthe criminal, the primary causes which led\nto his action, the extent to which he is\nmorally responsible or merely the uncon-\nscious victim of the law of causes and\neffects: and it is to this study of the \"cri-\nminal human type as a special anthropolo-\ngical problem\" that Herr Goll, the chief\nmagistrate of Aarhus, has devoted his inter-\nresting book.\n& It is not, however, living criminals that\nHerr Goll chooses here as the subjects of\nhis study, but the ever-living figures of\nShakespeare; and, by analysing their actions,\ntracing them back to the instincts and impul-\nses of which they are the expression, he\nseeks to solve that problem which has puz-\nzled so many generations before as well as\nsince Lear put the question, \" Is there any\ncause in nature that makes these hard hearts\"?\n& In the old despotic days guilt and inno-\ncence were often largely dependent upon\nsocial position. Might was right; the man\nwho was up was judge and the man who was\ndown was criminal; guilt was much a matter\nof points of view, and any assertion of rights\non the part of the lower was punished by\nthe upper as a crime. But now we are pas®\nsing beyond such arbitrary superficial distinct\ntions and are constantly forced to admit the\ntruth that \"change places and, handy-dandy,\nwhich is the justice and which the thief?\"\n\" For, the further the study of criminal\npsychology is pushed, the more do we see\nthe old penal system undermined by deter-\n\" minism,\" that \" law of causes entering the\nmental domain \"; the more do we realise that\nthe punishment of external criminal acts is\nbut a superficial matter compared with the\nunderstanding of crime itself, and that to get to\nthe roots of the matter crime must be \"studied\n\" under the microscope as asickly growth,\n\" its innermost nature must be traced,\n\" its origin, its conditions of life, its phases\n\" of development, its means of propagation \"•\nThe object of the present volume Is, Herr\nGoll tells us, \" The study of the first of\n\" all causes, the criminal himself.... the\n\" criminal ego, its physical and psychic per-\n\" sonality: the criminal' s way of thinking,\n\" his feeling, passions, intelligence and charac-\n\" ter\", and for his study he turns to the\nworks of the greatest English poet. <£?\n& In his Introductory chapter the author\nreviews briefly the \" literature of crime\"\nas a means of gaining information, of throw-\ning light upon the obscure problems of crimi-\nnal psychology and accentuates the importance\nto criminal psychologists of \" the literature\n\" written by those to whom the wonderful\n\" power has been given of changing their\n\" mental skins, of identifying themselves with\n\"others, of thinking, reasoning, feeling like\n\" those other selves. \" These intellectual mas-\n\" ters\", he asserts, \" mean, as regards know-\n\" ledge, almost as much as a Newton, Darwin,\n\" Pasteur, mean to the science of nature,\n\" allow us to read the soul of the crimi-\n\" nal like an open book;\" and though of\nsuch men he finds in the present but one\nwhose authority is incontestable, the Russian\nDostoieffsky, the supreme master he declares\nto be Shakespeare, who, although he lived\nthree hundred years ago, is the only man\ncapable of teaching us, \"if anybody can teach\nus, criminal psychology \" &\nPassing on from his fine tribute to the\nwhole spirit and achievement of Shakespeare,"}, {"page_pdf": 50, "page_imprimee": "140", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 4630, "texte": "it is with his work as criminal psychologist\nthat Herr Goll is solely occupied in the\npresent volume. Finding Caliban \" in a man-\nner the criminal in pure cultivation, the cell\nwhich contains the germ of all later creations\nhaving like tendencies and inclinations\" and,\nstarting from this point, he proceeds in the\nsucceeding essays to examine some of\nCaliban ' s descendants,.... Brutus and Cas-\nsius, (representing political criminals); (Mac-\nbeth, Lady Macbeth, lago and Richard \\\\\\.&\nOf pecular interest is the study of Lady\nMacbeth who is cited as an excessive type of\nthat altruism which is at the root of the majo-\nrity of what may be described as typical\nwomen's crimes. In these cases, far from being\nexpressive of criminal instinct, it is precisely\nthe woman ' s devotion to those whose well-\nbeing she has most at heart that blinds her\nto the rights of others: and, since it is not\nselfish advantage which prompts her, she\ndoes not commit her crime like a criminal\nbut prompted by the highest motives and\nsecure in the conviction of acting rightly\nsince she is advancing or protecting the\ninterests of those whom she feels it her duty\nto & &\n& By this fact Herr Goll Interprets the whole\npuzzling prob em of Lady Macbeth ' s action,\nher apparent' callousness, her indifference\nto the crime committed, and shows her\nmadness and death as the result, not of\nremorse because they had murdered Duncan,\nbut of the fact that instead of rendering\nMacbeth happy the deed had but destroyed\nhis peace of mind.^\n& As the author excellently and rightly af-\nfirms, \" she is not seized by remorse; to\n\" casual spectators only a sort of naive\n\" audience .... does the word * remorse '\n\" promptly occur, when they see how she\n\" suffers. She herself does not utter one word\n\" which may be rightly construed as re-\n\" morse \" \" She committed the crime by\n\" reason of what constituted her innermost\n\" nature; it arose in fact, out of the best in\n\" her: her strong determination to give to\n\" Macbeth the best that was in her \" and it\nis because in some way that she does not\nunderstand he has been only led into suf-\nfering, fear, agony and reiterated crime that\nshe \" took off her life \" and was \" crushed\nby the play of existing forces outside herself\nbecause they crushed the dearest thing she\nposesssed.\" &\n& No less penetrating and masterly is the\nmethod of analysis applied to lago, the cynic\nwhose work it is to destroy faith in all good,\nbelief in all beauty; to disillusion, to pass\nlike a blighting wind across the landscape of\neach life with which he comes in touch. A\nlight sin, perhaps, at first glance, and yet\nthe deadliest, for; \"Kill the power of confi-\n\" dence, the possibility of confidence in huma-\n\" nity, and human society becomes impossible\n\"the source of the stream is interrupted, and\n\" barrenness will prevail where before reigned\n\" blessed activity\".\"This is lago's crime against\n\" Othello.... the greatest crime which can\n\" be committed. Put humanity in the place of\n\" Othello and lago becomes the greatest cri-\n\" minal in the world.\" & &\nAnd is not this, only putting an audience\nin place of Othello, just what some of our\nmodern playwrights are prone to do ? They\nsneer at good, mock at beauty, prostitute\ntruth, kill faith in all lovely and noble things,\nand, while undermining the very foundations\nof the commonweal, yet pose as \" honest\nlago\", the saviours and protectors of that\nwhich they destroy. &\nJZ? Space does not allow of comment upon\nthe other characters chosen for study, but\nwe would say in conclusion that this is a\nbook which should prove invaluable to the\nactor who studies earnestly the roles allot-\nted to him, while it is equally to be re-\ncommended to readers of Shakespeare, and to\nall who concern themselves with that my-\nsterious and complex thing, the psychology\nof crime. &\n\nWIT AND HUMOUR OF THE STAGE.\nG. W. Jacobs & Co. Philadelphia.\nJ11 this amusing little yoliime have been\ncollected together a number of very excel-\nlent stories about actors on and off the stage.\nAs the writer says in his Prologue, \" from\nthe days of the strolling player to the pre-\nsent, the noble guild of mummers has per-\nforce been possessed of an inexhaustibly\nhappy unconcern and a very pretty wit;\"\nand we can give no better idea of the pre-\nsent book than by quoting one or two of the\ngood things it contains.\n\" Once Henry Irving, while playing Mac-\nbeth in London, was somewhat disconcerted\nby one of the \" gallery gods \". He had reach-\ned the point where Macbeth orders Ban-\nquo's ghost to leave the banquet board.\n\" Hence, horrible shadow, unreal mockery,\nhence \" exclaimed Irving in his most tragic"}, {"page_pdf": 51, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 3103, "texte": "tones, and with a convulsive shudder sank\nto the ground, drawing his robes about his\nface. Just as Banquo withdrew, an agitated\ncockney voice from up in the gallery, as if\nto reassure Irving, piped out, 44 It's all right\nnow, 4Enery, 4e4s gone ! \"\n& Here too Is a good story about John Ryder,\nteacher of elocution and at one time Macrea-\ndy's leading man,\n44 He was on one occasion stage-managing\na play in which a tremendous thunder-storm\noccurred. Ryder had called half-a-dozen\nspecial rehearsals of this storm, but he could\nnot get the stage hands to obtain enough\nnoise out of boxes and cannon balls. In the\nend he got exasperated, and, In a temper,\ncalled out to the flymen, 4That won't do at\nall. You must get more rattle. \"\n& 44 As it happened a genuine and violent\nthunder-storm was in full blast in the hea-\nvens at the time, and it was after the 'artil-\nlery of the clouds' had been doing its best\nthat Ryder was the most dissatisfied. 'Louder!\nLouder!' shouted Ryder. The flyman shouted\nin return, 'Beg pardon, sir; that wasn't me.\nThat was God Almighty.' J£?\n44 Well\" roared Ryder, ,'that may be loud\nenough for God Almighty, but it won't do\nfor Jack Ryder.\" &\n& And here is the story of an incident be-\nfore which all records of English 'deadheads'\nsurely pale! & & &\nA manager was taking a company on tour\nin the West of America. One night he met\nan influential citizen in a hotel, and before\nthey parted the manager had invited the\ncitizen to come to his show the next night\nand 44 bring his family \". About eight o'clock\nthe next night the man put his head into the\nbox-office window and was immediately re-\ncognised by the manager. 44 How many have\nyou with you ? \" the latter asked pleasantly,\nas he prepared to write out the pass. \"Well\nsome of my family are sick' \" replied the man,\n\"so I have been able to bring only forty-two!\"\n\"you see,\" commented the teller of the\nstory, 44 my friend had quite forgotten he\nwas in Salt Lake City. The influential citizen\nwas a Mormon. \" ! !\nThese three extracts will serve to show the\ncharacter of this little volume, which we\nrecommend to all who need that best of\ntonics, a hearty laugh. &\n\n\"ARGUS\" A fortnightly journal.\nHelsingfors. Finland. & &\nrgus \" continues to grow more inte-\nresting to us; but it would be yet more\ninteresting in our opinion if it contained\nmore regularly some notice of the Finnish\ntheatre. We should welcome the news that\nFinland possessed a living theatre; or should\nbe equally content if it were announced that\nthe theatre were dead. & &\n& What we mean is that something defi-\nnite is gained by either announcement.\nBut among recent articles which have given\nus great pleasure is that by Emil Ziiliacus,\none of the foremost critics of the north, who\nwrites exceedingly well upon the Swedish\npoet Vilhelm Ekelund. He is charmed with\nthe two works of this poet; \" The Antique\nIdeal \" and the \" Greek Bouquet \". and one\nfeels how good these two books must be\nwhen one reads this finely felt and finely\nwritten criticism of these two works written\nby a poet in prose who knows how to chant\nas well as to sing. jg? jg?"}]}, {"article_id": "bm-bmtnaau-1910-01-01-c031", "article_bluemountain": "bmtnaau_1910-01_01#c031", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "136", "page_fin": "136", "image_debut": 46, "image_fin": 46, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.2.14.1", "titre_corps": "GREEK COSTUME by Ethel Abrahams", "titre_sommaire": "GREEK COSTUME by Ethel Abrahams", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 46, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.46", "debut_caractere": 14, "fin_caractere_exclue": 3057, "texte": "GREEK COSTUME by Ethel Abrahams.\nJohn Murray.\n\"phis book is a really valuable contribution\nto the literature on the subject of Greek\nCostume, each page bearing evidences of close\nstudy and painstaking research.\n& No accessory of a woman's dress or toilet\nseems to have escaped Miss Abraham's at-\ntention and a glance at the alphabetical\nindex shows us that here we may find infor-\nmation on such varied subjects as false hair,\nmirrors, fringes, hair nets, hats, perfumes,\nrouge, sandals, toilet boxes, pins, wigs, cor-\nsets and many more too numerous to name.\n& Nor is the men's dress forgotten, their\narmour, ornaments, tunics, head - dresses,\nsandals and all else pertaining to toilet or\ncostume being carefully described.\nAfter an Introduction devoted to Pre-\nHellenic civilisation the writer passes on to\ndeal successively with the Homeric, Doric\nand Ionic, with the Development of the Ionic\nHimatiort, with Materials and Ornamentation,\nHair and Head-dress, Foot-gear and the\nToilet, and the many and excellent diagrams\nand illustrations taken from ancient statues\nand vase paintings assist the student to a\nclearer understanding of the text. &\n& The arrangement of the chiton is careful-\nly described, and seems to have varied in\nform according to the rank and occupation\nof the wearer, slaves, for example, wearing\na narrow ungirt one with tight sleeves reach-\ning to the wrist, men engaged in active\npursuits a short one with or without sleeves,\nmusicians a long ungirt one, actors a cos-\ntume with long sleeves, \" probably padded to\ncomplete the impression of increased size\nproduced by the high masks and buskins. \"\nNor is it only for the interest of the tech-\nnical information contained that a book on\nthe details of dress and toilet of such a na-\ntion as the Greeks is of interest, but as an\naid to our comprehension of the people\nthemselves; an assistance, by means of the\nouter symbols, to tracing their inner life; for\nas Miss Abrahams concludes her book:\nus? \" It can hardly be questioned that the free-\n\" doni and simplicity of their dress was to a\n\" great extent the cause of the development\n«• of the spendid physique which the Greeks\n\" undoubtedly enjoyed.Their loose draperies\n\" allowed their limbs perfect freedom, and\n\" their bodies were unhampered by constraint\n44 of any kind. In the palaestra and the gym-\n44 nasium, air and sunlight were allowed to\n44 exercise their salutary influence, for the\n44 Greeks were not 4 ashamed of their own na-\n\" ked skin,' and so discarded their clothing\n44 when in pursuit of their athletic occupations.\n44 The healthy state of body thus preserved no\n\" doubt had its share in fostering that healthy\n44 state of mind to which are due the sanity\n44 and sobriety that characterise all Greek\n44 thought, whether expressed in literature,\n44 art, or philosophy. \"\n& The cover of the volume, which is taste-\nfully decorated with one of the designs on\nthe fragment of a sarchofagus, (pg 196)\ncompletes a very delightful book, and one\nwhich every sensible actor and actress will\nbuy at once. &"}]}, {"article_id": "bm-bmtnaau-1910-01-01-c033", "article_bluemountain": "bmtnaau_1910-01_01#c033", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "136", "page_fin": "137", "image_debut": 46, "image_fin": 47, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.2.14.2", "titre_corps": "HANDBUCH BER KOSTUMKUNDE. W. Quinke", "titre_sommaire": "HANDBUCH BER KOSTUMKUNDE. W. Quinke", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 46, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.46", "debut_caractere": 3059, "fin_caractere_exclue": 4253, "texte": "HANDBUCH BER KOSTUMKUNDE.\nW. Quinke. J. J. Webet. Eeipzic Mks. 7.50.\n'\"phe third and enlarged edition of Herr\nQuinke's work on the History of Costume\nhas reached us. It is profusely illustrated\nand in it we may trace the development of\ncostume from the earliest times down to the\nyear 1848.\n& The study of costume is one of the most\nabsorbing and fascinating to which the stu-\ndent of the stage can give his attention, not\nthat he may slavishly imitate, but that, learn-\ning how races, personalities, characters,\nhave expressed themselves through the me-\ndium of costume during many centuries, he\nmay be enabled to design such dresses for his\nown purposes as shall express the very spirit of\nhis dreams. & & JS?\nIt would be hard for the stage director\nto over-estimate the importance of costume\nas a revelation of the character of the wea-\nrer. It was a wise saying of Ruskin's 44 a\nbeautiful soul will desire to dress itself beau-\ntifully\", and Spenser's old couplet,\n44 For of the soule the bodye forme doth take,\nFor soule is forme, and doth the bodye make \"\nmight not only refer to the influence of the\nspirit in moulding its fleshly garment, but\nalso to the shaping of the outer garment in"}, {"page_pdf": 47, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 556, "texte": "which that body is wrapped. & &\n& Indeed, in the study of national costumes\nit will be found repeatedly that, not only\ndid the character of a nation determine the\nform of its dress, but that the form of the\ndress reacted upon the life of the nation as\nin the case of the ancient Greeks, whose\nspendid physique is by students attributed\nlargely, and doubtless justly, to the loose\nand unencumbering dress they wore.\nHerr Quinke's book contains 459 costume\ndesigns with descriptive text and is rendered\nmore convenient for reference by a well\narranged index."}]}, {"article_id": "bm-bmtnaau-1910-01-01-c034", "article_bluemountain": "bmtnaau_1910-01_01#c034", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "137", "page_fin": "137", "image_debut": 47, "image_fin": 47, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.2.14.3", "titre_corps": "OTHER DAYS by William Winter", "titre_sommaire": "OTHER DAYS by William Winter", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.47", "debut_caractere": 558, "fin_caractere_exclue": 1942, "texte": "O THER DA YS by William Winter.\nMoffat, Yard & Co, Do/s: 3.00 Net. &\n| n this book Mr William Winter, until re-\ncently the dramatic critic of the New York\nHerald, recalls and commemorates a number\nof actors and actresses of the past gene-\nration.\nFinding little but evil in the present, he is\nnot one of those who look on hopefully to\nthe future but finds his consolation in dwel-\nling on the theatrical past. JZ?\nFor the writers and dramatists of his own\nday he seems to have only condemnation,\nfor as a proof of McCullough's 44 sound\njudgment and correct taste \" he quotes his\nwords about Whitman, 44 they have been\nreading some of the spavined stuff that he\nhas written. It is a Profanation to talk of\nsuch a writer as a poet, \" and he himself\ndescribes as \"sickly humbugs\" Maeterlinck,\nSudermann and Shaw. &\n& He has, however, some interesting things\nto tell us of that past generation in which he\npuis his faith. Of Jefferson, for example, we\nread, 44 No actor ever was more scrupulous,\n44 punctilious and imperative In his insistence\n44 on the ideal as opposed to the actual. That\n44 principle was at the basis of his acting. He\n44 abhorred realism. & & &\nAmong those actors and actresses treated\nof, besides Mc Cullough and Jefferson, are\nJohn Brougham, Dion Boucicault, Charlotte\nCushman, Edward Sothern, Laurence Barrett,\nMary Anderson, Adelaide Neilson and Henry\nIrving. & 0"}]}, {"article_id": "bm-bmtnaau-1910-01-01-c035", "article_bluemountain": "bmtnaau_1910-01_01#c035", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "137", "page_fin": "137", "image_debut": 47, "image_fin": 47, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.2.14.4", "titre_corps": "JOSEPH & HIS BRETHREN by Charles Wells", "titre_sommaire": "JOSEPH & HIS BRETHREN by Charles Wells", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.47", "debut_caractere": 1944, "fin_caractere_exclue": 4020, "texte": "JOSEPH & HIS BRETHREN by Charles\nWells. Henry Frowde.\nThis reprint, with its Introduction by\nAlgernon Swinburne and its note on Rossetti\nand Charles Wells by Theodore Watts Dunton\nis one we would warmly recommend to our\nreaders. jg?\nThe poem was first published in 1824\nunder the pseudonym of H. L. Howard, and\nis far too little known to the student of\nEnglish poetry and drama. &\n& It was from the first almost unanimously\nneglected, although containing proof enough\nthat it was the work of \" one only lesser\nthan the greatest of his time in some of the\ngreatest qualities of his art jzr\n& So completely, in fact, was it forgotten\nthat, to quote Mr Swinburne, 44 Only by such\nhappy chance as sometimes may come to the\nhelp of assiduous research \" has it been\n44 dug up from the cemetaries of literature\n\" At rare casual Intervals \" he goes on, \"some\n44 thin and reedy note of eulogy has been\n44 uttered over the grave of a noble poem, be-\n\" witched, as it were to a sleep like death, and\n\" has always hitherto failed of a hearing\n44 Notwithstanding, the truth remains, that the\n44 author of \" Joseph and his Brethren \" will\n44 some day have to be acknowledged among\n44 the memorable men of the second great\n44 period in our poetry\".\nThis was the play which Rossetti declared\nto be 44 more Shakespearean than anything\nelse out of Shakespeare \", an opinion fully\nendorsed by other men of genius to whose\nnotice the work was brought. &\n£/ In spite of this, however, it remained\nunknown and unread, and, as Mr Watts\nDunton writes, 44 the neglect the book suffered\n44 must always remain a striking example of\n<4 the way in which the prosperity of any work\n44 of art, from a joke to an epic, depends upon\n44 the mind of the public to which it is addres-\nsed and this 4 mind * is too often but a\nmixture of ignorance and &\nIt will be only when the public, instead\nof criticizing or condemning, learns once\nmore to obey and follow the artists, to turn\nto them as teachers from whom to learn\ninstead of treating them as protegds to be\npatronized, that these things will cease\nto be. &"}]}, {"article_id": "bm-bmtnaau-1910-01-01-c036", "article_bluemountain": "bmtnaau_1910-01_01#c036", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "137", "page_fin": "138", "image_debut": 47, "image_fin": 48, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.2.14.5", "titre_corps": "BELL'S MINIATURE SERIES OF MUSICIANS. PURCELL by J. F. Runciman", "titre_sommaire": "BELL'S MINIATURE SERIES OF MUSICIANS. PURCELL by J. F. Runciman", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.47", "debut_caractere": 4022, "fin_caractere_exclue": 4270, "texte": "BELL'S MINIATURE SERIES OF\nMUSICIANS.\nPURCELL by J. F. RUN CI MAN. George\nBell & Sons.\nMr Runclman has written a readable\nand instructive book about our great\nNational English Composer goes without\nsaying.\nWe would ask, however, if the vials of his"}, {"page_pdf": 48, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 1206, "texte": "wrath and scorn have not been poured out too\nlavishly upon the unfortunate later composers\nof Church Music. When he asserts, (page is)\nthat 44 the school of English religious com-\n44 posers ended with Orlando Gibbons\n44 in 1625 \" and that 44 since then we have\n44 had no religious musicians \" the name of\nSamuel Sebastion Wesley, to mention no\nothers, at once comes to mind. There was a\ngenius second alone to PurcelTs. &\nAnd on reading (page 51) that *4 Dido and\n44 Aeneas was very well performed by stu«\n44 dents some years since \" it seemed to us\nthat we had heard of other performances\nworth mentioning, and seeking to refresh our\nmemory in Grove's Dictionary,... that Whi-\ntaker of Music.... we chanced upon a little\narticle recording the performances by Messrs\nGordon Craig and Martin Shaw. Memory\nindeed plays strange tricks when Mr Runciman\nmentions an ordinary routine students ma-\ntinee of the Royal College of Music and for-\ngets a series of productions, not only of Dido\nand Aeneas, but the Masque from Diocletian\nwhich, if we are not mistaken, aroused some\nattention in the art world of London.\n& Apart from these points, Mr Runclman's\nlittle brochure should be read by all Purcell\nlovers. & &"}]}, {"article_id": "bm-bmtnaau-1910-01-01-c037", "article_bluemountain": "bmtnaau_1910-01_01#c037", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "138", "page_fin": "138", "image_debut": 48, "image_fin": 48, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.2.14.6", "titre_corps": "Mr JUSTICE RAFFLES by E. W. Hornung", "titre_sommaire": "Mr JUSTICE RAFFLES by E. W. Hornung", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.48", "debut_caractere": 1208, "fin_caractere_exclue": 1770, "texte": "Mr JUSTICE RAFFLES by E, W,\nHornung. Smith Elder & Co. & jg>\n& This is a book which we warmly recom-\nmend to actors, tinkers, tailors, stars, stage\nmanagers, soldiers, sailors, door keepers and\ndramatists alike, for it is one which passes\nthe time interestingly and is a delightful\ncompanion for the busy man. jgr\n*4 Raffles\" should particularly appeal to\nactors since he has himself something of the\ngood actor about him; at any rate, he has\nthis qualification, ... that he is a rogue and a\nvagabond, which is more than can be said of\nmost actors of today ! jgr"}]}, {"article_id": "bm-bmtnaau-1910-01-01-c038", "article_bluemountain": "bmtnaau_1910-01_01#c038", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "138", "page_fin": "138", "image_debut": 48, "image_fin": 48, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.2.14.7", "titre_corps": "THE ART OF THEATRICAL MAKE-UP by Cavendish Morion", "titre_sommaire": "THE ART OF THEATRICAL MAKE-UP by Cavendish Morion", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.48", "debut_caractere": 1772, "fin_caractere_exclue": 3229, "texte": "„& The volume deals technically with mate-\nrial itself, the ways of applying it and of\nobtaining the various results desired and\ncontains a valuable series of illustrations\ntaken, in various stages of development,\nfrom the 44 make-ups \" of the writer himself,\none of the finest of which make-ups we find\nto be that of Napoleon. This book is, in fact,\nthe only serious guide that a young actor can\nhave for 44 making up\" faces.\n•£* The book seems to us, however, beyond\nbeing an interesting description of present\nmethods, a remarkably strong argument in\nfavour of the return of the mask to the stage;\nfor if the face of the actor Is, by means of\npaste, powder and colour, to be altered out\nof all recognition, used only as a foundation\nupon which to model the desired features,\nwhy not simply cover the original features\nwith the image of the personality which it\nis wished to represent ? /g? jg?\nWhy paint the face until it resembles a\nmask for a few hours when a mask can be\nmade of ivory or wood which will last for\never ? & jg/\nTHE ART OF THEATRICAL MARE-UP\nby Cavendish Morton. A. &. C. Black.\n5\\-net.\nMr Cavendish Morton is in this book\ntreating of a subject upon which he is, by\nexperience, well qualified to speak, since he\nhas not only his own experiments upon which\nto base his directions but has also had the\nopportunity of watching and studying the\nmethods adopted by Sir Henry Irving, Sir\nHerbert Tree, M. de Max and other masters\nof the craft."}]}, {"article_id": "bm-bmtnaau-1910-01-01-c039", "article_bluemountain": "bmtnaau_1910-01_01#c039", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "138", "page_fin": "139", "image_debut": 48, "image_fin": 49, "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=bmtnaau191001-01.2.14.8", "titre_corps": "THE APPRECIATION OF THE DRAMA by C. Caffin", "titre_sommaire": "THE APPRECIATION OF THE DRAMA by C. Caffin", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.48", "debut_caractere": 3231, "fin_caractere_exclue": 4429, "texte": "THE APPRECIATION OF THE DRAMA\nby C. Caffin. Baker & Taylor Co,\nNew York,\n'\"jphis book, which, remarkably well printed\nand illustrated, is worthy of the House\nwhich issues it, pleases us rather for these\ntwo qualities than for any actual value it\nmay have for serious students of the stage:\nfor while Mr Caffin, upon the subject of\npictures, writes with authority, he hardly\ngives us the impression of having devoted to\nthe art and history of the theatre that wide\nand serious study which is necessary for\nthe production of a work which shall be of\nreal assistance to other students. jg?\nSome of the questions he raises go far\ndeeper than one who has not seriously studied\nthe whole history and tendency of the theatre\nthrough the centuries can perceive, as when,\nfor example, in his chapter on \"The Play\"\nthe author writes, 44 If Shakespeare were\nalive today is it reasonable to suppose\n44 that he would not make use of every advan-\n\" tage that the modern stage presents \" ?\nPerhaps he would; perhaps he would not; but\nthe question of importance is rather, would\nhe find advantage in the use of the elaborate\nand complicated adjuncts of the modern\nstage ?\n& Again, when on page 239 Mr Caffin writes"}, {"page_pdf": 49, "page_imprimee": "139", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 1152, "texte": "with reference to the technique of tragedy\n\" The Greek is not so complex or so threaded\n\" through and through with significance of\n\" detail, because the motive is neither so reali-\n\" stic nor so penetratingly psychological \" the\nimpression conveyed is rather that he consi-\nders that our modern drama is an improvement\non the Greek and that the movement has\nbeen progressive, whereas a more serious\nstudent would decide from these two very\nfacts that it had been the rather retrograde\nThere is perhaps a little too much about\nIbsen in the book, and the reader* s own\nintelligence might have been assumed suf-\nficient to enable him to appreciate certain\nrather obvious qualities of the great Scan-\ndinavian playwright without such detailed\nexplanation, but we believe that the average\nplay-goer will find no small pleasure and\ninstruction in this volume, slight though it\nbe, and anything which tends to produce a\nserious interest in the theatre, to lead the\npublic to look upon it as something more\nthan an after-dinner resort for the display\nof diamonds and for social intercourse is wel-\ncome as furthering in some degree the pro-\ngress of the Art. &"}]}, {"article_id": "bm-bmtnaau-1910-01-01-c040", "article_bluemountain": "bmtnaau_1910-01_01#c040", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "139", "page_fin": "140", "image_debut": 49, "image_fin": 50, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.2.14.9", "titre_corps": "CRIMINAL TYPES IN SHAKESPEARE by A. Goll", "titre_sommaire": "CRIMINAL TYPES IN SHAKESPEARE by A. Goll", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 49, "page_imprimee": "139", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.49", "debut_caractere": 1154, "fin_caractere_exclue": 4817, "texte": "fmy * \"W KJ V A V AAA RW CiSwP WXair\nCRIMINAL TYPES IN SHAKESPEARE\nby A. GoIL Met hit en & Co.\nJncreasingly year by year is \"the object\nall sublime \" of modern penal systems, as\nit was of W. S. Gilbert's well known charac-\nter, to \" make the punishment fitthe crime\",\nand, for the achievement of this end,\nto guage the amount of actual culpability in\nthe criminal, the primary causes which led\nto his action, the extent to which he is\nmorally responsible or merely the uncon-\nscious victim of the law of causes and\neffects: and it is to this study of the \"cri-\nminal human type as a special anthropolo-\ngical problem\" that Herr Goll, the chief\nmagistrate of Aarhus, has devoted his inter-\nresting book.\n& It is not, however, living criminals that\nHerr Goll chooses here as the subjects of\nhis study, but the ever-living figures of\nShakespeare; and, by analysing their actions,\ntracing them back to the instincts and impul-\nses of which they are the expression, he\nseeks to solve that problem which has puz-\nzled so many generations before as well as\nsince Lear put the question, \" Is there any\ncause in nature that makes these hard hearts\"?\n& In the old despotic days guilt and inno-\ncence were often largely dependent upon\nsocial position. Might was right; the man\nwho was up was judge and the man who was\ndown was criminal; guilt was much a matter\nof points of view, and any assertion of rights\non the part of the lower was punished by\nthe upper as a crime. But now we are pas®\nsing beyond such arbitrary superficial distinct\ntions and are constantly forced to admit the\ntruth that \"change places and, handy-dandy,\nwhich is the justice and which the thief?\"\n\" For, the further the study of criminal\npsychology is pushed, the more do we see\nthe old penal system undermined by deter-\n\" minism,\" that \" law of causes entering the\nmental domain \"; the more do we realise that\nthe punishment of external criminal acts is\nbut a superficial matter compared with the\nunderstanding of crime itself, and that to get to\nthe roots of the matter crime must be \"studied\n\" under the microscope as asickly growth,\n\" its innermost nature must be traced,\n\" its origin, its conditions of life, its phases\n\" of development, its means of propagation \"•\nThe object of the present volume Is, Herr\nGoll tells us, \" The study of the first of\n\" all causes, the criminal himself.... the\n\" criminal ego, its physical and psychic per-\n\" sonality: the criminal' s way of thinking,\n\" his feeling, passions, intelligence and charac-\n\" ter\", and for his study he turns to the\nworks of the greatest English poet. <£?\n& In his Introductory chapter the author\nreviews briefly the \" literature of crime\"\nas a means of gaining information, of throw-\ning light upon the obscure problems of crimi-\nnal psychology and accentuates the importance\nto criminal psychologists of \" the literature\n\" written by those to whom the wonderful\n\" power has been given of changing their\n\" mental skins, of identifying themselves with\n\"others, of thinking, reasoning, feeling like\n\" those other selves. \" These intellectual mas-\n\" ters\", he asserts, \" mean, as regards know-\n\" ledge, almost as much as a Newton, Darwin,\n\" Pasteur, mean to the science of nature,\n\" allow us to read the soul of the crimi-\n\" nal like an open book;\" and though of\nsuch men he finds in the present but one\nwhose authority is incontestable, the Russian\nDostoieffsky, the supreme master he declares\nto be Shakespeare, who, although he lived\nthree hundred years ago, is the only man\ncapable of teaching us, \"if anybody can teach\nus, criminal psychology \" &\nPassing on from his fine tribute to the\nwhole spirit and achievement of Shakespeare,"}, {"page_pdf": 50, "page_imprimee": "140", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 3818, "texte": "it is with his work as criminal psychologist\nthat Herr Goll is solely occupied in the\npresent volume. Finding Caliban \" in a man-\nner the criminal in pure cultivation, the cell\nwhich contains the germ of all later creations\nhaving like tendencies and inclinations\" and,\nstarting from this point, he proceeds in the\nsucceeding essays to examine some of\nCaliban ' s descendants,.... Brutus and Cas-\nsius, (representing political criminals); (Mac-\nbeth, Lady Macbeth, lago and Richard \\\\\\.&\nOf pecular interest is the study of Lady\nMacbeth who is cited as an excessive type of\nthat altruism which is at the root of the majo-\nrity of what may be described as typical\nwomen's crimes. In these cases, far from being\nexpressive of criminal instinct, it is precisely\nthe woman ' s devotion to those whose well-\nbeing she has most at heart that blinds her\nto the rights of others: and, since it is not\nselfish advantage which prompts her, she\ndoes not commit her crime like a criminal\nbut prompted by the highest motives and\nsecure in the conviction of acting rightly\nsince she is advancing or protecting the\ninterests of those whom she feels it her duty\nto & &\n& By this fact Herr Goll Interprets the whole\npuzzling prob em of Lady Macbeth ' s action,\nher apparent' callousness, her indifference\nto the crime committed, and shows her\nmadness and death as the result, not of\nremorse because they had murdered Duncan,\nbut of the fact that instead of rendering\nMacbeth happy the deed had but destroyed\nhis peace of mind.^\n& As the author excellently and rightly af-\nfirms, \" she is not seized by remorse; to\n\" casual spectators only a sort of naive\n\" audience .... does the word * remorse '\n\" promptly occur, when they see how she\n\" suffers. She herself does not utter one word\n\" which may be rightly construed as re-\n\" morse \" \" She committed the crime by\n\" reason of what constituted her innermost\n\" nature; it arose in fact, out of the best in\n\" her: her strong determination to give to\n\" Macbeth the best that was in her \" and it\nis because in some way that she does not\nunderstand he has been only led into suf-\nfering, fear, agony and reiterated crime that\nshe \" took off her life \" and was \" crushed\nby the play of existing forces outside herself\nbecause they crushed the dearest thing she\nposesssed.\" &\n& No less penetrating and masterly is the\nmethod of analysis applied to lago, the cynic\nwhose work it is to destroy faith in all good,\nbelief in all beauty; to disillusion, to pass\nlike a blighting wind across the landscape of\neach life with which he comes in touch. A\nlight sin, perhaps, at first glance, and yet\nthe deadliest, for; \"Kill the power of confi-\n\" dence, the possibility of confidence in huma-\n\" nity, and human society becomes impossible\n\"the source of the stream is interrupted, and\n\" barrenness will prevail where before reigned\n\" blessed activity\".\"This is lago's crime against\n\" Othello.... the greatest crime which can\n\" be committed. Put humanity in the place of\n\" Othello and lago becomes the greatest cri-\n\" minal in the world.\" & &\nAnd is not this, only putting an audience\nin place of Othello, just what some of our\nmodern playwrights are prone to do ? They\nsneer at good, mock at beauty, prostitute\ntruth, kill faith in all lovely and noble things,\nand, while undermining the very foundations\nof the commonweal, yet pose as \" honest\nlago\", the saviours and protectors of that\nwhich they destroy. &\nJZ? Space does not allow of comment upon\nthe other characters chosen for study, but\nwe would say in conclusion that this is a\nbook which should prove invaluable to the\nactor who studies earnestly the roles allot-\nted to him, while it is equally to be re-\ncommended to readers of Shakespeare, and to\nall who concern themselves with that my-\nsterious and complex thing, the psychology\nof crime. &"}]}, {"article_id": "bm-bmtnaau-1910-01-01-c041", "article_bluemountain": "bmtnaau_1910-01_01#c041", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "140", "page_fin": "141", "image_debut": 50, "image_fin": 51, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.2.14.10", "titre_corps": "WIT AND HUMOUR OF THE STAGE. G. W. Jacobs", "titre_sommaire": "WIT AND HUMOUR OF THE STAGE. G. W. Jacobs", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 50, "page_imprimee": "140", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.50", "debut_caractere": 3820, "fin_caractere_exclue": 4630, "texte": "WIT AND HUMOUR OF THE STAGE.\nG. W. Jacobs & Co. Philadelphia.\nJ11 this amusing little yoliime have been\ncollected together a number of very excel-\nlent stories about actors on and off the stage.\nAs the writer says in his Prologue, \" from\nthe days of the strolling player to the pre-\nsent, the noble guild of mummers has per-\nforce been possessed of an inexhaustibly\nhappy unconcern and a very pretty wit;\"\nand we can give no better idea of the pre-\nsent book than by quoting one or two of the\ngood things it contains.\n\" Once Henry Irving, while playing Mac-\nbeth in London, was somewhat disconcerted\nby one of the \" gallery gods \". He had reach-\ned the point where Macbeth orders Ban-\nquo's ghost to leave the banquet board.\n\" Hence, horrible shadow, unreal mockery,\nhence \" exclaimed Irving in his most tragic"}, {"page_pdf": 51, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 2149, "texte": "tones, and with a convulsive shudder sank\nto the ground, drawing his robes about his\nface. Just as Banquo withdrew, an agitated\ncockney voice from up in the gallery, as if\nto reassure Irving, piped out, 44 It's all right\nnow, 4Enery, 4e4s gone ! \"\n& Here too Is a good story about John Ryder,\nteacher of elocution and at one time Macrea-\ndy's leading man,\n44 He was on one occasion stage-managing\na play in which a tremendous thunder-storm\noccurred. Ryder had called half-a-dozen\nspecial rehearsals of this storm, but he could\nnot get the stage hands to obtain enough\nnoise out of boxes and cannon balls. In the\nend he got exasperated, and, In a temper,\ncalled out to the flymen, 4That won't do at\nall. You must get more rattle. \"\n& 44 As it happened a genuine and violent\nthunder-storm was in full blast in the hea-\nvens at the time, and it was after the 'artil-\nlery of the clouds' had been doing its best\nthat Ryder was the most dissatisfied. 'Louder!\nLouder!' shouted Ryder. The flyman shouted\nin return, 'Beg pardon, sir; that wasn't me.\nThat was God Almighty.' J£?\n44 Well\" roared Ryder, ,'that may be loud\nenough for God Almighty, but it won't do\nfor Jack Ryder.\" &\n& And here is the story of an incident be-\nfore which all records of English 'deadheads'\nsurely pale! & & &\nA manager was taking a company on tour\nin the West of America. One night he met\nan influential citizen in a hotel, and before\nthey parted the manager had invited the\ncitizen to come to his show the next night\nand 44 bring his family \". About eight o'clock\nthe next night the man put his head into the\nbox-office window and was immediately re-\ncognised by the manager. 44 How many have\nyou with you ? \" the latter asked pleasantly,\nas he prepared to write out the pass. \"Well\nsome of my family are sick' \" replied the man,\n\"so I have been able to bring only forty-two!\"\n\"you see,\" commented the teller of the\nstory, 44 my friend had quite forgotten he\nwas in Salt Lake City. The influential citizen\nwas a Mormon. \" ! !\nThese three extracts will serve to show the\ncharacter of this little volume, which we\nrecommend to all who need that best of\ntonics, a hearty laugh. &"}]}, {"article_id": "bm-bmtnaau-1910-01-01-c042", "article_bluemountain": "bmtnaau_1910-01_01#c042", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "141", "page_fin": "141", "image_debut": 51, "image_fin": 51, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.2.14.11", "titre_corps": "\"ARGUS\"", "titre_sommaire": "\"ARGUS\"", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 51, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.51", "debut_caractere": 2151, "fin_caractere_exclue": 3103, "texte": "\"ARGUS\" A fortnightly journal.\nHelsingfors. Finland. & &\nrgus \" continues to grow more inte-\nresting to us; but it would be yet more\ninteresting in our opinion if it contained\nmore regularly some notice of the Finnish\ntheatre. We should welcome the news that\nFinland possessed a living theatre; or should\nbe equally content if it were announced that\nthe theatre were dead. & &\n& What we mean is that something defi-\nnite is gained by either announcement.\nBut among recent articles which have given\nus great pleasure is that by Emil Ziiliacus,\none of the foremost critics of the north, who\nwrites exceedingly well upon the Swedish\npoet Vilhelm Ekelund. He is charmed with\nthe two works of this poet; \" The Antique\nIdeal \" and the \" Greek Bouquet \". and one\nfeels how good these two books must be\nwhen one reads this finely felt and finely\nwritten criticism of these two works written\nby a poet in prose who knows how to chant\nas well as to sing. jg? jg?"}]}, {"article_id": "bm-bmtnaau-1910-01-01-c043", "article_bluemountain": "bmtnaau_1910-01_01#c043", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "141", "page_fin": "142", "image_debut": 51, "image_fin": 52, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.2.15", "titre_corps": "CRITICS CRITICISED", "titre_sommaire": "CRITICS CRITICISED", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 51, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.51", "debut_caractere": 3105, "fin_caractere_exclue": 4227, "texte": "CRITICS CRITICISED\n\nBone's.... art has been mentioned\n44 with Meryon's. Meryon was a dreamer;\n44 the streets of his Paris are haunted, the win-\n44 dows eloquent of tragedy. Mr Bone creates\n\" the ordinariness of the London Suburb\n44 with as rare an art, in his way, as Dickens.\n44 He has his romantic moments, chiefly be-\n44 fore the spectacle of Labour. When in this\n44 mood he is akin to Brangwyn and Mr Kip\n44 ling.\" -*? &\nThis was written in 1907 in an English\nArt Magazine. May we shortly expect some>\nthing like the following? 44 Mr PROUD'S art\n44 in its romantic moments recalls vividly the\n«4 style of ALEXANDRE DUMAS and that of\n«4 another, (whose name we must not forget)\n44 MISS MARIE CORELLI. At the same time\n44 it is not to be denied that in his sea pieces\n44 one almost feels the nervous touch of one,\n44 (whose name will never be forgotten)....\nof HORATIO NELSON. In his battle pieces\n44 the direct influence of HOMER is obvious\n44 at first sight, yet on second thoughts it is\n44 another name which occurs to us,.... we\n44 mean LORD KITCHENER. Still here we must\n44 agree with Fusser that in the handling of"}, {"page_pdf": 52, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.52", "debut_caractere": 0, "fin_caractere_exclue": 1653, "texte": "44 the guns in the foreground of his great\n44 canvass 44 The Flight of the British Army\n44 before Berlin \" he Is not to be ranked with\n44 HERKOMER whose treatment of the same\n44 subject is far more spirited, influenced as\n44 it is by one whose name we will never\n.4 forget to drag in.... we mean PRINCE\n44 BISMARK. & &\n& Now how is it that the English critic\ncannot resist mentioning half a dozen names\nof famous men when he wants to speak well\nor ill of some young painter ? What on earth\nhas Mr Bone done that Kipling should be\ninvoked ? ... and why not let poor Dickens\nrest quietiy without reminding him (and us)\nof the destruction of London ? &\nSo with Mr Shannon. The London critic\nwho does not mutter to himself about44 the\ninfluence of Mr Watts \" feels that his con-\nfession is not genuine. How right in feeling\nthis is, for only the one confession will ever\natone, 441 know nothing \"! Mr Nicholson can-\nnot paint a picture without the critic allu-\nding to Hogarth, Rolandson, Smollett and\nDick Ttirpin. Mr Ricketts has only to engrave\na piece of unsullied box for the critic to\ndrawl out, 44 Early Italian Masters, Rossetti,\nLongus, Sandys and Bewick \". It is the cra-\nziest way of pretending to be critical to\nquote a string of names of men whose names and\nnot their work is in some way associated with\nthe subject or materials used by these young\nartists. 1 should like to know to exactly how\nmany masters of Painting, Literature, Music,\nArchitecture, Chemistry and Military Science\nMr Augustus John and Mr Gordon Craig have\nnot been compared. And yet how can Mr\nJohn be compared with Sir William Jenner,\nor Mr Craig with Sir John Moore ... ?"}]}, {"article_id": "bm-bmtnaau-1910-01-01-c044", "article_bluemountain": "bmtnaau_1910-01_01#c044", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "141", "page_fin": "142", "image_debut": 51, "image_fin": 52, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.2.15.1", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 51, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.51", "debut_caractere": 3125, "fin_caractere_exclue": 4227, "texte": "Bone's.... art has been mentioned\n44 with Meryon's. Meryon was a dreamer;\n44 the streets of his Paris are haunted, the win-\n44 dows eloquent of tragedy. Mr Bone creates\n\" the ordinariness of the London Suburb\n44 with as rare an art, in his way, as Dickens.\n44 He has his romantic moments, chiefly be-\n44 fore the spectacle of Labour. When in this\n44 mood he is akin to Brangwyn and Mr Kip\n44 ling.\" -*? &\nThis was written in 1907 in an English\nArt Magazine. May we shortly expect some>\nthing like the following? 44 Mr PROUD'S art\n44 in its romantic moments recalls vividly the\n«4 style of ALEXANDRE DUMAS and that of\n«4 another, (whose name we must not forget)\n44 MISS MARIE CORELLI. At the same time\n44 it is not to be denied that in his sea pieces\n44 one almost feels the nervous touch of one,\n44 (whose name will never be forgotten)....\nof HORATIO NELSON. In his battle pieces\n44 the direct influence of HOMER is obvious\n44 at first sight, yet on second thoughts it is\n44 another name which occurs to us,.... we\n44 mean LORD KITCHENER. Still here we must\n44 agree with Fusser that in the handling of"}, {"page_pdf": 52, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.52", "debut_caractere": 0, "fin_caractere_exclue": 1653, "texte": "44 the guns in the foreground of his great\n44 canvass 44 The Flight of the British Army\n44 before Berlin \" he Is not to be ranked with\n44 HERKOMER whose treatment of the same\n44 subject is far more spirited, influenced as\n44 it is by one whose name we will never\n.4 forget to drag in.... we mean PRINCE\n44 BISMARK. & &\n& Now how is it that the English critic\ncannot resist mentioning half a dozen names\nof famous men when he wants to speak well\nor ill of some young painter ? What on earth\nhas Mr Bone done that Kipling should be\ninvoked ? ... and why not let poor Dickens\nrest quietiy without reminding him (and us)\nof the destruction of London ? &\nSo with Mr Shannon. The London critic\nwho does not mutter to himself about44 the\ninfluence of Mr Watts \" feels that his con-\nfession is not genuine. How right in feeling\nthis is, for only the one confession will ever\natone, 441 know nothing \"! Mr Nicholson can-\nnot paint a picture without the critic allu-\nding to Hogarth, Rolandson, Smollett and\nDick Ttirpin. Mr Ricketts has only to engrave\na piece of unsullied box for the critic to\ndrawl out, 44 Early Italian Masters, Rossetti,\nLongus, Sandys and Bewick \". It is the cra-\nziest way of pretending to be critical to\nquote a string of names of men whose names and\nnot their work is in some way associated with\nthe subject or materials used by these young\nartists. 1 should like to know to exactly how\nmany masters of Painting, Literature, Music,\nArchitecture, Chemistry and Military Science\nMr Augustus John and Mr Gordon Craig have\nnot been compared. And yet how can Mr\nJohn be compared with Sir William Jenner,\nor Mr Craig with Sir John Moore ... ?"}]}, {"article_id": "bm-bmtnaau-1910-01-01-c046", "article_bluemountain": "bmtnaau_1910-01_01#c046", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "142", "page_fin": "144", "image_debut": 52, "image_fin": 54, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.2.16", "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": 52, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.52", "debut_caractere": 1655, "fin_caractere_exclue": 4168, "texte": "FOREIGN NOTES.\n\nLONDON\n\n'\"Jphe Pantomime season is here. It started\nwith 44 The Blue Bird \" and ends with\nBine Beard \". &\nIn none of these dramas for children is\nthe story made at all clear. The children\nwill believe that 44 BIue=Beard \" is something\nto do with a man who throws up into the\nair a quantity of plates and catches them\neasily, and those who see the 44 Blue Bird \"\nwill remember that there was a lot of loud\nmusic without any haunting tune, a lot of\ngirls imitating the imitations of Miss Maud\nAllen and a quantity of ill bred animals. They\nwill never want to see a London cat again as\nlong as they live lest it should suddenly\nspeak to them with a strong Cockney accent.\nThe animals in the 44 Blue Bird \" are alarming.\nThe Rabbit is like a Penguin; the Ox like\na Walrus and the rest like other sea monsters.\nThe order to the animals seems to have been,\n44 flap your hands about and waddle and let\nMr Clarkson do the rest\".\nThe Dog was good. The Bread was good.\n44 The Water \" seemed to have got mixed with\nThe Milk \" and \"The Milk \" with \" The Wa-\nter \". 44 The Fire \" being enacted by Mr\nVolkes had to kick his legs,... nobody knows\nwhy: possibly in London nobody cares, but I\nhave reason to doubt this. 44 The Light\" was\nvery seriously considered by a beautiful young\nactress, but as she could not illumine the part\nin any way the lime-light men had to do it for\nher. She spoke the lines of Maeterlinck as\nthough they expressed the saddest things\nknown to men or angels; it would have been\nmore beautiful had she said nothing.\nThe scene painters had also managed to\nwork up their saddest feelings; one could hear\nthe tremble of their voices; it made their hands\nshake, The costumes almost broke into tears;\nthe music sobbed itself hoarse, a very tempest\nof sorrow broken every now and again by a\nflashlight signal, 44 seven minutes interval \".\nWhen the seven minutes were up Time was\ncalled and the misery of searching for Happi-\nness was once again told us, shown to us,\nsung to us and danced to us. JZ>\nTo all these fairy figures on the stage\nmystery seemed a terrible and awesome thing:\nthey all seemed to tremble with apprehension.\nOnly two figures seemed entirely at ease;\nthese were the two human children who\nwere seeing all these revelations for the first\ntime. Nothing seemed to awe them; they took\neverything as a matter of course. 44 Fairies ?\n44 pooh I we know better and if you are\n4 fairies, we don't care anyhow. Giants ? oh,\nwhat a bore!\"\n& As these children dominated the play the"}, {"page_pdf": 53, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.53", "debut_caractere": 0, "fin_caractere_exclue": 4471, "texte": "result was dreadful\nIn short, there was pathos where there\nshould have been laughter, perkiness where\nthere should have been timidity or wonder-\nmerit; monkeying where there should have\nbeen mystery.\n& Yet Mr Max Beerbohm and Mr William\nArcher liked it all and tell us that they can't\nsee how It could have been done better.\nAfter that it Is really somewhat presumptuous\nof us to hold any opinion.\n\nR. S.\n\nHYSTERIA.\nB. P.\nthe Afternoon Theatre Madame Lydia\nYovorskaia, known in private life as Prin=\ncess Bariabinsky, has been appearing, among\nother roles, as 44 La Dame aux Camelias \" and\n44 Hedda Gabler\".\nj£? The 44 Atheneum, in writing of the per-\nformances, describes her as 44 an actress of\n44 unusual emotional sensibility\". 44She was\"\ncontinues the critic, 44 at her best in\n44 depicting the sorrows of Dumas' sentimental\n44 courtesan. In her capacity for abandoning\n44 herself to the luxury of grief she has no equal\n44 on the English stage, Hysteria seems to be\n44 the note of her art, but she is far from\n44 being monotonous or consistently lachry-\n44 mose On the whole she has produced\n44 a very favourable impression \"\nYes, we do not doubt it; and it is just in that\nfact that the harm lies. If these exhibitions of\nhysteria and gloom had aroused contempt\nand detestation in the audience it would\nhave been a healthier sign. JZ? <£?\n& Medical testimony has been brought\nforward in proof of the phsychological influ-\nence exerted upon an audience by what passes\nbefore its eyes in a theatre, and yet while, in\nlife, we respect the women who are coura-\ngeous, who wear a gay mask for the world\nwhatever be their private sorrows, who have\nself control and strength of will and purpose,\nwe allow these gloomy and lachrymose exhibi=\ntions upon our stage.\njz? The Greeks used to set up figures of the\ngods in their public places so that the boys\nand girls, having constantly before them these\nsane and splendid examples might grow like\nthem. We, less wise than they, publicly\nexhibit weakness, gloom and hysteria,\nand then wonder at the hysteria of the\nsuffragettes.\n\nG. N\nin Theatre or Cathedra? there is\nan absence of Life in the services.\nI was in Westminster Abbey on Christmas\nafternoon. Handel's Anthem 492 was to be\nsung. Bridge was at the organ. A wonderfully\nclear and steady boy's voice came from the\nchoir. But enthusiasm or life there was none.\n1 could not understand why it delayed coming.\nI waited and waited in the hope that some\nspark would set aS! my being aglow. Nothing!...\nHandel's Anthem was over without having\nonce come to life. Still I waited 44 Hark,\nthe herald angels sing \" was down on the\nslip of paper in front of roe...... And now\nthey are singing it mow it is over\nNothing! No enthusiasm, no glow, no life in it.\nI expected the expression of Joy so tremens\ndous that everyone's face would have been\nlighted up, everyone's body aieri and tin=»\ngling, every voice responding. Instead of this\nNothing. &\n& 1 look around rne. Everyone looks tired or\nsad,... precise or dead.... no one Is warm.\nA Christmas carol follows..,. the writer\nof it has made something very delightful\nwhich the interpreters have doled out to us\nas people give halfpennies to beggars. The\nsingers dragged precisely as actors drag.\nThey ladled out the rhythms like a thick\nsoup.\nAll Handel is not dirge nor is all Shake-\nspeare; in fact both writers are joyous\nwhy then this dull=joy way of uttering both\nmasters?.... JZ?\nTo be enthusiastic seems to be a crime\nin London.... to shout for joy a blunder...\nto be moved a vice. The well-starched soul\nof the precise Londoner is a naked and hor=>\nrible sight. One prefers the more uncouth\nJaeger soul of the Shaws... .. But is there\nsome third spirit in London, something\nwith Life in it that is neither mineral nor\nvegetable ? & &\nIt is not to be felt in the Theatres nor in\nthe Churches. Perhaps it is cowering in the\nSlums, for London is more Tyrannic\ncal than all the Caesars and Popes of Italy\nand no warm sun comes through the win-\ndows at Westminster.\n\nWOMEN IN THE THEATRE.\n\n''jphe talk turned the other day upon actres-\nses and how it might come to pass sooner\nor later that women would no longer find it\nconvenient to waste themselves on the stage.\nSomebody,... and it was indeed Some-\nbody ... said, \"The Stage would be very dull\nwithout women on the boards 99 (i).\nIt was a lady who said this; she is a very\n1) Is the \"real tear\" the actresses' protest against dulness in the\n(theatre of the Ancients ? Ed."}, {"page_pdf": 54, "page_imprimee": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.54", "debut_caractere": 0, "fin_caractere_exclue": 3082, "texte": "famous actress. It would be a little difficult\nto explain to a celebrated actress that the\nstage might be less dull under the conditions\nwhich permitted none but men on the boards\nfor her personal beauty and her influence\non those around her compel our admiration\ntoo readily. But it cannot be forgotten ..,\nindeed, it may well be carefully remembe-\nred ... that the actress is a quite modern\naddition to the Theatre and that the Thea-\ntre was not so very dull before she tendered\nher assistance.\nIn the East until quite recently the\nactress was unknown. In the West there was\nthe theatre of Aeschylus, Sophocles, Euripi-\ndes and Aristophanes and none but men per-\nformed. There was the stage of Shakespeare\nwith men only for all roles.\nThese two periods cannot be entirely\ndisregarded. The impersonators of the roles\nof Klytemnestra, Elektra, Alkestis, Kassan-\ndra, Medela and Phaidra cannot have been\nentirely dull since the whole Greek nation,...\na nation not entirely devoid of taste or the\npower of criticism ... received the imperso-\nnations with enthusiasm. &\nIt cannot but be supposed that the Greeks\nhad weighed the advantages and disadvan-\ntages of employing women for the female\nroles and decided against the women only\nafter considerable doubt.\nIn like manner the poets of the Elizabe-\nthan era must have given the question full\nconsideration. Yet these writers came to the\nsame conclusion and decided that it was\nbetter for none but men to perform.\n& Women accompanied the minstrels of the\nMiddle Ages; why did the poets deny them\naccess to the stage ? The Elizabethan age\nwas in no way straight-laced. The whole\nquestion then must have turned upon the\ndifference between male and female intelli-\ngence. &\nFor my part I think that a dull stage\nis duller without actresses, but that a virile\nand spontaneous drama has no need of their\nassistance.\nj& The other day in The Mask Professor\nRaleigh was quoted on this matter. It can\ndo no harm to requote him:...\n44 Poetry, like religion is outraged when\nit is made a platform for the exhibition of\ntheir own talent and passion by those who\nare its ministers. With the disappearance of\nthe boy-players the poetic drama died in\nEngland, and it has had no second life.\" J. B.\nJn London Scenepainters still derive their\ninspiration from' pictures and photographs\ninstead of from nature. I speak of the youn-\nger men. The old fellows are just as good as\never they were.\n44 How else can I paint the walls of Jeru-\n44 salem or the banks of the Nile unless I\n44 work from photographs ? \" cries an exas-\nperated scenepainter to me.\n& that is true how else ? G. N,\n''jphe actors, even the actor-managers, of\nwhat is called the legitimate drama are\ngoing upon the Halls. Mr Seymour Hicks has\ngone, Mr Bourchier and his beautiful wife\nhave gone ... Mr Cyril Maude is going.\nThey go there to make money you think?..\nNot at all... they go to prove how superior\nan actor of the legitimate drama is to the\nordinary rogue and vagabond actor of the\nHalls. &\nAnd they have not made it quite clear so\nfar ,.... now it is Mr Maude's turn.\n\nA. S."}]}, {"article_id": "bm-bmtnaau-1910-01-01-c047", "article_bluemountain": "bmtnaau_1910-01_01#c047", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "142", "page_fin": "143", "image_debut": 52, "image_fin": 53, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.2.16.1", "titre_corps": "LONDON", "titre_sommaire": "LONDON", "signature_source": "R. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 52, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.52", "debut_caractere": 1671, "fin_caractere_exclue": 4168, "texte": "LONDON\n\n'\"Jphe Pantomime season is here. It started\nwith 44 The Blue Bird \" and ends with\nBine Beard \". &\nIn none of these dramas for children is\nthe story made at all clear. The children\nwill believe that 44 BIue=Beard \" is something\nto do with a man who throws up into the\nair a quantity of plates and catches them\neasily, and those who see the 44 Blue Bird \"\nwill remember that there was a lot of loud\nmusic without any haunting tune, a lot of\ngirls imitating the imitations of Miss Maud\nAllen and a quantity of ill bred animals. They\nwill never want to see a London cat again as\nlong as they live lest it should suddenly\nspeak to them with a strong Cockney accent.\nThe animals in the 44 Blue Bird \" are alarming.\nThe Rabbit is like a Penguin; the Ox like\na Walrus and the rest like other sea monsters.\nThe order to the animals seems to have been,\n44 flap your hands about and waddle and let\nMr Clarkson do the rest\".\nThe Dog was good. The Bread was good.\n44 The Water \" seemed to have got mixed with\nThe Milk \" and \"The Milk \" with \" The Wa-\nter \". 44 The Fire \" being enacted by Mr\nVolkes had to kick his legs,... nobody knows\nwhy: possibly in London nobody cares, but I\nhave reason to doubt this. 44 The Light\" was\nvery seriously considered by a beautiful young\nactress, but as she could not illumine the part\nin any way the lime-light men had to do it for\nher. She spoke the lines of Maeterlinck as\nthough they expressed the saddest things\nknown to men or angels; it would have been\nmore beautiful had she said nothing.\nThe scene painters had also managed to\nwork up their saddest feelings; one could hear\nthe tremble of their voices; it made their hands\nshake, The costumes almost broke into tears;\nthe music sobbed itself hoarse, a very tempest\nof sorrow broken every now and again by a\nflashlight signal, 44 seven minutes interval \".\nWhen the seven minutes were up Time was\ncalled and the misery of searching for Happi-\nness was once again told us, shown to us,\nsung to us and danced to us. JZ>\nTo all these fairy figures on the stage\nmystery seemed a terrible and awesome thing:\nthey all seemed to tremble with apprehension.\nOnly two figures seemed entirely at ease;\nthese were the two human children who\nwere seeing all these revelations for the first\ntime. Nothing seemed to awe them; they took\neverything as a matter of course. 44 Fairies ?\n44 pooh I we know better and if you are\n4 fairies, we don't care anyhow. Giants ? oh,\nwhat a bore!\"\n& As these children dominated the play the"}, {"page_pdf": 53, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.53", "debut_caractere": 0, "fin_caractere_exclue": 404, "texte": "result was dreadful\nIn short, there was pathos where there\nshould have been laughter, perkiness where\nthere should have been timidity or wonder-\nmerit; monkeying where there should have\nbeen mystery.\n& Yet Mr Max Beerbohm and Mr William\nArcher liked it all and tell us that they can't\nsee how It could have been done better.\nAfter that it Is really somewhat presumptuous\nof us to hold any opinion.\n\nR. S."}]}, {"article_id": "bm-bmtnaau-1910-01-01-c049", "article_bluemountain": "bmtnaau_1910-01_01#c049", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "143", "page_fin": "143", "image_debut": 53, "image_fin": 53, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.2.16.2", "titre_corps": "HYSTERIA", "titre_sommaire": "HYSTERIA", "signature_source": "B. P", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 53, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.53", "debut_caractere": 406, "fin_caractere_exclue": 2073, "texte": "HYSTERIA.\nB. P.\nthe Afternoon Theatre Madame Lydia\nYovorskaia, known in private life as Prin=\ncess Bariabinsky, has been appearing, among\nother roles, as 44 La Dame aux Camelias \" and\n44 Hedda Gabler\".\nj£? The 44 Atheneum, in writing of the per-\nformances, describes her as 44 an actress of\n44 unusual emotional sensibility\". 44She was\"\ncontinues the critic, 44 at her best in\n44 depicting the sorrows of Dumas' sentimental\n44 courtesan. In her capacity for abandoning\n44 herself to the luxury of grief she has no equal\n44 on the English stage, Hysteria seems to be\n44 the note of her art, but she is far from\n44 being monotonous or consistently lachry-\n44 mose On the whole she has produced\n44 a very favourable impression \"\nYes, we do not doubt it; and it is just in that\nfact that the harm lies. If these exhibitions of\nhysteria and gloom had aroused contempt\nand detestation in the audience it would\nhave been a healthier sign. JZ? <£?\n& Medical testimony has been brought\nforward in proof of the phsychological influ-\nence exerted upon an audience by what passes\nbefore its eyes in a theatre, and yet while, in\nlife, we respect the women who are coura-\ngeous, who wear a gay mask for the world\nwhatever be their private sorrows, who have\nself control and strength of will and purpose,\nwe allow these gloomy and lachrymose exhibi=\ntions upon our stage.\njz? The Greeks used to set up figures of the\ngods in their public places so that the boys\nand girls, having constantly before them these\nsane and splendid examples might grow like\nthem. We, less wise than they, publicly\nexhibit weakness, gloom and hysteria,\nand then wonder at the hysteria of the\nsuffragettes."}]}, {"article_id": "bm-bmtnaau-1910-01-01-c050", "article_bluemountain": "bmtnaau_1910-01_01#c050", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "143", "page_fin": "143", "image_debut": 53, "image_fin": 53, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.2.16.3", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "G. N", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 53, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.53", "debut_caractere": 2075, "fin_caractere_exclue": 4011, "texte": "G. N\nin Theatre or Cathedra? there is\nan absence of Life in the services.\nI was in Westminster Abbey on Christmas\nafternoon. Handel's Anthem 492 was to be\nsung. Bridge was at the organ. A wonderfully\nclear and steady boy's voice came from the\nchoir. But enthusiasm or life there was none.\n1 could not understand why it delayed coming.\nI waited and waited in the hope that some\nspark would set aS! my being aglow. Nothing!...\nHandel's Anthem was over without having\nonce come to life. Still I waited 44 Hark,\nthe herald angels sing \" was down on the\nslip of paper in front of roe...... And now\nthey are singing it mow it is over\nNothing! No enthusiasm, no glow, no life in it.\nI expected the expression of Joy so tremens\ndous that everyone's face would have been\nlighted up, everyone's body aieri and tin=»\ngling, every voice responding. Instead of this\nNothing. &\n& 1 look around rne. Everyone looks tired or\nsad,... precise or dead.... no one Is warm.\nA Christmas carol follows..,. the writer\nof it has made something very delightful\nwhich the interpreters have doled out to us\nas people give halfpennies to beggars. The\nsingers dragged precisely as actors drag.\nThey ladled out the rhythms like a thick\nsoup.\nAll Handel is not dirge nor is all Shake-\nspeare; in fact both writers are joyous\nwhy then this dull=joy way of uttering both\nmasters?.... JZ?\nTo be enthusiastic seems to be a crime\nin London.... to shout for joy a blunder...\nto be moved a vice. The well-starched soul\nof the precise Londoner is a naked and hor=>\nrible sight. One prefers the more uncouth\nJaeger soul of the Shaws... .. But is there\nsome third spirit in London, something\nwith Life in it that is neither mineral nor\nvegetable ? & &\nIt is not to be felt in the Theatres nor in\nthe Churches. Perhaps it is cowering in the\nSlums, for London is more Tyrannic\ncal than all the Caesars and Popes of Italy\nand no warm sun comes through the win-\ndows at Westminster."}]}, {"article_id": "bm-bmtnaau-1910-01-01-c051", "article_bluemountain": "bmtnaau_1910-01_01#c051", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "143", "page_fin": "144", "image_debut": 53, "image_fin": 54, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.2.16.4", "titre_corps": "WOMEN IN THE THEATRE", "titre_sommaire": "WOMEN IN THE THEATRE", "signature_source": "A. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 53, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.53", "debut_caractere": 4013, "fin_caractere_exclue": 4471, "texte": "WOMEN IN THE THEATRE.\n\n''jphe talk turned the other day upon actres-\nses and how it might come to pass sooner\nor later that women would no longer find it\nconvenient to waste themselves on the stage.\nSomebody,... and it was indeed Some-\nbody ... said, \"The Stage would be very dull\nwithout women on the boards 99 (i).\nIt was a lady who said this; she is a very\n1) Is the \"real tear\" the actresses' protest against dulness in the\n(theatre of the Ancients ? Ed."}, {"page_pdf": 54, "page_imprimee": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.54", "debut_caractere": 0, "fin_caractere_exclue": 3082, "texte": "famous actress. It would be a little difficult\nto explain to a celebrated actress that the\nstage might be less dull under the conditions\nwhich permitted none but men on the boards\nfor her personal beauty and her influence\non those around her compel our admiration\ntoo readily. But it cannot be forgotten ..,\nindeed, it may well be carefully remembe-\nred ... that the actress is a quite modern\naddition to the Theatre and that the Thea-\ntre was not so very dull before she tendered\nher assistance.\nIn the East until quite recently the\nactress was unknown. In the West there was\nthe theatre of Aeschylus, Sophocles, Euripi-\ndes and Aristophanes and none but men per-\nformed. There was the stage of Shakespeare\nwith men only for all roles.\nThese two periods cannot be entirely\ndisregarded. The impersonators of the roles\nof Klytemnestra, Elektra, Alkestis, Kassan-\ndra, Medela and Phaidra cannot have been\nentirely dull since the whole Greek nation,...\na nation not entirely devoid of taste or the\npower of criticism ... received the imperso-\nnations with enthusiasm. &\nIt cannot but be supposed that the Greeks\nhad weighed the advantages and disadvan-\ntages of employing women for the female\nroles and decided against the women only\nafter considerable doubt.\nIn like manner the poets of the Elizabe-\nthan era must have given the question full\nconsideration. Yet these writers came to the\nsame conclusion and decided that it was\nbetter for none but men to perform.\n& Women accompanied the minstrels of the\nMiddle Ages; why did the poets deny them\naccess to the stage ? The Elizabethan age\nwas in no way straight-laced. The whole\nquestion then must have turned upon the\ndifference between male and female intelli-\ngence. &\nFor my part I think that a dull stage\nis duller without actresses, but that a virile\nand spontaneous drama has no need of their\nassistance.\nj& The other day in The Mask Professor\nRaleigh was quoted on this matter. It can\ndo no harm to requote him:...\n44 Poetry, like religion is outraged when\nit is made a platform for the exhibition of\ntheir own talent and passion by those who\nare its ministers. With the disappearance of\nthe boy-players the poetic drama died in\nEngland, and it has had no second life.\" J. B.\nJn London Scenepainters still derive their\ninspiration from' pictures and photographs\ninstead of from nature. I speak of the youn-\nger men. The old fellows are just as good as\never they were.\n44 How else can I paint the walls of Jeru-\n44 salem or the banks of the Nile unless I\n44 work from photographs ? \" cries an exas-\nperated scenepainter to me.\n& that is true how else ? G. N,\n''jphe actors, even the actor-managers, of\nwhat is called the legitimate drama are\ngoing upon the Halls. Mr Seymour Hicks has\ngone, Mr Bourchier and his beautiful wife\nhave gone ... Mr Cyril Maude is going.\nThey go there to make money you think?..\nNot at all... they go to prove how superior\nan actor of the legitimate drama is to the\nordinary rogue and vagabond actor of the\nHalls. &\nAnd they have not made it quite clear so\nfar ,.... now it is Mr Maude's turn.\n\nA. S."}]}, {"article_id": "bm-bmtnaau-1910-01-01-c052", "article_bluemountain": "bmtnaau_1910-01_01#c052", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "144", "page_fin": "148", "image_debut": 54, "image_fin": 58, "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=bmtnaau191001-01.2.17", "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": 54, "page_imprimee": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.54", "debut_caractere": 3084, "fin_caractere_exclue": 3899, "texte": "EDITORIAL NOTES.\n\n''phe Censorship Enquiry Committee has\nfinally published its report in a Blue Book\nof three hundred pages. The labours of the\ngentlemen who composed it are therefore at\nan end. Everybody has spoken a great deal.\nSome have spoken extremely well: indeed,\nthe power of speaking of some of the\nplaywrights and others who have expressed\ntheir views is so well known that any praise\nof them would be but painting the lily. It\nhas been a fine opportunity for the airing of\ngrievances, though some of these, which had\nappeared most solid and well-established\nwhen kept in a dark seclusion, melted into\nmist in the light of publicity as do certain\nwell preserved Etruscan corpses when touch-\ned by the intrusive light of day.\nAt all events, we now know the best and\nthe worst about Mr Redford. We know that"}, {"page_pdf": 55, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 4630, "texte": "in fourteen years he has read seven thousand\nplays,... and is yet alive. We know that of\nthese he has only rejected thirty, of which\nbut five were English. We admit that he\nmay have been mistaken in one or other\nof these five, but then Mr Redford is made\nof the same clay as Mr Bernard Shaw, and to\nerr is Shavian. What surprises us is that the\ndenial of five English plays to a satiated\npublic should have aroused in so large a\nparty of gentlemen the desire to cast Mr\nRedford to the lions. Even supposing he were\nwrong, five errors in fourteen years is a\nmoderate figure for any one but the Omni-\npotent Himself. & & &\nOf course Mr Archer now says 44 the argu-\nment from numbers is no argument at all \".\nWe should have thought it was. It is undenia-\nbly unfortunate that one man ' s head should\nbe cut off by mistake through an error of\njustice, but it seems to us certainly an ex-\ntenuating circumstance that the number\nwas one and not five score. &\nIn fact, on the whole, Mr Redford seems\nto have discharged his functions very credi-\ntably, and we are glad to see him established\nin his office and to know that in those cases\nwhere a producer chooses to disregard him,...\nand that option is now given ... the respon-\nsibility shall be his own, and the costs,.. .\npossibly heavy ones in case of any indiscretion,\nshall also be his own.\nOf course a large number of persons\nremain unsatisfied, because it is not the\nCensor' s individual actions so much as his\nmere existence which they cannot away with.\nThey cannot breathe freely while he, in his\nofficial capacity, walks the earth. JZZ\nAnd yet it is just his existence which is so\nsalutary ,... far more so than the occasional\nprohibitive measures he adopts, as when he\nfinds it necessary to control Mr Bernard\nShaw ' s wayward fancy as to the names of\nthe characters he wishes to bring upon the\nstage.\n& For instance, Mr Wells declares that44 The\nCensorship, with its quite wanton power\nof suppression, has always been one of the\nreasons why I haven ' t ventured into play-\nwriting \". 4&\nJSf Far be it from us to attempt to estimate\nwhat the stage has lost by this caution on\nthe part of the author of 44 Ann Veronica\nbut we might remind Mr Wells that the\nhangman is only a terror to the law-breaker,\nand that the average citizen, so long as he\ndoes not break the laws, has no need to call\nthat official ' s existence to mind at all.\nBesides, Mr Wells is the creater of the\n44 Time machine ... Create others, Mr Wells,\nthey are superb.\n<£* Again, Mr Barker felt himself aggrieved\nbecause in accepting a play recently for\nperformance in his theatre he had to make\nthe acceptance conditional upon the approval\nof the Censor. J& &\n& It grieves us not to find ourselves entirely\nin sympathy with Mr Barker, for whose work\nwe have a sincere admiration, recognising\nin him one of the ablest workers in the\nEnglish theatre, but we hardly think that\nthe welfare of the stage would be imperilled\nnor its liberties seriously infringed should\nthis play, (which treats of the love of a man\nfor his father' s wife) fail to satisfy Mr\nRedford ' s sense of what is fit. J£? <£?\nAs for the plea advanced that the existence\nof the Censor deprives the theatre of the\nliberty permitted to the other arts, it is so\nshallow a one that a moment's recollection\nof the different conditions of those other\narts is sufficient to refute it. &\nJS? As we have pointed out before, many\nthings are permissable, legitimate, fit and\nbeautiful in paint or marble which would\nbe both offensive and ridiculous when re-\npresented by living actors on a stage; and\nanother factor to be taken into account,\nbesides the living actors, is the presence of\nthe audience. There are things which, whis-\npered to one person, may be entirely seemly,\nbut which become idiotic if not outrageous\nwhen proclaimed to a mixed assembly. There\nare certain sights which are vulgarised by\nthe mere presence of spectators,... a fact\nemphasised recently in an American theatre\nwhere a young lady of exuberant charm was\nexhibited in an aquatic scene clad only in a\nbathing dress, and, lest the audience should\nmiss the point, a44 peeping Tom\" in the\nperson of a photographer was introduced\npeering over a rock in th 3 corner of the stage.\nYes, certainly we still need the Censor,\nand we are glad to see that the final result\nof this long and searching enquiry should\nhave re-established him. We may be said to\nhave won. How awful! One battle the less!\nGentlemen, it was downright unfair of you\nto give in Compliments &\nnd where does Shakespeare come in? \"\nThat is our feeling upon reading the\nreport of the address lately delivered by Mr"}, {"page_pdf": 56, "page_imprimee": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 4757, "texte": "Bernard Shaw at the animal meeting of the\nOxford University Drama. Society in support\nof a Shakespeare Memorial National Theatre.\nAs Ruskin complained that in a certain\nNativity by Ghirlandajo the one thing which\nwas missing was the Baby, so the poet upon\nwhose name the whole project is ostensibly\nfounded is the one man who seems to have\nno place in Mr Shaw's speech. & <£?\n& We might observe, incidentally, that, in\nconsideration of certain past opinions expres-\nsed by Mr Shaw upon the great English\ndramatist we think the whole subject is one\nupon which he would have done better to keep\nsilence, as, even if forgotten by him, they\nare yet fresh in the minds of others.\nMr Shaw however, is one of those who 44 let\nthe dead past bury Its dead\". As-lie has\nentombed such memories as the Fabian\nSociety and certain Sunday afternoons in\nTrafalgar Square, so he has consigned to\noblivion certain utterances about Shakespeare\nand is now ready to 44 act in the living\npresent\" by soliciting contributions for a\ntheatre to keep the poet's memory green.\nPersonally we are inclined to think that\nit is rahther the work of Mr Shaw and his\nfriends which is to be advanced by this new\nplay house which they appear to desire so\nardently, for, apart from the small role\nShakespeare is to play in the programme, we\ndo not see why he is likely to be more wor=\nthily represented in a State=endowed theatre\nthan in a theatre of private enterprise.\n& Mr Shaw is reported as having said to\nhis audience that if they wanted to be a\nmelodramatic nation they must not have a\nnational theatre but if they wanted to be a\ncultured, poetic, philosopical nation they\nmust have one.\nBut why? Like Miss Dartle, We 44 only ask\nfor information.\nWe do not find so remarkable and beneficial\nan influence exercised by the many State\nendowed theatres in Europe: and, as for the\nsubscribers to this proposed national theatre,\ntheir position, as we have said before, will\nbe this.... They will first of all pay for the\nfounding of their theatre and they will then\nhave to pay every time they wish to make\nuse of their theatre, which, from the subscri-\nbers ' point of view, is undoubtedly bad\neconomics, whatever it may be from that of\nMr Shaw and his followers. £?\nBut it is obvious that Mr Shaw must\nsupport the National Theatre as he has just\nfinished writing a National Drama. And it\nIs obvious that any National Drama of Eng-\nland must play Mr Shaw ' s drama. &\n& The two, Shaw and Nation, are at last\nlinked Inseparably together. Let us all rejoice.\nMr Shaw is tamed at last, and we have no\nfurther use for him. & &\n'jphe 44 New York Times \" has been gathering\nthe opinions of some of the leading actors\nand students of the American stage as to\nwhether the public goes to the theatre to\nsee or to hear the play; whether the primary\nappeal is to the eyes or to the ears.\nThe writer of the Introduction to this\n4Symposium ' puts the question, 44 If two men,\none .blind, the other deaf, went to a play,\nwhich would get the most out of It?\" and,\nafter dwelling upon the effect on the audience\nproduced by Kean ' s voice and Macready ' s\nreading of his lines, goes on to quote George\nHenry Lewis, who writes in his Essay on\n4 Art as an Amusement', as follows: 44 In the\n44 days of Racine the audiences were delighted\n44 with beautiful verses and cared more for the\n44 rigorous fulfilment of certain critical con-\n44 ditions than for 46 getting up \" or exciting\n44 situations. The glitter of processions, the\n44 clash of swords, the tumult of orchestras,\n44 the splendour of dresses, the movement,\n44 noise and 4 grand effects ' which dazzle and\n44 confuse us were unknown to them; In the\n44 silence of admiration they listened to the\n44 cadence of a verse, tasted the delicacy of\n44 an expression and pondered on the subtlety\n44 of a thought. They left the theatre, not as\n44 we dq, with aching heads and confused\n\"judgments, but with expanding minds touch-\n44 ed to fine issues by the magic of art; they\n44 dwelt upon the characters, the passions,\n44 the poetry and the skill by which the poet\n44 had effected his object within the conditions\n44 of his art. Nor is this less true of Shake-\n44 speare ' s audiences jgr\n& The majority of the opinions expressed\nby the modern workers in the theatre as\nsolicited by the 44 New York Times \" assert\nthat it is to see rather than to hear that the\naudience assembles, though Professor Bram-\nder Matthews, while admitting that the ap-\npeal of the play is 44 primarily to the mind\n44 in the sense that light travels more quick-\n44 ly than sound and that a gesture will reach\n44 the spectator before a spoken word \" yet\n44 holds that inasmuch as in a broader sense\n44 the dramatic appeal is primarily to the\n44 mind \" the spoken word is after all the"}, {"page_pdf": 57, "page_imprimee": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 4830, "texte": "elemental medium of that appeal.\nup Professor Brander Matthews * and Mr\nKyrle Bellew 7 s voices are, however almost\nthe only dissentient JZ? -Z?\nMr Augustus Thomas has come forward as\nthe unhesitating champion of the opinion\nthat the appeal to the eye is the primary\nobiect of a theatrical representation. \"Many\n44 plays he declares, 44 are written for the\nlibrary only\" 44 One must not\" he asserts,\nhowever, 44 make the mistake of saying that\n44 it is more for the eye than it is for the\n44 mind, but must remember that the eye and\n44 the ear are both avenues to the intelligence\n44 and the eye deals with it more directly. The\n44 stage is the avenue through which not only\n44 actions are eloquent, but also surround®\n44 ings, and these make through the eye an\n44 appeal that is utterly absent from the lines\n44 of a play and which reaches neither the\n44 silent reader nor the mere listener, but\n44 comes only to the observer\". JZ? Z?\n4& Mr Kyrle Bellew writes, 441 think the\n44 audience goes to the theatre to see the\n44 play the development of the histrio®\n44 nic art has been steadily away from panto®\n44 mime and declamation and in the direction\n44 of conveying the actors 7 meaning through\n44 the medium of the speaking voice, as people\n44 convey their meaning in life. The Greek\n44 actor, his head incased in a grotesque mask,\n44 declaimed in a vast open®air auditorium\n44 the forma! verses of his poets. His gestures,\n44 like the lines and their delivery, were\n44 formal. They were not intended, at the\n44 beginning, to create a realistic illusion of\n44 life, but to create what might be called a\n44 poetic or decorative illusion of life. As time\n44 went on the play became more and more\n44 an attempt to picture life as it really is,\n44 and so the medium which the actor uses\n44 came to be the medium which people use\n44 in life, that is, speech77 z?\n& Mr Otis Skinner writes, 44 so much does\n44 the impressionism of the theatre depend\n44 on the development of its visual side that\n44 one is almost tempted to say that plays,\n44 like little children, should be seen and not\n44 heard. But this would be an obvious mis®\n44 statement. The play that belongs to the\n44 acting drama, (which is the only perfect\n44 form of drama) should be both seen aad\n44 heard. Both the eye and the ear must be\n44 appealed to if we would get the greatest\n44 results. z? & z? z? z?\nJZ? 64 But drama is possible without the use\n44 of a single spoken line..... a play is pos®\n44 sible without words, but without action or\n44 impersonation words would not form a play.\n\" The beautiful poetry of Shakespeare,\n44 the brilliancy of Sheriden, the epigrammatic\n44 wit of Wilde, Pinero or Augustus Thomas,\n44 appeal as strongly to us in the speaking. It\n44 is not these qualities of poetry or of bril®\n44 liaxit epigram, however, that have made\n44 plaj's great, but the action in the scenes\nbehind them. £? JZ? JZ? JZ?\n44 It is always wonderful to me to note\n44 the moments of the greatest stage effect\n44 in the presentation of Shakespeare ' s plays.\n44 In Julius Caesar it is at the conclusion\n44 of Anthony 7 s speech, and, despite the fact\n44 that it Is an oration, ft is the action of\n44 Anthony and the mob that gives us our thrill.\n441 remember hearing an old actor read this\n44 scene beautifully without any action from\n44 a mob, and being impressed only by a fine\n44 bit of elocution. The most impressive and\n44 thrilling moments of \"Hamlet \" are those on\n44 the platform at Elsinore, the ghost7 s ap®\n44 pearance, the melodramatic contrivances\n44 of the 4 play scene % Hamlet7 s mad emotio®\n44 nalism in the graveyard scene, the killing\nof Polonius and of the King, the duel with\nLaertes and Hamlet7 s death. 77 \nSold by Stationers and Jewellers Everywhere. INSIST ON \"SWAN\"1\nBRANCHES:\n93, Cheapside, E. C ; 95a, Regent Street W.\n/few a aji 1 \\ Exchange Street, Manchester.\n(' SWAN Fountpen Makers,) IO> Rue Neuve; Brusseis.\n79 & 80, HIGH HOLBORN, LONDON, W. C. Brentano's, 37, Ave, de l'Opera, Paris.\nAnd at New York, Bale, Chicago and Sydney.\nPRICES: English10 \\6 - French Fes. 15*00 - Italian - £ire 15,00 upwards, £?\nWrite for Catalogue, post free.\nMABIE, TODD & CO.\nSWAM PEN"}]}, {"article_id": "bm-bmtnaau-1910-01-01-c057", "article_bluemountain": "bmtnaau_1910-01_01#c057", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "149", "page_fin": "149", "image_debut": 59, "image_fin": 59, "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=bmtnaau191001-01.2.20", "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": 59, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.59", "debut_caractere": 0, "fin_caractere_exclue": 322, "texte": "HEAL' & SON'S\nOLD FASHIONED FABRICS FOR\nCURTAINS & LOOSE COVERS.\nSs\n• •\na\n$\n%\n/\n•8\nChintzes, Printed Linens & Printed Cottons. Write for\nillustrated Booklet 41M\" with photographs & prices.\nHeal & Son have special materials for Casement\nCurtains. Booklet44 K\" with small patterns sent postfree.\nTOTTENHAM COURT ROAD, LONDON"}]}, {"article_id": "bm-bmtnaau-1910-01-01-c058", "article_bluemountain": "bmtnaau_1910-01_01#c058", "volume": "bmtnaau_1910-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "150", "page_fin": "150", "image_debut": 60, "image_fin": 60, "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=bmtnaau191001-01.2.21", "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": 60, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.60", "debut_caractere": 2261, "fin_caractere_exclue": 2640, "texte": "THE BOOK NEWS\nJ& Its mission is to save you from reading a poor or a disappointing book, or from\nexperiencing the chagrin that accompanies \" Un=>informedness. \" & & &\nj& THE BOOK NEWS MONTHLY is as up to date in book matters as a newspaper and....\nJUST AS NEWSY. Its address is Philadelphia, U. S. A. j& £> & &\nJS? DOI, I.OO a year. 10 cts: a copy. Sample copies sent on request."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.1", "texte": "Vol. 2 N,° 7-9 J A N U A R Y i 9 1 o\nTHE MASK\nA QUARTERLY JOURNAL OF\nTHE ART OF THE THEATRE -H\nARENA QOLDONI\nFLORENCE\nITALY\nmmmw J*33*«ss«s»*M*£««k~~.^«ftStafl*«ia^^8ies^«sj^^>. V"}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.2", "texte": "LITERARY CONTENTS.\nSUGGESTIONS FOR ESTABLISHING AN ENGLISH ART THEATRE by J. R. PLANCHE. 1879 J*\nDECORATION ON THE STAGE AND THE USE OF MASKS, from A. W. SCHLEGEL'S\n\"DRAMATIC ART AND ART OF THE THEATRE: THE SECOND DIALOGUE\nby GORDON CRAIG. & \" THE ARCHITECTURE AND COSTUME OF ANTONY AND CLEOPATRA\nby E. W. GODWIN, REPRINTED FROM THE \" ARCHITECT \" 0 TWO STAGE CHARACTERS\nby GILBERT k BECKET THE ENGLISH VOICE by ALLEN CARRIC. & VENETIAN\nCOSTUME FROM THE BOOK OF CESARE VECELLIO TRANSLATED by D. NEVILE LEES.\nROARS OF LAUGHTER by JAN VAN HOLT. BOOK REVIEWS. CRITICS CRITICISED. j0\nFOREIGN NOTES. 0 EDITORIAL NOTES.\n\nILLUSTRATIONS.\nA FLORENTINE WOOD ENGRAVING FROM THE STORY OF UBERTO AND FILOMENA. &\nTHE STAGE PRINCE AND THE STAGE PEASANT by GEORGE CRUICKSHANK. 0 SOME\nSTAGE ROYALTIES by CHARLES BORROW & FOUR VENETIAN COSTUME DESIGNS by\nCESARE VECELLIO. - A SCENE FROM THE SACRA RAPPRESENTAZIONE OF JOSEPH AND\nHIS BRETHEREN. - HEAD AND TAIL PIECES AND INITIAL LETTERS FROM OLD ITALIAN\nDESIGNS, AND DESIGNS BY GORDON CRAIG, JULIUS OLIVER, AND CHARLES BORROW.\n\nTYPEWRITING OFFICE.\nTRANSLATIONS IN ALL LANGUAGES.\n& FLORENCE - Via Vecchietti 6, - FLORENCE.\n\nrr\n=•50\n■5\n%\n€\na\nQ\n*5\nmi\niflWt\n&\n££\n' '' Y)\nUSE\nA\n99\nSWAN\nFOUNTAIN\nPEN\nAND DISCARD ALL ANTIQUATED METHODS\nFountain pens are Necessities to modern men and women—Shorthand writers especially*\nwho value their time and comfort and saving of expense. The Best Fountain Pen is a\ngreater necessity than any second best.\nTHE \"SWAN\" FOUNTPEN\nis Best because it has the highest grade gold nib ever put in a fountain pen. It has\na sure feed—by feed we mean an ink conductor and air compensator. Ink is fed to both\nsides of the nib, so that the light writer or the heavy hand has the right supply of ink\nNot these characteristics alone, but—\n<<£? \"LE TOUT ENSEMBLE \" makes the PERFECT PEN jS>\nSold by Stationers and Jewellers Everywhere. INSIST ON \"SWAN\"1\nBRANCHES:\n93, Cheapside, E. C ; 95a, Regent Street W.\n/few a aji 1 \\ Exchange Street, Manchester.\n(' SWAN Fountpen Makers,) IO> Rue Neuve; Brusseis.\n79 & 80, HIGH HOLBORN, LONDON, W. C. Brentano's, 37, Ave, de l'Opera, Paris.\nAnd at New York, Bale, Chicago and Sydney.\nPRICES: English10 \\6 - French Fes. 15*00 - Italian - £ire 15,00 upwards, £?\nWrite for Catalogue, post free.\nMABIE, TODD & CO.\nSWAM PEN"}, {"page_pdf": 4, "page_imprimee": "[100]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.4", "texte": "An early Florentine Wood Engraving from the story of Uberto and Filomesa."}, {"page_pdf": 5, "page_imprimee": "101", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.5", "texte": "The objects.\nAnnual\nSubscriptions\nThe expense.\n\nSUGGESTIONS FOR ESTABLISHING\nAN ENGLISH ART THEATRE\nby J. R. P1anché; Somerset Herald, 1879.\n(0\nhe desirability of the establishment of a theatre in London '* not wholly\ncontrolled by the predominant taste of the public\" was eloquently\nadvocated by Mr. George Godwin, editor of the Builder, in his speech\nas chairman of a meeting of the Society for the Encouragement of the\nFine Arts, at their rooms in Conduit-street, when the late Dr. Doran\ndelivered his lecture, \" For and against Shakspeare,\" and the question\nthen mooted has since been unanimously answered in the affirmative at\nthe Social Science Congress at Cheltenham, where Mr Godwin repro-\nduced his arguments, strengthened by the cordial support of Mr. Henry Irving, Mr. Hermann\nVezin, and several others eminently qualified to pronounce their opinions on the subject.\n& A considerable number of gentlemen, wellwishers to the cause, including many of the\ntheatrical profession, having both publicly and privately expressed their approval of the main\nobject of the movement, the views of some of the original promoters of it are now formu-\nlated for the consideration of all who are interested in its success. & &\nJ£? In the first place, it is necessary to declare as explicitly as possible that no rivalry or\ncompetition is contemplated with any existing establishment, the objects of the direction\nof the proposed theatre being strictly limited 2... .1. To the restoration to the stage of the\nmasterpieces of the great dramatists of the last three centuries, which with some very few\nexceptions have been either wholly neglected or spasmodically revived by modern managers,\nand are unknown to the present generation of playgoers. 2. The production of original\nplays of the highest class, which for commercial or other reasons have, notwithstanding\ntheir intrinsic merit, been unable to obtain representation. And 3. The general cultivation\nand encouragement of histrionic art and the welfare and respectability of its professors.\nIt is believed that these objects can only be attained by the foundation of a theatre on the\nmodel of the Th&itre at Paris ;but it is almost hopeless to expect that, although\nthousands upon thousands are annually voted by our Parliament for the support of acade-\nmies, museums, schoolboards, and other institutions connected with art and education, it\nwould sanction the appropriation of the smallest subsidy in aid of an art in which are com-\nbined the graces of all the others, and of a school which for educational purposes surpasses\nany as yet existing. & <£>&&£?&&&&\n& In default, therefore, of such assistance from Government, at any rate at present, as is\nafforded to the National Theatre in France, the stability of a National Theatre in England\nmust be assured by annual subscriptions amounting to a sum sufficient to cover the natural\nexpenses, and guarantee the direction from loss and the company from a calamity of\ntoo-frequent occurrence,....the choice between taking half-salaries and a sudden termi-\nnation of their engagements, perhaps in the very middle of the season. & &\n& As the raising of such a fund is necessarily the first step to be taken, and as unless sa-\ntisfactorily effected the project must fall to the ground, it may be held useless to enter\ninto an explanation of the mode in which it is suggested the fund should be employed and\nthe theatre conducted; at the same time it is obvious that without some information on\nthose subjects it would be idle to expect any one to subscribe. The following propositions,\nembodying the principal points of the scheme, are therefore respectfully submitted to the\npublic for consideration.\n& It is estimated that the sum of L. 20,000 would be amply sufficient to cover the whole\nexpenses of a season of eight months, or, more strictly speaking, thirty-two weeks, com-\nmencing at the end of October and terminating at the end of June. This estimate is for-\nmed on the rough calculation that the total average daily expenditure would not exceed L100\nor L600 weekly (L 19,300) at starting, that expense being naturally reduced by the gradual\nincrease of scenery, dresses, and decorations available in future seasons, the original cost\n\n(1) This pamphlet, which we believe will be of interest to our readers in view of the proposed establishment of an English National\nTheatre, was published in 1879."}, {"page_pdf": 6, "page_imprimee": "102", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.6", "texte": "of which must be defrayed during the preceding, and would eventually constitute a valuable\nproperty.\nj& The subscribers to this fund to be considered proprietors, who should have a first charge\non the receipts of the theatre of 3 per cent, per annum interest on the amount of the sums\nindividually subscribed, and in whom should be vested the property of every description\nbelonging to the theatre, before or behind the curtain. They should have power to ap-\npoint the treasurer of the theatre and box-office keeper, and be legally secured against any\nresponsibility beyond the amount of their original subscription. Their privilege to be\nlimited to their personal free admission to any part of the house before the curtain,\nthey except the private boxes with the liberty of securing a seat In advance of the perform-\nance.\n& Assuming the sum raised, the next step would be the possession of a theatre the audi-\ntorium of which was capable of accommodating without inconvenience, at moderate prices\n(say, stalls, 7s.; lower boxes, 5s.; upper ditto, 3spit, 2s.; and gallery, is.), a sufficient\nnumber of persons to produce a receipt of not less than L250 per representation, at periods\nof special attraction, exclusive of private boxes, the number of which would have to be\nregulated according to the construction of the theatre. & & &\ngeneral control of the theatre to be exercised by a board of directors, say seven in\nnumber, none of whom should be either dramatists or actors, but men of acknowledged\neminence In literature and art, and whose names and character would be a sufficient as-\nsurance to the public that their councils would be guided by sound judgment, cultivated\ntaste, and strict impartiality. Their services should be gratuitous. Their privileges, the\nappointment of the acting manager, free access at all times to every part of the house, and\na commodious private box for theis joint occupancy, but not for disposal. & &\nThe acting manager to be entrusted with the formation of the company, the appointment\nof the stage-manager aud his subordinates, the heads, of the scenic and mechanical de-\npartments, the master and mistress of the wardrobe, and the musical director, all salaries\nbeing submitted to the board of directors for sanction previously to the signature of an\nengagement.\n& The acting manager to select the plays for representation (the board of directors having\nthe power of veto), and to decide on the days for their production and repetition. Also to\nmake out \" the bill of the play, \" which should contain simply the title of the piece, the\nname of the author, the distribution of the characters, the time of performance, and the\nprices of admission, or other necessary information. & & & & &\n& With respect to the time of performance, independently of the rapidly-increasing favour\nwith which morning, or more correctly speaking, afternoon representations appear to be\nregarded by the public, there are many and very important advantages attending such a\npractice, which induce the promoters strongly to recommend its adoption by the directors\nof a National Theatre. First of all; the inestimable one of the actor, whose, daily labour\nterminates at an early hour in the evening, leaving the remainder of it to be devoted by\nhim to repose, recreation, or study according to his inclinations, and affording him valuable\nopportunities of visiting other theatres aud witnessing the impersonations of the most dis-\ntinguished artists, English or foreign. To the public the advantages are equally conside-\nrable. The hours from three to six p.m. are specially those which are most at the disposal\nof tho fashionable world, and for all classes the convenience of morning dress, particularly\nin bad weather, the liberty obtained for social or domestic enjoyment in the evening, and\nthe ability to reach even a distant home without the risk of \" missing the last train,\nespecially when accompanied by children,....an anxiety which not only detracts from the\npleasure of the spectators, but constantly compels large parties to rise and hurry from\ntheir seats before the fall of the curtain, to the great annoyance of both actors and audience,\nas well as regret to themselves.... must surely be obvious to very one. Nor should we omit\nto call attention to the profit derivable from the occasional letting of the Theatre in the\nevening for concerts, lectures, &c. Still this is a point which would remain open for\n«s> & & & & & * & &\n& It now only remains for us to suggest the mode by which the subscriptions and receipts\nshould be apportioned for the general benefit of the institution. & & & &\n\n& AN ENGLISH\nART THEATRE.\n\nThe Direction.\n& The perfor-\nmance.\nUse of Funds."}, {"page_pdf": 7, "page_imprimee": "103", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.7", "texte": "J5> AN ENGLISH\nART THEATRE.\n\nSalaries, JP\n&o m e\npropositions.\n\nTaking the aforesaid estimate of the weekly expenses as fairly correct, the first sum to\nbe provided would be the interest on th L2o,ooo subscribed, amounting to L600, which, for\nhe fbetter security of the proprietors, it is proposed should be taken from the receipts\nat the doors daily. Excluding Passion-week, Ash-Wednesday, and say four o five days\nbefore Christmas, the number of play-days in the season would amount to 180, and the\ndeduction to about L20 per week, which must be regarded as rent. &\njg? We now come to the working expenses of the establishment, the largest portion of which\nwould of course be the salaries of the company and its officers. Here we arrive at a point\non which there will probably be more difference of opinion than any other. It being\nimpracticable, in the first instance, to place the actors engaged in this projected theatre\nin a relative position to the Membres Societaires of the Thg&tre the question\ntishow nearly we can enable them to approach it beneficially, both as affects their pecu-\nniary and professional interests.\n& As it is the avowed intention to avoid to the extent of their power any cause for the\nhostility of contemporary managements by competition with them in the market for the\nservices of popular artists the promoters suggest that the highest salary should not ex-\nceed L25 or L30 per week. Actors and actresses who, in consequence of their individual\nattraction, can and do command double such sums, are not expected to reduce their terms\nfor the love of art or the cultivation of it in others. The principal object of the national\ntheatre is the education of the profession as much as that of the public, and its promoters\nconfidently believe that there are hundreds on the netropolitan and provincial stages who\nonly require the opportunity, under judicious guidance, to develop the latent genius that\nis smouldering in their souls. Every day the list is increasing of young and intelligent\nwomen and men who have attracted the notice of the press and the experienced playgoer;\nand independently of them; the list of supporters of a proposed national theatre includes\nmembers who have already won their spurs as far as it has been possible for them to do\nso in the class of characters to the interpretation of which they have been limited, and\nwhich, whatever their merits, are not to be named in comparison with those in the standard\ndrama of this country which they have the laudable ambition to prove they are worthy to\niillustrate.\n& To them and all who are inclined to volunteer in this \"forlorn hope,\" as some consider\nt, of the English stage, the following propositions founded on the usages of the \" Theatre\n\" are offered for their consideration. As no play, however attractive, would be\nrepeated any number of days consecutively, the same principal performers would not be\ncalled upon to appear more than twice or three times in the week. If, however, any o\nthem should be required to strengthen the cast of pieces performed on alternate days, they\nwould in addition to their fixed salary receive a stipulated sum per diem, on the principle\nof the French theatre, known therein as their \" feu \" j and it is also suggested that the\nmembers should have a beneficial interest in the succcess of the institution by a distribution\namongst them of one-third of any profits resulting from It in the shape of a percentage\naccording to the annual amount of their fixed salary; the other two-thirds being appro-\npriated, one to a fund to be called the directors' fund, to provide for casualties or extra-\nneous expenses, and the other to the formation of a fund for the gradual paying-off of the\nsubscribing proprietors, with a view to eventually transferring the entire property of the\ntheatre to the members for their sole use and benefit. & &\nIt is unnecessary here to enter into details affecting minor thongh not less important\narrangements, as they must depend upon the adoption or modification of the above pro-\ngramme, which is respectfully submitted to the provisional committee, which has been\nalready formed, and to all well-wishers to the movement. & & & &"}, {"page_pdf": 8, "page_imprimee": "104", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.8", "texte": "DECORATION ON THE STAGE.\nA. W. Schlegel. Dramatic Art and Literature.\nQur system of decoration was properly invented for the opera, to which it is also in reality\nbest adapted, It has several unavoidable defects; others which certainly may be, but\nseldom are avoided.\nAmong the inevitable defects I reckon the breaking of the lines in the side scenes from\nevery point of view except one ; the disproportion between the size of the player when he\nappears in the background, and the objects as diminished in the perspective; the unfa*\nvourable lighting from below and behind; the contrast between the painted and the actual\nlights and shades; the impossibility of narrowing the stage at pleasure, so that the inside\nof a palace and a hut have the same length and breadth, etc.\nThe errors which may be avoided are, want of simplicity and of great and reposing\nmasses; overloading the scenery with superfluous and distracting objects, either from the\npainter being desirous of showing his strength in perspective, or not knowing how other*\nwise to fill up the space; an architecture full of mannerism, often altogether unconnected,\nnay, even at variance with possibility, coloured in a motley manner which resembles no\nspecies of stone in the world.\nMost scene»painters owe their success entirely to the spectator's ignorance of the arts\nof design; I have often seen a whole pit enchanted with a decoration from which the eye\nof skill must have turned away with disgust, and in whose place a plain green wall would\nhave been infinitely better. A vitiated taste for splendour of decoration and magnificence\nof dress, has rendered the arrangement of the theatre a complicated and expensive business,\nwhence it frequently happens that the main requisites, good pieces and good players, are\nconsidered as secondary matters; but this is an inconvenience which it is here unnecessary\nto mention, & &\n\nON THE USE OF MASKS.\nA. W. Schlegel. Dramatic Art and Literature.\ntragical imitation of the ancients was altogether ideal and rythmical; and in forming\na judgement of It, we must always keep this in view. It was ideal, in so far as it aimed\nat the highest grace and dignity; and rythmical, insomuch as the gestures and inflections\nof voice were more solemnly measured than in real life.\nAs the statuary of the Greeks, setting out, with almost scientific strictness, with the\nmost general conception, sought to embody it again in various general characters which\nwere gradually invested with the charms of life, so that the individual was the last thing\nto which they descended ; in like manner in the mimetic art, they began with the idea\n(the delineation of persons with heroical grandeur, more than human dignity, and ideal\nbeauty,) then passed to character, and made passion the last of all; which, in the collision\nwith the requisitions of either of the others, was forced to give way.\n& Fidelity of representation was less their object than beauty; with us it is exactly the\nreverse. On this principle, the use of masks, which appears astonishing to us, was not only\njustifiable, but absolutely essential; far from considering them as a makeshift, the Greeks\nwould certainly, and with justice too, have looked upon it as a makeshift to be obliged\nto allow a player with vulgar, ignoble, or strongly marked features, to represent an Apollo\nor a Hercules; nay, rather they would have deemed it downright profanation. & &"}, {"page_pdf": 9, "page_imprimee": "I", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.9", "texte": "THE ART OF THE\nTHEATRE. The Second\nDialogue,\nby Gordon Craig.\n\nA PLAYGOER AND A STAGE\nDIRECTOR ARE CONVERSING\nPLAYGOER\n& I am glad to see you again after so long\nan absence. Where have you been ?\nSTAGE DIRECTOR\n& Abroad. & &\nPLAYGOER\n& What have you been doing all this time ?\nSTAGE DIRECTOR\n& Hunting.\nPLAYGOER\nHave you turned sportsman, then ?\nSTAGE DIRECTOR\n& I have; it keeps one in good health. It\nexercises all the muscles. I shall do better\nwork when I recommence.\nPLAYGOER\n& Tell me about it all, • • where you have\nbeen hunting and what you have bagged.\nSTAGE DIRECTOR\n& I have bagged nothing, for the beast that\nhas occupied me is not caught like a rabbit\nor a hare and is far more wary than a fox.\nBesides, the sport is not in the kill; the\nsport lies in the difficulties which must be\nsurmounted to get at the beast, and there\nis no danger at all after you have found\nhim. I have been hunting the monster of a\nFable. & jg? &\nPLAYGOER\nWhich one ? The Chimsera, the Hydra or\nthe Hippo-griff ?\nSTAGE DIRECTOR\nAH of them in one. They are the\ncomposite parts of an absurd monster called\nThe Theatrical, (i) and I have tracked this\nterrible creature into its thousand and one\ncaverns and conquered him. &\nPLAYGOER\n& You have destroyed him ? &\nSTAGE DIRECTOR\n& Yes,... I have made friends with him.\n(1) See The Mask, October, 1909, Note on page 91.\nPLAYGOER\nWas there any need for you to have gone\nabroad to do this simple piece of byeplay ?\nSTAGE DIRECTOR\nCertainly, for it was only abroad that I\nfound out the poor thing's weak spots. I was\nreally a little frightened at his roar in Eng-\nland and the reports of his cave and its\ncollection of dry skulls were certainly most\nterrifying. But when I got abroad I began\nto hunt cautiously and found him one day\ndancing, another day making imitations of\nme, and the third day he invited me into\nhis cave. &\n& Naturally I accepted the invitation and\ntook bearings. I can now bring him down\nwhen I will.. . only the poor dear would\nnever forgive me and I should never forgive\nmyself.\nPLAYGOER\nI don't know what you are talking about\nbut I suppose its all right. It would amuse\nme much better if you would stay at home\nand produce a few plays instead of wande-\nring about Europe pretending to hunt.\nSTAGE DIRECTOR\nBut why didn't you say so years ago ?\nI should never have dreamed of foreign\nlands if you had but signified your desire\nfor me to stay at home. One must live \" as\nyour Dramatic Critic of the \" Times\" said\nto the Censor Committee, •. • one cannot\nmerely exist on the spoils of other people's\nwars; and so I took to sport and have not\nknown a day's disillusion since.\nPLAYGOER\n& And I have never before felt so disil-\nlusioned. & & & &\nSTAGE DIRECTOR\nWhy what is the matter with you ? £?\nPLAYGOER\nI hate the Theatre. & &\nSTAGE DIRECTOR\nCome now, you exaggerate; you used to\nlove it. I remember you once asked me all"}, {"page_pdf": 10, "page_imprimee": "106", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.10", "texte": "sorts of questions about the Art of the Thea-\ntre and we had no end of a talk.\nPLAYGOER\nI hate it now ... I never go inside a\nTheatre now, and the reports, paragraphs,\nannouncements and interviews make me\nlaugh.\nSTAGE DIRECTOR\nWhy is that? & & &\nPLAYGOER\n& That is what I-want to know. & &\nSTAGE DIRECTOR\nOh, you want me to be your doctor. You\nare hungry for the Theatre and you can't\nswallow it as it is; you want a cure. Well,\nI can't cure you for I cannot alter the Thea-\ntre in a day or during your lifetime, but if\nyou would like to know what your old love\nthe Theatre is going to be one day I will\ntell you.\nPLAYGOER\n& You told me that a long time ago and\nthat has only helped to make me discon-\ntented. &\nSTAGE DIRECTOR\nThat is what I hoped; but now if you\nwill only be patient I believe 1 can do some-\nthing else. £> &\nPLAYGOER\nDon't tell me anything more about the\nArt, or the Temples which are to contain the\nArt, or how its three component parts are\nAction, Scene and Voice, for all that is more\nawful to me than your Chimsera Hippo griff\nmonster seemed to you; it is all so enormous,\ntoo enormous, and impossible. I must be 6000\nyears old before it comes, and I must change\nall my beliefs and customs,... so say nothing\nmore about that, I beg of you. &\nSTAGE DIRECTOR\nAgreed. Not a word on that awful subject\nshall pass my lips.... till you permit it.\nPLAYGOER\nI feel better already. I don't know how\nit is, but whenever I see you coming an\nawful dread seizes me; my teeth chatter,\nmy eyes dilate, my hope leaves me. \" Will\nhe begin?\" I think; \"will he start telling\nme about the Art of the Theatre of the\nFuture?\"^\n& You see, it isn't that I don't believe every\nword you say about it all; what chokes me\nis to see you taking it all so quietly. 1 would\ndo much to assist in the realisation of your\ndream but I see no where to begin, and you\nseem to believe that, when you have told me\nyour Idea, it has been realised,... you leave\nno one anything else to do.\nSTAGE DIRECTOR\nThat is not my intention. &\nPLAYGOER\n& May be not, but that is the impression\nyou leave with me.\nSTAGE DIRECTOR\n& I can only apologize,. .. and now that I\nhave promised not to touch on the Art of\nthe Theatre I propose to amuse you with\nthe affairs of the Theatre. Tonight you will\nbuy two stalls for a musical comedy. &\nPLAYGOER\n& I have not been inside a theatre for two\nyears; that was due to your last talk with\nme, and now you propose to talk me round\nagain into the Gaiety. & &\nSTAGE DIRECTOR\nYes, that is it. The Gaiety Theatre, two\nstalls, third row, near the end of the row.\nNow to begin, . . . and try and not inter-\nrupt me until I have done.\nSome years ago I told you about some\nGiant's work; we talked about the Theatre\nand the proportion of my suggestions stag-\ngered you. I showed you too much. Since\nthen I have shown more. All this has dis-\nheartened you. Now I shall show you less,. . .\nalso the very least. You shall have no com-\nplaint to make against me. When I spoke to\nyou before it was as Artist, and Artists have\nthe same stuff in them as aviators, . . . they\ncan fly. But now I come to earth and shall\ntalk to you like an ordinary stage manager\nwho is less of an artist than an adminis-\ntrator, ... in short, even at the risk of boring a\ngood friend, I shall speak practically to you.\nYou love the Theatre. The fact of your\nnot going inside one for a couple of years\nproves it. You had a new ideal and you never\nfound it realized there. The ideal to be rea-\nlized needed Artists,. .. there were none in\nthe Theatre. You love the Theatre still; yeu\nwould give your head for some good reason\nfor going there again, and I am going to\ngive you a reason. It needs you.\nPLAYGOER\n& May be: but it no longer interests me. I\ncannot give my reasons without giving of-\nfence to many of those who have formerly\ngiven me much pleasure. & & &\nSTAGE DIRECTOR\nFor instance? &&£>£?\nPLAYGOER\nWell, I if call the actor at the Lyceum"}, {"page_pdf": 11, "page_imprimee": "107", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.11", "texte": "theatrical he will be offended; if I find the\nproduction at the Elysium vulgar I offend the\nproducer whom 1 know personally. Besides,\nhowever much I may protest, the actor and\nthe producer are unable to change their\nmethods. I can neither applaud as formerly nor\nprotest as I do to you, and owing to this I am,\nas 1 tell you, entirely without interest.\nSTAGE DIRECTOR\nIf the cause of your discontent could be\nremoved your interest would revive? &\nPLAYGOER\nImmediately. & & &\nSTAGE DIRECTOR\nTell me, at what are you dissatisfied? I\nam neither the actor nor the producer.\nPLAYGOER\n& No; but to express it definitely at all\nwould make me feel like a traitor to all I\nonce loved. &\nSTAGE DIRECTOR\nAh, then it is you that have changed,...\nnot the theatres.\nPLAYGOER\nPerhaps, perhaps.\nSTAGE DIRECTOR\nAnd you have developed your sense of\nwhat is beautiful. Is it possible then that I see\nbefore me the Ideal spectator in person? ....\nthat you have become one of that audience\nwhich London has been for so long trying to\n\" educate\" & & &\nPLAYGOER\n& No, not that; not so ideal as all that; but\nit does seem to me that you are right. I have\ndeveloped. The plays and the players cannot\nhave altered so enormously in two years,\nwhereas one's outlook may have changed\nentirely. & & &\nSTAGE DIRECTOR\n& And now to you everything on the stage\nlooks as \"weary, stale, flat and unprofitable\"\nas the world did to Hamlet. But be practical,\n1 beg of you. Look at the matter sensibly.\nYou admit that the stage has not altered,\nthat it is yourself only that has undergone\na change. Good, then;... undergo another.\nI do not mean change back again, but change\nforward. &\nPLAYGOER\nExplain to me what you mean. &\nSTAGE DIRECTOR\n& You have looked at the Theatre from two\npoints of view; ascend to a third and better\npoint of view and see what you shall see.\nPLAYGOER\n-0 That interests me. &\nSTAGE DIRECTOR\nFollow me then. At present your interest\nin the Theatre is on a small scale, something\nlike the interest every Englishman takes in\nhis country. You are in the position of a man\nwho dislikes the present government, that\nis all. The Theatre as Institution is compo-\nsed of as many Parties as are the Houses of\nParliament. We have the equivalent of the Con-\nservatives, Liberals, Progressives, Radicals, So-\ncialists, the Labour Party, and even Suffraget-\ntes are an established part of our Institution.\nThese parties take themselves all very\nseriously and that does no harm. But above\nand beyond all parties there are the Impe-\nrialists, .... let us call them by this name,\nat any rate, Idealists. An Imperialist is an\nIdealist. You once belonged to some Theatrical\nparty or other. Let us say you were a Conserva-\ntive. You thought little about the real Conser-\nvatism but you called yourself a Conservative\nand soon you began to weary of the methods of\nyour leaders. You naturally don't wish to be\na turncoat, and you are thrown into a state\nof despondency not knowing what to do\nPLAYGOER\n& Well, I can't veer round and become one\nof the opposite party, can I?\nSTAGE DIRECTOR\n& Certainly not. You cannot honourably be-\ncome a member of any other party. You cannot\ncourt a second disillusion. But there is nothing\nin the way of your becoming an Imperialist.\nBear in mind that I use this word to express the\nhighest ideal, and though I am quite uncertain\nwhat the term implies to you; but will you be\nso good as to accept it (for want of a better,)\nas the best name I can apply to that uni-\nversal party, or brotherhood, which is compo-\nsed of people holding or tolerating many\ndifferent, and opposite, views. &\nPLAYGOER\nWell then, I am to become an Imperialist.\nTell me how to do it.\nSTAGE DIRECTOR\n& My dear fellow, you already look your-\nself again. You are becoming positively\ninterested. We had better go and look for\nthose seats at the Gaiety at once.\nPLAYGOER\nNo, stay here and go on talking. Tell me\nhow to become an Imperialist. & &\nSTAGE DIRECTOR\njp Well, you shall book stalls for \" Twelfth"}, {"page_pdf": 12, "page_imprimee": "108", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.12", "texte": "Night\" at His Majesty's Theatre, a bench for\nthe Elizabethan Stage Society's production\nof \" Samson Agonistes upper circle for Sir\nArthur Pinero's last play at St James and\ngo to the Pit at the Court Theatre to see\nJohn Bull' s other Island Tonight to\nthe Gaiety, tomorrow to hear Bach's Passion\nMusic Drama at St Paul's, the next evening\nto the Empire and in the afternoon to the\nCinematograph in Oxford Street. Neither must\nyou omit to go to visit the suburbs to see our\ngreat actress as \" Portia \" nor fail to attend\none of the British Empire Shakespeare\nSociety's performances. You can do all this in\nten evenings and in the daytime if you have\nthe time you could attend one of Mr Henry\nArthur Jones' lectures on the Drama, a\nmeeting of the Actors' Association if you\ncan get an invitation, and a rehearsal of a\nDrury Lane Drama. In short, see the worst\nand best of everything; see all sides of this\nwork and I promise you that you will begin\nto love the Theatre once more. &\nPLAYGOER\nGoodbye. I knew you could not help me.\nI knew you would tell me to do all this. Why,\nman, I did all this two years ago. £> &\nSTAGE DIRECTOR\nYou are in a bad state indeed.\nPLAYGOER\n& Yes, but do you not see it is all through\nyou ? Some years ago you showed me a\nvisionary picture of what the Theatre might\nbecome with its blessed Temples and its\nbeautiful Art and all the rest of it, and that\non the one hand and this modern Theatre\non the other hand have been to me like deep\nsea and devil. I can relish neither so 1 avoid\nboth. & &\nSTAGE DIRECTOR\nCome abroad. I can show you a theatre\nin the north of Russia that will enchant you.\nPLAYGOER\n& Why do you think so ?\nSTAGE DIRECTOR\nBecause without its being a Temple and\nall that you seem to dread so in my pro-\ngramme, it is the best ordered Theatre in\nEurope. It is an example of what systematic\nReform can do in a Theatre. &\n& Plays, actors, actresses, managers, sce-\nnery, footlights, lime lights, opera glasses,\nrealism, all is there, just as in any other\ntheatre, with this difference; that it beats\nall other theatres at their own game.\n& There are two kinds of Theatre possible,. ..\nthe natural and the artificial. The European\nTheatres are artificial, and this theatre in the\nnorth is also artificial since it makes use\nof the same artificial material as that used by\nthe Opera House in Paris or His Majesty's in\nLondon. The difference is in the use. Besides\nthis their administration is different from\nthat of other European Theatres. Men are\nthe administrators just the same as in England,\nand yet the results are different, for the\nmen have remembered something which our\nadministrators have never learned.\nPLAYGOER\nStop giving me any more vague notions\nof this theatre and tell me in detail some-\nthing of its method. & & &\nSTAGE DIRECTOR\nWith pleasure. & & &\n& This theatre is better than others both In\nthe work of the stage and in the manner of\nthe administration. <£? & &\nPLAYGOER\n& In what does the work of the stage differ?\nYou say they do not use different material\nfrom that employed by the other theatres?\nSTAGE DIRECTOR\nNo, the same. They use actors who paint\ntheir faces, scenes painted on canvas and\nstretched upon wood, footlights and other\nartificial lights, blank verse, phonographs\nand all the rest of it, but they make use of\nthese things with taste. & & &\nPLAYGOER\n& But do none of the other European thea-\ntres do this ?\nSTAGE DIRECTOR\n& Other European theatres make only a\ncasual study of this strange artificial material\nand so they are unable to express with any\ndistinction, and the canvas and the paint\nappear as mere canvas and paint, things\nwhich in themselves ase not interesting.\nPLAYGOER\nThen is there no other theatre where\nthey use these things with taste ?\nSTAGE DIRECTOR\nNo. & & & &\nPLAYGOER\n& I suppose the workers in the Russian thea-\ntre are able to use their material more\ntastefully because they have more technical\nknowledge ? & & & &\nSTAGE DIRECTOR\n& Yes, though I don't understand why you\nask so obvious a question. What do you\nmean ? If instead of a casual study they give"}, {"page_pdf": 13, "page_imprimee": "109", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.13", "texte": "serious and thorough study to their mate-\nrial it stands to reason that their technique\nis more perfect.\nPLAYGOER\nBut consider the performances at the\nleading London theatres, for example. Is there\nno techinque shown in the use of these ma-\nterials there ? & & &\nSTAGE DIRECTOR\n& If this were so I should not have said no.\nBut I will give you an instance of what I\nmean.\nTake for example, the matter of scenic\nmechanism.\n& There are at least nine or ten professional\nways of bringing a moon on to the stage. We\nknow how the company of actors of Messrs\nBottom and Quince introduced their moon;\nwe know how the sumptuous revival gentle-\nmen manage it in England; we know how\nthe opera manages it, and we know how\nProfessor Herkomer manages it. All these\nways differ in so far as one inventer has been\nmore careless than another in studying the\nexact way in which the moon performs its\npart. &\n& Now after the ten different ways have\nbeen carefully studied by the workers in the\nConstan theatre they will find six other ways,\nwill reject five of them and adopt the sixth\nwhich will be the best. And this sixth way will\nfar exceed all other ways seen in Europe\n1 mean of course technically, for naturally\nArt has nothing to do with the reproduction\nof moons on the stage, and Art is not what\nwe are talking about here. But in every other\nway this moon will be more like actuality than\nany other moon which the theatre of Europe\nhas seen for centuries.\nPLAYGOER\n& How can you make such a statement? You\nare not even half a century old.\nSTAGE DIRECTOR\nNo; but when a good idea has been found\nin the theatre, especially a good idea for\nreproducing some effect in nature, it is never\nforgotten. Those are the things by which the\ngreatest store is laid. Remember, I am not\nholding a brief for the Constan theatre in any\nway except in the production of plays in which\nthey desire to bring realistic effects, and\nI state that for the first time realistic effects\nare actually produced, that there is no slipshod\nwork and no avoiding the difficulty by doing\nwhat \" was done last time \". &\nPLAYGOER\n& You have only proved however that they\nhave more independence and are freer In\nrejecting traditional tricks; you have not\nproved to me that what they do is in better\ntaste.\nSTAGE DIRECTOR\n& Well, I can but tell you it is more like\nnature. Would you say that to be like nature\nis in better taste or would you say that to\nbe like the theatre is in better taste?\nPLAYGOER\n& Certainly to be like nature.\nSTAGE DIRECTOR\nVery well then, your question is answered.\nPLAYGOER\nBut how do the workers in this theatre\narrive at this technical perfection which ena-\nbles them to use their material with such taste?\nSTAGE DIRECTOR\n& How do you arrive at a technical knowledge\nof anything? &\nPLAYGOER\n& By study, of course; but are these the\nonly theatrical workers in all Europe who\ndo study? & & &\nSTAGE DIRECTOR\n& I think we are speaking of technical per-\nfection ? Well then, you did not ask me\nwhether they had a superficial knowledge of\ntheir craft. There are plenty of people who\nstudy but who study badly. The Constan peo-\nple study and experiment more carefully. &\nPLAYGOER\nperhaps they have more talent ?\nSTAGE DIRECTOR\nPossibly. And, as you know, talent is a\nthing which develops by study. & &\nPLAYGOER\nHave they anything at Constan in the\nnature of a school in which to study ? &\nSTAGE DIRECTOR\nYes, their theatre is a school. They are\nin the theatre from morning till night all\nthe year round save for a few weeks holiday\nin the summer. In England you can go into\na theatre on many days in the year and find\nno one there except the carpenters and the\nstage director and a few other officials. In Con-\nstan the place is crowded all day and night,\nand if there is a rehearsal the students are\nthere to witness it, and not giggling and\nplaying the fool but watching every move-\nment and listening to every word. &\nPLAYGOER\nWho do you mean by the students? &"}, {"page_pdf": 14, "page_imprimee": "110", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.14", "texte": "STAGE DIRECTOR\n& Everybody. They are all students. There\nare the two directors to begin with; (the\nthird director occupies himself only with\naffairs); and these two directors are as much\nstudents as anyone else: they are studying\nall the time. Then come the leading actors\nand actresses. There are about twelve of\nthese, each one as good as any star in Europe.\nBut what am I saying ? Each one is a much\nbetter actor or actress than the greatest\nstars in Europe. Then there are about twenty\nfour actors and actresses of what are called\n\" secondary parts \". Many of these are bril-\nliant enough to be included in the first ca-\ntegory only they have not served their\napprenticeship long enough. &\nPLAYGOER\n& What ? If an actor shows especial talent is\nhe not moved up to the first rank at once ?\nSTAGE DIRECTOR\n& No, certainly not. Not until he has gone\nthrough the same experience as the others,\nno matter how talented he may be. Then,\nbesides these whom I have named, there are\nthe very young students. There are about\ntwenty of these. They are most of them men\nand women from the universities, and the\ngirls are not chosen just because they look\npretty but, with the men, are selected for\ntheir capabilities. & & &\nPLAYGOER\n& Is this not so in other lands ? &\nSTAGE DIRECTOR\n& Most certainly not. Half the girls on the\nEnglish stage are chosen because they look\npretty. & & & &\nPLAYGOER\n& But an actress's looks are surely a matter\nof importance? & £/\nSTAGE DIRECTOR\n& Yes, of great importance, and should form\npart of her studies. It has never occurred to\nthe English actresses that it Is a part of their\nwork, and a part which needs great talent and\napplication, to make themselves look nice.\nSome of your most talented actresses in Eng-\nland are by no means what are called pretty\ngirls. That Is to say, their features are far from\nperfect, their complexions are not so fresh as\nthat of an Irish girl on the lakes, but they have\nthe talent by which they can make themselves\nlook this, or that, or the other. Just as it is a\npart of the actor's talent and study to be able\nto make his face into a grotesque mask, so is\nit part of an actresses talent and study to make\nherself look beautiful when she wishes. When\nthis is fully realised, young ladies will cease\nputting their looks forward as a reason for\nobtaining an engagement, and the stage\nwill be less over-crowded and better filled.\nBut now to return to the number of\nworkers at Constan. We had got as far as\nthe students. Besides and below these are\nthe Probationers. &\nPLAYGOER\nWho are they ? &\nSTAGE DIRECTOR\n& They are young people who apply to be\nadmitted to the theatre as students. They\nare told that they must work for a certain\ntime,.... 1 believe one or two years .... in or-\nder to become candidates for the school. Then\nafter an examination before the directors and\nstage managers and actors some of them are\nselected and put into the school. & &\nPLAYGOER\nWhat kind of examination do they undergo?\nSTAGE DIRECTOR\nEach candidate prepares a poem and a fable\nfor recitation. And the examination of the\ncandidates at this theatre proves conclusively\nthat it is the directors of the theatre, and\nnot the Russians, that are so remarkable; for\nthese candidates are no different from any\nother stage aspirants in regard to their\ntalent for dramatic expression. They are dif-\nferent from other students oniy in that they\nare more educated than other theatrical\naspirants, many of them having a considerable\nknowledge of literature, foreign languages,\nart and science.\n& On passing their examination they are put\ninto the school, in which they work daily for a\nterm of years, and in the evenings they may be\nrequired to fill those parts known asu walking\non parts\". Thus while they are studying at the\nschool they are in the midst of the acting nearly\nevery evening, and at the end of a few years it is\npossible, or nearly certain, that they may be\noffered a small engagement by the theatre\nin which they are working. So that here we\nhave, you see, a standing company of about\none hundred.\nPLAYGOER\n& What do you mean by a standing company?\nSTAGE DIRECTOR\n& The same as is meant by a standing army.\nPLAYGOER\n& Then do not the actors leave to take bet-\nter engagements?\nSTAGE DIRECTOR\n& No, for there can be no better engagement."}, {"page_pdf": 15, "page_imprimee": "111", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.15", "texte": "To be a member of the Constan Art Theatre\nis the ambition of every actor in Russia.\nPLAYGOER\n<£? Would a very talented actor from\nanother theatre apply for membership in this\ncompany? & & &\nSTAGE DIRECTOR\nJZ? May be; but it would take him some time\nto get into the particular atmosphere which\nhas been created by this company, and in\norder to do this he would possibly have to\ntake very small parts to begin with.\nPLAYGOER\n& Then the work there differs entirely from\nthat in other theatres and any one entering\nwould feel very much at sea? £?\nSTAGE DIRECTOR\nPrecisely. & & &\nPLAYGOER\n& Are all the students training to be actors ?\nSTAGE DIRECTOR\n& Yes. & &\nPLAYGOER\n& Then, they do not train stage directors ?\nSTAGE DIRECTOR\nBefore you can be a stage director you\nmust have first been an actor. Their stage\ndirectors are only produced last of all. After\nthey have been several years acting it may\nbe that one or another will show some talent\nas stage manager. This talent is given an op-\nportunity for showing itself and developing\nitself in the following manner:\nAt the end of each season the school\nperforms certain scenes from about ten or\ntwelve different plays. In 1909 among the\nplays which the students selected were the\nfollowing: \" Elga \" and \"Hannele\", by Haupt-\nmann; a play by Sudermann; \" When we\ndead awaken \" by Ibsen, \" La Locandiera \"\nby Goldoni, \"La Citta Morta\" by D'Annunzio,\n\" L' Avare \" by Moliere and about three or\nfour plays by Russian authors. &\n*£> These scenes are in each case represented\nby different members of the school, and a dif-\nferent stage manager is selected for each.\nThe performance takes place in the afternoon.\nThe relations of the students are invited,\nand the directors of the theatre together\nwith the company are also present, and the\nperformance affords an opportunity of reveal-\ning any talent for stage management or\nfor acting which may be latent in the stu-\ndents. The talent displayed in 1909 was in\nmy opinion nothing short of remarkable.\nEach stage manager has at his disposal all\nthat the theatre has to offer him, though of\ncourse it is impossible to paint new scenes;\nstill, he can show his talent by the use of\nwhat is at hand.\nPLAYGOER\nYou spoke to me once long ago about an\nideal stage manager, a man who would com-\nbine all the talents, who had been actor, scene\nand costume designer, who understood the\nlighting of the play, the formation of dance\nand the sense of rhythms; who could rehearse\nthe actors in their parts; who could, in short,\nwith his own brain, finish that work which\nthe poet, for all stage purposes, had left in\nan unfinished condition. Do you find any such\nin Constan ?\nSTAGE DIRECTOR\nI find the nearest approach to such a man.\nThere is very little that the Regisseurs there\ncannot do.\nPLAYGOER\nThere are many people who would say that\nafter all there is nothing very different in\nthis theatre from other theatres except\nthe difference of its greater thoroughness.\nSTAGE DIRECTOR\nThen now I will try and show you wherein\nthe essential difference really lies. I have been\nable so far to explain to you something of the\nsystem. I have tried to show you how superior\nthe Russian method is to any other, but 1 still\ndo not expect you to understand entirely\nwhat I mean, and 1 admit that it would be\nutterly impossible to explain the chief reason\nof this theatre's superiority till you have\ncome into touch with the men who have\ntrained in the theatre and above all with the\nmen who have trained them,.... the directors.\nThere lies the secret, and it will be burled\nwith them. You would understand what 1\nhave been telling you if you were to see\nthem, but even then you still could not lay\ntheir secret bare to any practical advantage.\nPLAYGOER\nDo you who have seen them understand\ntheir secret? & & &\nSTAGE DIRECTOR\n1 understand it but I could not make\nanyone else understand it for the reason that\nit is one of those simple things which no\namount of coaxing can create and no amount\nof antagonism can destroy and no amount of\nexplanation explain. & &\nPLAYGOER\nAnd what is it?\nSTAGE DIRECTOR\nPassionate love for the theatre; and I can\nsay to you without any fear of being thought"}, {"page_pdf": 16, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.16", "texte": "profane, \" greater love hath no man than\nthis, that a man lay down his life for his work.\nPLAYGOER\nBut do they not love the stage in this way\nIn the other theatres? & &\nSTAGE DIRECTOR\n& No, they do not; they do not. There are\nother things for which they would far sooner\ngive their lives before their work;... for\nsocial success, financial success. They are only\nwilling to devote their lives if they can get\neither of these things in exchange. In Constan\nthey have but one desire, that is, to do the\nbest work. Do you think I am severe upon\nthe other theatres ? & &\nI am not. I am prepared to tell any theatre\nwhat it is working for and to point out the\ndifference between its aim and that of the\nConstan theatre. I call to mind the best thea-\ntres in Europe and 1 see clearly what it is\nthey want. It Is quite possible that there are\nmany theatres unknown to me, and that in\nthose theatres there are men to whom I do\na great Injustice by seeming to include them\nin this accusation; but I speak only of those\ntheatres known to me. They are supposed to\nbe the first theatres in Europe. In my opinion\nthey are the very last. Yet It would be quite\npossible for the other theatres to be as good\nas the Constan Art Theatre, that is to say, in\nthe first line, by merely being possessed of\nthe same passionate love for their art.\nAnd now to tell you a few things about\nthe Administration. & &\nP L A Y G O ER\nThat Is what 1 want to hear about. &\nSTAGE DIRECTOR\nTo begin with, the Administration is in\nthe hands of a board of directors. There is\nthe president, five members of the board and\nthe secretary, and five out of these seven\nare artists. The capital is vested in a stock\ncompany composed of merchants of the city\nof Constan, and, like other stock companies,\nthe money and affairs are administered by a\nboard of directors. & & &\nPLAYGOER\n& Then so far it does not differ from other\ntheatres? & & & &\nSTAGE DIRECTOR\nNo? Is it usual then for artists to be in\nthe majority on the board of directors ? 1 think\nyou have overlooked this. But now tell me\nsomething. I am a man entirely innocent of\nbusiness. Supposing 1 had found people to\nhave enough faith in me to put down fifty\nthousand pounds to establish an art theatre\nIn England, what would be the feeling\nexhibited on the last day of the year when\nthe report was read out to the shareholders\nshowing that there was not a penny of\ndividend? & JS>\nPLAYGOER\nThe share holders would examine the books,\nand, having found that the expenses exceeded\nthe income, they would probably change the\nmanagement and advise the production of\nmore popular pieces which would bring more\nmoney into the box office. & &\nSTAGE DIRECTOR\nWhy would they do this? &\nPLAYGOER\n& Because they put their money into the\ntheatre with the idea of making more by it.\nSTAGE DIRECTOR\n& Suppose you were yourself a shareholder\nand I were to point out to you that this\nthing could not possibly pay for one, two or\neven three years, what would you say, know-\ning that there had been a deficit on the first\nyear ? & &\nPLAYGOER\nI should want to examine the situation\nvery thoroughly. &\nSTAGE DIRECTOR\nOh, then, you would not entirely back\nout of it ? & £> & &\nPLAYGOER\n1 should look into the matter thoroughly\nfirst.\nSTAGE DIRECTOR\n& 1 should fake it then that you had become\na share holder because you were interested\nnot only in the making of money but in the\nwork itself ? & & &\nPLAYGOER\nYes; but as I am a business man my pri-\nmary object would be to make money.\nSTAGE DIRECTOR\nWould you think that it would be a\npractical move on your part to go on sup-\nporting such a theatre if it paid no dividend\nfor the first three, four or five years? &\nPLAYGOER\nNo, I should not. &\nSTAGE DIRECTOR\n& Well then, explain to me as a business\nman how it is that there have been business\nmen found in the town of Constan who are\ncontent to wait for ten years to see the\nfirst return for theii money ? &\nPLAYGOER\nIt is inexplicable to me. But 1 suppose"}, {"page_pdf": 17, "page_imprimee": "113", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.17", "texte": "that the making of money must to them\nhave been a secondary consideration to the\nfurthering of art. And really, if I were an\nextremely wealthy man myself 1 should look\non that as a luxury or a hobby and one which\nI could take pride in being connected with.\nSTAGE DIRECTOR\nWell, you told me you were losing your\ninterest in the drama, and you are a wealthy\nman. Here is a way to revive your interest.\nConnect yourself with such a theatre. You\nwill remember that 1 told you a little time\nago that the theatre needed you. I now see\nthe more clearly that you are the very man\nit needs. But first of all let us see whether,\nshould you take such a charming step, you\nmight not gain in every way without losing\nyour money. Let us return to the theatre at\nConstan and see what happened there.\nPLAYGOER\nYes. But tell me one thing. When was the\nfirst dividend declared ? &\nSTAGE DIRECTOR\n£? At the end of ten years. &\nPLAYGOER\n& But that might happen in any theatre; it\nsounds bad business, but is not peculiar to\nany particular enterprise.\nSTAGE DIRECTOR\nYes, but the fact that after ten years we\nfind the original list of shareholders unchan-\nged, and not only unchanged but increased,\nis rather unusual, is it not; and certainly\nmost encouraging. Do you not find it so ?\nPLAYGOER\nYes, both encouraging and \"inspiring. 1\nreally do think that what you tell me is quite\nsplendid. But could it be done anywhere else ?\nSTAGE DIRECTOR\n& Have you any good reason for thinking\nthat it could not be done? JZ?\nPLAYGOER\nThe fact that like propositions have failed\nin England. jg?\nSTAGE DIRECTOR\n& Has the test ever been made ? &\nPLAYGOER\nProbably not, for I doubt if any body of\nsuch men as you describe as forming the\nConstan stock company could be found in\nEngland. &\nSTAGE DIRECTOR\nThen hath not an Englishman eyes, hath\nhands not an Englishman organs, dimensions,\nsenses, passions \" affections ? Surely you\nmust be wrong in what you say? &\nPLAYGOER\nI think not; because the drama in England\nand also in America has become merely another\ncommercial means for the making of money.\nSTAGE DIRECTOR\nSo it is all over Russia,.... all over Europe.\nBut if you can find thirty or forty such men in\nRussia you can surely find thirty or forty in\nEngland. Besides, think, what is the New\nTheatre in New York but such a theatre? Do\nyou think that its founders want to see a\nreturn for their money in the first two years ?\nPLAYGOER\nThey might wait for two or three years\nbefore receiving a dividend, but they are not\nlikely to wait for ten, although 1 do not think\nthat the making of money is their primary\nobject.\nSTAGE DIRECTOR\nWell then, why do you think these mil-\nlionaires have put their money into this\n*\ntheatre ?\nPLAYGOER\nBecause I think they have been brought\nto a realisation that something has got to be\ndone for the drama in America, and being\nmen in a leading position they feel they are\nexpected to do it. &\nSTAGE DIRECTOR\nAnd if at the end of, let us say, five years,\nthe public agrees that the work being done\nin the theatre is perfect yet the directors\nknow that there has been no profit, will they\ncontinue to support it or will they say that\nthe work is less perfect because the theatre\nhas failed to return a dividend ? &\nPLAYGOER\n& If they realised that the public was satis-\nfied they would continue. But tell me, if the\npublic was satisfied would not that mean that\nthe theatre had been full every evening ?\nSTAGE DIRECTOR\nNot exactly, though it might mean that\nit had been very fairly full every evening.\nBut you must not forget that the expenses\nof running such a theatre are very great. The\nConstan Art Theatre for Instance had very\nnearly full houses for nearly ten years, but\nIts Expenses exceeded its income. &\nPLAYGOER\n&Do you not call that bad business ? &\nSTAGE DIRECTOR\n1 cannot give an opinion upon business.\nBut let me put it to you more clearly, and\ndo you then decide. This Russian theatre has\nhad full houses, it has produced plays which"}, {"page_pdf": 18, "page_imprimee": "114", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.18", "texte": "the public has said are perfect; it is the first\ntheatre in the land; it has done what it set\nout to do. Do you not call that good business?\nPLAYGOER\nYes, I do. & &\nSTAGE DIRECTOR\n& Would you call it good business to have\nbuilt up a reputation which is second to none\nin Eturope ? to be able to command a vast\npublic and the enthusiastic support of staunch\nshareholders ? &\nPLAYGOER\nYes, I suppose I should. &\nSTAGE DIRECTO R\n& You would agree that the shareholders\nhave in their possession something by means\nof which they can now realise what money\nthey like ?\nPLAYGOER\n& How can they do so ?\nSTAGE DIRECTOR\n& By building a second theatre, a large\ntheatre, and by touring round the world.\nPLAYGOER\nWhere is the money coming from when\nyou say that they have only just begun to\nrealise a slight dividend ?\nSTAGE DIRECTOR\nIt will be found. When you ask me to say\nhow, why I can only refer you to the work\nof the last ten years. Nothing daunted the\nworkers in this theatre or seemed to deter\nthem from doing what they wanted to do.\nThey will build this theatre, they will con-\ntinue to give the public the best works In\nthe best way and they will set an example\nto the rest of Europe.\nPLAYGOER\nRather a costly example! &\nSTAGE DIRECTOR\nNot so costly when you think of it for a mo-\nment. It is the belief in Europe that the Rus-\nslans are composed of people less interested\nin art than anyone else. In this their repu-\ntation resembles that of the English. There\nis a general idea also that they are a kind\nof savage race, and by making this demon-\nstration through the artistic theatre they\nhave shown clearly that they are nothing of\nthe kind. In a way this is really a national\ntheatre in the best sense of the word, for\nthe shareholders have the interests of their\nnation at heart. This theatre as I have said\nwill no doubt visit the centres of Europe,\nand at each visit the refinement and culture\nand courage of Russia will be made manifest.\nIn short, it is a very clever commercial stroke\non a very large scale, and English men\ncould do worse than follow their lead. Money\nthat has been sunk in this theatre is not\nwasted money and we shall shortly see the\nfruits oi it. Don't you think that is so ?\nPLAYGOER\n<£? Yes I think so; but looking at it in that\nlight it takes it right away from the com-\nmercial theatre.\nSTAGE DIRECTOR\nWhy of course it does. I was speaking of\nthe theatre as an asset of the nation.\nPLAYGOER\nYes. Well, we are going to have a Natio-\nnal Theatre in England. &\nSTAGE DIRECTOR\nNot at all. We are going to have a Soci-\nety theatre. That in my opinion is very much\nwhat the New Theatre in America is.... a\nSociety theatre. Now nobody wants a Society\ntheatre, least of all the ladies and gentlemen\nwho are obliged to go and sit in their boxes\nand stalls while they are bored to death by\nthe dull performances which take place on the\nstage. Such society theatres bore and im-\npoverish every city of Europe. There is the\nOpera in Paris, the Schauspielhaus in Berlin,\nin Munich, in Vienna. They are not National\nTheatres in the real sense of the word. The\nmen who will make a National Theatre in\nEngland are the same kind of men as those\nwho have made this theatre in Russia. If they\nare to be expensive they must not be a bore,\nthese theatres. The proposed \" National \" the-\natre for London is national in name only. It\nhas no programme and yet it asks for\nsubscriptions on the strength of one. The com-\nmittee may force subscriptions, but no amount\nof forcing can raise the wits,... and it is\nwits and taste that we want in our theatre.\nNow the Russians commence founding their\nNational theatre by first founding an Artistic\ntheatre and testing its honesty of purpose for\nten years. Which of these strikes you as the\nbetter method of obtaining a finely organised\nNational theatre,... the English or the\nRussian ? Which is the most economic,\nthe most regular? which seems to you the\nrightest? In short, if you had a Theatre\nwhich method would you yourself employ?\nPLAYGOER\n£? The Russian method .... if I had the type\nof men and the same point of view. &\nSTAGE DIRECTOR\nTheir point of view differs very slightly"}, {"page_pdf": 19, "page_imprimee": "115", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.19", "texte": "from that of any of the English manage-\nments, for we must believe the English\nmanagers when they assure us that their aim\nis to do the best possible work. Perhaps the\nmen are of a different strain. But you could\nfind as clever and as enthusiastic fellows over\nhere, and if there Is less sympathetic under-\nstanding of each other's wishes there is more\nsense of discipline in Englishmen. j®\nPLAYGOER\nThen a theatre such as the Constan Art\nTheatre could be founded here? j® j®\nSTAGE DIRECTOR\nj® A theatre, yes; and two or three such\ntheatres. j® j® j® j®\nPLAYGOER\nThat would indeed be an excellent thing.\nSTAGE DIRECTOR\ns® And is it not practical? j® j®\nPLAYGOER\ns® 1 should say absolutely practical. j®\nSTAGE DIRECTOR\nj® Ah, how quick you are to see it and to\nacquiesce now that it has been DONE! If I\nwere to say that what I had been telling\nyou was but an Idea of mine, which I believed\nIn entirely, would that convince you as\nto its practicality ? You are one of the dea-\nrest good fellows, but, by Jove, when you are\nasked to believe in that which does not yet\nexist you are as coy about the whole thing\nas though you were a woman. j® j®\n& The Constan Art Theatre has been in exis-\ntence for over ten years so you believe in\nit and cry out that it is Absolutely Practical.\nPLAYGOER\nj® Well but, isn't it? and how can you ask\nanyone in his senses to believe in a scheme\nwhich has not been tried ? j® j®\nSTAGE DIRECTOR\nj® Caution is never bad; it is the English\nhabit of being over cautious that blights so\nmany many spirited ideas which only need\nthe right support to bring them into the\nplane of actuality. And it is not only in\nwitholding monetary support that Englishmen\nare over-cautious: it is their moral support\nwhich is so often absent, which implies that\nin such matters they are sometimes very\nmuch lacking In moral courage, j® j®\nj® And now tell me again, do you find the\nRussian method perfectly practical? j®\nPLAYGOER\n& Yes, 1 think it is perfectly practical, j®\nSTAGE DIRECTOR\n4® And if I should say that though it is a\nvery practical method of carrying on a modern\nTheatre, which has to open its doors to the\npublic night after night, there is even a more\npractical method of pursuing the study of the\nArt of the Theatre, what would you say?\nPLAYGOER\nj® I should say but explain more\nfully what you mean. j® &\nSTAGE DIRECTOR\n& I mean this. The object of all Ideal Thea-\ntres ... and their directors.... is to excel\nin the Art which it is their privilege to serve.\nThey must be unceasing in the pursuit of the\nIdeal, they must ever aim to go beyond, and\ntherefore they must be very very far-sighted.\nAm I right? j® j® j® j®\nPLAYGOER\nj® 1 suppose you are. Are the directors at\nConstan not far-sighted ? j® j®\nSTAGE DIRECTOR\nj® Very far sighted where their theatre is\nconcerned, less so where the art is concerned.\nThey have to keep their theatre open night\nafter night; it is one of the difficulties iwith\nwhich they are always contending. If they\ncould close their theatre for five years\nand spend that time in making nothing but\nexperiments they would have more time for\nthe pursuit of the Ideal, which we have put\ndown as being the object of all Ideal theatres.\nPLAYGOER\nj® To close such a theatre for five years\nwould be a very serious step to take. j®\nSTAGE DIRECTOR\nj® Very serious; just so serious as the occasion\ndemands. Most theatres in Europe might be\nclosed indefinitely all the year round for fifty\nyears and make experiments all the time\nwithout any valuable results, but this theatre\nin Constan is the exception and it might just\ndiscover the heart of the mystery by so doing.\nAnd 1 think we should be just so far sighted\nas to see how serious is the present position\nof the theatre. j® j® j® j®\nPLAYGOER\nj® But no one can see further than the vanish-\ning point at any time, and I presume that\npoint to be the limit which you set to the\nsight of any director,... it is the furthest\nhe can see. j® j® j® j®\nSTAGE DIRECTOR\nj® Perfectly correct; but remember with\neach advancing step the position of the va-\nnishing point alters and we are thus enabled\ncontinually to see further than before. 4®"}, {"page_pdf": 20, "page_imprimee": "116", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.20", "texte": "PLAYGOER\nThat is true. & & <<&\nSTAGE DIRECTOR\n& Therefore an Art Director of a Theatre\nwho strives to surpass his last achievement\nwill keep his eyes fixed upon this vanishing\npoint on the horizon and will thereby be\nenabled continually to achieve his ever fixed\nbut ever-changing desire to advance, no mat=\nter how slowly he may do so. Do you\nagree with me? &\nPLAYGOER\n1 do.\nSTAGE DIRECTOR\nWhat then is practical to him? £?\nPLAYGOER\nAll that lies before him and all that he\ncan see.\nSTAGE DIRECTOR\n& And if he advance five steps he will see\nless than should he advance a hundred steps.\nPLAYGOER\n& Yes, certainly, twenty times less.\nSTAGE DIRECTOR\nAnd if he advance five hundred steps he\nwill see a hundred times more than if he ad»\nvance but five steps?\nPLAYGOER\nYes, there is no doubt about it. &\nSTAGE DIRECTOR\nAnd he will therefore be able to achieve\na hundred degrees more than by advancing\nfive steps and seeing five degrees further?\nPLAYGOER\nThat is true.\nSTAGE DIRECTOR\nThen practically speaking there Is no limit\nto his achievements provided he can only see\nfar enough ahead; and in order to see very\nfar he must have advanced almost as far as\nhe can see. They say that Art is long and\nlife is short. Do you believe then that there\nis much time to spare in delays or would\nyou advise those who are searching forwards\nto advance without hesitation? &\nPLAYGOER\nThe latter,.... but with caution.\nSTAGE DIRECTOR\nYes, with caution and deliberation; but\nyou will remember that we proved that it\nwas entirely safe for a man to advance pro-\nvided he went towards that which was visi-\nble to him. Now we must see which is the\nbest method of reaching a spot which is vi-\nsible to us. Do you think it is by going\nbackwards? & & &\nPLAYGOER\nCertainly not. How could it be? &\nSTAGE DIRECTOR\n& Or by going sideways, perhaps?\nPLAYGOER\nNo, of course not. &\nSTAGE DIRECTOR\nOr moving in a circle, for caution's sake?\nPLAYGOER\nNo. None of these ways would serve. &\nSTAGE DIRECTOR\nWhy not? & &\nPLAYGOER\n£> Why, they would be absurd. When you\nhave seen something the best way to reach it\nis to go straight towards it. & &\nSTAGE DIRECTOR\nHas this method ever been put into\npractise with success ? & &\nPLAYGOER\nYes. Nearly always. &\nSTAGE DIRECTOR\nIn a hundred cases how often would you\nsay it has been successful?\nPLAYGOER\n& I should say in ninety cases out of a\nhundred. &\nSTAGE DIRECTOR\n1 should think you are right and should\nmyself be inclined to say that a man can\nreach that which he can see in ninety nine\ncases out of a hundred by going straight\ntowards the object. The hundredth time I\nwaive the right as acknowledgement to the\nGoddess Fortuna. It is also reasonable to sup-\npose that by doing so he will, as we have\nsaid, save much time.\nPLAYGOER\nThat is also true; but may 1 beg you to\ntell me what this has to do with the theatre ?\nSTAGE DIRECTOR\nI must ask you to follow me back to that\npoint, the Theatre, a point which you have\nperceived, in a straight line and without any\ndelay. Will you tell me whether the eyes are\ngenerally used for seeing with? £?\nPLAYGOER\n& Why yes, of course they are. JZ/ &\nSTAGE DIRECTOR\n& And would you say that in order to see\nit is more practical to open the eyes than\nto close them? JZ? &\nPLAYGOER\n& The former seems to be more sensible.\nSTAGE DIRECTOR\nYou do not answer my question. Is it"}, {"page_pdf": 21, "page_imprimee": "117", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.21", "texte": "also practical? j® j® j® j®\nPLAYGOER\nIt is. J® j® j® J® J®\nSTAGE DIRECTOR\nj® And would you say that to look in the\ndirection where you have seen something a\nwhile ago is to stand a good chance of seeing\nit again ? would you say that it is practical?\nPLAYGOER\nI should. j® j® j® &\nSTAGE DIRECTOR\nj® And on arriving at the spot seen, and\nseeing further on a second spot, would it be\npractical to advance further in the same\ndirection so as to reach it? &\nPLAYGOER\nIt would. j® j®\nSTAGE DIRECTOR\nVery well then; you have told me what\nI always suspected to be the truth. You have\nsaid that an artist with imagination is jus-\ntified, and entirely practical, in advancing\ntowards that which he has once seen in his\nimagination. Therefore, my dear fellow, you\nhave only now to tell me one thing more.\nPLAYGOER\nj® What is that? j® j®\nSTAGE DIRECTOR\nYou must tell me whether it is possible\nfor all people to see the same thing. j®\nPLAYGOER\n & £>\nPLAYGOER\n& 1 suppose so; it is the test they go upon.\nSTAGE DIRECTOR\n& And you, could I not prove it to you ? jg/\nPLAYGOER\nWell no; you see I should not be able\nto understand you; my only chance of being\nin sympathy with your tale would be to trust\nin the experts before whom you had laid\nyour proofs.\nSTAGE DIRECTOR\n& But would my tale have any interest for\nyou ? could you have sympathy with what\nyou could not understand ?\nPLAYGOE R\njg/ Oh yes; yet it seems strange on thinking\nabout it.\nSTAGE DIRECTOR\nNot so strange, and yet stranger than you\nsuppose. The strangest part of it all is that\nman should be so lacking in natural instinct\nTo demand proof of all things great and small is always the sign of\nthe little mind. But to demand p oof of great things only and to ac\"\ncept the little is a sign of the smallest intellect. If demonstration is\nat all valuable it is entirely valuable. Is proof valueless ? The question\nhas never been answered.\nand moral courage. If we h*d preserved\nboth, we would not ask for those actual proofs\nand we would believe and understand great\ntruths the more easily. Anyhow it is amusing\nas it is. Where we do not understand or\nbelieve, we become the children of those who\ncan both believe and understand .... that\nis as it should be, being as it is.\nPLAYGOER\n& May I ask you ... &\nSTAGE DIRECTOR\n& But come, let us get on. To believe in the\nidea which I bring you (this North Pole Idea)\nyou will rely upon the Judgment of the wise\nmen before whom I lay the proofs.\n& Those proofs are our little difficulty. In\norder to take observations and soundings, in\norder to bring back minerals, certain birds,\nplants, and such like things which will prove my\nstory I shall have to be very careful, very\nwell equipped and well assisted. To travel\ninto the unknown is to court disaster and\n$\nfew set out without carefully organising their\nequipment. Therefore ship, crew, instru-\nments, all these things are selected only after\nthe most cautious consideration. Neither too\nmuch nor too little of anything must be\ntaken. On such a journey through an unknown\nland and one in which so-called natural con-*\nditions so powerfully play the part of enemy,\nwhere nature seems to defy one to pluck\nout the heart of her mystery, everything\nmust be done to anticipate all emergencies.\nEven when we have prepared everything\nwith the greatest care accidents will still\nthreaten the safety of our expedition. &\nWe shall need enough of everything and\nnot too much; therefore it is not a matter\nof money although enough money is certainly\nnecessary. & £/ &\nPLAYGOER\n& But what has this to do with the Theatre?\nSTAGE DIRECTOR\nPatience for a little and you will see. &\n& We make these provisions after we have\nmade our plan. That is the most difficult part\nof the work, for once made we must follow\nit to the end, while at the same time seizing\nthe fresh opportunities as they present them-\nselves. /&&&&?&\n& Now that we are ready to start consider\nfor one instant what it is we are setting out\nto do. We are about to make a dangerous\nand very difficult expedition into the unknown\nto bring you back a few visible proofs of\nthe known. We are not to bring back the"}, {"page_pdf": 23, "page_imprimee": "119", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.23", "texte": "Idea itself but only its fringe; for to return\nfrom the unknown with the Idea itself would\ncertainly make you think we were mad,\nwhereas to bring back hints of the Idea satisfies\nyou as to our sanity. & &\nPLAYGOER\nWhat a strange paradox! &\nSTAGE DIRECTOR\nJZ? Well, let us accept it; you want the pretty\nlittle fringe; you shall have it, although it is\nthat fringe that costs so much to obtain\nwhich presents the whole difficulty. And now\nfor the Theatre.... But first a request.\nPLAYGOER\nWhat is it? & &\nSTAGE DIRECTOR\nYou asked me not to speak any more\nabout Temples or about the Art of the Thea-\ntre which I once told you was lost; which a\nbeautiful poet well described to me as having\n44 Iain hid under the roots of the Pyramids\nfor two thousand years, so solemn it is\". Give\nme leave to speak again of this.\nPLAYGOER\nWill you speak to some practical purpose?\nSTAGE DIRECTOR\n& Only so. JZ> & £> &\nPLAYGOER\nYou will not merely tell me what this\nart once meant to us, and what it should\nmean again, but you will show me a prac-\ntical way of bringing it to us once more?^\nSTAGE DIRECTOR\nJZ? That is my intention. &\nPLAYGOER\nYou will not propose to destroy all the\npresent theatres of the world in order to do\nthis, for then I should not listen to you for\nit would be no longer a practical proposition.\nSTAGE DIRECTOR\n& No, I will not do so How delighted\nI am to hear you express the wish that the\npresent Theatres shall in no way be injured!\nIt shows me that your interest in them is\nreviving and that I have already nearly cured\nyou Remember, The Gaiety, 8 o'clock!\nPLAYGOER\n& I have not forgotten, But now your prac-\ntical plan? & &\nSTAGE DIRECTOR\nMy proposal is to discover or rediscover\nthe lost Art of the Theatre by a practical\nexpedition; carried out swiftly and without\nunnecessary expense, into the realms where\nit lies hidden. JZ? £> JZ?\nPLAYGOER\nA good intention. And your method?\nSTAGE DIRECTOR\nThe very simplest. It is based upon the\nmethods employed by Arctic explorers, (i)\nThe discovery of this Art is the exact counter**\npart of the discovery of the North Pole.\nBoth are situated In the same position,\nin the Unknown. We possess clues as to the\nwhereabouts of both; both are shrouded in\nmuch mystery, both realms are themselves, by\nall reports, the very home of mystery and\nbeauty. & & &\nIn preparing for our first expedition, (for\nwe expect to make several) we shall follow\nthe method employed by Nansen. First we\nshall take time we shall take three or\nfour years to make our preparations, and\nthe scheme itself has already been in prepa-\nration for over six years.\n& So it was with Nansen* s project\n& Let me read you an extract from his\n44 Furthest North\" which I have just been\nreading, relating to the plans and prepara-\ntions for his expedition in 1893: &\nJZ? 44 If we turn our attention to the long\n44 list of former expeditions and to their\n\" equipments, it cannot but strike us that\n44 scarcely a single vessel has been built spe-\n44 cially for the purpose ... in fact, the majo-\n\" rity of explorers have not even provided\n44 themselves with vessels which were origi-\n44 ginally intended for ice navigation.\n44 This is the more surprising when we\n44 remember the sums of money that have been\n44 lavished on the equipment of some of these\n44 expeditions. The fact is, they have generally\n44 been in such a hurry to set out that there\n44 has been no time to devote to a more\n44 careful equipment. In many cases, indeed,\n44 preparations were not begun until a few\n44 months before the expedition sailed. The\n44 present expedition, however, could not be\n44 equipped in so short a time, and if the\n44 voyage itself took three years the prepara-\n44 tions took no less time while the scheme\n44 was conceived thrice three years earlier.\n44 Plan after plan did Archer make of the\n44 projected ship; one model after another\n44 was prepared and abandoned. &\n£/ 44 Fresh improvements were constantly\n44 being suggested. The form we finally adhe-\n44 red to may seem to many people by no\n(1) Our attention having been drawn to the fact that this simile of an\nArctic expedition was employed by Mr Charles Frohman in an interview\nwith the \" New York Times \" we take this opportunity of stating\nthat the present MSS was in our hands several months before that\ninterview took place."}, {"page_pdf": 24, "page_imprimee": "120", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.24", "texte": "\" means beautiful, but that It Is well adapted\n\"to the ends in view I think our expedition\n\" has fully proved.\" & &\njg? Here you see what long and careful pre-\nparation was made before the setting out of\nthe expedition.\nPLAYGOER\nJZ? Yes, and also much money was needed,\nas I suppose it will be for your scheme ? &\nSTAGE DIRECTOR\nCertainly we shall need support, financial\nas well as moral, and we shall get it. uS?\nPLAYGOER\nHow do you know this ? &\nSTAGE DIRECTOR\nPatience a little; I shall come to the\nmatter of expense in due time. When we\nhave our scheme well supported (and L. 5000.0.0\na year guaranteed for five years will be all\nwe shall require,) we shall put the following\nplan into action.\nWe shall build and equip a college, fur-\nnishing it with what is necessary.\nIt will have to contain two theatres, one\nopen air and one roofed in. These two stages,\nclosed and open, are necessary for our expe-\nriments, and on one or on the other, some-\ntimes on both, every theory shall be tested\nand records made of the results, jet j&\nThese records will be written, drawn,\nphotographed or registered on the cinema-\ntograph or gramaphone for future reference,\nbut they will not be made public and will\nbe only for the use of members of the college.\nOther instruments for the study of natu-\nral sound and light will be purchased toge-\nther with the instruments for producing\nthese artificially, and will lead us to the\nbetter knowledge of both sound and light,\nand also to the invention of yet better in-\nstruments through which the purer beauty\nof both sound and light may be passed.\n& In addition, instruments will be purcha-\nsed for the study of motion and some will\nbe especially invented for this purpose.\nTo this equipment we shall add a prin-\nting press, all kinds of carpenters tools, a\nwell stocked library and all things pertaining\nto modern theatres. With these materials\nand instruments we shall pursue the study\nof the stage as it Is today with the intention\nof finding out those weaknesses which have\nbrought it to Its present unfortunate condi-\ntion. We shall, in short, experiment upon\nthe body of the modern theatre in our\nroofed-in theatre, (for you will remember we\nhave two) exactly in the same way as stir®\ngeons and their pupils experiment upon the\nbodies of dead men and animals. &\n& in selecting its method of administration\nthe college will follow the ancient precedent\nof nature. It will consist of a head, a body\nand its members, the leader being selected\nby Election. Those who are to compose the\nExecutive body are less difficult to decide\non, as their task is undoubtedly less difficult.\nIn all there will not be more than thirty\nmen in the college. There will be no women.\nSo now are you clear as to these two\npoints ? .... First, that we shall have a col-\nlege of experiment in which to study the\nthree natural sources of the art, Sound,\nLight and Motion, or, as I have spoken of\nthem elsewhere, voice, scene, and action.\nSecondly, that we shall number In all\nthirty working men who shall singly and\ntogether pursue the study of the three sub*\njects named and the other experiments to\ntest the principles of the modern theatre. Is\nthat clear to you ?\nPLAYGOER\nIt is. But how does your actual work\nresemble that of an Arctic explorer ?\nSTAGE DIRECTOR\nIn this way. We shall have to select a\ncentre from which search parties shall be\nsent in different directions, our object being\nto explore within reason any part of the\nTheatrical world which is unknown to us.\nWe shall at the same time go over much old\nground in the belief that it has never been\nthoroughly examined. No great hopes are\nentertained of finding there anything of\ngreat value but an examination is necessary.\nAs soon as possible we shall push forward\nin the direction of the unknown. Just as\nsearch parties are sent in a certain direction\nwith instructions to sound and make obser-\nvations and then to return to the point [se-\nlected as a base, so will our investigators\npush forward their studies into certain\nregions from which, when they have fully-\nexplored them and collected sufficient evi-\ndence, they will return to the point where they\nhad seperated from us to make known the\nresult of their observations. &\nIf this work proceed as rapidly as we hope\nwe shall advance to a new position at which\nto establish our base within the first year.\nOn the other hand it may prove to be more\ndifficult, in which case we shall have to stay\nwhere we are. & & &"}, {"page_pdf": 25, "page_imprimee": "121", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.25", "texte": "& Above all I wish to emphasize this point:\nthat no change of base shall ever be made\nuntil every one is fully assured of the prac-\nticality of the next position. <£?\n<£> You will understand that our reason for\npushing forward our base is to facilitate\ncommunication in the event of our search\nparties pushing far into the unknown. By\nthis method, and with sufficient supplies,\nwe can make attempt on attempt to compass\nour end. It Is the only method which sug-\ngests itself to me, and I cannot think of a\nmore practical one, for you must remember\nthat acting on such a plan guarantees con-\ntinual success of one kind or another. Call\nto mind how many important observations\nand records were made not only by those\nwho went furthest north but by those who\nsearched even in those latitudes into which\nmany men had travelled before.\nAt the end of a year our books will hold\nthe records of things hitherto undiscovered,\ndates and results of experiments of incalcu-\nlable value net only to us in our future ef-\nforts but to those who shall resume the\nsearch when we may be obliged to aban-\ndon it. & & &\nPLAYGOER\nThen you think it likely your efforts will\nnot meet with all the success you could\ndesire?\nSTAGE DIRECTOR\nOn the contrary; I think we can be sure of\nexceptional success; as to any final success,\nit is a rare thing to achieve, for finality is\nsomething which probably does not exist.\nNow tell me, does my plan and its method\nof execution appeal to you ? &\nPLAYGOER\nLet me try to say what I think. The plan\nis an Ideal one, and, as your quest is Ideal,\nis in harmony with that for which you\nsearch. But will you find support? Will you,\nto begin with, find the support of the leaders\nof the Theatrical Profession ? &\nSTAGE DIRECTOR\n& Who do you mean? & & &\nPLAYGOER\nWell, to be outspoken, Sir Herbert Tree,\nSir Charles Wyndham, Arthur Bourchier,\nWeedon Grossmith, Cyril Maude,\nSTAGE DIRECTOR\nThe Actor-managers, you mean ?\nPLAYGOER\n& Yes, but I had not finished my list of\nnames, which includes not only all those\nconnected with the Arts in England and even\nsome of those connected with the State, but\nalso certain names of artists abroad. For\ninstance, will the Theatre in Europe support\nyou ? the French Theatre, either the Comedie\nFrangaise or one of the smaller representa-\ntive theatres such as those directed by\nBernhardt, Antoine, or Lugne Poe ? Will the\nGerman theatre give you any support ? The\nState theatres, or Reinhardt, for instance, or\nthe Munchen Art Theatre ? Holland ? what\ncan Holland do ? and Sweden, Russia or\nItaly ? The Constan Art theatre about which\nyou have told me, or Eleonora Duse; about\nwhose ideals I have ever heard so much ?\nAnd then the Americans ? You see I want to\nknow on whom you rely for support, for\nthat is the first requisite to make your\nscheme practical. &\nSTAGE DIRECTOR\n& You have put me an easy question to\nanswer. You have mentioned some of the\nbest known names in the theatrical world.\nIf the proposed college is opposed to all their\ninterests they will not support it. But consider\nwhether this is the case. For instance amongst\nthose you have named are possibly a few men\nof decidedly ideal tendencies. The directors of\nthe Constan Art Theatre are undoubtedly such\nmen. I think we have their support. Madame\nDuse? I think she would never refuse hers.\nThen there is Reinhardt of Berlin. Such a\nscheme is one which is certainly not op-\nposed to his interests. And that Sir Herbert\nBeerbohm Tree' s name will be found in\nsuch company is far more likely than that\nhe should join Issue with those weary gentle-\nmen whose love of adventure has left them.\nMadame Bernhardt and Lugnd Poe are more\nthan likely to applaud our proposals and to\nguarantee them as practical if they read\nand understand them.\nPLAYGOER\n& And will these do no more than give you\ntheir moial support? & &\nSTAGE DIRECTOR\nWhy, what else can they give ? They are\nhard workers In a very difficult profession\nand already their reputation for generosity\nhas been too often imposed upon. If they\nwill give us their hands and bid us God\nspeed it Is all we should ever dream of\nasking for.\nPLAYGOER\nWell but, your capital ? where Is that\ncoming*from? A bundle of Godspeeds are"}, {"page_pdf": 26, "page_imprimee": "122", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.26", "texte": "pretty, but no practical use can be made\nof them.\nSTAGE DIRECTOR\nYou may be right, though everything is\nnot valued by making a practical use of it.\nWe shall expect to receive practical support\nfrom the State. •£?&&&\nPLAYGOER\n& Your confidence inspires me to believe\nyou are right; But there are two things\nwhich you will have to prove to the State\nbefore it will accord you its support.\nSTAGE DIRECTOR\n& What are they ? & jgr &\nPLAYGOER\n<£> First you will have to show clearly that\nthe State would benefit; secondly that the\nadvantage would exceed the cost.\nSTAGE DIRECTOR\nVery well then, let us first consider how\nthe State would benefit.\nThe Theatre affects the People in two\ndifferent ways. It either instructs or it\namuses. There are many ways to instruct\nand to amuse. Now, which would you say\nwas the more instructive, something heard\nor something seen ? & & &\nPLAYGOER\nI would say the latter. & &\nSTAGE DIRECTOR\n& And which would you say was easier of\ncomprehension, the beautiful or the ugly,\nthe noble or the mean ? &\nPLAYGOER\n& If we seek for instruction it is easier to\ncomprehend the beautiful and the noble for\nit is that which we are searching for; if we\nseek for amusement the ignoble and ugly is\npossibly more immediate in its effect.\nSTAGE DIRECTOR\nAnd is the beautiful and the noble more\namusing? &\nPLAYGOER\nI think it is not. &\nSTAGE DIRECTOR\nAnd yet what is that which when you see\nand hear it causes you to feel smilingly\nfrom top to toe ? & &\nPLAYGOER\nThe Beautiful... Truth,... oh, something\nwhich It is quite beyond us to explain.\nSTAGE DIRECTOR\nI think so to. Yet is there not something\nof amusement in it, for we smile; and a smile\nis the whisper of laughter.\nPLAYGOER\n-£? You are right. &\nSTAGE DIRECTOR\n& Perhaps we may call It the very best part\nof amusement ? <£? J& &\nPLAYGOER\nWe may for the sake of argument. &\nSTAGE DIRECTOR\nAnd this Is connected, as we have seen,\nwith the beautiful and the noble; therefore\nthe very best part of amusement is akin to\nthe best part of instruction. &\nPLAYGOER\nIt seems so. &\nSTAGE DIRECTOR\nNow, we have said that the Theatre\neither instructs or amuses. Yet we see that\nsometimes it acts in both ways; in short,\nit both instructs and amuses when it is\nnoblest and most beautiful. & &\nPLAYGOER\nTrue &\nSTAGE DIRECTOR\nWould you say that this feeling which\nfor want of the right word I have called\n\" smiling from top to toe \", is a good or a\nbad feeling ? & &\nPLAYGOER\nI should say it was the very best feeling.\nSTAGE DIRECTOR\nIf fact if you saw hundreds of faces in a\ngathering of people wreathed in smiles you\nwould say that they felt happier than if you\nsaw those faces strained and weary looking.\nPLAYGOER\nWhy certainly I should. &\nSTAGE DIRECTOR\n& And tell me, if you were a King, would\nyou rather see happy faces such as 1 have\ndescribed or gloomy ones ?\nPLAYGOER\nHappy ones, of course.\nSTAGE DIRECTOR\nAnother question; would you prefer to see\nthem smiling or thoughtful ?\nPLAYGOER\nSmiling or thoughtful ? The thoughtful\nface is not necessarily the gloomy face,\nand yet I would prefer that they smiled. &\nSTAGE DIRECTOR\n& Why would you prefer it ?\nPLAYGOER\nBecause then I too should feel like smiling.\nSTAGE DIRECTOR\nA good answer. Now you told me just now\nthat something seen instructs us more than"}, {"page_pdf": 27, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.27", "texte": "something heard. May 1 take it that you\nmean that what we see is more swiftby and\nmore easily comprended ?\nPLAYGOER\n£? Yes, that is what I mean. &\nSTAGE DIRECTOR\nLet us take an example. We see a finely\nbred horse let loose in a field. He gambles,\narches his neck, looks around splendidly\nwith his eye. If we had never seen a horse\nbefore no description would convey the right\nipmression to us so swiftly as does this seeing\nhim.\nPLAYGOER\nYes that is very true. & &\nSTAGE DIRECTOR\nAnd would a verbal description of the\nhorse delivered at the same time as it be-\ncame visible to us assist us to understand bet-\nter what we see?\nPLAYGOER\nNo, I think it might confuse us, for we\nshould be so much occipued in gazing at the\ncreature. jg?\nSTAGE DIRECTOR\nThen you would not be prepared to hear\nanything about it in addition to seeing it?\nPLAYGOER\nNo, it would rather irritate than assist.\nSTAGE DIRECTOR\n& And yet they say that Instruction is ob-\ntained through the sense of hearing as well\nas through that of sight.\nPLAYGOER\nYes, but the two impressions are likely\nto confound each other if they come to us\nsimultaneously. & & &\nSTAGE DIRECTOR\n<£> Well then, let us put it differently. Sup-\npose the horse in his gambols before us\nshould give expression to his joy and pride\nby neighing what then ? &\nPLAYGOER\nAh, that's true; that would assist us to\ncomprehend; our senses would be delighted.\nSTAGE DIRECTOR\n& The neigh of a horse, then, Is more illu-\nminating than a learned discourse ? Would\nyou smile on hearing It? jg? &\nPLAYGOER\nYes, it is very likely. &\nSTAGE DIRECTOR\nYou would say then that you had been\nperfectly instructed, for you had seen some-\nthing noble and you had heard some playful\nexpression proceeding from that which see-\nnted so noble, and you would smile through\nyour understanding. You would not become\nthoughtful, would you ? &\nPLAYGOER\n& No, no; I should be enchanted.^\nSTAGE DIRECTOR\n& You would; and that is precisely the state\nof mind you achieve in a theatre such as I\nmentioned, where instruction and amusement\nspring from the contemplation by eye and\near of the beautiful. You would be enchain*\nted. A poorer state of mind would be the\nresult should instruction without amusement\nbe offered you; you would be merely instruc-\nted. And a much poorer state of mind\nwould result if you received amusement\nwithout instruction.\n& You will bear in mind that 1 have all\nalong spoken of true Amusement In a high\nsense and true Instruction in the same sense;\nthat is to say, I have spoken of them as two\nthings which it is possible and desirable to\nconnect, and therefore have indicated that\nthey are very much alike and indeed hardly\ndivisable. & & &\nPLAYGOER\nYet they are separated, for the music hall\nechoes with shrieks and howls of the loudest\nlaughter, and the faces of the audience at\nthe Lyceum are very much drawn during the\nperformance of King Lear or Hamlet. &\nSTAGE DIRECTOR\njgr Yes, that is precisely what I am wanting\nto talk about. The division is much too great,\nespecially in England, for in a Music Hall in\nGermany we hear far fewer bursts of rough\nlaughter and the faces at the tragedies are\nless strained and more thoughtful. A perfect\ntheatre would neither tighten nor loosen the\nmuseles of the face and would neither con-\ntract the cells of the brain nor the heart\nstrings. All would be set at ease; and to\nproduce this state of mental and physical\nease in the people is the duty of the theatre\nand its art. &\nPLAYGOER\nBut a perfect theatre is impossible.\nSTAGE DIRECTOR\nWhat do I hear ? what is it you say ? I\nthink we are in England,... no ? I think you\nare an Englishman am I right ? and\nI think you will withdraw that last remark\nof yours at once. &\nPLAYGOER\nYou look so like that horse you were\ndescribing that I do so to avoid your heels!"}, {"page_pdf": 28, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.28", "texte": "STAGE DIRECTOR\nj® Bravo ! And now that it is agreed that it\nis possible to create a perfect theatre here\nin England let us see how we may do so. You\nsay we must prove that the State will be\nbenefitted before we can hope for its sup-\nport. Well, it is the most perfect theatre in\nthe world that we shall offer to the State\nand is not that a benefit? This theatre will\nbe created after some years of toil (i) by fol-\nlowing the method of search which I have\nsketched out for you. j® & j®\nP L A Y G 0 ER\nj® But you have not shown me that the cost\nof this \" expedition\" will be less than the\nadvantage to the State, which will only be\nbenefitted if the gain exceeds the expense.\nSTAGE DIRECTOR\n& 1 will do so In as few words as possible,\nthough, in a short conversation, I cannot\nbring all the proof to bear upon this and\nother points that I could do if the matter\nshould be taken up for more serious enquiry\nby a committee appointed for the purpose.\nThe expenses of our first five years,\nwould be as, I said before, L 35,000.0.0. Now\nL 35,000.0.0 possibly seems to you a great deal\nof money. Let us see, however, what it really\nrepresents. j® j® j® j®\nj® It represents F. Nansen ' s expenses for his\nPolar expedition 1893-96. j® s® j®\nIt represents the cost of one picture in\nthe National Gallery. j®\nj® It represents the cost of about three to\nfive productions at His Majesty ' s Theatre or\nDrury Lane. j® j® j®\nj® It represents about the cost of a single\nPageant in England, 1908. <® j® j®\nj® It represents one quarter of Sarah\nBernhardt's profits for her tour in France\n2880-1881. j® J® <® j® &\nj® It represents the average takings of a\nhundred London theatres for one night, j®\nIt represents the cost of Lyceum produc-\ntions for five years, (3) j® j® <®\nIt represents about a third of the sum\npaid for a single \" Triumph \" in 1634. (3) J®\nj® It represents less than half the sum spent\non enlarging aud improving the Lyceum\ntheatre in 1881. j® j® j® j®\n(1) The Constan Art Theatre, the most perfectly organised and con-\nducted theatre in Europe, has taken ten years to achieve its present\nperfection, and only on the tenth year did it commence to return a\ndividend.\n(2) Cost of p oduction does not include rent of Theatre, salaries,etc.\n(3) The Triumph of Peace. See Symonds, Shakespeare's Predecessors,\nPg 27.\nj® It represents a fifth of the profits of one\nsingle Irving tour in America, (i) j®\nj® Now tell me, do you think L25,000.0.0 a\nlarge sum to pay for the expenses of so im»\nportant a work covering five years\nPLAYGOER\nI do not think so now after what you\nhave told me. j® j® <®\nS TAGE DIRECTOR\nj® Now consider also how much the Public\nhas to pay for the many theatrical experi-\nments made every year. You may say that\nnearly every production in London and the\nprovinces is today an experiment,.... an\nhonest if Incomplete and methodless experi-\nment towards bettering the craft of stage\nwork. The public is led to believe that\nthese experiments are finished works of art\nwhereas they are not works of art at all but\njust honestly intended, though shockingly\nperpetrated, blunders, J® J® J®\nj® Now would it not be cheaper for the\nPublic if someone,... the State, a millionaire,\nor even the Public itself, should pay such\na small modest sum as I have indicated,\nL 25,000,0.0, to cover the expenses of five\nyears serious and practical experiment by\npicked men rather than to continue for ever\nto part yearly with the sum of L 25,000.0.0\nas it is doing today for experiments made in\na hurry and without method ? j® j®\nPLAYGOER\nj® Does the public part with so great a sum\nyearly ? j® j® & j® *£?\nSTAGE DIRECTOR\nj® Let us see if I am correct. Let us saj'\nthat there are 100 theatres in England (2).\nLet us say each of the hundred takes L. 350,0.0\na night from the Public. (3) and let us say\nthey take this for one hundred nights as\nrepresenting a year. (4) ,® & &\nj® We place the whole calculation as low as\npossible and it still reaches a colossal total\nof two millions and a half Stirling taken\nfrom the public in the couise of one year\nfor Rubbish. Have I answered your second\nquestion, then ? j® j® j®\nPLAYGOER\nj® Hardly. I asked you if the advantage to be\nderived by the State would exceed the cost.\nYou have only shown me that the cost is\nexceedingly low in comparison with other\n(1) Sec Brereton' s Life of Irving. Pg 312,\n(2) There are more than six times that number.\n(3) The Lyceum in 1881 could hold L 328.0.0 in one evening.\n(4) Theatres remain open for over 200 nights n a year."}, {"page_pdf": 29, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.29", "texte": "A DESIGN FOR A SCENE FOR \"HAMLET\". by GORDON CRAIG."}, {"page_pdf": 31, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.31", "texte": "Stat© and private expenditures, but you have\nyet to show me that the State will reap its\nL 25,000.0.0 worth of advantages.\nSTAGE DIRECTOR\nLet us look into that at once. The state\nwill receive from the College at the end of\nfive years the results of their labours. These\nwill include, (1) a practical demonstration of\nthe best method to be employed for building\nand directing a National Theatre as an Ideal\nTheatre and in a manner hitherto deemed\nimpossible. (2) The improvement by simplifi-\ncation of many of the mechanical appliances\nof the modern stage. (3) The training of stage\nmanagers and of the staff employed to shift\nthe scenery. (4) The training of actors to\nspeak and to move,... the chief difficulties\nof the average actor. (5) The training of a\ngroup of original scene painters, a group of\nperfectly drilled men to execute any given\norder regarding the lights on the stage, for at\npresent, as any visit to a special light rehear-\nsal will show, the lighting staff in a theatre\nis always at sea. & &\nThere are three main reasons for this;\nthe first is that a stage director does\nnot know what he wants, does not\nknow the names or uses of the machines\nemployed or of their parts or what these\nmachines are capable of, and is utterly igno-\nrant of how to obtain a result. He leaves it\nall to accident and chance \" effect.\" The\nsecond reason is that the majority of men\nwho work the machines at evening perfor-\nmances are employed on different work by\nday, and have received but the barest training\nas to their duties. The third reason is that\nthe machines are designed without knowledge\nof the use to which they should serve. Still,\nit must be admitted that the electricians\nhave many unnecessary difficulties to contend\nwith which would be removed if the whole\ncraft of the modern stage were to be studied\nafresh with a view to readjusting its com-\nponent parts. There is only one man to whom\nwe look for this,... the stage manager; but\nhis opportunities of study are few for his time\nis occupied in having to attend to and straigh-\nten out awkward situations created too\noften by the director of the Theatre and by\nthe actors, actresses and supers. If he attempts\nto improve things every one loses their heads.\nWhen the stage manager can have time to\ntrain, and can afterwards be given authority\nand opportunity to train his staff theatres will\ntake a small step in the right direction. A\nt\ncollege is the only place where such training\ncan be received and given. &\n& In short, what we should tender to the\nState In return for its support would be the\nnucleous of an Ideal Theatre on a practical\nbasis, with a college for the subsequent train-\ning of the staff from stage manager to elec-\ntricians, raising all to an Ideal standard\nwhich should not be lowered under any\nexcuse whatever. & &\nYou see then that the College, with its\neyes fixed on the Future and its Ideal firmly\nestablished, would keep its hands and fingers\nbusy with the present,.... The search for\nthe lost Art of the Theatre must be made\nonly after passing through the regions in\nwhich the modern Theatre Is situated. In\npassing we shall re-establish its order; do\nyou understand ? & & &\nPLAYGOER\nI think you have made it clear. And now\none more question. Are you to act as the\nhead of this College ? &\nSTAGE DIRECTOR\nNo. The Head or Leader, as I tell you,\nwill be elected by the members. &\nPLAYGOER\n& And will you not enter for election ? What\nwill the college be without you ? jg/\nSTAGE DIRECTOR\nEverything. With me, nothing. £? &\nPLAYGOER\n& What do you mean ? Will you desert the\nvery scheme you have created ?\nSTAGE DIRECTOR\nNO, I shall never be absent from the Col-\nlege, but I shall not act as either Head,\nBody or Member. &\nPLAYGOER\nWhat will you do then ?\nSTAGE DIRECTOR\nI shall give it its existence, and shall\nthen ask to be permitted free entrance to\nthe college so as to study there whenever I\nwish to. And my reasons for desiring this\nare many. To explain them to you fully would\ntake many years. But you may take it that\nthey are not lazy reasons. I should feel\nhonoured to be a member of such a college.\nPLAYGOER\nBut you will give it more than this. You\nwill yourself make experiments and lend your\ngifts to the work ? & &\nSTAGE DIRECTOR\n& My gifts are few and cannot be lent. I\nwould willingly make experiments if asked"}, {"page_pdf": 32, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.32", "texte": "to do so, but I believe I can be of more use\nto this college at a little distance than con-\nnected with it. &\nPLAYGOER\nJZ? And this is how you would propose to\ndiscover this lost art which you, probably,\nmore than any one else, know most about ?\nSTAGE DIRECTOR\njg> I know very little about it, but possibly\nI know where it is situated better than the\nothers. I can point to the right direction,\nand for this reason I believe I am not alto-\ngether valueless to the efforts of the college.\nIn their search, their experiments, I shall\nbe ever with them, but I shall not lead them\nnor must I be expected to follow them,\nWhenever called upon I shall be at their\nservice but not for any fixed occupation.\nPLAYGOER\njg? Well, you somewhat take my breath away.\nYou prove to me that you know as much or\nmore than the rest of the world about this\nThird Art as you have called it, and you talk\nabout it to me for hours; you give up\neverything in your life for it and you propose\nto plan out the college up to a certain\npoint,.., and then you hand over college,\nidea, plan, to someone else. Have you no fear\nthat the whole thing will become much\nchanged when it leaves your hands ?\nSTAGE DIRECTOR\nIt will certainly change; its existence\ndepends upon this fact; but I have no fear\nbecause of that.\nPLAYGOER\nBut have you no personal desires in\nrelation to this college ? Will you not be a\nlittle pained to see it moving in a wrong-\ndirection ? £? & & & &\nSTAGE DIRECTOR\nIt will not do so. The magnet of the Ideal\nis fixed; attraction has already commenced;\nit is in resisting this that we shall make our\ndiscoveries. There will be men with us who\nwill from time to time become depressed and\ntired and then mistakes are likely to occur...\nand with the mistakes discoveries. But the mis-\ntakes will never be wilfully made from some\nselfish motive and can but be the result of\ntoo great a strain. But these resistances, as\nI said, will only lead us towards our Ideal.\nPLAYGOER\n& But the modern theatre which you pro-\nfess to despise resists the attraction of the\nIdeal.\nSTAGE DIRECTOR\nAh, that is quite different. They resist\nthrough fear; we shall resist through cou-\nrage. We shall hear the call and feel the pull\nand we shall go straight onwards but with\nslow deliberation, making discoveries ail along\nthe way. We shall finally discover what we\nlook for and what attracts us, and then •..\nPLAYGOER\nWhat then ? & &\nSTAGE DIRECTOR\n«£? A question. And for my part I am tho-\nroughly convinced that there will never be\nan end to our journey. Attraction shall never\ncease for us; that will never change, we shall\never be invited,... beckoned ... impelled to\nmove forward."}, {"page_pdf": 33, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.33", "texte": "Thirty six\nscenes. &\nKleopatra's\npalace. &\n\nTHE ARCHITECTURE AND COSTUME\nOF ANTONY AND CLEOPATRA\nby E. W. Godwin.\n(!)\n'jphe Rome of the time of Antony would be in every respect much the same as the Rome\nof Julius Caesar. The difference fn date between the two stories is only a very few years.\nIndeed Antony and Cleopatra may be taken as a continuation of Julius Caesar.\nThe latter play ended with the fall of Brutus at the battle of Philippi, B. C. 42.\nThe other tragedy begins with the death of Fulvia, B. C. 40, and concludes with the\ndeath of Kleopatra B. C. 30. The last of the Ptolemies, passionate and animal as she was,\nseems to have been no worse than were many members of her distinguished family before\nher. The legitimate dynasty became extinct on the death of Ptolemy Alexander II. But\nAlexander had a natural brother—one Dionysius Auletes—who, after much trouble, secured\nfor himself the throne of Egypt, leaving it to his eldest child—the Kleopatra of the drama\n—who was born B. C. 68. There had been already four generations of Kleopatras. The first\nwas a Syrian princess, who was married to Ptolemy Epiphanes, and who bore him two sons\nand two daughters, both of the latter being named after their mother. One of these girls\nwas taken to wife by her brothers in succession, and had a family by each, the eldest son\nof the youngest brother being Ptolemy Soter II., the grandfather of our Kleopatra. JZ?\n& In the tragedy before us we have no less than thirty=six scenes. Of these twenty=five\nare architectural, including the one on board Pompey's galley, which belongs to naval\narchitecture. The other twenty=four are divided between Alexandria, Rome, Messina, and\nAthens, or the respective residences of Kleopatra, Caeesar, Pompeius, and Antonius, but by\nfar the most important of these are those which belong to the City of the Ptolemies. It\nis next to impossible to reduce this play to set scenes, for the unities of time and place\nare quite disregarded by the author. In the first and last Acts a very slight change would\nenable us to bring these into two scenes, if the fourth Scene of the first Act were carried\non to the second Act and the first Scene of the fifth Act omitted, but the second Act car=\nries us in seven scenes from Pompey's house at Messina to the house of Tepidus at Rome,\nthence into Caesar's palace, thence into the streets of Rome, thence to the palace at\nAlexandria, thence to Misenum, and finally leaves us floating on the sea. In the third Act\n(eleven scenes) we are in Alexandria, Rome and Athens; now on the plains of Syria, and\nnow on the promontory of Actium. In the fourth Act of thirteen scenes we are certainly\nconfined to Alexandria and its neighbourhood, but we are perpetually moved about from\nthe inside of the palace to the outside, from within to without the walls, from one camp\nto the other, until we are brought to rest in that remarkable scene—44 the monument\". I\nsee no reason why the scene in the house of Lepidus (Act ii., Scene 2) should not be laid\nin a lesche or under a colonnade before Caesar's house, and thus serve also for the two\nscenes which follow it. Indeed, by the exercise of some little thought and care, the whole\nnumber of the architectural scenes may be fairly reduced, and it is possible without serious\nmutilation to prevent some of the abrupt changes, as for example that brought about by\nthe introduction of Alexandria in the fifth Scene of the second Act; for there does not\nexist, as it seems to me, any great obstacle to this scene forming part of the third in the\nthird Act. 1 cannot at present see that we can do with less architectural scenery than\nthat set down in the following list, unless the scenes at Athens and Messina are omitted\naltogether;— 1. The palace at Alexandria—interior.\n2. A monument at Alexandria.\n3. Caesar's house at Rome—a Iesche or colonnade.\n4. Antony's house at Athens—interior.\n5. Pompey's house at Messina—interior.\n& Of the interior of Kleopatra's palace the play presents us with no less than twelve\nscenes, and with one laid outside or before the palace (Act iv. Sc. 3), but all thirteen could\nreasonably pass in one hall if attention was given to the planning of it. The remains of the\ntemples at Philae, Dendera, and Kalabsche, the relic of the palace at Medinet Habou, and\n\n(1) Reprinted by permission from the Architect, 1875."}, {"page_pdf": 34, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.34", "texte": "ANTONY &\nCLEOPATRA.\n\nthe representations of domestic architecture in the fragments of wall paintings in our\nmuseums, are the only authorities available for this important scene, for what is left of the\nold city of Alexandria is little more than an inchoate mass of ruin. The temples and palace,\nhowever, that I have just mentioned must be held to be far inferior to the temples and\npalace of the royal city. A city founded by such a man as Alexander, and that, too, for his\nfavourite natural brother; (i) a city whose chief street was 100 feet wide and nearly four\nmiles long, whose geographical position was such as to command the commerce of the\nknown world, a city where the last dynasty of Egypt's kings resided for nearly three cen-\ntuiies, where one Ptolemy devoted his power to the advancement of art and science by ori-\nginating and devising educational schemes—schemes that would put to shame the largest\nefforts of modern governments; where another Ptolemy carried these designs into noblest\nexecution by the establishment, among other things, of a museum—school, and a library\nthat were among the wonders of the world ; a court where Euclid and Nicomachus, An-\ntiphilus and Apelles were by no means remarkable men; a city where the Aryan and the\nSemitic nations were united, where the Egyptian, the Jew, and the Greek met, as it were\non a level platform—was not a place where architecture or any other art would be likely\nto be underrated. The picturesque irregularity visible in the work at Philse must not,\nhowever, be taken as applicable to the palace of the Ptolemies at Alexandria. That the\nspirit of Greek freedom that freedom without which the Propylea would never have been\n—might have struck root in Alexandria is more than probable, but the day of freedom, of\noriginal art-thought was already far spent; law was taking the place of feeling; geometry\nwas being substituted for the eye; instead of ideas being created facts were collated ; the\nbeautiful was reduced to a system, and art was made science. The evidence of material\nwealth—a splendour lavish as daylight—would be there. Whatever marble and basalt,\npoiphyry and serpentine, bronze or silver, or gold, or any other precious material could do\nwe may be quite sure was not lacking. Mechanics would shine like the sun in construction;\nmultitudes of pillars, and miles of avenue, and corridor, and labyrinth would speak of the\nmighty mass of labour in the service of Egypt; but the creative art power had passed its\nmeridian a full century before the city was founded, and quite two centuries before the\nPtolemies began the objectionable practice of marrying their own sisters. (2) j®\n& The \" monument \" of the play is evidently nothing more than the raised stage at the\nback of the main stage, so common in the theatres of Shakspere's time. An Egyptian mo-\nnument or tomb was constructed on principles which could not possibly admit the poet's\nIdea. But the Greek monument was altogether different. In the one case we find a tomb,\nan architectural grave, a sepulchre; in the other we have a house, a shrine, a temple. The\nlittle memorial of Lysicrates at Athens, and the temple-like Lycian monument discovered\nat Xanthus, and now in our National Museum, are extreme illustrations of one principle of\ndesign. In both the structure consists of two storeys; the ground storey solid and com-\nparatively plain, the upper storey open and enriched with columns, figure sculpture, and\nother ornamental accessories. Now, although acting on a higher platform than the stage\nis always made to look more or less ridiculous by modern scenic arrangements, in proof of\nwhich assertion I may cite Juliet's balcony as a flagrant example, and although I know of\nno instance where this division of stage level has been well carried out, yet even in the\nVeronese and Venetian plays there is no room for reasonable excuse if the scene results in\nfailure; still less In the play under consideration should the acting suffer, inasmuch as the\narea of the monument of Egypt's Queen may be of almost any size. In its architecture, as\ncompared with that of the palace, there might well be marked the vast difference between\nthe arts under the first Ptolemies, when the Aphrodite Anadyomene was painted, and\nthe low condition to which a hundred and fifty years of rapid decline had brought them,\nwhen the last of the Macedonian dynasty ascended the throne. J® & &\nj® Our third Scene-Caesar's house at Rome—needs no further description than what has\nalready been given in the notes on Julius C®sar. Antony's house at Athens might be one\n\nI^aw, not\nPeeling. j®\nj® The \" monu-\nment s® j®\n\n(1) Arsinoe, one of the concubines of Philip of Macedonia, was pregnant with the child afterwards known as Ptolemy I, surnamed\nSoter, when she married Lagus'\n(2) Ptolemy, the big-belly, (146-117) not only married his sister, and this too after she had become his brother' s widow, but divorced her\nin order to marry her daughter by his brother."}, {"page_pdf": 35, "page_imprimee": "129", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.35", "texte": "J& ANTONY &\nCLEOPATRA.\n\nThe Costume,\nOn \" fashion \"\nArchitecture, &\n\nof the old Greek houses or palaces, with its double arrangement of Andronitis and Gynae-\nconitis, or the men's and women's quarters. The fourth and fifth Scenes of the third Act\nintroduce us to two rooms in this house, but there is no reason why one interior should\nnot suffice for both Scenes, if the proper room be selected, which I take it should be the\npillared hall (iiAv) of the Andronitis, which in a Greek house occupies the place of the\nRoman Atrium. The floor might be of mosaic, whilst both the ceiling and walls might be\npainted. Pompey's house at Messina, or Messana, might be either Roman or Greek, or half\nand half. The old Greek city was destroyed by the Carthaginians in B. C. 396, but DIo-\nnysius, tyrant of Syracuse, at once rebuilt it, so that its buildings were well seasoned—\nneither too new nor yet too old—when the Romans came into possession after the First\nPunic War, B.C. 240.\n& The Costume of this play may be taken to be somewhat mixed. That the Roman\nfashions were for the most part accepted wherever the power of Rome had made itself a\nreality may be safely assumed, but then these fashions were themselves moulded on those\nof other nations. Nor was this spirit of Imitation or copyism altogether confined to the\npeople by the banks of the Tiber. It is said of the great Alexander that, after his Persian\nconquests, becoming partial to some of the things he saw in Asia, and desiring to make\nhimself popular with his new subjects, he actually assumed the Persian habit and adopted\nmany of their customs. Everyone knows that the Romans followed his example in regard\nto Greece with a sort of alacrity which was at times almost amusing. But fashion, in old\nas In modern times belongs to the upper classes, so that while I have little hesitation in\nclothing Kleopatra and her court in the habit, or some slight modification of the habit\nprevalent among Greeks more or less adopted also by the Roman aristocracy—the poor\npeople, the clown especially, and perhaps the soothsayer, might very well exhibit In\ntheir dress some tradition of the old nation to which they belonged. (1) The Ionic chiton, the\nchlamys, the peplos, the transparent fine linen vest, chemise, or under tunic were dresses\nwhich obtained throughout the shores of the Mediterranean with but little variation beyond\nthat resulting from increase or decrease in length or breadth of material. No doubt, too*\nthe fashionable ladies of Alexandria had their parasols or umbracula just the same as the\nladies of Athens, Rome or Pompeii. Broad-brimmed straw hats, with low, saucershaped\ncrowns, were also probably worn. Octavla, after her marriage, might appear in the stola\nand the square-cut white pallium, fastened with a fibula or brooch on the right shoulder,\nleaving the right arm free. For the details of the costume for this play it will be sufficient\nto refer to the marbles and bronzes in the British Museum. Among the references to\ncostume In the text of (1) Julius Caesar and (2) Antony and Cleopatra we find mention made\nof (1) leather aprons, crowns, coronets, doublets, cloaks, kerchiefs, nightgowns, dressing\ngowns, with pockets, spurs; (2) the points of a doublet, crowns, crownets,\" and pockets.\nIn Julius Caesar the architectural passages are few and slight— & & &\nMany a time and oft\nHave you climb'd up to walls and battlements,\nTo towers and windows, yea to chimney-tops,\n&c., &c.\nMention Is also made of stone towers and walls of beaten brass, and there are references\nto buildings and places in Rome, e.g., Pompey's porch, Pompey's theatre, the statues of\nOld Brutus and Pompey, images decked with ceremonies or hung with trophies, public\npulpits, and Caesar's walks, arbours, and orchards. In Antony and Cleopatra there is not\none word about architecture or building, but then we have a description of the Queen's\nbarge, which was all overlaid with gold and \" like a burnish'd throne burnt on the water;\"\nits poop was of beaten or repousse gold, its sails were purple and perfumed, the tackle of\nsilk, the oars of silver, and the pavilion or canopy or dais which shadowed the rare Egyptian\nwas cloth of gold of tissue. If a throne was wanted in the market-place for the serpent of\nold Nile and her lover, it was got by setting chairs of gold upon a platform of silver \"a\ntribunal silver'd \" . Shakspere's idea of Kleopatra's person may be gathered from a few\n\n(I) The Queen, according to the text, which follows history in this particular appeared often \"in the habiliments oi the goddess Isis\"\nrue goddess of the Moon; in other words, in a long transparent fine linen tunic, and a pallium fastened by a knot in front, a crown of\notus flowers on her head, and a slstrum in her hand."}, {"page_pdf": 36, "page_imprimee": "130", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.36", "texte": "& ANTONY &\nCLEOPATRA.\n\nscattered expressions. According to the poet she was of a dark or tawny complexion, the\nwords he puts into her own mouth would even go so far as to make her black and\nwrinkled:\n— Think on me,\nThat am with Phoebus' amorous pinches black,\nAnd wrinkled deep in time ?\nAllowing for the exaggerated language of the woman, we must still, I think, conclude that\nher charms were not to be found In beauty such as Pericles or Phidias delighted in. She\nwas old, very old for Egypt; but even the rough soldier, Enobarbus, says that 44 age cannot\nwither her nor custom stale her infinite variety Not in measured beauty of form or face,\nbut rather in the serpentine or undulating movements of her body, in the changing ei=»\npressions of her full=Hpped wavy mouth and large dark eyes, In her expansive brow... .a\nfeature not so much admired now as in Shakspere's time ; above all, in her wit must we seek\nfor the strange witchery she exercised over Julius Caesar and Mark Antony. &\n\nTWO STAGE CHARACTERS\nby Gilbert à Beckett.\n\n(I)\nTHE STAGE PRINCE.\nRoyalty on the stage Is usually very unfortunate; and the\ntreatment it receives is, under even the most favourable\ncircumstances, anything but what it ought to be. If the\nstage monarch is in the height and plenitude of his power,\nthere Is very little respect shown to him. He has to march\nabout in processions with a pasteboard crown on his head,\nwhile the royal ermine is nothing better than flannel with\ntufts of worsted fastened on to it. As to his palace, though\nthe walls are finely painted, there is scarcely one room\nthat he can comfortably sit down in, for the apartments\nare usually as barren of furniture as if a distress for rent\nhad recently cleared them. If he gives a banquet, there is\nnothing to eat but a quantity of artificial flowers in vases, and some imitation fruit, moulded\nall in one a piece on a papier mach6 plateau ; so that, If the fruit were eatable, the plate of\nwhich it forms a part would have to be devoured with it. The stage monarch has generally very\nlittle to say, and perches himself quietly on a very uncomfortable throne raised on a rickety\nplatform, with scarcely room for his feet; while some individuals, turning their backs upon\nhis Majesty, amuse themselves with dancing. He Is frequently sworn at, and imperatively\nordered by the stage=manager, who is a viceroy over him, to get down from his throne,\nthat It may be dragged off at the wing by the scene=shifters just before the fete concludes,\nwhen the monarch sneaks in anywhere among the crowd of supernumeraries who constitute\nhis 44 people \". <£? & &\nHis snubbed Majesty feels that he shall interfere with some Terpsichorean grouping, or\ndestroy the final tableau of a pas de deux, if he does not get out of the way; and he\nkeeps backing and backing, until some of his court, irritated perhaps by the pressure of\nthe royal heels on their plebeian corns, check his further retreat with...Now then,\nstupid ! where are you coming to ? \" But the stage monarch is not always a mere nonentity,\nfor he sometimes takes a very active part, and developes some very remarkable traits of\ncharacter. If he happens to be a king after the pattern of him known familiarly as the\n44 merry monarch \", though in reality a very sad dog, he gets into tavern rows, flirts with\nthe barmaid, cheats the landlord, insults the guests, and Is on the point of being subjected\nto merited chastisement, when some tradesman of the court... .perhaps the milkman or the\nbutcher... .recognizes the King, from which it must be inferred that his Majesty is in the\nhabit of personally taking in the milk or ordering the meat for dinner. If the dramatists\n\n& His trials\njzr 44 A merry\nmonarch \"\n\n(1) Reprinted by permission."}, {"page_pdf": 37, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.37", "texte": "THE STAGE\nPRINCE. &\n\nThe rightful\nheir.\n\ncan take liberties even with royalty moulded on the model of an English sovereign, it may\nbe supposed that they will run into considerable rampancy when picturing one of the mo-\nnarchs In miniature that are supposed to swarm on the Continent.\nA foreign princedom standing like a suburban villa In its own grounds, with cavalry\nbarracks for six horses, a large roomy outhouse for infantry, and the use of a paddock for\nan occasional review, may admit of considerable latitude in the way of dramatic treatment,\nfor no one knows whether it is right or wrong; and it may be, therefore, perfectly en regie\nfor the small fry of sovereigns to do the sort of things that on the stage we find them\ndoing. Thus it may be very natural for an Italian prince to go away from his dominions,\nleaving the government in the hands of a younger brother or an uncle, who spreads a report\nof the death of the 44 rightful heir, \" when the 64 rightful heir \" might settle the business\nwith the 44 wrongful heir \" by simply coming forward. lie, however, prefers sneaking about\nthe outskirts of a forest, with one 44 trusty retainer, \" and falling in love with the daughter\nof some dealer In firewood, who comes home every evening to talk sentiment about his\nchild, after having been employed all day in felling timber that does not belong to him.\n& The stage prince,\nwhen he does make up\nhis mind to claim his\nrights, issues no pro-\nclamation ; but muffles\nhimself up in an enor-\nmous cloak that he may\nnot be known, and ar-\nrives in his own terri-\ntories during some fete\nthat is being given by\nthe 44 wrongful heir\" to\ncelebrate the feast of\nthe grottoes, ( quaere,\noyster-day ?) or any-\nthing else which makes\na Sine in the play-bill\nand admits of an inci-\ndental ballet.The44right-\nful heir \" keeps judi-\nciously in the back-\nground during the dancing, and the 44 wrongful heir\" eyes him without knowing why;\nand in the intervals of the festivities comes mysteriously forward to tell the orchestra\nthat 44 he don't know how it is, but something seems to weigh at his heart; \"\nand he will occasionally inquire politely of Conscience when it will allow peace to enter the\nguilty breast, from which it has hitherto been a prohibited article. He will ever and anon\neye the 44 rightful heir \" with a suspicion for which he... .or any one else... .cannot account,\nand ultimately he will make some observation from which the stranger in the cloak will\ndissent; and high words will ensue, in which the 44 rightful heir \" will be addressed as\n44 Caitiff! \" and asked by what right he interrupts the festival. Every one will gather round,\nbut no one will know the 44 rightful heir; \" until, throwing off his cloak, he developes a\nblaze of orders, including a terrific freemason's star and a quantity of ornaments in paste,\nticketed up cheap at a pawnbroker's. & & & & & jg?\nThe discovery of the orders, accompanied by a sudden throwing off the hat, will cause\nall to go down on their knees the courtiers exclaiming 44 Sire! \" the female peasants\nmurmuring out 44 the Prince, \" and turning round to each other with 44My gracious,\" 44 Only\nthink,\" *4Did you ever,\" &c., in a series of facetious asides; while the male peasants shout\n14 Our long-lost lord I \" the supernumeraries, who can only be entrusted with a single word,\ncry simply 44 Sire 1 \" and the discomfited 44 wrongful heir,\" covering his face in shame and\nconfusion, mutters out 44 My liege ! \" while the chorus-singers burst into a concluding strain\nof joy, love, and loyalty."}, {"page_pdf": 38, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.38", "texte": "THE STAGE COUNTRYMAN\njf a select committee\nwere appointed to in-\nquire into the state of\nthe rural population,\nand a stage countryman\nwere to be examined\nwith the view of collec-\nting facts relating to the\nrustic character, the se-\nlect committee would\nbe sorely puzzled to\nknow what to make of\nit. £> •£?\n& In the first place the\ncostume of the stage\ncountryman is arranged\nwith an eye to the pic-\nturesque rather than the practical. He frequently wears a very light sky-blue coat, with\na waistcoat of the gayest chintz, as if somebody had given him a window curtain, and he\nhad been seized with the heureuse idee of having a vest made out of it. He has dark blue\nstockings, which are made of silk if he is the first countrjmian, but are ordinarily of grey\nworsted if he Is only one of a party of rustics getting in the harvest or assisting at a vil-\nlage festival. By the way, the dramatic mode of getting in the harvest consists in tossing\nabout a truss of straw with property rakes at the back of the stage, and then coming\nforward to the front to sing a chorus. Village festivities are also of a very mild description\nin their theatrical form, and comprise little more than the luxury of sitting on a bench\noutside an alehouse door, holding in one hand a tin cup filled up above the brim with\nwool, which is occasionally raised to the lips, in accordance with some complimentary\nallusion to John Barleycorn\nTo return, however, to the costume of the stage countryman. The remainder is made\nup of a red wig and a hooked stick, with a small bundle slung across it, and a pair of\ndancing-pumps, in which he is always prepared to walk to London, for the purpose of\nrighting 44 poor sisther Phoebe, \" or telling the 44 great squire \" that he (the stage countryman)\nhas got 44 feelins like, \" and that he (the stage countryman) is as good a 44 mon \" as he\n(the squire): 44thof he (the squire) have gotten a fine coat on his back \"... .a home truth\nwhich sometimes throws the squire into a state of pitiable penitence about something or\nother which there is no proof of his having been guilty of. & &\nThough the dramatic rustic is vividly alive to any wrong, real or imaginary, inflicted\non his own sister, he is often, as far as his own treatment of the fair sex is concerned,\nlittle better than a domestic ruffian. He is either contemptibly soft, accepting as a wife\nsome village coquette, who has been declined on account of her flirting propensities, by\nsome former lover, or he is brutally hard, refusing to fulfil the vows he has plighted to\nsome unfortunate village girl, and setting the yard dog at her if she persists in pursuing\nhim.\nThe occupations of the stage countryman are usually of the very vaguest character* He\nappears to have nothing on earth to do but to avenge his sister for some wrongs not very\nclearly made out, bully the landlord about 44 fearther, \" who is a most unpunctual old man\nin the payment of his rent, flirt with village maidens, grow sentimental about poor old\n44 mither, \" and 44 dom \" the young squire. & &\n& The stage countryman is a character fast disappearing from the drama, and the only\nrusticity now introduced into theatrical pieces is confined to a Yorkshire servant, who\nseems to be retained in a house for the mere purpose of misunderstanding every order he\nreceives, and grossly insulting every visitor of the family. & & & &\n\n& Festivities\nHis manners."}, {"page_pdf": 40, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.40", "texte": "SOME STAGE ROYALTIES. by CHARLES BORROW."}, {"page_pdf": 41, "page_imprimee": "133", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.41", "texte": "THE ENGLISH VOICE\nby Alien Carric\nAllen Carric.\nEnglish Drawl has come to stay till the End. It was once a jovial gutteral drawl;\nit now affects the lips rather than the throat. It has taken its change for the worse. It\nswaggered once; now it simpers. I do not know the names of all the separate English\nDrawls but I have heard of something called the Oxford Drawl and I have heard of the\nPiccadilly Drawl. I suppose there must be also the Winchester Drawl and the Cavendish\nSquare Drawl, but about the really very famous Drawls only an expert could tell us. £?\nThere are, however, others; those which, so far as I know, have not yet made names for\nthemselves. Their echo is to be heard in the journals and we may label them.\n<£? For instance, the \" Saturday Review Drawl.\" A clear voice is heard for several pages\nand then the drawl,... a bored drawl... the drawl of the wise \" Max. \" I say wise\nadvisedly. His is above all things a drawl of spiritual surrender, of elasticity it swears\nit will not shout. &\nReaders must not find anything silly about this drawl. Whatever it is it is not silly;\nIn fact, when we hear it the speaker stands revealed: we feel we are in the presence\nof a truly wise man: nobility, reverence, modesty and courage, all these we feel are behind\nthat drawl: it compels us, I mean all of us who are not fools.\nThis drawl is a pure English drawl acquired after enormous pains, and the greater the\ncredit to its owner since its owner is not entirely English. Would an Italian ever have had\nthe power to make himself master of this thing ? No! Would a Frenchman have\ndared ? No, a thousand times, No I Only one from the Fatherland could have so dared\nand done.j£>\nAs 1 have hinted, behind this drawl is a divine voice; it has something to say and it\nsays it regularly every Saturday.\n\" Max \" has a reputation for being never dull What is his secret ? .... it is in being\nvery very wise. Such kindly wisdom too, suppressing any ignorance under a pretence of\nnot knowing detesting emphasis,.... admiring all that is elegant and admirable; a tolerant\nwisdom; one never yet known to praise that which it could not understand. This it is to be\nentirely wise,... profound. Yet I have always heard of the \"witty\" Max, the \"clever\"\nMax. As though mere wit and cleverness masqueraded under a drawl. Why, it will be said\nnext that affectation is hid beneath a lisp! 4? & &\n& Surely Max' s is the true English voice. Was it not a voice of this calibre that was heard\non the day when the Armada was sighted ,... \" Ohhh.... Indeed in siiight you\nsaaay ?.... When we've finished our game of booowwls there will be time to\nbeat them\nWhen Wellington uttered the famous \"Up Guards and at 'em \" we know now how it\nmust have been drawled.\nThe voice of Shakespeare reading Hamlet to the Globe company must have sounded thus,\n\"To beeeee, or not to beeeee: thaaat is the queeestion \". I picture the enthusiasm of the\ncompany on hearing this drawl which carries. &\nIf I have not spoken of other journalistic drawls it is that there is none to come after\nthis one. There is none like it, none, Lately it has added a new quality to its already\npeerless tone. It can shout; It states with emphasis what the mighty brain behind it has\nfelt and felt emphatically \" Here is Miss Olive Walter, * Tyltyl' to the life, and perfect\nfrom first to last\". &£>£>&&&\nHjphe Morning stars sang together and all the sons of God shouted for joy. Job XXXVIII.\nghouting Implies cock=sureness, contentment with a definite point of view, one set\nconviction. Wisdom of which the essence is spiritual surrender and elasticity.... wisdom,\nthat immensely complicated thing cannot be shouted. & &\nMax Beerbohm, \" Saturday Review \" Vol 108. Page 749,\nThe \" Saturday\nReview\" Drawl.\nA divine\nvoice. &"}, {"page_pdf": 42, "page_imprimee": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.42", "texte": "VENETIAN COSTUME\nTRANSLATED FROM THE BOOK OF CESARE VECELLIO\nby D. Nevile Lees\n0)\nTP*16 cos*ume Doctors of Law or Medicine all over Lombardy is the long toga\nreaching to the ground, with open sleeves, and it is black, in winter of cloth or damask\nor of velvet and in summer of very beautiful Florentine watered silk, or of camlet. Under\nthe which toga such Doctors wear another robe of silk, girded with a belt of velvet with\nsilver clasps or with a silken girdle, which robe reaches to the knee. Beneath they wear\nhose of black cloth or silk, and on their feet they wear slippers of black cloth or of velvet.\nOn their heads they wear caps of rich velvet or of silk brocade. And such costume serves\nthem in the governments, embassies and in the tribunals as evidence that they are serious\npersons and of mature judgment. & & &\nyoung men in love, (giovani innamorati) usually wear a doublet of satin, tabby or\nother silk, pointed or slashed with various patterns in the form of crosses or stars,\nthrough which slashes the coloured linings of taffetas are seen. & & &\nThey wear with the said doublet buttons of gold, and at the neck frills with clean lace,\nand on the head a cap of rich velvet or silk brocade with a scarf round it, gathered in front\ninto the form of a rose, where they usually set some little medallion.\nThey generally have their small clothes of the same stuff, and embroidered silk stockings\nwith shoes of Spanish morocco, and over all they wear a cappetto, (a cloak with a hood\nof silk brocade, a flower in one hand and in the other their handkerchief and their\ngloves.\n& This costume is much used by nobles, alike in Venice and the other cities of Italy,\nespecially by the youths before they don the robes with elbow sleeves which, until eighteen\nor twenty years of age, they do not wear. Thus the greater number wear the costume\nhere described. But many however wear it in black, others In silver or light purple,\nespecially the doublet and small clothes and hose as seen in the picture.^\npeasants who come to Venice at the season of All Saints to sell geese, eggs and other\nfood wear the costume here shown, which consists of a hat of coarse straw on the head\nand a garment reaching halfway to the knee made of roan coloured cloth or of herrettino\nor fratesco, and on their feet shoes of undressed leather against the mud, and to their\nlegs they fasten certain high gaiters of leather; over their frock they put a cloak of roan\ncloth or coarse herrettino, of little value, with a wide collar which falls over the cloak as\nfar as the shoulders, and they hold, resting upon the ground, a staff with a goose or two.\n'Jphe costume here shown is of certain women peasants who come on Saturday to the\nmarket in Venice from the villages of the surrounding parts, the which women, when\nthey enter the city, take off a large wide hat which outside they wear on their heads, and\ncarry it in their hands. This hat is made of coarse straw with a band of red or crimson silk\nround it.\nThey wear an upper dress of another stuff, blue in colour, or hiano, with a rather tight\ncorset, which they lace with little silken cords, somewhat loosely so that one sees the white\nchemisette beneath; and on this corset they wear medallions of gilded silver, and wrapped\naround the head and neck they have a white veil of cotton or other stuff which serves also\nto keep their hair in order. And because they come from outside where there is much mud\nthey fasten up the said dress with a leather belt three fingers wide a handsbreadth from\nthe ground over another underskirt which they wear; and they carry on their shoulders\ntwo baskets with chickens and hens in one, and in the other cheese and eggs and fruit and\nevery kind of thing which is produced at the villas. They wear high boots of stout leather\nas protection against the mud and rain. & & & &\n&Doctors of\nly a w\nVenetian\nyouths.\nMale\nPeasant. &\nPeasant\nwomen.\nOur /eaders will find that the Venetian costume designs, reprinted in The Mask during the past year, are furnishing them by degrees with a\ncomplete series of costume designs for the \" Merchant of Venice. \" Ed;"}, {"page_pdf": 45, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.45", "texte": "ROARS OF LAUGHTER\nby Jan van Holt\nAgreat deal is being said today about Commercialism and Non-commercia-\nlism. They say that commercialism spreads itself from city to city streng-\nthening the few and killing the rest; they say that commercialism is\nentering into the magic circle of the arts.... they say that the artist is\nbecoming commercial they say that the craftmsan is becoming com-\nmercial... they say.... but let them say. & zz?\nAnd then 4i efforts \" are made to suppress commercialism and in doing so commerce\nbecomes a bogey to many who hitherto have only looked upon It as a harmless necessary\ncuriosity.\nJZ? The Power of commercialism Is exaggerated. If commercialism killed or suppressed all\nbeauty we might have reason to think otherwise. But commercialism never touches beauty\nand has never had any success whatever against its supposed enemy. You cannot make\na man commercial, or uncommercial, he is born the one or other and remains so until\nthe end.\nI know a painter who is commercial and one who is not commercial: they have\nworked together for years, yet to this day the one remains commercial and the other\nuncommercial.\nI know a writer who has struggled hard to write such stuff as commercial Journals accept\nand who is utterly unable to do it, and who now goes round collecting his verse and prose\nfrom the editors who of course are delighted to let him have them. He swears he will never\nwrite another word of saleable stuff. He protests in vain for he will do so whenever he\nbecomes commercial; but as he cannot become commercial what does all his talk amount\nto ? It means nothing.\n& I knew an artist who was continually saying \" Now I' ve done something which everyone\nwill understand and which the dealers will jump at\" and he unveiled a statue or a picture,\nand lo, it was even further from the understanding of the dealers than what he had\ndone before. &\nThere was William Blake, who did not care whether he made money or not, whether his\nwork was popular or not; nothing ever made him care. And there is my friend William\nSmith who is quite eager to make money by his designs but who is yet quite unable to\n\" turn out\" designs which shall make money today. Blake and Smith are uncommercial\nand no amount of trying on their part to meet a special demand would make their work\nor their natures any different.\nCommercialism has no power whatever over the artist or man who was born uncom-\nmercial. Uncommercial men are born in every age and because this age is called a com-\nmercial one it makes no difference whatever to the appearance of the uncommercial man.\nIt may make a little difference in the matter of his disappearance, but that is no one' s\nconcern but his own.\n& I am an artist and happen to be noncommercial. I am told that my age is a commercial\none but I am sure it could not be more interestingjor more amusing than it Is,... and to\nbe interested and amused by one' s age is sufficient. One heed not become familiar with\nit; yet as it parades before us like a comic pageant we can at least look on and laugh\nat the exhibition with good humour. One sits in good company for others are looking on:\nthe performers must not forget this and must take courage in the recollection. jtz*\nThe commercial are performing to a crowded house, an audience which is splitting its\nsides with uncontrollable laughter. We pay for our seats; we must not dream of doing\nmore no, not one egg Bravo ! Bravo I Roars of laughter!\nCommeicialism,\nIts power is\nexaggerated. &\nWilliam Blake,\nA comic pageant."}, {"page_pdf": 46, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.46", "texte": "BOOK REVIEWS\n\nGREEK COSTUME by Ethel Abrahams.\nJohn Murray.\n\"phis book is a really valuable contribution\nto the literature on the subject of Greek\nCostume, each page bearing evidences of close\nstudy and painstaking research.\n& No accessory of a woman's dress or toilet\nseems to have escaped Miss Abraham's at-\ntention and a glance at the alphabetical\nindex shows us that here we may find infor-\nmation on such varied subjects as false hair,\nmirrors, fringes, hair nets, hats, perfumes,\nrouge, sandals, toilet boxes, pins, wigs, cor-\nsets and many more too numerous to name.\n& Nor is the men's dress forgotten, their\narmour, ornaments, tunics, head - dresses,\nsandals and all else pertaining to toilet or\ncostume being carefully described.\nAfter an Introduction devoted to Pre-\nHellenic civilisation the writer passes on to\ndeal successively with the Homeric, Doric\nand Ionic, with the Development of the Ionic\nHimatiort, with Materials and Ornamentation,\nHair and Head-dress, Foot-gear and the\nToilet, and the many and excellent diagrams\nand illustrations taken from ancient statues\nand vase paintings assist the student to a\nclearer understanding of the text. &\n& The arrangement of the chiton is careful-\nly described, and seems to have varied in\nform according to the rank and occupation\nof the wearer, slaves, for example, wearing\na narrow ungirt one with tight sleeves reach-\ning to the wrist, men engaged in active\npursuits a short one with or without sleeves,\nmusicians a long ungirt one, actors a cos-\ntume with long sleeves, \" probably padded to\ncomplete the impression of increased size\nproduced by the high masks and buskins. \"\nNor is it only for the interest of the tech-\nnical information contained that a book on\nthe details of dress and toilet of such a na-\ntion as the Greeks is of interest, but as an\naid to our comprehension of the people\nthemselves; an assistance, by means of the\nouter symbols, to tracing their inner life; for\nas Miss Abrahams concludes her book:\nus? \" It can hardly be questioned that the free-\n\" doni and simplicity of their dress was to a\n\" great extent the cause of the development\n«• of the spendid physique which the Greeks\n\" undoubtedly enjoyed.Their loose draperies\n\" allowed their limbs perfect freedom, and\n\" their bodies were unhampered by constraint\n44 of any kind. In the palaestra and the gym-\n44 nasium, air and sunlight were allowed to\n44 exercise their salutary influence, for the\n44 Greeks were not 4 ashamed of their own na-\n\" ked skin,' and so discarded their clothing\n44 when in pursuit of their athletic occupations.\n44 The healthy state of body thus preserved no\n\" doubt had its share in fostering that healthy\n44 state of mind to which are due the sanity\n44 and sobriety that characterise all Greek\n44 thought, whether expressed in literature,\n44 art, or philosophy. \"\n& The cover of the volume, which is taste-\nfully decorated with one of the designs on\nthe fragment of a sarchofagus, (pg 196)\ncompletes a very delightful book, and one\nwhich every sensible actor and actress will\nbuy at once. &\n\nHANDBUCH BER KOSTUMKUNDE.\nW. Quinke. J. J. Webet. Eeipzic Mks. 7.50.\n'\"phe third and enlarged edition of Herr\nQuinke's work on the History of Costume\nhas reached us. It is profusely illustrated\nand in it we may trace the development of\ncostume from the earliest times down to the\nyear 1848.\n& The study of costume is one of the most\nabsorbing and fascinating to which the stu-\ndent of the stage can give his attention, not\nthat he may slavishly imitate, but that, learn-\ning how races, personalities, characters,\nhave expressed themselves through the me-\ndium of costume during many centuries, he\nmay be enabled to design such dresses for his\nown purposes as shall express the very spirit of\nhis dreams. & & JS?\nIt would be hard for the stage director\nto over-estimate the importance of costume\nas a revelation of the character of the wea-\nrer. It was a wise saying of Ruskin's 44 a\nbeautiful soul will desire to dress itself beau-\ntifully\", and Spenser's old couplet,\n44 For of the soule the bodye forme doth take,\nFor soule is forme, and doth the bodye make \"\nmight not only refer to the influence of the\nspirit in moulding its fleshly garment, but\nalso to the shaping of the outer garment in"}, {"page_pdf": 47, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.47", "texte": "which that body is wrapped. & &\n& Indeed, in the study of national costumes\nit will be found repeatedly that, not only\ndid the character of a nation determine the\nform of its dress, but that the form of the\ndress reacted upon the life of the nation as\nin the case of the ancient Greeks, whose\nspendid physique is by students attributed\nlargely, and doubtless justly, to the loose\nand unencumbering dress they wore.\nHerr Quinke's book contains 459 costume\ndesigns with descriptive text and is rendered\nmore convenient for reference by a well\narranged index.\n\nO THER DA YS by William Winter.\nMoffat, Yard & Co, Do/s: 3.00 Net. &\n| n this book Mr William Winter, until re-\ncently the dramatic critic of the New York\nHerald, recalls and commemorates a number\nof actors and actresses of the past gene-\nration.\nFinding little but evil in the present, he is\nnot one of those who look on hopefully to\nthe future but finds his consolation in dwel-\nling on the theatrical past. JZ?\nFor the writers and dramatists of his own\nday he seems to have only condemnation,\nfor as a proof of McCullough's 44 sound\njudgment and correct taste \" he quotes his\nwords about Whitman, 44 they have been\nreading some of the spavined stuff that he\nhas written. It is a Profanation to talk of\nsuch a writer as a poet, \" and he himself\ndescribes as \"sickly humbugs\" Maeterlinck,\nSudermann and Shaw. &\n& He has, however, some interesting things\nto tell us of that past generation in which he\npuis his faith. Of Jefferson, for example, we\nread, 44 No actor ever was more scrupulous,\n44 punctilious and imperative In his insistence\n44 on the ideal as opposed to the actual. That\n44 principle was at the basis of his acting. He\n44 abhorred realism. & & &\nAmong those actors and actresses treated\nof, besides Mc Cullough and Jefferson, are\nJohn Brougham, Dion Boucicault, Charlotte\nCushman, Edward Sothern, Laurence Barrett,\nMary Anderson, Adelaide Neilson and Henry\nIrving. & 0\n\nJOSEPH & HIS BRETHREN by Charles\nWells. Henry Frowde.\nThis reprint, with its Introduction by\nAlgernon Swinburne and its note on Rossetti\nand Charles Wells by Theodore Watts Dunton\nis one we would warmly recommend to our\nreaders. jg?\nThe poem was first published in 1824\nunder the pseudonym of H. L. Howard, and\nis far too little known to the student of\nEnglish poetry and drama. &\n& It was from the first almost unanimously\nneglected, although containing proof enough\nthat it was the work of \" one only lesser\nthan the greatest of his time in some of the\ngreatest qualities of his art jzr\n& So completely, in fact, was it forgotten\nthat, to quote Mr Swinburne, 44 Only by such\nhappy chance as sometimes may come to the\nhelp of assiduous research \" has it been\n44 dug up from the cemetaries of literature\n\" At rare casual Intervals \" he goes on, \"some\n44 thin and reedy note of eulogy has been\n44 uttered over the grave of a noble poem, be-\n\" witched, as it were to a sleep like death, and\n\" has always hitherto failed of a hearing\n44 Notwithstanding, the truth remains, that the\n44 author of \" Joseph and his Brethren \" will\n44 some day have to be acknowledged among\n44 the memorable men of the second great\n44 period in our poetry\".\nThis was the play which Rossetti declared\nto be 44 more Shakespearean than anything\nelse out of Shakespeare \", an opinion fully\nendorsed by other men of genius to whose\nnotice the work was brought. &\n£/ In spite of this, however, it remained\nunknown and unread, and, as Mr Watts\nDunton writes, 44 the neglect the book suffered\n44 must always remain a striking example of\n<4 the way in which the prosperity of any work\n44 of art, from a joke to an epic, depends upon\n44 the mind of the public to which it is addres-\nsed and this 4 mind * is too often but a\nmixture of ignorance and &\nIt will be only when the public, instead\nof criticizing or condemning, learns once\nmore to obey and follow the artists, to turn\nto them as teachers from whom to learn\ninstead of treating them as protegds to be\npatronized, that these things will cease\nto be. &\n\nBELL'S MINIATURE SERIES OF\nMUSICIANS.\nPURCELL by J. F. RUN CI MAN. George\nBell & Sons.\nMr Runclman has written a readable\nand instructive book about our great\nNational English Composer goes without\nsaying.\nWe would ask, however, if the vials of his"}, {"page_pdf": 48, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.48", "texte": "wrath and scorn have not been poured out too\nlavishly upon the unfortunate later composers\nof Church Music. When he asserts, (page is)\nthat 44 the school of English religious com-\n44 posers ended with Orlando Gibbons\n44 in 1625 \" and that 44 since then we have\n44 had no religious musicians \" the name of\nSamuel Sebastion Wesley, to mention no\nothers, at once comes to mind. There was a\ngenius second alone to PurcelTs. &\nAnd on reading (page 51) that *4 Dido and\n44 Aeneas was very well performed by stu«\n44 dents some years since \" it seemed to us\nthat we had heard of other performances\nworth mentioning, and seeking to refresh our\nmemory in Grove's Dictionary,... that Whi-\ntaker of Music.... we chanced upon a little\narticle recording the performances by Messrs\nGordon Craig and Martin Shaw. Memory\nindeed plays strange tricks when Mr Runciman\nmentions an ordinary routine students ma-\ntinee of the Royal College of Music and for-\ngets a series of productions, not only of Dido\nand Aeneas, but the Masque from Diocletian\nwhich, if we are not mistaken, aroused some\nattention in the art world of London.\n& Apart from these points, Mr Runclman's\nlittle brochure should be read by all Purcell\nlovers. & &\n\nMr JUSTICE RAFFLES by E, W,\nHornung. Smith Elder & Co. & jg>\n& This is a book which we warmly recom-\nmend to actors, tinkers, tailors, stars, stage\nmanagers, soldiers, sailors, door keepers and\ndramatists alike, for it is one which passes\nthe time interestingly and is a delightful\ncompanion for the busy man. jgr\n*4 Raffles\" should particularly appeal to\nactors since he has himself something of the\ngood actor about him; at any rate, he has\nthis qualification, ... that he is a rogue and a\nvagabond, which is more than can be said of\nmost actors of today ! jgr\n\n„& The volume deals technically with mate-\nrial itself, the ways of applying it and of\nobtaining the various results desired and\ncontains a valuable series of illustrations\ntaken, in various stages of development,\nfrom the 44 make-ups \" of the writer himself,\none of the finest of which make-ups we find\nto be that of Napoleon. This book is, in fact,\nthe only serious guide that a young actor can\nhave for 44 making up\" faces.\n•£* The book seems to us, however, beyond\nbeing an interesting description of present\nmethods, a remarkably strong argument in\nfavour of the return of the mask to the stage;\nfor if the face of the actor Is, by means of\npaste, powder and colour, to be altered out\nof all recognition, used only as a foundation\nupon which to model the desired features,\nwhy not simply cover the original features\nwith the image of the personality which it\nis wished to represent ? /g? jg?\nWhy paint the face until it resembles a\nmask for a few hours when a mask can be\nmade of ivory or wood which will last for\never ? & jg/\nTHE ART OF THEATRICAL MARE-UP\nby Cavendish Morton. A. &. C. Black.\n5\\-net.\nMr Cavendish Morton is in this book\ntreating of a subject upon which he is, by\nexperience, well qualified to speak, since he\nhas not only his own experiments upon which\nto base his directions but has also had the\nopportunity of watching and studying the\nmethods adopted by Sir Henry Irving, Sir\nHerbert Tree, M. de Max and other masters\nof the craft.\n\nTHE APPRECIATION OF THE DRAMA\nby C. Caffin. Baker & Taylor Co,\nNew York,\n'\"jphis book, which, remarkably well printed\nand illustrated, is worthy of the House\nwhich issues it, pleases us rather for these\ntwo qualities than for any actual value it\nmay have for serious students of the stage:\nfor while Mr Caffin, upon the subject of\npictures, writes with authority, he hardly\ngives us the impression of having devoted to\nthe art and history of the theatre that wide\nand serious study which is necessary for\nthe production of a work which shall be of\nreal assistance to other students. jg?\nSome of the questions he raises go far\ndeeper than one who has not seriously studied\nthe whole history and tendency of the theatre\nthrough the centuries can perceive, as when,\nfor example, in his chapter on \"The Play\"\nthe author writes, 44 If Shakespeare were\nalive today is it reasonable to suppose\n44 that he would not make use of every advan-\n\" tage that the modern stage presents \" ?\nPerhaps he would; perhaps he would not; but\nthe question of importance is rather, would\nhe find advantage in the use of the elaborate\nand complicated adjuncts of the modern\nstage ?\n& Again, when on page 239 Mr Caffin writes"}, {"page_pdf": 49, "page_imprimee": "139", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.49", "texte": "with reference to the technique of tragedy\n\" The Greek is not so complex or so threaded\n\" through and through with significance of\n\" detail, because the motive is neither so reali-\n\" stic nor so penetratingly psychological \" the\nimpression conveyed is rather that he consi-\nders that our modern drama is an improvement\non the Greek and that the movement has\nbeen progressive, whereas a more serious\nstudent would decide from these two very\nfacts that it had been the rather retrograde\nThere is perhaps a little too much about\nIbsen in the book, and the reader* s own\nintelligence might have been assumed suf-\nficient to enable him to appreciate certain\nrather obvious qualities of the great Scan-\ndinavian playwright without such detailed\nexplanation, but we believe that the average\nplay-goer will find no small pleasure and\ninstruction in this volume, slight though it\nbe, and anything which tends to produce a\nserious interest in the theatre, to lead the\npublic to look upon it as something more\nthan an after-dinner resort for the display\nof diamonds and for social intercourse is wel-\ncome as furthering in some degree the pro-\ngress of the Art. &\n\nfmy * \"W KJ V A V AAA RW CiSwP WXair\nCRIMINAL TYPES IN SHAKESPEARE\nby A. GoIL Met hit en & Co.\nJncreasingly year by year is \"the object\nall sublime \" of modern penal systems, as\nit was of W. S. Gilbert's well known charac-\nter, to \" make the punishment fitthe crime\",\nand, for the achievement of this end,\nto guage the amount of actual culpability in\nthe criminal, the primary causes which led\nto his action, the extent to which he is\nmorally responsible or merely the uncon-\nscious victim of the law of causes and\neffects: and it is to this study of the \"cri-\nminal human type as a special anthropolo-\ngical problem\" that Herr Goll, the chief\nmagistrate of Aarhus, has devoted his inter-\nresting book.\n& It is not, however, living criminals that\nHerr Goll chooses here as the subjects of\nhis study, but the ever-living figures of\nShakespeare; and, by analysing their actions,\ntracing them back to the instincts and impul-\nses of which they are the expression, he\nseeks to solve that problem which has puz-\nzled so many generations before as well as\nsince Lear put the question, \" Is there any\ncause in nature that makes these hard hearts\"?\n& In the old despotic days guilt and inno-\ncence were often largely dependent upon\nsocial position. Might was right; the man\nwho was up was judge and the man who was\ndown was criminal; guilt was much a matter\nof points of view, and any assertion of rights\non the part of the lower was punished by\nthe upper as a crime. But now we are pas®\nsing beyond such arbitrary superficial distinct\ntions and are constantly forced to admit the\ntruth that \"change places and, handy-dandy,\nwhich is the justice and which the thief?\"\n\" For, the further the study of criminal\npsychology is pushed, the more do we see\nthe old penal system undermined by deter-\n\" minism,\" that \" law of causes entering the\nmental domain \"; the more do we realise that\nthe punishment of external criminal acts is\nbut a superficial matter compared with the\nunderstanding of crime itself, and that to get to\nthe roots of the matter crime must be \"studied\n\" under the microscope as asickly growth,\n\" its innermost nature must be traced,\n\" its origin, its conditions of life, its phases\n\" of development, its means of propagation \"•\nThe object of the present volume Is, Herr\nGoll tells us, \" The study of the first of\n\" all causes, the criminal himself.... the\n\" criminal ego, its physical and psychic per-\n\" sonality: the criminal' s way of thinking,\n\" his feeling, passions, intelligence and charac-\n\" ter\", and for his study he turns to the\nworks of the greatest English poet. <£?\n& In his Introductory chapter the author\nreviews briefly the \" literature of crime\"\nas a means of gaining information, of throw-\ning light upon the obscure problems of crimi-\nnal psychology and accentuates the importance\nto criminal psychologists of \" the literature\n\" written by those to whom the wonderful\n\" power has been given of changing their\n\" mental skins, of identifying themselves with\n\"others, of thinking, reasoning, feeling like\n\" those other selves. \" These intellectual mas-\n\" ters\", he asserts, \" mean, as regards know-\n\" ledge, almost as much as a Newton, Darwin,\n\" Pasteur, mean to the science of nature,\n\" allow us to read the soul of the crimi-\n\" nal like an open book;\" and though of\nsuch men he finds in the present but one\nwhose authority is incontestable, the Russian\nDostoieffsky, the supreme master he declares\nto be Shakespeare, who, although he lived\nthree hundred years ago, is the only man\ncapable of teaching us, \"if anybody can teach\nus, criminal psychology \" &\nPassing on from his fine tribute to the\nwhole spirit and achievement of Shakespeare,"}, {"page_pdf": 50, "page_imprimee": "140", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.50", "texte": "it is with his work as criminal psychologist\nthat Herr Goll is solely occupied in the\npresent volume. Finding Caliban \" in a man-\nner the criminal in pure cultivation, the cell\nwhich contains the germ of all later creations\nhaving like tendencies and inclinations\" and,\nstarting from this point, he proceeds in the\nsucceeding essays to examine some of\nCaliban ' s descendants,.... Brutus and Cas-\nsius, (representing political criminals); (Mac-\nbeth, Lady Macbeth, lago and Richard \\\\\\.&\nOf pecular interest is the study of Lady\nMacbeth who is cited as an excessive type of\nthat altruism which is at the root of the majo-\nrity of what may be described as typical\nwomen's crimes. In these cases, far from being\nexpressive of criminal instinct, it is precisely\nthe woman ' s devotion to those whose well-\nbeing she has most at heart that blinds her\nto the rights of others: and, since it is not\nselfish advantage which prompts her, she\ndoes not commit her crime like a criminal\nbut prompted by the highest motives and\nsecure in the conviction of acting rightly\nsince she is advancing or protecting the\ninterests of those whom she feels it her duty\nto & &\n& By this fact Herr Goll Interprets the whole\npuzzling prob em of Lady Macbeth ' s action,\nher apparent' callousness, her indifference\nto the crime committed, and shows her\nmadness and death as the result, not of\nremorse because they had murdered Duncan,\nbut of the fact that instead of rendering\nMacbeth happy the deed had but destroyed\nhis peace of mind.^\n& As the author excellently and rightly af-\nfirms, \" she is not seized by remorse; to\n\" casual spectators only a sort of naive\n\" audience .... does the word * remorse '\n\" promptly occur, when they see how she\n\" suffers. She herself does not utter one word\n\" which may be rightly construed as re-\n\" morse \" \" She committed the crime by\n\" reason of what constituted her innermost\n\" nature; it arose in fact, out of the best in\n\" her: her strong determination to give to\n\" Macbeth the best that was in her \" and it\nis because in some way that she does not\nunderstand he has been only led into suf-\nfering, fear, agony and reiterated crime that\nshe \" took off her life \" and was \" crushed\nby the play of existing forces outside herself\nbecause they crushed the dearest thing she\nposesssed.\" &\n& No less penetrating and masterly is the\nmethod of analysis applied to lago, the cynic\nwhose work it is to destroy faith in all good,\nbelief in all beauty; to disillusion, to pass\nlike a blighting wind across the landscape of\neach life with which he comes in touch. A\nlight sin, perhaps, at first glance, and yet\nthe deadliest, for; \"Kill the power of confi-\n\" dence, the possibility of confidence in huma-\n\" nity, and human society becomes impossible\n\"the source of the stream is interrupted, and\n\" barrenness will prevail where before reigned\n\" blessed activity\".\"This is lago's crime against\n\" Othello.... the greatest crime which can\n\" be committed. Put humanity in the place of\n\" Othello and lago becomes the greatest cri-\n\" minal in the world.\" & &\nAnd is not this, only putting an audience\nin place of Othello, just what some of our\nmodern playwrights are prone to do ? They\nsneer at good, mock at beauty, prostitute\ntruth, kill faith in all lovely and noble things,\nand, while undermining the very foundations\nof the commonweal, yet pose as \" honest\nlago\", the saviours and protectors of that\nwhich they destroy. &\nJZ? Space does not allow of comment upon\nthe other characters chosen for study, but\nwe would say in conclusion that this is a\nbook which should prove invaluable to the\nactor who studies earnestly the roles allot-\nted to him, while it is equally to be re-\ncommended to readers of Shakespeare, and to\nall who concern themselves with that my-\nsterious and complex thing, the psychology\nof crime. &\n\nWIT AND HUMOUR OF THE STAGE.\nG. W. Jacobs & Co. Philadelphia.\nJ11 this amusing little yoliime have been\ncollected together a number of very excel-\nlent stories about actors on and off the stage.\nAs the writer says in his Prologue, \" from\nthe days of the strolling player to the pre-\nsent, the noble guild of mummers has per-\nforce been possessed of an inexhaustibly\nhappy unconcern and a very pretty wit;\"\nand we can give no better idea of the pre-\nsent book than by quoting one or two of the\ngood things it contains.\n\" Once Henry Irving, while playing Mac-\nbeth in London, was somewhat disconcerted\nby one of the \" gallery gods \". He had reach-\ned the point where Macbeth orders Ban-\nquo's ghost to leave the banquet board.\n\" Hence, horrible shadow, unreal mockery,\nhence \" exclaimed Irving in his most tragic"}, {"page_pdf": 51, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.51", "texte": "tones, and with a convulsive shudder sank\nto the ground, drawing his robes about his\nface. Just as Banquo withdrew, an agitated\ncockney voice from up in the gallery, as if\nto reassure Irving, piped out, 44 It's all right\nnow, 4Enery, 4e4s gone ! \"\n& Here too Is a good story about John Ryder,\nteacher of elocution and at one time Macrea-\ndy's leading man,\n44 He was on one occasion stage-managing\na play in which a tremendous thunder-storm\noccurred. Ryder had called half-a-dozen\nspecial rehearsals of this storm, but he could\nnot get the stage hands to obtain enough\nnoise out of boxes and cannon balls. In the\nend he got exasperated, and, In a temper,\ncalled out to the flymen, 4That won't do at\nall. You must get more rattle. \"\n& 44 As it happened a genuine and violent\nthunder-storm was in full blast in the hea-\nvens at the time, and it was after the 'artil-\nlery of the clouds' had been doing its best\nthat Ryder was the most dissatisfied. 'Louder!\nLouder!' shouted Ryder. The flyman shouted\nin return, 'Beg pardon, sir; that wasn't me.\nThat was God Almighty.' J£?\n44 Well\" roared Ryder, ,'that may be loud\nenough for God Almighty, but it won't do\nfor Jack Ryder.\" &\n& And here is the story of an incident be-\nfore which all records of English 'deadheads'\nsurely pale! & & &\nA manager was taking a company on tour\nin the West of America. One night he met\nan influential citizen in a hotel, and before\nthey parted the manager had invited the\ncitizen to come to his show the next night\nand 44 bring his family \". About eight o'clock\nthe next night the man put his head into the\nbox-office window and was immediately re-\ncognised by the manager. 44 How many have\nyou with you ? \" the latter asked pleasantly,\nas he prepared to write out the pass. \"Well\nsome of my family are sick' \" replied the man,\n\"so I have been able to bring only forty-two!\"\n\"you see,\" commented the teller of the\nstory, 44 my friend had quite forgotten he\nwas in Salt Lake City. The influential citizen\nwas a Mormon. \" ! !\nThese three extracts will serve to show the\ncharacter of this little volume, which we\nrecommend to all who need that best of\ntonics, a hearty laugh. &\n\n\"ARGUS\" A fortnightly journal.\nHelsingfors. Finland. & &\nrgus \" continues to grow more inte-\nresting to us; but it would be yet more\ninteresting in our opinion if it contained\nmore regularly some notice of the Finnish\ntheatre. We should welcome the news that\nFinland possessed a living theatre; or should\nbe equally content if it were announced that\nthe theatre were dead. & &\n& What we mean is that something defi-\nnite is gained by either announcement.\nBut among recent articles which have given\nus great pleasure is that by Emil Ziiliacus,\none of the foremost critics of the north, who\nwrites exceedingly well upon the Swedish\npoet Vilhelm Ekelund. He is charmed with\nthe two works of this poet; \" The Antique\nIdeal \" and the \" Greek Bouquet \". and one\nfeels how good these two books must be\nwhen one reads this finely felt and finely\nwritten criticism of these two works written\nby a poet in prose who knows how to chant\nas well as to sing. jg? jg?\n\nCRITICS CRITICISED\n\nBone's.... art has been mentioned\n44 with Meryon's. Meryon was a dreamer;\n44 the streets of his Paris are haunted, the win-\n44 dows eloquent of tragedy. Mr Bone creates\n\" the ordinariness of the London Suburb\n44 with as rare an art, in his way, as Dickens.\n44 He has his romantic moments, chiefly be-\n44 fore the spectacle of Labour. When in this\n44 mood he is akin to Brangwyn and Mr Kip\n44 ling.\" -*? &\nThis was written in 1907 in an English\nArt Magazine. May we shortly expect some>\nthing like the following? 44 Mr PROUD'S art\n44 in its romantic moments recalls vividly the\n«4 style of ALEXANDRE DUMAS and that of\n«4 another, (whose name we must not forget)\n44 MISS MARIE CORELLI. At the same time\n44 it is not to be denied that in his sea pieces\n44 one almost feels the nervous touch of one,\n44 (whose name will never be forgotten)....\nof HORATIO NELSON. In his battle pieces\n44 the direct influence of HOMER is obvious\n44 at first sight, yet on second thoughts it is\n44 another name which occurs to us,.... we\n44 mean LORD KITCHENER. Still here we must\n44 agree with Fusser that in the handling of"}, {"page_pdf": 52, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.52", "texte": "44 the guns in the foreground of his great\n44 canvass 44 The Flight of the British Army\n44 before Berlin \" he Is not to be ranked with\n44 HERKOMER whose treatment of the same\n44 subject is far more spirited, influenced as\n44 it is by one whose name we will never\n.4 forget to drag in.... we mean PRINCE\n44 BISMARK. & &\n& Now how is it that the English critic\ncannot resist mentioning half a dozen names\nof famous men when he wants to speak well\nor ill of some young painter ? What on earth\nhas Mr Bone done that Kipling should be\ninvoked ? ... and why not let poor Dickens\nrest quietiy without reminding him (and us)\nof the destruction of London ? &\nSo with Mr Shannon. The London critic\nwho does not mutter to himself about44 the\ninfluence of Mr Watts \" feels that his con-\nfession is not genuine. How right in feeling\nthis is, for only the one confession will ever\natone, 441 know nothing \"! Mr Nicholson can-\nnot paint a picture without the critic allu-\nding to Hogarth, Rolandson, Smollett and\nDick Ttirpin. Mr Ricketts has only to engrave\na piece of unsullied box for the critic to\ndrawl out, 44 Early Italian Masters, Rossetti,\nLongus, Sandys and Bewick \". It is the cra-\nziest way of pretending to be critical to\nquote a string of names of men whose names and\nnot their work is in some way associated with\nthe subject or materials used by these young\nartists. 1 should like to know to exactly how\nmany masters of Painting, Literature, Music,\nArchitecture, Chemistry and Military Science\nMr Augustus John and Mr Gordon Craig have\nnot been compared. And yet how can Mr\nJohn be compared with Sir William Jenner,\nor Mr Craig with Sir John Moore ... ?\n\nFOREIGN NOTES.\n\nLONDON\n\n'\"Jphe Pantomime season is here. It started\nwith 44 The Blue Bird \" and ends with\nBine Beard \". &\nIn none of these dramas for children is\nthe story made at all clear. The children\nwill believe that 44 BIue=Beard \" is something\nto do with a man who throws up into the\nair a quantity of plates and catches them\neasily, and those who see the 44 Blue Bird \"\nwill remember that there was a lot of loud\nmusic without any haunting tune, a lot of\ngirls imitating the imitations of Miss Maud\nAllen and a quantity of ill bred animals. They\nwill never want to see a London cat again as\nlong as they live lest it should suddenly\nspeak to them with a strong Cockney accent.\nThe animals in the 44 Blue Bird \" are alarming.\nThe Rabbit is like a Penguin; the Ox like\na Walrus and the rest like other sea monsters.\nThe order to the animals seems to have been,\n44 flap your hands about and waddle and let\nMr Clarkson do the rest\".\nThe Dog was good. The Bread was good.\n44 The Water \" seemed to have got mixed with\nThe Milk \" and \"The Milk \" with \" The Wa-\nter \". 44 The Fire \" being enacted by Mr\nVolkes had to kick his legs,... nobody knows\nwhy: possibly in London nobody cares, but I\nhave reason to doubt this. 44 The Light\" was\nvery seriously considered by a beautiful young\nactress, but as she could not illumine the part\nin any way the lime-light men had to do it for\nher. She spoke the lines of Maeterlinck as\nthough they expressed the saddest things\nknown to men or angels; it would have been\nmore beautiful had she said nothing.\nThe scene painters had also managed to\nwork up their saddest feelings; one could hear\nthe tremble of their voices; it made their hands\nshake, The costumes almost broke into tears;\nthe music sobbed itself hoarse, a very tempest\nof sorrow broken every now and again by a\nflashlight signal, 44 seven minutes interval \".\nWhen the seven minutes were up Time was\ncalled and the misery of searching for Happi-\nness was once again told us, shown to us,\nsung to us and danced to us. JZ>\nTo all these fairy figures on the stage\nmystery seemed a terrible and awesome thing:\nthey all seemed to tremble with apprehension.\nOnly two figures seemed entirely at ease;\nthese were the two human children who\nwere seeing all these revelations for the first\ntime. Nothing seemed to awe them; they took\neverything as a matter of course. 44 Fairies ?\n44 pooh I we know better and if you are\n4 fairies, we don't care anyhow. Giants ? oh,\nwhat a bore!\"\n& As these children dominated the play the"}, {"page_pdf": 53, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.53", "texte": "result was dreadful\nIn short, there was pathos where there\nshould have been laughter, perkiness where\nthere should have been timidity or wonder-\nmerit; monkeying where there should have\nbeen mystery.\n& Yet Mr Max Beerbohm and Mr William\nArcher liked it all and tell us that they can't\nsee how It could have been done better.\nAfter that it Is really somewhat presumptuous\nof us to hold any opinion.\n\nR. S.\n\nHYSTERIA.\nB. P.\nthe Afternoon Theatre Madame Lydia\nYovorskaia, known in private life as Prin=\ncess Bariabinsky, has been appearing, among\nother roles, as 44 La Dame aux Camelias \" and\n44 Hedda Gabler\".\nj£? The 44 Atheneum, in writing of the per-\nformances, describes her as 44 an actress of\n44 unusual emotional sensibility\". 44She was\"\ncontinues the critic, 44 at her best in\n44 depicting the sorrows of Dumas' sentimental\n44 courtesan. In her capacity for abandoning\n44 herself to the luxury of grief she has no equal\n44 on the English stage, Hysteria seems to be\n44 the note of her art, but she is far from\n44 being monotonous or consistently lachry-\n44 mose On the whole she has produced\n44 a very favourable impression \"\nYes, we do not doubt it; and it is just in that\nfact that the harm lies. If these exhibitions of\nhysteria and gloom had aroused contempt\nand detestation in the audience it would\nhave been a healthier sign. JZ? <£?\n& Medical testimony has been brought\nforward in proof of the phsychological influ-\nence exerted upon an audience by what passes\nbefore its eyes in a theatre, and yet while, in\nlife, we respect the women who are coura-\ngeous, who wear a gay mask for the world\nwhatever be their private sorrows, who have\nself control and strength of will and purpose,\nwe allow these gloomy and lachrymose exhibi=\ntions upon our stage.\njz? The Greeks used to set up figures of the\ngods in their public places so that the boys\nand girls, having constantly before them these\nsane and splendid examples might grow like\nthem. We, less wise than they, publicly\nexhibit weakness, gloom and hysteria,\nand then wonder at the hysteria of the\nsuffragettes.\n\nG. N\nin Theatre or Cathedra? there is\nan absence of Life in the services.\nI was in Westminster Abbey on Christmas\nafternoon. Handel's Anthem 492 was to be\nsung. Bridge was at the organ. A wonderfully\nclear and steady boy's voice came from the\nchoir. But enthusiasm or life there was none.\n1 could not understand why it delayed coming.\nI waited and waited in the hope that some\nspark would set aS! my being aglow. Nothing!...\nHandel's Anthem was over without having\nonce come to life. Still I waited 44 Hark,\nthe herald angels sing \" was down on the\nslip of paper in front of roe...... And now\nthey are singing it mow it is over\nNothing! No enthusiasm, no glow, no life in it.\nI expected the expression of Joy so tremens\ndous that everyone's face would have been\nlighted up, everyone's body aieri and tin=»\ngling, every voice responding. Instead of this\nNothing. &\n& 1 look around rne. Everyone looks tired or\nsad,... precise or dead.... no one Is warm.\nA Christmas carol follows..,. the writer\nof it has made something very delightful\nwhich the interpreters have doled out to us\nas people give halfpennies to beggars. The\nsingers dragged precisely as actors drag.\nThey ladled out the rhythms like a thick\nsoup.\nAll Handel is not dirge nor is all Shake-\nspeare; in fact both writers are joyous\nwhy then this dull=joy way of uttering both\nmasters?.... JZ?\nTo be enthusiastic seems to be a crime\nin London.... to shout for joy a blunder...\nto be moved a vice. The well-starched soul\nof the precise Londoner is a naked and hor=>\nrible sight. One prefers the more uncouth\nJaeger soul of the Shaws... .. But is there\nsome third spirit in London, something\nwith Life in it that is neither mineral nor\nvegetable ? & &\nIt is not to be felt in the Theatres nor in\nthe Churches. Perhaps it is cowering in the\nSlums, for London is more Tyrannic\ncal than all the Caesars and Popes of Italy\nand no warm sun comes through the win-\ndows at Westminster.\n\nWOMEN IN THE THEATRE.\n\n''jphe talk turned the other day upon actres-\nses and how it might come to pass sooner\nor later that women would no longer find it\nconvenient to waste themselves on the stage.\nSomebody,... and it was indeed Some-\nbody ... said, \"The Stage would be very dull\nwithout women on the boards 99 (i).\nIt was a lady who said this; she is a very\n1) Is the \"real tear\" the actresses' protest against dulness in the\n(theatre of the Ancients ? Ed."}, {"page_pdf": 54, "page_imprimee": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.54", "texte": "famous actress. It would be a little difficult\nto explain to a celebrated actress that the\nstage might be less dull under the conditions\nwhich permitted none but men on the boards\nfor her personal beauty and her influence\non those around her compel our admiration\ntoo readily. But it cannot be forgotten ..,\nindeed, it may well be carefully remembe-\nred ... that the actress is a quite modern\naddition to the Theatre and that the Thea-\ntre was not so very dull before she tendered\nher assistance.\nIn the East until quite recently the\nactress was unknown. In the West there was\nthe theatre of Aeschylus, Sophocles, Euripi-\ndes and Aristophanes and none but men per-\nformed. There was the stage of Shakespeare\nwith men only for all roles.\nThese two periods cannot be entirely\ndisregarded. The impersonators of the roles\nof Klytemnestra, Elektra, Alkestis, Kassan-\ndra, Medela and Phaidra cannot have been\nentirely dull since the whole Greek nation,...\na nation not entirely devoid of taste or the\npower of criticism ... received the imperso-\nnations with enthusiasm. &\nIt cannot but be supposed that the Greeks\nhad weighed the advantages and disadvan-\ntages of employing women for the female\nroles and decided against the women only\nafter considerable doubt.\nIn like manner the poets of the Elizabe-\nthan era must have given the question full\nconsideration. Yet these writers came to the\nsame conclusion and decided that it was\nbetter for none but men to perform.\n& Women accompanied the minstrels of the\nMiddle Ages; why did the poets deny them\naccess to the stage ? The Elizabethan age\nwas in no way straight-laced. The whole\nquestion then must have turned upon the\ndifference between male and female intelli-\ngence. &\nFor my part I think that a dull stage\nis duller without actresses, but that a virile\nand spontaneous drama has no need of their\nassistance.\nj& The other day in The Mask Professor\nRaleigh was quoted on this matter. It can\ndo no harm to requote him:...\n44 Poetry, like religion is outraged when\nit is made a platform for the exhibition of\ntheir own talent and passion by those who\nare its ministers. With the disappearance of\nthe boy-players the poetic drama died in\nEngland, and it has had no second life.\" J. B.\nJn London Scenepainters still derive their\ninspiration from' pictures and photographs\ninstead of from nature. I speak of the youn-\nger men. The old fellows are just as good as\never they were.\n44 How else can I paint the walls of Jeru-\n44 salem or the banks of the Nile unless I\n44 work from photographs ? \" cries an exas-\nperated scenepainter to me.\n& that is true how else ? G. N,\n''jphe actors, even the actor-managers, of\nwhat is called the legitimate drama are\ngoing upon the Halls. Mr Seymour Hicks has\ngone, Mr Bourchier and his beautiful wife\nhave gone ... Mr Cyril Maude is going.\nThey go there to make money you think?..\nNot at all... they go to prove how superior\nan actor of the legitimate drama is to the\nordinary rogue and vagabond actor of the\nHalls. &\nAnd they have not made it quite clear so\nfar ,.... now it is Mr Maude's turn.\n\nA. S.\n\nEDITORIAL NOTES.\n\n''phe Censorship Enquiry Committee has\nfinally published its report in a Blue Book\nof three hundred pages. The labours of the\ngentlemen who composed it are therefore at\nan end. Everybody has spoken a great deal.\nSome have spoken extremely well: indeed,\nthe power of speaking of some of the\nplaywrights and others who have expressed\ntheir views is so well known that any praise\nof them would be but painting the lily. It\nhas been a fine opportunity for the airing of\ngrievances, though some of these, which had\nappeared most solid and well-established\nwhen kept in a dark seclusion, melted into\nmist in the light of publicity as do certain\nwell preserved Etruscan corpses when touch-\ned by the intrusive light of day.\nAt all events, we now know the best and\nthe worst about Mr Redford. We know that"}, {"page_pdf": 55, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.55", "texte": "in fourteen years he has read seven thousand\nplays,... and is yet alive. We know that of\nthese he has only rejected thirty, of which\nbut five were English. We admit that he\nmay have been mistaken in one or other\nof these five, but then Mr Redford is made\nof the same clay as Mr Bernard Shaw, and to\nerr is Shavian. What surprises us is that the\ndenial of five English plays to a satiated\npublic should have aroused in so large a\nparty of gentlemen the desire to cast Mr\nRedford to the lions. Even supposing he were\nwrong, five errors in fourteen years is a\nmoderate figure for any one but the Omni-\npotent Himself. & & &\nOf course Mr Archer now says 44 the argu-\nment from numbers is no argument at all \".\nWe should have thought it was. It is undenia-\nbly unfortunate that one man ' s head should\nbe cut off by mistake through an error of\njustice, but it seems to us certainly an ex-\ntenuating circumstance that the number\nwas one and not five score. &\nIn fact, on the whole, Mr Redford seems\nto have discharged his functions very credi-\ntably, and we are glad to see him established\nin his office and to know that in those cases\nwhere a producer chooses to disregard him,...\nand that option is now given ... the respon-\nsibility shall be his own, and the costs,.. .\npossibly heavy ones in case of any indiscretion,\nshall also be his own.\nOf course a large number of persons\nremain unsatisfied, because it is not the\nCensor' s individual actions so much as his\nmere existence which they cannot away with.\nThey cannot breathe freely while he, in his\nofficial capacity, walks the earth. JZZ\nAnd yet it is just his existence which is so\nsalutary ,... far more so than the occasional\nprohibitive measures he adopts, as when he\nfinds it necessary to control Mr Bernard\nShaw ' s wayward fancy as to the names of\nthe characters he wishes to bring upon the\nstage.\n& For instance, Mr Wells declares that44 The\nCensorship, with its quite wanton power\nof suppression, has always been one of the\nreasons why I haven ' t ventured into play-\nwriting \". 4&\nJSf Far be it from us to attempt to estimate\nwhat the stage has lost by this caution on\nthe part of the author of 44 Ann Veronica\nbut we might remind Mr Wells that the\nhangman is only a terror to the law-breaker,\nand that the average citizen, so long as he\ndoes not break the laws, has no need to call\nthat official ' s existence to mind at all.\nBesides, Mr Wells is the creater of the\n44 Time machine ... Create others, Mr Wells,\nthey are superb.\n<£* Again, Mr Barker felt himself aggrieved\nbecause in accepting a play recently for\nperformance in his theatre he had to make\nthe acceptance conditional upon the approval\nof the Censor. J& &\n& It grieves us not to find ourselves entirely\nin sympathy with Mr Barker, for whose work\nwe have a sincere admiration, recognising\nin him one of the ablest workers in the\nEnglish theatre, but we hardly think that\nthe welfare of the stage would be imperilled\nnor its liberties seriously infringed should\nthis play, (which treats of the love of a man\nfor his father' s wife) fail to satisfy Mr\nRedford ' s sense of what is fit. J£? <£?\nAs for the plea advanced that the existence\nof the Censor deprives the theatre of the\nliberty permitted to the other arts, it is so\nshallow a one that a moment's recollection\nof the different conditions of those other\narts is sufficient to refute it. &\nJS? As we have pointed out before, many\nthings are permissable, legitimate, fit and\nbeautiful in paint or marble which would\nbe both offensive and ridiculous when re-\npresented by living actors on a stage; and\nanother factor to be taken into account,\nbesides the living actors, is the presence of\nthe audience. There are things which, whis-\npered to one person, may be entirely seemly,\nbut which become idiotic if not outrageous\nwhen proclaimed to a mixed assembly. There\nare certain sights which are vulgarised by\nthe mere presence of spectators,... a fact\nemphasised recently in an American theatre\nwhere a young lady of exuberant charm was\nexhibited in an aquatic scene clad only in a\nbathing dress, and, lest the audience should\nmiss the point, a44 peeping Tom\" in the\nperson of a photographer was introduced\npeering over a rock in th 3 corner of the stage.\nYes, certainly we still need the Censor,\nand we are glad to see that the final result\nof this long and searching enquiry should\nhave re-established him. We may be said to\nhave won. How awful! One battle the less!\nGentlemen, it was downright unfair of you\nto give in Compliments &\nnd where does Shakespeare come in? \"\nThat is our feeling upon reading the\nreport of the address lately delivered by Mr"}, {"page_pdf": 56, "page_imprimee": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.56", "texte": "Bernard Shaw at the animal meeting of the\nOxford University Drama. Society in support\nof a Shakespeare Memorial National Theatre.\nAs Ruskin complained that in a certain\nNativity by Ghirlandajo the one thing which\nwas missing was the Baby, so the poet upon\nwhose name the whole project is ostensibly\nfounded is the one man who seems to have\nno place in Mr Shaw's speech. & <£?\n& We might observe, incidentally, that, in\nconsideration of certain past opinions expres-\nsed by Mr Shaw upon the great English\ndramatist we think the whole subject is one\nupon which he would have done better to keep\nsilence, as, even if forgotten by him, they\nare yet fresh in the minds of others.\nMr Shaw however, is one of those who 44 let\nthe dead past bury Its dead\". As-lie has\nentombed such memories as the Fabian\nSociety and certain Sunday afternoons in\nTrafalgar Square, so he has consigned to\noblivion certain utterances about Shakespeare\nand is now ready to 44 act in the living\npresent\" by soliciting contributions for a\ntheatre to keep the poet's memory green.\nPersonally we are inclined to think that\nit is rahther the work of Mr Shaw and his\nfriends which is to be advanced by this new\nplay house which they appear to desire so\nardently, for, apart from the small role\nShakespeare is to play in the programme, we\ndo not see why he is likely to be more wor=\nthily represented in a State=endowed theatre\nthan in a theatre of private enterprise.\n& Mr Shaw is reported as having said to\nhis audience that if they wanted to be a\nmelodramatic nation they must not have a\nnational theatre but if they wanted to be a\ncultured, poetic, philosopical nation they\nmust have one.\nBut why? Like Miss Dartle, We 44 only ask\nfor information.\nWe do not find so remarkable and beneficial\nan influence exercised by the many State\nendowed theatres in Europe: and, as for the\nsubscribers to this proposed national theatre,\ntheir position, as we have said before, will\nbe this.... They will first of all pay for the\nfounding of their theatre and they will then\nhave to pay every time they wish to make\nuse of their theatre, which, from the subscri-\nbers ' point of view, is undoubtedly bad\neconomics, whatever it may be from that of\nMr Shaw and his followers. £?\nBut it is obvious that Mr Shaw must\nsupport the National Theatre as he has just\nfinished writing a National Drama. And it\nIs obvious that any National Drama of Eng-\nland must play Mr Shaw ' s drama. &\n& The two, Shaw and Nation, are at last\nlinked Inseparably together. Let us all rejoice.\nMr Shaw is tamed at last, and we have no\nfurther use for him. & &\n'jphe 44 New York Times \" has been gathering\nthe opinions of some of the leading actors\nand students of the American stage as to\nwhether the public goes to the theatre to\nsee or to hear the play; whether the primary\nappeal is to the eyes or to the ears.\nThe writer of the Introduction to this\n4Symposium ' puts the question, 44 If two men,\none .blind, the other deaf, went to a play,\nwhich would get the most out of It?\" and,\nafter dwelling upon the effect on the audience\nproduced by Kean ' s voice and Macready ' s\nreading of his lines, goes on to quote George\nHenry Lewis, who writes in his Essay on\n4 Art as an Amusement', as follows: 44 In the\n44 days of Racine the audiences were delighted\n44 with beautiful verses and cared more for the\n44 rigorous fulfilment of certain critical con-\n44 ditions than for 46 getting up \" or exciting\n44 situations. The glitter of processions, the\n44 clash of swords, the tumult of orchestras,\n44 the splendour of dresses, the movement,\n44 noise and 4 grand effects ' which dazzle and\n44 confuse us were unknown to them; In the\n44 silence of admiration they listened to the\n44 cadence of a verse, tasted the delicacy of\n44 an expression and pondered on the subtlety\n44 of a thought. They left the theatre, not as\n44 we dq, with aching heads and confused\n\"judgments, but with expanding minds touch-\n44 ed to fine issues by the magic of art; they\n44 dwelt upon the characters, the passions,\n44 the poetry and the skill by which the poet\n44 had effected his object within the conditions\n44 of his art. Nor is this less true of Shake-\n44 speare ' s audiences jgr\n& The majority of the opinions expressed\nby the modern workers in the theatre as\nsolicited by the 44 New York Times \" assert\nthat it is to see rather than to hear that the\naudience assembles, though Professor Bram-\nder Matthews, while admitting that the ap-\npeal of the play is 44 primarily to the mind\n44 in the sense that light travels more quick-\n44 ly than sound and that a gesture will reach\n44 the spectator before a spoken word \" yet\n44 holds that inasmuch as in a broader sense\n44 the dramatic appeal is primarily to the\n44 mind \" the spoken word is after all the"}, {"page_pdf": 57, "page_imprimee": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.57", "texte": "elemental medium of that appeal.\nup Professor Brander Matthews * and Mr\nKyrle Bellew 7 s voices are, however almost\nthe only dissentient JZ? -Z?\nMr Augustus Thomas has come forward as\nthe unhesitating champion of the opinion\nthat the appeal to the eye is the primary\nobiect of a theatrical representation. \"Many\n44 plays he declares, 44 are written for the\nlibrary only\" 44 One must not\" he asserts,\nhowever, 44 make the mistake of saying that\n44 it is more for the eye than it is for the\n44 mind, but must remember that the eye and\n44 the ear are both avenues to the intelligence\n44 and the eye deals with it more directly. The\n44 stage is the avenue through which not only\n44 actions are eloquent, but also surround®\n44 ings, and these make through the eye an\n44 appeal that is utterly absent from the lines\n44 of a play and which reaches neither the\n44 silent reader nor the mere listener, but\n44 comes only to the observer\". JZ? Z?\n4& Mr Kyrle Bellew writes, 441 think the\n44 audience goes to the theatre to see the\n44 play the development of the histrio®\n44 nic art has been steadily away from panto®\n44 mime and declamation and in the direction\n44 of conveying the actors 7 meaning through\n44 the medium of the speaking voice, as people\n44 convey their meaning in life. The Greek\n44 actor, his head incased in a grotesque mask,\n44 declaimed in a vast open®air auditorium\n44 the forma! verses of his poets. His gestures,\n44 like the lines and their delivery, were\n44 formal. They were not intended, at the\n44 beginning, to create a realistic illusion of\n44 life, but to create what might be called a\n44 poetic or decorative illusion of life. As time\n44 went on the play became more and more\n44 an attempt to picture life as it really is,\n44 and so the medium which the actor uses\n44 came to be the medium which people use\n44 in life, that is, speech77 z?\n& Mr Otis Skinner writes, 44 so much does\n44 the impressionism of the theatre depend\n44 on the development of its visual side that\n44 one is almost tempted to say that plays,\n44 like little children, should be seen and not\n44 heard. But this would be an obvious mis®\n44 statement. The play that belongs to the\n44 acting drama, (which is the only perfect\n44 form of drama) should be both seen aad\n44 heard. Both the eye and the ear must be\n44 appealed to if we would get the greatest\n44 results. z? & z? z? z?\nJZ? 64 But drama is possible without the use\n44 of a single spoken line..... a play is pos®\n44 sible without words, but without action or\n44 impersonation words would not form a play.\n\" The beautiful poetry of Shakespeare,\n44 the brilliancy of Sheriden, the epigrammatic\n44 wit of Wilde, Pinero or Augustus Thomas,\n44 appeal as strongly to us in the speaking. It\n44 is not these qualities of poetry or of bril®\n44 liaxit epigram, however, that have made\n44 plaj's great, but the action in the scenes\nbehind them. £? JZ? JZ? JZ?\n44 It is always wonderful to me to note\n44 the moments of the greatest stage effect\n44 in the presentation of Shakespeare ' s plays.\n44 In Julius Caesar it is at the conclusion\n44 of Anthony 7 s speech, and, despite the fact\n44 that it Is an oration, ft is the action of\n44 Anthony and the mob that gives us our thrill.\n441 remember hearing an old actor read this\n44 scene beautifully without any action from\n44 a mob, and being impressed only by a fine\n44 bit of elocution. The most impressive and\n44 thrilling moments of \"Hamlet \" are those on\n44 the platform at Elsinore, the ghost7 s ap®\n44 pearance, the melodramatic contrivances\n44 of the 4 play scene % Hamlet7 s mad emotio®\n44 nalism in the graveyard scene, the killing\nof Polonius and of the King, the duel with\nLaertes and Hamlet7 s death. 77 jmmfmtiEwx&ut mnwmm— imi.ii—— »»»*\" MHBBWWMMBMSwaWM—wbb"}, {"page_pdf": 59, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.59", "texte": "HEAL' & SON'S\nOLD FASHIONED FABRICS FOR\nCURTAINS & LOOSE COVERS.\nSs\n• •\na\n$\n%\n/\n•8\nChintzes, Printed Linens & Printed Cottons. Write for\nillustrated Booklet 41M\" with photographs & prices.\nHeal & Son have special materials for Casement\nCurtains. Booklet44 K\" with small patterns sent postfree.\nTOTTENHAM COURT ROAD, LONDON"}, {"page_pdf": 60, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191001-01.1.60", "texte": "THE^PA^^!\nA QUARTERLY JOURNAL OF THE\nART OF THE THEATRE^\nSOME PRESS OPINIONS OF THE MASK\n■IBBHBBHHMnnHBHBnMHHHHBBniHMHMHHnHMiDHMBMMHHHnMBHnBHM\nj& THE DAILY TELEGRAPH.. 44 A very amusing and stimulating, as well as a most beau°\ntiful magazine. \" £/ j& j& & &\nPALL MALL GAZETTE. 44 There is not a page in it which is not interesting and stimu=\nlating in a fine way.\nWESTMINSTER GAZETTE. \" A quite remarkable magazine, rich in intelligence. \" &\n& THE NEW AGE. 44 The Mask is the most beautiful magazine published. \" & jz?\n& LIVERPOOL COURIER. 44 By the delicacy of its format, the pleasantness and dignity of\nits types, the careful excellence with which its illustrations have been reproduced, the\ncharacter of the illustrations themselves, and the curious distinction and sincerity of its\nliterary contents, it seems to prove that the artistic centre of Europe has once again shifted\nto Italy. \" J& JSr &\nM r PERCY MACKAYE. \" Your journal has for me the rare attraction\n44 of abundant intellectual activity with aesthetic charm. Its freedom, its courage, its\n\" fecundity of ideas, its emphasis of vital potentialities in the theatre, its ample horizon,\n44 which aims to review the centuries as well as the seasons of theatrical art, its earnest\n44 search for rational criteria, its championship of the poetic and creative in its own field,....\n44 these unusual qualities differentiate The Mask from that large class of art journals which\n44 are mere catalogues and tend to give it a perennial rather than a momentary appeal.\nO V R FIRST VOLUME*?\nnUTfWMTIil III— III 111 ■! Ill HI ■ IMITTn\"—*,?T*,Tjr —- ,\nThe first Volume of The Mask9 March 1908 — February 1909, bound in the best Florentine\nvellum, may be had at twenty shillings, ( Francs 25,00, Marks 20, Dollars 5.) a copy from\nthis office.\n—■———ibto—M—H——— II I—I IIWIBI Willi Bill Ifllll III1MMMWBBMWI HUM 1MB ■■WIIII'W WI'flMIMHI MMHH IIIHIIITf'jfroM KBMW8TO——— i———»\nYEARLY England, 15 Shillings! America, 4 Dollars j Russia, 8 Roubles POST\nSUBSCRIPTION Germ any, 15 Marks I Italy, 15 Lire, j France, 20 Francs. FREE\nTHE MASK OFFICES, ARENA GOLDONI, FLORENCE.\nPrinted for the Proprietor by Tipogralia R. Lastrucci Via dei Serragli, 104 Florence and published at The Office of \" The Mask \"\nArena Goldoni.\n\nTHE BOOK NEWS\nJ& Its mission is to save you from reading a poor or a disappointing book, or from\nexperiencing the chagrin that accompanies \" Un=>informedness. \" & & &\nj& THE BOOK NEWS MONTHLY is as up to date in book matters as a newspaper and....\nJUST AS NEWSY. Its address is Philadelphia, U. S. A. j& £> & &\nJS? DOI, I.OO a year. 10 cts: a copy. Sample copies sent on request."}]}