{"numero_id": "bm-bmtnaau-1910-07-01", "volume": "bmtnaau_1910-07_01", "ocr_sha256": "7bbc392d7c78aba811b800af33c3f64ddd48c5f33fc767061cbf6511b86a424f", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1910/07_01/bmtnaau_1910-07_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1910/07_01/bmtnaau_1910-07_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01", "articles": [{"article_id": "bm-bmtnaau-1910-07-01-c002", "article_bluemountain": "bmtnaau_1910-07_01#c002", "volume": "bmtnaau_1910-07_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=bmtnaau191007-01.2.2", "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=bmtnaau191007-01.1.2", "debut_caractere": 0, "fin_caractere_exclue": 782, "texte": "LITERARY CONTENTS.\nTHE REREDOSES AND THE THEATRE OF THE FIFTEENTH CENTURY by JOHNNY ROOSVAL.\n& A FRAGMENT FROM THE MEMOIRS OF MLLE. H1PPOLYTE CLAIRON. (1723-1803)\nTRANSLATED by GEORGE HARRISON. uS> THE ANCIENT ENGLISH MORRIS DANCE by\nFRANCIS DOUCE. 1808. CONCLUDED. 0 A MANAGERIAL TRICK, FROM THE MEMOIRS OF\nMLLE. GEORGE. LADIES, TEMPERAMENT AND DISCIPLINE by E. E. AFTER YOU'VE\nFINISHED WITH IT by JOHN BALANCE. 0 THE ARCHITECTURE AND COSTUME OF\nSHAKESPEARE'S PLAYS by E. W. GODWIN, JS/ THE EXQUISITE AND THE PRECIOUS by\nGORDON CRAIG. & THE GENEALOGY OF PULCINELLA by Dr MICHELE SCHERILLO.\nTHEATRICAL REFORM by GORDON CRAIG. THREE STAGE CHARACTERS by GILBERT\na BECKET. A LETTER ON THE RUSSIAN THEATRE from GORDON CRAIG. BOOK\nREVIEWS. & FOREIGN NOTES. 0 EDITORIAL NOTES. £/ <0 £? £?"}]}, {"article_id": "bm-bmtnaau-1910-07-01-c003", "article_bluemountain": "bmtnaau_1910-07_01#c003", "volume": "bmtnaau_1910-07_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=bmtnaau191007-01.2.3", "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=bmtnaau191007-01.1.2", "debut_caractere": 784, "fin_caractere_exclue": 1165, "texte": "ILLUSTRATIONS.\n\" A WREATH OF CHIVALRY IN MEMORY OF KING EDWARD VII. 0 DESIGNS OF MORRIS\nDANCERS. A DESIGN FOR A SCENE REPRODUCED FROM A 16th. CENTURY WOOD\nENGRAVING. uS> A DESIGN FOR A STAGE SCENE by JULIUS OLIVER. & THE STAGE\nSEAMAN AND THE STAGE LADIES' MAID: THREE DESIGNS by GEORGE CRUICKSHANK.\n& INITIAL LETTERS, HEAD AND TAIL PIECES by E. THESLEFF, CHARLES BORROW\nAND OTHERS."}]}, {"article_id": "bm-bmtnaau-1910-07-01-c004", "article_bluemountain": "bmtnaau_1910-07_01#c004", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 4, "image_fin": 4, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.2.4", "titre_corps": "KING EDWARD VII : Born November 9 1841: Died May 6 1910", "titre_sommaire": "KING EDWARD VII : Born November 9 1841: Died May 6 1910", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 55, "texte": "KINO EDWARD VII.\nBorn November 9 1841: Died May 6 1910."}]}, {"article_id": "bm-bmtnaau-1910-07-01-c005", "article_bluemountain": "bmtnaau_1910-07_01#c005", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 4, "image_fin": 4, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.2.4.1", "titre_corps": "KING EDWARD VII", "titre_sommaire": "KING EDWARD VII", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.4", "debut_caractere": 57, "fin_caractere_exclue": 152, "texte": "AND HIS DEVICE A WREATH OF CHIVALRY\nTHE WORD, ME POMPAE PROVEXIT APEX.\nShakespeare. \"Pericles\"."}]}, {"article_id": "bm-bmtnaau-1910-07-01-c006", "article_bluemountain": "bmtnaau_1910-07_01#c006", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1", "page_fin": "5", "image_debut": 5, "image_fin": 9, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.2.5", "titre_corps": "THE REREDOSES AND THE THEATRE OF THE FIFTEENTH CENTURY", "titre_sommaire": "THE REREDOSES AND THE THEATRE OF THE FIFTEENTH CENTURY", "signature_source": "Johnny Roosval", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.5", "debut_caractere": 0, "fin_caractere_exclue": 3463, "texte": "THE REREDOSES\nAND THE THEATRE\nOF THE FIFTEENTH\nCENTURY\nby Johnny Roosval.\n(I)\nj once heard a clergyman, a cultivated man of artistic tastes, express his great contempt\nfor the altar screen of his church. He objected to having above the altar 44 such a doll's\ncupboard \", and similar judgements have surely caused many ancient works of art to be\ndisplaced, nay, have often banished them to the darkness and damp of the belfry, doomed\nto wretchedness and destruction but for the merciful intervention of some museum. &\nThe above judgement may be easily explained. To a person accustomed only to the\naltar pieces of later times, and not sufficiently broad-minded to understand uncommon\nforms of art such as this, the super-altars, with their many little compartments and figures\nmay appear as mere trifles. & & & & & & &\nYet if he realise that this work does not stand close to him as it seems to do, but\nis, in fact, separated from him by four hundred years, it strikes him that these trifles\nare not really trifles but only diminished by the perspective. But we must feel the atmo-\nsphere of the fifteenth century like a mist surrounding the old reredos. This atmosphere of\ntime will then act like a lens, which, to the eye, gives to distant objects proportions\napproaching to their right size. We shall obtain this 44 air of age \" from that peculiar\nvessel, which is said to be the best depositary of the mind and volition of each epoch and\nwhich is called its Theatre.\n& The Theatre of the Middle Ages was something very precious and profoundly solemn.\nNot even during its most glorious period did regular performances occcur every night.\nThey took place very seldom, and then as a great popular and united enterprise which one\nis tempted to compare with a crusade or a war. I here refer especially to the serious drama\nwith subjects taken from Holy Scripture. This originated with the church and was long\nespecially cherished by the priesthood, for its influence on the souls of the people was\nvery great.\n£/ A landgrave, Frederic the Bold of Thuringen, saw at Eisenach a play representing the\nWise and the Foolish Virgins. The drama still exists, and it ends with the happy entrance\nof the wise lamp-bearers into heaven, while the foolish, in spite of the blessed Virgin's\nentreaties to Christ, are, at his command, fetched by cruel devils and dragged down to\nHell in the midst of intolerable moans. As not even Mary's entreaties were of any avail,\nthe landgrave cried out, 44 What then is Christian faith? Will the Lord not help us even\nat bis mother's prayersl \" Whereupon he went to Wartburg and lay there senseless for\nfive days, had an apoplectic fit, remained in bed during three days and then died.\nBut the Mystery plays provided more than the horrible. They gave the spectators every-\n/\nthing that is demanded by the population of a great city and that is included in the\nword 44 sensation \". Splendour, life, motion, luxury, ferocity, sacrifice, all on a vast scale;\nand thereby a complete relief from everyday life was obtained. A city which was to be re-\n\n& 44 Doll's\ncupboards.\"\n& The Theatre.\nThe Mysteries.\n\n(1) The author, whose writings are so well known in Sweden, asks us to note that in the following pages he sets forth his researches\nrelating to the 15th century Altar Screens in a more popular form than would hare been the case had his studies been confined to the\nArt of the Theatre alone. Ed.\n(2) Sckerr, Deutsche Litteraburgeschichte."}, {"page_pdf": 6, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.6", "debut_caractere": 29, "fin_caractere_exclue": 4435, "texte": "The performers.\nThe stage. &\nPassion Plays.\n\ngaled with a great Mystery play wss entirely disorganised. There still exists a proclamation\nissued by the Magistrates of some French town on an occasion of the kind, forbidding\nanybody to \" allow himself the audacity \" of exercising his trade during the days of the\nperformance.\n& The drama often consisted of as many as ten thousand verses, and a whole week was\nneeded for its performance. A special building for the theatre was erected, surrounded by\nstalls, shops and various kinds of side-shows, and it is reported that Musicians played in\nthe town both day and night to amuse the inhabitants during the whole time the play\nwas going on. & &\n& The performers, proud as cocks of their work, were sometimes rewarded, if they were\npretty boys and girls, in a romantic manner: (reminding us of the romantic episodes of\nthe modern theatrical annals). jg? jg? &\n& A handsome barber's apprentice, who took the part of St Barbara, was considered so\npathetic in representing the sufferings of the poor saint \"that many persons wept, and\neverybody, whether knight, priest or layman, wished to take the boy into his house to\nfeed and educate him. \" A rich widow wanted to adopt him; but a canon sent him to\nParis to study, which was very convenient for the boy whose voice was just cracking, and\nwho would consequently not have been able to take female parts with the same success.\n1he young Figaro succeeded well in the path of his studies, becoming both \" master of\narts\" and canon. &><&&& jg? jg?\nA stage such as the one on which he and his colleagues, in the golden age of the\nMysteries of 1450-1550, used to appear, was generally a platform, in front of which the\nspectators' places were arranged as in an amphitheatre. The platform was at least twice\nas long as a modern stage, and was often supplied as background with a building such as\na church.\n& Why was the stage such a length? Because the drama was acted in many different places\nand all the places were arranged in a row, side by side, like little houses with their front\nwalls removed. This long stage was never hidden by a curtain. One might compare the\ncompartments to the different sections of a modern Turntable stage, but placed in a\nstraight line instead of being grouped in a circle. Two spaces were ever the same and\nwere placed as a rule at the extreme left and the extreme right, as A and Z, Paradise and\nHell.\nA great deal of fine workmanship was bestowed upon the former. Sweet, soft music behind\nbeautiful draperies and mysterious apparatuses for the flight of the angels gave a striking\nimpression of celestial bliss. The lower regions of Hell, which could be opened when\nnecessary, were filled with naked mannikins who were tortured with the most fantastic\ninstruments by the devils. The entrance to Hell took the form of the jaws of a great\nmonster. Between Heaven and Hell were the different places that might be needed in the\ndrama, such as Jerusalem, Bethlehem, Golgatha, etc. The action thus wandered from place\nto place, the actors all being upon the stage, seated in their little houses and waiting for\ntheir cue... an arrangement similar to that of the small cafe-chantants of our days, where\nall the performers are seated on chairs against the wall of the stage and one by one step\nforward to fulfil their parts.\nThe most popular of the Mysteries were taken from the story of the Passion and con-\ntained everything that the religious mind could desire, and a great deal, too, of external\nsensation. Christ hung sufficiently realistically from the cross to cost the actor his life; from\nthe suspended Judas real entrails gushed out in conformity with the scriptures; indeed, the\ntheatrical mechanism was by no means to be despised. Laughter, too, sometimes afforded\nrelief after the terrors, as when St John and St Peter raced each other to the sepulchre and\nthe holy women stood bargaining for the embalming ingredients with a Jewish apothecary,\nand when the latter fought with his wife. & & & & &\n<£* The Passion Play was generally staged with great pomp and circumstance. Old scribes\nin solemn oriental garments glided by, Roman soldiers in glittering armour marched on\nreproducing'as closely as possible those of antiquity; tumultuous crowd-effects were produced\nat Golgatha or Jerusalem, creating a hubbub that doubtless found a ready echo among the\nthousands of spectators."}, {"page_pdf": 7, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.7", "debut_caractere": 29, "fin_caractere_exclue": 4784, "texte": "j® Literary historians have been able to draw a picture of the Mystery-Stage, partly from\nthe stage directions of the texts and other written sources, all more or less clear, and\npartly from contemporary pictures of similar scenes. The best known of these is a sketch\nof a Passion Play M. S. of 1547 mentioned by Eugdne Lentilhac in \" Le Theatre s£rieux au\nMoyen Age \", from which many of these statements are taken. However, other] arrange-\nments were doubtless in use similar to those described above. Thus, a scene is represented\nin miniature by Jean Fouquet, illustrating the martyrdom of St Apollonia in which ten\nlittle houses in two stories open upon a semi-circular head scene. This miniature is re-\nproduced in the \" Oeuvre de Jean Fouquet \" published in Paris in 1869, (1).... Fouquet\nunderstanding stage technique, having himself painted decorations for the theatre. j®\nj® If the miniature of Fouquet is, is it were, a documental copy of a Mystery-scene there\nare other pictures which reproduce scenes although less as direct copies and in a more\nartistic form. I will mention only one of these pictures; Memling's \" The Sufferings of\nChrist \" in Turin, recently described by Emile M&Ie, the great French conoisseur of mediaeval\nart, as a kind of reproduction of the Mystery Play. j® j® j® j® j®\nAll the horrors of the story of the Passion are reproduced in this picture which, one\nmetre long, represents a town. Outside a gate Oethsemene scenes are going on. In the\nstreets of the city the captured Christ is led from Herod to Pilate, from Pilate to Qolgatha,\nand everything that happens in the different places is seen through a large hole in the\nfront-wall. Outside another gate the procession winds upwards to Qolgatha, which looms\nin the background. Another work by Memling, \" The Joys of the Madonna \" in the Pinako-\ntek at Munich, reproduces quite as obviously, and with analogical paraphrases, a mediaeval\ntheatre scene.\nj® It is , however, not only in the art of painting that one gathers hints of the Mystery\nPlay. In the polychrome sculptures collected into niche groups in the great altar screens\nwe find even more pronounced evidence. & u® j® j® j® j® j®\nj® The altar screens are the special product of Northern Europe. Their ordinary form is well\nknown to Swedish readers, for the historical Museum of Stockholm possesses one of the\nlargest collections of them in the world, j® j® j® j® j®\nj® We will now consider separately a group of such screens or reredoses; those, namely, which\nshow scenes containing many dramatic figures and narrating some story. The golden age\nof these screens dates from the middle of the fifteenth century to 1540 and they were executed\nchiefly at Brussels and Antwerp. Such things were manufactured according to the rules of\nthe Guilds, screens being carved by cabinet makers, figures by sculptors, and the gilding\nand painting of figures and frame-work executed by painters. j® j® j®\nj® In the Museum of Applied Art at Brussels some beautiful specimens have been collected.\nj® Few, on the whole, have retained their original places in the churches, having been\ndisplaced by the Iconoclasts of the sixteenth century or by later Art-schools; but in the\ncountries to which the Netherlands exported productions from their workshops,.... Spain,\nthe Rhineland and the Baltic coast of Germany and Sweden,.... there still remain many of\nthem. The prettiest Netherlandish altar-screens in our country (Sweden) are, as a rule, those\nmade by the eminent wood-carver Jan Borman of Brussels, who worked between 1490 and\n1520, or later. In Sweden, too, they undoubtedly made altar screens during the fourteenth\ncentury, (Gotland) and later on during the fifteenth and the beginning of the sixteenth.\nThe works of Swedish carvers, such as St Olaf's screen at VHrrndd Church by one Master\nLars the carver, the St Mary screen by Hakon Gulleson at Enganger, the workmanship of\nthe Sudermannish \" joiners \" In the church museum at StrengnSs, are often very simple in\nin construction, consisting of a screen, forming a niche for a statue representing some\nsaint. The opening is sometimes closed by doors on which is painted the legend of the saint,\nsuch being called \" Saint's Screens In more elaborated forms the screen is divided into\nseveral niches, of which the middle one contains the scene at Qolgatha or some other figure\nscene with images of saints and apostles arranged in those around. This type, or something\nakin to it was often made by Swedish artists, but was also imported from Lubeck and\nother North German places. s®j®j®j®j®<®j&j®\n\n& Jean Fouquet\nj® Dramatic\nscreens. j®\nSaint's Screens\n\n(1) Dr Karl Mantzius, in big \" History of Theatrical Art\" Vol: II pg 65 mentions this and reproduces the miniature."}, {"page_pdf": 8, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.8", "debut_caractere": 31, "fin_caractere_exclue": 4620, "texte": "The Swedish and German productions are, however, far surpassed by the more elaborate\nworks which we have already mentioned as imported from Brussels and Antwerp. With\ntheir stately proportions and the lavishness of the gilding on every part of the framework\nand on the garments of the figures, they give an intense glowing effect, and, in the old\nchurches, where lights were scant in the nave yet concentrated in front of the altar, the\neffect of this light upon figures and framework must have been quite fascinating. &\n& An illumination of this kind, (well adapted for the altar screen) is never seen nowadays,\nfor in the system of illuminating our churches we have rather chosen for model the di-\nning saloons of great hotels, and the idea of lighting our art museums is like that of the\noperating theatre of a hospital. & &\n& But we must not only consider the Netherlandish reredoses in and for themselves. We\nmust draw attention to that echo of the pulsating life of their own age which they yet can\ngive.\n& We have spoken of the Mystery Plays of the closing Middle Ages. The dramatic altar\nscreens give us the very image of these. & & & &\n& Look at one of them, the doors in front taken away and one niche-group after another\nin a row like little houses:.... first the entrance to Jerusalem, then the Lord's Supper, the\nTribunal of Pilate, the Cross Bearing, the Crucifixion, etc, and it is undeniable that we\nhave before us an uncommonly true image of the Mystery Scene. That the proportions are\nreduced in size and the architecture of the little buildings more detailed is a matter of course.\n& That the above is true, not only of the subjects and types but also of the costumes has\nnot been proved in all particulars but it seems to me quite clear that, in certain cases,\nsuch relationship must have existed. On the stage, as in painting, they sought after faith-\nfulness to the age in a somewhat higher degree than is nowadays supposed. One is accus-\ntomed to assume that the fifteenth century dressed the sacred stories in none but the\ncostume of its own age. This doubtless was so, to a certain extent, although a prominent\nfeature is the historical character introduced. Christ and the Apostles wear the same kind\nof semi-antique mantles during the whole of the Middle Ages. Soldiers use armour with\nRoman details, certainly not entirely accurate, but through which one can trace a wish to\nrepresent the real costume of the age of Christ's nativity. Scribes and other persons wear\nturbans and other Oriental attributes like the Orientals described in the Travel-books of\nthe age, such as Breydenbach's \" Journey to Jerusalem. \" &\nThat the theatre had this same aim is clear from the play Manuscripts, and it is evi-\ndent that the two different attempts made through different mediums have led to similar\nresults.\n& Yet it must be admitted that the theatre could hardly have used gold cloth to the same\nextent as gilding was used in the altar screen,.... for a purely artistic reason of course, as\nthe effect of the gold was thus increased and the danger avoided of making the otherwise\nrealistically represented figures look like dressed-out figures of wax. &\nHow strikingly alike the altar screens and the contemporary scenic arrangements were\nis proved by a series of sketches for tableaux, ordered for the entrance of Queen Joan into\nBrussels in 1496. They still exist in the \" Kupferstichkabinett \" of Berlin, have not been\npreviously published and seem to be the stage manager's sketches for the said entrance.\nThe text first sets forth the order of the procession and then follows the disposition of\nthe tableaux.\n& The stage, which was built on trestles, could, if necessary, be closed with curtains, and\nwas adorned with torches and mirrors. There appeared Judith and Holofernes, Raphael\nfighting with the devil, Asmodeus, Esther and Ahasuarus and scenes in which famous women\nfrom the Bible or history took part. Sketches in water-colour show the arrangement of each\nparticular scene. Many of these are arranged three by three, when consecutive subjects\nare required, and these remind us strikingly of the altar screens, the draperies of the theatre\nrepresenting the gilded framework of the reredos, and the open bows or arches above the\nwhole framing each one round burning-mirror, while along the bows are fastened tapers\nand torches.\nAnother question is, which inspired the other, theatre or altar screen? It is a problem\nsomewhat difficult to solve, and which must probably be solved afresh in every individual\n\nCostume. JS>\nA striking\nlikeness. &\njg? A question."}, {"page_pdf": 9, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 1252, "texte": "case. This however is not the place to deal with this matter. What we want to point out\nis, that there exists a close connection between the dramatic altar screen and the Mystery\nPlay.\nThis kind of theatre of the north European public during the Renaissance period,.... a\ntheatre like a many=toned instrument for the interpretation of sentiments of piety and\nworldliness, calm and turbulence, splendour, life, love, hatred, pathos and humour, is plainly\ncrystallised in the altar screens.\n& I think that he who perceives this historical connection will no longer speak of these\nreredoses of Jan Borman as \" dolls' cupboards \". Surely not. And perhaps some day this\nhistorical interest may carry us so far as to adopt a truer, more artistic way of considering\nthings; perhaps the day will come when we shall give up competing with the restaurants\nin illuminating our churches and devote ourselves to the favouring of works of art as well\nas to the practical lighting of hymn=books, and when museums will take the same interest\nin setting a mediaeval work in the right light as they usually do in the case of renais°\nsance or later pictures.\nThis seems to be a simple demand,.... but there is, so far as we can see, very little hope\nof its being granted."}]}, {"article_id": "bm-bmtnaau-1910-07-01-c008", "article_bluemountain": "bmtnaau_1910-07_01#c008", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "5", "page_fin": "5", "image_debut": 9, "image_fin": 9, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.2.6", "titre_corps": "A FRAGMENT FROM THE MEMOIRS OF Mlle HIPPOLYTE CLAIRON : Translated by George Harrison", "titre_sommaire": "A FRAGMENT FROM THE MEMOIRS OF Mlle HIPPOLYTE CLAIRON : Translated by George Harrison", "signature_source": "George Harrison ; Mlle Hippolyte Clairon", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 9, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.9", "debut_caractere": 1284, "fin_caractere_exclue": 3811, "texte": "A FRAGMENT FROM THE MEMOIRS OF\nMile: HIPPOLYTE CLAIRON.\nTranslated by George Harrison.\n(17 23-1803)\nJt is to be desired that all actors possess at least a slight knowledge of drawing; they\nwould then feel more easily the importance of the ensemble of the whole of a figure; the\npicturesque, always necessary in the theatre, would be easier found by them, both for their\nattitudes and for their clothes. In 44 les pieces a spectacle \" the groups, the masses, which\nmust always make a picture, and bring out the principal personnages, would be disposed\nmore skilfully and in a more spirited manner; but for want of this knowledge I invite\ncomedians to consult at least famous painters and sculptors.\nCLOTHING. I demand of all women in general the most scrupulous attention to their\nclothes: the costume adds much to the illusion of tne spectators, and the comedian enters\nmore easily into the tone of his role: nevertheless, the costume followed exactly Is unfeasible:\nit would be unseemly and mean. Draperies copied from the antique design and uncover\nthe body too much; they are suitable only for statues and pictures; but in adding to them\nwhat is wanting, the cut must be preserved, the intentions must at least be indicated, and,\nas far as possible, the luxury or simplicity of the times and places must be followed. Fillets,\nflowers, beads, veils, coloured stones, were the only ornaments women knew before the\nestablishment of Indian commerce and the conquest of the New World. & &\nWhat I desire above all is, that all frills and furbelows, all fashions of the moment be\navoided. The coiffure of French women at the moment I am writing, the monstrous pile\nand arrangement of their hair, gives to their whole figure an offensive disproportion, alters their\nphysiognomies, hides the movement of their necks, and makes them look bold, ungraceful,\nstiff and untidy. The only fashion to be followed is the costume in which the role is to be\nplayed. Above all, the clothing must be arranged according to the personnages; age, auste«\nrity, pain, reject all that is allowed by youth, the desire to please, calm of soul. Hermione\nwith flowers would be ridiculous: the violence of her character, and the trouble that devours\nher allow her neither finery nor coquettry in her toilet; she may have a magnificent dress,\nbut a look of the greatest neglect must pervade all the rest to prove that she does not\nthink of herself. The first glance cast by the public on the actress must prepare it for the\ncharacter she is going to develop."}]}, {"article_id": "bm-bmtnaau-1910-07-01-c010", "article_bluemountain": "bmtnaau_1910-07_01#c010", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "6", "page_fin": "14", "image_debut": 10, "image_fin": 18, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.2.7", "titre_corps": "THE ANCIENT ENGLISH MORRIS DANCE", "titre_sommaire": "THE ANCIENT ENGLISH MORRIS DANCE", "signature_source": "Francis Douce", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 10, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.10", "debut_caractere": 0, "fin_caractere_exclue": 3208, "texte": "THE ANCIENT ENGLISH MORRIS DANCE\nby Francis Douce.\n18 o 7 Concluded.\nMaid Marian. None of the materials that constitute the more authentical history of\nRobin Hood, prove the existence of such a character in the shape of his mistress. There\nis a pretty French pastoral drama of the eleventh or twelfth century, entitled Le jeu du\nberger et de la bergere in which the principal characters are Robin and Marian, a shepherd\nand shepherdess. Mr Warton thought that our English Marian might be illustrated from\nthis composition; but Mr Ritson is unwilling to assent to this opinion, on the ground that\nthe French Robin and Marion 4\n& Enough has been said to show that the collective number of the morris dancers has\ncontinually varied according to circumstances, In the same manner as did their habits, in\nIsrael's print they are nine; in Mr. Tollett's window, eleven. Mr. Strutt has observed that\non his sixteenth plate there are only five, exclusive of the two musicians; but it is con=\ncelved that what he refers to is not a morris, but a dance of fools, There is a pamphlet\nentitled, Old Aieg of Herefordshire for a Mayd Marian and Hereford town for a morris\ndance, or 33 morris dance is in Herefordshire of 1200 years old, 3609, 4to (3). In the\npainting by Vinckenboom, at Richmond, there are seven figures. In Blount's Glossographia,\n1656, the Morisco is defined, \" a dance wherein there were usually five men and a boy\ndressed in a girles habit, whom they call Maid Marrian. \" The morris in Fletcher's Two\nnoble kinsmen contains some characters, which, as they are 110 where else to be found,\nmight have been the poet's own invention, and designed for stage effect: &\n\" The chambermaid, and serving man by night\nThat seek out silent hanging: Then mine host\nAnd his fat spouse, that welcomes to their cost\nThe gauled traveller, and with a beckning\nInforms the tapster to inflame the reck'ning.\nThen the beast-eating clown, and next the fool,\nThe Bavian, with long tail and eke long tool,\nCum multis aliis, that make a dance. \"\n& Mr. Ritson has taken notice of an old wooden cut 44 preserved on the title of a penny-\nhistory, (Adam Bell, & c.) printed at Newcastle in 1772, \" (4) and which represents, in his\nopinion, a morris dance consisting of the following personages: 3. A bishop. 2. Robin Hood.\n3. The potter or beggar. 4. Little John. 5. Friar Tuck. 6. Maid Marian. He remarks that the\nexecution of the whole is too rude to merit a copy, a position that is not meant to be\ncontroverted ; but it is necessary to introduce the cut in this place for the purpose of cor-\nrecting an error into which the above ingenious writer has inadvertently fallen. It is proper\nto mention that it originally appeared on the title page to the first known edition of\nRobin Hood's gailand, printed In 1670, i8mo. & &\nf\nNow this cut is certainly not the representation of a morris dance, but merely of the\nprincipal characters belonging to the garland. These are, Robin Hood, Little John, queen\nCatherine, the bishop, the curtal frier, (not Tuck,) and the beggar. Even though it were\nadmitted that Maid Marian and Friar Tuck were intended to be given, it could not be\nmaintained that either the bishop or the beggar made part of a morris. & jg?\nThere still remain some characters in Mr. Tollett's window, of which 110 description\ncan be here attempted, viz. Nos. 1. 4. 6. and 7. As these are also found in the Flemish\nprint (5) they cannot possibly belong to Robin Hood's company; and therefore their learned\n\nNOTES.\n(1) Fletcher's Women pleased, Act iv.\n(2) Greene's Quip for an upstart courtier, sign.. B. 31\n(3) This tract is mentioned by Sir William Temple, in his Essay on health and long life,\nfrom the communication of Lord Leicester. Howel, in his Parly of beasts, 1660, has recorded\nthat \"of late years ther were call'd out within three miless compasse ten men that were\na thousand years between them, one supplying what the other wanted cf a hundred years\napiece, and they danc'd the morris divers hours together in the market place with a taborer\nbefore them 203 years old, and a maid Marian 105,\" p. 122, This seems to allude to the\nsame event. rz? jg?\n(4) See the tail-piece of this article.\n(5) Compare No. I, with the left hand figure at bottom in the print; No. 4, with the left\nhand iigure at top; No. 6, with the right hand figure at bottom; and No. 7, with the right\nhand figure at top. This last character in the Flemish print has a flower in his hat as\nwell as No. 4. Query if that ornament have been accidentally omited by the English engraver?"}, {"page_pdf": 18, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.18", "debut_caractere": 21, "fin_caractere_exclue": 2066, "texte": "proprietor would, doubtless, have seen the necessity of reconsidering his explanations (1).\nThe resemblance between the two ancient representations is sufficiently remarkable to\nwarrant a conjecture that the window has been originally executed by some foreign artist;\nand that the panes with the English friar, the hobby-horse, and the may-pole have been\nsince added. & jg? &\nMr. Waldron has informed us that he saw in the summer of 1785, at Richmond in Surrey,\na troop of morris dancers from Abingdon, accompanied by a fool in a motley jacket, who\ncarried in his hand a staff about two feef long, with a blown bladder at the end of it, with\nwhich he either buffeted the crowd to keep them at a proper distance from the dancers,\nor played tricks for the diversion of the spectators. The dancers and the fool were Berkshire\nhusbandmen taking an annual circuit to collect money (2). Mr. Ritson too has noticed that\nmorris dancers are yet annualty seen in Norfolk, and make their constant appearance in\nLancashire. He has also preserved a newspaper article respecting some morris dancers of\nPendleton, who paid their annual visit to Salford, in 1792 (3) ; and a very few years since\nanother company of this kind was seen at Usk In Monmouthshire, which was attended by\na boy Maid Marian, a hobby-horse, and a fool. They professed to have kept up the ceremony\nat that place for the last three hundred years. It has been thought worth while to record\nthese modern instances, because it is extremely probable that from the present rage for\nrefinement and innovation, there wili remain, in the course of a short time, but few vestiges\nof our popular customs and antiquities. & <£? &7 £7\n\nSome Survivors.\n\nNOTES.\n(1) This gentleman's death is recorded to have happened Oct. 22d, 1779. Gough's Brit,\ntopogi. ii. 339.\n(2) See his continuation to Ben Jonson's sad shepherd, 1782, 8vo, p. 255* a work of very\nconsiderable merit, and which will materially diminish the regret of all readers of taste\nthe original was left unfinished.\n(3) Robin Good, I. cviii."}]}, {"article_id": "bm-bmtnaau-1910-07-01-c014", "article_bluemountain": "bmtnaau_1910-07_01#c014", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "14", "page_fin": "14", "image_debut": 18, "image_fin": 18, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.2.8", "titre_corps": "A MANAGERIAL TRICK : Memoirs of Mlle. George. Edited by Paul Cheramy", "titre_sommaire": "A MANAGERIAL TRICK : Memoirs of Mlle. George. Edited by Paul Cheramy", "signature_source": "Mlle. George", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 18, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.18", "debut_caractere": 2068, "fin_caractere_exclue": 3084, "texte": "A MANAGERIAL TRICK.\nMemoirs of Mdlle. George. Edited by Paul Cheramy.\n|Hjow did you bring about the success of the \"Misanthrope \" ? You gained your spurs as a\n\" clever man by this triumph. Come now, tell us all about it. &\n\" Well, the first performance had doubtless produced a great effect, but the receipts\n\" were unsatisfactory. Something had to be done. The second performance was also rather\n\" tame, and we were relying on tremendous receipts. At the third performance I gave boxes\n\"to various gay ladies, who were pretty but possessed no finery. To these I sent gowns,\n\" hats and enormous bouquets on condition that they should burst into tears, while some\n•« even received orders to faint. What was said was done. The play had to be interrupted\n\" several times, the unfortunate ladies were carried into the lounge, doctors were called,\n\" and so forth. The trick was resorted to on three or four occasions and the success was\n\" tremendous. It certainly cost the company a good sum, but the result was fabulous."}]}, {"article_id": "bm-bmtnaau-1910-07-01-c015", "article_bluemountain": "bmtnaau_1910-07_01#c015", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 19, "image_fin": 19, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.2.9", "titre_corps": "STAGE SCENERY", "titre_sommaire": "STAGE SCENERY", "signature_source": "G. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 19, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 1201, "texte": "STAGE SCENERY\nG. C.\n11 scenery must be used when performing plays it is better to employ a simple background\nrather than an elaborate one, and to create this you do better to employ a few lines than\nmany broken ones. Thus the simplest background is the unclouded sky and a plain wall is\nalmost as simple.\nFor a perfect drama, should it be possible some day to write one, the sky must be used\nas the only worthy background. The manager or producer reveals his estimate of the value\nof Shakespeare by the elaboration or simplicity of his background. & &\nThe above design, (a wood engraving of the ioth century), is an example of a simple\nbackground. The lines are but little broken. In no way do they frustrate the dramatic in-\ntention.\n& Scenery has to speak as well as the actors, but it is better when it says only that which\nis necessary.\n& Here we see that we need to have it explained that it is an interior, a prison. It is a\ngentleman's prison, says the floor, but except for the slightly emphatic floor, window and\nstone bench the scene says nothing; it leaves the stage to the Dramatist and the Actors.\nLearn the essentials of stage scenery, and you will in time learn the essentials of Drama."}]}, {"article_id": "bm-bmtnaau-1910-07-01-c017", "article_bluemountain": "bmtnaau_1910-07_01#c017", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "15", "page_fin": "16", "image_debut": 21, "image_fin": 22, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.2.10", "titre_corps": "LADIES, TEMPERAMENT AND DISCIPLINE", "titre_sommaire": "LADIES, TEMPERAMENT AND DISCIPLINE", "signature_source": "E. E", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 4013, "texte": "Caprice.\nIts result,\nA comparison.\n\nLADIES, TEMPERAMENT AND\nDISCIPLINE.\n\nSTAGE MANAGER* More discipline is necessary in the Theatre. Too many of the failures\nin the Theatre can be attributed to lack of discipline. Think of how many plays never get\nas far as the first rehearsal because the actress is displeased with her maid ! I know of a\ncase where a series of twelve plays was going to be produced by a famous European actress.\nThe stage director and the actress were to have prepared these together. Everything was\ndecided and the director had gone to commence his part of the work. Suddenly he received\na telegram. \"Hedda Gabler impossible. No one to play servant.\" He turned to the second\nplay which was, let us say, the \" Lady from the Sea \". Next day a second telegram. \"So\nsorry width of stage only 36 instead of 37 feet. Obliged to put off Lady from the Sea.\" So\nhe turned to the third play. \"John Gabriel Borkman when a third telegram arrived,\n\" Can't do John Gabriel Borkman. All my actors too foolish. \" Then he turned to the fourth\nplay, \"Edipus Rex.\" Another telegram; \"We won't proceed with Edipus Rex; don't like\nthe play.\" On the following day he looked through the plays which were left and, with a\nfeeling of security on seeing 'Hamlet' set to work on that. Promptly arrived a telegram,\n\" Hamlet most gloomy play I ever read. Makes me gloomy to read it so am obliged to cut\nit out of repertoire.\" He-turned then to \"Much Ado about Nothing\" which was included\nin the list but received a sixth telegram in the morning. \" Was ever anything so ludicrous\nas this play. I can't bear to think of an audience indulging in laughter all the time. Leave\nout Much Ado About Nothing.\" And this went on until there was not one of the twelve\nleft. & & & *&&&&&&&\nPLAYGOER. Ah, 1 can guess to whom you are referring. But remember how she\nleans against the door in that play by Sudermann!\n& STAGE DIRECTOR. Yes, certainly. But the value of a moment like that does not\ncompensate for the loss of twelve splendid productions and the loss of everybody's temper\ninto the bargain. Shakespeare or any great author is not judged as great for the moments\nbut for the whole play and for his whole life's work. Yet we rave about an actress for\nthe sake of her 'moments'.\n& P L A Y G O E R. Then do you not value temperament? &\nSTAGE DIRECTOR. Certainly ; but I value only that temperament which is strong\nenough to become disciplined.\nPLAYGOER. Oh, can you show me any disciplined people who also have temperament?\njz? ST A G E DIRECTOR. Yes, the great artists. &\n& PLAYGOER. But these are exceptions. Can you tell me of any calling where tempe-\nrament and discipline are equally balanced ?\n& S T A G E DIRECTOR. Certainly, the sailor's.\n& PLAYGOER. But there is a great deal of difference between the temperament of the\nsailor and of the artist.\nSTAGE DIRECTOR. Precisely. And there should be none. When we talk of an artist's\ntemperament we generally mean a lot of nervous disorders. Away with your temperament,\nthen! Perhaps if we get discipline something may come of it. At present nothing but\ndisturbance comes from your \"temperament\".\n& P L A Y G O E R. I think that you are very extreme in your view!\n& STAGE DIRECTOR. Yes, I speak in one extreme because 1 find you speaking in the\nother. You get warm when you speak of temperament, and I become cold when I think of\nthe damage it does to the stage; and so I advance the theory that discipline is the one\nand only thing. I know that both are necessary, but that both must be quite genuine. &\n& Let the temperament of each actor develop for all that temperament is worth, and let\nthe sense of discipline be developed in every actor in proportion to the force of his tem-\nperament. Do not let temperament be an excuse for absense of discipline. It is this which\nis killing the modern theatre.\nWe want in the Theatre the same discipline that there is on a ship, and we want the\ndirection of that ship or theatre to be in the hands of one man who is thoroughly disci-"}, {"page_pdf": 22, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.22", "debut_caractere": 35, "fin_caractere_exclue": 2264, "texte": "plinad; but ws do not want the man who directs to have the responsibility for the\nexistence of that theatre or that ship.\n& PLAYGOER. Then you want the State to be responsable for your theatre?\nSTAGE DIRECTOR. Not for one theatre but for every theatre in the land. As it\nis for its navy. If the State is responsible for one theatre it will not take any trouble\nto study the whole question of the relationship of theatre to Nation, but if it has the\nresponsibility of every theatre it will take great care to do so. And it would be an easier\nthing to manage all the theatres of England than it would be to manage one National\nTheatre in London. Conceive the idea of having one Man=of=War which belonged to the\nNation, while all the others were the product of private enterprise. If you are going to\nchange'the order of things as the National Theatre sets out to do, then you must have\nsufficient power to enforce that change, and one National Theatre against all the theatres\nof private enterprise will have no chance whatever. &\n& PLAYGOER. Bo you know I was thinking the same thing myself the other day. I was\nat the committee meeting for the collection of funds for the National Theatre and I had\nhalf a mind to say what you have just said. &\n& STAGE DIRECTOR. Then why didn't you say it? What prevented you?\nPLAYGOER. Well, you know, \"live and let live\"! Besides, it would have caused dis=\ncussion, and if there is a thing I hate it is to create a feeling of disagreement among\npeople. JZ?\nSTAGE DIRECTOR. Ah! on the principle of live and let die\"?..:. Let us go to\ndinner!\njz? PLAYGOER. But we were speaking of ladies and the stage, and of their need for\ndiscipline?^*\nSTAGE DIRECTOR. 1 had not forgotten it. The ladies await us at dinner! Let us\ngo then and learn discipline at their hands. But let us not attempt to teach them that or\nany other folly. Come, lest we be late. Only ladies may be late, you know. jg?\njg? PLA YGOER. And if a lady Is late at rehearsal ? & & & &\n& STAGE DIRECTOR. Then let us request her to leave, but do not correct her. In fact\nI am now going to ask one of the two ladies who are to dine with us to leave the stage\naltogether. You will see how charmed she will be I & JZ?\n\nWhat we need.\n\nE. E."}]}, {"article_id": "bm-bmtnaau-1910-07-01-c018", "article_bluemountain": "bmtnaau_1910-07_01#c018", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "16", "page_fin": "18", "image_debut": 22, "image_fin": 24, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.2.11", "titre_corps": "AFTER YOU'VE FINISHED WITH IT", "titre_sommaire": "AFTER YOU'VE FINISHED WITH IT", "signature_source": "John Balance", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 22, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.22", "debut_caractere": 2266, "fin_caractere_exclue": 3763, "texte": "AFTER YOU'VE FINISHED WITH IT,\nby John Balance.\nn one of the leading theatres in London I have had the curious experience\nof hearing very well paid young employes saying to each other \" Lend me\nThe Mask after you've finished with it \" .\nIt may be considered a hopeful sign that one young employe had purchased\nThe Mask, but let no one cherish this delusion. It was the mana ger's copy I\nNow The Mask is published, as those closely connected with it know,\nwith particular pleasure for the general pain of the English theatre's young.\nIt is by no means made to tickle their fancy or to flatter them up the right\nway but to give them as much pain as can possibly be inflicted, and we\nwho hold this aim before us believe that we are succeeding in this, and\nthere is only one thing that we have to complain about. It is that these young employes\npositively refuse to add to our pleasure In return; that Is to say, they never subscribe. &\nI know it is quite unusual to make such a statement as this, but I have the Editor's\npermission to make it, though he tells me at the same time that In consequence The Mask\nhas lost one of its publishers, who has gone to be a bellringer in a church. StilL The Mask\nis ever regardless of consequences, so Mr Semar, even in view of this, has not withdrawn his\npermission which sets me free to expose this weakness of ours, and to say that The Mask\nhas only SIX SUBSCRIBERS ON THE ENGLISH STAGE, (i) & & JS>\n\nThe young\nE m ploy e.\n\n(1) American Papers please copy 11!"}, {"page_pdf": 23, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 4568, "texte": "Now this fact gives him, and those of us who are associated with him in his work, more\ninfernal delight than fit would he possible to do justice to by mere words. The lavish\ndisplay of all these young employes dawdling round the theatre, loaning the single well«\nthumbed copy from the manager, is one of the most brilliant achievements of the English\nstage,\nHow is it to be accounted for? Every one in London knows of The Mask through the\nPress. The English Press for some reason or other is always allowing bursts of enthusiasm\nto get the better of its common sense when speaking about The Mask. Every half year the\nEnglish critics attempt to assume a more serious attitude towards The Mask. Every half-year\nthey complete a half-finished sentence of warning, and then burst out into a hearty chorus\nof enthusiastic approval. And YET the young employes refuse to purchase The Mask. For\nwhat reason? They are not frightened of it. It gives them pain, to be sure, but they rather\nlike that, especially if they can share it over one copy. They know that the journal\nis cram full of good things, serious things, and jolly things, pretty things and ugly\nthings. What more do they want\nDo you think it is that they want to be on the Free List ? Not at all I Do not imagine\nsuch a thing. If they were on the Free List they would not want to read the journal and\nwould only carry it in the street to frighten their superiors. & & &\nNo, the truth of it is that the young employes who are working for the managers of\nLondon dislike study, dislike reading books in fact dislike work of all kinds. &\nBut there is another reason why the young employe has not got a bound volume of\nThe Mask at home. It is because he would feel that it was extremely extravagant to spend\na shilling a month upon printed matter which is only calculated to make him wince. If\nthere is a thing the young man dislikes it is mental athletics. Like many Englishmen he\nhas the good trait of being extremely obstinate. If he were not obstinate every first night\nperformance would be a scandalous failure. It is through sheer obstinacy that he faces\nand out-faces the public. I have a great admiration for this obstinacy but I believe that\nin matters relating to the Arts it is a trifle over=done in England. For after all it doesn't\nreally matter whose opinion is right. Whether Gordon Craig's opinion is right or Oswald\nStoSl's opinion is wrong, or whether William Archer's opinion is different from both: and\nso it does not matter whether the young employe at St Stephen's Theatre is right or\nwhether Mr Allen Carrie, my companion on the staff of this journal, is right. Upon the\nart of ringing the curtain up and down there are only two men whose opinions count:\nthey are the man downstairs with his finger on the bell and the other man upstairs with\nhis hand on the wheel. But it does not seem entirely unreasonable that Johan Wolfgang\nGoethe should also have an opinion upon these subtle points of stage craft, that each of the\nthree should listen to what the others have to say and that the truth should really be\nallowed to emerge between the soft clash of differences. & & &\nIn The Mask and through The Mask we create this delicate disturbance. But in England\nthe lips are so tightly pressed together, the eyebrows so indifferently raised, the eyes so\nentirely expressionless that one would think that they had never understood this truth,\ni. e., that truth only emerges when opposites meet. Where people are gathered together who\nrefuse to discuss amiably men arise who are forced into uttering paradoxes. These men\nare obliged to impersonate the two contrary forces. It does not disclose a healthy social\ncondition when one man has to breathe the truth alone. He is obliged to give birth to\nthese paradoxes and people naturally think that is very queer. They don't know that it is\ntheir own fault and that if they would only loosen themselves and give expression to their\nairy somethings or nothings, something would be sure to come from it. Of course what I\nmean is that The Mask is uttering valuable truths which it would much prefer to arrive\nat in some other way.\n& But I had intended to be a little less serious about all this!\nIf I were to persuade the Editor to publish the names of those on the English stage\nwho subscribe for this journal it might perhaps prove rather too comic, and that is not\nmy wish either. d\nPerhaps a little later on The Mask will grow a trifle more personal. You have noticed\nthat where we can we havis always avoided speaking of any particalar theatre and its ec«"}, {"page_pdf": 23, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.23", "debut_caractere": 4606, "fin_caractere_exclue": 4655, "texte": "His dislike of\nstudy. &\nHis obstinacy.\n& A truth."}, {"page_pdf": 24, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.24", "debut_caractere": 34, "fin_caractere_exclue": 3046, "texte": "centricities but have generalised. But I daresay that in the course of six months it may be\nfound advisable to particularise. To speak a little, for instance, of His Majesty's Theatre, to\ncome to the question of the St James's Theatre, not to leave unmentioned the Haymarket\nTheatre, no, nor the Lyric, the Garrick or the Queen's. & jg? &\n& For example in regard to His Majesty's, (although the six months is not yet up), I have\nnoticed in the Saturday Review of May 7th that 44 Rusticus \" has been writing some rather\nqueer things about Sir Herbert Tree. x & & &\n& Now, every word he has said is in a way entirely right and it is well that he has said\nit. It is about the cheekiest piece of stuff that has yet appeared upon an actor who is forced\nagainst his will to take himself & & & &\n& Sir Herbert has no desire to take himself seriously. He is the greatest acter that has\nyet been upon earth in the one respect that he has positively acted at being an actor. A\nwise man, (one of the wisest in London,) he has seen that the modern Theatre is the Music\nHall of the world. He has acted, not as people have so often said, to captivate the vain\npublic; he has acted for one man alone; he has acted for himself. & &\nWhen with the slightly swaggering gait he comes 011 to his stage he is thinking to himself\n4* how nice it tastes ; what a delicious feeling. \" And as he looks at the audience a strange\nexpression irradiates his face; he steps back somewhat shyly, and one feels he must be\nsaying, 44 No, not all of them are fools.\" &\n& And to see this is to see something very interesting. To study the psychology of such\nan actor is the delight of the man in the audience who Is conscious that he is the only man\npresent who is not a &\nEverybody admiring Sir Herbert Tree for this profound contempt of the theatre must\nwrite feelingly about him. 44 Rusticus \", after a stroll in the Sussex lanes to cool his heated\nimagination, enters his old farm house, and writes to the Saturday Review saying how\ngreatly he admires 44 Sir Herbert Tree's public spiritedness and courage in venturing to\nproduce in so short a time so many master-pieces. \" How he admires Sir Herbert Tree\n44 because he is genial, earnest, and he has charm\". How 44 his Shylock is excellent; his\nmake-up in Falstaff magnificent; his Malvolio nearly perfect\". And then, (For 4Rusticus'\nloves his theatre), he proceeds to tell Sir Herbert the truth. But though it may be a truth\nthat he has told, unfortunately it is not the truth, because if the entire world were to call\nSir Herbert 44 ridiculous \" 44 absurd \" and 44 preposterous \" they would only be saying that\nwhich Sir Herbert in his heart of hearts desires them to say.\n& He is the living symbol of the preposterousness of the English stage of 1910. He stands\nin the centre of the stage a parody of all that is beautiful, but conscious that he is a\nparody,., .. a profoundly pathetic figure crucifed upon a paradox triumphant,\nAnd that is the truth.\n\nSiz Herbert Tree\nAn inteiesting\nsight."}]}, {"article_id": "bm-bmtnaau-1910-07-01-c020", "article_bluemountain": "bmtnaau_1910-07_01#c020", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "18", "page_fin": "21", "image_debut": 24, "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=bmtnaau191007-01.2.12", "titre_corps": "THE ARCHITECTURE AND COSTUME OF SHAKESPEARE'S PLAYS", "titre_sommaire": "THE ARCHITECTURE AND COSTUME OF SHAKESPEARE'S PLAYS", "signature_source": "E. W. Godwin", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 24, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.24", "debut_caractere": 3048, "fin_caractere_exclue": 3898, "texte": "THE ARCHITECTURE AND COSTUME\nOF SHAKESPEARE'S PLAYS\nby E. W. Godwin. F. R. S.\n\nAS YOU LIKE IT\nhis play refers distinctly to a time prior to the succession of Anne of\nBritanny, for her>duchy was the last of the princedoms added to the\ncrown by her marriage with the King of France. The time of the action,\ntherefore, belongs to some period before the commencement of the\nsixteenth century, and the reign of Louis XI. (1461-1483), contemporary\nwith that of our Edward IV., Is probably as late as we can safely place\nit. Architecture has very little to do with the scenery of this comedy.\nIndeed, there is no necessity for its introduction at all. The first act gives— &\n1. An orchard near Oliver's house.\n2. A lawn before the Duke's palace.\n3. A room in the palace.\n& Now there is nothing to call for any buildings in 1 or 2, and the 3rd Scene may Just"}, {"page_pdf": 25, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 4372, "texte": "as well be enacted on the lawn (2) as in a room.\n•<& In the 2nd Act we have for the 2nd Scene a room in the palace, occurring again in the\n1st Scene of the 3rd Act. Both Scenes are extremely short (thirty-nine lines in all), and\nmight be omitted without doing any violence to the conduct of the plot. So, too, the 3rd\nScene of the 2nd Act may be the same as the first of the first. And as all the rest of the\naction is in the Forest of Arden there is really no need for any architectural scenery in As\nYou Like It. jg? &\nThe costume of 1461—1483 was not so extravagant in France as it was in England. In\nthe Court of Duke Frederick we should see doublets and gowns of silk velvet and cloth of\ngold ; rich embroideries in Venice gold, chiefly of the net and pine-apple pattern ; deep\ntrimmings of fur or velvet to collars, cuffs, and skirts of Rosalind's and Celia's dresses, and\nvarious other things already noticed in the articles on the plays of Henry VI. and Richard III.\nBut there are so many MSS. of this time, especially in the Imperial and National Libraries\nin Paris, and their illuminations reveal so many different styles of toilette, that the power\nof selection to a certain extent and within certain limits is in our hands, and our decision\nin these matters must therefore be more or less influenced by the physique of the actor\nor actress. For the more we know of the costume of the past the more satisfied we are\nthat we can avoid, vif we choose, those curiosities of dress where the ludicrous is predomi-\nnant, and which, by arousing untimely laughter, interfere sadly with the dramatic action.\nALL'S WELL THAT ENDS WELL\nhe Florentine war that happened nearest to Shakspere's day fixes the time of the\naction about 1555* There was, It is true, no 44 Duke of Austria\" then, the last Duke\nhaving died about a century before. With the exception of this allusion to Austria\nthere is nothing of any kind in the text that is inconsistent with the date I have chosen.\nThe scenery is wholly or almost wholly architectural, and is divided between Paris, Rousilfon\nand Florence. There are five Acts, comprising twenty-three Scenes, very unequally divided,\nbut in the first copy there is no scenic division. Following the course I have adopted in\nother comedies, I would venture to divide this play into six Acts with only four set-scenes,\nas thus:— & <£?\n1. Rousillon : the interior of the hall, Acts I., III., and VI.\n2. Paris: a room in the King's Palace, Act II\n3. Florence: without the walls, Act IV.\n4. Florence : a room in the widow's house, Act V.\n& Some of the scenes are so unimportant that there need be very little hesitation in\nomitting them. These are the 2nd of Act II., the 1st and 3rd of Act III., the 5th of Act IV.,\nand the 1st and 2nd of Act V. The 2nd Scene of Act I. may without any inconsistency be\nremoved so as to form the 1st Scene in Act II. The 3rd Act might be divided at the end\nof the 4th Scene, and the three remaining Scenes taken with the four Florentine Scenes of\nthe 4th Act may be divided Into two Acts (4 and 5)—an exterior and an interior at Florence.\n& Our first set-scene represents, in the words of the stage directions, 44 a room I11 the\nCountess's palace, Rousillon\". As we are not called on to supply the scene of the historical\nevent, and as no special Chateau or Countess Is intended by our author, we are free to\nselect any Interior that will best suit the and nature of the particular stage we may\nhave to use, provided only that we remember that we are in that old province of France,\nnow known as the Eastern Pyrenees, and that the Mediaeval architecture of the district was\nfrom first to last impressed—I will not say with a Romanesque but with a Roman character.\nTo Perpignan, Carcassonne, Perigeux and Toulouse, we must look rather than to Pierre-\nfonds, Coucy, or Creil if we desire authorities for restoring the Mediaeval vaults and towers\nof the casle of the Count of Rousillon. And I think its Mediaeval character should be re-\nstored to Bertram's home, if only to give the strength of antiquity to the splendid aristocrcay\nof the Countess, and some excuse for the almost blinding pride of her son.\n& The Paris Scene would be from the Louvre, as described in my notes on the historical\nplays of Henry V. and Henry VI. (1) &\n& The third Scene Is outside the walls of Florence. A country road and fields form the"}, {"page_pdf": 25, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.25", "debut_caractere": 4405, "fin_caractere_exclue": 4519, "texte": "The costume.\nThe scenery. <£?\nRousillon.\nParis.\nPIore nee. &\n\n(1) This article will be published at a future date-"}, {"page_pdf": 26, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.26", "debut_caractere": 33, "fin_caractere_exclue": 4632, "texte": "foreground, whilst the gate, walls and town would be seen at tSio extreme back of the\nstage. Indeed, the distance represented outside the walls may be so great that there would\nbe no necessity for any other architectural work except such as may easily he painted on\na back=c!oth, the line of the stage being disguised by broken banks, hedgerows, &c. The\nwalls and gate should look almost new ; for it was only twenty=nine years (1620) before\nthe date above assigned to the action of this play that the fortifications were surveyed by\nthe French and extensive reconstructions ordered, with the addition of those large\"* round\nbastions, then a special feature de Part de la guerre. Such portions of the old walls as\nwere allowed to remain would belong to the first quarter of the fourteenth century. This\nfourteenth=century wall was once studded with towers, most of which were razed in 1626=7,\nbut a few everTyet remain. Above the walls we should see a host of towers, belonging to\nthe palaces, monasteries, and churches of the City of the Lily, and chief among them those\nof the Duomo, Palazzo Vecchio, and the Podesta. r jg?\njg? A room in the poor hostelry of St. Francis, where the kind Florentine widow, who had\nseen better days, managed to live by the recommendations of pilgrims and palmers jour-\nneying to the shrine ot \"Saint Jaquesie Grand,\" would scarcely be in the modern style\nof the Renaissance. The widow's house would probably be one of the many fourteenth=century\nhouses with which Florence then abounded, and in its massive wooden# ceilings, with their\nfaded and broken patches of colour, its unmoulded, (or scarcemoulded) arches, and its\npanelled walls, we might recognise the strong, almost solemn spirit of Arnolfo, the city\narchitect of 1290=1310. &\nA. D. 1555 introduces us to Henry II. of France, to Mary of England, and to the Emperor\nCharles V. Of the King of France (Henry II.), and what manner of man he was we may\nbehold the vraisemblance in his portrait drawn at full length by Clouet, and now in the\nmuseum of the' Louvre. The engravings of Peressim (<559) are replete with illustrations of\nthe military costumes of France, from the plumed noble in embossed, chared or damascened\narmour, to the Swiss guard, vith his halberd, the arquebusier, the pikemen, and the Archers\nde la garde da roi. In the well=known portraits of Queen Mary and of Marie Stuart\n(Society of Antiquaries, London) we have sufficient authority for the fashion of the dress\nof the Countess of Rousillon, or the ladies of the Court of France. The colours most in\nvogue with the ladies of this period were crimson, violet, tan=co!our, golden yellow, straw\nyellow, and grey; these were used with great skill, and much was done by the Judicious\nemployment of black and white for relief and emphasis. A severe costume combining only\nblack and white with lines of gold embroidery was that adopted by the King at this time,\nand regarded as his livery. Bertram, Count of Rousillon, and the nobles of Southern and\nultra Catholic France, would be far beyond their sovereign in richness and elaboration of\napparel, wearing as an everyday costume crimson velvet or satin with embroideries and\nbuttons of gold. In the text we find mention made of scarfs and plumes, slashed or snipt=\ntaffata of saffron colour, \" delicate fins hats and most courteous feathers, \" as parts of the\nsoldiers dress; there are, also, a few other things named, such as wearing caps of a past\n•*\nfashion, but nothing else which can be said to indicate any special form, colour, or fashion.^\nLOVE'S LABOUR LOST.\nove's Labour Lost is a play which has the merit of brimming over with comedy,\nand of being less expensive to mount and easier to arrange in set scenes for the\nmodern stage than any other of its author's works. The scenery is laid in Na=\n111 varre—a province of Spain lying on the French frontier, and once a kingdom. (2)\nBut what appear at first sight to be historical references in the text have really no foun~\ndation in the history of Europe, so that there need be no hesitation in fixing the period\nof the action at the time the play was written, or about 1590, The only orchitecture which\nappears in the scenes occurs in an exterior view of a royal palace in a park, and the outside\nof Armado's house, also In a park, an arrangement, savouring much of France and England,\nbut not of Spain—mereover Don Adriano de Armado is often refered to not only as a\nSpaniard of some other State, such as Aragon or Castile, but as of an entirely different\n\njp Costume.\nThe Period.\n\n(1) Rep inted In The Mask. May-Yune and Yuly, 1908."}, {"page_pdf": 29, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 1482, "texte": "nationality from that of Navarre. There seems to me therefore no cause sufficient to stay\nus if we incline to fix either on France or England for the scenery and costume of Love's\nLabour's Lost. The parson. Sir Nathaniel, Holofernes who educates \"youth at the charge-\nhouse on the top of the mountain, \" Dull the constable, Jacquenette the country wench,\nand Costard the clown, are English from top to toe. Nor would the description of the\nmanners of the King and his lords by Boyet In the second Scene of the fifth Act. at all\nindicate the proud bearing and polished style of the grandees of Spain either under Fer-\ndinand or Philip. If, however, we wish to preserve some Spanish colour in the scenery the\narchitecture should partake of t/ie character of some distinctive building, like the Early\nRenaissance Alcazar at Toledo, or the Gothic houses at Segovia, Valencia, or Barcelona\n(see \" Gothic Architecture in Spain, \"by Mr. G. E. Street, R, A., &c). &\n& For the costume.of the ladies, the nobles, and the King, we can not do better than\nrefer to the National Portrait Gallery, the Louvre, and the Recueil de Gaignieres, to. x.\nThe great distinction between the Spaniard and the Frenchman was in the length of the\ntrunk hose; the first wore them short, sometimes so much so that they scarcely showed\nbeneath the skirt of the doublet; the French hose reached as low as the knee, and the\nskirt of the doublet was reduced to a mere band. (See notes on the Merchant of Venice), (i)"}]}, {"article_id": "bm-bmtnaau-1910-07-01-c024", "article_bluemountain": "bmtnaau_1910-07_01#c024", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 27, "image_fin": 27, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.2.12.4", "titre_corps": "A DESIGN FOR A STAGE SCENE", "titre_sommaire": "A DESIGN FOR A STAGE SCENE", "signature_source": "JULIUS OLIVER", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 27, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 42, "texte": "A DESIGN FOR A STAGE SCENE. JULIUS OLIVER."}]}, {"article_id": "bm-bmtnaau-1910-07-01-c025", "article_bluemountain": "bmtnaau_1910-07_01#c025", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "21", "page_fin": "21", "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=bmtnaau191007-01.2.13", "titre_corps": "THE EXQUISITE AND THE PRECIOUS", "titre_sommaire": "THE EXQUISITE AND THE PRECIOUS", "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": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.29", "debut_caractere": 1515, "fin_caractere_exclue": 4134, "texte": "THE EXQUISITE AND THE PRECIOUS\nby Gordon Craig.\nwine cannot appreciate pearls. This has at last become a well-known\nfact,.... acknowledged by the majority. & & &\nThe majority of people known to us certainly appreciate pearls;\ntherefore the majority may be said to appreciate that which is both\nexquisite and precious. XZ?\nI do not care whether the pearls are appreciated because they\nare so rare and so costly.... all the better that they are so\nor because they look so lovely. Either reason 5s good enough, for\nthe result is the same* Wonder and excitement are aroused,, the things are sure to be\nhandled tenderly and the wearer will probably hold her head more charmingly than before.\nThus we see that to be near the precious and the exquisite is to become more exquisite,\nmore precious, ourselves.\nIt is a pity that the Theatre is neither exquisite nor precious. &\nI want in place of violent expression of violent emotions and ideas more exquisite\nexpression of more precious emotions and ideas. & & & jg/ &\n& In place of vulgar materials such as prose, coarse wooden boards, canvas, paint, papier\nmache and powder I would like more precious materials to be employed. Poetry, or even\nthat far more precious Silence Ebony and Ivory :... Silver and Gold :... the precious\nwoods of rare trees :.. . exquisite silks unusually dyed :... marble and alabaster and\nfine brains. jgr\n& The Public is no fool : it will not value a lump of coal above a diamond ; It prefers silk\nand Ivory any day to wood and canvas. A critic who denies this is a duffer.\n& So then, Gentlemen, I ask you to consider the imitation Lily of the Theatre and to\ncompare it with that more precious species, with her of the fields. & & &\n& And thanking you for past criticisms I ask you to criticise justly the present material\nof the modern theatre. If you do so even with tolerance you will rouse us all to a state\nbordering upon exquisite rage: but you will confer upon the theatre an honour, the\nhonour of believing that it is still open to noble criticism, still worthy of judgement pro-\nnounced upon its essentials, and not alone upon its nonessential details.\nIf a fig tree should bear thistles would you criticise the prickly result ? Would you waste\nyour time protesting against the quality of the thistle and write it down an indifferent\nspecimen and ask for better?\nThen why do you criticise the false product of our noble art ? &\n& I pray you to study the nature of the Art of the Theatre so that with your assistance\nonce again the flower and fruit of it may be found to be both exquisite and precious.\nThe Theatre\nIts material.\nA request."}]}, {"article_id": "bm-bmtnaau-1910-07-01-c027", "article_bluemountain": "bmtnaau_1910-07_01#c027", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "22", "page_fin": "29", "image_debut": 30, "image_fin": 37, "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=bmtnaau191007-01.2.14", "titre_corps": "THE GENEALOGY OF PULCINELLA", "titre_sommaire": "THE GENEALOGY OF PULCINELLA", "signature_source": "Michele Scherillo", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 30, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.30", "debut_caractere": 0, "fin_caractere_exclue": 3899, "texte": "THE GENEALOGY OF PULCINELLA\nby Dr: Miche1e Scherillo.\nBattista Don!, a Florentine noble who died in 1647, in one of his treatises on music,\nspeaks thus: 44 In the French farces the principal role usually belongs to one who\nplays the part of a servant and is introduced with very ridiculous dress and face and ex«\ntremely depraved speech and discourse, after the manner of the foolish and extravagant\nbuffoons who in the Atellanians were called 'Macci', from the Greek word jj.rx.Mzv, which\nmeans desipere, and more commonly Moriones, as in the \" persona di Tabaria \" among\nthe French, and in Italy \" Puccinella\", introduced a few years ago, and, as understood by\nSIgnor Federico Cesi, prince of Acquasparta, (who has been in our days a miracle of goodness,\nkindness, and learning) coming from a part of the principality of Salerno called Crifone,\nwhere the men, owing to the marshiness of the situation, are corpulent and pale and speak\nhoarsely and through the nose. Such perhaps are the Fasiani, (that is the inhabitants of\nthe Colchide near the river Fase) described by Ippocrate in the book on air, water, etc. (1)\nA little later, about 1693, the abbot Giovan Battista Pacichelli, a Pistoiese noble, apostolic\nlegate at Naples, In a book De larvis vulgo mascheris, wrote, 44 tiodie in Baccanaiibus aut\n44 potius Carnisprivii festo, Gentilium illls substitute, vestes obsoletae simpliciter ac jocosae\n44 Larvas inducunt. Quilibet enim extra patriam agens Galium, Venetum, Bononiensem,\n44 Neapolitanum, Acerrensem, aliosque, vulgo 11 Raguetto, Pantalone, Zauns, Cola, PuU\n44 cinella, quorum alter ita dictus ab erectis contra hostes Reipublicae validissimos, in\n44 tropheum propriis Senatus symbolis, scilicet Leonibus ; postremus vero Pulcinella, inven-\n44 turn plane ridicolum cuiusdam I. C, seu Terrae Gefuni sive urbis Acerrensis, causarumque\n44 patroni taedio affecti in Magna Curia Neapolitanae Vicariae, nomine Andreae Ciuccio,\n<4 qui ad vultum ex natura accomodum, ventrem straminibus onustum aptavit, plures ad\n*\n44 sui imitation em excitans, surnmamque famam per universam Europam captans. Alii vero\n44 ex insulsis vestium indumentis libentisslme vis! et auditi sunt.\" And, six years after, Andrea\nPerruccl, (2) a Sicilian by birth but settled in Naples from his childhood, corrected Pacichelli's\ninformation and gave further indications as to the birth of our\n44 In Naples,\" he wrote, 44 we are in the habit of making use of the character of Pulici-\n44 nella, a personnage certainly not invented by a jurisconsult called Andrea Ciuccio, who\n44 devoted himself to acting It in the public theatres as the Abbot Pacichelli fancied, but\n44 by a comedian called Silvio Fioriilo, who called himself Capitan Maetamoros: It is true\n44 that, by study and natural grace, it was afterwards perfected by Andrea Calcese, nicknamed «\n44 Ciuccio, a tailor and not a tribunalist, as Is known to all those who yet remember him,\n44 he having died in the past plague of '56. Now this part of Pullcinella, which in the Greek\n44 idiom means a chicken thief, was taken to imitate the rustics of Acerra, and, accompanying\n44 the stupid physionomy with actions, it has become so usual, with joking, with the costume\n44 which is of coarse hemp, and with the mask, that In Carnival time one sees nothing else\n44 in Naples but Pulcinellas, each one wishing to act the gracious; but they show themselves\n44 so insipid that it would be a work of charity to fill the galleys with them. Then they\n44 make it permissable in the company of ladies, cavaliers and civil people to talk obscenely\n44 and to perform acts so lascivious and immodest that in comparison with them the Atel«\n44 lanian obscenities and the wickedness of the ancient comedies and of the Academies of\n\nPacichelli. 1693\nA correction,\n\n(1) De' trattati di musica di G. B. Doni. book II Florence 1763 Chap: 1 page 3.\n(2) Opera buffa Napoletana page 21."}, {"page_pdf": 31, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 4295, "texte": "\" the Ateniesi, Itafali, Baccanti, and the Lupercal, the Saturnalian and Quinquatrien feasts\n\"would appear most modest.\"\n& One might rest content and helieve that Pulicinella was born contemporaneously with\nTrastullo, Scapino, Francatrippa, and all that excellent legion of buffoons who gaily dance\nthe tarantella in Callot's engravings. There would be nothing strange or unlikely, nor do I\nbelieve that one who should stop at these facts could be criticised as a simpleton. But all\nthe same it is a fact that no one has stopped there 1 It hurt the eyes to see this personage,\nall white and spruce, a youth of scarcely three hundred years, and one wanted to surround\nhim with a little archeologica! mildew. &\n& The writer in a Neapolitan paper of 1839 called 'Lo Zibaldone', after having referred, in\nan article of his on Pulicinella, to the story of Fiorillo, exclaimed, \"Oh, what modernity!\n\" he would be a thousand times more precious, even if he were less droll, were he but more\n\"ancient!\" and he felt as though he had been born again when he knew that one of the\nantiquarians most in vogue, Bernardo Quaranta, Professor of Archeology in the University\nof Naples, had published a dissertation with which he proved that Pulicinella dates beck\nto the Atellanfan fables. But it was not true! Quaranta's dissertation was never published;\nperhaps, in MS it may exist among the heirs,.... perhaps ! &\njg? But all the same, to date Pulicinella back to the exodia of buffoons was npt so new a\nthing 01* so entirely characteristic of Quaranta. The Italian, French and German critics had\nsaid and repeated It a century before. Even Doni, already cited, set in his time the name\nof Macco near that of Pulicinella; but afterwards Riccaboni, (1731), Flcoroni (1750), and\nFloge! (1788) went further and held our buffoon as certainly the continuer of the ancient\nmime. And from that time forward almost all, referring to Pulicinella, have considered him\nas a descendant of the Atellanian 'Macco'. & & &\nBut if, then, Pulicinella descends from Macco, what do we know of this grotesque (2)\nperson himself\n& The Gramarian Diomede says, In Atellana (inducuntur) escae personae ut Maccus\";\nand perhaps this actor played the part of the fool, because in Apuleio are these words:\n\" Omnes 1st! quos nominavi, et si quis praeterea fuerunt dolo memorandi, si cum hac una\n\" Rufini fallacia contendantur, macci prorsus et buccones videbuntur \". In some of the notes\nof the Atellanian fables handed on to us by other gramarians we find Macco mentioned:\n'Maccus caupo', 'Maccus miles', 'Maccus vurgo', 'Maccus sequester', 'Maccus exul'. And\nnothing beyond this, so far as I know, of the progenitor claimed for Pulicinella. Festo once\nspeaks of a Mimus alhus ; and Fiogel immediately credits this as being the second name of\nMacco: \" Macco or wfcite mime\".\nIn 1727, excavating on the Esquiline, there was discovered a bronze statuette with silver\neyes, with two little globules of silver at the corners of the mouth, with a double hump\nbefore and behind, a large hanging nose and dressed in a short shirt reaching to above\nthe knees. In that statuette Anton Francesco Gori claimed to distinguish Macco; and\nFlogel applauded the interpretation of the Italian archeologist, adding on his part, •' Whoever\n\" is familiar with the story of the Roman buffoons can from its own aspect easily judge\n\" that this must represent a buffoon \". And, having said this, he leaps to the conclusion\nin consequence, that the little statue represents the progenital prototype of our Puliclnalla.\nKlein, .. to speak of more recent things,... applauds also. \"A. F. Gori recognised in the\n\" little grotesque bronze figure which was dug up on the Esquiline, a comic Macco, who\n\"has an obvious likeness with the Neapoiitan Pulicinella\": but then he here makes a\nleap which would be pleasing if it were not so common in this ill=arranged book of his:\n\" in any case, \" he adds, \" in any case a greater resemblance than the comic Roman Atellanian\nwith the satiric Greek drama \\\" & jgf & & &\nGiuseppe Micali, in a painting unearthed at Pompei in which the illustrator of the Bor=\nhome Museum had believed he recognised a scene from the Miles gloriosus of Plautus,\nsupposes instead that it may represent \" a comic burlesque scene of the Maccus miles,"}, {"page_pdf": 31, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.31", "debut_caractere": 4311, "fin_caractere_exclue": 4638, "texte": "\" Macco \" <£?\nA supposition.\nA painting at\nPomp e i . &\n\n1 Andrea Perucci \" Dell'Arte rappresentativa premiditata ed all' iinprovviso parti due. Naples 1699. page 293=4.\n2 Don Giacinto Girama \" Idea delta storia dell' Italia letterata.\" Naples. 1723.\n1 Napoli Sigoorelli, Storia critica dei teatri, Naples 1813, Vol V page 259."}, {"page_pdf": 32, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.32", "debut_caractere": 13, "fin_caractere_exclue": 4810, "texte": "a most celebrated Atellanian fable: in which case, he continues, one would have in this\npainting the masks of that famous Macco and of Btsco, legitimate progenitors of Pulicinella\nand of Zanii.\n& And up to this point, fortunately, they had stopped short at the interpretation of a\ndetermined fact; but they passed on at once to generic affirmations. Schlegel after having\nsaid that the first germ of the 4Comedla dell'Arte' Is found in the 'Ateilane', continues :\n44 Arlecchino and Pulcinella would arouse certainly the greatest marvel in the world were\n44 it known that they descend in direct line (this is the 'gerader linie' of Flogel) from the\n44 ancient Romans and also from the Oscans, and this glorious lineage would inspire in them,\n44 without doubt, an alterigia burlesque. It is, however, certain that there are found on the\n44 ancient Greek vases, among the grotesque masquers, many costumes very similar to theirs,\n44 as, for example, wide breeches and a robe with sleeves, which costumes were as foreign\n44 for the Greeks as for the Romans \". And further on : 44 it is said that there has been\n44 vered among the fresco paintings at Pompei the figure of Pulcinella exactly similar to\n44 the Pulcinella of our times\".\nj& 44 It is said\"? and by whom? and on what proofs? The good Tommaso Semmola, a\nworthy Neapolitan Greek scholar of the middle of the xix century, referring to a walk of his\nover the ruins of Suessola, proceeded to say, 44 As confirmation of the extreme antiquity of\n44 the character of Pulcinella it is helpful to us to consider that, as much in the excavations\n44 executed at Herculanium as in those already made at different times in the neighbourhood\n44 of Cum a, among the many very rare things there have been discovered many forms of\n44 masks made of clay, and among these there are some ugly and ridiculous ones which\n44 resemble Pulcinella. It might be argued from this that such a character is ancient, and\n44 that the Atellanians were perhaps the inventors of it\". This coming down is curious I\nOne begins by promising a proof to confirm the fact that the character of Pulcinella is\n44 most ancient\" and one ends by proving that perhaps it is 44 ancient \" ! But where are\nthese 44 ugly and ridiculous \" masks\nAbsolutely ridiculous, again, is a discovery of Carlo Tito Dalbono: 44 We find,\" he says,\n44 in the ancient Herculaniun and Pompelan excavations remains of columns bearing at the\n44 top as capital a head with large ears, open mouth, and sometimes crowned with leaves,\n44 which from the forehead to beneath the nose is black, then white to the chin. And this\n44 species of mask has been adopted by the present clay workers as a flower vase. Here\n44 then is a face in two colours, in short a mask, but a permanent mask. And this is the\n44 mask of Pulcinella\nBut in any case then Pulcinella boasts an ancient lineage ! And no one has opposed it\nbecause it was the universal desire and glory that the noble 'Cetru/o' family should date\nback even seventeen centuries and all have saluted with deference the genealogical tree\nwith its ancient branches. Mommsen indicates the etymology of the word maccarone in\nthe ancient name Maccus; and, speaking of the old Oscan farces does not hesitate to say\ndestinctly, 44 pulzinellkomodien\". A Barnabite lecturer also has wished to find summed\nup in Pulcinella all the characteristics of the ancient mimes; and one must give him\ncredit for good will. 44 In our mask, he says, are reproduced, now one and now the other,\n44 all the distinctive variations of the ancient Mime, and these are: the shaven head which\n44 was the particular custom of the Sanniones; the stick, (which for Harlequin is changed\n44 for a spatula) sign of the curved cane of the characters of the ancient comedy, (and here\n44 is cited the 4Greek Literature' of Mulier); the foot covered by a light sandai usually of\n44 leather, without heel, which was the footgear of the Planipedi (one may cite the step of\n44 Biomede 4Planipes graece dicitur Mimus, ideo autem latine Planipes, quod actores plants\n44 pedibus, idest nudis, proscenium introirent; from which it is clear, instead, that the\n44 actors came on the stage barefoot) the hoarse and nasal voice, which is preserved entire\n44 in the Pulcinella of the Piazzas, a survival of the custom of the Latin rope dancers of\n44 speaking with little globules of silver under the mask\". &\nCertainly I too have seen Pulcinellas with shaven heads but never one who came upon\nthe stage barefoot or with a wand. Nor should 1 know that the hoarse and nasal voice\nof the Pulcinella of today has its distant origin in the globules of silver which certainly\nPuicinella does not use now I To the purpose here is an ingenuous confession of a French\n\n& Some more\ntheories. J£?\nTommaso\nSemmola.\nCarlo Dalbono."}, {"page_pdf": 33, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 4727, "texte": "Journalist of 1834: 44 Policinelle played in the Atelianians. He did not really wear the three\n44 cornered hat, unknown to the Romans; instead of the closefitting coat and smallclothes\n44 he was dressed in a tunic, and he wore buskins instead of sabots, which must have taken\n44 from him a good deal of his comic power: in compensation, at the two corners of his\n44 mouth tinkled two little silver balls \". & &\nEven this Oscan origin did not suffice and one incomparably older was assigned to Pul*\ncinella. Actually they discovered that the vaunted progenitor Maccus was himself only a\ndescendant of the ancient Pulcinella I Yes, gentlemen: Pulcinella belonged to the ancient\ntribes of Israel I 44 Archeological researches appear to have established, according to some\n44 embossments and basrelief figures of ancient Egypt, that the first families of Israel who\n44 came transported into that country some little sculptures of Polichinelles which were\n44 given to Jacob's children to amuse them in their cradle And this article writer of the\n44 Magasin Pittoresque \" in 1834 only repeated that which from 1812 Millin had said in the\nMagasin Encyclopedique. And in 1843 a German, Hebenstreit, after having affirmed that\n44 undoubtedly that personage is a modification of an ancient mask\" also repeated the\nIsraelitish origin. But, for what I know, this hypothesis has had no luck; perhaps it seems\na little rash even to the enemies of 44 modernity\nWho, therefore is our Pulcinella, and how, where and when was he born ?\nIt is Important to us to ascertain his original. Millin's phrase 44 what do the origin and\ngenealogy of Pulcinella matter so long as he is gay and amusing \" makes us smile with\ncompassion. And we are not satisfied by the sonorous but empty words of the canon De\nJorio, 44 his great grandfather, the origin of his descent, is beyond history and enfolded in\nthe obscurity of fable \". We want proofs, we want precision and certainty in the facts\neven in this question of Pulcinella!\n& Frankly, the real story of the origin of Pulcinella seems to be this:... In the last years\nof the 16th century, among the many players who in those days invaded the piazzas of the\nItalian cities, there was one who was either a peasant, or wished to counterfeit the peasants,\nof Acerra. Perhaps he was a countryman gifted with a happy comic and satiric vein but\nto whom the work of a peasant was less pleasing than his buffooneries, and he came to\ntown and earned his living by stirring up the good humour of the porters and waiting\nmaids of the Piazza Pendino. He kept to his smock of white linen or pulled out his shirt\nover his trousers as the boys of the people do when they want to play at soldiers; clasped\nhis leather belt and fastened there, instead of the big knife or 4smarazzola' a short broad\nsword as we have seen in Callot's picture. Afterwards a talented comedian, Silvio Fiorillo,\nwho had already rendered himself famous as 4Capitan Matamoros' took that popular type\nand from it made a creation of his own. &\n& And this story finds its confirmation in the extracts cited at the biginning from those\nalmost contemporaneous with Fiorillo,.... Giambattista Doni, Giambattista Pacichelli and\nAndrea Perrucci; and in one legend, not yet extinct, which was recounted with his usual\ncomic flavour, by the abbot Galiani. I give it from the French versian, not having been able\nto see the original: 44 In the last century there was in Acerra, a city of the Happy Country,\n44 a troup of comedians who wandered about the province to earn something. One day they\n44 emerged on a country where the peasants were gathering the vintage. As on that occasion\n44 one drank more than usual and men and women worked together the gaiety was animated\n44 and each passer-by received a joke. The comedians saw themselves in their turn exposed\n44to the raillery of the vintagers; but, inured to this exercise, they began to reply and to\n44 give back sally for sally. Now, among the villagers there was one named Puccio d'Aniello,\n44 with a comical face, long nose, and swarthy skin ; facetious, moreover, and of a sharp\n44 Wit\". A\nThe comedians set themselves to amuse themselves specially with him, and he redoubled\nhis jests and banter. No one wished to give in, and they struggled who should make most\nfun of the other; the repartis became sharper; to jokes succeeded cries and hoots; it was\na regular Finally, the countryman got the best of it, and the comedians, ashamed,\ndecided to retire and returned to town astonished. Having recovered from their emotions,\nthey, according to the custom of theatrical folk who draw advantage from everything,\nthought they could do good business if they engaged in their company this peasant whom"}, {"page_pdf": 33, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.33", "debut_caractere": 4742, "fin_caractere_exclue": 4805, "texte": "Another theory.\n& Who is\nPulcinella?\nA likely origin.\nA Legend."}, {"page_pdf": 34, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.34", "debut_caractere": 13, "fin_caractere_exclue": 4914, "texte": "A historical\nconnection.\n>1 supposition.\n>4 warning.\n\nthey had found so facetious and so witty; therefore they made a proposal to him and he\naccepted it. They strolled the country with their new buffoon who succeeded wonderfully\nand won admittance everywhere by his witticisms, to which contributed also his droll\nphysique and his country bearing,.... that is to say, his shirt and trousers of white linen. The\ntroupe earned much and the name of Puccio d'Aniello was celebrated. At the end of some\nyears Puccio died ; but then the comedians replaced him by a companion who appeared in\nthe same costume and the same mask. lie kept also the old name, but in a modulated form\nand was called 4Polecenella\\ Other comedians followed the example, and soon the mask of\nPoleceneila spread over all the theatres of Italy and Europe, (i)\n& However the finding of Pulcinella on the same soil where once flourished the Atellanian\nfables is a fact which justifies others in thinking of a historical connection between the\ntwo dramatic apparitions. Doubtless these coincidences in such distant times are a proof\nto us of the continuity of the genius of race and it would be absurd to deny the ethnogra®\nphical connection. The same Galiani, in recounting the legend, 44 seems to believe \" says\nSaint Beuve, (2) 44 that the spirit of these ancient farces has been able to perpetuate itself In\nthe modern original\". Also, to explain the apparition of the 4farse cavaiole', some, like\nMinturno, at once had recourse to the old Oscan comedies. (3) But between these and the\nfirst appearance of Pulcinella intervenes a space of seventeen centuries I & <£? jg?\n& What during this long period has become of Macco, of Pappo, of Bucco, of Manduco? what\nof their farces ? Let us search cautiously to retrace, if it be possible, some vestige of the\nold comedy in the thick fog of the intervening time. &\nIn the heart of our provinces, in Carneval, they yet represent farces with fixed types,\nand sometimes 4a soggetto'. Now, might these not be yet living relics of the Atellanian\nplays? Could not these primitive forms of drama, saved from all literary influence by their\ndistance from the large cities, indicate to us what was, generally, the popular comedy of\nthe middle ages ? Among the people, especially in the country, traditions are faithfully\nmaintained, and many of the peasant dramatic forms yet living might be the repetition of\nthe ancient Oscan farces. The Commedia delPArte might really have been generated in\nthese rustic farces ; and Pulcinella, a peasant of Gifoni in the Principality of Acerra in the\nCampania, might have represented the part which his great grandfather Macco had created.\nAnd as he from his native Atella came to represent the peasant 'exodia' at Rome in company\nwith many compatriots, so Pulcinella, from his native village, might have come one fine\nday into the neighbourhood of Salerno or Naples, and there, fascinated by the success\nobtained with his Oscan witticisms have drawn around him those other peasants with whom,\nin the country, he had acted the peasant farces, and have repeated them in the city amidst the\nhearty laughter of the people. Each of those peasant actors, little by little, took to continually\nrepresenting a particular comic character corresponding to the ancient Bucco or to Pappo\nor to Manduco ; and thus the fixed types were created, which afterwards by degrees, by\nmeans of successive actors of a certain culture, were developed and finally remodelled on\nthe classic originals of Plautus and Terence.\n& But these, however probable, are only suppositions. (4) &\nAn almost certain Indication of the existence of PuScinelSa, even before the time in which\nhe appears in Callot's picture, could be found in some sketch, whether by those skilled or\nnot in the art of drawing, representing him. We have, however, no coliection of this kind,\nbut an Investigation might be attempted in the old books and illustrated catalogues of the\nmuseums.\nFirst of all, the discovery in the Campania of a figure dressed like Pulcinella must not\nmake us at once cry out 44 Eureka! \" Turning over the great volumes on the antiquities of\nHerculanium we meet at every step with short togas reaching to the knee and fastened at\nthe waist with a leather strap. Again, in the bronzes there is a little idol as ornament of\na votive hand, which has even the hat in the style of a 'cappolone V And on the other hand\neven now the country peasants dress, for their rustic work, like Pulcinella. Travelling\n\n(1) L. Moland, Moliere et la cooiedie Italienne. Paris. Didier. 1867. pg 7.\n(2) Sainte - Beuvc. Causeries du lundi. Paris. Gamier Vol. ii pag 423.\n(3) L'Arte poetica, Antonio Miturno: for G. A. Yalvassori. 1564. page 16!.\n(4) Which seem to be corroborated by the most important \" farsa d\"u Gapitanw 8 Sabiliiaa see \"Tradizioni dvammaticbe popolari\nVittorio Caravelli, Naples 1884. Page 6."}, {"page_pdf": 35, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.35", "debut_caractere": 13, "fin_caractere_exclue": 4928, "texte": "along the railway line from Napoli to Nola you will find the district of Acerra peopled by\nmany Pulcinellas !\n*<&■ On a column excavated at Pompei was found, engraved with a nail, a little figure of\nwhich the dress and movement of the hands have much likeness to Pulcinella. Above is\nwritten, \"Ad amphitheatr Francesco Maria Avellino, who commented on that graphite,\nsays \" By his short clothes and the movement of the head and arms one would believe him\n\"at the first glance a comedian or a poet who is declaiming. But the inscription above,\n\" which reads 'Ad amphitheatrum' seems to forbid the adoption of such an explanation and\n\"we therefore believe that it may be, in whatever manner expressed, one of the spectators\n\" applauding in the amphitheatre his favourite gladiators. \" (i) & <£?\n& This explanation does not succeed in persuading me. To me it seems that this figure\nmay rather represent one of those buffoons that they put over the doors of the little theatres\nof our Molo, to call together the people; and that \"Ad amphitheatrum\" would exactly\ncorrespond to our \" Tickets!\" And much the same as this was thought also by Finati, col«\nleague of Avellino in the Academy of Herculaneum, (2) &\n& Of far greater importance for us is an earthenware sherd, on which is shaped a head\nin basrelief, the portrait of Pulcinella. The large aquiline nose, the hump in front, the air\nof an idiot, the projecting cheek bones, and even the half mask to the level of the mouth,\nnothing is wanting. But of what date is the terra cotta ? where was it excavated ? Nothing\nis told us ; The commentator is too much occupied in holding forth on the preadamite origin\nof the art of potting, and he gets rid of us by writing under the picture where Pulcinella's\nhead is copied, this simple motto, \" small Italian plastic figures of buffoon type \", and we\nremain with that sherd in our hands, without knowing how to attribute any value to it!\nAfter all, it is not improbable that a comic Atellanian tradition may have survived, more\nor less evident, in the Campania up to the appearance of Pulcinella. Proofs are lacking to\nassert that he really descends in direct line from Macco and are lacking in like manner to\naffirm that, unconsciously, he may have known how to make the Oscan spirit live again as\nall would have us believe. But it is certain, however, that the modern Pulcinella was born\nin the 16th century and that only from that time has he assumed an individual character;\nwhich Cerlone completed, with artistic skill, towards the end of the last century. &\nPulcinella was amongst our first buffoons to pass the Alps and his name was translated\nby the French into Polichinelle, by the English Into Punch, by the Spaniards into Pulichinelo,\nby the Germans into Pulzinella. But in France they made him change his appearance, gave\nhim two humps, one in front, the other behind, and dressed him in a fine dress and a three\ncornered hat, and he was a child's toy. They also wanted to attribute to him a less peasant\norigin ; among the laces of the elegant little figure the musty smell of the countryman\ndispleased them ! Listen to the story, as Octave Feuillet recounts it to the little readers of\nthe \" Petite bibliotheque blanche.\" (3) &\n& \" The sailor Pulci and his wife were in despair because they had 110 son. One evening\n\" he swore loudly and she called for the assistance of the Madonna. All of a sudden there\n6t came from under the bed a cat black as soot and rushed upon the sailor, and in the same mo-\n\" ment a little bird was seen to fly through the room. From the empty cradle a cry arose. The\n\" woman ran to look and found there a little monster, with two humps and with a nose\n\" like a parrot's beak arching over a mouth so wide that it reached to his ears. This magot,\n\"it was our hero himself, the illustrious PuIcineSlo, who later, through love for you, my\n\" child, changed his name to Polichinelle, so that you might more easily be able to pronounce\n\" the name or your friend.\" No sooner had he grown biggish than he wanted to go to Court.\n\" Having a hump, said he, both \" behind and before, it Is good that I learn to read and\n\" write ; if it please God I shall become a learned man and I shall have so much wit that\n\"my humps and my ugliness will no longer be seen.\" And at the Court, for his witty\ntricks, he was dear to the king, but hated to death by the Majordomo, M. Ernest du Bugolin,\nwhom he often made an object of ridicule. By having defended Naples from an army of a\nhundred thousand English he aroused the jealosy of the king, and, if it had not been for\n\nAn eartliern-\nware sherd.\nP iilcinell a's\ntravels,\nA French story.\n\n(1) F. M. Avelliao. Qsservazioni su talune iscriziooi e disegoi graffiti sulle mura di Pompei, ia the \"atti dell'Accademia Ercolaaese. Vol: V\npg. 59.\n(2) The same. Vol, VI, pg 381.\n(3) Vie de Polichinelle et sea nombreuses aventures. Octave Feuillet. Paris. Hetzel."}, {"page_pdf": 36, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.36", "debut_caractere": 13, "fin_caractere_exclue": 4763, "texte": "Pacio d' A niello\n0 A surname\n44 Polliceno 99 ? 0\n\nthe princess, the king's daughter, he would have been poisoned. He escaped from Naples\nand took his way to Marseilles, and on the way encountered other dangers from which\nalso, thanks to his wit, he emerged with a whole skin, 00000\n0 A little beyond Marseilles he was overthrown with his horse Into a snare of brigands,\nled by Ronflard. But he, the first night, spiked them all on a fork thirty feet long! Only\nthe captain was spared, being absent. Pulcinella planted the fork, with the superb game\nthreaded on it, up on a cart and entered Chartres, triumphant. There he was led before\nthe commissioner, who was,... guess! the very captain Ronflard himself! Pulcinella knew\nhim by his nose, which was one of those not to be seen every day: a44 tropical\" nose of\nwhich one could say that it arrived a quarter of an hour before its possessor: it rose in the\nmiddle of his face like a pointed canon or like the beam of a coach, and on the extremity\nwas planted, like a sentinel, a wart with three rough hairs pointing to the sky. 0 0\n0 Beguiled by the stimulus of greed Pulcinella, invited to supper by the commissioner,\naccepted and fell into a trap. Put into a dark cell he had as companion of his prison 44 the\ngoodman Patience \", a puppet showman by profession, and together they succeeded in esca-\nping astride the tale of Ronflard's cat 1 And they arrived at Paris, at the Champs Elysees.\nPatience set up a van, and Pulcinella adapted himself to play a part, on condition, however,\nthat there was another actor resembling the commissioner Ronflard. And every evening he\nset himself with gusto to beat that longnosed traitor; and daily from Paris, on the cat's\ntail, he took a flight to Naples to amuse his fellow citizens. Once he returned sad, and his\ngood humour was veiled by a cloud of melancholy; he had fallen in love with Columbine,\nthe daughter of Pantaloon. But she, ... cruel... preferred Pierrot, 44 for his interesting\npallor\" and Harlequin, 44 whose bright colour indicated, she said, admirable heaith \". And\nthen he wanted in his company also another player, a woman,.... the ungrateful Columbine.\nYou know, in the wardrobe of the modern puppets there remain only three, Pulcinella,\nthe Captain and Columbine. {\\)0 0 0 0 0 0 0 0\n0 And where did this name of Pulcinella originate? 0 0 0 0 0\n0 It has been said that it is derived from a certain Pucio or Puccio d'Aniello, a peasant\nof Acerra, but 44 it is an error to make it descend from him \" observes de Jorico; and\nMoltedo asks in what calender one has ever encountered this name of Pucio or Puccio I (2)\nBut having admitted that such a name may exist, it always remains to be explained how,\nand by what etymological means Polecenella can have been derived from Pucio d'Aniello I\nPucio d'Aniello could at most have become a Puceraniello! Others have said that it is derived\nfrom one Paolo CinelH, altered by the pronunciation of the French who came to Naples.\nBut here also, Paolo Cinelli would give, in the French pronunciation, a 4PolsineIIi' which\nat most could have transformed itself in Napolitan into Puzeniello, like Polsino is transformed\ninto Puzino. Raffaello d'Ambra proposes a IIoAAy] x.(much movement) and Moltedo, carride\naway by his thesis to wish, like an imaginary Socrates, that in his house all should be\nGreek, and 44che sin il can ha seco\ndimeni la sua coda all'uso greco,\"\nadmires the etymology of 1.1 oXic , city and itevoc-, , or in Ionian form xavoc, empty fool; as\nif one should say, 4Buffon of the city'. 0000000\n0 Of all this Greek I do not know what to make. It clashes with every principle of neo-\nLatin Philology. More fitting seems to me the etymology, proposed by others and accepted\nby Settembrini, of 4PuIIiciniello', a most common diminutive of Pulclno, chicken, a name\nwhich might have been given to the actor sither because he had the voice or mimicked\nthe appearance: of this the puppet showman's pipe would preserve the 0\n0 The illustrious Bartolommeo Capasso made a very attractive suggestion to me,.... a\nsurname Polliceno. We came across the book 44 The noble families of Naples\" by Scipione\nAmmirato, and the 44 Discourses on the extinct foreign families, etc \" by Don Ferrante della\nMarra, and found these an Oddo or Odone di Policeno or Polliceno, nephew of Pope Martin IV,\ncavalier of the Council and viceroy of the kingdom of Jerusalem for King Charles I in 1290.\nBut this family died out at once in the kingdom of Naples! however a chronicle of the\nroyal residence written by Doctor Niccola Ramaglia di Saponara, referring to facts previous\n\n(1) La storia dei Burattini. Florence. 1884.\n(2) For such a name see 4 Le Rime Burlesche\". A. F. Grazzini. Firenze. Sansoui 1882. page 419."}, {"page_pdf": 37, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.37", "debut_caractere": 46, "fin_caractere_exclue": 959, "texte": "to 1572 names a Lucio Pulcinella; the which, \"being vicar of the Marsicana Curia, for a\ncertain insult was subjected to inquisition by the curia of the archpriest, and kept many\nmonths in the prisons of Saponara; and the archpriest then, to make peace with the bishop,\nforgave him.\" jgr jgr • & &\nug? Who knows if the vicar Don Lucio may not have been the brother or cousin or uncle\nof the future actor who bequeathed his name to history as an incomparable buffoon ? Who\nknows if the imprisonment of Don Lucio may not have determined his relative to seek\nhis fortune outside Basilicata, putting to advantage his uncommon natural gifts ? And the\ntradition, which would assign GKoni as the country of the future Cetrulo d'Acerra, renders\neven more probable the hypothesis that he may have been of the family of Pulcinella of\nwhich a representative in the first half of the sixteenth century, was living in Saponara."}]}, {"article_id": "bm-bmtnaau-1910-07-01-c029", "article_bluemountain": "bmtnaau_1910-07_01#c029", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "29", "page_fin": "30", "image_debut": 37, "image_fin": 38, "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=bmtnaau191007-01.2.15", "titre_corps": "THEATRICAL REFORM", "titre_sommaire": "THEATRICAL REFORM", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 37, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.37", "debut_caractere": 13, "fin_caractere_exclue": 44, "texte": "The enthusiasts.\nTheir hlundei."}, {"page_pdf": 37, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.37", "debut_caractere": 961, "fin_caractere_exclue": 3874, "texte": "THEATRICAL REFORM\nby Gordon Craig.\nis too much haste about al! this reform, very much too much haste. Nearly everyone\nconcerned in it seems to be frightened of time, and in this haste the good energy is\nwasted.\n& Each day, week and month we read energetic statements made or hasty conclusions ar-\nrived at by enthusiasts.\nThose enthusiasts should pull up and discipline themselves a little. Instead of leaping\nquickly to conclusions they should begin at the beginning and search for the truth. This\nwould bring them to the end of their lives in a more contented frame of mind than they\npromise to reach it at present.\n& The enthusiasts are the only people who count, but the sum reaches a very low figure\nwhen they let their enthusiasm carry them away.\nFor example, one enthusiast for the theatre has only to see one performence in the open\nair with a back-ground of trees, let us say by Ben Greet, to believe that the solution of\nthe riddle of the theatre lies in taking the theatre into the open air.\nAnother enthusiast believes that the whole thing is to be solved when the dance is tho-\nroughly understood.\nThe third believes that it is all a matter of the scenery.\nA fourth that it is a question of artificial lighting. &\n& A fifth thinks that it has something to do with socialism and that if plays dealing with\nthe labour movement are put before the audience the whole theatre will revive.\nThe sixth enthusiast thinks the reproduction of actual life on the stage is the secret.\nThe seventh is convinced that it has something to do with the community and that the\ncommunal theatre would solve the riddle.\nAn eighth thinks instead that the reproduction of the ancient drama, Greek and Eli-\nzabethan, in theatres most like to those in which they originated, would solve the riddle.\n& The ninth enthusiast, (for the Frohmans and the Schuberts are enthusiasts in their own\nway) thinks that the whole thing is a question of dollars.\nAnd so, as I have said, day after day these voices are heard making these announcements\nwith all the conviction of the inexpert.\nAlas, these gentlemen in their haste are of assistence to but one set of people only; to\nthose who wish to make money out of the theatre.\npor the clever business man can take any one reform and successfully tackle it and turn\nit into a good paying concern, because when the show takes place the reform will not\nbe noticed but only a certain kind of fresh novelty will be sensed. That is just what he\nwants.\n'phe open air enthusiasts,... alas, even Mr Coburn, even Mr Ben Greet ... are merely\nplaying into the hands of Mr Frohman who comes along with a Joan of Arc and makes\nfifty per cent for himself and fifty per cent to the score of vulgarity. The Bohemian Club In\nCalifornia is doing exactly the same. And those enthusiasts, because they get near to Nature,\nthink that they are getting near to the soul of the folk and expect some miraculous folk"}, {"page_pdf": 38, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.38", "debut_caractere": 20, "fin_caractere_exclue": 4186, "texte": "drama to be the result of the connection of the theatre and its painted face and gaudy\ntrappings coquetting with the brambles and the red wood~trees.\nIn the same way some enthusiasts In Russia, in Germany, in France and in England\nwho are studying the theory of Delsarte and making their limbs nice and supple and pro*\nducing dances as sweet as the chocolates In the celebrated box, are but playing into the\nhands of Mr Frohman and Mr Schubert. They are certainly doing nothing to aid in the rebirth\nof the theatre. jZ?\n&Mr Fortuity with his elaborate lighting effects; the young Munich and London artists\nwith their scenic effects, are serving the cause of the business man.\n& The Socialist theatre reformer with his ponderous labour plays has, as you see, already\nbeen annexed by Messrs Frohman and Schubert, and we have Mr Frohman's word for it that\nit is paying.\nThe reformer with realistic tendencies who reproduces an actual room, actual manners\nand other actual sights and sounds will of course be a very useful if rather expensive man\nto rake in the pounds, shillings and pence for Messrs Schubert and Frohman. JZ?\n& The first comunistic enthusiast who comes along and succeeds in making even a failure\nof his first venture will have served Mr Frohman's purpose perfectly well, for Mr Frohman,\nthe great and noble lover of the drama, who is nothing but a business man who should have\nbeen hustled out of the theatre Song ago, will then at last come to his own and the mob will\nbe thoroughly In his hands.\nAs I have said before, each of these reformers, taken separately, can be of value to the\nbusiness man. Taken together they can only crush him. They can only crush him when they\ncombine, and on the day that they do so I would not give two pins for the cleverest\nbusiness man on the face of the earth. On that day the theatre will commence to pull itself\ntogether. &\nthe question of the open air must come to be considered, but it must not be\nconsidered enthusiastically but coolly and from many different points of view before\nanything.\nThe thing in itself, the idea in itself, creates enthusiasm in whoever thinks about it, but\nwe must not rush into the open air and begin to wave our arms and quote Shakespeare\nand think we have achieved something by doing so.\nThis is abominable and utterly unworthy of the good fellows who carry 011 in that way.\nAs I have said, it shows haste. They are frightened of time. They feel they are going to be\nleft behind. If they did not feel this they would take many more years to consider the\nquestion, \" How to act in the open air and what is the difference of such acting from that\ndestined for a roofed theatre \" ; and this question leads up to so many other questions that\nvery few persons are able to answer them today, and certainly not in a hurry.\n& So is it with the Dance. What is its actual relationship to the theatre, and, considering\nour first question, its relation to the theatre of the open air in distinction to the roofed-in\ntheatre ? No one can hastily don a few Egyptian clothes and, relying upon their personality,\ncome before the world and claim to have discovered a new theatre in a pas-seul. Dance\nmay or may not have its place in the Art of the Theatre ; most probably it has not; but\nthis cannot be decided in a hurry. &\nWith painted Scenery and with the lighting of this modern Scene the same judgement\nhas to be passed. You may not claim to have discovered the new Art of the Theatre on the\nscore that you have designed and lighted some mysterious scenes.\nAgain because you have dealt with the new Socialistic questions of the day you must not\nbelieve that you have created a new drama. jZ? jz? JZ?\nReform may or may not come through reforming Theatre construction, Dance, Scene,\nLighting, Motif of plays, the Box office and Acting: but such reform can only be at all\nvaluable when the reformers become united in friendship. jZ? jg/ jZ?\nsz? I hope that before long these enthusiasts who are at present divided will unite and\nprove again in the history of the theatre the power of real and disinterested enthusiasm.\n\nThe Strength\nof unity.\nThe Dance.\nJFriendship the\nonly means of\nunity. jz?"}]}, {"article_id": "bm-bmtnaau-1910-07-01-c031", "article_bluemountain": "bmtnaau_1910-07_01#c031", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "31", "page_fin": "33", "image_debut": 39, "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=bmtnaau191007-01.2.16", "titre_corps": "THREE STAGE CHARACTERS", "titre_sommaire": "THREE STAGE CHARACTERS", "signature_source": "Gilbert à Becket", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 39, "page_imprimee": "31", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.39", "debut_caractere": 0, "fin_caractere_exclue": 4299, "texte": "THREE STAGE CHARACTERS\nby Gilbert à Becket.\nTHE STAGE NEGRO\ncharacter of the Negro, as exhibited on the stage, is a strange compound of physical\nand moral singularities, that are well worthy the attention of the student of human\nnature in its dramatic, which is certainly its most astounding form. The Stage Negro seems\nto be deeply imbued with the beauties of the British Constitution, and is constantly\nindulging in sentiments of gratitude towards England, that must be delighful to the ears\nof the most patriotic native of our highly-favoured isle. The Stage Negro is continually\nrunning about in an ecstasy ot delight at the reflection, that, \" dreckly him put him foot\non British groun, him free as de air, free as Massa himself: \" an announcement which Is\nusually followed up in an early scene by the Negro receiving a variety of cuffs or kicks\n(in which, by=th©=bye, he seems to delight) from some of the other characters in the drama.\n& Sometimes the Stage Negro grows sentimental, and asks, in reference to some cruel prac-\ntical joke that has been played upon him, uWhether him not a man and a brother; for\nthough him face black as him coal, him heart white as him lily. \" The old constitution-loving\nand sentiment-spluttering Stage Nigger is however rapidly disappearing from the stage ;\nand we get, in these days, very few of those cutting allusions to the traffic in slaves, and\nthose tender appeals to the equality of the human race which were the charm of the dramatic\nnegroes of our infancy. The Stage Negro has become a vulgar dancing brute, with a banjo\nin his hand, and without a bit of sentiment at his heart; a wretch constantly jumping about,\nwheeling about, and turning about, wholly devoid of that solemn admiration for the British\nConstitution and for the liberating influence of the sands at Margate, or the shingles at\nDover which we once used to hear with a feeling of pride at being natives of a land that\nadmitted of so much puffing on the part of our dramatist. The Stage Negro of the present\nday can only indulge in frivolous allusions to Miss Lucy Long, Coal Black Rose, and other\nlight characters, or call upon some imaginary individual, of the name of Josey, to Jim\nalong—a process that we are utterly at a loss to form any conception of.\n& Thus much for the moral attributes of the Stage Negro, whose physical peculiarities\nremain, for the most part, unchanged ; and to these we can, therefore, turn our attention\nwithout any feeling of disappointment, at the alteration which has occured in the intellectual\ncharacter. The Stage Negro still exhibits that remarkable peculiarity of the skin, which is\nshown by the dark colour, generally finishing abruptly at the wrist, the hand being perfectly\nthe same as that of one of the white population. The variety of hues is also very remark-\nable ; for while the arm is of the colour of a black worsted stocking, the face is somewhat\nless opaque, and, indeed, it would appear that Nature dealt for her blacking with two\ndifferent manufacturers, trying Warren for the limbs, and using Day and Martin for the\nfeatures of the Stage Negro. &&&>&&<£? &\nTHE STAGE LADIES' - MAID.\n'Jphe explorer of human nature, who digs into the drama as a mine in which character\nmay be discovered, will frequently turn up a quantity of material that he will find much\ndifficulty in accounting for. To pursue the simile of the mine,....there cannot, perhaps, be a\nmore extraordinary spadeful than that very singular lump of clay whose denomination\nforms the title to the present article. £?&&&/&& &\n& Though all the world is generally admitted to be a stage, it is fortunate that al! the\nladies'-maids in the world are not stage ladiesVmaids, for if they were there would be an\nend to all domestic discipline in every house where a lady's-maid might happen to form a\npart of the & & & /&\n& A most striking peculiarity in the position of the stage ladies'-maid is the ascendancy\nshe immediately gains over every one in the house she happens to have got admission into.\nThe only person she condescends to patronise is her young mistress, whom however she\nnever assists in anything but a love affair; but that even is beneath her notice unless it\n\nThe formet\nnegro. J&\nThe modern\nnegro. &\nHis physical\npeculiarities.\n& A sti iking\npeculiarity1'"}, {"page_pdf": 40, "page_imprimee": "32", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.40", "debut_caractere": 25, "fin_caractere_exclue": 4784, "texte": "With her master\nHer marriage .\nHolding up the\nminor to nature.\n\nis clandestine, and terminates in an elopement, which she insists on having the entire\nconduct of. She permits no scruples of delicacy or propriety on the part of her young lady,\nwho, by-the-by, seldom expresses any stronger sentiment of self-respect than such as may\nbe implied in the words, \" Really, Betty, I tremble at the step I am about to take;\" when\nthe Ingenious interrogatory of Lor, Miss, what's the use ? \" from the stage ladies'-maid,\nat once removes any feeling of compunction by which the stage young lady may for a mo-\nment have been influenced. There Is generally a struggle going on in the mind of the\nlatter between duty and affection, when the casting vote is demanded from the stage\nladies'-maid, who black-balls duty at once, and gives a plumper for disobedience. The stage\nladies'-maid nevertheless receives bribes from the representative of the duty interest,\nnamely the heavy man who receives thirty shillings a week for doing the respectable utility,\nand talks of having just dined with the minister. While, however, she gains a knowledge\nof the heavy man's plans, and accepts from him at every interview a heavy purse filled\nwith gallery checks, as a reward for her exertions in his behalf; the stage ladies'-maid is\nurging her young mistress to rush into the threadbare arms of a half-pay captain who\nmakes love to her, by whistliftg up at the window, following her into the Park, kissing\nher maid, and practising other elegant little arts which military men—on the stage—are\nordinarily addicted to. Perhaps, however, the most curious portion of the stage ladies'-maid's\nconduct is her treatment of the master of the house, whom she keeps in a state of conti-\nnual subjection, by an uninterrupted course of insult and violence. She ordinarily addresses\nhim as an old hunks, shakes her fist in his face, thrusts his hat and cane into his hand,—\nall the while pushing him towards the door,—when she has any purpose to serve by getting\nrid of him. If he begins to talk, she talks him down, so that he can only splutter and say\n\" Whew,\" but he never thinks of either giving her a month's warning, or paying her\nwages, and sending her about her business. The stage ladies'-maid never thinks of leaving\nthe drawing-room when visitors are present, but often remains in it alone to sing a song\nwith Swiss variations, which must be heard all over the house to the great disturbance of\nthe family. In dress she always excels her mistress, and frequently wears very thin white\nmuslin over pink satin, the muslin being open all the way down the back, and an apron\nwith pockets of very recherche embroidery.\nIn conclusion she generally marries somebody because \" she don't see why she shouldn't\ndo as her young mistress does;\" and she sometimes unites herself to a low-comic country-\nman, whom she has been snubbing ail through the piece, but who, when he has a chance\nof being accepted, looks like a great fool, and says, * Well, I doant noa, thou beest woundy\npratty,\" which is at once clutched at as an offer of marriage by the stage ladies'-maid,\nwho sings a couplet, or speaks a \" tag,\" makes a curtsey before the fall of the curtain,\nand retires to her dressing-room, without saying a word to the iow-comic countryman,\nwhom she has just promised to share the remainder of her existence with.\nTHE STAGE SEAMAN.\nan, in his relation to the boards of a minor theatre, is a very wonderful animal. Curious,\nindeed, are the creatures that breathe the dramatic air. and inhabit [the set pieces of\nscenic life, ranging the canvas woods, and sauntering in the practicable groves, listening\nto the warbling woodlark in the band, or being summoned to the field of glory by a trum-\npeter standing at the side scenes. Man, in this state, defies the sagacity of the Ingenious\nPritchard, who flies flabbergasted from the contemplation of a being so utterly subversive\nof all the usual theories.\n& Perhaps the habit of holding the mirror up to nature, may account for the upsidedown-\nishness which is so often met with in a dramatist's view of humanity; for let the reader\nseize a dressing-glass—which is more convenient than a mirror—and hold it up to the\nceiling—which is more come-at-able than nature—and the reflection will puzzle him as to\nwhether he is on his head or his heels. His writing-table will appear sticking to the roof\nof the appartment; the lamp in the centre of his room will seem to be standing on the\nfloor; and his fire will be blazing away over, instead of underneath, his chimney-piece.\nThis practice, therefore, of holding up a mirror to anything, is calculated to throw an air\nof topsyturvlness over the object reflected; and thus, as it has been just observed, may"}, {"page_pdf": 43, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.43", "debut_caractere": 0, "fin_caractere_exclue": 3570, "texte": "& To return, however, to the British seaman, as he used to he according to the 25th of\nGeorge the Second, and as he Is according to the license of the Lord Chamberlain. The\nBritish seaman tells everybody he meets to \" Belay, there;\" which we find, by a reference\nto a dictionary of sea-terms, is making a rope fast by turns round a pin or coil without\nhitching or seizing it. He calls his legs his timbers, though timbers, in nautical language,\nmean ribs; and he is continually requesting that they may be shivered. He is always either\non terms of easy familiarity with his captain or particularly mutinous, and is often in love\nwith the same young lady as his superior officer, whom, in consequence of their affections\nclashing, he generally cuts down to a mere hull, as he technically expresses it. He calls\nevery elderly person a grampus, and stigmatises as a land-lubber every individual whose\npursuits do not happen to be nautical. When at sea, though only a common sailor, the\nstage tar is the most important personage in the vessel; and the captain frequently retires\nto the side of the ship—sitting, probably, on a water-barrel—in order to leave the entire\ndeck at the service of the tar, while he indulges\nin a naval hornpipe. The dramatic seaman usually\nwears patent leather pumps and silk stockings\nwhen on active service; and, if we are to be-\nlieve what he says, he is in the habit of sitting\nmost unnecessarily on the main topgallant In a\nstorm at midnight, for the purpose of thinking\nof Polly. us/\nWhen he fights, he seldom condescends to\nengage less than three at a time: and if the action\nhas been general a moment before, he has the\nfield all to himself, as If by general consent,\ndirectly he evinces any disposition for a combat.\nIf there is a battle, he wins it personally,\nwithout the aid of anybody else; and he treats the admiral as if he were a mere cipher,—\nas in fact he is, for he generally comes in when all is over, at the head of his staff, to\npromote the British seaman, and to tell him that his country owes him a debt of everlasting\ngratitude. If the tar is a married man, he invariably leaves his Polly without the means\nof paying her rent; and when he returns, he generally finds her rejecting the dishonourable\nproposals of a man in possession, who is making advances either on his own account or as\nthe agent of a libertine landlord. In these cases the British seaman pays out the execution\nwith a very large purse heavily laden at both ends, which he indignantly flings at the\nshark, as he figuratively describes the broker's man, who goes away without counting the\nmoney or giving any receipt for it. The stage-tar sometimes carries papers in his bosom\nwhich, as he cannot read, he does not know the purport of; and though he has treasured\nthem up, he has never thought it worth while to get anybody to look at them, but he\ngenerally pulls them out in the very nick of time, in the presence of some old nobleman,\nwho glances at them, and exclaims, 44 My long-lost son ! \" at the same time expanding his\narms for the tar to rush into. Sometimes he carries a miniature, and finds in some titled\ndame a mother to match it; or pulls up the sleeve of his jacket, and shows a stain of port-\nwine upon his arm, which establishes his right to some very extensive estates, and convicts\na conscience-striken steward of a long train of villanies. At the close of his exploit it is\ncustomary to bring in the union jack (nobody knows why it Is introduced or where it comes\nfrom), and to wave it over his head, to the air of 44 Rule Britannia.\""}, {"page_pdf": 43, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.43", "debut_caractere": 3597, "fin_caractere_exclue": 3621, "texte": "When at Sea,\nRis return."}]}, {"article_id": "bm-bmtnaau-1910-07-01-c036", "article_bluemountain": "bmtnaau_1910-07_01#c036", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "34", "page_fin": "35", "image_debut": 44, "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=bmtnaau191007-01.2.17", "titre_corps": "THE THEATRE", "titre_sommaire": "THE THEATRE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 44, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.44", "debut_caractere": 0, "fin_caractere_exclue": 4359, "texte": "THE THEATRE\n\nIN GERMANY, HOLLAND, RUSSIA &\nENGLAND & A Series of Letters from\nGordon Craig. Letter three.\n\njy|y dear Semar,\nYou ask me how I feel after my third\nvisit to Moscow. I feel tremendous for I fee!\nthat I have found friends. & & &\nAnd not friends who are merely willing\nto accept me when I do as they want, but\nfriends who are willing to follow me when\nI do as 1 want, and, indeed, it then becomes\nso easy to do as we all know is best.... that\nis to say, the most difficult, not the easiest\nthing,.... and to make dangerous progress\ninstead of accepting safe stagnation. &\nIn the production of \" Hamlet\" in Moscow\nwe are all doing as we think best. The car-\npenters, dress makers, actors and stage ma-\nnagers are all working, not merely in har-\nmony, ... for that in the theatrical dictionary\nmeans everybody's being horribly tactful and\nnothing else, but with an enthusiastic and\nharmonious activity which it seems impossi-\nble to break. £/ jgr & &\nWe have experienced several attempts to\nbreak this harmony on the part of envious\ncreatures who have nothing better to do\nthan create discord, but so far every attempt\nhas broken itself against itself. & &\njg> For about a year the papers have been\nfull of delicate little paragraphs hinting at\nthe discord which reigned in the theatre, at\nthe differences between the directors and\nmyself, at the fantastic demands which I\nmade upon the actors and so forth.\njg/ All these frantic little paragraphs created\nquite a stir in Moscow and St Petersbourg,\nand after a year the directors of the theatre\ngave an interview to the leading Moscow\npaper (a copy of which I send to you,) on the\nlast day of the theatre's season, (i)\njg? One reason why it is so nice entering this\nRussian theatre to commence work is that\none goes there with the thorough confidence\nthat there is going to be no ill - feeling\nanywhere about, no stiffness which will pre-\nvent exchange of thought, no conceit which\nwill baulk progress and lead to ** scenes \".\njg? At first, having the experience of so many\nother theatres in my mind, I was overcautious\nin making certain suggestions as to the treat®\nment of the play, for I felt that such very\nnice people did not deserve to be rubbed up\nthe wrong way if by being a little careful\none could avoid doing so. But I found that\none could entirely forget the old and worn-\nout methods of the other theatres when\nthinking of this theatre and that I could rely\non it to the very utmost. jg?\n& They meet all suggestions and all propo-\nsals with an open mind, and, knowing me as\nyou do, you can well understand that this\nmust be the case or I should not have stayed\nfor five days You can understand that my\npraise of this theatre cannot be at all exagge-\nrated for you know that I have relinquished\nwork in theatres time after time where the\nmanagement was so thick - headed or so\nstupid that it was unable to see that what\nI was bringing them was of value. jg/\nI shall work in London only when I can\nget the conditions which the Moscow Art\nTheatre can give and has given me; that is\nto say, when I can come into the theatre,\nchange the proscenium if 1 wish, cut or leave\nuncut the play if 1 wish, use a curtain or\ndiscard the curtain if 1 wish, take a year\nover the production of a play, or two years\nif necessary; select a first-class staff to work\nunder me who have no other work except\nthe one play which I am producing; experi-\nment and have experiments made to the\nextent which I think necessary in the mat-\nters of scene, costume, acting and lighting\nupon a full-sized model stage made in the\ntheatre and kept in special quarters entirely\nfor my own use, and when 1 meet with a\nmanager who will bring his troupe and me\ninto such chose union and such perfect har-\nmony as I have experienced at the Art The-\natre in Moscow whose leader is Constantin\nStanislawsky. & jg? jgr jg?\nYou will probably write me that you see\nno reason why this should not be so in Lon-\ndon and, as you have frequently done before,\nyou will express your surprise that I am so\noften complainig about the English theatre.\nBut, bless your heart, my dear Semar, do\nyou think I should complain if 1 had found\nthings as they ought to be ? Mismanagement\nhas made it impossible for a long time\nfor me to dream of doing work in London.\n\n(1) We tfaiHk this o? sufficient interest to reprint and it will te\nfound on page 41."}, {"page_pdf": 45, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 4003, "texte": "1 have got past the time when it is amu-\nsing for me to paint scenery for some ma-\nnager who wants to make a show, or when\nI feel flattered that one or two of my ideas\nshall be seen on the stage and spoken of in\none or two morning papers, I have my work\nvery seriously at heart, and in regard to no\nland do I consider it so seriously as in re-\ngard to England.\nI want England to have the first theatre\nin the world, and there are plenty of men in\nEngland who, when brought together under\none banner, can be trusted to produce that\ntheatre. & £? & &\nBut the conditions must not be the con-\nditions which rule in the English theatre\ntoday. There must no longer be this appal-\nlingly happy-go-lucky rule. As I have said for\nyears, we must choose a master of stage craft\nand we must go through with him. When we\nhave the pluck to do that we shall have taken\nanother step towards the betterment of the\nEuropean theatre, as well as our own English\nTheatre.\nTalking about the European theatre, you\nprobably get an idea when I write to you\nfrom Russia that this Moscow theatre is a\nkind of European theatre. That Is to say,\nyou perhaps compare it with the theatres\nof Paris and Berlin. But do not do so, for this\ntheatre stands quite alone. The Paris and\nBerlin theatres are quite unimportant by the\nside of it. You will know what I mean when\nyou come here, and then the theatres of\nParis and Berlin, even those advanced thea-\ntres there, will be blotted out of your me-\nmory. & &\nThis is the impression you will receive as\none of the audience, but should you be so\nfavoured as to have the advantage of working\namongst these noblemen of the stage you will\nsee something far more wonderful than what\nthe audience sees. You will see for the first\ntime in your life an organised theatre ; not\nmerely a mechanical but a living orga=>\nnisation, without all the weaknesses which\nbelong to such bodies as a rule. &\nMy dear John, I am using a single scene\nfor \" Hamlet\". Conceive the outcry which\nwould follow if 1 said to a London manager\nthat I intended to use one scene only in a\nplay! He would begin to writhe and look at\nme as if I were some strange mad thing\nwhich it was his duty to tame.\n& Why, years ago, I remember, when I said\nthat the footlights must be removed he look-\ned at me as if he would die. Yet we have\nremoved the footlights at Moscow so what\nis there to be said ? Either I was right or I\nwas wrong; at Moscow they find that I am\nright. And, having proved this to people, what\nthe dickens is the good of the London ma-\nnagers always crying out about the impos-\nsible ?\nIt is just the same with this matter of\nusing one scene throughout the play. Of course\nI have had time to demonstrate the value of\nusing one scene instead of using a lot of\npainted scenery and I could do so in London\nor in New York or in Samoa if time were at\nmy disposal. But time is one of the things\nwhich the London manager refuses to give\neither you or himself. <£?\nAnd when I say that I am going to have\nonly one scene in \" Hamlet \" you must not\nimagine that I am reverting to that old idea\nof mine (which I have now put aside), of using\na set of curtains suspended from a great\nheight. &\nOur family has never been very keen about\ndishing up old things. We like to go on ; and\nso I am making use of a Scene which I be-\nlieve you have mentioned before In The Mask.\nIt is the same scene which W. B. Yeats\nis going to use in Dublin for his poetic drama\nand which my mother will use when she\nnext produces the 44 Merchant of Venice.\nIt has proved itself to be quite useful,\nthis Scene, and not merely useful as a make-\nshift, but useful in a sense that it contains\nthe several impressions which are necessary\nin plays that differ so widely in character\nas 44 Hamlet \" and 44 Tartuffe \". &\n& I am perfectly willing that any manager\nin England or America should make use of\nthis Scene, but if he does so he must be in\na position to give it his time and conside-\nration. & &\nThis will enable him to test its value.\n\nGORDON CRAIG."}]}, {"article_id": "bm-bmtnaau-1910-07-01-c037", "article_bluemountain": "bmtnaau_1910-07_01#c037", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "34", "page_fin": "35", "image_debut": 44, "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=bmtnaau191007-01.2.17.1", "titre_corps": "IN GERMANY, HOLLAND, RUSSIA & ENGLAND : A Series of Letters from Gordon Craig. Letter three", "titre_sommaire": "IN GERMANY, HOLLAND, RUSSIA & ENGLAND : A Series of Letters from Gordon Craig. Letter three", "signature_source": "GORDON CRAIG", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 44, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.44", "debut_caractere": 13, "fin_caractere_exclue": 4359, "texte": "IN GERMANY, HOLLAND, RUSSIA &\nENGLAND & A Series of Letters from\nGordon Craig. Letter three.\n\njy|y dear Semar,\nYou ask me how I feel after my third\nvisit to Moscow. I feel tremendous for I fee!\nthat I have found friends. & & &\nAnd not friends who are merely willing\nto accept me when I do as they want, but\nfriends who are willing to follow me when\nI do as 1 want, and, indeed, it then becomes\nso easy to do as we all know is best.... that\nis to say, the most difficult, not the easiest\nthing,.... and to make dangerous progress\ninstead of accepting safe stagnation. &\nIn the production of \" Hamlet\" in Moscow\nwe are all doing as we think best. The car-\npenters, dress makers, actors and stage ma-\nnagers are all working, not merely in har-\nmony, ... for that in the theatrical dictionary\nmeans everybody's being horribly tactful and\nnothing else, but with an enthusiastic and\nharmonious activity which it seems impossi-\nble to break. £/ jgr & &\nWe have experienced several attempts to\nbreak this harmony on the part of envious\ncreatures who have nothing better to do\nthan create discord, but so far every attempt\nhas broken itself against itself. & &\njg> For about a year the papers have been\nfull of delicate little paragraphs hinting at\nthe discord which reigned in the theatre, at\nthe differences between the directors and\nmyself, at the fantastic demands which I\nmade upon the actors and so forth.\njg/ All these frantic little paragraphs created\nquite a stir in Moscow and St Petersbourg,\nand after a year the directors of the theatre\ngave an interview to the leading Moscow\npaper (a copy of which I send to you,) on the\nlast day of the theatre's season, (i)\njg? One reason why it is so nice entering this\nRussian theatre to commence work is that\none goes there with the thorough confidence\nthat there is going to be no ill - feeling\nanywhere about, no stiffness which will pre-\nvent exchange of thought, no conceit which\nwill baulk progress and lead to ** scenes \".\njg? At first, having the experience of so many\nother theatres in my mind, I was overcautious\nin making certain suggestions as to the treat®\nment of the play, for I felt that such very\nnice people did not deserve to be rubbed up\nthe wrong way if by being a little careful\none could avoid doing so. But I found that\none could entirely forget the old and worn-\nout methods of the other theatres when\nthinking of this theatre and that I could rely\non it to the very utmost. jg?\n& They meet all suggestions and all propo-\nsals with an open mind, and, knowing me as\nyou do, you can well understand that this\nmust be the case or I should not have stayed\nfor five days You can understand that my\npraise of this theatre cannot be at all exagge-\nrated for you know that I have relinquished\nwork in theatres time after time where the\nmanagement was so thick - headed or so\nstupid that it was unable to see that what\nI was bringing them was of value. jg/\nI shall work in London only when I can\nget the conditions which the Moscow Art\nTheatre can give and has given me; that is\nto say, when I can come into the theatre,\nchange the proscenium if 1 wish, cut or leave\nuncut the play if 1 wish, use a curtain or\ndiscard the curtain if 1 wish, take a year\nover the production of a play, or two years\nif necessary; select a first-class staff to work\nunder me who have no other work except\nthe one play which I am producing; experi-\nment and have experiments made to the\nextent which I think necessary in the mat-\nters of scene, costume, acting and lighting\nupon a full-sized model stage made in the\ntheatre and kept in special quarters entirely\nfor my own use, and when 1 meet with a\nmanager who will bring his troupe and me\ninto such chose union and such perfect har-\nmony as I have experienced at the Art The-\natre in Moscow whose leader is Constantin\nStanislawsky. & jg? jgr jg?\nYou will probably write me that you see\nno reason why this should not be so in Lon-\ndon and, as you have frequently done before,\nyou will express your surprise that I am so\noften complainig about the English theatre.\nBut, bless your heart, my dear Semar, do\nyou think I should complain if 1 had found\nthings as they ought to be ? Mismanagement\nhas made it impossible for a long time\nfor me to dream of doing work in London.\n\n(1) We tfaiHk this o? sufficient interest to reprint and it will te\nfound on page 41."}, {"page_pdf": 45, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 4003, "texte": "1 have got past the time when it is amu-\nsing for me to paint scenery for some ma-\nnager who wants to make a show, or when\nI feel flattered that one or two of my ideas\nshall be seen on the stage and spoken of in\none or two morning papers, I have my work\nvery seriously at heart, and in regard to no\nland do I consider it so seriously as in re-\ngard to England.\nI want England to have the first theatre\nin the world, and there are plenty of men in\nEngland who, when brought together under\none banner, can be trusted to produce that\ntheatre. & £? & &\nBut the conditions must not be the con-\nditions which rule in the English theatre\ntoday. There must no longer be this appal-\nlingly happy-go-lucky rule. As I have said for\nyears, we must choose a master of stage craft\nand we must go through with him. When we\nhave the pluck to do that we shall have taken\nanother step towards the betterment of the\nEuropean theatre, as well as our own English\nTheatre.\nTalking about the European theatre, you\nprobably get an idea when I write to you\nfrom Russia that this Moscow theatre is a\nkind of European theatre. That Is to say,\nyou perhaps compare it with the theatres\nof Paris and Berlin. But do not do so, for this\ntheatre stands quite alone. The Paris and\nBerlin theatres are quite unimportant by the\nside of it. You will know what I mean when\nyou come here, and then the theatres of\nParis and Berlin, even those advanced thea-\ntres there, will be blotted out of your me-\nmory. & &\nThis is the impression you will receive as\none of the audience, but should you be so\nfavoured as to have the advantage of working\namongst these noblemen of the stage you will\nsee something far more wonderful than what\nthe audience sees. You will see for the first\ntime in your life an organised theatre ; not\nmerely a mechanical but a living orga=>\nnisation, without all the weaknesses which\nbelong to such bodies as a rule. &\nMy dear John, I am using a single scene\nfor \" Hamlet\". Conceive the outcry which\nwould follow if 1 said to a London manager\nthat I intended to use one scene only in a\nplay! He would begin to writhe and look at\nme as if I were some strange mad thing\nwhich it was his duty to tame.\n& Why, years ago, I remember, when I said\nthat the footlights must be removed he look-\ned at me as if he would die. Yet we have\nremoved the footlights at Moscow so what\nis there to be said ? Either I was right or I\nwas wrong; at Moscow they find that I am\nright. And, having proved this to people, what\nthe dickens is the good of the London ma-\nnagers always crying out about the impos-\nsible ?\nIt is just the same with this matter of\nusing one scene throughout the play. Of course\nI have had time to demonstrate the value of\nusing one scene instead of using a lot of\npainted scenery and I could do so in London\nor in New York or in Samoa if time were at\nmy disposal. But time is one of the things\nwhich the London manager refuses to give\neither you or himself. <£?\nAnd when I say that I am going to have\nonly one scene in \" Hamlet \" you must not\nimagine that I am reverting to that old idea\nof mine (which I have now put aside), of using\na set of curtains suspended from a great\nheight. &\nOur family has never been very keen about\ndishing up old things. We like to go on ; and\nso I am making use of a Scene which I be-\nlieve you have mentioned before In The Mask.\nIt is the same scene which W. B. Yeats\nis going to use in Dublin for his poetic drama\nand which my mother will use when she\nnext produces the 44 Merchant of Venice.\nIt has proved itself to be quite useful,\nthis Scene, and not merely useful as a make-\nshift, but useful in a sense that it contains\nthe several impressions which are necessary\nin plays that differ so widely in character\nas 44 Hamlet \" and 44 Tartuffe \". &\n& I am perfectly willing that any manager\nin England or America should make use of\nthis Scene, but if he does so he must be in\na position to give it his time and conside-\nration. & &\nThis will enable him to test its value.\n\nGORDON CRAIG."}]}, {"article_id": "bm-bmtnaau-1910-07-01-c040", "article_bluemountain": "bmtnaau_1910-07_01#c040", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "36", "page_fin": "39", "image_debut": 46, "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=bmtnaau191007-01.2.18", "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": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.46", "debut_caractere": 0, "fin_caractere_exclue": 4128, "texte": "BOOK REVIEWS\n\nLANDMARKS IN RUSSIAN LITERA-\nTURE by Maurice Baring. Meihuen &\nCo. 6/- net.\n'jphose who have never lived among the\nRussian people will never quite feel the\ndelight of Russia by studying it in books.\nThe best books about Tolstoi can give no\npossible idea of the unpretentious Russia\nthat he represents. The same can be said of\nnearly all the Russian artists,... of Dostoi-\nevsky and of Gogol and of Tchekov.\nOne must always remember that there is\nno such thing as 4GogoI Esqre' or 4Sir Antony\nTchekov' among the Russians. Their artists\ndo not enter the field in search of success.\nHaving no abnormal sense of economy such\nas is possessed by other nations they spend\ntheir talents lavishly, and talents have a\ncurious way of augmenting the moment you\nbegin to spend them.\nTherefore it seems to me a very difficult\nthing for the English to understand what\nit is that quickens the creative faculties of\nthe artists of Russia. &\nPerhaps the best thing to do is for the\nEnglish reader to turn a mental somersault\nand look at everything upside down. By this\nprocess he will be looking at things the right\nway up, and when he is in that position he\nwill be better situated for the task of com-\nprehending feelingly the natural artistry of\nthe Russians.\n& Now this is a position which the English-\nman refuses to get into, so it is no use\ntalking any further about it.\n& Mr Maurice Baring's book, to come back\nto that, has given me very great pleasure\nindeed; but how much pleasure he will give\nto those who have not lived in Russia is\ndifficult to estimate for the reasons which I\nhave already given. &\n& His last chapter about the plays of Tche-\nkov which have been placed on the stage in\nso masterly a manner by the Moscow Art\nTheatre strikes me as very unfair to the\ntheatre although probably Mr Baring Is not\nIn a position to know that he is at all unfair.\nI have noticed that The Mask is always\nto the fore in drawing a clear line between\nwhat may be called the work of the theatre\nand the work of the dramatist, and that for\nthe first time for many years both the\nstrength and the weakness of the theatre are\nbeing shown up, whereas in most books and\njournals in which you read of the theatre\nor of dramatic literature you are never sure\nwhat you may lay to the credit of the theatre\nand what to the credit of the dramatist.\nThe Mask, in being so jealous for the\ntheatre, has inspired many of its writers,\nmyself among the number, with a sense of the\nvalue of this jealousy; and so when I come\nacross passages in this last chapter of Mr\nBaring's admirable book attributing to Tche-\nkov things which have to be attributed to\nStanislawsky and his craftsmen at the Moscow\nArt Theatre I am only sorry to find yet\nanother writer making a somewhat unjust\nrecord for future generations as to the right\ndistribution of the honours. & &\n<£? Had Mr Baring know as much of the thea-\ntre as he knows of dramatic literature he\nwould probably have divided this last chap-\nter into two parts. In the first he would\nhave confined himself to the play as a work\nof literature, and in the second to the play\nas a performance. As it is he is always\nattributing to Tchekov that \"atmosphere\"\nwhich has certainly not been created by\nTchekov alone.\n& It is true that he speaks of the interpre-\ntation of Tchekov's plays at Moscow as a\nstage triumph, but the details which go to\nmake up that triumph he attributes to\nTchekov, and It is the details about which\nhe is so enthusiastic.... 44 These nothings, \"\nas he calls them. &\nFor instance, speaking of the 44 Three\nSisters\" he writes, & &\n44 I have never seen anything on the stage\n44 so poignantly melancholy as this last scene.\n44 In this play, as well as in others, Tchekov,\n44 by the way he presents you certain frag-\n44 ments of people's lives, manages to open a\n44 window on the whole of their life. In this\n44 play of 44 Three Sisters \" we get four\n44 glimpses. A birthday party in the first act;\n44 an ordinary evening in the second act; in\n44 the third act a night of excitement owing\n44 to a fire in the town, and It is on this night\n44 that the love affair of Vershlnin and Masha"}, {"page_pdf": 47, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 4631, "texte": "44 culminates in a crisis; and in the fourth act\n44 the departure of the regiment. Yet these\n44 four fragments give us an insight, and open\n44 a window on to the whole life of these\n44 people, and, in fact, on to the lives of\n44 many thousand people who have led this\n44 life in Russia. &\n\" Tchekov's plays are as interesting to\n44 read as the work of any first-rate novelist.\n44 But in reading them, it is impossible to\n44 guess how effective they are on the stage,\n44 the delicate succession of subtle shades and\n44 half-tones, of hints of which they are com-\n44 posed, the evocation of certain moods and\n44 feelings which it is impossible to define,....\n44 all this one would think would disappear in\n44 the glare of the footlights, but the result is\n44 exactly the reverse. Tchekov's plays are a\n44 thousand times more interesting to see on\n44 the stage than they are to read.\"\n& Now you see in this passage he certainly\nleaves one with the impression that these\nplays are wonderful on no matter what stage\nthey may be played, for he says, generalising,\n\"Tchekov's plays are a thousand times more\n44 interesting to see on the stage than they are\n44 to read.\" Whereas they have been proved\nto be very uninteresting to see upon any\nstage except that of the Moscow Art Theatre.\nFor instance, a play called 44 The Seagull \"\nby Tchekov was performed at the Imperial\nTheatre at St Petersberg and met with no\nsuccess. 44 The reason being, \" writes Mr Ba-\nring, 44 no doubt that the actors did not quite\nenter into the spirit of the play\", and he\ngoes on to say that 44 as soon as it was played\nin Moscow it was triumphantly successful.\"\nAnd having written this passage he yet does\nnot see the importance of revising his whole\nchapter so as to do full justice to the European\ntheatre when it does happen to distinguish\nitself as in the case of Moscow. &\n& It is not enough to say that actors do\n44not quite enter into the spirit of the play\".\nTo enter into a spirit and to translate that\nspirit to others are quite separate tasks. Good\nreaders can enter thoroughly into the spirit\nof a play seated at home in their arm chairs,\nbut that is a very different thing from inter-\npreting that play to the public.\nIt is the habit for the author of a dramatic\npiece to assist in the production of his play.\nWhen the Moscow Art Theatre set out to\nproduce the plays of Tchekov the author\nunderstood that he was not to come to the\ntheatre till the last rehearsal.\nIt is for this reason that \"Tchekov's plays\nare a thousand times more interesting to\nsee on the stage than they are to read.\" But\nso far as I know there is only one theatre\nwhere this holds good, for it is a theatre\nthat desires honestly and sympathetically\nto interpret the soul of a play at whatever\npersonal expense.\nIn London, in Paris, in Berlin or in Vienna,\nno matter at what theatre the play should\nbe produced, something other than the spirit\nof the play would thrust itself forward.\nIn London a moral or socialistic veneer\nwould be added to the piece, and would\ndestroy its beauty; or some actor manager\nwould use it for the expression of a personality\nhe does not possess. & &\nI have already said that in order to un-\nderstand what Russia is, one must live in\nRussia, and 1 can add here that it is of\nno use for people to try to guess vaguely\nwhat the Moscow Art Theatre is; they must\ngo and see it themselves,... or they must\ninvite it to come to London.\n& There has been for some time much talk\nabout the foundation of a French Theatre in\nLondon, and Madame Rejane was only the\nother day speaking of this possibility.\nBut why? What would the French theatre\nbring us that we do not already know ?\nFar better would it be to establish a\n\\\nRussian Theatre in London. &\nThe fact of not knowing the Russian lan-\nguage makes no difference whatever. The\nEnglish people ought to know that by this\ntime. The Sicilians have visited them two\nyears running; the Japanese have visited\nthem, and the language has been in each case\nthoroughly understood, •., that is to say, the\nlanguage of the acting. & & &\nThere is no doubt about it that some day\nwe shall have an international theatre, and\nthen it will be a capital day for all those\nwho have any talent to show; but a day of\nweeping and gnashing of teeth for those\nhundred and one odd theatres in London\nwhich have nothing to show,.... no talent,\nno adventure. J& & &\n\nTHE PLAYGOER AND SOCIETY. 6d\nMonthly. London & & &\nPlaygoer and Society continues to\nbe well printed and well illustrated and\ninterests us increasingly as we recognise in\nit the endeavour, by the inclusion of outside\ntopics, to widen the horizon (so narrow with"}, {"page_pdf": 48, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 4707, "texte": "the majority), of those connected with the\ntheatre, to interest them in something beyond\ntheir own small daily round. &\nFew theatrical journals do this, but in\nThe Playgoer and Society we find quite a\nnumber of pages devoted to really interesting\nmatters. &&&?&•£?\nWe find Mr Wallace L. Crowdy, for instance,\nsupplying a 44 Connoisseurs Note Book \".\nTherein he speaks of Whistler, who is\nprobably unknown to the Professional Actor,\nand his quotation from that master is a thing\nso well worth bringing to the notice of those\nworking in the theatre that we repeat it\nhere:—\n44 Industry in art is a necessity:... not a\n44 virtue.... and any evidence of the same\n44 in the production is a blemish, not a quality;\n44 a proof, not of achievement, but of abso-\n44 lutely insufficient work, for work alone\n44 will efface the footsteps of work. \"\n& 44 The work of the master reeks not of\n44 the sweat of the brow suggests no\n44 effort.... and is finished from its begin-\n44 ning.\"\n& 44 The completed task of perseverance only\n44 has never been begun, and will remain\n44 unfinished to eternity.... a monument of\n\" goodwill and foolishness. There is one that\n44 laboureth, and taketh pains, and maketh\n44 haste, and is so much the more behind. \"\n44 The masterpiece should appear as the\n44 flower to the painter.... perfect in its bud\n44 as in its bloom with no reason to\n44 explain its presence, no mission to fulfil,\n44 a joy to the artist, a delusion to the phi-\n44 lanthropist, a puzzle to the botanist, an\n44 accident of sentiment and alliteration to\n44 the literary man \". & & &\n& And again, ... and how this applies to the\nhotch-potch of the theatre, where painter,\nmusician and poet all lend a hand !.... he\nreminds us how Whistler disdained to give\nhis harmonies and symphonies popular names\nborrowed from the literary man because,\n44 Even commercially this stocking of your\n44 shop with the goods of another would be\n44 indecent custom alone has made\n44 it dignified. Not even the popularity of\n44 Dickens should be invoked to lend an adven-\n44 titious aid to art of another kind from his.\n441 should hold It a vulgar and meretricious\n44 trick to excite people about 44Trotty Veck\"\n44 when, if they really care for pictorial art\n44 at all, they would know that the picture\n44 should have its own merit, and not depend\n44 upon dramatic, or legendary, or local in-\n44 teres!\". & &\n& 44 Art should be independent of all clap-\n44 trap.... should stand alone, and appeal to\n44 the artistic sense of eye or ear, without\n44 confounding this with emotions entirely\n44 foreign to it, such as devotion, pity, love\n44 patriotism, and the like. \"\n& All this, and much else which Mr Crowdy\ncites or says is well worth the serious con-\nsideration of the workers in the theatre\ntoday; we hope he will continue to contribute\nthese interesting pages and that the actors\nand actresses will not avoid reading them,\nfor when the actor and actress know a little\nmore about the other arts, and the indepen-\ndence of those other arts, they will become\ndiscontented with the existing state of the\ntheatre, and so discontent may lead to the\nrealisation of the necessity for reform.\nThe Playgoer and Society is well worth\nits sixpence, and promises to be the leading\nLondon theatrical journal.\n\nTHE BANG. Weekly. 5 cents.\n**jphe readers of The Mask may probably\nnever have heard of The Bangt a weekly\njournal published by Alexander Harvey on\nthe tenth floor of No. 140, West 29th Street,\nbut they should certainly buy the number\ndated April 25, 1910. &\n& It contains but one long essay, the subject\nbeing Mr Laurence Irving as Monsieur Du-\npont. & & & &\nIt is impossible to give the exact idea of\nthe quality of this journal without quoting\nfrom its pages. Here ,then, is the first passage\nof the essay 1 &\nTo the flawless art of Laurence Irving in\nthe part that dominates 44 The Three Daugh-\nters of Monsieur Dupont,\" the memoir writers\nof our time will pay tributes no less glowing,\nno less merited than were accorded Elizabeth\nBillington by the British diarists of the late\neighteenth century. As 44 Monsieur Dupont,\"\nLaurence Irving breathes into his art a spirit\nas fine as that of Mounet-Suliy. &\nMerely to see Laurence Irving emerge upon\nthe stage in his make-up for this part is to\nbecome conscious of the relation of his art\nto our personal affairs, for he makes us un-\nderstand a type of character. There is an\nirresistible and arresting humanity in the\nmere stroking of his whiskers as 44 Monsieur\nDupont\". Laurence Irving strokes those whis-\nkers with an inerrant ease and an Instinctive\ninevitability that proclaim the hand of the\nmaster. A detail, this, a trivial detail. He\nstrokes those whiskers unconsciously, gravely."}, {"page_pdf": 49, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 4362, "texte": "An art less finished would stroke the whis-\nkers grotesquely, in defiance of the sense of\nproportion so much admired by Nietzsche.\nLaurence Irving strokes the whiskers with\nall the restraint of the Greek intellect as it\nfinds expression in the master pieces of tra-\ngedy. Were he not to stroke the whiskers\nthere would be something lacking in his\n44 Monsieur Dupont \" precisely as were there\nno knocking at the gate in Macbeth, we should\nmiss an impalpable and indescribable essence.\nLaurence Irving's stroking of those whiskers\nis sufficient to proclaim him a great inter-\npreter. He does not make 44 Monsieur Dupont\"\nabsurd in the gesture. He actualizes him,\nrenders the man of common clay like our-\nselves, weds the sublime with the ridiculous,\nand leads us at the outset of the piece to\nanticipate the greatest things. I have read\nsomewhere that no mortal could say 44 oh I\"\nso poignantly as Demosthenes. Certainly, no\nactor on any stage ever stroked or could\nstroke the whiskers of 44 Monsieur Dupont\"\nas Laurence Irving strokes them. They are\nridiculous, those whiskers, inches long, pen-\ndent to the shoulder from each cheek, hungry\nwhiskers, cheap whiskers, but as Laurence\nIrving strokes them they acquire the tragical\nsignificance of the gadfly that torments Io in\nthe Prometheus Vinctus. &\n\n/\nHARPER'S MONTHLY. //-. London\n& New Yotk.\nJ-j arper's Monthly continues to be one of\nthe best of the illustrated magazines. It\nhas individuality and vitality, and, having\nlived for sixty years, one hopes may live for\nsixty more. &\nAll the same, there is nothing so good\nthat it cannot be better, and in turning over\nthe pages of the last number an impression\nwas conveyed of something detracting, if but\na little, from its quality.... an impression\nbest described as one of pervading sadness.\nWhy are so many of its contributors,\n(especially the feminine portion), so sad ?\nWhy, to quote the opera ditty, 44 do these\nmournful ladies sigh\" so heavily upon so\nmany of its pages? The most admirable thing\nin life is pluck, and if ladies are bent on\nwriting, drawing, acting and playing let their\nart be gay, not sadder than that of their\nrivals. &\nConsider, for example, this present number\nof Harper's. & &\nIt opens excellently with a charming and\nexhiierating article about Marseilles and sets\nus on our way in a cheerful breezy mood.\n& But on page 13 the mist gathers. A lady\ntakes up her pen, and she sighs heavily as\nshe sets before us a picture of an 44 ugly\ncheerless twilight\", 44 bleak skies and raw\nwinds \" as the scene of her 44 Romance\", and\nwe also sigh and our spirits fall a degree\nor two. jz/\nOn page 22 another lady comes forward,\nnd we can almost hear her groan as she\nwrites, and when she does not groan she\nsighs. It is really very sad.\nOne turns over some more pages; it all\nseems rather pathetic, rather lacking in the\njoy of life. Then we reach page 107 where\nthere is a very sad story by a [lady named\nMuriel, and on page 148 another lady named\nAlice sobs through three verses as she tells\nhow her lover left her,... a subject on which\none would have counselled the utmost reti-\ncence and a good smile for the world.\nThen the pictures ! The illustrators choose\nthe most pathetic bits to portray. The worst\nis on page 19 where we are shown a girl on\nher knees by her bed, crying 44 till her head\nwas heavy, \" and we long to beg her to cheer\nup. .. For what is the ;good of all this ? &\nThere are doubtless plenty of men quite\nas down on their luck as the gentlemen who\nclasps his head so despairingly on page 73.\nThere are quite a number of girls whose\nlovers have left them or lovers who have\nbeen left by their girls, but if they had any\ngrit they were no doubt at their usual places\nnext morning and all the succeeding mor-\nnings, and no one any the wiser, and one\ncan imagine that these people who know so\nwell what real pain and real discipline are\nmust feel rather resentful when they turn\nto books or to the theatre or to pictures to\nbe braced, distracted, refreshed, and are met\nwith sighs and groans and floods of tearsi\nHarper's has always been so excellent a\njournal that it is perhaps rather impertinent\nfor one to find fault with it,.... what per-\nfect printing, what admirable drawings, what\na genius in Howard Pyle, what a splendid\neditor !.... only the tearful ladies detract\nfrom the whole effect,.... just a little ... I"}]}, {"article_id": "bm-bmtnaau-1910-07-01-c042", "article_bluemountain": "bmtnaau_1910-07_01#c042", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "36", "page_fin": "37", "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=bmtnaau191007-01.2.18.2", "titre_corps": "LANDMARKS IN RUSSIAN LITERATURE by Maurice Baring", "titre_sommaire": "LANDMARKS IN RUSSIAN LITERATURE by Maurice Baring", "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": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.46", "debut_caractere": 14, "fin_caractere_exclue": 4128, "texte": "LANDMARKS IN RUSSIAN LITERA-\nTURE by Maurice Baring. Meihuen &\nCo. 6/- net.\n'jphose who have never lived among the\nRussian people will never quite feel the\ndelight of Russia by studying it in books.\nThe best books about Tolstoi can give no\npossible idea of the unpretentious Russia\nthat he represents. The same can be said of\nnearly all the Russian artists,... of Dostoi-\nevsky and of Gogol and of Tchekov.\nOne must always remember that there is\nno such thing as 4GogoI Esqre' or 4Sir Antony\nTchekov' among the Russians. Their artists\ndo not enter the field in search of success.\nHaving no abnormal sense of economy such\nas is possessed by other nations they spend\ntheir talents lavishly, and talents have a\ncurious way of augmenting the moment you\nbegin to spend them.\nTherefore it seems to me a very difficult\nthing for the English to understand what\nit is that quickens the creative faculties of\nthe artists of Russia. &\nPerhaps the best thing to do is for the\nEnglish reader to turn a mental somersault\nand look at everything upside down. By this\nprocess he will be looking at things the right\nway up, and when he is in that position he\nwill be better situated for the task of com-\nprehending feelingly the natural artistry of\nthe Russians.\n& Now this is a position which the English-\nman refuses to get into, so it is no use\ntalking any further about it.\n& Mr Maurice Baring's book, to come back\nto that, has given me very great pleasure\nindeed; but how much pleasure he will give\nto those who have not lived in Russia is\ndifficult to estimate for the reasons which I\nhave already given. &\n& His last chapter about the plays of Tche-\nkov which have been placed on the stage in\nso masterly a manner by the Moscow Art\nTheatre strikes me as very unfair to the\ntheatre although probably Mr Baring Is not\nIn a position to know that he is at all unfair.\nI have noticed that The Mask is always\nto the fore in drawing a clear line between\nwhat may be called the work of the theatre\nand the work of the dramatist, and that for\nthe first time for many years both the\nstrength and the weakness of the theatre are\nbeing shown up, whereas in most books and\njournals in which you read of the theatre\nor of dramatic literature you are never sure\nwhat you may lay to the credit of the theatre\nand what to the credit of the dramatist.\nThe Mask, in being so jealous for the\ntheatre, has inspired many of its writers,\nmyself among the number, with a sense of the\nvalue of this jealousy; and so when I come\nacross passages in this last chapter of Mr\nBaring's admirable book attributing to Tche-\nkov things which have to be attributed to\nStanislawsky and his craftsmen at the Moscow\nArt Theatre I am only sorry to find yet\nanother writer making a somewhat unjust\nrecord for future generations as to the right\ndistribution of the honours. & &\n<£? Had Mr Baring know as much of the thea-\ntre as he knows of dramatic literature he\nwould probably have divided this last chap-\nter into two parts. In the first he would\nhave confined himself to the play as a work\nof literature, and in the second to the play\nas a performance. As it is he is always\nattributing to Tchekov that \"atmosphere\"\nwhich has certainly not been created by\nTchekov alone.\n& It is true that he speaks of the interpre-\ntation of Tchekov's plays at Moscow as a\nstage triumph, but the details which go to\nmake up that triumph he attributes to\nTchekov, and It is the details about which\nhe is so enthusiastic.... 44 These nothings, \"\nas he calls them. &\nFor instance, speaking of the 44 Three\nSisters\" he writes, & &\n44 I have never seen anything on the stage\n44 so poignantly melancholy as this last scene.\n44 In this play, as well as in others, Tchekov,\n44 by the way he presents you certain frag-\n44 ments of people's lives, manages to open a\n44 window on the whole of their life. In this\n44 play of 44 Three Sisters \" we get four\n44 glimpses. A birthday party in the first act;\n44 an ordinary evening in the second act; in\n44 the third act a night of excitement owing\n44 to a fire in the town, and It is on this night\n44 that the love affair of Vershlnin and Masha"}, {"page_pdf": 47, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 4368, "texte": "44 culminates in a crisis; and in the fourth act\n44 the departure of the regiment. Yet these\n44 four fragments give us an insight, and open\n44 a window on to the whole life of these\n44 people, and, in fact, on to the lives of\n44 many thousand people who have led this\n44 life in Russia. &\n\" Tchekov's plays are as interesting to\n44 read as the work of any first-rate novelist.\n44 But in reading them, it is impossible to\n44 guess how effective they are on the stage,\n44 the delicate succession of subtle shades and\n44 half-tones, of hints of which they are com-\n44 posed, the evocation of certain moods and\n44 feelings which it is impossible to define,....\n44 all this one would think would disappear in\n44 the glare of the footlights, but the result is\n44 exactly the reverse. Tchekov's plays are a\n44 thousand times more interesting to see on\n44 the stage than they are to read.\"\n& Now you see in this passage he certainly\nleaves one with the impression that these\nplays are wonderful on no matter what stage\nthey may be played, for he says, generalising,\n\"Tchekov's plays are a thousand times more\n44 interesting to see on the stage than they are\n44 to read.\" Whereas they have been proved\nto be very uninteresting to see upon any\nstage except that of the Moscow Art Theatre.\nFor instance, a play called 44 The Seagull \"\nby Tchekov was performed at the Imperial\nTheatre at St Petersberg and met with no\nsuccess. 44 The reason being, \" writes Mr Ba-\nring, 44 no doubt that the actors did not quite\nenter into the spirit of the play\", and he\ngoes on to say that 44 as soon as it was played\nin Moscow it was triumphantly successful.\"\nAnd having written this passage he yet does\nnot see the importance of revising his whole\nchapter so as to do full justice to the European\ntheatre when it does happen to distinguish\nitself as in the case of Moscow. &\n& It is not enough to say that actors do\n44not quite enter into the spirit of the play\".\nTo enter into a spirit and to translate that\nspirit to others are quite separate tasks. Good\nreaders can enter thoroughly into the spirit\nof a play seated at home in their arm chairs,\nbut that is a very different thing from inter-\npreting that play to the public.\nIt is the habit for the author of a dramatic\npiece to assist in the production of his play.\nWhen the Moscow Art Theatre set out to\nproduce the plays of Tchekov the author\nunderstood that he was not to come to the\ntheatre till the last rehearsal.\nIt is for this reason that \"Tchekov's plays\nare a thousand times more interesting to\nsee on the stage than they are to read.\" But\nso far as I know there is only one theatre\nwhere this holds good, for it is a theatre\nthat desires honestly and sympathetically\nto interpret the soul of a play at whatever\npersonal expense.\nIn London, in Paris, in Berlin or in Vienna,\nno matter at what theatre the play should\nbe produced, something other than the spirit\nof the play would thrust itself forward.\nIn London a moral or socialistic veneer\nwould be added to the piece, and would\ndestroy its beauty; or some actor manager\nwould use it for the expression of a personality\nhe does not possess. & &\nI have already said that in order to un-\nderstand what Russia is, one must live in\nRussia, and 1 can add here that it is of\nno use for people to try to guess vaguely\nwhat the Moscow Art Theatre is; they must\ngo and see it themselves,... or they must\ninvite it to come to London.\n& There has been for some time much talk\nabout the foundation of a French Theatre in\nLondon, and Madame Rejane was only the\nother day speaking of this possibility.\nBut why? What would the French theatre\nbring us that we do not already know ?\nFar better would it be to establish a\n\\\nRussian Theatre in London. &\nThe fact of not knowing the Russian lan-\nguage makes no difference whatever. The\nEnglish people ought to know that by this\ntime. The Sicilians have visited them two\nyears running; the Japanese have visited\nthem, and the language has been in each case\nthoroughly understood, •., that is to say, the\nlanguage of the acting. & & &\nThere is no doubt about it that some day\nwe shall have an international theatre, and\nthen it will be a capital day for all those\nwho have any talent to show; but a day of\nweeping and gnashing of teeth for those\nhundred and one odd theatres in London\nwhich have nothing to show,.... no talent,\nno adventure. J& & &"}]}, {"article_id": "bm-bmtnaau-1910-07-01-c043", "article_bluemountain": "bmtnaau_1910-07_01#c043", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "37", "page_fin": "38", "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=bmtnaau191007-01.2.18.3", "titre_corps": "THE PLAYGOER AND SOCIETY", "titre_sommaire": "THE PLAYGOER AND SOCIETY", "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": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.47", "debut_caractere": 4370, "fin_caractere_exclue": 4631, "texte": "THE PLAYGOER AND SOCIETY. 6d\nMonthly. London & & &\nPlaygoer and Society continues to\nbe well printed and well illustrated and\ninterests us increasingly as we recognise in\nit the endeavour, by the inclusion of outside\ntopics, to widen the horizon (so narrow with"}, {"page_pdf": 48, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 3265, "texte": "the majority), of those connected with the\ntheatre, to interest them in something beyond\ntheir own small daily round. &\nFew theatrical journals do this, but in\nThe Playgoer and Society we find quite a\nnumber of pages devoted to really interesting\nmatters. &&&?&•£?\nWe find Mr Wallace L. Crowdy, for instance,\nsupplying a 44 Connoisseurs Note Book \".\nTherein he speaks of Whistler, who is\nprobably unknown to the Professional Actor,\nand his quotation from that master is a thing\nso well worth bringing to the notice of those\nworking in the theatre that we repeat it\nhere:—\n44 Industry in art is a necessity:... not a\n44 virtue.... and any evidence of the same\n44 in the production is a blemish, not a quality;\n44 a proof, not of achievement, but of abso-\n44 lutely insufficient work, for work alone\n44 will efface the footsteps of work. \"\n& 44 The work of the master reeks not of\n44 the sweat of the brow suggests no\n44 effort.... and is finished from its begin-\n44 ning.\"\n& 44 The completed task of perseverance only\n44 has never been begun, and will remain\n44 unfinished to eternity.... a monument of\n\" goodwill and foolishness. There is one that\n44 laboureth, and taketh pains, and maketh\n44 haste, and is so much the more behind. \"\n44 The masterpiece should appear as the\n44 flower to the painter.... perfect in its bud\n44 as in its bloom with no reason to\n44 explain its presence, no mission to fulfil,\n44 a joy to the artist, a delusion to the phi-\n44 lanthropist, a puzzle to the botanist, an\n44 accident of sentiment and alliteration to\n44 the literary man \". & & &\n& And again, ... and how this applies to the\nhotch-potch of the theatre, where painter,\nmusician and poet all lend a hand !.... he\nreminds us how Whistler disdained to give\nhis harmonies and symphonies popular names\nborrowed from the literary man because,\n44 Even commercially this stocking of your\n44 shop with the goods of another would be\n44 indecent custom alone has made\n44 it dignified. Not even the popularity of\n44 Dickens should be invoked to lend an adven-\n44 titious aid to art of another kind from his.\n441 should hold It a vulgar and meretricious\n44 trick to excite people about 44Trotty Veck\"\n44 when, if they really care for pictorial art\n44 at all, they would know that the picture\n44 should have its own merit, and not depend\n44 upon dramatic, or legendary, or local in-\n44 teres!\". & &\n& 44 Art should be independent of all clap-\n44 trap.... should stand alone, and appeal to\n44 the artistic sense of eye or ear, without\n44 confounding this with emotions entirely\n44 foreign to it, such as devotion, pity, love\n44 patriotism, and the like. \"\n& All this, and much else which Mr Crowdy\ncites or says is well worth the serious con-\nsideration of the workers in the theatre\ntoday; we hope he will continue to contribute\nthese interesting pages and that the actors\nand actresses will not avoid reading them,\nfor when the actor and actress know a little\nmore about the other arts, and the indepen-\ndence of those other arts, they will become\ndiscontented with the existing state of the\ntheatre, and so discontent may lead to the\nrealisation of the necessity for reform.\nThe Playgoer and Society is well worth\nits sixpence, and promises to be the leading\nLondon theatrical journal."}]}, {"article_id": "bm-bmtnaau-1910-07-01-c044", "article_bluemountain": "bmtnaau_1910-07_01#c044", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "38", "page_fin": "39", "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=bmtnaau191007-01.2.18.4", "titre_corps": "THE BANG", "titre_sommaire": "THE BANG", "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": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.48", "debut_caractere": 3267, "fin_caractere_exclue": 4707, "texte": "THE BANG. Weekly. 5 cents.\n**jphe readers of The Mask may probably\nnever have heard of The Bangt a weekly\njournal published by Alexander Harvey on\nthe tenth floor of No. 140, West 29th Street,\nbut they should certainly buy the number\ndated April 25, 1910. &\n& It contains but one long essay, the subject\nbeing Mr Laurence Irving as Monsieur Du-\npont. & & & &\nIt is impossible to give the exact idea of\nthe quality of this journal without quoting\nfrom its pages. Here ,then, is the first passage\nof the essay 1 &\nTo the flawless art of Laurence Irving in\nthe part that dominates 44 The Three Daugh-\nters of Monsieur Dupont,\" the memoir writers\nof our time will pay tributes no less glowing,\nno less merited than were accorded Elizabeth\nBillington by the British diarists of the late\neighteenth century. As 44 Monsieur Dupont,\"\nLaurence Irving breathes into his art a spirit\nas fine as that of Mounet-Suliy. &\nMerely to see Laurence Irving emerge upon\nthe stage in his make-up for this part is to\nbecome conscious of the relation of his art\nto our personal affairs, for he makes us un-\nderstand a type of character. There is an\nirresistible and arresting humanity in the\nmere stroking of his whiskers as 44 Monsieur\nDupont\". Laurence Irving strokes those whis-\nkers with an inerrant ease and an Instinctive\ninevitability that proclaim the hand of the\nmaster. A detail, this, a trivial detail. He\nstrokes those whiskers unconsciously, gravely."}, {"page_pdf": 49, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 1300, "texte": "An art less finished would stroke the whis-\nkers grotesquely, in defiance of the sense of\nproportion so much admired by Nietzsche.\nLaurence Irving strokes the whiskers with\nall the restraint of the Greek intellect as it\nfinds expression in the master pieces of tra-\ngedy. Were he not to stroke the whiskers\nthere would be something lacking in his\n44 Monsieur Dupont \" precisely as were there\nno knocking at the gate in Macbeth, we should\nmiss an impalpable and indescribable essence.\nLaurence Irving's stroking of those whiskers\nis sufficient to proclaim him a great inter-\npreter. He does not make 44 Monsieur Dupont\"\nabsurd in the gesture. He actualizes him,\nrenders the man of common clay like our-\nselves, weds the sublime with the ridiculous,\nand leads us at the outset of the piece to\nanticipate the greatest things. I have read\nsomewhere that no mortal could say 44 oh I\"\nso poignantly as Demosthenes. Certainly, no\nactor on any stage ever stroked or could\nstroke the whiskers of 44 Monsieur Dupont\"\nas Laurence Irving strokes them. They are\nridiculous, those whiskers, inches long, pen-\ndent to the shoulder from each cheek, hungry\nwhiskers, cheap whiskers, but as Laurence\nIrving strokes them they acquire the tragical\nsignificance of the gadfly that torments Io in\nthe Prometheus Vinctus. &"}]}, {"article_id": "bm-bmtnaau-1910-07-01-c045", "article_bluemountain": "bmtnaau_1910-07_01#c045", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "39", "page_fin": "39", "image_debut": 49, "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=bmtnaau191007-01.2.18.5", "titre_corps": "HARPER'S MONTHLY", "titre_sommaire": "HARPER'S MONTHLY", "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": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.49", "debut_caractere": 1302, "fin_caractere_exclue": 4362, "texte": "/\nHARPER'S MONTHLY. //-. London\n& New Yotk.\nJ-j arper's Monthly continues to be one of\nthe best of the illustrated magazines. It\nhas individuality and vitality, and, having\nlived for sixty years, one hopes may live for\nsixty more. &\nAll the same, there is nothing so good\nthat it cannot be better, and in turning over\nthe pages of the last number an impression\nwas conveyed of something detracting, if but\na little, from its quality.... an impression\nbest described as one of pervading sadness.\nWhy are so many of its contributors,\n(especially the feminine portion), so sad ?\nWhy, to quote the opera ditty, 44 do these\nmournful ladies sigh\" so heavily upon so\nmany of its pages? The most admirable thing\nin life is pluck, and if ladies are bent on\nwriting, drawing, acting and playing let their\nart be gay, not sadder than that of their\nrivals. &\nConsider, for example, this present number\nof Harper's. & &\nIt opens excellently with a charming and\nexhiierating article about Marseilles and sets\nus on our way in a cheerful breezy mood.\n& But on page 13 the mist gathers. A lady\ntakes up her pen, and she sighs heavily as\nshe sets before us a picture of an 44 ugly\ncheerless twilight\", 44 bleak skies and raw\nwinds \" as the scene of her 44 Romance\", and\nwe also sigh and our spirits fall a degree\nor two. jz/\nOn page 22 another lady comes forward,\nnd we can almost hear her groan as she\nwrites, and when she does not groan she\nsighs. It is really very sad.\nOne turns over some more pages; it all\nseems rather pathetic, rather lacking in the\njoy of life. Then we reach page 107 where\nthere is a very sad story by a [lady named\nMuriel, and on page 148 another lady named\nAlice sobs through three verses as she tells\nhow her lover left her,... a subject on which\none would have counselled the utmost reti-\ncence and a good smile for the world.\nThen the pictures ! The illustrators choose\nthe most pathetic bits to portray. The worst\nis on page 19 where we are shown a girl on\nher knees by her bed, crying 44 till her head\nwas heavy, \" and we long to beg her to cheer\nup. .. For what is the ;good of all this ? &\nThere are doubtless plenty of men quite\nas down on their luck as the gentlemen who\nclasps his head so despairingly on page 73.\nThere are quite a number of girls whose\nlovers have left them or lovers who have\nbeen left by their girls, but if they had any\ngrit they were no doubt at their usual places\nnext morning and all the succeeding mor-\nnings, and no one any the wiser, and one\ncan imagine that these people who know so\nwell what real pain and real discipline are\nmust feel rather resentful when they turn\nto books or to the theatre or to pictures to\nbe braced, distracted, refreshed, and are met\nwith sighs and groans and floods of tearsi\nHarper's has always been so excellent a\njournal that it is perhaps rather impertinent\nfor one to find fault with it,.... what per-\nfect printing, what admirable drawings, what\na genius in Howard Pyle, what a splendid\neditor !.... only the tearful ladies detract\nfrom the whole effect,.... just a little ... I"}]}, {"article_id": "bm-bmtnaau-1910-07-01-c047", "article_bluemountain": "bmtnaau_1910-07_01#c047", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "40", "page_fin": "42", "image_debut": 50, "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=bmtnaau191007-01.2.19", "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": 50, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 3792, "texte": "FOREIGN NOTES\n\nPARIS\nJ. de S.\ngreat excitement of the season has\nbeen Mile. Anna Palovna's return to the\nOpera House in her charming dances, and\nwith her M. Orloff and other gentlemen who\ndance, and with them M. Benois, M. Bilibine\nand other gentlemen who paint.\n& The result has been something quite char-\nming, and, thank goodness, quite unimpor-\ntant. j£/ j!C/ jg}\nIn Paris we feel so much the charm of\nthe unimportant.\nHere is M. Orloff dressed up by M. Benois\nleaping charmingly in the air and eventually\ncoming down again upon the wooden boards\nof the Opera House. It is that which is so\nentrancing. We never forget the boards. &\n& Here in Paris we may boast of having\ncreated an ideal but a valueless theatre.\n& We have always raved over the idiotic\nprovided it was charming.,^\nThe Russian Ballet is a queer thing made\nup of pretty music, very pretty ladies, who\nare very light on their feet, pretty costumes\nand compares pretty favourably with the ballet\nof the last two hundred years. But should we\nstop to compare it with the ballets of the\nRenaissance and the ballets of the Greeks,\nthen, if report speaks and shows correctly,\nthe Russian ballet can be described as trash.\nThat it is the first ballet in Europe is\nnothing in its favour. It it were the last\nthere might be something to think about.^\n\nLONDON\nG. H.\nhas reached here from New York of\nthe downfall of the Theatrical Trust.\nIf it is true, the New York Review has\nprobably had something to do with it, But\nit is rather a bad prospect for England for\nit seems likely that all the Trustees will take\nrefuge in Briton.\n& Report says that the Schubert Brothers\nhave played an important part in this battle\nagainst the Trust. But what of the Schubert\nBrothers themselves? Have they a very splen-\ndid record of artistic achievement in their\nbooks ? Or are their books only concerned\nwith figures, even as the Trust was only\nconcerned with figures ?\nIt is nothing that business men should\nhave given place to other business men. What\nis wanted is that the business men should\ngive place to the artist. The whole question\nis so very simple and so very profitable\nwhen looked at rightly that it seems sheer folly\nof the business men to stand in their own\nlight any longer.\njy^r Forbes Robertson has been trying to\nform a committee in New York for the\nfurtherance of the movement for the estab-\nlishment of the proposed National Theatre\nin London. &\nNaturally he has been unable to achieve\nanything. jg?\nHe ought to go to Germany and try to\ncollect funds for the same purpose, or perhaps\nto Italy. & jgr\nIt is not a new idea, this of going round\nwith the hat for national enterprises, but this\nkind of thing strikes us as rather a pity\neven when it is only practised at home in\nEngland. jgr jg/\nBut when one goes abroad confessing that\none's nation,... the richest nation on earth....\nhas not got enough money to spare (or to\nwaste) for a National Theatre, only two impres-\nsions can be forthcoming ;.... Either that\nthe nation is uncommonly ignorant of what\nis good for itself, or that the idea of a Na-\ntional Theatre strikes the nation as tom-\nfoolery.\nTherefore it seems hardly a sensible thing\nto do to go round the world advertising\neither of these two facts as Mr Robertson\nis doing.\n\nCOPENHAGEN.\n\n''jphe Danish Open Air Performances are\ntaking place in the pretty and romantic\nwood \"Pyrehaven\" about four miles from\nCopenhagen and near the \"Oeresund\".\nThe stage is very simple, being only a\ngrass-covered hill, where a natural semicircle\nis formed by the majestic centenarian\nbeeches which surround it. &\n& In closest and happiest accordance with\nthe ancient northern sentiment which reigns\nupon the historic soil of these regions, the\nfirst play produced was the fine and powerful\ndrama 41 Hagbarth and Sign©'% the work of"}, {"page_pdf": 51, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 4535, "texte": "the Sate poet laureate Adam Oehleijschl&ger,\nthe great Danish bard; the reviver of the\nnorthern Saga-era.... the age of the Vikings.\n<£? The first performance was given on June\n4th before a large and enthusiastic audience\nand was entirely successful owing to the\nbeauty of the surroundings, the mystery of\nthe half-dark woods, and, above all, to the\ndeep and religious sincerity with which the\npiece was produced.\nThe stage management, the work of Mr\nPoul Nielsen of the Royal Theatre in Copen-\nhagen, was really finely done, being In close\nsympathy with the scheme of open air per-\nformances, all stage apparatus and mechanism\nbeing absolutely avoided, since the meaning*\nof Out-of-Door Stage Art is and must be, not\nto attain realistic effects, naturalistic imita-\ntions or scenic illusion; not even to replace\nthe imagination of the stage with the abso-\nlute truth of nature, but merely to create a\ngreat and memorable impression of poetry\nand nature combined. The purpose is not to\nsmuggle nature into art but to introduce art\ninto nature; to reawaken the old myths and\nmysteries of earth and air; to make the woods\nalive with beauty and poetry. Of course Na-\nture is not to be the refuge for unsuccessful\nattempts at stage realism, and the Open Air\nPerformance is no desperate innovation of\nthe struggling in-doors theatre. &\nThe leaders of this national and admirable\nenterprise are, the prominent literary histo-\nrian Mr Vilhelm Anderson of Copenhagen\nUniversity, whose charming works on nor-\nthern classic poetry have made his name\nwidely known, and Mr Adam Poulsen, who,\nwith his brother, Mr Johannes Poulsen, both\nexcellent actors of the Danish national theatre,\nis taking a leading part in the dramas.\nOther parts are successfully performed by Mr\nJohannes Nielsen and by the actresses Mrs\nBlad and Mrs With. &\n& On either side of the stage stand two gi-\ngantic ravens carved in wood and covered\nwith plates of copper, grim and sinister as\nthe ominous symbols of the days of the hea-\nthen gods, and each bearing on his head a\nbowl in which burn sacred flames. These are\nthe work of the well-known Danish artist,\nMr Willumsen. & & &\n& In the auditorium built on the natural\namphitheatre of the hillside around the stage,\nthere is place for more than four thousand\nspectators ranged on simple wooden benches,\nwith, above their heads, the waving leaves\nand th© wonderful summer sky of these sunny\ndays.\n\nO. R.\n\nMOSCOW\na report which has had a very lively\nexistence in Moscow concerning an ima-\nginary disagreement between Stanislawsky\nand Gordon Craig has also spread to England\nwe take the opportunity of publishing the\ntranslation of an Interview which the Director\nof the Artistic Theatre in Moscow,\nV.S. Neniirevitch Dantchenko, gave to a repre®\nsentative of the leading Moscow journal.\nTRANSLATION OF THE INTERVIEW\n|t is known that 44 Hamlet\" is being put on\nthe stage at the Koudojestvenniy Theatre\nby C. S, Stanislawsky and Gordon Craig. &\ng? V. S. Nemirovitch tells many interesting\nthings about Gordon Craig's views and work*\n44 First of all I must confess that I am\ngreatly surprised at various articles which\nappear every now and again in newspapers\nwhich speak of certain disagreements between\nus and Gordon Craig. The reports spread by\nthese articles are entirely without foundation.\nThere are no disagreements whatever. Craig\nis quite an exceptional stage director. Gene®\nrally a stage director works together with\nan artist. & &\n44 Now Craig unites in one person the\ndirector and the artist. 4? &\n44 The stage director who unveils the spirit\nof the author gives a detailed psychological\nanalysis of the parts and detailed characte®\nrlstics. jg?\n44 The artist who gives the most detailed\ndesigns of scenery, costumes, lighting and\nmake® ups. Viz: the whole rnise® en® scene,\neverything that is generally done by the\nstage director together with the artist. &\n& 44 Craig needs only the scene® shifters and\ncarpenters to produce the play.\n& 44 There still remains one department of\nthe stage director's work,...work with the\nactor. Here Craig has quite definite views as\nto the manner and methods which he thinks\nare needful,.... beautiful.\n& \" How he works with actors we shall never\nknow as both sides speak different langu®\nages & 4?\n44 All rumour as to any misunderstandings\nbetween Craig and Stanislawsky are false.\nOn the contrary, Stanislawsky is quite under\nthe fascination of what he calls 44 Craig's\ngenius\". & & &\nj&r 44 Generally the literary and psychological\nside of each production devolves on me, but"}, {"page_pdf": 52, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.52", "debut_caractere": 0, "fin_caractere_exclue": 2801, "texte": "those few sittings at which I assisted have\nevoked in me such a confidence in Craig; he\nIlluminates so profoundly, so gracefully, with\nsuch taste and nobility the meaning and\nsense of 44 Hamlet \" that I had nothing to do.\n44 He is going to produce the play as a\npoetical drama not belonging to any parti-\ncular epoch,.... and there is no epoch in\n44 Hamlet\", where the legend belongs to the\n9th century and the Idea to the Renaissance.\n44 We put the whole theatre at Craig's\ndisposal.\n& 44 Craig says that since he became a stage\nmanager he had never dreamed of finding a\ntheatre where an artist could work so free-\nly. He himself works very hard; he feels\nbored when some times half a day passes\nwithout work. & &\n& 44 Hamlet \" will have only four entr'actes;\nall the changing of scenes will take place\nwithout a curtain before the eyes of the\naudience. Craig does not leave anything\nout and assures us that the performance\nwill not take long. \" & &\n\nLONDON.\n''jphe Daily Mail gives the following report\nof Mr Frohrnan's promises and performan-\nces.\n& 44 When Mr Frohman, in February last,\n44 announced his plans for the Repertory\n44 Theatre, a dozen new plays were promised\n44 as well as fifteen important revivals. Of\n44 this number only seven new plays have\n44 been produced, and there have been only\n44 two revivals. One new play has also been\n44 given that was not in the original list. The\n'* following table shows how far the original\n44 plans have been abandoned.\nPLAYS PROMISED AND NOT PRODUCED.\n44 4The Eldest Son' by Mr John Galsworthy.\n£? 44 4The Iphigenia in Tauris' of Euripides,\n44 translated by Dr Gilbert Murray.\n& 44 4The Outcry' by Mr Henry James. &\n44 A new play by Mr John Masefield.\n44 A new play by Mr W. Somerset Mau-\n44 gham.\nREVIVALS PROMISED BUT NOT\nFORTHCOMING.\n& 44Barrie. Quality Street', 4What Every Wo-\nman 44 Knows' and the 44 Admirable Crichton'.\nGalsworthy. 4Strife' and 4The Silver Box'\n44 Pinero. 4 The Amazons ' and 4 Iris '.\n44 Bernard Shaw. 4 Major Barbara' 4 Man\nand Superman ' and 4 The Doctor's Dilemma'.\n& 44 Barker. 4 The Voysey Inheritance'\n44 Chambers 4 The Tyranny of Tears'.\n44 John Masefield. 4The Tragedy of Nan'.\nTHE PLAYS PRODUCED.\n& 44Galsworthy Mustiee', (28 performances.)\n44 Granville Barker. 4The Madras House'\n44 (10 performances.) & &\n& 44 Bernard Shaw. 4Misalliance' 1 perfor-\n44mance.) &&&&&?\n& \"J. M. Barrie.i The Twelve Pound Look'\n(22 performances.) 401d Friends' (6performan«\n44 ces.) & &\n44 George Meredith. 4 The Sentimenta-\n44 lists' (6 performances).\n44 Anthony Hope and Cosmo Gordon\nLennox. 4 Helena's Path '( 2 performances\n44 Not in the original list. &\n&44 Elisabeth Baker. 4 Chains', (9 perfor-\n44 mances.) & & & & &\n44 4Tre!awny of the Wells', revived, (40\n44 performances.) & & &\n44 4Prunella', revived. (14 performances) &"}]}, {"article_id": "bm-bmtnaau-1910-07-01-c049", "article_bluemountain": "bmtnaau_1910-07_01#c049", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "40", "page_fin": "40", "image_debut": 50, "image_fin": 50, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.2.19.2", "titre_corps": "PARIS", "titre_sommaire": "PARIS", "signature_source": "J. de S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 50, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.50", "debut_caractere": 15, "fin_caractere_exclue": 1309, "texte": "PARIS\nJ. de S.\ngreat excitement of the season has\nbeen Mile. Anna Palovna's return to the\nOpera House in her charming dances, and\nwith her M. Orloff and other gentlemen who\ndance, and with them M. Benois, M. Bilibine\nand other gentlemen who paint.\n& The result has been something quite char-\nming, and, thank goodness, quite unimpor-\ntant. j£/ j!C/ jg}\nIn Paris we feel so much the charm of\nthe unimportant.\nHere is M. Orloff dressed up by M. Benois\nleaping charmingly in the air and eventually\ncoming down again upon the wooden boards\nof the Opera House. It is that which is so\nentrancing. We never forget the boards. &\n& Here in Paris we may boast of having\ncreated an ideal but a valueless theatre.\n& We have always raved over the idiotic\nprovided it was charming.,^\nThe Russian Ballet is a queer thing made\nup of pretty music, very pretty ladies, who\nare very light on their feet, pretty costumes\nand compares pretty favourably with the ballet\nof the last two hundred years. But should we\nstop to compare it with the ballets of the\nRenaissance and the ballets of the Greeks,\nthen, if report speaks and shows correctly,\nthe Russian ballet can be described as trash.\nThat it is the first ballet in Europe is\nnothing in its favour. It it were the last\nthere might be something to think about.^"}]}, {"article_id": "bm-bmtnaau-1910-07-01-c050", "article_bluemountain": "bmtnaau_1910-07_01#c050", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "40", "page_fin": "40", "image_debut": 50, "image_fin": 50, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.2.19.3", "titre_corps": "LONDON", "titre_sommaire": "LONDON", "signature_source": "G. H", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 50, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.50", "debut_caractere": 1311, "fin_caractere_exclue": 3251, "texte": "LONDON\nG. H.\nhas reached here from New York of\nthe downfall of the Theatrical Trust.\nIf it is true, the New York Review has\nprobably had something to do with it, But\nit is rather a bad prospect for England for\nit seems likely that all the Trustees will take\nrefuge in Briton.\n& Report says that the Schubert Brothers\nhave played an important part in this battle\nagainst the Trust. But what of the Schubert\nBrothers themselves? Have they a very splen-\ndid record of artistic achievement in their\nbooks ? Or are their books only concerned\nwith figures, even as the Trust was only\nconcerned with figures ?\nIt is nothing that business men should\nhave given place to other business men. What\nis wanted is that the business men should\ngive place to the artist. The whole question\nis so very simple and so very profitable\nwhen looked at rightly that it seems sheer folly\nof the business men to stand in their own\nlight any longer.\njy^r Forbes Robertson has been trying to\nform a committee in New York for the\nfurtherance of the movement for the estab-\nlishment of the proposed National Theatre\nin London. &\nNaturally he has been unable to achieve\nanything. jg?\nHe ought to go to Germany and try to\ncollect funds for the same purpose, or perhaps\nto Italy. & jgr\nIt is not a new idea, this of going round\nwith the hat for national enterprises, but this\nkind of thing strikes us as rather a pity\neven when it is only practised at home in\nEngland. jgr jg/\nBut when one goes abroad confessing that\none's nation,... the richest nation on earth....\nhas not got enough money to spare (or to\nwaste) for a National Theatre, only two impres-\nsions can be forthcoming ;.... Either that\nthe nation is uncommonly ignorant of what\nis good for itself, or that the idea of a Na-\ntional Theatre strikes the nation as tom-\nfoolery.\nTherefore it seems hardly a sensible thing\nto do to go round the world advertising\neither of these two facts as Mr Robertson\nis doing."}]}, {"article_id": "bm-bmtnaau-1910-07-01-c051", "article_bluemountain": "bmtnaau_1910-07_01#c051", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "40", "page_fin": "41", "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=bmtnaau191007-01.2.19.4", "titre_corps": "COPENHAGEN", "titre_sommaire": "COPENHAGEN", "signature_source": "O. R", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 50, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.50", "debut_caractere": 3253, "fin_caractere_exclue": 3792, "texte": "COPENHAGEN.\n\n''jphe Danish Open Air Performances are\ntaking place in the pretty and romantic\nwood \"Pyrehaven\" about four miles from\nCopenhagen and near the \"Oeresund\".\nThe stage is very simple, being only a\ngrass-covered hill, where a natural semicircle\nis formed by the majestic centenarian\nbeeches which surround it. &\n& In closest and happiest accordance with\nthe ancient northern sentiment which reigns\nupon the historic soil of these regions, the\nfirst play produced was the fine and powerful\ndrama 41 Hagbarth and Sign©'% the work of"}, {"page_pdf": 51, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 2416, "texte": "the Sate poet laureate Adam Oehleijschl&ger,\nthe great Danish bard; the reviver of the\nnorthern Saga-era.... the age of the Vikings.\n<£? The first performance was given on June\n4th before a large and enthusiastic audience\nand was entirely successful owing to the\nbeauty of the surroundings, the mystery of\nthe half-dark woods, and, above all, to the\ndeep and religious sincerity with which the\npiece was produced.\nThe stage management, the work of Mr\nPoul Nielsen of the Royal Theatre in Copen-\nhagen, was really finely done, being In close\nsympathy with the scheme of open air per-\nformances, all stage apparatus and mechanism\nbeing absolutely avoided, since the meaning*\nof Out-of-Door Stage Art is and must be, not\nto attain realistic effects, naturalistic imita-\ntions or scenic illusion; not even to replace\nthe imagination of the stage with the abso-\nlute truth of nature, but merely to create a\ngreat and memorable impression of poetry\nand nature combined. The purpose is not to\nsmuggle nature into art but to introduce art\ninto nature; to reawaken the old myths and\nmysteries of earth and air; to make the woods\nalive with beauty and poetry. Of course Na-\nture is not to be the refuge for unsuccessful\nattempts at stage realism, and the Open Air\nPerformance is no desperate innovation of\nthe struggling in-doors theatre. &\nThe leaders of this national and admirable\nenterprise are, the prominent literary histo-\nrian Mr Vilhelm Anderson of Copenhagen\nUniversity, whose charming works on nor-\nthern classic poetry have made his name\nwidely known, and Mr Adam Poulsen, who,\nwith his brother, Mr Johannes Poulsen, both\nexcellent actors of the Danish national theatre,\nis taking a leading part in the dramas.\nOther parts are successfully performed by Mr\nJohannes Nielsen and by the actresses Mrs\nBlad and Mrs With. &\n& On either side of the stage stand two gi-\ngantic ravens carved in wood and covered\nwith plates of copper, grim and sinister as\nthe ominous symbols of the days of the hea-\nthen gods, and each bearing on his head a\nbowl in which burn sacred flames. These are\nthe work of the well-known Danish artist,\nMr Willumsen. & & &\n& In the auditorium built on the natural\namphitheatre of the hillside around the stage,\nthere is place for more than four thousand\nspectators ranged on simple wooden benches,\nwith, above their heads, the waving leaves\nand th© wonderful summer sky of these sunny\ndays.\n\nO. R."}]}, {"article_id": "bm-bmtnaau-1910-07-01-c052", "article_bluemountain": "bmtnaau_1910-07_01#c052", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "41", "page_fin": "42", "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=bmtnaau191007-01.2.19.5", "titre_corps": "MOSCOW", "titre_sommaire": "MOSCOW", "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": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.51", "debut_caractere": 2418, "fin_caractere_exclue": 4535, "texte": "MOSCOW\na report which has had a very lively\nexistence in Moscow concerning an ima-\nginary disagreement between Stanislawsky\nand Gordon Craig has also spread to England\nwe take the opportunity of publishing the\ntranslation of an Interview which the Director\nof the Artistic Theatre in Moscow,\nV.S. Neniirevitch Dantchenko, gave to a repre®\nsentative of the leading Moscow journal.\nTRANSLATION OF THE INTERVIEW\n|t is known that 44 Hamlet\" is being put on\nthe stage at the Koudojestvenniy Theatre\nby C. S, Stanislawsky and Gordon Craig. &\ng? V. S. Nemirovitch tells many interesting\nthings about Gordon Craig's views and work*\n44 First of all I must confess that I am\ngreatly surprised at various articles which\nappear every now and again in newspapers\nwhich speak of certain disagreements between\nus and Gordon Craig. The reports spread by\nthese articles are entirely without foundation.\nThere are no disagreements whatever. Craig\nis quite an exceptional stage director. Gene®\nrally a stage director works together with\nan artist. & &\n44 Now Craig unites in one person the\ndirector and the artist. 4? &\n44 The stage director who unveils the spirit\nof the author gives a detailed psychological\nanalysis of the parts and detailed characte®\nrlstics. jg?\n44 The artist who gives the most detailed\ndesigns of scenery, costumes, lighting and\nmake® ups. Viz: the whole rnise® en® scene,\neverything that is generally done by the\nstage director together with the artist. &\n& 44 Craig needs only the scene® shifters and\ncarpenters to produce the play.\n& 44 There still remains one department of\nthe stage director's work,...work with the\nactor. Here Craig has quite definite views as\nto the manner and methods which he thinks\nare needful,.... beautiful.\n& \" How he works with actors we shall never\nknow as both sides speak different langu®\nages & 4?\n44 All rumour as to any misunderstandings\nbetween Craig and Stanislawsky are false.\nOn the contrary, Stanislawsky is quite under\nthe fascination of what he calls 44 Craig's\ngenius\". & & &\nj&r 44 Generally the literary and psychological\nside of each production devolves on me, but"}, {"page_pdf": 52, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.52", "debut_caractere": 0, "fin_caractere_exclue": 950, "texte": "those few sittings at which I assisted have\nevoked in me such a confidence in Craig; he\nIlluminates so profoundly, so gracefully, with\nsuch taste and nobility the meaning and\nsense of 44 Hamlet \" that I had nothing to do.\n44 He is going to produce the play as a\npoetical drama not belonging to any parti-\ncular epoch,.... and there is no epoch in\n44 Hamlet\", where the legend belongs to the\n9th century and the Idea to the Renaissance.\n44 We put the whole theatre at Craig's\ndisposal.\n& 44 Craig says that since he became a stage\nmanager he had never dreamed of finding a\ntheatre where an artist could work so free-\nly. He himself works very hard; he feels\nbored when some times half a day passes\nwithout work. & &\n& 44 Hamlet \" will have only four entr'actes;\nall the changing of scenes will take place\nwithout a curtain before the eyes of the\naudience. Craig does not leave anything\nout and assures us that the performance\nwill not take long. \" & &"}]}, {"article_id": "bm-bmtnaau-1910-07-01-c053", "article_bluemountain": "bmtnaau_1910-07_01#c053", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "42", "page_fin": "42", "image_debut": 52, "image_fin": 52, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.2.19.6", "titre_corps": "LONDON", "titre_sommaire": "LONDON", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 52, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.52", "debut_caractere": 952, "fin_caractere_exclue": 2801, "texte": "LONDON.\n''jphe Daily Mail gives the following report\nof Mr Frohrnan's promises and performan-\nces.\n& 44 When Mr Frohman, in February last,\n44 announced his plans for the Repertory\n44 Theatre, a dozen new plays were promised\n44 as well as fifteen important revivals. Of\n44 this number only seven new plays have\n44 been produced, and there have been only\n44 two revivals. One new play has also been\n44 given that was not in the original list. The\n'* following table shows how far the original\n44 plans have been abandoned.\nPLAYS PROMISED AND NOT PRODUCED.\n44 4The Eldest Son' by Mr John Galsworthy.\n£? 44 4The Iphigenia in Tauris' of Euripides,\n44 translated by Dr Gilbert Murray.\n& 44 4The Outcry' by Mr Henry James. &\n44 A new play by Mr John Masefield.\n44 A new play by Mr W. Somerset Mau-\n44 gham.\nREVIVALS PROMISED BUT NOT\nFORTHCOMING.\n& 44Barrie. Quality Street', 4What Every Wo-\nman 44 Knows' and the 44 Admirable Crichton'.\nGalsworthy. 4Strife' and 4The Silver Box'\n44 Pinero. 4 The Amazons ' and 4 Iris '.\n44 Bernard Shaw. 4 Major Barbara' 4 Man\nand Superman ' and 4 The Doctor's Dilemma'.\n& 44 Barker. 4 The Voysey Inheritance'\n44 Chambers 4 The Tyranny of Tears'.\n44 John Masefield. 4The Tragedy of Nan'.\nTHE PLAYS PRODUCED.\n& 44Galsworthy Mustiee', (28 performances.)\n44 Granville Barker. 4The Madras House'\n44 (10 performances.) & &\n& 44 Bernard Shaw. 4Misalliance' 1 perfor-\n44mance.) &&&&&?\n& \"J. M. Barrie.i The Twelve Pound Look'\n(22 performances.) 401d Friends' (6performan«\n44 ces.) & &\n44 George Meredith. 4 The Sentimenta-\n44 lists' (6 performances).\n44 Anthony Hope and Cosmo Gordon\nLennox. 4 Helena's Path '( 2 performances\n44 Not in the original list. &\n&44 Elisabeth Baker. 4 Chains', (9 perfor-\n44 mances.) & & & & &\n44 4Tre!awny of the Wells', revived, (40\n44 performances.) & & &\n44 4Prunella', revived. (14 performances) &"}]}, {"article_id": "bm-bmtnaau-1910-07-01-c054", "article_bluemountain": "bmtnaau_1910-07_01#c054", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "42", "page_fin": "51", "image_debut": 52, "image_fin": 61, "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=bmtnaau191007-01.2.20", "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": 52, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.52", "debut_caractere": 2803, "fin_caractere_exclue": 3641, "texte": "EDITORIAL NOTES\n\nwe said in our last number, we reserved\nany judgement upon Mr Frohrnan's ven=\nture because we wanted to see whether those\nconnected with it were mutually loyal one\nto another and really in earnest about the\naim they had in view, for otherwise the en=\nterprise was valueless and not deserving of\nserious discussion.^\nWe now hear that the new theatrical house\nis already divided; that Mr Frohrnan's next\nyear's programme includes no plays by Messrs\nShaw and Barker, that Messrs Shaw and\nBarker announce, on their part, that they will\n44 presently break out in a new place and show\nour friend Frohman how to perform commer-\ncial impossibilities and that Mr Shaw has\nbeen publishing his criticisms of Mr Frohrnan's\nplans in the Daily Mail & &\n& There is not much mutual loyalty here,\nnor is there much earnestness in carrying"}, {"page_pdf": 53, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.53", "debut_caractere": 0, "fin_caractere_exclue": 4710, "texte": "out the original purposes if these are to be\nabandoned after a year's trial; for can any\nof the gentlemen concerned honestly believe\nthat a serious artistic enterprise can be really\ntested, much less brought to any final suc-\ncess, in so short a time ? We do not know\nwhere the fault lies; whether it is that Mr\nFrohman's resources have proved less substan-\ntial than expected and so made the venture a\n\"commercial impossibility\" when it included\nthe work of Messrs Shaw and Barker, or\nwhether these gentlemen with their spirited\nsocialistic ideals have got on Mr Frohman's\nnerves. We only know that the crew no longer\npulls together, and that each man is pulling\nas he likes instead cf in obedience to the\nhead. &\nAnd who was the head man in the boat?\nUndoubtedly Mr Shaw, and for the obvious\nreason that he is not merely the most re-\nmarkable man concerned in the enterprise,\nbut one of the most remarkable men in Eng-\nland, and we fully recognise this fact al-\nthough we entirely disapprove of Mr Shaw\nand all that he says and does. &\nOf course it was obvious from the first\nthat the Shaw type and the Frohman type\ncould not go together, though Mr Frohman\nis hardly to be blamed for he was never\nanything but a busines man; he began as that\nand he goes on as that, ...and for his way\nof going on, well, we must believe him when\nhe says he Is \"crazy\" about the idea of the\nRepertory Theatre, for his handling of it justi-\nfies him ; it is crazy in all conscience.\n<£? Why, a theatre like the Court Theatre\nwas what Mr Frohman longed for above all\nelse; Mr Shaw was the soul of the Court\nTheatre, so surely when he secured Mr Shaw\nhe got what he desired, and yet he has let\nhim slip through his fingers. We suppose he\ngot frightened of Mr Shaw, and Mr Shaw got\ntired of Mr Frohman. Perhaps, Mr Shaw, with\nhis unquenchable Irish optimism, hoped that\nMr Frohman was going to reform in some\nway; but, having seen no signs of this after\na reasonable time, he is now washing his\nhands while Mr Barker dutifully holds for him\nthe towel which bears the legend \" honi soit\nqui mal y pense We wonder If Mr Barker\nrealises the meaning of those words ? If he\ndoes he will remain very loyal to Mr Shaw.\nIt is to the advantage of all that group\nto remain loyal and to see to it that the\nwhole burden of the fight does not rest on\ntheir leader. .., Where has Mr Archer been\nlately, by the way ? & &\nIf Mr Shaw's followers should desert him\nthere will be only one feather in the caps\nthey wear in future, and that will be their\nconnection with his personality; and when\nthey fall away Mr Shaw (and personality in-\ntact) will return to take his place in that\nsetting which really suits his figure best, that\nis to say, in a ring of open enemies against\nwhom he fights alone.\nThen he will forget the Repertory Theatre\n... and, let us hope, the Stage.\nare improving... Bubbles are burst-\ning. This time it is a Belasco bubble.\nBelasco, like nearly every other so-called\n44 Stage-manager\" has made his name through\nother men's talents. Belasco paid the men\nand took the credit. Now the bubble has burst.\nWe quote the following passage from the\nNew York Review, May 21st. & &\n44 The Review last autumn told how Mr.\n44 Buckland, who had been with the ex-martyr\n44 for years, was responsible for the lighting\n44 effects and the minute details of stage rea-\n44 lism upon which much of Belasco's fame\n44 rests. At that time Mr Buckland would not\n44 talk. Since going on tour with Mrs. Fiske\n44 he has become more loquacious. Here are\n44 his words bearing upon this subject as quo-\n44ted in the interview &\n& 44 My knowledge of drawing and color and\n44 my keen desire to maintain this integrity\n44 of detail in stage settimgs proved useful. \"\n& 441 went to France for Belasco later to\n44 get the minutiae of 4Du Barry,' to Virginia\n44 to get that of 4The Warrens' and to Japan\n44 to get that of 4The Darling of the Gods'.\"\n44 It is a great satisfaction to the educated\n44 playgoer to find no detail of costume or\n44 decoration that belongs, for instance, to the\n44 Louis XVI. period in a play of the period\n44 of Louis XV.\n& 44 Mr. Belasco devoted much of my time\n44 and his money to this careful study, and\n44 the result was gratifying to both of us and\n44 to his patrons. It made his name a guarantor\n44 for artistic accuracy, which built up his dis-\n•4 criminating clientele of which he is so justly\n44 proud. I studied to find out what the people\n44 of the period and locale of a play did and\n44 why they did it.\"\nFor the whole article we have no space\nhere ; and besides, it concerns America more\nthan England. But the same traffic in other\nmen's brains goes on in all the Theatres of\nEurope. The Production is generally supposed"}, {"page_pdf": 54, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.54", "debut_caractere": 0, "fin_caractere_exclue": 4671, "texte": "to be the work of the Manager; it is more\noften the work of some one or two others.\nMiss Pauline Chase is said to be a very\ncharming actress. Alas! we have never\nseen her, but we hear that she is also a very\nbeautiful girl, and that added to this she\nhas a large share of the natural intelligence\nwhich belongs to her sex.\nFor what reason then does she wish to\ngive the world the impression that she be®\nlieves she is possessed of nothing and must\nhustle if she is to be in time ? jg? &\n& The papers have lately been full of Miss\nPauline Chase's journey to New York in order\nto sell photographs of herself and Mr Roosvelt\nat the Actors' Fair in that city. &\nAs one of the papers points out, if half\nthe money which it cost to send her over\nand bring her back again had been handed\ndirect to the bazaar the actors' fund would\nhave been richer by several hundred dollars.\nThis is perfectly.true.\nft is said that five dollars was the highest\nprice she could get for her photograph even\nwhen she auctioned it herself. It is under®\nstood that Mr Frohman sent her over and\nbrought her back.\nWhy, Miss Chase ? Why ? We suppose you\nhaven't the faintest idea why you were sent,\nor why you were brought back, or that you\nare too nice to understand why. Then why\ndo you do this sort of thing ? You know that\nthe eye of the public is upon the public life\nof every one connected with the theatre and\nthat it has a perfect right to criticise the\npublic actions of actors and actresses. &\n& The criticism dealt out to actresses today\nby the American press is rather cruel at\ntimes, and the New York Review has writ®\nten an article about this exploit which is\nsomewhat unfair; but then why does Miss\nChase accept such a task from Mr Frohman or\nany other wire puller? Why does she play the\nmarionette, allow herself to be attached to\na wire and answer to every pull of the ma-\nnipulator's hand ? Doesn't she see that there\nare at least thirty or fifty or even a hundred\nothers dangling by similar wires and Mr\nFrohman's fingers are pulling the strings of\nall of them and making these charming ladies\nbehave quite absurdly ? JZ/\n><& You never find the actor managers of\nLondon doing so. Sir Herbert Tree was never\nknown to advertise the ladies of his theatre\nin this manner. Mr George Alexander would\nsooner die than play with his theatre and\nhis performers In so vulgar a way.\nThere is more than plenty of opportunity\nfor a clever actress to succeed on the stage\nby means of her talent, and the public prefers\nan actress of talent who can avoid assisting\nin these advertising tricks played by adven-\nturesome managers.\n& May be this kind of thing Is liked well\nenough in America. To us in England It is\nout of date behind the times, ... for\nthe age of the mountebank is over.\n& Miss Chase, you must not be offended by\nour impertinence in advising you.... but\ntake our word for it; you are beautiful enough\nto stand alone,.... and how clever you might\nbecome should you realize this !\ne have heard of Donald Robertson in\nEurope. We know of him as a man who\nis reported to have done the best American\nwork in the Chicago Theatre, and quite lately\nwe have come across an Interview with him\nin a New York paper In which he talks about\nthe theatre as being the church of the future,\nand how its mission is purely esthetic and\ncannot be doctrinal, cannot be confounded\nwith the pulpit or the platform, is to show\nthe beauty of life, is not to be used for kil-\nling the idle hours of the idle rich nor even\nof the busy rich, but is in Mr Donald Robert-\nson's opinion a very important place entrus-\nted with a very serious duty.\n& Reading the Interview a long sigh in-\nstinctively escapes, for one has heard so much\nabout all this; but then one's caution whispers\nthat after all Mr Donald Robertson may have\nproduced such beautiful work that he is\nentitled to speak in this way, and then\none regrets that one has never seen his work.\nStill we are inclined to think that very little\ngood results when an artist speaks in the\nabstract about the theatre and repeats more\nthan a few times that it is the church of the\nfuture, etc, etc. <&>\nEveryone is prepared to let the theatre\nhe what it likes to be and what it will be,\nand we are glad to find in Europe more and\nmore that those artists who are discontent\nwith the present state of affairs in the theatre,\n(and what artist Is not) are devoting them-\nselves to a clearer definition of just exactly\nhow and where the theatre goes wrong.\nThus in the last year or two very many\nexcellent papers have been written pointing\nout technically some theatrical blunders\nand technically some remedy. Where these\narticles differ from those of proceeding years"}, {"page_pdf": 55, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 4558, "texte": "Is in the attention the writers give to a new\nstandpoint: that is to say, to that point of\nview from which we see the theatre of the\nfuture being reborn as an independent art....\nan art unassisted by literature, music or\npainting. & &\n& And those writers, instead of picking up\nthe old themes such as \" Are footlights ob-\njectionable ? \", or \" Is the theatre a place of\namusement ?\", or \" Did the theatre spring\nfrom religious rites?\" or \"Shall we discuss\nethics in the theatre?\" choose fresher themes\nand such as can be spoken of practically\nonly by those who work in theatres and bring\nmore benefit to those who believe that the\nquestions of technique are more important\nthan questions in the air. These other vaguer\nquestions can be left to the tea-tables and\nthe amateur. jg?\n& And bearing all this in mind we would\nlike to see Mr. Donald Robertson when he\nwrites putting his powers to some better\nuse. We should like to see him turning his\nattention to some theme which other people\nhave not chattered about for years. He would\nthereby be joining the ranks of those more\nserious writers of whom we have spoken;\nof those who perceive the trick which is being\nplayed on the public at large by the com-\nmercial managers, press agents and the rest,\nwho every now and again attempt to hoodwink\nthe public as to the real questions which\nneed not be solved, and to which, in fact, there\nis no solution.\n& Such managers know perfectly well that\nif only they can hold the attention of the\npublic rivetted upon such a trivial question\nas whether footlights are good or bad they\ncan keep the public attention away from the\nfar more important question as to whether the\ndaylight is not far better, than all and every\nkind of artificial light. jg?\nSuch managers enter into heated discus-\nsion as to whether Shakespeare should be\nproduced lavishly or without scenery in order\nto avoid the far more important question as\nto whether Shakespeare should be produced\nat all.\nBut these other, more important, questions\nhave come to the fore lately, and once having\ncome there it is clear that they are not going\nto be left unanswered for long.\ngir Herbert Beerbohm Tree regrets the haste\nshown in dramatic criticism. &\nAs a cure he proposes making the play\ncommence an hour earlier. This, he points\nout, will give the critic an hour more; but\nhe does not reckon that it wil! also give the\nmanager an hour less. Has it suggested itself\nto Sir Herbert that, with an hour more at\nhis command, the critic will have time to\nnotice... and to regret... the haste shown In\ndramatic productions ? & &\nwe know many people who think\nthat there is no Art of the Theatre, we only\nknow of one person who thinks that the\ntheatre possesses several arts, and that is\n'Sir Mordred'.\nWhether he could define exactly what\nthese arts are it would be unfair to ask, but\nhe can be congratulated on his discovery*\nThe discovery was announced on June 5th\n1910 in that admirable paper, The Referee.\nH. B. Irving, speaking on \" The Press\nand the Stage \" the other day, drew\ntention to the efforts which his brother is\nmaking to reform theatrical criticism. He\nsaid, \" I have a brother touring in the United\n\" States with a play too short for a full eve-\n\" ning's entertainment. Consequently, he sup-\n\" plements it by nightly addresses to the\n\" audience.... not only in the theatre but\n\"throughout the empire and the civilized\n\" world... on the subject of criticism. And\n\" so successful are these orations that I con-\n\" fidently expect them to result in a crusade\n\" which shall enable the theatre to come to\n\" the same level of popularity as the music\n\" hall.\"\nThe paper which reported him says that\nhe spoke in a humourous vein. The humour\nseems a little difficult to understand. Was\nhe poking fun at his brother when he ex-\npressed the belief that Mr Laurence Irving\nwas working towards bringing the theatre to\nthe same level of popularity as the music\nhalls, or what was his intention ? £/\nHow strange it is that members of the\nEnglish theatre cannot get away from a com-\nparison between theatre and music hall!\n<£? The question of music hall and theatre\nis not an important one at all, and there is\nno call for actors to be facetious or patro-\nnising in regard to the comedians of the halls.\n& There are some more important problems\nto be solved, yet these are avoided year\nafter year by those who like to be known\nas the serious representatives of the English\ntheatre.\nWhy actors have been brought to say so\nmuch lately about the music hall is that its\nprogress affects their pockets. Actors will"}, {"page_pdf": 56, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 4585, "texte": "not take any notice of the more serious ques-\ntions until ; these also affect their pockets.\nIt is a great pity that the English actor\nwill not wake up to the importance of his\ntrust.\nghice the New York Review started on its\ncampaign to assist in the reform of the\nNew York stage, in fact of the whole Ame-\nrican stage, it has continually accused Klaw\nand Erlanger of every conceivable villainy\nunder the sun, and especially Erlanger, be-\ncause of the indecent shows that he is sup-\nposed to have foisted upon the public.\n& The moral rage which the New York Re-\nview gets into is quite exciting. It is like the\nloudest platform speaking in the rowdiest of\ndistricts. &\nWhile attacking Klaw and Erlanger the\njournal holds the Schubert Brothers up as\nthe pattern of theatrical directors. Every\nsecond word in the paper is \" The Schubert\nBrothers \". Obviously it is the paper of those\ntwo brothers and their enormous army of\nassistants. And it is quite likely that the\nNew York Review is perfectly right, and\nthat Erlanger, in introducing indecent plays\nto the public, is doing a lot of harm, and that\nthe Schubert Brothers, in trying to do away\nwith them, are doing the theatre a great deal\nof good.\nWhat we want to know is, who lets Miss\nMay Mackenzie write as she does in the same\npaper? A paper which wants to protect the\npublic from Mr Erlanger should take care of\nMiss May Mackenzie as well. &\nWe note in the number of May 14th re-\nferences to the Royalty of England which are\nhighly offensive. & &\nWe do not know who is responsible for\nthese, but Messrs Schubert Brothers might\ngive that especial column a glance now and\nagain. They will find it as amusing as, and\nnot less indecent than Erlanger's plays which\nthey are trying to get rid of. £?\nJn a recent number of the New Age, Mr\nWalter Sickert advises artists to take more\nthought before they waste their time, energy\nand money In exhibiting their works, and\nthis is very good advice.\n& In the same number Professor Herron\nrails against Colonel Roosvelt in an article of\nseveral columns' length .... But why ?\nThat the Colonel should get it hot is only\nnatural, that he deserves to is undeniable;\nbut why should the gentle Professor waste\nhis time, energy and money on Roosvelt?\nDoes it do anyone on earth any good ? We\nthink not; and we should say that, instead\nof occupying himself in the negative and\nfruitless task of cursing the late President\nof the United States, Professor Herron would\nhe far better employed in the positive and\nfruitful work of strengthening and setting\nfree those forces which would cause the\nRoosvelts of the age and all their kind to\nbecome as rare as white elephants.\nThe forces we allude to are the forces\nof beauty, those who exercise them are the\nartists, and when the artists take their\nrightful position all ugly things will disappear\nwithout conscious effort upon anybody's part.\nThey cannot be forcibly driven out, but\nthey can be crowded out by the substitution\nof other things, and Professor Herron's at-\ntitude really seems analogous to us, in its\nfutility, to that of a man who stands in a\nshuttered room at midday and inveighs\nagainst the darkness. Let him divert his\nenergies to the simple business of opening\nthe shutters and the darkness disappears of\nItself. &\n& The thing which strikes us about The New\nAge,... not only the journal but the period...\nis that there are a great number of people\nof all classes sitting at one board grumbling\nat something in front of them and apparently\nunconscious that they could be more useful\nin assisting each other than in discontentedly\ninveighing against Colonel Roosvelt, the Ger-\nman Emperor, the Constitution of England,\nNelson, and Good Manners.\nThere is nothing so fruitless or so un-\nprofitable as vague grumbling. A discontent\nwhich manifests itself in some practical way,\nby a strong and persistent effort to remedy\nthe evil conditions personally, or to strength-\nen the hands of those are who capable of doing\nso, is both fruitful and valuable; but such a\ndiscontent usually begins in self-discipline,\nand knows the value of reserve force too\nwell to let it evaporate in aimless invectives\nwhich do no one any good.\nHow much more admirable it would be,\nfor instance, if Professor Herron, instead of\nfilling the columns of the New Age with\na string of lamentations and curses like a\nmodern Jeremiah, were to spend his time,\nenergy and money in trying to assist his fel-\nlow-contributor Mr Sickert, or some other\nartist, in the creation of such beautiful things\nas should counteract the influence of all the\nRoosvelts in the world. & &"}, {"page_pdf": 57, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 4676, "texte": "& For no one today is doing more to annul\nsuch evil influences than the artists, ... the\npainters, poets, musicians and artists of the\nTheatre.... who are producing fine works\nof art. <<&\n& A beautiful picture, a well-decorated villa,\n(and we know the Professor to be possessed\nof a noble villa in Italy,... a villa awaiting\nthe touch of such an artist as Mr Sickert...)\nor a splendid poem, is a better protest against\nRoosveltism, Hooliganism, and kindred evils\nthan all the articles which man can pen, and\nif any duty upon earth is clear it is the duty\nof the rich socialists to act the part of nurse\nto the tremendous works of majesty and\nlabour being born around them,... too often\nstill-born for want of the fostering and pro-\ntective care of these wealthy men. J®\nWe have, in fact, little sympathy with\nthe rich socialist of today. We may go even\nfurther and say that we dislike and distrust\nthe railings of those who are in a position\nto \" work for the good \" and who avoid their\nresponsibilities. In regard to such man we\nfeel inclined to echo Macbeth;...\n\" Thy bones are marrowless, thy blood\nis cold ;\nThou hast no speculation in those eyes\nWhich thou dost glare with ....\nUnreal mockery, hence ! \"\nWhen men like Professor Herron are\nstrongly and sincerely working in a practical\nway to counteract existing evils we shall\nlisten with attention if at times they also\nfind it expedient,... or a relief to their feel-\nings,.... to decry those evils in the pages of\nthe New Age or any other journal; but it is\nby work, not words, by supporting the good\nrather than by inveighing against the bad,\nthat results are attained. &\nLet Professor Herron lay down his pen,\nforget Colonel Roosvelt,... the mere thought\nof whom, we are sure, sends up his tempe-\nrature... and look around him; and he will\nfind that, while he is talking, a good deal of\nsilent plucky work for the remedying of those\nevils is being done in the face of obstacles\nwhich it would be well within his power to\nremove. Until he does this and substantiates\nhis preaching by practise he has really no\nmore power to move us than a strident pho-\nnograph adding to that noise and disharmony\nof life which he decries. &\n& The desirability of some such action on the\npart of the capitalists Is brought before us very\nforcibly when, in the paralel columns in a\nmagazine, we find Mr Sickert advising the\nartists to withold the gift of their art because\nof the cold response it meets with and Pro-\nfessor H err on objecting to evils which would\ndisappear before the wider diffusion of those\nvery artists' works, and we would suggest\nthis Idea of co-operation to him and to all\nthe rich socialists of the day as worth con-\nsideration.\nThere are probably many fine and disin-\nterested enterprises going forward; there\nare certainly many artists working in the\nservice of beauty in face of obstacles quite\ninconceivable to the wealthy gentlemen who\nare so discontented with the present condition\nof the world. Let the said wealthy gentlemen\nbring their money to the service of these,\nset them free from small and mean preoccu-\npations about rents and boots and butchers\nand bakers, about how to procure colours\nand blocks of marble and paper and printers'\nink, so that they may be free to give their\nbest to the world, and they will soon so flood\nit with beauty that ugly conditions, ugly\npersonalities will disappear as noiselessly as\nthe dew before the rising sun.\n& ...We admit the inadequacy of the simile in\nthe present connection, realising that Colonel\nRoosvelt and his blatant company have no-\nthing in common with a thing so exquisite\nand evanescent as the dew; we only mean\nthat the order of their going will be equally\nunobtrusive and inevitable. Anyhow, we know\nthat Professor Herron will understand us; and\nperhaps the next time he feels tempted to\nsit down in his beautiful villa and pen so\ndenunciatory an article he will act the part\nof Balaam and, setting out to curse, will\nstay to bless,... the artist; and that by his\npractical support. & & &\nMEDIOCRITY. &\nthe admirable \"Letters of an Engli-\nshman\" which appeared in the Daily Mail\nduring June we have read with especial in-\nterest one upon the \"Normal Theatre\". It\nseems to us as just in its conclusions as it\nis temperate in its expression of them, and\nit emphasizes the fallacy of that belief held\nby certain serious minded persons, that the\ntheatre is a pulpit, shared by dramatist and\nactor, and that its object is to \"do good\nNo one cherishes this belief more fondly\nthan Mr Granville Barker. He is obsessed by\nit to such a degree that he Is obscuring his\nreal gift for stage management under the\npreacher's role; instead of \" doing well \" in"}, {"page_pdf": 58, "page_imprimee": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 4730, "texte": "th© theatre he must be trying to \"do good\"\nin some vague uncensored way to the parish.\n& \"Englishman\" writes of him, \"It is cha-\nracteristic of Mr Barker, in whom humour,\n\"was never a dominant quality, that he\n\"should describe 'the movement which he is\n\" concerned to foster' as 'the normal theatre',\"\nand he then proceeds to point out very con-\nvincingly that it is nothing of the kind.\n& \"There is arrogance\", he continues, \"in\n\" this claim to be 'normal' which might be\n\"pathetic if it were not ludicrous; only the\n\" very greatest neither transcend nor fall\n\" below the norma!. Sophocles was normal;\n\"Shakespeare was normal; Moliere was nor-\n\"mal\"; whereas, he adds, \" abnormality is the\n\"very essence of Messrs Shaw and Barker.\"\n& But Mr Barker does not merely think that\nhis is the normal drama; he goes further,\nand sees in his own work and Mr Shaw's\nwhat he describes as the Puritan element\nin drama, and, as \"Englishman \" points out,\n\" here we have a clear and definite contra-\n\" diction, for there can be no Puritan element.\n\" Puritanism and th© Stage are old irrecon-\n\" cilable enemies. Not even Mr Barker's habit\n\" of preaching will avail to soften the hosti-\n\" lity... When we discover a vulpine sheep-\n\" fold then we may expect to see a Puritan\n\" theatre.\" & & &\nAnd the strange thing is that it is in the\nname of this Puritanism that Mr Barker\ndemands the abolition of the Censor! It is\nlittle wonder that \" Englishman \" cannot\nmake out what Mr Barker Is driving at for\nneither can anyone else. & &\nWe, on our part, would suggest that,\nbeing himself a very righteous person, and\nbeing dazzled by association with the para-\ndoxical nature of Mr Bernard Shaw, (who can\nnever be described as \" righteous \" even if\nhe may be described as \" thoroughly good \",)\nhe has assumed this kind of hypocritical\nsmirk as an effective thing and one which\ncosts very little. For we find that Mr Barker\nis not one to suffer for his righteousness's\nsake nor is he one of those men who are\nready to lose anything for any cause but that\nof \" self \". He is very moral,... but he has\nlost nothing by it: fearing isolation, and ever\nglad to be in with a party, he has yet cer-\ntainly made no definite stand.\n& His zeal for the abolishment of the Censor\nis a case in point. Mr Barker does not want\nto abolish him because he considers the prin-\nciple of Censorship a bad one but because he\nwants to get some of his own plays through.\nIt is characteristic of Mr Barker that he is\nalarmed at all mention of principles : he is\nconcerned rather with opportunities, espe°\ndally such as can be turned to his own ad-\nvantage, and though this may be a very\nadmirable thing it is not the stuff of which\ngreat men are made. & &\nWe have, in fact, doubts as to the con-\ndition of Mr Barker's artistic conscience. We\nwonder, for instance, wherein lay the magne-\ntism and repulsion of Mr Frohman,... why\nthis sudden enthusiasm for his cause and the\nequally sudden coldness ? And again, what\nare we to think when a capable young stage\nmanager folds himself in a preacher's gown\nand sets out to missionise the world across\nthe footlights? jg? <£?\n& But if in these cases Mr Barker's conduct\nseems inconsistent, he is, on the other hand,\ntimidly consistent in the smaller matters. He\ndare not contradict himself; he trips along\non a track narrow as a knife blade; he is\nexclusive,... as exclusive as mediocrity. He\nproves this in his 'abnormal' Puritan drama.\nCompare it and him with the work, the moral\nwidth, of the great men,.... with Synge,\nYeats, Barrie, Shaw: (don't let us drag the\nnames of Shakespeare, Sophocles and Moliere\nInto the case at all, but keep the comparison\nto his contemporaries,) and we must admit\nthat we do not find the largeness of sympathy\nin Mr Barker that we find in the others,...\nfor instance, in Mr Synge; we only find the\n44 eloquence of discourse \" and the 44 tedium\nof superfluous debates \". Therefore he is not\ngreat as a playwright.\nNor do we believe he is great as a prea-\ncher ; besides, sermons have nothing to do\nwith the theatre, and if Mr Barker feels a\ncall in that direction why does he not Join\nthe Salvation Army or the Young Men's\nChristian Association where such gifts as\nhis might find their full\nWe had once hoped that Mr Barker might\nhave had something to do with the artistry\nof the stage, but there also we have been\ndisappointed; he has nothing to do with it,\nhe feels little for it and we must conclude\nknows nothing about It; he does not even\nwant 44 two trestles, two actors, and a pas-\nsion \". No, what Mr Barker wants is a text,\na pulpit and a glass of water, together with\na congregation of parishioners glad to be\ncalled 44 brethren\" by so arrogant a man.\nGive him these, leave him free to expound"}, {"page_pdf": 59, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.59", "debut_caractere": 0, "fin_caractere_exclue": 4557, "texte": "his doctrine of-Stage Puritanism without a\nCensor, and Mr Barker will have realised his\nidea of the seventh heaven.\njg? But that idea is nothing which can be\ncalled 4NationaS' although it may certainly\npass as parochial. The parish may blindly\naccept such a wolf in sheep's clothing, but\nthe nation will assuredly not temper the wind\nto such a representative of the shorn lamb.\n& In regard to the theatre as in regard to\nevery other branch of national enterprise,\nthe English will very soon put the question,\n44 why are we behind other nations?\" and\nthe answer 44 Because of the Censor\" will\nnot satisfy them. Neither will it do to offer\nany solution but the right one, which is that\nin England our little men have a prejudice\nagainst our great men and are allowed, by a\npolicy of intimidation, to weaken their in-\nfluence with the nation. jg? &\n& That this answer is the true one is slowly\nbeing perceived. In every branch of art\nor of industry we find the little men formed\ninto powerful cliques, devoting their whole\nenergy to the 44prevention\" or 44suppression\"\nof the big men and appealing to the nation\nto prevent these 44 rash \" men from interfe-\nring with the present 44ideal\" conditions.^\nThe great men we speak of are not those\nof any party; they are the individualists\nwhose sole master is the King, whose one\nideal is the majesty of the Empire. They are\nfound in every class of Society, in every in-\ndustry and in every art. J& jg?\nMr Barker belongs to that group of little\nmen who are frightened for the parish. What\nhe loves is that which he erroneously calls\n44 normality \" but which others call 44 medio-\ncrity \", ...and though mediocrity wins nothing\nthere are at least no risks. &\n& Under the rule of such men as Mr Barker\nthe English Theatre would sleep: he would\nnot have it either compete with, or be swept\nalong in, the wonderful movement which has\nfor some years now been felt everywhere in\nEurope except in London.\nIn Russia, Germany, Poland, Holland, Italy,\nAustria, France, Hungary, Spain, Portugal,\nGreece, Sweden, Norway, Denmark, every-\nwhere, in fact, but in London, the theatre\nis beginning to answer the call of its greatest,\nnot Its smallest, men ; is beginning to realise\nthat the older and nobler traditions of our\nart are in danger and that to save them\ncourage is needed; is beginning to realise\nthat our very liberty is at stake, that our\nartists are beset on all sides by traitors to\nthe art,,., we mean those so-called 44 artists \"\nwhose disloyal cry is 44 down with the king,\nmajesty and ceremony! Long live the Pro-\ntector, ugliness and the mediocre ! \"\n44 England, what of the Night ?\" cried\nSwinburne fifty years ago; and gave the\nanswer as he seemed to hear it from the\nnation :...\n44 England, what of the night?\nNight is for slumber and sleep,\nWarm, no season to weep,\nLet me alone till the day.\nSleep would I still if I might,\nWho have slept for two hundred years :\nOnce I had honour, they say,\nBut slumber is sweeter than tears.\n& And that reply we can expect still to hear\nfrom Mr Barker and his discreet company,\nwhile from the reawakening European thea-\ntre comes a prouder answer;...\n441 perceive, on the height,\nEastward, not now very far,\nA song too loud for the lark,\nA light too strong for a star.\nAnd the mastery of old and the might\nLives in the joints of mine hands,\nSteadies my limbs as they rise.\nStrengthens my foot as it stands,\nwii a number of an American publication,\n*New Shakespearean a, which has reached\nus we note a passage, which, in speaking of\nRichard Mansfield's death, is a trifle hard on\nDavid Garrick. The notice begins like this:\n44 When a mere local London actor, who\n44 had never played outside of England,\n44 one David Garrick, died, he was fortunate\n44 in having as a friend the sententious Dr.\n44 Johnson, who announced that 44 Garrick's\n44 death has eclipsed the gaiety of nations. \"\n44 A careful reading of contemporary accounts\n44 of Garrick's acting.... of his stage devices\n44 to heighten effects and his sacrificing his\n44 author to himself.... will convince us that\n44 his unearned fame rests more securely in\n44 Dr Johnson's praise than in his own abilities\n44 or achievements, however eminent. \" £/\n& The italics are ours.\nWhy the gentleman who never goes out\nof England should be a worse actor than the\ngentleman who travels all over the earth is\nnot quite clear. We do not believe that\nShakespeare himself ever wrote plays out of\nEngland, but does this make his plays com-\npare unfavourably with those of Clyde Fitch,\nfor example, who travelled all over Italy and"}, {"page_pdf": 60, "page_imprimee": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.60", "debut_caractere": 0, "fin_caractere_exclue": 4669, "texte": "wrote in several lands?\nLater on in the same notice, speaking of\nMr Mansfield's 44 Shylock \" the writer is in-\ncorrect in saying that this character \" for its\nentire stage life has been portrayed the\nrobust incarnation of hate and malignity\nand then he praises Mr Mansfield for the\noriginality of his idea of presenting him as\na martyr... as a hero. & &\nHas the gentleman who penned the short\nnotice no recollection of the late Sir Henry\nIrving's stupendous achievement in this role?\nIt was Henry Irving who for the first time\nin the history of the stage treated the part\nin this manner. Since then most other actors\nhave copied him and have claimed for their\ncopy the virtue of originality, &\nIn the same number Mr Appleton Morgan\nwrites vividly about the Bacon Theory, and\nabout his own 44 Myth \" or 44 New Theory \"\nwhich proposed Shakespeare as the proprietor\nas well as the stage editor of the plays, and\ndeclared that he knew his public and that\nif what he purchased did not seem to him\nexactly what his public required he himself\nwrote the material over, so as to suit\nfamiliarizing, even popularizing it. &\nWe agree with Dr Morgan in his belief\nthat it is the public curiosity into the de-\ntails of great men's lives which has led to\nall the theories, and which, although 44 the\nplay's the thing \" and a rose under any other\nname would smell as sweet, turns people\nfrom appreciation of the play and enjoyment\nof the rose to arguments as to whether the\nname were Shakespeare or Bacon, whether\nthe work were done by one or two.\n\"Just so long\" he declares, \"as the Shakes-\n44 peareans write biographies of Shakespeare,\n44 just so long will there be a Baconian\n44 Theory! If the good people of Stratford...\n44 instead of destroying the vestiges of their\n44 poet piecemeal would burn their town to\n44 ashes, and if, into the conflagration, could\n44 be tossed every biography of Shakespeare\n44 that was ever written ... the twenty-third\n44 century would have no difficulty in believing\n44 in a Shakespeare \" ! & &\nCertainly, there is something to be said\nv\nfor Dr.Morgan's point of view. <£? &\njn regard to a passage in the last number of\nThe Mask where, referring to Mr Graham\nRobertson, it was said, 44 He recently had a\n44 sort of fairy play on in London in which\n44 amateurs were performing instead of profes-\n44 slonals, \" one of our subscribers has written\nto us taking exception to the use of the word\n4amateur' because, she says, the company\nincluded Miss Ellen Terry and Miss Viola\nTree. &\nAnd of course our correspondant would\nbe right had our Note referred to the ori-\nginal production in which these two ladies\nappeared, but it did not. It referred to that\nrevival of the same play in which the part\ncreated by Miss Ellen Terry was taken by a\nvery charming Baroness, so that we were\ncorrect in our use of the word 44Amateur\".\nWe insert this note, however, in case any\nother readers should, like our correspondant,\nhave received the Impression that we were\nreferring to that original production which\nwas graced by the performance of the First\nActress on the English Stage. & &\nntil now The Mask has had only a few\nwords to say about the Commedia dell'-\nArte, that powerful development of the thea-\ntrical art which has done more credit to the\nstage than any later development, yet which\nwas unable to survive Moliere's friendship:\nbut now we shall publish all we can collect\nupon this subject.\nAs most of our readers know, the Com-\nmedia dell'Arte was the name given to the\nimprovised performances of the professional\nactors and stage managers, and in trying to\ncollect together all that is to be said about\nthis vivid renaissance of the theatrical art\nwe do so, not for its value from an antiqua-\nrian point of view, considerable though that\nmay be, but for its value to the sincere\nstudent of the stage of the future.\nHere was a theatre which appealed to the\nordinary public, to the man of culture and\nto the actors themselves. &\nThese actors were so excellent, so intel-\nligent, perceived so well the advantage of\ncommunicating directly with their public in-\nstead of through the medium of a material\nforeign to them, that success came to them\nimmediately. & & &\nInstead of an actor's playing many parts\nhe played but one,... Pulcinella, Atiecchino,\nPantalone, the Doctor, the Captain, Bello-\nsguardo, Coviello, Fricasso, Fritellino, Fran-\ncatrippa, Guatsetto, Sciossclammocca, Cucuba,\nBellavlta, Cucaruca, Trastullo, Ciurlo, Mesto-\nlino, Maramao, Bagattino, Ricciulina, Signora\nLucia, Signora Lucretia, Signora Lavinia,\nFranceschina or another. But Pulcinella or any\nof these others could b© a madman today, a\ndrunkard tomorrow, a gallant the third day"}, {"page_pdf": 61, "page_imprimee": "51", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.61", "debut_caractere": 0, "fin_caractere_exclue": 3652, "texte": "and on the day after a pious man, a coward\nor a hero.\n&If Hamlet\" must always be Hamlet and\ncan never be Falstaff or Benedict, Fritellino\nmay be all these men if he likes and still is\nwitty enough to remain himself. *£?\n& What first struck the beholder about these\nfigures was their folly, the second thing no-\nted was their humanity, the thiid then he-\nroism, and only finally was their divinity\nperceived. It was a witty idea, it was a pro-\nfound idea, one of those ideas that do not\ndie. They were free to say what they liked,\nthey were free to do what they liked, they\nhad only to let their feelings escape at the\nright moments and to obey the stage manager.\njgr In what order these feelings had to escape\nwas roughly indicated on a piece of paper\npinned up at each side of the stage. The\nactor had only to study this paper carefully\nafter the stage manager had composed it\ncarefully. If this master of the ceremonies\nhad genius he composed it so that the per-\nformance became natural, the passion weaving\nthese foolish and profound figures Into a pat-\ntern even as dancers in the morris-danc©\nweave a pattern; for to be perfectly natural\nis to be perfectly designed. &\n& Here was an art spontaneous but not ac-\ncidental. Moliere's whole fabric was built\nof the stones stolen from the ruins of this\nmost stupendous Palace. When M. Jourdain\nhas made us laugh and cry over the pain\nand pleasure he experienced through a little\nknowledge we leave the theatre in ecstacies\nover the brilliance of Moliere. That brilliance\nis the reflected light from the Commedia\ndelFArte.\n& Some of the characters in the Commedia\nare better known than others, but all are\nentrancing, and we hope to do all of them\njustice in our series of articles. &\n& Arlecchino who has travelled all over the\nworld is the best known; he is the last de-\nscendant of Mercury, and therefore one of\nthe divine figures of the group. Though this\nis not stated in the programme anyone can\nfeel it. Pantalone, on the other hand, al-\nthough he has lived as long, is a very human\nbeing. & & & &\n& Pulcinella during his travels, having the\ndesires of a God but the passions of a mortal\nand the arrogance of a monarch, determined\nto cut adrift from both Gods, kings and men,\nand transforms himself into that extraordi-\nnary being known as Punchinello and Punch,\nand cunningly builds himself a house into\nwhich he creeps and lies low like a crab. He\nwill be very difficult to destroy. &\n& Pulcinella makes his appearance among\nus today in the pages of this number of The\nMask, his genealogy being traced by Dr Mi®\nchele ScheriSlo, who has generously given to\nThe Mask the English version of his book\non the Commedia delFArte. & &\n& To the sincere student of the stage the\nhistorical side of this subject will be as an\naffectionate whisper from the dead: nothing\ndry about it, nothing boisterous; something\nbeautiful, exciting and full of promises. For\nhim we shall reprint all that has been said\non this subject since Molidre's presence made\nsociety ashamed of Arlecchino. &\nWe trust we are not doing injustice to a\nsecond or a third person in speaking of the\nSincere Student as though he were but one.\nWe hope there may be at least eight or ten\nsuch men living, who are not afraid to face\nthe truth of the theatre in all its beauty and\nits degradation. If there are such men alive\ntoday the principles of the Commedia delF-\nArte will by them be re-established and the\nspirit which vitalised it will once more find\nits way into the Theatre; and with that\nspirit, though the outer form may not be re-\nproduced, will come new life and health for\nthe Theatre's Art and for those who serve it.\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1910-07-01-c056", "article_bluemountain": "bmtnaau_1910-07_01#c056", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "42", "page_fin": "51", "image_debut": 52, "image_fin": 61, "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=bmtnaau191007-01.2.20.2", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 52, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.52", "debut_caractere": 2820, "fin_caractere_exclue": 3641, "texte": "we said in our last number, we reserved\nany judgement upon Mr Frohrnan's ven=\nture because we wanted to see whether those\nconnected with it were mutually loyal one\nto another and really in earnest about the\naim they had in view, for otherwise the en=\nterprise was valueless and not deserving of\nserious discussion.^\nWe now hear that the new theatrical house\nis already divided; that Mr Frohrnan's next\nyear's programme includes no plays by Messrs\nShaw and Barker, that Messrs Shaw and\nBarker announce, on their part, that they will\n44 presently break out in a new place and show\nour friend Frohman how to perform commer-\ncial impossibilities and that Mr Shaw has\nbeen publishing his criticisms of Mr Frohrnan's\nplans in the Daily Mail & &\n& There is not much mutual loyalty here,\nnor is there much earnestness in carrying"}, {"page_pdf": 53, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.53", "debut_caractere": 0, "fin_caractere_exclue": 4710, "texte": "out the original purposes if these are to be\nabandoned after a year's trial; for can any\nof the gentlemen concerned honestly believe\nthat a serious artistic enterprise can be really\ntested, much less brought to any final suc-\ncess, in so short a time ? We do not know\nwhere the fault lies; whether it is that Mr\nFrohman's resources have proved less substan-\ntial than expected and so made the venture a\n\"commercial impossibility\" when it included\nthe work of Messrs Shaw and Barker, or\nwhether these gentlemen with their spirited\nsocialistic ideals have got on Mr Frohman's\nnerves. We only know that the crew no longer\npulls together, and that each man is pulling\nas he likes instead cf in obedience to the\nhead. &\nAnd who was the head man in the boat?\nUndoubtedly Mr Shaw, and for the obvious\nreason that he is not merely the most re-\nmarkable man concerned in the enterprise,\nbut one of the most remarkable men in Eng-\nland, and we fully recognise this fact al-\nthough we entirely disapprove of Mr Shaw\nand all that he says and does. &\nOf course it was obvious from the first\nthat the Shaw type and the Frohman type\ncould not go together, though Mr Frohman\nis hardly to be blamed for he was never\nanything but a busines man; he began as that\nand he goes on as that, ...and for his way\nof going on, well, we must believe him when\nhe says he Is \"crazy\" about the idea of the\nRepertory Theatre, for his handling of it justi-\nfies him ; it is crazy in all conscience.\n<£? Why, a theatre like the Court Theatre\nwas what Mr Frohman longed for above all\nelse; Mr Shaw was the soul of the Court\nTheatre, so surely when he secured Mr Shaw\nhe got what he desired, and yet he has let\nhim slip through his fingers. We suppose he\ngot frightened of Mr Shaw, and Mr Shaw got\ntired of Mr Frohman. Perhaps, Mr Shaw, with\nhis unquenchable Irish optimism, hoped that\nMr Frohman was going to reform in some\nway; but, having seen no signs of this after\na reasonable time, he is now washing his\nhands while Mr Barker dutifully holds for him\nthe towel which bears the legend \" honi soit\nqui mal y pense We wonder If Mr Barker\nrealises the meaning of those words ? If he\ndoes he will remain very loyal to Mr Shaw.\nIt is to the advantage of all that group\nto remain loyal and to see to it that the\nwhole burden of the fight does not rest on\ntheir leader. .., Where has Mr Archer been\nlately, by the way ? & &\nIf Mr Shaw's followers should desert him\nthere will be only one feather in the caps\nthey wear in future, and that will be their\nconnection with his personality; and when\nthey fall away Mr Shaw (and personality in-\ntact) will return to take his place in that\nsetting which really suits his figure best, that\nis to say, in a ring of open enemies against\nwhom he fights alone.\nThen he will forget the Repertory Theatre\n... and, let us hope, the Stage.\nare improving... Bubbles are burst-\ning. This time it is a Belasco bubble.\nBelasco, like nearly every other so-called\n44 Stage-manager\" has made his name through\nother men's talents. Belasco paid the men\nand took the credit. Now the bubble has burst.\nWe quote the following passage from the\nNew York Review, May 21st. & &\n44 The Review last autumn told how Mr.\n44 Buckland, who had been with the ex-martyr\n44 for years, was responsible for the lighting\n44 effects and the minute details of stage rea-\n44 lism upon which much of Belasco's fame\n44 rests. At that time Mr Buckland would not\n44 talk. Since going on tour with Mrs. Fiske\n44 he has become more loquacious. Here are\n44 his words bearing upon this subject as quo-\n44ted in the interview &\n& 44 My knowledge of drawing and color and\n44 my keen desire to maintain this integrity\n44 of detail in stage settimgs proved useful. \"\n& 441 went to France for Belasco later to\n44 get the minutiae of 4Du Barry,' to Virginia\n44 to get that of 4The Warrens' and to Japan\n44 to get that of 4The Darling of the Gods'.\"\n44 It is a great satisfaction to the educated\n44 playgoer to find no detail of costume or\n44 decoration that belongs, for instance, to the\n44 Louis XVI. period in a play of the period\n44 of Louis XV.\n& 44 Mr. Belasco devoted much of my time\n44 and his money to this careful study, and\n44 the result was gratifying to both of us and\n44 to his patrons. It made his name a guarantor\n44 for artistic accuracy, which built up his dis-\n•4 criminating clientele of which he is so justly\n44 proud. I studied to find out what the people\n44 of the period and locale of a play did and\n44 why they did it.\"\nFor the whole article we have no space\nhere ; and besides, it concerns America more\nthan England. But the same traffic in other\nmen's brains goes on in all the Theatres of\nEurope. The Production is generally supposed"}, {"page_pdf": 54, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.54", "debut_caractere": 0, "fin_caractere_exclue": 4671, "texte": "to be the work of the Manager; it is more\noften the work of some one or two others.\nMiss Pauline Chase is said to be a very\ncharming actress. Alas! we have never\nseen her, but we hear that she is also a very\nbeautiful girl, and that added to this she\nhas a large share of the natural intelligence\nwhich belongs to her sex.\nFor what reason then does she wish to\ngive the world the impression that she be®\nlieves she is possessed of nothing and must\nhustle if she is to be in time ? jg? &\n& The papers have lately been full of Miss\nPauline Chase's journey to New York in order\nto sell photographs of herself and Mr Roosvelt\nat the Actors' Fair in that city. &\nAs one of the papers points out, if half\nthe money which it cost to send her over\nand bring her back again had been handed\ndirect to the bazaar the actors' fund would\nhave been richer by several hundred dollars.\nThis is perfectly.true.\nft is said that five dollars was the highest\nprice she could get for her photograph even\nwhen she auctioned it herself. It is under®\nstood that Mr Frohman sent her over and\nbrought her back.\nWhy, Miss Chase ? Why ? We suppose you\nhaven't the faintest idea why you were sent,\nor why you were brought back, or that you\nare too nice to understand why. Then why\ndo you do this sort of thing ? You know that\nthe eye of the public is upon the public life\nof every one connected with the theatre and\nthat it has a perfect right to criticise the\npublic actions of actors and actresses. &\n& The criticism dealt out to actresses today\nby the American press is rather cruel at\ntimes, and the New York Review has writ®\nten an article about this exploit which is\nsomewhat unfair; but then why does Miss\nChase accept such a task from Mr Frohman or\nany other wire puller? Why does she play the\nmarionette, allow herself to be attached to\na wire and answer to every pull of the ma-\nnipulator's hand ? Doesn't she see that there\nare at least thirty or fifty or even a hundred\nothers dangling by similar wires and Mr\nFrohman's fingers are pulling the strings of\nall of them and making these charming ladies\nbehave quite absurdly ? JZ/\n><& You never find the actor managers of\nLondon doing so. Sir Herbert Tree was never\nknown to advertise the ladies of his theatre\nin this manner. Mr George Alexander would\nsooner die than play with his theatre and\nhis performers In so vulgar a way.\nThere is more than plenty of opportunity\nfor a clever actress to succeed on the stage\nby means of her talent, and the public prefers\nan actress of talent who can avoid assisting\nin these advertising tricks played by adven-\nturesome managers.\n& May be this kind of thing Is liked well\nenough in America. To us in England It is\nout of date behind the times, ... for\nthe age of the mountebank is over.\n& Miss Chase, you must not be offended by\nour impertinence in advising you.... but\ntake our word for it; you are beautiful enough\nto stand alone,.... and how clever you might\nbecome should you realize this !\ne have heard of Donald Robertson in\nEurope. We know of him as a man who\nis reported to have done the best American\nwork in the Chicago Theatre, and quite lately\nwe have come across an Interview with him\nin a New York paper In which he talks about\nthe theatre as being the church of the future,\nand how its mission is purely esthetic and\ncannot be doctrinal, cannot be confounded\nwith the pulpit or the platform, is to show\nthe beauty of life, is not to be used for kil-\nling the idle hours of the idle rich nor even\nof the busy rich, but is in Mr Donald Robert-\nson's opinion a very important place entrus-\nted with a very serious duty.\n& Reading the Interview a long sigh in-\nstinctively escapes, for one has heard so much\nabout all this; but then one's caution whispers\nthat after all Mr Donald Robertson may have\nproduced such beautiful work that he is\nentitled to speak in this way, and then\none regrets that one has never seen his work.\nStill we are inclined to think that very little\ngood results when an artist speaks in the\nabstract about the theatre and repeats more\nthan a few times that it is the church of the\nfuture, etc, etc. <&>\nEveryone is prepared to let the theatre\nhe what it likes to be and what it will be,\nand we are glad to find in Europe more and\nmore that those artists who are discontent\nwith the present state of affairs in the theatre,\n(and what artist Is not) are devoting them-\nselves to a clearer definition of just exactly\nhow and where the theatre goes wrong.\nThus in the last year or two very many\nexcellent papers have been written pointing\nout technically some theatrical blunders\nand technically some remedy. Where these\narticles differ from those of proceeding years"}, {"page_pdf": 55, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 4558, "texte": "Is in the attention the writers give to a new\nstandpoint: that is to say, to that point of\nview from which we see the theatre of the\nfuture being reborn as an independent art....\nan art unassisted by literature, music or\npainting. & &\n& And those writers, instead of picking up\nthe old themes such as \" Are footlights ob-\njectionable ? \", or \" Is the theatre a place of\namusement ?\", or \" Did the theatre spring\nfrom religious rites?\" or \"Shall we discuss\nethics in the theatre?\" choose fresher themes\nand such as can be spoken of practically\nonly by those who work in theatres and bring\nmore benefit to those who believe that the\nquestions of technique are more important\nthan questions in the air. These other vaguer\nquestions can be left to the tea-tables and\nthe amateur. jg?\n& And bearing all this in mind we would\nlike to see Mr. Donald Robertson when he\nwrites putting his powers to some better\nuse. We should like to see him turning his\nattention to some theme which other people\nhave not chattered about for years. He would\nthereby be joining the ranks of those more\nserious writers of whom we have spoken;\nof those who perceive the trick which is being\nplayed on the public at large by the com-\nmercial managers, press agents and the rest,\nwho every now and again attempt to hoodwink\nthe public as to the real questions which\nneed not be solved, and to which, in fact, there\nis no solution.\n& Such managers know perfectly well that\nif only they can hold the attention of the\npublic rivetted upon such a trivial question\nas whether footlights are good or bad they\ncan keep the public attention away from the\nfar more important question as to whether the\ndaylight is not far better, than all and every\nkind of artificial light. jg?\nSuch managers enter into heated discus-\nsion as to whether Shakespeare should be\nproduced lavishly or without scenery in order\nto avoid the far more important question as\nto whether Shakespeare should be produced\nat all.\nBut these other, more important, questions\nhave come to the fore lately, and once having\ncome there it is clear that they are not going\nto be left unanswered for long.\ngir Herbert Beerbohm Tree regrets the haste\nshown in dramatic criticism. &\nAs a cure he proposes making the play\ncommence an hour earlier. This, he points\nout, will give the critic an hour more; but\nhe does not reckon that it wil! also give the\nmanager an hour less. Has it suggested itself\nto Sir Herbert that, with an hour more at\nhis command, the critic will have time to\nnotice... and to regret... the haste shown In\ndramatic productions ? & &\nwe know many people who think\nthat there is no Art of the Theatre, we only\nknow of one person who thinks that the\ntheatre possesses several arts, and that is\n'Sir Mordred'.\nWhether he could define exactly what\nthese arts are it would be unfair to ask, but\nhe can be congratulated on his discovery*\nThe discovery was announced on June 5th\n1910 in that admirable paper, The Referee.\nH. B. Irving, speaking on \" The Press\nand the Stage \" the other day, drew\ntention to the efforts which his brother is\nmaking to reform theatrical criticism. He\nsaid, \" I have a brother touring in the United\n\" States with a play too short for a full eve-\n\" ning's entertainment. Consequently, he sup-\n\" plements it by nightly addresses to the\n\" audience.... not only in the theatre but\n\"throughout the empire and the civilized\n\" world... on the subject of criticism. And\n\" so successful are these orations that I con-\n\" fidently expect them to result in a crusade\n\" which shall enable the theatre to come to\n\" the same level of popularity as the music\n\" hall.\"\nThe paper which reported him says that\nhe spoke in a humourous vein. The humour\nseems a little difficult to understand. Was\nhe poking fun at his brother when he ex-\npressed the belief that Mr Laurence Irving\nwas working towards bringing the theatre to\nthe same level of popularity as the music\nhalls, or what was his intention ? £/\nHow strange it is that members of the\nEnglish theatre cannot get away from a com-\nparison between theatre and music hall!\n<£? The question of music hall and theatre\nis not an important one at all, and there is\nno call for actors to be facetious or patro-\nnising in regard to the comedians of the halls.\n& There are some more important problems\nto be solved, yet these are avoided year\nafter year by those who like to be known\nas the serious representatives of the English\ntheatre.\nWhy actors have been brought to say so\nmuch lately about the music hall is that its\nprogress affects their pockets. Actors will"}, {"page_pdf": 56, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 4585, "texte": "not take any notice of the more serious ques-\ntions until ; these also affect their pockets.\nIt is a great pity that the English actor\nwill not wake up to the importance of his\ntrust.\nghice the New York Review started on its\ncampaign to assist in the reform of the\nNew York stage, in fact of the whole Ame-\nrican stage, it has continually accused Klaw\nand Erlanger of every conceivable villainy\nunder the sun, and especially Erlanger, be-\ncause of the indecent shows that he is sup-\nposed to have foisted upon the public.\n& The moral rage which the New York Re-\nview gets into is quite exciting. It is like the\nloudest platform speaking in the rowdiest of\ndistricts. &\nWhile attacking Klaw and Erlanger the\njournal holds the Schubert Brothers up as\nthe pattern of theatrical directors. Every\nsecond word in the paper is \" The Schubert\nBrothers \". Obviously it is the paper of those\ntwo brothers and their enormous army of\nassistants. And it is quite likely that the\nNew York Review is perfectly right, and\nthat Erlanger, in introducing indecent plays\nto the public, is doing a lot of harm, and that\nthe Schubert Brothers, in trying to do away\nwith them, are doing the theatre a great deal\nof good.\nWhat we want to know is, who lets Miss\nMay Mackenzie write as she does in the same\npaper? A paper which wants to protect the\npublic from Mr Erlanger should take care of\nMiss May Mackenzie as well. &\nWe note in the number of May 14th re-\nferences to the Royalty of England which are\nhighly offensive. & &\nWe do not know who is responsible for\nthese, but Messrs Schubert Brothers might\ngive that especial column a glance now and\nagain. They will find it as amusing as, and\nnot less indecent than Erlanger's plays which\nthey are trying to get rid of. £?\nJn a recent number of the New Age, Mr\nWalter Sickert advises artists to take more\nthought before they waste their time, energy\nand money In exhibiting their works, and\nthis is very good advice.\n& In the same number Professor Herron\nrails against Colonel Roosvelt in an article of\nseveral columns' length .... But why ?\nThat the Colonel should get it hot is only\nnatural, that he deserves to is undeniable;\nbut why should the gentle Professor waste\nhis time, energy and money on Roosvelt?\nDoes it do anyone on earth any good ? We\nthink not; and we should say that, instead\nof occupying himself in the negative and\nfruitless task of cursing the late President\nof the United States, Professor Herron would\nhe far better employed in the positive and\nfruitful work of strengthening and setting\nfree those forces which would cause the\nRoosvelts of the age and all their kind to\nbecome as rare as white elephants.\nThe forces we allude to are the forces\nof beauty, those who exercise them are the\nartists, and when the artists take their\nrightful position all ugly things will disappear\nwithout conscious effort upon anybody's part.\nThey cannot be forcibly driven out, but\nthey can be crowded out by the substitution\nof other things, and Professor Herron's at-\ntitude really seems analogous to us, in its\nfutility, to that of a man who stands in a\nshuttered room at midday and inveighs\nagainst the darkness. Let him divert his\nenergies to the simple business of opening\nthe shutters and the darkness disappears of\nItself. &\n& The thing which strikes us about The New\nAge,... not only the journal but the period...\nis that there are a great number of people\nof all classes sitting at one board grumbling\nat something in front of them and apparently\nunconscious that they could be more useful\nin assisting each other than in discontentedly\ninveighing against Colonel Roosvelt, the Ger-\nman Emperor, the Constitution of England,\nNelson, and Good Manners.\nThere is nothing so fruitless or so un-\nprofitable as vague grumbling. A discontent\nwhich manifests itself in some practical way,\nby a strong and persistent effort to remedy\nthe evil conditions personally, or to strength-\nen the hands of those are who capable of doing\nso, is both fruitful and valuable; but such a\ndiscontent usually begins in self-discipline,\nand knows the value of reserve force too\nwell to let it evaporate in aimless invectives\nwhich do no one any good.\nHow much more admirable it would be,\nfor instance, if Professor Herron, instead of\nfilling the columns of the New Age with\na string of lamentations and curses like a\nmodern Jeremiah, were to spend his time,\nenergy and money in trying to assist his fel-\nlow-contributor Mr Sickert, or some other\nartist, in the creation of such beautiful things\nas should counteract the influence of all the\nRoosvelts in the world. & &"}, {"page_pdf": 57, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 4676, "texte": "& For no one today is doing more to annul\nsuch evil influences than the artists, ... the\npainters, poets, musicians and artists of the\nTheatre.... who are producing fine works\nof art. <<&\n& A beautiful picture, a well-decorated villa,\n(and we know the Professor to be possessed\nof a noble villa in Italy,... a villa awaiting\nthe touch of such an artist as Mr Sickert...)\nor a splendid poem, is a better protest against\nRoosveltism, Hooliganism, and kindred evils\nthan all the articles which man can pen, and\nif any duty upon earth is clear it is the duty\nof the rich socialists to act the part of nurse\nto the tremendous works of majesty and\nlabour being born around them,... too often\nstill-born for want of the fostering and pro-\ntective care of these wealthy men. J®\nWe have, in fact, little sympathy with\nthe rich socialist of today. We may go even\nfurther and say that we dislike and distrust\nthe railings of those who are in a position\nto \" work for the good \" and who avoid their\nresponsibilities. In regard to such man we\nfeel inclined to echo Macbeth;...\n\" Thy bones are marrowless, thy blood\nis cold ;\nThou hast no speculation in those eyes\nWhich thou dost glare with ....\nUnreal mockery, hence ! \"\nWhen men like Professor Herron are\nstrongly and sincerely working in a practical\nway to counteract existing evils we shall\nlisten with attention if at times they also\nfind it expedient,... or a relief to their feel-\nings,.... to decry those evils in the pages of\nthe New Age or any other journal; but it is\nby work, not words, by supporting the good\nrather than by inveighing against the bad,\nthat results are attained. &\nLet Professor Herron lay down his pen,\nforget Colonel Roosvelt,... the mere thought\nof whom, we are sure, sends up his tempe-\nrature... and look around him; and he will\nfind that, while he is talking, a good deal of\nsilent plucky work for the remedying of those\nevils is being done in the face of obstacles\nwhich it would be well within his power to\nremove. Until he does this and substantiates\nhis preaching by practise he has really no\nmore power to move us than a strident pho-\nnograph adding to that noise and disharmony\nof life which he decries. &\n& The desirability of some such action on the\npart of the capitalists Is brought before us very\nforcibly when, in the paralel columns in a\nmagazine, we find Mr Sickert advising the\nartists to withold the gift of their art because\nof the cold response it meets with and Pro-\nfessor H err on objecting to evils which would\ndisappear before the wider diffusion of those\nvery artists' works, and we would suggest\nthis Idea of co-operation to him and to all\nthe rich socialists of the day as worth con-\nsideration.\nThere are probably many fine and disin-\nterested enterprises going forward; there\nare certainly many artists working in the\nservice of beauty in face of obstacles quite\ninconceivable to the wealthy gentlemen who\nare so discontented with the present condition\nof the world. Let the said wealthy gentlemen\nbring their money to the service of these,\nset them free from small and mean preoccu-\npations about rents and boots and butchers\nand bakers, about how to procure colours\nand blocks of marble and paper and printers'\nink, so that they may be free to give their\nbest to the world, and they will soon so flood\nit with beauty that ugly conditions, ugly\npersonalities will disappear as noiselessly as\nthe dew before the rising sun.\n& ...We admit the inadequacy of the simile in\nthe present connection, realising that Colonel\nRoosvelt and his blatant company have no-\nthing in common with a thing so exquisite\nand evanescent as the dew; we only mean\nthat the order of their going will be equally\nunobtrusive and inevitable. Anyhow, we know\nthat Professor Herron will understand us; and\nperhaps the next time he feels tempted to\nsit down in his beautiful villa and pen so\ndenunciatory an article he will act the part\nof Balaam and, setting out to curse, will\nstay to bless,... the artist; and that by his\npractical support. & & &\nMEDIOCRITY. &\nthe admirable \"Letters of an Engli-\nshman\" which appeared in the Daily Mail\nduring June we have read with especial in-\nterest one upon the \"Normal Theatre\". It\nseems to us as just in its conclusions as it\nis temperate in its expression of them, and\nit emphasizes the fallacy of that belief held\nby certain serious minded persons, that the\ntheatre is a pulpit, shared by dramatist and\nactor, and that its object is to \"do good\nNo one cherishes this belief more fondly\nthan Mr Granville Barker. He is obsessed by\nit to such a degree that he Is obscuring his\nreal gift for stage management under the\npreacher's role; instead of \" doing well \" in"}, {"page_pdf": 58, "page_imprimee": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 4730, "texte": "th© theatre he must be trying to \"do good\"\nin some vague uncensored way to the parish.\n& \"Englishman\" writes of him, \"It is cha-\nracteristic of Mr Barker, in whom humour,\n\"was never a dominant quality, that he\n\"should describe 'the movement which he is\n\" concerned to foster' as 'the normal theatre',\"\nand he then proceeds to point out very con-\nvincingly that it is nothing of the kind.\n& \"There is arrogance\", he continues, \"in\n\" this claim to be 'normal' which might be\n\"pathetic if it were not ludicrous; only the\n\" very greatest neither transcend nor fall\n\" below the norma!. Sophocles was normal;\n\"Shakespeare was normal; Moliere was nor-\n\"mal\"; whereas, he adds, \" abnormality is the\n\"very essence of Messrs Shaw and Barker.\"\n& But Mr Barker does not merely think that\nhis is the normal drama; he goes further,\nand sees in his own work and Mr Shaw's\nwhat he describes as the Puritan element\nin drama, and, as \"Englishman \" points out,\n\" here we have a clear and definite contra-\n\" diction, for there can be no Puritan element.\n\" Puritanism and th© Stage are old irrecon-\n\" cilable enemies. Not even Mr Barker's habit\n\" of preaching will avail to soften the hosti-\n\" lity... When we discover a vulpine sheep-\n\" fold then we may expect to see a Puritan\n\" theatre.\" & & &\nAnd the strange thing is that it is in the\nname of this Puritanism that Mr Barker\ndemands the abolition of the Censor! It is\nlittle wonder that \" Englishman \" cannot\nmake out what Mr Barker Is driving at for\nneither can anyone else. & &\nWe, on our part, would suggest that,\nbeing himself a very righteous person, and\nbeing dazzled by association with the para-\ndoxical nature of Mr Bernard Shaw, (who can\nnever be described as \" righteous \" even if\nhe may be described as \" thoroughly good \",)\nhe has assumed this kind of hypocritical\nsmirk as an effective thing and one which\ncosts very little. For we find that Mr Barker\nis not one to suffer for his righteousness's\nsake nor is he one of those men who are\nready to lose anything for any cause but that\nof \" self \". He is very moral,... but he has\nlost nothing by it: fearing isolation, and ever\nglad to be in with a party, he has yet cer-\ntainly made no definite stand.\n& His zeal for the abolishment of the Censor\nis a case in point. Mr Barker does not want\nto abolish him because he considers the prin-\nciple of Censorship a bad one but because he\nwants to get some of his own plays through.\nIt is characteristic of Mr Barker that he is\nalarmed at all mention of principles : he is\nconcerned rather with opportunities, espe°\ndally such as can be turned to his own ad-\nvantage, and though this may be a very\nadmirable thing it is not the stuff of which\ngreat men are made. & &\nWe have, in fact, doubts as to the con-\ndition of Mr Barker's artistic conscience. We\nwonder, for instance, wherein lay the magne-\ntism and repulsion of Mr Frohman,... why\nthis sudden enthusiasm for his cause and the\nequally sudden coldness ? And again, what\nare we to think when a capable young stage\nmanager folds himself in a preacher's gown\nand sets out to missionise the world across\nthe footlights? jg? <£?\n& But if in these cases Mr Barker's conduct\nseems inconsistent, he is, on the other hand,\ntimidly consistent in the smaller matters. He\ndare not contradict himself; he trips along\non a track narrow as a knife blade; he is\nexclusive,... as exclusive as mediocrity. He\nproves this in his 'abnormal' Puritan drama.\nCompare it and him with the work, the moral\nwidth, of the great men,.... with Synge,\nYeats, Barrie, Shaw: (don't let us drag the\nnames of Shakespeare, Sophocles and Moliere\nInto the case at all, but keep the comparison\nto his contemporaries,) and we must admit\nthat we do not find the largeness of sympathy\nin Mr Barker that we find in the others,...\nfor instance, in Mr Synge; we only find the\n44 eloquence of discourse \" and the 44 tedium\nof superfluous debates \". Therefore he is not\ngreat as a playwright.\nNor do we believe he is great as a prea-\ncher ; besides, sermons have nothing to do\nwith the theatre, and if Mr Barker feels a\ncall in that direction why does he not Join\nthe Salvation Army or the Young Men's\nChristian Association where such gifts as\nhis might find their full\nWe had once hoped that Mr Barker might\nhave had something to do with the artistry\nof the stage, but there also we have been\ndisappointed; he has nothing to do with it,\nhe feels little for it and we must conclude\nknows nothing about It; he does not even\nwant 44 two trestles, two actors, and a pas-\nsion \". No, what Mr Barker wants is a text,\na pulpit and a glass of water, together with\na congregation of parishioners glad to be\ncalled 44 brethren\" by so arrogant a man.\nGive him these, leave him free to expound"}, {"page_pdf": 59, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.59", "debut_caractere": 0, "fin_caractere_exclue": 4557, "texte": "his doctrine of-Stage Puritanism without a\nCensor, and Mr Barker will have realised his\nidea of the seventh heaven.\njg? But that idea is nothing which can be\ncalled 4NationaS' although it may certainly\npass as parochial. The parish may blindly\naccept such a wolf in sheep's clothing, but\nthe nation will assuredly not temper the wind\nto such a representative of the shorn lamb.\n& In regard to the theatre as in regard to\nevery other branch of national enterprise,\nthe English will very soon put the question,\n44 why are we behind other nations?\" and\nthe answer 44 Because of the Censor\" will\nnot satisfy them. Neither will it do to offer\nany solution but the right one, which is that\nin England our little men have a prejudice\nagainst our great men and are allowed, by a\npolicy of intimidation, to weaken their in-\nfluence with the nation. jg? &\n& That this answer is the true one is slowly\nbeing perceived. In every branch of art\nor of industry we find the little men formed\ninto powerful cliques, devoting their whole\nenergy to the 44prevention\" or 44suppression\"\nof the big men and appealing to the nation\nto prevent these 44 rash \" men from interfe-\nring with the present 44ideal\" conditions.^\nThe great men we speak of are not those\nof any party; they are the individualists\nwhose sole master is the King, whose one\nideal is the majesty of the Empire. They are\nfound in every class of Society, in every in-\ndustry and in every art. J& jg?\nMr Barker belongs to that group of little\nmen who are frightened for the parish. What\nhe loves is that which he erroneously calls\n44 normality \" but which others call 44 medio-\ncrity \", ...and though mediocrity wins nothing\nthere are at least no risks. &\n& Under the rule of such men as Mr Barker\nthe English Theatre would sleep: he would\nnot have it either compete with, or be swept\nalong in, the wonderful movement which has\nfor some years now been felt everywhere in\nEurope except in London.\nIn Russia, Germany, Poland, Holland, Italy,\nAustria, France, Hungary, Spain, Portugal,\nGreece, Sweden, Norway, Denmark, every-\nwhere, in fact, but in London, the theatre\nis beginning to answer the call of its greatest,\nnot Its smallest, men ; is beginning to realise\nthat the older and nobler traditions of our\nart are in danger and that to save them\ncourage is needed; is beginning to realise\nthat our very liberty is at stake, that our\nartists are beset on all sides by traitors to\nthe art,,., we mean those so-called 44 artists \"\nwhose disloyal cry is 44 down with the king,\nmajesty and ceremony! Long live the Pro-\ntector, ugliness and the mediocre ! \"\n44 England, what of the Night ?\" cried\nSwinburne fifty years ago; and gave the\nanswer as he seemed to hear it from the\nnation :...\n44 England, what of the night?\nNight is for slumber and sleep,\nWarm, no season to weep,\nLet me alone till the day.\nSleep would I still if I might,\nWho have slept for two hundred years :\nOnce I had honour, they say,\nBut slumber is sweeter than tears.\n& And that reply we can expect still to hear\nfrom Mr Barker and his discreet company,\nwhile from the reawakening European thea-\ntre comes a prouder answer;...\n441 perceive, on the height,\nEastward, not now very far,\nA song too loud for the lark,\nA light too strong for a star.\nAnd the mastery of old and the might\nLives in the joints of mine hands,\nSteadies my limbs as they rise.\nStrengthens my foot as it stands,\nwii a number of an American publication,\n*New Shakespearean a, which has reached\nus we note a passage, which, in speaking of\nRichard Mansfield's death, is a trifle hard on\nDavid Garrick. The notice begins like this:\n44 When a mere local London actor, who\n44 had never played outside of England,\n44 one David Garrick, died, he was fortunate\n44 in having as a friend the sententious Dr.\n44 Johnson, who announced that 44 Garrick's\n44 death has eclipsed the gaiety of nations. \"\n44 A careful reading of contemporary accounts\n44 of Garrick's acting.... of his stage devices\n44 to heighten effects and his sacrificing his\n44 author to himself.... will convince us that\n44 his unearned fame rests more securely in\n44 Dr Johnson's praise than in his own abilities\n44 or achievements, however eminent. \" £/\n& The italics are ours.\nWhy the gentleman who never goes out\nof England should be a worse actor than the\ngentleman who travels all over the earth is\nnot quite clear. We do not believe that\nShakespeare himself ever wrote plays out of\nEngland, but does this make his plays com-\npare unfavourably with those of Clyde Fitch,\nfor example, who travelled all over Italy and"}, {"page_pdf": 60, "page_imprimee": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.60", "debut_caractere": 0, "fin_caractere_exclue": 4669, "texte": "wrote in several lands?\nLater on in the same notice, speaking of\nMr Mansfield's 44 Shylock \" the writer is in-\ncorrect in saying that this character \" for its\nentire stage life has been portrayed the\nrobust incarnation of hate and malignity\nand then he praises Mr Mansfield for the\noriginality of his idea of presenting him as\na martyr... as a hero. & &\nHas the gentleman who penned the short\nnotice no recollection of the late Sir Henry\nIrving's stupendous achievement in this role?\nIt was Henry Irving who for the first time\nin the history of the stage treated the part\nin this manner. Since then most other actors\nhave copied him and have claimed for their\ncopy the virtue of originality, &\nIn the same number Mr Appleton Morgan\nwrites vividly about the Bacon Theory, and\nabout his own 44 Myth \" or 44 New Theory \"\nwhich proposed Shakespeare as the proprietor\nas well as the stage editor of the plays, and\ndeclared that he knew his public and that\nif what he purchased did not seem to him\nexactly what his public required he himself\nwrote the material over, so as to suit\nfamiliarizing, even popularizing it. &\nWe agree with Dr Morgan in his belief\nthat it is the public curiosity into the de-\ntails of great men's lives which has led to\nall the theories, and which, although 44 the\nplay's the thing \" and a rose under any other\nname would smell as sweet, turns people\nfrom appreciation of the play and enjoyment\nof the rose to arguments as to whether the\nname were Shakespeare or Bacon, whether\nthe work were done by one or two.\n\"Just so long\" he declares, \"as the Shakes-\n44 peareans write biographies of Shakespeare,\n44 just so long will there be a Baconian\n44 Theory! If the good people of Stratford...\n44 instead of destroying the vestiges of their\n44 poet piecemeal would burn their town to\n44 ashes, and if, into the conflagration, could\n44 be tossed every biography of Shakespeare\n44 that was ever written ... the twenty-third\n44 century would have no difficulty in believing\n44 in a Shakespeare \" ! & &\nCertainly, there is something to be said\nv\nfor Dr.Morgan's point of view. <£? &\njn regard to a passage in the last number of\nThe Mask where, referring to Mr Graham\nRobertson, it was said, 44 He recently had a\n44 sort of fairy play on in London in which\n44 amateurs were performing instead of profes-\n44 slonals, \" one of our subscribers has written\nto us taking exception to the use of the word\n4amateur' because, she says, the company\nincluded Miss Ellen Terry and Miss Viola\nTree. &\nAnd of course our correspondant would\nbe right had our Note referred to the ori-\nginal production in which these two ladies\nappeared, but it did not. It referred to that\nrevival of the same play in which the part\ncreated by Miss Ellen Terry was taken by a\nvery charming Baroness, so that we were\ncorrect in our use of the word 44Amateur\".\nWe insert this note, however, in case any\nother readers should, like our correspondant,\nhave received the Impression that we were\nreferring to that original production which\nwas graced by the performance of the First\nActress on the English Stage. & &\nntil now The Mask has had only a few\nwords to say about the Commedia dell'-\nArte, that powerful development of the thea-\ntrical art which has done more credit to the\nstage than any later development, yet which\nwas unable to survive Moliere's friendship:\nbut now we shall publish all we can collect\nupon this subject.\nAs most of our readers know, the Com-\nmedia dell'Arte was the name given to the\nimprovised performances of the professional\nactors and stage managers, and in trying to\ncollect together all that is to be said about\nthis vivid renaissance of the theatrical art\nwe do so, not for its value from an antiqua-\nrian point of view, considerable though that\nmay be, but for its value to the sincere\nstudent of the stage of the future.\nHere was a theatre which appealed to the\nordinary public, to the man of culture and\nto the actors themselves. &\nThese actors were so excellent, so intel-\nligent, perceived so well the advantage of\ncommunicating directly with their public in-\nstead of through the medium of a material\nforeign to them, that success came to them\nimmediately. & & &\nInstead of an actor's playing many parts\nhe played but one,... Pulcinella, Atiecchino,\nPantalone, the Doctor, the Captain, Bello-\nsguardo, Coviello, Fricasso, Fritellino, Fran-\ncatrippa, Guatsetto, Sciossclammocca, Cucuba,\nBellavlta, Cucaruca, Trastullo, Ciurlo, Mesto-\nlino, Maramao, Bagattino, Ricciulina, Signora\nLucia, Signora Lucretia, Signora Lavinia,\nFranceschina or another. But Pulcinella or any\nof these others could b© a madman today, a\ndrunkard tomorrow, a gallant the third day"}, {"page_pdf": 61, "page_imprimee": "51", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.61", "debut_caractere": 0, "fin_caractere_exclue": 3652, "texte": "and on the day after a pious man, a coward\nor a hero.\n&If Hamlet\" must always be Hamlet and\ncan never be Falstaff or Benedict, Fritellino\nmay be all these men if he likes and still is\nwitty enough to remain himself. *£?\n& What first struck the beholder about these\nfigures was their folly, the second thing no-\nted was their humanity, the thiid then he-\nroism, and only finally was their divinity\nperceived. It was a witty idea, it was a pro-\nfound idea, one of those ideas that do not\ndie. They were free to say what they liked,\nthey were free to do what they liked, they\nhad only to let their feelings escape at the\nright moments and to obey the stage manager.\njgr In what order these feelings had to escape\nwas roughly indicated on a piece of paper\npinned up at each side of the stage. The\nactor had only to study this paper carefully\nafter the stage manager had composed it\ncarefully. If this master of the ceremonies\nhad genius he composed it so that the per-\nformance became natural, the passion weaving\nthese foolish and profound figures Into a pat-\ntern even as dancers in the morris-danc©\nweave a pattern; for to be perfectly natural\nis to be perfectly designed. &\n& Here was an art spontaneous but not ac-\ncidental. Moliere's whole fabric was built\nof the stones stolen from the ruins of this\nmost stupendous Palace. When M. Jourdain\nhas made us laugh and cry over the pain\nand pleasure he experienced through a little\nknowledge we leave the theatre in ecstacies\nover the brilliance of Moliere. That brilliance\nis the reflected light from the Commedia\ndelFArte.\n& Some of the characters in the Commedia\nare better known than others, but all are\nentrancing, and we hope to do all of them\njustice in our series of articles. &\n& Arlecchino who has travelled all over the\nworld is the best known; he is the last de-\nscendant of Mercury, and therefore one of\nthe divine figures of the group. Though this\nis not stated in the programme anyone can\nfeel it. Pantalone, on the other hand, al-\nthough he has lived as long, is a very human\nbeing. & & & &\n& Pulcinella during his travels, having the\ndesires of a God but the passions of a mortal\nand the arrogance of a monarch, determined\nto cut adrift from both Gods, kings and men,\nand transforms himself into that extraordi-\nnary being known as Punchinello and Punch,\nand cunningly builds himself a house into\nwhich he creeps and lies low like a crab. He\nwill be very difficult to destroy. &\n& Pulcinella makes his appearance among\nus today in the pages of this number of The\nMask, his genealogy being traced by Dr Mi®\nchele ScheriSlo, who has generously given to\nThe Mask the English version of his book\non the Commedia delFArte. & &\n& To the sincere student of the stage the\nhistorical side of this subject will be as an\naffectionate whisper from the dead: nothing\ndry about it, nothing boisterous; something\nbeautiful, exciting and full of promises. For\nhim we shall reprint all that has been said\non this subject since Molidre's presence made\nsociety ashamed of Arlecchino. &\nWe trust we are not doing injustice to a\nsecond or a third person in speaking of the\nSincere Student as though he were but one.\nWe hope there may be at least eight or ten\nsuch men living, who are not afraid to face\nthe truth of the theatre in all its beauty and\nits degradation. If there are such men alive\ntoday the principles of the Commedia delF-\nArte will by them be re-established and the\nspirit which vitalised it will once more find\nits way into the Theatre; and with that\nspirit, though the outer form may not be re-\nproduced, will come new life and health for\nthe Theatre's Art and for those who serve it.\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1910-07-01-c058", "article_bluemountain": "bmtnaau_1910-07_01#c058", "volume": "bmtnaau_1910-07_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=bmtnaau191007-01.2.21", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.2", "debut_caractere": 1167, "fin_caractere_exclue": 2038, "texte": "THE MOSHER BOOKS\nA VISION OF GIORGIONE\nThree Variations on Venetian Themes\nBY GORDON BOTTOMLEY\n-R-|-|RII—MIIWI—MWW111—I IN■■ IAN111 IIBI-\ndramatic scenes in the life of\nGiorgione,of whom Vasari tells us that\nthis great artist of the Renaissance \"took\nno small delight in love passages, and in\nthe sound of the lute, to which he was so\ncordially devoted, and which he practised\nso constantly, that he played and sang\nwith the most exquisite perfection;\" and\nagain, \"at this time he fell in love with\na lady, who returned his affection with\nequal warmth; and they were immeasu-\nrably devoted to each other.\"\n500 copies, leap 4to, hand-made paper, done up in old rose\nFabriano boards, with a designed label, and initials in color\nS. 1.50 net. 50 copies on Japan Vellum, S. 3.00 net.\nAll Books Sent Postpaid on Receipt of Net Price.\nTHOMAS B. MOSHER\nPORTLAND, MAINE. U. S. A."}]}, {"article_id": "bm-bmtnaau-1910-07-01-c059", "article_bluemountain": "bmtnaau_1910-07_01#c059", "volume": "bmtnaau_1910-07_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=bmtnaau191007-01.2.22", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.2", "debut_caractere": 2040, "fin_caractere_exclue": 2966, "texte": "NEW SHAKESPEAREANA\nA Quarterly Record of Shakespearean\nScholarship and study, and Content-\nporary and current Review of their\nLiterature. Conducted by the New\nYork Shakespeare Society, whose\nmembership includes every distin=\nguished Shakespeare Scholar in Eu=\nrope and America. &\nImperial 8vo. Illustrated. 75c the copy, S2.50 the year,in advance.\nSHAKESPEAREANA is the only\nmagazine devoted to its exclusive field\npublished in English, and one of the\nonly two such periodicals published\nin the world, the other being the\n44 Jahrbuch , \" of the German Shakes**\npeare Society, issued annually. N o\nsample copies are furnished. & &\nZooming from so dignified and notable\na source as The New York Shakespeare\nSociety, 44 New Shakespeareana \" is of\ncourse scholarly in tone, dignified in\npurpose and artistic in form. \" — New\nYork Dramatic Mirror, October 12,1910\nTHE SHAKESPEARE PRESS,\nWESTFIELD, UNION COUNTY\nNEW JERSEY, U. S. A."}]}, {"article_id": "bm-bmtnaau-1910-07-01-c060", "article_bluemountain": "bmtnaau_1910-07_01#c060", "volume": "bmtnaau_1910-07_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=bmtnaau191007-01.2.23", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.2", "debut_caractere": 2968, "fin_caractere_exclue": 3338, "texte": "THE BOOK NEWS MONTHLY &\n& Its mission is to save you from reading a poor or a disappointing book, or from\nexperiencing the chagrin that accompanies \" Un«informedness.\"\nTHE 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. & & &\nDo!, 1,0© a year, 10 cts: a copy. Sample copies sent on request."}]}, {"article_id": "bm-bmtnaau-1910-07-01-c061", "article_bluemountain": "bmtnaau_1910-07_01#c061", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "56", "page_fin": "56", "image_debut": 66, "image_fin": 66, "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=bmtnaau191007-01.2.24", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 66, "page_imprimee": "56", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.66", "debut_caractere": 145, "fin_caractere_exclue": 570, "texte": "ANTONIO FRILLI\nPURVEYOR TO 10\nIMPERIAL & ROYAL\nFAMILIES £> j»\nFLORENCE\nVia dei Fossi 4 /s?\n0 (ESTABLISHED i860) ■£>\nAWARDED PRIZES\nAT 48 NATIONAL &\nINTERNATIONAL\nEXHIBITIONS\nThe largest Establishment of Sculpture in\nMarble & Reproductions from the Antique\n& Original Works. Portraits. Monuments,\nMantels, Pedestals, Garden Seats,\nVases Fountains Flower-stands, etc:\nESTIMATES GIVEN ON APPLICATION\nST LOUIS MO.\nGRAND PRIX\n1904"}]}, {"article_id": "bm-bmtnaau-1910-07-01-c062", "article_bluemountain": "bmtnaau_1910-07_01#c062", "volume": "bmtnaau_1910-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "56", "page_fin": "56", "image_debut": 66, "image_fin": 66, "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=bmtnaau191007-01.2.25", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 66, "page_imprimee": "56", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.66", "debut_caractere": 572, "fin_caractere_exclue": 1281, "texte": "Fine Illustrated Edition of\n& OSCAR WILDE'S &\nThe Picture of Dorian Grey.\n\" Each man sees his own sins in Dorian Gray. What Dorian\nGray's sins are no one knows. He who finds them has\nbrought them.\"— OSCAR WILDE. (Letter, 9th July,1890).\nSm. 4to Vol. Pages VI. & 312. Hf. bd. gilt top, with Seven\nfull-paged Wood Engravings by PAUL THIRIAT(of Paris)\nPrice 12.s 6d. Net.\nALSO A POPULAR EDITION\nPages VI. &316. Sm. 8vo. (not illustrated), neat cloth\nbinding. Price 2s. 6d. Net.\n& FURTHER, AN EDITION 0\n(Pages YII. & 353)\nUniform in Style and Binding with Messrs. Methuen's\nFive Shilling Edition of \" OSCAR WILDE'S WORKS. \"\nPrice 5s. Net.\nPublished by Charles Carrington,\n10. Rue de la Tribune, Brussels, Belgium."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.1", "texte": "Vol. 3 N.° 1-3 JULY & i 9 i o\nTHE MASK\nA QUARTERLY JOURNAL OF\nTHE ART OF THE THEATRE\nARENA QOLDONI\nFLORENCE\nITALY\nYEARLY SUBSCRIPTION FIFTEEN SHILLINGS, POST FREE."}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.2", "texte": "LITERARY CONTENTS.\nTHE REREDOSES AND THE THEATRE OF THE FIFTEENTH CENTURY by JOHNNY ROOSVAL.\n& A FRAGMENT FROM THE MEMOIRS OF MLLE. H1PPOLYTE CLAIRON. (1723-1803)\nTRANSLATED by GEORGE HARRISON. uS> THE ANCIENT ENGLISH MORRIS DANCE by\nFRANCIS DOUCE. 1808. CONCLUDED. 0 A MANAGERIAL TRICK, FROM THE MEMOIRS OF\nMLLE. GEORGE. LADIES, TEMPERAMENT AND DISCIPLINE by E. E. AFTER YOU'VE\nFINISHED WITH IT by JOHN BALANCE. 0 THE ARCHITECTURE AND COSTUME OF\nSHAKESPEARE'S PLAYS by E. W. GODWIN, JS/ THE EXQUISITE AND THE PRECIOUS by\nGORDON CRAIG. & THE GENEALOGY OF PULCINELLA by Dr MICHELE SCHERILLO.\nTHEATRICAL REFORM by GORDON CRAIG. THREE STAGE CHARACTERS by GILBERT\na BECKET. A LETTER ON THE RUSSIAN THEATRE from GORDON CRAIG. BOOK\nREVIEWS. & FOREIGN NOTES. 0 EDITORIAL NOTES. £/ <0 £? £?\n\nILLUSTRATIONS.\n\" A WREATH OF CHIVALRY IN MEMORY OF KING EDWARD VII. 0 DESIGNS OF MORRIS\nDANCERS. A DESIGN FOR A SCENE REPRODUCED FROM A 16th. CENTURY WOOD\nENGRAVING. uS> A DESIGN FOR A STAGE SCENE by JULIUS OLIVER. & THE STAGE\nSEAMAN AND THE STAGE LADIES' MAID: THREE DESIGNS by GEORGE CRUICKSHANK.\n& INITIAL LETTERS, HEAD AND TAIL PIECES by E. THESLEFF, CHARLES BORROW\nAND OTHERS.\n\nTHE MOSHER BOOKS\nA VISION OF GIORGIONE\nThree Variations on Venetian Themes\nBY GORDON BOTTOMLEY\n-R-|-|RII—MIIWI—MWW111—I IN■■ IAN111 IIBI-\ndramatic scenes in the life of\nGiorgione,of whom Vasari tells us that\nthis great artist of the Renaissance \"took\nno small delight in love passages, and in\nthe sound of the lute, to which he was so\ncordially devoted, and which he practised\nso constantly, that he played and sang\nwith the most exquisite perfection;\" and\nagain, \"at this time he fell in love with\na lady, who returned his affection with\nequal warmth; and they were immeasu-\nrably devoted to each other.\"\n500 copies, leap 4to, hand-made paper, done up in old rose\nFabriano boards, with a designed label, and initials in color\nS. 1.50 net. 50 copies on Japan Vellum, S. 3.00 net.\nAll Books Sent Postpaid on Receipt of Net Price.\nTHOMAS B. MOSHER\nPORTLAND, MAINE. U. S. A.\n\nNEW SHAKESPEAREANA\nA Quarterly Record of Shakespearean\nScholarship and study, and Content-\nporary and current Review of their\nLiterature. Conducted by the New\nYork Shakespeare Society, whose\nmembership includes every distin=\nguished Shakespeare Scholar in Eu=\nrope and America. &\nImperial 8vo. Illustrated. 75c the copy, S2.50 the year,in advance.\nSHAKESPEAREANA is the only\nmagazine devoted to its exclusive field\npublished in English, and one of the\nonly two such periodicals published\nin the world, the other being the\n44 Jahrbuch , \" of the German Shakes**\npeare Society, issued annually. N o\nsample copies are furnished. & &\nZooming from so dignified and notable\na source as The New York Shakespeare\nSociety, 44 New Shakespeareana \" is of\ncourse scholarly in tone, dignified in\npurpose and artistic in form. \" — New\nYork Dramatic Mirror, October 12,1910\nTHE SHAKESPEARE PRESS,\nWESTFIELD, UNION COUNTY\nNEW JERSEY, U. S. A.\n\nTHE BOOK NEWS MONTHLY &\n& Its mission is to save you from reading a poor or a disappointing book, or from\nexperiencing the chagrin that accompanies \" Un«informedness.\"\nTHE 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. & & &\nDo!, 1,0© a year, 10 cts: a copy. Sample copies sent on request."}, {"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.4", "texte": "KINO EDWARD VII.\nBorn November 9 1841: Died May 6 1910.\n\nAND HIS DEVICE A WREATH OF CHIVALRY\nTHE WORD, ME POMPAE PROVEXIT APEX.\nShakespeare. \"Pericles\"."}, {"page_pdf": 5, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.5", "texte": "THE REREDOSES\nAND THE THEATRE\nOF THE FIFTEENTH\nCENTURY\nby Johnny Roosval.\n(I)\nj once heard a clergyman, a cultivated man of artistic tastes, express his great contempt\nfor the altar screen of his church. He objected to having above the altar 44 such a doll's\ncupboard \", and similar judgements have surely caused many ancient works of art to be\ndisplaced, nay, have often banished them to the darkness and damp of the belfry, doomed\nto wretchedness and destruction but for the merciful intervention of some museum. &\nThe above judgement may be easily explained. To a person accustomed only to the\naltar pieces of later times, and not sufficiently broad-minded to understand uncommon\nforms of art such as this, the super-altars, with their many little compartments and figures\nmay appear as mere trifles. & & & & & & &\nYet if he realise that this work does not stand close to him as it seems to do, but\nis, in fact, separated from him by four hundred years, it strikes him that these trifles\nare not really trifles but only diminished by the perspective. But we must feel the atmo-\nsphere of the fifteenth century like a mist surrounding the old reredos. This atmosphere of\ntime will then act like a lens, which, to the eye, gives to distant objects proportions\napproaching to their right size. We shall obtain this 44 air of age \" from that peculiar\nvessel, which is said to be the best depositary of the mind and volition of each epoch and\nwhich is called its Theatre.\n& The Theatre of the Middle Ages was something very precious and profoundly solemn.\nNot even during its most glorious period did regular performances occcur every night.\nThey took place very seldom, and then as a great popular and united enterprise which one\nis tempted to compare with a crusade or a war. I here refer especially to the serious drama\nwith subjects taken from Holy Scripture. This originated with the church and was long\nespecially cherished by the priesthood, for its influence on the souls of the people was\nvery great.\n£/ A landgrave, Frederic the Bold of Thuringen, saw at Eisenach a play representing the\nWise and the Foolish Virgins. The drama still exists, and it ends with the happy entrance\nof the wise lamp-bearers into heaven, while the foolish, in spite of the blessed Virgin's\nentreaties to Christ, are, at his command, fetched by cruel devils and dragged down to\nHell in the midst of intolerable moans. As not even Mary's entreaties were of any avail,\nthe landgrave cried out, 44 What then is Christian faith? Will the Lord not help us even\nat bis mother's prayersl \" Whereupon he went to Wartburg and lay there senseless for\nfive days, had an apoplectic fit, remained in bed during three days and then died.\nBut the Mystery plays provided more than the horrible. They gave the spectators every-\n/\nthing that is demanded by the population of a great city and that is included in the\nword 44 sensation \". Splendour, life, motion, luxury, ferocity, sacrifice, all on a vast scale;\nand thereby a complete relief from everyday life was obtained. A city which was to be re-\n\n& 44 Doll's\ncupboards.\"\n& The Theatre.\nThe Mysteries.\n\n(1) The author, whose writings are so well known in Sweden, asks us to note that in the following pages he sets forth his researches\nrelating to the 15th century Altar Screens in a more popular form than would hare been the case had his studies been confined to the\nArt of the Theatre alone. Ed.\n(2) Sckerr, Deutsche Litteraburgeschichte."}, {"page_pdf": 6, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.6", "texte": "SUPER-ALTARS\n& THE THEATRE.\n\nThe performers.\nThe stage. &\nPassion Plays.\n\ngaled with a great Mystery play wss entirely disorganised. There still exists a proclamation\nissued by the Magistrates of some French town on an occasion of the kind, forbidding\nanybody to \" allow himself the audacity \" of exercising his trade during the days of the\nperformance.\n& The drama often consisted of as many as ten thousand verses, and a whole week was\nneeded for its performance. A special building for the theatre was erected, surrounded by\nstalls, shops and various kinds of side-shows, and it is reported that Musicians played in\nthe town both day and night to amuse the inhabitants during the whole time the play\nwas going on. & &\n& The performers, proud as cocks of their work, were sometimes rewarded, if they were\npretty boys and girls, in a romantic manner: (reminding us of the romantic episodes of\nthe modern theatrical annals). jg? jg? &\n& A handsome barber's apprentice, who took the part of St Barbara, was considered so\npathetic in representing the sufferings of the poor saint \"that many persons wept, and\neverybody, whether knight, priest or layman, wished to take the boy into his house to\nfeed and educate him. \" A rich widow wanted to adopt him; but a canon sent him to\nParis to study, which was very convenient for the boy whose voice was just cracking, and\nwho would consequently not have been able to take female parts with the same success.\n1he young Figaro succeeded well in the path of his studies, becoming both \" master of\narts\" and canon. &><&&& jg? jg?\nA stage such as the one on which he and his colleagues, in the golden age of the\nMysteries of 1450-1550, used to appear, was generally a platform, in front of which the\nspectators' places were arranged as in an amphitheatre. The platform was at least twice\nas long as a modern stage, and was often supplied as background with a building such as\na church.\n& Why was the stage such a length? Because the drama was acted in many different places\nand all the places were arranged in a row, side by side, like little houses with their front\nwalls removed. This long stage was never hidden by a curtain. One might compare the\ncompartments to the different sections of a modern Turntable stage, but placed in a\nstraight line instead of being grouped in a circle. Two spaces were ever the same and\nwere placed as a rule at the extreme left and the extreme right, as A and Z, Paradise and\nHell.\nA great deal of fine workmanship was bestowed upon the former. Sweet, soft music behind\nbeautiful draperies and mysterious apparatuses for the flight of the angels gave a striking\nimpression of celestial bliss. The lower regions of Hell, which could be opened when\nnecessary, were filled with naked mannikins who were tortured with the most fantastic\ninstruments by the devils. The entrance to Hell took the form of the jaws of a great\nmonster. Between Heaven and Hell were the different places that might be needed in the\ndrama, such as Jerusalem, Bethlehem, Golgatha, etc. The action thus wandered from place\nto place, the actors all being upon the stage, seated in their little houses and waiting for\ntheir cue... an arrangement similar to that of the small cafe-chantants of our days, where\nall the performers are seated on chairs against the wall of the stage and one by one step\nforward to fulfil their parts.\nThe most popular of the Mysteries were taken from the story of the Passion and con-\ntained everything that the religious mind could desire, and a great deal, too, of external\nsensation. Christ hung sufficiently realistically from the cross to cost the actor his life; from\nthe suspended Judas real entrails gushed out in conformity with the scriptures; indeed, the\ntheatrical mechanism was by no means to be despised. Laughter, too, sometimes afforded\nrelief after the terrors, as when St John and St Peter raced each other to the sepulchre and\nthe holy women stood bargaining for the embalming ingredients with a Jewish apothecary,\nand when the latter fought with his wife. & & & & &\n<£* The Passion Play was generally staged with great pomp and circumstance. Old scribes\nin solemn oriental garments glided by, Roman soldiers in glittering armour marched on\nreproducing'as closely as possible those of antiquity; tumultuous crowd-effects were produced\nat Golgatha or Jerusalem, creating a hubbub that doubtless found a ready echo among the\nthousands of spectators."}, {"page_pdf": 7, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.7", "texte": "SUPER ALTARS\n& THE THEATRE.\n\nj® Literary historians have been able to draw a picture of the Mystery-Stage, partly from\nthe stage directions of the texts and other written sources, all more or less clear, and\npartly from contemporary pictures of similar scenes. The best known of these is a sketch\nof a Passion Play M. S. of 1547 mentioned by Eugdne Lentilhac in \" Le Theatre s£rieux au\nMoyen Age \", from which many of these statements are taken. However, other] arrange-\nments were doubtless in use similar to those described above. Thus, a scene is represented\nin miniature by Jean Fouquet, illustrating the martyrdom of St Apollonia in which ten\nlittle houses in two stories open upon a semi-circular head scene. This miniature is re-\nproduced in the \" Oeuvre de Jean Fouquet \" published in Paris in 1869, (1).... Fouquet\nunderstanding stage technique, having himself painted decorations for the theatre. j®\nj® If the miniature of Fouquet is, is it were, a documental copy of a Mystery-scene there\nare other pictures which reproduce scenes although less as direct copies and in a more\nartistic form. I will mention only one of these pictures; Memling's \" The Sufferings of\nChrist \" in Turin, recently described by Emile M&Ie, the great French conoisseur of mediaeval\nart, as a kind of reproduction of the Mystery Play. j® j® j® j® j®\nAll the horrors of the story of the Passion are reproduced in this picture which, one\nmetre long, represents a town. Outside a gate Oethsemene scenes are going on. In the\nstreets of the city the captured Christ is led from Herod to Pilate, from Pilate to Qolgatha,\nand everything that happens in the different places is seen through a large hole in the\nfront-wall. Outside another gate the procession winds upwards to Qolgatha, which looms\nin the background. Another work by Memling, \" The Joys of the Madonna \" in the Pinako-\ntek at Munich, reproduces quite as obviously, and with analogical paraphrases, a mediaeval\ntheatre scene.\nj® It is , however, not only in the art of painting that one gathers hints of the Mystery\nPlay. In the polychrome sculptures collected into niche groups in the great altar screens\nwe find even more pronounced evidence. & u® j® j® j® j® j®\nj® The altar screens are the special product of Northern Europe. Their ordinary form is well\nknown to Swedish readers, for the historical Museum of Stockholm possesses one of the\nlargest collections of them in the world, j® j® j® j® j®\nj® We will now consider separately a group of such screens or reredoses; those, namely, which\nshow scenes containing many dramatic figures and narrating some story. The golden age\nof these screens dates from the middle of the fifteenth century to 1540 and they were executed\nchiefly at Brussels and Antwerp. Such things were manufactured according to the rules of\nthe Guilds, screens being carved by cabinet makers, figures by sculptors, and the gilding\nand painting of figures and frame-work executed by painters. j® j® j®\nj® In the Museum of Applied Art at Brussels some beautiful specimens have been collected.\nj® Few, on the whole, have retained their original places in the churches, having been\ndisplaced by the Iconoclasts of the sixteenth century or by later Art-schools; but in the\ncountries to which the Netherlands exported productions from their workshops,.... Spain,\nthe Rhineland and the Baltic coast of Germany and Sweden,.... there still remain many of\nthem. The prettiest Netherlandish altar-screens in our country (Sweden) are, as a rule, those\nmade by the eminent wood-carver Jan Borman of Brussels, who worked between 1490 and\n1520, or later. In Sweden, too, they undoubtedly made altar screens during the fourteenth\ncentury, (Gotland) and later on during the fifteenth and the beginning of the sixteenth.\nThe works of Swedish carvers, such as St Olaf's screen at VHrrndd Church by one Master\nLars the carver, the St Mary screen by Hakon Gulleson at Enganger, the workmanship of\nthe Sudermannish \" joiners \" In the church museum at StrengnSs, are often very simple in\nin construction, consisting of a screen, forming a niche for a statue representing some\nsaint. The opening is sometimes closed by doors on which is painted the legend of the saint,\nsuch being called \" Saint's Screens In more elaborated forms the screen is divided into\nseveral niches, of which the middle one contains the scene at Qolgatha or some other figure\nscene with images of saints and apostles arranged in those around. This type, or something\nakin to it was often made by Swedish artists, but was also imported from Lubeck and\nother North German places. s®j®j®j®j®<®j&j®\n\n& Jean Fouquet\nj® Dramatic\nscreens. j®\nSaint's Screens\n\n(1) Dr Karl Mantzius, in big \" History of Theatrical Art\" Vol: II pg 65 mentions this and reproduces the miniature."}, {"page_pdf": 8, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.8", "texte": "SUPER - ALTARS\n& THE THEATRE.\n\nThe Swedish and German productions are, however, far surpassed by the more elaborate\nworks which we have already mentioned as imported from Brussels and Antwerp. With\ntheir stately proportions and the lavishness of the gilding on every part of the framework\nand on the garments of the figures, they give an intense glowing effect, and, in the old\nchurches, where lights were scant in the nave yet concentrated in front of the altar, the\neffect of this light upon figures and framework must have been quite fascinating. &\n& An illumination of this kind, (well adapted for the altar screen) is never seen nowadays,\nfor in the system of illuminating our churches we have rather chosen for model the di-\nning saloons of great hotels, and the idea of lighting our art museums is like that of the\noperating theatre of a hospital. & &\n& But we must not only consider the Netherlandish reredoses in and for themselves. We\nmust draw attention to that echo of the pulsating life of their own age which they yet can\ngive.\n& We have spoken of the Mystery Plays of the closing Middle Ages. The dramatic altar\nscreens give us the very image of these. & & & &\n& Look at one of them, the doors in front taken away and one niche-group after another\nin a row like little houses:.... first the entrance to Jerusalem, then the Lord's Supper, the\nTribunal of Pilate, the Cross Bearing, the Crucifixion, etc, and it is undeniable that we\nhave before us an uncommonly true image of the Mystery Scene. That the proportions are\nreduced in size and the architecture of the little buildings more detailed is a matter of course.\n& That the above is true, not only of the subjects and types but also of the costumes has\nnot been proved in all particulars but it seems to me quite clear that, in certain cases,\nsuch relationship must have existed. On the stage, as in painting, they sought after faith-\nfulness to the age in a somewhat higher degree than is nowadays supposed. One is accus-\ntomed to assume that the fifteenth century dressed the sacred stories in none but the\ncostume of its own age. This doubtless was so, to a certain extent, although a prominent\nfeature is the historical character introduced. Christ and the Apostles wear the same kind\nof semi-antique mantles during the whole of the Middle Ages. Soldiers use armour with\nRoman details, certainly not entirely accurate, but through which one can trace a wish to\nrepresent the real costume of the age of Christ's nativity. Scribes and other persons wear\nturbans and other Oriental attributes like the Orientals described in the Travel-books of\nthe age, such as Breydenbach's \" Journey to Jerusalem. \" &\nThat the theatre had this same aim is clear from the play Manuscripts, and it is evi-\ndent that the two different attempts made through different mediums have led to similar\nresults.\n& Yet it must be admitted that the theatre could hardly have used gold cloth to the same\nextent as gilding was used in the altar screen,.... for a purely artistic reason of course, as\nthe effect of the gold was thus increased and the danger avoided of making the otherwise\nrealistically represented figures look like dressed-out figures of wax. &\nHow strikingly alike the altar screens and the contemporary scenic arrangements were\nis proved by a series of sketches for tableaux, ordered for the entrance of Queen Joan into\nBrussels in 1496. They still exist in the \" Kupferstichkabinett \" of Berlin, have not been\npreviously published and seem to be the stage manager's sketches for the said entrance.\nThe text first sets forth the order of the procession and then follows the disposition of\nthe tableaux.\n& The stage, which was built on trestles, could, if necessary, be closed with curtains, and\nwas adorned with torches and mirrors. There appeared Judith and Holofernes, Raphael\nfighting with the devil, Asmodeus, Esther and Ahasuarus and scenes in which famous women\nfrom the Bible or history took part. Sketches in water-colour show the arrangement of each\nparticular scene. Many of these are arranged three by three, when consecutive subjects\nare required, and these remind us strikingly of the altar screens, the draperies of the theatre\nrepresenting the gilded framework of the reredos, and the open bows or arches above the\nwhole framing each one round burning-mirror, while along the bows are fastened tapers\nand torches.\nAnother question is, which inspired the other, theatre or altar screen? It is a problem\nsomewhat difficult to solve, and which must probably be solved afresh in every individual\n\nCostume. JS>\nA striking\nlikeness. &\njg? A question."}, {"page_pdf": 9, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.9", "texte": "case. This however is not the place to deal with this matter. What we want to point out\nis, that there exists a close connection between the dramatic altar screen and the Mystery\nPlay.\nThis kind of theatre of the north European public during the Renaissance period,.... a\ntheatre like a many=toned instrument for the interpretation of sentiments of piety and\nworldliness, calm and turbulence, splendour, life, love, hatred, pathos and humour, is plainly\ncrystallised in the altar screens.\n& I think that he who perceives this historical connection will no longer speak of these\nreredoses of Jan Borman as \" dolls' cupboards \". Surely not. And perhaps some day this\nhistorical interest may carry us so far as to adopt a truer, more artistic way of considering\nthings; perhaps the day will come when we shall give up competing with the restaurants\nin illuminating our churches and devote ourselves to the favouring of works of art as well\nas to the practical lighting of hymn=books, and when museums will take the same interest\nin setting a mediaeval work in the right light as they usually do in the case of renais°\nsance or later pictures.\nThis seems to be a simple demand,.... but there is, so far as we can see, very little hope\nof its being granted.\n\nSUPER \"ALTARS\n& THE THEATRE.\n\nA FRAGMENT FROM THE MEMOIRS OF\nMile: HIPPOLYTE CLAIRON.\nTranslated by George Harrison.\n(17 23-1803)\nJt is to be desired that all actors possess at least a slight knowledge of drawing; they\nwould then feel more easily the importance of the ensemble of the whole of a figure; the\npicturesque, always necessary in the theatre, would be easier found by them, both for their\nattitudes and for their clothes. In 44 les pieces a spectacle \" the groups, the masses, which\nmust always make a picture, and bring out the principal personnages, would be disposed\nmore skilfully and in a more spirited manner; but for want of this knowledge I invite\ncomedians to consult at least famous painters and sculptors.\nCLOTHING. I demand of all women in general the most scrupulous attention to their\nclothes: the costume adds much to the illusion of tne spectators, and the comedian enters\nmore easily into the tone of his role: nevertheless, the costume followed exactly Is unfeasible:\nit would be unseemly and mean. Draperies copied from the antique design and uncover\nthe body too much; they are suitable only for statues and pictures; but in adding to them\nwhat is wanting, the cut must be preserved, the intentions must at least be indicated, and,\nas far as possible, the luxury or simplicity of the times and places must be followed. Fillets,\nflowers, beads, veils, coloured stones, were the only ornaments women knew before the\nestablishment of Indian commerce and the conquest of the New World. & &\nWhat I desire above all is, that all frills and furbelows, all fashions of the moment be\navoided. The coiffure of French women at the moment I am writing, the monstrous pile\nand arrangement of their hair, gives to their whole figure an offensive disproportion, alters their\nphysiognomies, hides the movement of their necks, and makes them look bold, ungraceful,\nstiff and untidy. The only fashion to be followed is the costume in which the role is to be\nplayed. Above all, the clothing must be arranged according to the personnages; age, auste«\nrity, pain, reject all that is allowed by youth, the desire to please, calm of soul. Hermione\nwith flowers would be ridiculous: the violence of her character, and the trouble that devours\nher allow her neither finery nor coquettry in her toilet; she may have a magnificent dress,\nbut a look of the greatest neglect must pervade all the rest to prove that she does not\nthink of herself. The first glance cast by the public on the actress must prepare it for the\ncharacter she is going to develop."}, {"page_pdf": 10, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.10", "texte": "THE ANCIENT ENGLISH MORRIS DANCE\nby Francis Douce.\n18 o 7 Concluded.\nMaid Marian. None of the materials that constitute the more authentical history of\nRobin Hood, prove the existence of such a character in the shape of his mistress. There\nis a pretty French pastoral drama of the eleventh or twelfth century, entitled Le jeu du\nberger et de la bergere in which the principal characters are Robin and Marian, a shepherd\nand shepherdess. Mr Warton thought that our English Marian might be illustrated from\nthis composition; but Mr Ritson is unwilling to assent to this opinion, on the ground that\nthe French Robin and Marion 4\n\nWestern May games.\" (1) Her usual gait was nice and affected. (2) Thus in the description\nof the family visit to the royal guest, in the old ballad of \" The miller of Mansfield\n\" And so they Jetted down towards the king' s hall;\nThe merry old miller, with his hands on his side;\nHis wife, like Maid Marian did wince at that tide.\n& But although the may-lady was originally a character of some delicacy and importance,\nshe appears to have afterwards declined in both respects.\nIn the time of Elizabeth she was usually represented by some smooth-faced and\neffeminate youth. (3) Falstaff tells the hostess, that \" for womanhood Maid Marian may\nbe the Deputy's wife of the ward to her;\" meaning perhaps that she was as masculine in\nher appearance as the country clown who personated Maid Marian: and in Fletcher' s\n\" Monsieur Thomas \", Dorothea desires her brother to conduct himself with more gentleness\ntowards his mistress, unless he would chuse to marry Malkyn the May lady; another allusion\nto the degraded state of Maid Marian, who is here assimilated to a vulgar drudge or scullion\nboth in name and condition. The translator of \" The hospitall of incurable fooles, \" 1600\n4to, speaking of Acco, the old woman who became mad on beholding her ugliness in a mirror,\nsays that \" one while shee could be as merrje as Maid Marrian. \" Nor was this cha-\nacter, even in later times, uniformly vulgar. Every one will call to mind Nicholas Breton's\npretty sonnet of \" Phyllida and Corydon \", where the shepherdess,\n\" with garlands gay\nWas made the Lady of the Maye.\"\nTHE PIPER. Sometimes called Tom Piper, an obvious and necessary attendant on a\nmorris, and who requires very little illustration. Mr Steevens has already referred to Drayton\nfor the mention of him; and Spenser, in his third eclogue, speaking of the rimes of bad\npoets, observes that, \" Tom Piper makes as little melodie;\" whence we are to infer that\nhis music was not usually of the very best kind. The resemblance as to attitude and dress,\nbetween the figures of this character in Mr Tollett's painting and the Flemish print, is re®\nmarkable. In both we have the sword and feather. What Mr Tollett has termed his'silver\nshield' seems a mistake for the lower part or flap of his stomacher. & &\nTHE HOBBY-HORSE of which the earliest vestige now remaining is in the painted\nwindow at Betley. It has been already observed that he was often omitted in the morris.\nDuring the reign of Elizabeth the Puritans made considerable havoc among the May®games,\nby their preachings and invectives. Poor Maid Marian was assimilated to the whore of Ba®\nbylon; friar Tuck was deemed a remnant of Popery, and the Hobby®horse an impious and\nPagan superstition; and they were at length most completely put to the rout as the bitterest\nenemies of religion. King James's Book of Sports restored the lady and the hobby®horse:\nbut during the Commonwealth they were again attacked by a new set of fanatics; and to®\ngether with the whole of the May festivities, the Whitsun®ales, etc, in many parts of England\ndegraded. At the Restoration they were once more revived. (4) The allusions to the omission\n\nElizabethan\nperiod. &\nTom Piper.\n\nNOTES.\n(1) What these ladies exactly were is not easy to comprehend. Whitepot in cookery was,\na kind of custard, made in a crust or dish with cream, eggs, pulse of apples, sugar, spices\namd sippets of white or manchet bread. It is possible therefore that Maid Marian, being\noccasionally personated by a kitchen malkin or cook wench, obtained the title of a white-\npot queen.\n(2) \" Golden books of the leaden Goddes,\" 1577, 4to, fo. 30.\n(3) Greene's \" Quip for an upstart courtier \", sig, D. 3.\n(4) Yet, in the reign of Charles the Second, Thomas Hall, another puritanical writer, pub®\nlished his 'Funebria, the Downfall of Mayegames', 1661, 4to, in which, amidst a great deal of\nsilly declamation against these innocent amusements, he maintains that \"Papists are forward\nto gh*e the people May®poIes, and the Pope's holiness with might and main keeps up his super®\nstitious festivals as a prime prop of his tottering kingdom\". That \"by these sensual sports\nand carnal»flesh-pleasmg wayes of wine, women, dancing, revelling, etc, he hath gained more\nsouls, than by all the tortures andcruel persecutions that he could invent.\" He adds, \"What\na sad account will these libertines have to make, when the Lord shall demand of them, where"}, {"page_pdf": 13, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.13", "texte": "THE MORRIS\nDANCE.\n\nof the Hobby-horse are frequent in the old plays, and the line \" For O, for O, the hobby-\nhorse is forgot,\" is termed by Hamlet an'epitaph', which Mr Theobald supposed, with great\nprobability, to have been satirical. The following extract from a scene in Beaumont and\nFletcher's \" Women pleased Act IV, will best show the sentiments of the Puritans on\nthis occasion, and which the author has deservedly ridiculed: &\nHob.\nSurely I will dance no more, 'tis most ridiculous,\nI find my wife's instructions now mere verities,\nMy learned wife's, she often hath pronounc'd to me\nMy safety; Bomby, defie these sports, thou art damn'd else.\nThis beast of Babylon I will never back again,\nHis pace is sure prophane, and his lewd wi-hees,\nThe sons of Hymyn and Gymyn, in the wilderness.\nFar.\nFie neighbour Bomby, in your tits again?\nYour zeal sweats, this is not careful, neighbour,\nThe Hobby-horse is a seemly Hobby-horse.\nHob.\nThe beast is an unseemly, and a lewd beast,\nAnd got at Rome by the Pope's coach-horses,\nHis mother was the mare of ignorance.\nSoto.\nCobler thou ly'st, and thou wert a thousand coblers\nHis mother was an honest mare, and a mare of good credit,\nScorn'd any coach-horse the Pope had; thou art foolisb,\nAnd thy blind zeal makes thee abuse the beast.\nHob.\nI do defie thee and thy foot-cloth too,\nAnd tell thee to thy face, this prophane riding\nI feel it in my conscience, and I dare speak it,\nThis unedified ambling hath brought a scourge upon us.\nFar.\nWill you dance no more, neighbour?\nHob.\nSurely no,\nCarry the beast to his crib: I have renounc'd him\nAnd all his works.\nSoto.\nShall the Hobby-horse be forgot then?\nThe hopeful Hobby-horse, shall he lye founder'd ?\nHob.\nI cry out on't,\n'Twas the forerunning sin brought in those tilt-staves,\nThey brandish 'gainst the church, the Devil calls May poles.\nSoto.\nTake up your horse again, and girth him to ye,\nAnd girth him handsomely, good neighbour Bomby.\nHob.\nI spit at him.\nSoto.\nSpit in the horse-face, cobler?\n\nNOTES.\nwast thou such anight? why, my Lord, I was with the prophane rabble, stealing May-poles;\nand where wast thou such a day ? why, my Lord, I was drinking, dancing, dallying, ran-\nting, whoring, carousing, etc.\""}, {"page_pdf": 14, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.14", "texte": "THE MORRIS\nDANCE, &\n\nThou out=of»tune psalm»slnglng slave; spit in his visnomy?\nHob.\nI spit again, and thus I rise against him:\nAgainst this beast, that signify'd destruction,\nForeshew'd i'th' falls of monarchies.\nSoto.\nV th' face of him ?\nSpit such another spit, by this hand cobler,\nI'll make ye set a new piece o' your nose there;\nTake't up I say, and dance without more bidding.\nAnd dance as you were wont; you have been excellent,\nAnd are still but for this new nicety,\nAnd your wife's learned lectures; take up the Hobby«horse,\nCome, 'tis a thing thou hast lov'd with all thy heart, Bomby,\nAnd wouldst do still, but for the round=breech'd brothers.\nYou were not thus in the morning; take 't up I say,\nDo not delay, but do it: you know I am officer\nAnd I know 'tis unfit ail these good fellows\nShould wait the cooling of your zealous porridge ;\nChuse whether you will dance, or have me execute;\nI'll clap your neck i'th' stocks, and there I'll make ye\nDance a whole day, and dance with these at night too.\nYou mend old shoes well, mend your old manners better,\nAnd suddenly see you leave off this sincereness,\nThis new hot batch, borrowed from some brown baker,\nSome learned brother, or I'll so bait ye for't,\nTake it quickly up.\nHob.\nI take my persecution,\nAnd thus 1 am forc'd a by=word to my brethren. '\nThe Hobby-horse was represented by a man equipped with as much pasteboard as was\nsufficient to form the head and hinder parts of a horse, the quadrupedal defects being\nconcealed by a long mantle or footcloth that nearly touched the ground. The performer on\nthis occasion exerted all his skill in burlesque horsemanship. In Sampson's play of The\nvowbreaker, 1636, a miller personates the hobby-horse; and being angry that the mayor of\nthe city is put in competition with him, exclaims, \" Let the major play the hobby-horse\namong his brethren, and he will, I hope our towne-lads cannot want a hobby-horse. Have\nI practic'd my reines, my* careeres, my pranckers, my ambles, my false trotts, my smooth\narnbles and Canterbury paces, and shall master major put me besides the hobby-horse?\nHave 1 borrowed the forehorse bells, his plumes and braveries, nay had his mane new shorne\nand frizl'd, and shall the major put me besides the hobby-horse ? \"\n& Whoever happens to recollect the manner in which Mr. Bayes's troops in the Rehearsal\nare exhibited on the stage, will have a tolerably correct notion of a morris hobby-horse.\nAdditional remains of the Pyrrhic or sword dance are preserved in the daggers stuck in\nthe man's cheeks, which constituted one of the hocus-pocus or legerdemain tricks practised\nby this character, among which were the threading of a needle, and the transferring of an\negg from one hand to the other, called by Ben Jonson the travels of the egg. (1) To the\nhorse's mouth was suspended a ladle for the purpose of gathering money from the spec-\ntators. In later times the fool appears to have performed this office, as may be collected\nfrom Nashe's play of Summer's last will and testament, where this stage direction occurs,\n\" Ver goes in and fetcheth out the Hobby-horse and the morris claunce who daunce about.\"\nYer then says, \" About, about, lively, put your horse to it, reyne him harder, jerke him\nwith your wand, sit fast, sit fast, man; foole holde up your ladle there.\" W ill Summers\n\nIts construction.\nTegcrdemain\ntricks. &\n\nNOTES.\n(1) \" Every man out of his humour \" Ac ii. Sc I."}, {"page_pdf": 15, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.15", "texte": "is made to say, \" Yoit friend with the hobby-horse, goe not too fast, for feare of wearing\nout my lord's tyle-stones with your hob-nayles.\" Afterwards there enter three clowns and\nthree maids, who dance the morris, and at the same time sing the following song:\n\" Trip and goe, heave and hoe,\nUp and down©, to and fro,\nFrom the towne, to the grove,\nTwo and two, let us rove,\nA maying, a playing;\nLove hath no gainsaying;\nSo merrily trip and goe.\"\n& Lord Orford in his catalogue of English engravers, under the article of Peter Stent, has\ndescribed two paintings at Lord Fitzwilliam's on Richmond Green which came out of the\nold neighbouring palace. They were executed by Vinckenboom, about the end of the reign\nof James I., and exhibit views of the above palace ; in one of these pictures a morris dance\nis introduced, consisting of seven figures, viz. a fool, a hobby-horse, a piper, a Maid Marian,\nand three other dancers, the rest of the figures being spectators, Of these the first four\nand one of the dancers are reduced in the annexed plate from a tracing made by the late\nCaptain Grose. The fool has an inflated bladder or eel-skin with a ladle at the end of it,\nnd with this he is collecting money. The piper is pretty much in his original state ; but\nthe hobby-horse wants the legerdemain apparatus, and Maid Marian is not remarkable for\nthe elegance of her person. &\nDr. Plott, in his History of Staffordshire, p. 434, mentions that within memory, at\nAbbot's or Paget's Bromley, they had a sort of sport which they celebrated at Christmas,\nor on new year and twelfth days, called the Hobby-horse dance, from a person who car-\nried the image of a horse between his legs made of thin boards, and in his hand a bow and\narrow. The latter passing through a hole in the bow, and stopping on a shoulder, made a\nsnapping noise when drawn to and fro, keeping time with the musick. With this man danced\nsix others, carrying on their shoulders as many reindeer heads, with the arms of the chief\nfamilies to whom the revenues of the town belonged. They danced the heys and other\ncountry dances. To the above hobby horse dance there belonged a pot, which was kept by\nturns by the reeves of the town, who provided cakes and ale to put into this pot; all people\nwho had any kindness for the good intent of the institution of the sport giving pence a\npiece for themselves and families. Foreigners also that came to see it contributed ; and the\nmoney, after defraying the expense of the cakes and ale, went to repair the church and\nsupport the poor: which charges, adds the doctor, are not now perhaps so cheerfully borne.\nA short time before the revolution in France, the May games and morris dance were\ncelebrated in many parts of that country, accompanied by a fool and a hobby-horse. The\nlatter was termed un chevalet; and, if the authority of Minsheu be not questionable, the\nSpaniards had the same character under the name of tarasoa. & & &\nTHE DRAGON, The earliest mention of him as a part of the morris dance we have\nalready seen in the extract from Stubbes's Anatomie of abuses; and he is likewise introduced\nin a morris, in Sampson's play of the Vowbreaker, or fayre maid of Clifton, 1633, where\na fellow says, \"I'll be a fiery dragonon which, another, who had undertaken the\nhobby-horse, observes that he will be \"a thund'ring Saint George as ever rode on horseback.\"\nThis seems to afford a clue to the use of this dragon', who was probably attacked in some\nludicrous manner by the hobby-horse saint, and may perhaps be the Devil alluded to in the\nextract already given from Fetherstone's Dialogue against dancing. & &\nTHE MORRIS DANCERS. By these are meant the common dancers in the late morrises,\nand who were not distinguished by any particular appellation, though in earlier times it is\nprobable that each individual had his separate title. If there were any reason for a contrary\nopinion, it might depend on the costume of numbers 10 and 11 in Mr. Tollett's window, which\nmay perhaps belong to the present class. There are likewise two similar figures in the Flemish\nprint; and the coincidence in their attitudes is no less remarkable than it is in those of some\nof the other characters. The circumstance too of one only wearing a feather in his hat is de*\nserving of notice, as it is the same in both the representations. The streamers which proceed\nfrom their sleeves and flutter in the wind, though continued in very modern times, were\n\nTHE MORRIS\nDANCE* J&\n\nTwo old\npictures. &\nThe Hobby\nHorse Dance.\nIn France. &"}, {"page_pdf": 16, "page_imprimee": "12", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.16", "texte": "THE MORRIS\nDANCE.\n\nanciently not peculiar to morris dancers, examples of them occurring in many old prints (1).\nIn the reign of Henry the Eighth the morris dancers were dressed in gilt leather and silver\npaper, and sometimes in coats of white\nspangled fustian. They had purses at their\ngirdles, and garters to which bells were atta®\nched (2). The latter have been always a part\nof the furniture of the more active characters\nin the morris, and the use of them is of great\nantiquity. The tinkling ornaments to the\nfeet among the Jewish women are reprobated\nin Isaiah iii. 10. 18. Gratius Faliscus, who\nwrote his poem on hunting in the time of Au»\ngustus, has alluded to the practice of dancing\nwith bells on the feet among the Egyptian\npriests of Canopus, in the following lines; &\n\" Vix operata suo sacra ad Bubastia lino\nVelatur sonipes aestivi tuiha Canopi. \"\nCyne get icon, lib. I. 42.\nThere is good reason for believing that the morris bells were borrowed from the genuine\nMoorish dance; a circumstance that tends to corroborate the opinion that has been al«\nready offered with respect to the etymology of the morris. Among the beautiful habits of\nvarious nations, published by Hans Weigel at Nuremberg, in «577» there Is the figure of an\nAfrican lady of the kingdom of Fez in the act of dancing, with bells at her feet. &\nThe number of bells round each leg of the morris dancers amounted from twenty to\nforty (3). They had various appellations, as the fore=bell, the second bell, the treble, the\ntenor, the base, and the double bell. Sometimes they used trebles only; but these refine®\nments were of later times (4). The bells were occasionally Jingled by the hands, or placed\non the arms or wrists of the parties. Scarves., ribbands, and laces hung all over with gold\nrings, and even precious stones, are also mentioned in the time of Elizabeth (5). The miller,\nin the play of the Vowbreaker, says he is come to borrow '* a few ribbandes, bracelets,\nearerings, wyertyers, and silke girdles and handkerchers for a morice and a show before\nthe queene.\" The handkerchiefs, or napkins (6) as they are sometimes called, were held in\nthe hand, or tied to the shoulders (7). In Shirley's Lady of pleausure, 1637, Act i. Aretina\nthus inveighs against the amusements of the country : & &\n\" to observe with what solemnity\nThey keep their wakes, and throw for pewter candlestickes,\nHow they become the morris, with whose bells\nThey ring all into Whitson ales, and sweate\nThrough twenty scarffes and napkins, till the Hobby horse\nTire, and the maide Marrian dissoly'd to a gelly,\nBe kept for spoone meate.\"\nThe early use of the feather in the hat appears both in Mr. Tollett's window and the\nFlemish print; a fashion that was continued a long time afterwards (8). Sometimes the\n\n& The Bells.\nTheir names &\nnumbers.\n\nNOTES.\n(1) See the plate of ancient cards, xxxi. in Strutt's Sports and pastimes, where a knave\nor attendant is dressed in this manner.\n(2) Churchwardens' accounts at Kingston, in Lysons's Enviions of London, i. p. 227, 228.\n($) Stubbes's Anatomie of abuses, ubi supra.\n(4) See Rowley's Witch of Edmonton, 1658, Act i. Sc. 2.\n(5) Stubbes, ubi supra. Knight of the burning pestle, Act iv.\n(6) Stubbes, ubi supra. Jonson's Masque of gipsies. Holme's Academy of armory, book\niii. p. 169.\n(7) Knightlof the burning pestle, Act iv.\n(8) Vox graculi, 1623, p. 49."}, {"page_pdf": 17, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.17", "texte": "THE MORRIS\nDANCE.\n\nTheir titles.\n\nhat was decorated with a nosegay (1), or with the herb thrift, formerly called our lady's\ncushion (a). & &>\n& Enough has been said to show that the collective number of the morris dancers has\ncontinually varied according to circumstances, In the same manner as did their habits, in\nIsrael's print they are nine; in Mr. Tollett's window, eleven. Mr. Strutt has observed that\non his sixteenth plate there are only five, exclusive of the two musicians; but it is con=\ncelved that what he refers to is not a morris, but a dance of fools, There is a pamphlet\nentitled, Old Aieg of Herefordshire for a Mayd Marian and Hereford town for a morris\ndance, or 33 morris dance is in Herefordshire of 1200 years old, 3609, 4to (3). In the\npainting by Vinckenboom, at Richmond, there are seven figures. In Blount's Glossographia,\n1656, the Morisco is defined, \" a dance wherein there were usually five men and a boy\ndressed in a girles habit, whom they call Maid Marrian. \" The morris in Fletcher's Two\nnoble kinsmen contains some characters, which, as they are 110 where else to be found,\nmight have been the poet's own invention, and designed for stage effect: &\n\" The chambermaid, and serving man by night\nThat seek out silent hanging: Then mine host\nAnd his fat spouse, that welcomes to their cost\nThe gauled traveller, and with a beckning\nInforms the tapster to inflame the reck'ning.\nThen the beast-eating clown, and next the fool,\nThe Bavian, with long tail and eke long tool,\nCum multis aliis, that make a dance. \"\n& Mr. Ritson has taken notice of an old wooden cut 44 preserved on the title of a penny-\nhistory, (Adam Bell, & c.) printed at Newcastle in 1772, \" (4) and which represents, in his\nopinion, a morris dance consisting of the following personages: 3. A bishop. 2. Robin Hood.\n3. The potter or beggar. 4. Little John. 5. Friar Tuck. 6. Maid Marian. He remarks that the\nexecution of the whole is too rude to merit a copy, a position that is not meant to be\ncontroverted ; but it is necessary to introduce the cut in this place for the purpose of cor-\nrecting an error into which the above ingenious writer has inadvertently fallen. It is proper\nto mention that it originally appeared on the title page to the first known edition of\nRobin Hood's gailand, printed In 1670, i8mo. & &\nf\nNow this cut is certainly not the representation of a morris dance, but merely of the\nprincipal characters belonging to the garland. These are, Robin Hood, Little John, queen\nCatherine, the bishop, the curtal frier, (not Tuck,) and the beggar. Even though it were\nadmitted that Maid Marian and Friar Tuck were intended to be given, it could not be\nmaintained that either the bishop or the beggar made part of a morris. & jg?\nThere still remain some characters in Mr. Tollett's window, of which 110 description\ncan be here attempted, viz. Nos. 1. 4. 6. and 7. As these are also found in the Flemish\nprint (5) they cannot possibly belong to Robin Hood's company; and therefore their learned\n\nNOTES.\n(1) Fletcher's Women pleased, Act iv.\n(2) Greene's Quip for an upstart courtier, sign.. B. 31\n(3) This tract is mentioned by Sir William Temple, in his Essay on health and long life,\nfrom the communication of Lord Leicester. Howel, in his Parly of beasts, 1660, has recorded\nthat \"of late years ther were call'd out within three miless compasse ten men that were\na thousand years between them, one supplying what the other wanted cf a hundred years\napiece, and they danc'd the morris divers hours together in the market place with a taborer\nbefore them 203 years old, and a maid Marian 105,\" p. 122, This seems to allude to the\nsame event. rz? jg?\n(4) See the tail-piece of this article.\n(5) Compare No. I, with the left hand figure at bottom in the print; No. 4, with the left\nhand iigure at top; No. 6, with the right hand figure at bottom; and No. 7, with the right\nhand figure at top. This last character in the Flemish print has a flower in his hat as\nwell as No. 4. Query if that ornament have been accidentally omited by the English engraver?"}, {"page_pdf": 18, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.18", "texte": "THE MORRIS\nDANCE. &\n\nproprietor would, doubtless, have seen the necessity of reconsidering his explanations (1).\nThe resemblance between the two ancient representations is sufficiently remarkable to\nwarrant a conjecture that the window has been originally executed by some foreign artist;\nand that the panes with the English friar, the hobby-horse, and the may-pole have been\nsince added. & jg? &\nMr. Waldron has informed us that he saw in the summer of 1785, at Richmond in Surrey,\na troop of morris dancers from Abingdon, accompanied by a fool in a motley jacket, who\ncarried in his hand a staff about two feef long, with a blown bladder at the end of it, with\nwhich he either buffeted the crowd to keep them at a proper distance from the dancers,\nor played tricks for the diversion of the spectators. The dancers and the fool were Berkshire\nhusbandmen taking an annual circuit to collect money (2). Mr. Ritson too has noticed that\nmorris dancers are yet annualty seen in Norfolk, and make their constant appearance in\nLancashire. He has also preserved a newspaper article respecting some morris dancers of\nPendleton, who paid their annual visit to Salford, in 1792 (3) ; and a very few years since\nanother company of this kind was seen at Usk In Monmouthshire, which was attended by\na boy Maid Marian, a hobby-horse, and a fool. They professed to have kept up the ceremony\nat that place for the last three hundred years. It has been thought worth while to record\nthese modern instances, because it is extremely probable that from the present rage for\nrefinement and innovation, there wili remain, in the course of a short time, but few vestiges\nof our popular customs and antiquities. & <£? &7 £7\n\nSome Survivors.\n\nNOTES.\n(1) This gentleman's death is recorded to have happened Oct. 22d, 1779. Gough's Brit,\ntopogi. ii. 339.\n(2) See his continuation to Ben Jonson's sad shepherd, 1782, 8vo, p. 255* a work of very\nconsiderable merit, and which will materially diminish the regret of all readers of taste\nthe original was left unfinished.\n(3) Robin Good, I. cviii.\n\nA MANAGERIAL TRICK.\nMemoirs of Mdlle. George. Edited by Paul Cheramy.\n|Hjow did you bring about the success of the \"Misanthrope \" ? You gained your spurs as a\n\" clever man by this triumph. Come now, tell us all about it. &\n\" Well, the first performance had doubtless produced a great effect, but the receipts\n\" were unsatisfactory. Something had to be done. The second performance was also rather\n\" tame, and we were relying on tremendous receipts. At the third performance I gave boxes\n\"to various gay ladies, who were pretty but possessed no finery. To these I sent gowns,\n\" hats and enormous bouquets on condition that they should burst into tears, while some\n•« even received orders to faint. What was said was done. The play had to be interrupted\n\" several times, the unfortunate ladies were carried into the lounge, doctors were called,\n\" and so forth. The trick was resorted to on three or four occasions and the success was\n\" tremendous. It certainly cost the company a good sum, but the result was fabulous."}, {"page_pdf": 19, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.19", "texte": "STAGE SCENERY\nG. C.\n11 scenery must be used when performing plays it is better to employ a simple background\nrather than an elaborate one, and to create this you do better to employ a few lines than\nmany broken ones. Thus the simplest background is the unclouded sky and a plain wall is\nalmost as simple.\nFor a perfect drama, should it be possible some day to write one, the sky must be used\nas the only worthy background. The manager or producer reveals his estimate of the value\nof Shakespeare by the elaboration or simplicity of his background. & &\nThe above design, (a wood engraving of the ioth century), is an example of a simple\nbackground. The lines are but little broken. In no way do they frustrate the dramatic in-\ntention.\n& Scenery has to speak as well as the actors, but it is better when it says only that which\nis necessary.\n& Here we see that we need to have it explained that it is an interior, a prison. It is a\ngentleman's prison, says the floor, but except for the slightly emphatic floor, window and\nstone bench the scene says nothing; it leaves the stage to the Dramatist and the Actors.\nLearn the essentials of stage scenery, and you will in time learn the essentials of Drama."}, {"page_pdf": 21, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.21", "texte": "Caprice.\nIts result,\nA comparison.\n\nLADIES, TEMPERAMENT AND\nDISCIPLINE.\n\nSTAGE MANAGER* More discipline is necessary in the Theatre. Too many of the failures\nin the Theatre can be attributed to lack of discipline. Think of how many plays never get\nas far as the first rehearsal because the actress is displeased with her maid ! I know of a\ncase where a series of twelve plays was going to be produced by a famous European actress.\nThe stage director and the actress were to have prepared these together. Everything was\ndecided and the director had gone to commence his part of the work. Suddenly he received\na telegram. \"Hedda Gabler impossible. No one to play servant.\" He turned to the second\nplay which was, let us say, the \" Lady from the Sea \". Next day a second telegram. \"So\nsorry width of stage only 36 instead of 37 feet. Obliged to put off Lady from the Sea.\" So\nhe turned to the third play. \"John Gabriel Borkman when a third telegram arrived,\n\" Can't do John Gabriel Borkman. All my actors too foolish. \" Then he turned to the fourth\nplay, \"Edipus Rex.\" Another telegram; \"We won't proceed with Edipus Rex; don't like\nthe play.\" On the following day he looked through the plays which were left and, with a\nfeeling of security on seeing 'Hamlet' set to work on that. Promptly arrived a telegram,\n\" Hamlet most gloomy play I ever read. Makes me gloomy to read it so am obliged to cut\nit out of repertoire.\" He-turned then to \"Much Ado about Nothing\" which was included\nin the list but received a sixth telegram in the morning. \" Was ever anything so ludicrous\nas this play. I can't bear to think of an audience indulging in laughter all the time. Leave\nout Much Ado About Nothing.\" And this went on until there was not one of the twelve\nleft. & & & *&&&&&&&\nPLAYGOER. Ah, 1 can guess to whom you are referring. But remember how she\nleans against the door in that play by Sudermann!\n& STAGE DIRECTOR. Yes, certainly. But the value of a moment like that does not\ncompensate for the loss of twelve splendid productions and the loss of everybody's temper\ninto the bargain. Shakespeare or any great author is not judged as great for the moments\nbut for the whole play and for his whole life's work. Yet we rave about an actress for\nthe sake of her 'moments'.\n& P L A Y G O E R. Then do you not value temperament? &\nSTAGE DIRECTOR. Certainly ; but I value only that temperament which is strong\nenough to become disciplined.\nPLAYGOER. Oh, can you show me any disciplined people who also have temperament?\njz? ST A G E DIRECTOR. Yes, the great artists. &\n& PLAYGOER. But these are exceptions. Can you tell me of any calling where tempe-\nrament and discipline are equally balanced ?\n& S T A G E DIRECTOR. Certainly, the sailor's.\n& PLAYGOER. But there is a great deal of difference between the temperament of the\nsailor and of the artist.\nSTAGE DIRECTOR. Precisely. And there should be none. When we talk of an artist's\ntemperament we generally mean a lot of nervous disorders. Away with your temperament,\nthen! Perhaps if we get discipline something may come of it. At present nothing but\ndisturbance comes from your \"temperament\".\n& P L A Y G O E R. I think that you are very extreme in your view!\n& STAGE DIRECTOR. Yes, I speak in one extreme because 1 find you speaking in the\nother. You get warm when you speak of temperament, and I become cold when I think of\nthe damage it does to the stage; and so I advance the theory that discipline is the one\nand only thing. I know that both are necessary, but that both must be quite genuine. &\n& Let the temperament of each actor develop for all that temperament is worth, and let\nthe sense of discipline be developed in every actor in proportion to the force of his tem-\nperament. Do not let temperament be an excuse for absense of discipline. It is this which\nis killing the modern theatre.\nWe want in the Theatre the same discipline that there is on a ship, and we want the\ndirection of that ship or theatre to be in the hands of one man who is thoroughly disci-"}, {"page_pdf": 22, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.22", "texte": "LADIES,\nTEMPERAMENT\n& DISCIPLINE.\n\nplinad; but ws do not want the man who directs to have the responsibility for the\nexistence of that theatre or that ship.\n& PLAYGOER. Then you want the State to be responsable for your theatre?\nSTAGE DIRECTOR. Not for one theatre but for every theatre in the land. As it\nis for its navy. If the State is responsible for one theatre it will not take any trouble\nto study the whole question of the relationship of theatre to Nation, but if it has the\nresponsibility of every theatre it will take great care to do so. And it would be an easier\nthing to manage all the theatres of England than it would be to manage one National\nTheatre in London. Conceive the idea of having one Man=of=War which belonged to the\nNation, while all the others were the product of private enterprise. If you are going to\nchange'the order of things as the National Theatre sets out to do, then you must have\nsufficient power to enforce that change, and one National Theatre against all the theatres\nof private enterprise will have no chance whatever. &\n& PLAYGOER. Bo you know I was thinking the same thing myself the other day. I was\nat the committee meeting for the collection of funds for the National Theatre and I had\nhalf a mind to say what you have just said. &\n& STAGE DIRECTOR. Then why didn't you say it? What prevented you?\nPLAYGOER. Well, you know, \"live and let live\"! Besides, it would have caused dis=\ncussion, and if there is a thing I hate it is to create a feeling of disagreement among\npeople. JZ?\nSTAGE DIRECTOR. Ah! on the principle of live and let die\"?..:. Let us go to\ndinner!\njz? PLAYGOER. But we were speaking of ladies and the stage, and of their need for\ndiscipline?^*\nSTAGE DIRECTOR. 1 had not forgotten it. The ladies await us at dinner! Let us\ngo then and learn discipline at their hands. But let us not attempt to teach them that or\nany other folly. Come, lest we be late. Only ladies may be late, you know. jg?\njg? PLA YGOER. And if a lady Is late at rehearsal ? & & & &\n& STAGE DIRECTOR. Then let us request her to leave, but do not correct her. In fact\nI am now going to ask one of the two ladies who are to dine with us to leave the stage\naltogether. You will see how charmed she will be I & JZ?\n\nWhat we need.\n\nE. E.\n\nAFTER YOU'VE FINISHED WITH IT,\nby John Balance.\nn one of the leading theatres in London I have had the curious experience\nof hearing very well paid young employes saying to each other \" Lend me\nThe Mask after you've finished with it \" .\nIt may be considered a hopeful sign that one young employe had purchased\nThe Mask, but let no one cherish this delusion. It was the mana ger's copy I\nNow The Mask is published, as those closely connected with it know,\nwith particular pleasure for the general pain of the English theatre's young.\nIt is by no means made to tickle their fancy or to flatter them up the right\nway but to give them as much pain as can possibly be inflicted, and we\nwho hold this aim before us believe that we are succeeding in this, and\nthere is only one thing that we have to complain about. It is that these young employes\npositively refuse to add to our pleasure In return; that Is to say, they never subscribe. &\nI know it is quite unusual to make such a statement as this, but I have the Editor's\npermission to make it, though he tells me at the same time that In consequence The Mask\nhas lost one of its publishers, who has gone to be a bellringer in a church. StilL The Mask\nis ever regardless of consequences, so Mr Semar, even in view of this, has not withdrawn his\npermission which sets me free to expose this weakness of ours, and to say that The Mask\nhas only SIX SUBSCRIBERS ON THE ENGLISH STAGE, (i) & & JS>\n\nThe young\nE m ploy e.\n\n(1) American Papers please copy 11!"}, {"page_pdf": 23, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.23", "texte": "Now this fact gives him, and those of us who are associated with him in his work, more\ninfernal delight than fit would he possible to do justice to by mere words. The lavish\ndisplay of all these young employes dawdling round the theatre, loaning the single well«\nthumbed copy from the manager, is one of the most brilliant achievements of the English\nstage,\nHow is it to be accounted for? Every one in London knows of The Mask through the\nPress. The English Press for some reason or other is always allowing bursts of enthusiasm\nto get the better of its common sense when speaking about The Mask. Every half year the\nEnglish critics attempt to assume a more serious attitude towards The Mask. Every half-year\nthey complete a half-finished sentence of warning, and then burst out into a hearty chorus\nof enthusiastic approval. And YET the young employes refuse to purchase The Mask. For\nwhat reason? They are not frightened of it. It gives them pain, to be sure, but they rather\nlike that, especially if they can share it over one copy. They know that the journal\nis cram full of good things, serious things, and jolly things, pretty things and ugly\nthings. What more do they want\nDo you think it is that they want to be on the Free List ? Not at all I Do not imagine\nsuch a thing. If they were on the Free List they would not want to read the journal and\nwould only carry it in the street to frighten their superiors. & & &\nNo, the truth of it is that the young employes who are working for the managers of\nLondon dislike study, dislike reading books in fact dislike work of all kinds. &\nBut there is another reason why the young employe has not got a bound volume of\nThe Mask at home. It is because he would feel that it was extremely extravagant to spend\na shilling a month upon printed matter which is only calculated to make him wince. If\nthere is a thing the young man dislikes it is mental athletics. Like many Englishmen he\nhas the good trait of being extremely obstinate. If he were not obstinate every first night\nperformance would be a scandalous failure. It is through sheer obstinacy that he faces\nand out-faces the public. I have a great admiration for this obstinacy but I believe that\nin matters relating to the Arts it is a trifle over=done in England. For after all it doesn't\nreally matter whose opinion is right. Whether Gordon Craig's opinion is right or Oswald\nStoSl's opinion is wrong, or whether William Archer's opinion is different from both: and\nso it does not matter whether the young employe at St Stephen's Theatre is right or\nwhether Mr Allen Carrie, my companion on the staff of this journal, is right. Upon the\nart of ringing the curtain up and down there are only two men whose opinions count:\nthey are the man downstairs with his finger on the bell and the other man upstairs with\nhis hand on the wheel. But it does not seem entirely unreasonable that Johan Wolfgang\nGoethe should also have an opinion upon these subtle points of stage craft, that each of the\nthree should listen to what the others have to say and that the truth should really be\nallowed to emerge between the soft clash of differences. & & &\nIn The Mask and through The Mask we create this delicate disturbance. But in England\nthe lips are so tightly pressed together, the eyebrows so indifferently raised, the eyes so\nentirely expressionless that one would think that they had never understood this truth,\ni. e., that truth only emerges when opposites meet. Where people are gathered together who\nrefuse to discuss amiably men arise who are forced into uttering paradoxes. These men\nare obliged to impersonate the two contrary forces. It does not disclose a healthy social\ncondition when one man has to breathe the truth alone. He is obliged to give birth to\nthese paradoxes and people naturally think that is very queer. They don't know that it is\ntheir own fault and that if they would only loosen themselves and give expression to their\nairy somethings or nothings, something would be sure to come from it. Of course what I\nmean is that The Mask is uttering valuable truths which it would much prefer to arrive\nat in some other way.\n& But I had intended to be a little less serious about all this!\nIf I were to persuade the Editor to publish the names of those on the English stage\nwho subscribe for this journal it might perhaps prove rather too comic, and that is not\nmy wish either. d\nPerhaps a little later on The Mask will grow a trifle more personal. You have noticed\nthat where we can we havis always avoided speaking of any particalar theatre and its ec«\n\nAFTER YOU 'VE\nFINISHED WITH\nIT. j&\n\nHis dislike of\nstudy. &\nHis obstinacy.\n& A truth."}, {"page_pdf": 24, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.24", "texte": "AFTER YOU'VE\nFINISHED WITH\nIT. &\n\ncentricities but have generalised. But I daresay that in the course of six months it may be\nfound advisable to particularise. To speak a little, for instance, of His Majesty's Theatre, to\ncome to the question of the St James's Theatre, not to leave unmentioned the Haymarket\nTheatre, no, nor the Lyric, the Garrick or the Queen's. & jg? &\n& For example in regard to His Majesty's, (although the six months is not yet up), I have\nnoticed in the Saturday Review of May 7th that 44 Rusticus \" has been writing some rather\nqueer things about Sir Herbert Tree. x & & &\n& Now, every word he has said is in a way entirely right and it is well that he has said\nit. It is about the cheekiest piece of stuff that has yet appeared upon an actor who is forced\nagainst his will to take himself & & & &\n& Sir Herbert has no desire to take himself seriously. He is the greatest acter that has\nyet been upon earth in the one respect that he has positively acted at being an actor. A\nwise man, (one of the wisest in London,) he has seen that the modern Theatre is the Music\nHall of the world. He has acted, not as people have so often said, to captivate the vain\npublic; he has acted for one man alone; he has acted for himself. & &\nWhen with the slightly swaggering gait he comes 011 to his stage he is thinking to himself\n4* how nice it tastes ; what a delicious feeling. \" And as he looks at the audience a strange\nexpression irradiates his face; he steps back somewhat shyly, and one feels he must be\nsaying, 44 No, not all of them are fools.\" &\n& And to see this is to see something very interesting. To study the psychology of such\nan actor is the delight of the man in the audience who Is conscious that he is the only man\npresent who is not a &\nEverybody admiring Sir Herbert Tree for this profound contempt of the theatre must\nwrite feelingly about him. 44 Rusticus \", after a stroll in the Sussex lanes to cool his heated\nimagination, enters his old farm house, and writes to the Saturday Review saying how\ngreatly he admires 44 Sir Herbert Tree's public spiritedness and courage in venturing to\nproduce in so short a time so many master-pieces. \" How he admires Sir Herbert Tree\n44 because he is genial, earnest, and he has charm\". How 44 his Shylock is excellent; his\nmake-up in Falstaff magnificent; his Malvolio nearly perfect\". And then, (For 4Rusticus'\nloves his theatre), he proceeds to tell Sir Herbert the truth. But though it may be a truth\nthat he has told, unfortunately it is not the truth, because if the entire world were to call\nSir Herbert 44 ridiculous \" 44 absurd \" and 44 preposterous \" they would only be saying that\nwhich Sir Herbert in his heart of hearts desires them to say.\n& He is the living symbol of the preposterousness of the English stage of 1910. He stands\nin the centre of the stage a parody of all that is beautiful, but conscious that he is a\nparody,., .. a profoundly pathetic figure crucifed upon a paradox triumphant,\nAnd that is the truth.\n\nSiz Herbert Tree\nAn inteiesting\nsight.\n\nTHE ARCHITECTURE AND COSTUME\nOF SHAKESPEARE'S PLAYS\nby E. W. Godwin. F. R. S.\n\nAS YOU LIKE IT\nhis play refers distinctly to a time prior to the succession of Anne of\nBritanny, for her>duchy was the last of the princedoms added to the\ncrown by her marriage with the King of France. The time of the action,\ntherefore, belongs to some period before the commencement of the\nsixteenth century, and the reign of Louis XI. (1461-1483), contemporary\nwith that of our Edward IV., Is probably as late as we can safely place\nit. Architecture has very little to do with the scenery of this comedy.\nIndeed, there is no necessity for its introduction at all. The first act gives— &\n1. An orchard near Oliver's house.\n2. A lawn before the Duke's palace.\n3. A room in the palace.\n& Now there is nothing to call for any buildings in 1 or 2, and the 3rd Scene may Just"}, {"page_pdf": 25, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.25", "texte": "as well be enacted on the lawn (2) as in a room.\n•<& In the 2nd Act we have for the 2nd Scene a room in the palace, occurring again in the\n1st Scene of the 3rd Act. Both Scenes are extremely short (thirty-nine lines in all), and\nmight be omitted without doing any violence to the conduct of the plot. So, too, the 3rd\nScene of the 2nd Act may be the same as the first of the first. And as all the rest of the\naction is in the Forest of Arden there is really no need for any architectural scenery in As\nYou Like It. jg? &\nThe costume of 1461—1483 was not so extravagant in France as it was in England. In\nthe Court of Duke Frederick we should see doublets and gowns of silk velvet and cloth of\ngold ; rich embroideries in Venice gold, chiefly of the net and pine-apple pattern ; deep\ntrimmings of fur or velvet to collars, cuffs, and skirts of Rosalind's and Celia's dresses, and\nvarious other things already noticed in the articles on the plays of Henry VI. and Richard III.\nBut there are so many MSS. of this time, especially in the Imperial and National Libraries\nin Paris, and their illuminations reveal so many different styles of toilette, that the power\nof selection to a certain extent and within certain limits is in our hands, and our decision\nin these matters must therefore be more or less influenced by the physique of the actor\nor actress. For the more we know of the costume of the past the more satisfied we are\nthat we can avoid, vif we choose, those curiosities of dress where the ludicrous is predomi-\nnant, and which, by arousing untimely laughter, interfere sadly with the dramatic action.\nALL'S WELL THAT ENDS WELL\nhe Florentine war that happened nearest to Shakspere's day fixes the time of the\naction about 1555* There was, It is true, no 44 Duke of Austria\" then, the last Duke\nhaving died about a century before. With the exception of this allusion to Austria\nthere is nothing of any kind in the text that is inconsistent with the date I have chosen.\nThe scenery is wholly or almost wholly architectural, and is divided between Paris, Rousilfon\nand Florence. There are five Acts, comprising twenty-three Scenes, very unequally divided,\nbut in the first copy there is no scenic division. Following the course I have adopted in\nother comedies, I would venture to divide this play into six Acts with only four set-scenes,\nas thus:— & <£?\n1. Rousillon : the interior of the hall, Acts I., III., and VI.\n2. Paris: a room in the King's Palace, Act II\n3. Florence: without the walls, Act IV.\n4. Florence : a room in the widow's house, Act V.\n& Some of the scenes are so unimportant that there need be very little hesitation in\nomitting them. These are the 2nd of Act II., the 1st and 3rd of Act III., the 5th of Act IV.,\nand the 1st and 2nd of Act V. The 2nd Scene of Act I. may without any inconsistency be\nremoved so as to form the 1st Scene in Act II. The 3rd Act might be divided at the end\nof the 4th Scene, and the three remaining Scenes taken with the four Florentine Scenes of\nthe 4th Act may be divided Into two Acts (4 and 5)—an exterior and an interior at Florence.\n& Our first set-scene represents, in the words of the stage directions, 44 a room I11 the\nCountess's palace, Rousillon\". As we are not called on to supply the scene of the historical\nevent, and as no special Chateau or Countess Is intended by our author, we are free to\nselect any Interior that will best suit the and nature of the particular stage we may\nhave to use, provided only that we remember that we are in that old province of France,\nnow known as the Eastern Pyrenees, and that the Mediaeval architecture of the district was\nfrom first to last impressed—I will not say with a Romanesque but with a Roman character.\nTo Perpignan, Carcassonne, Perigeux and Toulouse, we must look rather than to Pierre-\nfonds, Coucy, or Creil if we desire authorities for restoring the Mediaeval vaults and towers\nof the casle of the Count of Rousillon. And I think its Mediaeval character should be re-\nstored to Bertram's home, if only to give the strength of antiquity to the splendid aristocrcay\nof the Countess, and some excuse for the almost blinding pride of her son.\n& The Paris Scene would be from the Louvre, as described in my notes on the historical\nplays of Henry V. and Henry VI. (1) &\n& The third Scene Is outside the walls of Florence. A country road and fields form the\n\n& ALL'S WELL\nTHAT END'S\nWELL.\n\nThe costume.\nThe scenery. <£?\nRousillon.\nParis.\nPIore nee. &\n\n(1) This article will be published at a future date-"}, {"page_pdf": 26, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.26", "texte": "& ALL'S WELL\nTHAT END'S\nWELL. &\n\nforeground, whilst the gate, walls and town would be seen at tSio extreme back of the\nstage. Indeed, the distance represented outside the walls may be so great that there would\nbe no necessity for any other architectural work except such as may easily he painted on\na back=c!oth, the line of the stage being disguised by broken banks, hedgerows, &c. The\nwalls and gate should look almost new ; for it was only twenty=nine years (1620) before\nthe date above assigned to the action of this play that the fortifications were surveyed by\nthe French and extensive reconstructions ordered, with the addition of those large\"* round\nbastions, then a special feature de Part de la guerre. Such portions of the old walls as\nwere allowed to remain would belong to the first quarter of the fourteenth century. This\nfourteenth=century wall was once studded with towers, most of which were razed in 1626=7,\nbut a few everTyet remain. Above the walls we should see a host of towers, belonging to\nthe palaces, monasteries, and churches of the City of the Lily, and chief among them those\nof the Duomo, Palazzo Vecchio, and the Podesta. r jg?\njg? A room in the poor hostelry of St. Francis, where the kind Florentine widow, who had\nseen better days, managed to live by the recommendations of pilgrims and palmers jour-\nneying to the shrine ot \"Saint Jaquesie Grand,\" would scarcely be in the modern style\nof the Renaissance. The widow's house would probably be one of the many fourteenth=century\nhouses with which Florence then abounded, and in its massive wooden# ceilings, with their\nfaded and broken patches of colour, its unmoulded, (or scarcemoulded) arches, and its\npanelled walls, we might recognise the strong, almost solemn spirit of Arnolfo, the city\narchitect of 1290=1310. &\nA. D. 1555 introduces us to Henry II. of France, to Mary of England, and to the Emperor\nCharles V. Of the King of France (Henry II.), and what manner of man he was we may\nbehold the vraisemblance in his portrait drawn at full length by Clouet, and now in the\nmuseum of the' Louvre. The engravings of Peressim (<559) are replete with illustrations of\nthe military costumes of France, from the plumed noble in embossed, chared or damascened\narmour, to the Swiss guard, vith his halberd, the arquebusier, the pikemen, and the Archers\nde la garde da roi. In the well=known portraits of Queen Mary and of Marie Stuart\n(Society of Antiquaries, London) we have sufficient authority for the fashion of the dress\nof the Countess of Rousillon, or the ladies of the Court of France. The colours most in\nvogue with the ladies of this period were crimson, violet, tan=co!our, golden yellow, straw\nyellow, and grey; these were used with great skill, and much was done by the Judicious\nemployment of black and white for relief and emphasis. A severe costume combining only\nblack and white with lines of gold embroidery was that adopted by the King at this time,\nand regarded as his livery. Bertram, Count of Rousillon, and the nobles of Southern and\nultra Catholic France, would be far beyond their sovereign in richness and elaboration of\napparel, wearing as an everyday costume crimson velvet or satin with embroideries and\nbuttons of gold. In the text we find mention made of scarfs and plumes, slashed or snipt=\ntaffata of saffron colour, \" delicate fins hats and most courteous feathers, \" as parts of the\nsoldiers dress; there are, also, a few other things named, such as wearing caps of a past\n•*\nfashion, but nothing else which can be said to indicate any special form, colour, or fashion.^\nLOVE'S LABOUR LOST.\nove's Labour Lost is a play which has the merit of brimming over with comedy,\nand of being less expensive to mount and easier to arrange in set scenes for the\nmodern stage than any other of its author's works. The scenery is laid in Na=\n111 varre—a province of Spain lying on the French frontier, and once a kingdom. (2)\nBut what appear at first sight to be historical references in the text have really no foun~\ndation in the history of Europe, so that there need be no hesitation in fixing the period\nof the action at the time the play was written, or about 1590, The only orchitecture which\nappears in the scenes occurs in an exterior view of a royal palace in a park, and the outside\nof Armado's house, also In a park, an arrangement, savouring much of France and England,\nbut not of Spain—mereover Don Adriano de Armado is often refered to not only as a\nSpaniard of some other State, such as Aragon or Castile, but as of an entirely different\n\njp Costume.\nThe Period.\n\n(1) Rep inted In The Mask. May-Yune and Yuly, 1908."}, {"page_pdf": 27, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.27", "texte": "A DESIGN FOR A STAGE SCENE. JULIUS OLIVER."}, {"page_pdf": 29, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.29", "texte": "nationality from that of Navarre. There seems to me therefore no cause sufficient to stay\nus if we incline to fix either on France or England for the scenery and costume of Love's\nLabour's Lost. The parson. Sir Nathaniel, Holofernes who educates \"youth at the charge-\nhouse on the top of the mountain, \" Dull the constable, Jacquenette the country wench,\nand Costard the clown, are English from top to toe. Nor would the description of the\nmanners of the King and his lords by Boyet In the second Scene of the fifth Act. at all\nindicate the proud bearing and polished style of the grandees of Spain either under Fer-\ndinand or Philip. If, however, we wish to preserve some Spanish colour in the scenery the\narchitecture should partake of t/ie character of some distinctive building, like the Early\nRenaissance Alcazar at Toledo, or the Gothic houses at Segovia, Valencia, or Barcelona\n(see \" Gothic Architecture in Spain, \"by Mr. G. E. Street, R, A., &c). &\n& For the costume.of the ladies, the nobles, and the King, we can not do better than\nrefer to the National Portrait Gallery, the Louvre, and the Recueil de Gaignieres, to. x.\nThe great distinction between the Spaniard and the Frenchman was in the length of the\ntrunk hose; the first wore them short, sometimes so much so that they scarcely showed\nbeneath the skirt of the doublet; the French hose reached as low as the knee, and the\nskirt of the doublet was reduced to a mere band. (See notes on the Merchant of Venice), (i)\n\n& ALL'S WELL\nTHAT END'S\nWELL.\n\nTHE EXQUISITE AND THE PRECIOUS\nby Gordon Craig.\nwine cannot appreciate pearls. This has at last become a well-known\nfact,.... acknowledged by the majority. & & &\nThe majority of people known to us certainly appreciate pearls;\ntherefore the majority may be said to appreciate that which is both\nexquisite and precious. XZ?\nI do not care whether the pearls are appreciated because they\nare so rare and so costly.... all the better that they are so\nor because they look so lovely. Either reason 5s good enough, for\nthe result is the same* Wonder and excitement are aroused,, the things are sure to be\nhandled tenderly and the wearer will probably hold her head more charmingly than before.\nThus we see that to be near the precious and the exquisite is to become more exquisite,\nmore precious, ourselves.\nIt is a pity that the Theatre is neither exquisite nor precious. &\nI want in place of violent expression of violent emotions and ideas more exquisite\nexpression of more precious emotions and ideas. & & & jg/ &\n& In place of vulgar materials such as prose, coarse wooden boards, canvas, paint, papier\nmache and powder I would like more precious materials to be employed. Poetry, or even\nthat far more precious Silence Ebony and Ivory :... Silver and Gold :... the precious\nwoods of rare trees :.. . exquisite silks unusually dyed :... marble and alabaster and\nfine brains. jgr\n& The Public is no fool : it will not value a lump of coal above a diamond ; It prefers silk\nand Ivory any day to wood and canvas. A critic who denies this is a duffer.\n& So then, Gentlemen, I ask you to consider the imitation Lily of the Theatre and to\ncompare it with that more precious species, with her of the fields. & & &\n& And thanking you for past criticisms I ask you to criticise justly the present material\nof the modern theatre. If you do so even with tolerance you will rouse us all to a state\nbordering upon exquisite rage: but you will confer upon the theatre an honour, the\nhonour of believing that it is still open to noble criticism, still worthy of judgement pro-\nnounced upon its essentials, and not alone upon its nonessential details.\nIf a fig tree should bear thistles would you criticise the prickly result ? Would you waste\nyour time protesting against the quality of the thistle and write it down an indifferent\nspecimen and ask for better?\nThen why do you criticise the false product of our noble art ? &\n& I pray you to study the nature of the Art of the Theatre so that with your assistance\nonce again the flower and fruit of it may be found to be both exquisite and precious.\nThe Theatre\nIts material.\nA request."}, {"page_pdf": 30, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.30", "texte": "THE GENEALOGY OF PULCINELLA\nby Dr: Miche1e Scherillo.\nBattista Don!, a Florentine noble who died in 1647, in one of his treatises on music,\nspeaks thus: 44 In the French farces the principal role usually belongs to one who\nplays the part of a servant and is introduced with very ridiculous dress and face and ex«\ntremely depraved speech and discourse, after the manner of the foolish and extravagant\nbuffoons who in the Atellanians were called 'Macci', from the Greek word jj.rx.Mzv, which\nmeans desipere, and more commonly Moriones, as in the \" persona di Tabaria \" among\nthe French, and in Italy \" Puccinella\", introduced a few years ago, and, as understood by\nSIgnor Federico Cesi, prince of Acquasparta, (who has been in our days a miracle of goodness,\nkindness, and learning) coming from a part of the principality of Salerno called Crifone,\nwhere the men, owing to the marshiness of the situation, are corpulent and pale and speak\nhoarsely and through the nose. Such perhaps are the Fasiani, (that is the inhabitants of\nthe Colchide near the river Fase) described by Ippocrate in the book on air, water, etc. (1)\nA little later, about 1693, the abbot Giovan Battista Pacichelli, a Pistoiese noble, apostolic\nlegate at Naples, In a book De larvis vulgo mascheris, wrote, 44 tiodie in Baccanaiibus aut\n44 potius Carnisprivii festo, Gentilium illls substitute, vestes obsoletae simpliciter ac jocosae\n44 Larvas inducunt. Quilibet enim extra patriam agens Galium, Venetum, Bononiensem,\n44 Neapolitanum, Acerrensem, aliosque, vulgo 11 Raguetto, Pantalone, Zauns, Cola, PuU\n44 cinella, quorum alter ita dictus ab erectis contra hostes Reipublicae validissimos, in\n44 tropheum propriis Senatus symbolis, scilicet Leonibus ; postremus vero Pulcinella, inven-\n44 turn plane ridicolum cuiusdam I. C, seu Terrae Gefuni sive urbis Acerrensis, causarumque\n44 patroni taedio affecti in Magna Curia Neapolitanae Vicariae, nomine Andreae Ciuccio,\n<4 qui ad vultum ex natura accomodum, ventrem straminibus onustum aptavit, plures ad\n*\n44 sui imitation em excitans, surnmamque famam per universam Europam captans. Alii vero\n44 ex insulsis vestium indumentis libentisslme vis! et auditi sunt.\" And, six years after, Andrea\nPerruccl, (2) a Sicilian by birth but settled in Naples from his childhood, corrected Pacichelli's\ninformation and gave further indications as to the birth of our\n44 In Naples,\" he wrote, 44 we are in the habit of making use of the character of Pulici-\n44 nella, a personnage certainly not invented by a jurisconsult called Andrea Ciuccio, who\n44 devoted himself to acting It in the public theatres as the Abbot Pacichelli fancied, but\n44 by a comedian called Silvio Fioriilo, who called himself Capitan Maetamoros: It is true\n44 that, by study and natural grace, it was afterwards perfected by Andrea Calcese, nicknamed «\n44 Ciuccio, a tailor and not a tribunalist, as Is known to all those who yet remember him,\n44 he having died in the past plague of '56. Now this part of Pullcinella, which in the Greek\n44 idiom means a chicken thief, was taken to imitate the rustics of Acerra, and, accompanying\n44 the stupid physionomy with actions, it has become so usual, with joking, with the costume\n44 which is of coarse hemp, and with the mask, that In Carnival time one sees nothing else\n44 in Naples but Pulcinellas, each one wishing to act the gracious; but they show themselves\n44 so insipid that it would be a work of charity to fill the galleys with them. Then they\n44 make it permissable in the company of ladies, cavaliers and civil people to talk obscenely\n44 and to perform acts so lascivious and immodest that in comparison with them the Atel«\n44 lanian obscenities and the wickedness of the ancient comedies and of the Academies of\n\nPacichelli. 1693\nA correction,\n\n(1) De' trattati di musica di G. B. Doni. book II Florence 1763 Chap: 1 page 3.\n(2) Opera buffa Napoletana page 21."}, {"page_pdf": 31, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.31", "texte": "\" the Ateniesi, Itafali, Baccanti, and the Lupercal, the Saturnalian and Quinquatrien feasts\n\"would appear most modest.\"\n& One might rest content and helieve that Pulicinella was born contemporaneously with\nTrastullo, Scapino, Francatrippa, and all that excellent legion of buffoons who gaily dance\nthe tarantella in Callot's engravings. There would be nothing strange or unlikely, nor do I\nbelieve that one who should stop at these facts could be criticised as a simpleton. But all\nthe same it is a fact that no one has stopped there 1 It hurt the eyes to see this personage,\nall white and spruce, a youth of scarcely three hundred years, and one wanted to surround\nhim with a little archeologica! mildew. &\n& The writer in a Neapolitan paper of 1839 called 'Lo Zibaldone', after having referred, in\nan article of his on Pulicinella, to the story of Fiorillo, exclaimed, \"Oh, what modernity!\n\" he would be a thousand times more precious, even if he were less droll, were he but more\n\"ancient!\" and he felt as though he had been born again when he knew that one of the\nantiquarians most in vogue, Bernardo Quaranta, Professor of Archeology in the University\nof Naples, had published a dissertation with which he proved that Pulicinella dates beck\nto the Atellanfan fables. But it was not true! Quaranta's dissertation was never published;\nperhaps, in MS it may exist among the heirs,.... perhaps ! &\njg? But all the same, to date Pulicinella back to the exodia of buffoons was npt so new a\nthing 01* so entirely characteristic of Quaranta. The Italian, French and German critics had\nsaid and repeated It a century before. Even Doni, already cited, set in his time the name\nof Macco near that of Pulicinella; but afterwards Riccaboni, (1731), Flcoroni (1750), and\nFloge! (1788) went further and held our buffoon as certainly the continuer of the ancient\nmime. And from that time forward almost all, referring to Pulicinella, have considered him\nas a descendant of the Atellanian 'Macco'. & & &\nBut if, then, Pulicinella descends from Macco, what do we know of this grotesque (2)\nperson himself\n& The Gramarian Diomede says, In Atellana (inducuntur) escae personae ut Maccus\";\nand perhaps this actor played the part of the fool, because in Apuleio are these words:\n\" Omnes 1st! quos nominavi, et si quis praeterea fuerunt dolo memorandi, si cum hac una\n\" Rufini fallacia contendantur, macci prorsus et buccones videbuntur \". In some of the notes\nof the Atellanian fables handed on to us by other gramarians we find Macco mentioned:\n'Maccus caupo', 'Maccus miles', 'Maccus vurgo', 'Maccus sequester', 'Maccus exul'. And\nnothing beyond this, so far as I know, of the progenitor claimed for Pulicinella. Festo once\nspeaks of a Mimus alhus ; and Fiogel immediately credits this as being the second name of\nMacco: \" Macco or wfcite mime\".\nIn 1727, excavating on the Esquiline, there was discovered a bronze statuette with silver\neyes, with two little globules of silver at the corners of the mouth, with a double hump\nbefore and behind, a large hanging nose and dressed in a short shirt reaching to above\nthe knees. In that statuette Anton Francesco Gori claimed to distinguish Macco; and\nFlogel applauded the interpretation of the Italian archeologist, adding on his part, •' Whoever\n\" is familiar with the story of the Roman buffoons can from its own aspect easily judge\n\" that this must represent a buffoon \". And, having said this, he leaps to the conclusion\nin consequence, that the little statue represents the progenital prototype of our Puliclnalla.\nKlein, .. to speak of more recent things,... applauds also. \"A. F. Gori recognised in the\n\" little grotesque bronze figure which was dug up on the Esquiline, a comic Macco, who\n\"has an obvious likeness with the Neapoiitan Pulicinella\": but then he here makes a\nleap which would be pleasing if it were not so common in this ill=arranged book of his:\n\" in any case, \" he adds, \" in any case a greater resemblance than the comic Roman Atellanian\nwith the satiric Greek drama \\\" & jgf & & &\nGiuseppe Micali, in a painting unearthed at Pompei in which the illustrator of the Bor=\nhome Museum had believed he recognised a scene from the Miles gloriosus of Plautus,\nsupposes instead that it may represent \" a comic burlesque scene of the Maccus miles,\n\nPULCINELL A.\n\n\" Macco \" <£?\nA supposition.\nA painting at\nPomp e i . &\n\n1 Andrea Perucci \" Dell'Arte rappresentativa premiditata ed all' iinprovviso parti due. Naples 1699. page 293=4.\n2 Don Giacinto Girama \" Idea delta storia dell' Italia letterata.\" Naples. 1723.\n1 Napoli Sigoorelli, Storia critica dei teatri, Naples 1813, Vol V page 259."}, {"page_pdf": 32, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.32", "texte": "PULCINELLA.\n\na most celebrated Atellanian fable: in which case, he continues, one would have in this\npainting the masks of that famous Macco and of Btsco, legitimate progenitors of Pulicinella\nand of Zanii.\n& And up to this point, fortunately, they had stopped short at the interpretation of a\ndetermined fact; but they passed on at once to generic affirmations. Schlegel after having\nsaid that the first germ of the 4Comedla dell'Arte' Is found in the 'Ateilane', continues :\n44 Arlecchino and Pulcinella would arouse certainly the greatest marvel in the world were\n44 it known that they descend in direct line (this is the 'gerader linie' of Flogel) from the\n44 ancient Romans and also from the Oscans, and this glorious lineage would inspire in them,\n44 without doubt, an alterigia burlesque. It is, however, certain that there are found on the\n44 ancient Greek vases, among the grotesque masquers, many costumes very similar to theirs,\n44 as, for example, wide breeches and a robe with sleeves, which costumes were as foreign\n44 for the Greeks as for the Romans \". And further on : 44 it is said that there has been\n44 vered among the fresco paintings at Pompei the figure of Pulcinella exactly similar to\n44 the Pulcinella of our times\".\nj& 44 It is said\"? and by whom? and on what proofs? The good Tommaso Semmola, a\nworthy Neapolitan Greek scholar of the middle of the xix century, referring to a walk of his\nover the ruins of Suessola, proceeded to say, 44 As confirmation of the extreme antiquity of\n44 the character of Pulcinella it is helpful to us to consider that, as much in the excavations\n44 executed at Herculanium as in those already made at different times in the neighbourhood\n44 of Cum a, among the many very rare things there have been discovered many forms of\n44 masks made of clay, and among these there are some ugly and ridiculous ones which\n44 resemble Pulcinella. It might be argued from this that such a character is ancient, and\n44 that the Atellanians were perhaps the inventors of it\". This coming down is curious I\nOne begins by promising a proof to confirm the fact that the character of Pulcinella is\n44 most ancient\" and one ends by proving that perhaps it is 44 ancient \" ! But where are\nthese 44 ugly and ridiculous \" masks\nAbsolutely ridiculous, again, is a discovery of Carlo Tito Dalbono: 44 We find,\" he says,\n44 in the ancient Herculaniun and Pompelan excavations remains of columns bearing at the\n44 top as capital a head with large ears, open mouth, and sometimes crowned with leaves,\n44 which from the forehead to beneath the nose is black, then white to the chin. And this\n44 species of mask has been adopted by the present clay workers as a flower vase. Here\n44 then is a face in two colours, in short a mask, but a permanent mask. And this is the\n44 mask of Pulcinella\nBut in any case then Pulcinella boasts an ancient lineage ! And no one has opposed it\nbecause it was the universal desire and glory that the noble 'Cetru/o' family should date\nback even seventeen centuries and all have saluted with deference the genealogical tree\nwith its ancient branches. Mommsen indicates the etymology of the word maccarone in\nthe ancient name Maccus; and, speaking of the old Oscan farces does not hesitate to say\ndestinctly, 44 pulzinellkomodien\". A Barnabite lecturer also has wished to find summed\nup in Pulcinella all the characteristics of the ancient mimes; and one must give him\ncredit for good will. 44 In our mask, he says, are reproduced, now one and now the other,\n44 all the distinctive variations of the ancient Mime, and these are: the shaven head which\n44 was the particular custom of the Sanniones; the stick, (which for Harlequin is changed\n44 for a spatula) sign of the curved cane of the characters of the ancient comedy, (and here\n44 is cited the 4Greek Literature' of Mulier); the foot covered by a light sandai usually of\n44 leather, without heel, which was the footgear of the Planipedi (one may cite the step of\n44 Biomede 4Planipes graece dicitur Mimus, ideo autem latine Planipes, quod actores plants\n44 pedibus, idest nudis, proscenium introirent; from which it is clear, instead, that the\n44 actors came on the stage barefoot) the hoarse and nasal voice, which is preserved entire\n44 in the Pulcinella of the Piazzas, a survival of the custom of the Latin rope dancers of\n44 speaking with little globules of silver under the mask\". &\nCertainly I too have seen Pulcinellas with shaven heads but never one who came upon\nthe stage barefoot or with a wand. Nor should 1 know that the hoarse and nasal voice\nof the Pulcinella of today has its distant origin in the globules of silver which certainly\nPuicinella does not use now I To the purpose here is an ingenuous confession of a French\n\n& Some more\ntheories. J£?\nTommaso\nSemmola.\nCarlo Dalbono."}, {"page_pdf": 33, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.33", "texte": "Journalist of 1834: 44 Policinelle played in the Atelianians. He did not really wear the three\n44 cornered hat, unknown to the Romans; instead of the closefitting coat and smallclothes\n44 he was dressed in a tunic, and he wore buskins instead of sabots, which must have taken\n44 from him a good deal of his comic power: in compensation, at the two corners of his\n44 mouth tinkled two little silver balls \". & &\nEven this Oscan origin did not suffice and one incomparably older was assigned to Pul*\ncinella. Actually they discovered that the vaunted progenitor Maccus was himself only a\ndescendant of the ancient Pulcinella I Yes, gentlemen: Pulcinella belonged to the ancient\ntribes of Israel I 44 Archeological researches appear to have established, according to some\n44 embossments and basrelief figures of ancient Egypt, that the first families of Israel who\n44 came transported into that country some little sculptures of Polichinelles which were\n44 given to Jacob's children to amuse them in their cradle And this article writer of the\n44 Magasin Pittoresque \" in 1834 only repeated that which from 1812 Millin had said in the\nMagasin Encyclopedique. And in 1843 a German, Hebenstreit, after having affirmed that\n44 undoubtedly that personage is a modification of an ancient mask\" also repeated the\nIsraelitish origin. But, for what I know, this hypothesis has had no luck; perhaps it seems\na little rash even to the enemies of 44 modernity\nWho, therefore is our Pulcinella, and how, where and when was he born ?\nIt is Important to us to ascertain his original. Millin's phrase 44 what do the origin and\ngenealogy of Pulcinella matter so long as he is gay and amusing \" makes us smile with\ncompassion. And we are not satisfied by the sonorous but empty words of the canon De\nJorio, 44 his great grandfather, the origin of his descent, is beyond history and enfolded in\nthe obscurity of fable \". We want proofs, we want precision and certainty in the facts\neven in this question of Pulcinella!\n& Frankly, the real story of the origin of Pulcinella seems to be this:... In the last years\nof the 16th century, among the many players who in those days invaded the piazzas of the\nItalian cities, there was one who was either a peasant, or wished to counterfeit the peasants,\nof Acerra. Perhaps he was a countryman gifted with a happy comic and satiric vein but\nto whom the work of a peasant was less pleasing than his buffooneries, and he came to\ntown and earned his living by stirring up the good humour of the porters and waiting\nmaids of the Piazza Pendino. He kept to his smock of white linen or pulled out his shirt\nover his trousers as the boys of the people do when they want to play at soldiers; clasped\nhis leather belt and fastened there, instead of the big knife or 4smarazzola' a short broad\nsword as we have seen in Callot's picture. Afterwards a talented comedian, Silvio Fiorillo,\nwho had already rendered himself famous as 4Capitan Matamoros' took that popular type\nand from it made a creation of his own. &\n& And this story finds its confirmation in the extracts cited at the biginning from those\nalmost contemporaneous with Fiorillo,.... Giambattista Doni, Giambattista Pacichelli and\nAndrea Perrucci; and in one legend, not yet extinct, which was recounted with his usual\ncomic flavour, by the abbot Galiani. I give it from the French versian, not having been able\nto see the original: 44 In the last century there was in Acerra, a city of the Happy Country,\n44 a troup of comedians who wandered about the province to earn something. One day they\n44 emerged on a country where the peasants were gathering the vintage. As on that occasion\n44 one drank more than usual and men and women worked together the gaiety was animated\n44 and each passer-by received a joke. The comedians saw themselves in their turn exposed\n44to the raillery of the vintagers; but, inured to this exercise, they began to reply and to\n44 give back sally for sally. Now, among the villagers there was one named Puccio d'Aniello,\n44 with a comical face, long nose, and swarthy skin ; facetious, moreover, and of a sharp\n44 Wit\". A\nThe comedians set themselves to amuse themselves specially with him, and he redoubled\nhis jests and banter. No one wished to give in, and they struggled who should make most\nfun of the other; the repartis became sharper; to jokes succeeded cries and hoots; it was\na regular Finally, the countryman got the best of it, and the comedians, ashamed,\ndecided to retire and returned to town astonished. Having recovered from their emotions,\nthey, according to the custom of theatrical folk who draw advantage from everything,\nthought they could do good business if they engaged in their company this peasant whom\n\nPULCINELLA.\n\nAnother theory.\n& Who is\nPulcinella?\nA likely origin.\nA Legend."}, {"page_pdf": 34, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.34", "texte": "PULCINELLA.\n\nA historical\nconnection.\n>1 supposition.\n>4 warning.\n\nthey had found so facetious and so witty; therefore they made a proposal to him and he\naccepted it. They strolled the country with their new buffoon who succeeded wonderfully\nand won admittance everywhere by his witticisms, to which contributed also his droll\nphysique and his country bearing,.... that is to say, his shirt and trousers of white linen. The\ntroupe earned much and the name of Puccio d'Aniello was celebrated. At the end of some\nyears Puccio died ; but then the comedians replaced him by a companion who appeared in\nthe same costume and the same mask. lie kept also the old name, but in a modulated form\nand was called 4Polecenella\\ Other comedians followed the example, and soon the mask of\nPoleceneila spread over all the theatres of Italy and Europe, (i)\n& However the finding of Pulcinella on the same soil where once flourished the Atellanian\nfables is a fact which justifies others in thinking of a historical connection between the\ntwo dramatic apparitions. Doubtless these coincidences in such distant times are a proof\nto us of the continuity of the genius of race and it would be absurd to deny the ethnogra®\nphical connection. The same Galiani, in recounting the legend, 44 seems to believe \" says\nSaint Beuve, (2) 44 that the spirit of these ancient farces has been able to perpetuate itself In\nthe modern original\". Also, to explain the apparition of the 4farse cavaiole', some, like\nMinturno, at once had recourse to the old Oscan comedies. (3) But between these and the\nfirst appearance of Pulcinella intervenes a space of seventeen centuries I & <£? jg?\n& What during this long period has become of Macco, of Pappo, of Bucco, of Manduco? what\nof their farces ? Let us search cautiously to retrace, if it be possible, some vestige of the\nold comedy in the thick fog of the intervening time. &\nIn the heart of our provinces, in Carneval, they yet represent farces with fixed types,\nand sometimes 4a soggetto'. Now, might these not be yet living relics of the Atellanian\nplays? Could not these primitive forms of drama, saved from all literary influence by their\ndistance from the large cities, indicate to us what was, generally, the popular comedy of\nthe middle ages ? Among the people, especially in the country, traditions are faithfully\nmaintained, and many of the peasant dramatic forms yet living might be the repetition of\nthe ancient Oscan farces. The Commedia delPArte might really have been generated in\nthese rustic farces ; and Pulcinella, a peasant of Gifoni in the Principality of Acerra in the\nCampania, might have represented the part which his great grandfather Macco had created.\nAnd as he from his native Atella came to represent the peasant 'exodia' at Rome in company\nwith many compatriots, so Pulcinella, from his native village, might have come one fine\nday into the neighbourhood of Salerno or Naples, and there, fascinated by the success\nobtained with his Oscan witticisms have drawn around him those other peasants with whom,\nin the country, he had acted the peasant farces, and have repeated them in the city amidst the\nhearty laughter of the people. Each of those peasant actors, little by little, took to continually\nrepresenting a particular comic character corresponding to the ancient Bucco or to Pappo\nor to Manduco ; and thus the fixed types were created, which afterwards by degrees, by\nmeans of successive actors of a certain culture, were developed and finally remodelled on\nthe classic originals of Plautus and Terence.\n& But these, however probable, are only suppositions. (4) &\nAn almost certain Indication of the existence of PuScinelSa, even before the time in which\nhe appears in Callot's picture, could be found in some sketch, whether by those skilled or\nnot in the art of drawing, representing him. We have, however, no coliection of this kind,\nbut an Investigation might be attempted in the old books and illustrated catalogues of the\nmuseums.\nFirst of all, the discovery in the Campania of a figure dressed like Pulcinella must not\nmake us at once cry out 44 Eureka! \" Turning over the great volumes on the antiquities of\nHerculanium we meet at every step with short togas reaching to the knee and fastened at\nthe waist with a leather strap. Again, in the bronzes there is a little idol as ornament of\na votive hand, which has even the hat in the style of a 'cappolone V And on the other hand\neven now the country peasants dress, for their rustic work, like Pulcinella. Travelling\n\n(1) L. Moland, Moliere et la cooiedie Italienne. Paris. Didier. 1867. pg 7.\n(2) Sainte - Beuvc. Causeries du lundi. Paris. Gamier Vol. ii pag 423.\n(3) L'Arte poetica, Antonio Miturno: for G. A. Yalvassori. 1564. page 16!.\n(4) Which seem to be corroborated by the most important \" farsa d\"u Gapitanw 8 Sabiliiaa see \"Tradizioni dvammaticbe popolari\nVittorio Caravelli, Naples 1884. Page 6."}, {"page_pdf": 35, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.35", "texte": "PULCINELLA.\n\nalong the railway line from Napoli to Nola you will find the district of Acerra peopled by\nmany Pulcinellas !\n*<&■ On a column excavated at Pompei was found, engraved with a nail, a little figure of\nwhich the dress and movement of the hands have much likeness to Pulcinella. Above is\nwritten, \"Ad amphitheatr Francesco Maria Avellino, who commented on that graphite,\nsays \" By his short clothes and the movement of the head and arms one would believe him\n\"at the first glance a comedian or a poet who is declaiming. But the inscription above,\n\" which reads 'Ad amphitheatrum' seems to forbid the adoption of such an explanation and\n\"we therefore believe that it may be, in whatever manner expressed, one of the spectators\n\" applauding in the amphitheatre his favourite gladiators. \" (i) & <£?\n& This explanation does not succeed in persuading me. To me it seems that this figure\nmay rather represent one of those buffoons that they put over the doors of the little theatres\nof our Molo, to call together the people; and that \"Ad amphitheatrum\" would exactly\ncorrespond to our \" Tickets!\" And much the same as this was thought also by Finati, col«\nleague of Avellino in the Academy of Herculaneum, (2) &\n& Of far greater importance for us is an earthenware sherd, on which is shaped a head\nin basrelief, the portrait of Pulcinella. The large aquiline nose, the hump in front, the air\nof an idiot, the projecting cheek bones, and even the half mask to the level of the mouth,\nnothing is wanting. But of what date is the terra cotta ? where was it excavated ? Nothing\nis told us ; The commentator is too much occupied in holding forth on the preadamite origin\nof the art of potting, and he gets rid of us by writing under the picture where Pulcinella's\nhead is copied, this simple motto, \" small Italian plastic figures of buffoon type \", and we\nremain with that sherd in our hands, without knowing how to attribute any value to it!\nAfter all, it is not improbable that a comic Atellanian tradition may have survived, more\nor less evident, in the Campania up to the appearance of Pulcinella. Proofs are lacking to\nassert that he really descends in direct line from Macco and are lacking in like manner to\naffirm that, unconsciously, he may have known how to make the Oscan spirit live again as\nall would have us believe. But it is certain, however, that the modern Pulcinella was born\nin the 16th century and that only from that time has he assumed an individual character;\nwhich Cerlone completed, with artistic skill, towards the end of the last century. &\nPulcinella was amongst our first buffoons to pass the Alps and his name was translated\nby the French into Polichinelle, by the English Into Punch, by the Spaniards into Pulichinelo,\nby the Germans into Pulzinella. But in France they made him change his appearance, gave\nhim two humps, one in front, the other behind, and dressed him in a fine dress and a three\ncornered hat, and he was a child's toy. They also wanted to attribute to him a less peasant\norigin ; among the laces of the elegant little figure the musty smell of the countryman\ndispleased them ! Listen to the story, as Octave Feuillet recounts it to the little readers of\nthe \" Petite bibliotheque blanche.\" (3) &\n& \" The sailor Pulci and his wife were in despair because they had 110 son. One evening\n\" he swore loudly and she called for the assistance of the Madonna. All of a sudden there\n6t came from under the bed a cat black as soot and rushed upon the sailor, and in the same mo-\n\" ment a little bird was seen to fly through the room. From the empty cradle a cry arose. The\n\" woman ran to look and found there a little monster, with two humps and with a nose\n\" like a parrot's beak arching over a mouth so wide that it reached to his ears. This magot,\n\"it was our hero himself, the illustrious PuIcineSlo, who later, through love for you, my\n\" child, changed his name to Polichinelle, so that you might more easily be able to pronounce\n\" the name or your friend.\" No sooner had he grown biggish than he wanted to go to Court.\n\" Having a hump, said he, both \" behind and before, it Is good that I learn to read and\n\" write ; if it please God I shall become a learned man and I shall have so much wit that\n\"my humps and my ugliness will no longer be seen.\" And at the Court, for his witty\ntricks, he was dear to the king, but hated to death by the Majordomo, M. Ernest du Bugolin,\nwhom he often made an object of ridicule. By having defended Naples from an army of a\nhundred thousand English he aroused the jealosy of the king, and, if it had not been for\n\nAn eartliern-\nware sherd.\nP iilcinell a's\ntravels,\nA French story.\n\n(1) F. M. Avelliao. Qsservazioni su talune iscriziooi e disegoi graffiti sulle mura di Pompei, ia the \"atti dell'Accademia Ercolaaese. Vol: V\npg. 59.\n(2) The same. Vol, VI, pg 381.\n(3) Vie de Polichinelle et sea nombreuses aventures. Octave Feuillet. Paris. Hetzel."}, {"page_pdf": 36, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.36", "texte": "PULCINELLA.\n\nPacio d' A niello\n0 A surname\n44 Polliceno 99 ? 0\n\nthe princess, the king's daughter, he would have been poisoned. He escaped from Naples\nand took his way to Marseilles, and on the way encountered other dangers from which\nalso, thanks to his wit, he emerged with a whole skin, 00000\n0 A little beyond Marseilles he was overthrown with his horse Into a snare of brigands,\nled by Ronflard. But he, the first night, spiked them all on a fork thirty feet long! Only\nthe captain was spared, being absent. Pulcinella planted the fork, with the superb game\nthreaded on it, up on a cart and entered Chartres, triumphant. There he was led before\nthe commissioner, who was,... guess! the very captain Ronflard himself! Pulcinella knew\nhim by his nose, which was one of those not to be seen every day: a44 tropical\" nose of\nwhich one could say that it arrived a quarter of an hour before its possessor: it rose in the\nmiddle of his face like a pointed canon or like the beam of a coach, and on the extremity\nwas planted, like a sentinel, a wart with three rough hairs pointing to the sky. 0 0\n0 Beguiled by the stimulus of greed Pulcinella, invited to supper by the commissioner,\naccepted and fell into a trap. Put into a dark cell he had as companion of his prison 44 the\ngoodman Patience \", a puppet showman by profession, and together they succeeded in esca-\nping astride the tale of Ronflard's cat 1 And they arrived at Paris, at the Champs Elysees.\nPatience set up a van, and Pulcinella adapted himself to play a part, on condition, however,\nthat there was another actor resembling the commissioner Ronflard. And every evening he\nset himself with gusto to beat that longnosed traitor; and daily from Paris, on the cat's\ntail, he took a flight to Naples to amuse his fellow citizens. Once he returned sad, and his\ngood humour was veiled by a cloud of melancholy; he had fallen in love with Columbine,\nthe daughter of Pantaloon. But she, ... cruel... preferred Pierrot, 44 for his interesting\npallor\" and Harlequin, 44 whose bright colour indicated, she said, admirable heaith \". And\nthen he wanted in his company also another player, a woman,.... the ungrateful Columbine.\nYou know, in the wardrobe of the modern puppets there remain only three, Pulcinella,\nthe Captain and Columbine. {\\)0 0 0 0 0 0 0 0\n0 And where did this name of Pulcinella originate? 0 0 0 0 0\n0 It has been said that it is derived from a certain Pucio or Puccio d'Aniello, a peasant\nof Acerra, but 44 it is an error to make it descend from him \" observes de Jorico; and\nMoltedo asks in what calender one has ever encountered this name of Pucio or Puccio I (2)\nBut having admitted that such a name may exist, it always remains to be explained how,\nand by what etymological means Polecenella can have been derived from Pucio d'Aniello I\nPucio d'Aniello could at most have become a Puceraniello! Others have said that it is derived\nfrom one Paolo CinelH, altered by the pronunciation of the French who came to Naples.\nBut here also, Paolo Cinelli would give, in the French pronunciation, a 4PolsineIIi' which\nat most could have transformed itself in Napolitan into Puzeniello, like Polsino is transformed\ninto Puzino. Raffaello d'Ambra proposes a IIoAAy] x.(much movement) and Moltedo, carride\naway by his thesis to wish, like an imaginary Socrates, that in his house all should be\nGreek, and 44che sin il can ha seco\ndimeni la sua coda all'uso greco,\"\nadmires the etymology of 1.1 oXic , city and itevoc-, , or in Ionian form xavoc, empty fool; as\nif one should say, 4Buffon of the city'. 0000000\n0 Of all this Greek I do not know what to make. It clashes with every principle of neo-\nLatin Philology. More fitting seems to me the etymology, proposed by others and accepted\nby Settembrini, of 4PuIIiciniello', a most common diminutive of Pulclno, chicken, a name\nwhich might have been given to the actor sither because he had the voice or mimicked\nthe appearance: of this the puppet showman's pipe would preserve the 0\n0 The illustrious Bartolommeo Capasso made a very attractive suggestion to me,.... a\nsurname Polliceno. We came across the book 44 The noble families of Naples\" by Scipione\nAmmirato, and the 44 Discourses on the extinct foreign families, etc \" by Don Ferrante della\nMarra, and found these an Oddo or Odone di Policeno or Polliceno, nephew of Pope Martin IV,\ncavalier of the Council and viceroy of the kingdom of Jerusalem for King Charles I in 1290.\nBut this family died out at once in the kingdom of Naples! however a chronicle of the\nroyal residence written by Doctor Niccola Ramaglia di Saponara, referring to facts previous\n\n(1) La storia dei Burattini. Florence. 1884.\n(2) For such a name see 4 Le Rime Burlesche\". A. F. Grazzini. Firenze. Sansoui 1882. page 419."}, {"page_pdf": 37, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.37", "texte": "PULCINELLA.\n\nThe enthusiasts.\nTheir hlundei.\n\nto 1572 names a Lucio Pulcinella; the which, \"being vicar of the Marsicana Curia, for a\ncertain insult was subjected to inquisition by the curia of the archpriest, and kept many\nmonths in the prisons of Saponara; and the archpriest then, to make peace with the bishop,\nforgave him.\" jgr jgr • & &\nug? Who knows if the vicar Don Lucio may not have been the brother or cousin or uncle\nof the future actor who bequeathed his name to history as an incomparable buffoon ? Who\nknows if the imprisonment of Don Lucio may not have determined his relative to seek\nhis fortune outside Basilicata, putting to advantage his uncommon natural gifts ? And the\ntradition, which would assign GKoni as the country of the future Cetrulo d'Acerra, renders\neven more probable the hypothesis that he may have been of the family of Pulcinella of\nwhich a representative in the first half of the sixteenth century, was living in Saponara.\n\nTHEATRICAL REFORM\nby Gordon Craig.\nis too much haste about al! this reform, very much too much haste. Nearly everyone\nconcerned in it seems to be frightened of time, and in this haste the good energy is\nwasted.\n& Each day, week and month we read energetic statements made or hasty conclusions ar-\nrived at by enthusiasts.\nThose enthusiasts should pull up and discipline themselves a little. Instead of leaping\nquickly to conclusions they should begin at the beginning and search for the truth. This\nwould bring them to the end of their lives in a more contented frame of mind than they\npromise to reach it at present.\n& The enthusiasts are the only people who count, but the sum reaches a very low figure\nwhen they let their enthusiasm carry them away.\nFor example, one enthusiast for the theatre has only to see one performence in the open\nair with a back-ground of trees, let us say by Ben Greet, to believe that the solution of\nthe riddle of the theatre lies in taking the theatre into the open air.\nAnother enthusiast believes that the whole thing is to be solved when the dance is tho-\nroughly understood.\nThe third believes that it is all a matter of the scenery.\nA fourth that it is a question of artificial lighting. &\n& A fifth thinks that it has something to do with socialism and that if plays dealing with\nthe labour movement are put before the audience the whole theatre will revive.\nThe sixth enthusiast thinks the reproduction of actual life on the stage is the secret.\nThe seventh is convinced that it has something to do with the community and that the\ncommunal theatre would solve the riddle.\nAn eighth thinks instead that the reproduction of the ancient drama, Greek and Eli-\nzabethan, in theatres most like to those in which they originated, would solve the riddle.\n& The ninth enthusiast, (for the Frohmans and the Schuberts are enthusiasts in their own\nway) thinks that the whole thing is a question of dollars.\nAnd so, as I have said, day after day these voices are heard making these announcements\nwith all the conviction of the inexpert.\nAlas, these gentlemen in their haste are of assistence to but one set of people only; to\nthose who wish to make money out of the theatre.\npor the clever business man can take any one reform and successfully tackle it and turn\nit into a good paying concern, because when the show takes place the reform will not\nbe noticed but only a certain kind of fresh novelty will be sensed. That is just what he\nwants.\n'phe open air enthusiasts,... alas, even Mr Coburn, even Mr Ben Greet ... are merely\nplaying into the hands of Mr Frohman who comes along with a Joan of Arc and makes\nfifty per cent for himself and fifty per cent to the score of vulgarity. The Bohemian Club In\nCalifornia is doing exactly the same. And those enthusiasts, because they get near to Nature,\nthink that they are getting near to the soul of the folk and expect some miraculous folk"}, {"page_pdf": 38, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.38", "texte": "THEATRICAL\nREFORM.\n\ndrama to be the result of the connection of the theatre and its painted face and gaudy\ntrappings coquetting with the brambles and the red wood~trees.\nIn the same way some enthusiasts In Russia, in Germany, in France and in England\nwho are studying the theory of Delsarte and making their limbs nice and supple and pro*\nducing dances as sweet as the chocolates In the celebrated box, are but playing into the\nhands of Mr Frohman and Mr Schubert. They are certainly doing nothing to aid in the rebirth\nof the theatre. jZ?\n&Mr Fortuity with his elaborate lighting effects; the young Munich and London artists\nwith their scenic effects, are serving the cause of the business man.\n& The Socialist theatre reformer with his ponderous labour plays has, as you see, already\nbeen annexed by Messrs Frohman and Schubert, and we have Mr Frohman's word for it that\nit is paying.\nThe reformer with realistic tendencies who reproduces an actual room, actual manners\nand other actual sights and sounds will of course be a very useful if rather expensive man\nto rake in the pounds, shillings and pence for Messrs Schubert and Frohman. JZ?\n& The first comunistic enthusiast who comes along and succeeds in making even a failure\nof his first venture will have served Mr Frohman's purpose perfectly well, for Mr Frohman,\nthe great and noble lover of the drama, who is nothing but a business man who should have\nbeen hustled out of the theatre Song ago, will then at last come to his own and the mob will\nbe thoroughly In his hands.\nAs I have said before, each of these reformers, taken separately, can be of value to the\nbusiness man. Taken together they can only crush him. They can only crush him when they\ncombine, and on the day that they do so I would not give two pins for the cleverest\nbusiness man on the face of the earth. On that day the theatre will commence to pull itself\ntogether. &\nthe question of the open air must come to be considered, but it must not be\nconsidered enthusiastically but coolly and from many different points of view before\nanything.\nThe thing in itself, the idea in itself, creates enthusiasm in whoever thinks about it, but\nwe must not rush into the open air and begin to wave our arms and quote Shakespeare\nand think we have achieved something by doing so.\nThis is abominable and utterly unworthy of the good fellows who carry 011 in that way.\nAs I have said, it shows haste. They are frightened of time. They feel they are going to be\nleft behind. If they did not feel this they would take many more years to consider the\nquestion, \" How to act in the open air and what is the difference of such acting from that\ndestined for a roofed theatre \" ; and this question leads up to so many other questions that\nvery few persons are able to answer them today, and certainly not in a hurry.\n& So is it with the Dance. What is its actual relationship to the theatre, and, considering\nour first question, its relation to the theatre of the open air in distinction to the roofed-in\ntheatre ? No one can hastily don a few Egyptian clothes and, relying upon their personality,\ncome before the world and claim to have discovered a new theatre in a pas-seul. Dance\nmay or may not have its place in the Art of the Theatre ; most probably it has not; but\nthis cannot be decided in a hurry. &\nWith painted Scenery and with the lighting of this modern Scene the same judgement\nhas to be passed. You may not claim to have discovered the new Art of the Theatre on the\nscore that you have designed and lighted some mysterious scenes.\nAgain because you have dealt with the new Socialistic questions of the day you must not\nbelieve that you have created a new drama. jZ? jz? JZ?\nReform may or may not come through reforming Theatre construction, Dance, Scene,\nLighting, Motif of plays, the Box office and Acting: but such reform can only be at all\nvaluable when the reformers become united in friendship. jZ? jg/ jZ?\nsz? I hope that before long these enthusiasts who are at present divided will unite and\nprove again in the history of the theatre the power of real and disinterested enthusiasm.\n\nThe Strength\nof unity.\nThe Dance.\nJFriendship the\nonly means of\nunity. jz?"}, {"page_pdf": 39, "page_imprimee": "31", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.39", "texte": "THREE STAGE CHARACTERS\nby Gilbert à Becket.\nTHE STAGE NEGRO\ncharacter of the Negro, as exhibited on the stage, is a strange compound of physical\nand moral singularities, that are well worthy the attention of the student of human\nnature in its dramatic, which is certainly its most astounding form. The Stage Negro seems\nto be deeply imbued with the beauties of the British Constitution, and is constantly\nindulging in sentiments of gratitude towards England, that must be delighful to the ears\nof the most patriotic native of our highly-favoured isle. The Stage Negro is continually\nrunning about in an ecstasy ot delight at the reflection, that, \" dreckly him put him foot\non British groun, him free as de air, free as Massa himself: \" an announcement which Is\nusually followed up in an early scene by the Negro receiving a variety of cuffs or kicks\n(in which, by=th©=bye, he seems to delight) from some of the other characters in the drama.\n& Sometimes the Stage Negro grows sentimental, and asks, in reference to some cruel prac-\ntical joke that has been played upon him, uWhether him not a man and a brother; for\nthough him face black as him coal, him heart white as him lily. \" The old constitution-loving\nand sentiment-spluttering Stage Nigger is however rapidly disappearing from the stage ;\nand we get, in these days, very few of those cutting allusions to the traffic in slaves, and\nthose tender appeals to the equality of the human race which were the charm of the dramatic\nnegroes of our infancy. The Stage Negro has become a vulgar dancing brute, with a banjo\nin his hand, and without a bit of sentiment at his heart; a wretch constantly jumping about,\nwheeling about, and turning about, wholly devoid of that solemn admiration for the British\nConstitution and for the liberating influence of the sands at Margate, or the shingles at\nDover which we once used to hear with a feeling of pride at being natives of a land that\nadmitted of so much puffing on the part of our dramatist. The Stage Negro of the present\nday can only indulge in frivolous allusions to Miss Lucy Long, Coal Black Rose, and other\nlight characters, or call upon some imaginary individual, of the name of Josey, to Jim\nalong—a process that we are utterly at a loss to form any conception of.\n& Thus much for the moral attributes of the Stage Negro, whose physical peculiarities\nremain, for the most part, unchanged ; and to these we can, therefore, turn our attention\nwithout any feeling of disappointment, at the alteration which has occured in the intellectual\ncharacter. The Stage Negro still exhibits that remarkable peculiarity of the skin, which is\nshown by the dark colour, generally finishing abruptly at the wrist, the hand being perfectly\nthe same as that of one of the white population. The variety of hues is also very remark-\nable ; for while the arm is of the colour of a black worsted stocking, the face is somewhat\nless opaque, and, indeed, it would appear that Nature dealt for her blacking with two\ndifferent manufacturers, trying Warren for the limbs, and using Day and Martin for the\nfeatures of the Stage Negro. &&&>&&<£? &\nTHE STAGE LADIES' - MAID.\n'Jphe explorer of human nature, who digs into the drama as a mine in which character\nmay be discovered, will frequently turn up a quantity of material that he will find much\ndifficulty in accounting for. To pursue the simile of the mine,....there cannot, perhaps, be a\nmore extraordinary spadeful than that very singular lump of clay whose denomination\nforms the title to the present article. £?&&&/&& &\n& Though all the world is generally admitted to be a stage, it is fortunate that al! the\nladies'-maids in the world are not stage ladiesVmaids, for if they were there would be an\nend to all domestic discipline in every house where a lady's-maid might happen to form a\npart of the & & & /&\n& A most striking peculiarity in the position of the stage ladies'-maid is the ascendancy\nshe immediately gains over every one in the house she happens to have got admission into.\nThe only person she condescends to patronise is her young mistress, whom however she\nnever assists in anything but a love affair; but that even is beneath her notice unless it\n\nThe formet\nnegro. J&\nThe modern\nnegro. &\nHis physical\npeculiarities.\n& A sti iking\npeculiarity1'"}, {"page_pdf": 40, "page_imprimee": "32", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.40", "texte": "THREE STAGE\nCHARACTERS.\n\nWith her master\nHer marriage .\nHolding up the\nminor to nature.\n\nis clandestine, and terminates in an elopement, which she insists on having the entire\nconduct of. She permits no scruples of delicacy or propriety on the part of her young lady,\nwho, by-the-by, seldom expresses any stronger sentiment of self-respect than such as may\nbe implied in the words, \" Really, Betty, I tremble at the step I am about to take;\" when\nthe Ingenious interrogatory of Lor, Miss, what's the use ? \" from the stage ladies'-maid,\nat once removes any feeling of compunction by which the stage young lady may for a mo-\nment have been influenced. There Is generally a struggle going on in the mind of the\nlatter between duty and affection, when the casting vote is demanded from the stage\nladies'-maid, who black-balls duty at once, and gives a plumper for disobedience. The stage\nladies'-maid nevertheless receives bribes from the representative of the duty interest,\nnamely the heavy man who receives thirty shillings a week for doing the respectable utility,\nand talks of having just dined with the minister. While, however, she gains a knowledge\nof the heavy man's plans, and accepts from him at every interview a heavy purse filled\nwith gallery checks, as a reward for her exertions in his behalf; the stage ladies'-maid is\nurging her young mistress to rush into the threadbare arms of a half-pay captain who\nmakes love to her, by whistliftg up at the window, following her into the Park, kissing\nher maid, and practising other elegant little arts which military men—on the stage—are\nordinarily addicted to. Perhaps, however, the most curious portion of the stage ladies'-maid's\nconduct is her treatment of the master of the house, whom she keeps in a state of conti-\nnual subjection, by an uninterrupted course of insult and violence. She ordinarily addresses\nhim as an old hunks, shakes her fist in his face, thrusts his hat and cane into his hand,—\nall the while pushing him towards the door,—when she has any purpose to serve by getting\nrid of him. If he begins to talk, she talks him down, so that he can only splutter and say\n\" Whew,\" but he never thinks of either giving her a month's warning, or paying her\nwages, and sending her about her business. The stage ladies'-maid never thinks of leaving\nthe drawing-room when visitors are present, but often remains in it alone to sing a song\nwith Swiss variations, which must be heard all over the house to the great disturbance of\nthe family. In dress she always excels her mistress, and frequently wears very thin white\nmuslin over pink satin, the muslin being open all the way down the back, and an apron\nwith pockets of very recherche embroidery.\nIn conclusion she generally marries somebody because \" she don't see why she shouldn't\ndo as her young mistress does;\" and she sometimes unites herself to a low-comic country-\nman, whom she has been snubbing ail through the piece, but who, when he has a chance\nof being accepted, looks like a great fool, and says, * Well, I doant noa, thou beest woundy\npratty,\" which is at once clutched at as an offer of marriage by the stage ladies'-maid,\nwho sings a couplet, or speaks a \" tag,\" makes a curtsey before the fall of the curtain,\nand retires to her dressing-room, without saying a word to the iow-comic countryman,\nwhom she has just promised to share the remainder of her existence with.\nTHE STAGE SEAMAN.\nan, in his relation to the boards of a minor theatre, is a very wonderful animal. Curious,\nindeed, are the creatures that breathe the dramatic air. and inhabit [the set pieces of\nscenic life, ranging the canvas woods, and sauntering in the practicable groves, listening\nto the warbling woodlark in the band, or being summoned to the field of glory by a trum-\npeter standing at the side scenes. Man, in this state, defies the sagacity of the Ingenious\nPritchard, who flies flabbergasted from the contemplation of a being so utterly subversive\nof all the usual theories.\n& Perhaps the habit of holding the mirror up to nature, may account for the upsidedown-\nishness which is so often met with in a dramatist's view of humanity; for let the reader\nseize a dressing-glass—which is more convenient than a mirror—and hold it up to the\nceiling—which is more come-at-able than nature—and the reflection will puzzle him as to\nwhether he is on his head or his heels. His writing-table will appear sticking to the roof\nof the appartment; the lamp in the centre of his room will seem to be standing on the\nfloor; and his fire will be blazing away over, instead of underneath, his chimney-piece.\nThis practice, therefore, of holding up a mirror to anything, is calculated to throw an air\nof topsyturvlness over the object reflected; and thus, as it has been just observed, may"}, {"page_pdf": 41, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.41", "texte": "The Mimic\nI9 l 0"}, {"page_pdf": 43, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.43", "texte": "& To return, however, to the British seaman, as he used to he according to the 25th of\nGeorge the Second, and as he Is according to the license of the Lord Chamberlain. The\nBritish seaman tells everybody he meets to \" Belay, there;\" which we find, by a reference\nto a dictionary of sea-terms, is making a rope fast by turns round a pin or coil without\nhitching or seizing it. He calls his legs his timbers, though timbers, in nautical language,\nmean ribs; and he is continually requesting that they may be shivered. He is always either\non terms of easy familiarity with his captain or particularly mutinous, and is often in love\nwith the same young lady as his superior officer, whom, in consequence of their affections\nclashing, he generally cuts down to a mere hull, as he technically expresses it. He calls\nevery elderly person a grampus, and stigmatises as a land-lubber every individual whose\npursuits do not happen to be nautical. When at sea, though only a common sailor, the\nstage tar is the most important personage in the vessel; and the captain frequently retires\nto the side of the ship—sitting, probably, on a water-barrel—in order to leave the entire\ndeck at the service of the tar, while he indulges\nin a naval hornpipe. The dramatic seaman usually\nwears patent leather pumps and silk stockings\nwhen on active service; and, if we are to be-\nlieve what he says, he is in the habit of sitting\nmost unnecessarily on the main topgallant In a\nstorm at midnight, for the purpose of thinking\nof Polly. us/\nWhen he fights, he seldom condescends to\nengage less than three at a time: and if the action\nhas been general a moment before, he has the\nfield all to himself, as If by general consent,\ndirectly he evinces any disposition for a combat.\nIf there is a battle, he wins it personally,\nwithout the aid of anybody else; and he treats the admiral as if he were a mere cipher,—\nas in fact he is, for he generally comes in when all is over, at the head of his staff, to\npromote the British seaman, and to tell him that his country owes him a debt of everlasting\ngratitude. If the tar is a married man, he invariably leaves his Polly without the means\nof paying her rent; and when he returns, he generally finds her rejecting the dishonourable\nproposals of a man in possession, who is making advances either on his own account or as\nthe agent of a libertine landlord. In these cases the British seaman pays out the execution\nwith a very large purse heavily laden at both ends, which he indignantly flings at the\nshark, as he figuratively describes the broker's man, who goes away without counting the\nmoney or giving any receipt for it. The stage-tar sometimes carries papers in his bosom\nwhich, as he cannot read, he does not know the purport of; and though he has treasured\nthem up, he has never thought it worth while to get anybody to look at them, but he\ngenerally pulls them out in the very nick of time, in the presence of some old nobleman,\nwho glances at them, and exclaims, 44 My long-lost son ! \" at the same time expanding his\narms for the tar to rush into. Sometimes he carries a miniature, and finds in some titled\ndame a mother to match it; or pulls up the sleeve of his jacket, and shows a stain of port-\nwine upon his arm, which establishes his right to some very extensive estates, and convicts\na conscience-striken steward of a long train of villanies. At the close of his exploit it is\ncustomary to bring in the union jack (nobody knows why it Is introduced or where it comes\nfrom), and to wave it over his head, to the air of 44 Rule Britannia.\"\n\nTHREE STAGE\nCHARACTERS.\n\nWhen at Sea,\nRis return."}, {"page_pdf": 44, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.44", "texte": "THE THEATRE\n\nIN GERMANY, HOLLAND, RUSSIA &\nENGLAND & A Series of Letters from\nGordon Craig. Letter three.\n\njy|y dear Semar,\nYou ask me how I feel after my third\nvisit to Moscow. I feel tremendous for I fee!\nthat I have found friends. & & &\nAnd not friends who are merely willing\nto accept me when I do as they want, but\nfriends who are willing to follow me when\nI do as 1 want, and, indeed, it then becomes\nso easy to do as we all know is best.... that\nis to say, the most difficult, not the easiest\nthing,.... and to make dangerous progress\ninstead of accepting safe stagnation. &\nIn the production of \" Hamlet\" in Moscow\nwe are all doing as we think best. The car-\npenters, dress makers, actors and stage ma-\nnagers are all working, not merely in har-\nmony, ... for that in the theatrical dictionary\nmeans everybody's being horribly tactful and\nnothing else, but with an enthusiastic and\nharmonious activity which it seems impossi-\nble to break. £/ jgr & &\nWe have experienced several attempts to\nbreak this harmony on the part of envious\ncreatures who have nothing better to do\nthan create discord, but so far every attempt\nhas broken itself against itself. & &\njg> For about a year the papers have been\nfull of delicate little paragraphs hinting at\nthe discord which reigned in the theatre, at\nthe differences between the directors and\nmyself, at the fantastic demands which I\nmade upon the actors and so forth.\njg/ All these frantic little paragraphs created\nquite a stir in Moscow and St Petersbourg,\nand after a year the directors of the theatre\ngave an interview to the leading Moscow\npaper (a copy of which I send to you,) on the\nlast day of the theatre's season, (i)\njg? One reason why it is so nice entering this\nRussian theatre to commence work is that\none goes there with the thorough confidence\nthat there is going to be no ill - feeling\nanywhere about, no stiffness which will pre-\nvent exchange of thought, no conceit which\nwill baulk progress and lead to ** scenes \".\njg? At first, having the experience of so many\nother theatres in my mind, I was overcautious\nin making certain suggestions as to the treat®\nment of the play, for I felt that such very\nnice people did not deserve to be rubbed up\nthe wrong way if by being a little careful\none could avoid doing so. But I found that\none could entirely forget the old and worn-\nout methods of the other theatres when\nthinking of this theatre and that I could rely\non it to the very utmost. jg?\n& They meet all suggestions and all propo-\nsals with an open mind, and, knowing me as\nyou do, you can well understand that this\nmust be the case or I should not have stayed\nfor five days You can understand that my\npraise of this theatre cannot be at all exagge-\nrated for you know that I have relinquished\nwork in theatres time after time where the\nmanagement was so thick - headed or so\nstupid that it was unable to see that what\nI was bringing them was of value. jg/\nI shall work in London only when I can\nget the conditions which the Moscow Art\nTheatre can give and has given me; that is\nto say, when I can come into the theatre,\nchange the proscenium if 1 wish, cut or leave\nuncut the play if 1 wish, use a curtain or\ndiscard the curtain if 1 wish, take a year\nover the production of a play, or two years\nif necessary; select a first-class staff to work\nunder me who have no other work except\nthe one play which I am producing; experi-\nment and have experiments made to the\nextent which I think necessary in the mat-\nters of scene, costume, acting and lighting\nupon a full-sized model stage made in the\ntheatre and kept in special quarters entirely\nfor my own use, and when 1 meet with a\nmanager who will bring his troupe and me\ninto such chose union and such perfect har-\nmony as I have experienced at the Art The-\natre in Moscow whose leader is Constantin\nStanislawsky. & jg? jgr jg?\nYou will probably write me that you see\nno reason why this should not be so in Lon-\ndon and, as you have frequently done before,\nyou will express your surprise that I am so\noften complainig about the English theatre.\nBut, bless your heart, my dear Semar, do\nyou think I should complain if 1 had found\nthings as they ought to be ? Mismanagement\nhas made it impossible for a long time\nfor me to dream of doing work in London.\n\n(1) We tfaiHk this o? sufficient interest to reprint and it will te\nfound on page 41."}, {"page_pdf": 45, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.45", "texte": "1 have got past the time when it is amu-\nsing for me to paint scenery for some ma-\nnager who wants to make a show, or when\nI feel flattered that one or two of my ideas\nshall be seen on the stage and spoken of in\none or two morning papers, I have my work\nvery seriously at heart, and in regard to no\nland do I consider it so seriously as in re-\ngard to England.\nI want England to have the first theatre\nin the world, and there are plenty of men in\nEngland who, when brought together under\none banner, can be trusted to produce that\ntheatre. & £? & &\nBut the conditions must not be the con-\nditions which rule in the English theatre\ntoday. There must no longer be this appal-\nlingly happy-go-lucky rule. As I have said for\nyears, we must choose a master of stage craft\nand we must go through with him. When we\nhave the pluck to do that we shall have taken\nanother step towards the betterment of the\nEuropean theatre, as well as our own English\nTheatre.\nTalking about the European theatre, you\nprobably get an idea when I write to you\nfrom Russia that this Moscow theatre is a\nkind of European theatre. That Is to say,\nyou perhaps compare it with the theatres\nof Paris and Berlin. But do not do so, for this\ntheatre stands quite alone. The Paris and\nBerlin theatres are quite unimportant by the\nside of it. You will know what I mean when\nyou come here, and then the theatres of\nParis and Berlin, even those advanced thea-\ntres there, will be blotted out of your me-\nmory. & &\nThis is the impression you will receive as\none of the audience, but should you be so\nfavoured as to have the advantage of working\namongst these noblemen of the stage you will\nsee something far more wonderful than what\nthe audience sees. You will see for the first\ntime in your life an organised theatre ; not\nmerely a mechanical but a living orga=>\nnisation, without all the weaknesses which\nbelong to such bodies as a rule. &\nMy dear John, I am using a single scene\nfor \" Hamlet\". Conceive the outcry which\nwould follow if 1 said to a London manager\nthat I intended to use one scene only in a\nplay! He would begin to writhe and look at\nme as if I were some strange mad thing\nwhich it was his duty to tame.\n& Why, years ago, I remember, when I said\nthat the footlights must be removed he look-\ned at me as if he would die. Yet we have\nremoved the footlights at Moscow so what\nis there to be said ? Either I was right or I\nwas wrong; at Moscow they find that I am\nright. And, having proved this to people, what\nthe dickens is the good of the London ma-\nnagers always crying out about the impos-\nsible ?\nIt is just the same with this matter of\nusing one scene throughout the play. Of course\nI have had time to demonstrate the value of\nusing one scene instead of using a lot of\npainted scenery and I could do so in London\nor in New York or in Samoa if time were at\nmy disposal. But time is one of the things\nwhich the London manager refuses to give\neither you or himself. <£?\nAnd when I say that I am going to have\nonly one scene in \" Hamlet \" you must not\nimagine that I am reverting to that old idea\nof mine (which I have now put aside), of using\na set of curtains suspended from a great\nheight. &\nOur family has never been very keen about\ndishing up old things. We like to go on ; and\nso I am making use of a Scene which I be-\nlieve you have mentioned before In The Mask.\nIt is the same scene which W. B. Yeats\nis going to use in Dublin for his poetic drama\nand which my mother will use when she\nnext produces the 44 Merchant of Venice.\nIt has proved itself to be quite useful,\nthis Scene, and not merely useful as a make-\nshift, but useful in a sense that it contains\nthe several impressions which are necessary\nin plays that differ so widely in character\nas 44 Hamlet \" and 44 Tartuffe \". &\n& I am perfectly willing that any manager\nin England or America should make use of\nthis Scene, but if he does so he must be in\na position to give it his time and conside-\nration. & &\nThis will enable him to test its value.\n\nGORDON CRAIG."}, {"page_pdf": 46, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.46", "texte": "BOOK REVIEWS\n\nLANDMARKS IN RUSSIAN LITERA-\nTURE by Maurice Baring. Meihuen &\nCo. 6/- net.\n'jphose who have never lived among the\nRussian people will never quite feel the\ndelight of Russia by studying it in books.\nThe best books about Tolstoi can give no\npossible idea of the unpretentious Russia\nthat he represents. The same can be said of\nnearly all the Russian artists,... of Dostoi-\nevsky and of Gogol and of Tchekov.\nOne must always remember that there is\nno such thing as 4GogoI Esqre' or 4Sir Antony\nTchekov' among the Russians. Their artists\ndo not enter the field in search of success.\nHaving no abnormal sense of economy such\nas is possessed by other nations they spend\ntheir talents lavishly, and talents have a\ncurious way of augmenting the moment you\nbegin to spend them.\nTherefore it seems to me a very difficult\nthing for the English to understand what\nit is that quickens the creative faculties of\nthe artists of Russia. &\nPerhaps the best thing to do is for the\nEnglish reader to turn a mental somersault\nand look at everything upside down. By this\nprocess he will be looking at things the right\nway up, and when he is in that position he\nwill be better situated for the task of com-\nprehending feelingly the natural artistry of\nthe Russians.\n& Now this is a position which the English-\nman refuses to get into, so it is no use\ntalking any further about it.\n& Mr Maurice Baring's book, to come back\nto that, has given me very great pleasure\nindeed; but how much pleasure he will give\nto those who have not lived in Russia is\ndifficult to estimate for the reasons which I\nhave already given. &\n& His last chapter about the plays of Tche-\nkov which have been placed on the stage in\nso masterly a manner by the Moscow Art\nTheatre strikes me as very unfair to the\ntheatre although probably Mr Baring Is not\nIn a position to know that he is at all unfair.\nI have noticed that The Mask is always\nto the fore in drawing a clear line between\nwhat may be called the work of the theatre\nand the work of the dramatist, and that for\nthe first time for many years both the\nstrength and the weakness of the theatre are\nbeing shown up, whereas in most books and\njournals in which you read of the theatre\nor of dramatic literature you are never sure\nwhat you may lay to the credit of the theatre\nand what to the credit of the dramatist.\nThe Mask, in being so jealous for the\ntheatre, has inspired many of its writers,\nmyself among the number, with a sense of the\nvalue of this jealousy; and so when I come\nacross passages in this last chapter of Mr\nBaring's admirable book attributing to Tche-\nkov things which have to be attributed to\nStanislawsky and his craftsmen at the Moscow\nArt Theatre I am only sorry to find yet\nanother writer making a somewhat unjust\nrecord for future generations as to the right\ndistribution of the honours. & &\n<£? Had Mr Baring know as much of the thea-\ntre as he knows of dramatic literature he\nwould probably have divided this last chap-\nter into two parts. In the first he would\nhave confined himself to the play as a work\nof literature, and in the second to the play\nas a performance. As it is he is always\nattributing to Tchekov that \"atmosphere\"\nwhich has certainly not been created by\nTchekov alone.\n& It is true that he speaks of the interpre-\ntation of Tchekov's plays at Moscow as a\nstage triumph, but the details which go to\nmake up that triumph he attributes to\nTchekov, and It is the details about which\nhe is so enthusiastic.... 44 These nothings, \"\nas he calls them. &\nFor instance, speaking of the 44 Three\nSisters\" he writes, & &\n44 I have never seen anything on the stage\n44 so poignantly melancholy as this last scene.\n44 In this play, as well as in others, Tchekov,\n44 by the way he presents you certain frag-\n44 ments of people's lives, manages to open a\n44 window on the whole of their life. In this\n44 play of 44 Three Sisters \" we get four\n44 glimpses. A birthday party in the first act;\n44 an ordinary evening in the second act; in\n44 the third act a night of excitement owing\n44 to a fire in the town, and It is on this night\n44 that the love affair of Vershlnin and Masha"}, {"page_pdf": 47, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.47", "texte": "44 culminates in a crisis; and in the fourth act\n44 the departure of the regiment. Yet these\n44 four fragments give us an insight, and open\n44 a window on to the whole life of these\n44 people, and, in fact, on to the lives of\n44 many thousand people who have led this\n44 life in Russia. &\n\" Tchekov's plays are as interesting to\n44 read as the work of any first-rate novelist.\n44 But in reading them, it is impossible to\n44 guess how effective they are on the stage,\n44 the delicate succession of subtle shades and\n44 half-tones, of hints of which they are com-\n44 posed, the evocation of certain moods and\n44 feelings which it is impossible to define,....\n44 all this one would think would disappear in\n44 the glare of the footlights, but the result is\n44 exactly the reverse. Tchekov's plays are a\n44 thousand times more interesting to see on\n44 the stage than they are to read.\"\n& Now you see in this passage he certainly\nleaves one with the impression that these\nplays are wonderful on no matter what stage\nthey may be played, for he says, generalising,\n\"Tchekov's plays are a thousand times more\n44 interesting to see on the stage than they are\n44 to read.\" Whereas they have been proved\nto be very uninteresting to see upon any\nstage except that of the Moscow Art Theatre.\nFor instance, a play called 44 The Seagull \"\nby Tchekov was performed at the Imperial\nTheatre at St Petersberg and met with no\nsuccess. 44 The reason being, \" writes Mr Ba-\nring, 44 no doubt that the actors did not quite\nenter into the spirit of the play\", and he\ngoes on to say that 44 as soon as it was played\nin Moscow it was triumphantly successful.\"\nAnd having written this passage he yet does\nnot see the importance of revising his whole\nchapter so as to do full justice to the European\ntheatre when it does happen to distinguish\nitself as in the case of Moscow. &\n& It is not enough to say that actors do\n44not quite enter into the spirit of the play\".\nTo enter into a spirit and to translate that\nspirit to others are quite separate tasks. Good\nreaders can enter thoroughly into the spirit\nof a play seated at home in their arm chairs,\nbut that is a very different thing from inter-\npreting that play to the public.\nIt is the habit for the author of a dramatic\npiece to assist in the production of his play.\nWhen the Moscow Art Theatre set out to\nproduce the plays of Tchekov the author\nunderstood that he was not to come to the\ntheatre till the last rehearsal.\nIt is for this reason that \"Tchekov's plays\nare a thousand times more interesting to\nsee on the stage than they are to read.\" But\nso far as I know there is only one theatre\nwhere this holds good, for it is a theatre\nthat desires honestly and sympathetically\nto interpret the soul of a play at whatever\npersonal expense.\nIn London, in Paris, in Berlin or in Vienna,\nno matter at what theatre the play should\nbe produced, something other than the spirit\nof the play would thrust itself forward.\nIn London a moral or socialistic veneer\nwould be added to the piece, and would\ndestroy its beauty; or some actor manager\nwould use it for the expression of a personality\nhe does not possess. & &\nI have already said that in order to un-\nderstand what Russia is, one must live in\nRussia, and 1 can add here that it is of\nno use for people to try to guess vaguely\nwhat the Moscow Art Theatre is; they must\ngo and see it themselves,... or they must\ninvite it to come to London.\n& There has been for some time much talk\nabout the foundation of a French Theatre in\nLondon, and Madame Rejane was only the\nother day speaking of this possibility.\nBut why? What would the French theatre\nbring us that we do not already know ?\nFar better would it be to establish a\n\\\nRussian Theatre in London. &\nThe fact of not knowing the Russian lan-\nguage makes no difference whatever. The\nEnglish people ought to know that by this\ntime. The Sicilians have visited them two\nyears running; the Japanese have visited\nthem, and the language has been in each case\nthoroughly understood, •., that is to say, the\nlanguage of the acting. & & &\nThere is no doubt about it that some day\nwe shall have an international theatre, and\nthen it will be a capital day for all those\nwho have any talent to show; but a day of\nweeping and gnashing of teeth for those\nhundred and one odd theatres in London\nwhich have nothing to show,.... no talent,\nno adventure. J& & &\n\nTHE PLAYGOER AND SOCIETY. 6d\nMonthly. London & & &\nPlaygoer and Society continues to\nbe well printed and well illustrated and\ninterests us increasingly as we recognise in\nit the endeavour, by the inclusion of outside\ntopics, to widen the horizon (so narrow with"}, {"page_pdf": 48, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.48", "texte": "the majority), of those connected with the\ntheatre, to interest them in something beyond\ntheir own small daily round. &\nFew theatrical journals do this, but in\nThe Playgoer and Society we find quite a\nnumber of pages devoted to really interesting\nmatters. &&&?&•£?\nWe find Mr Wallace L. Crowdy, for instance,\nsupplying a 44 Connoisseurs Note Book \".\nTherein he speaks of Whistler, who is\nprobably unknown to the Professional Actor,\nand his quotation from that master is a thing\nso well worth bringing to the notice of those\nworking in the theatre that we repeat it\nhere:—\n44 Industry in art is a necessity:... not a\n44 virtue.... and any evidence of the same\n44 in the production is a blemish, not a quality;\n44 a proof, not of achievement, but of abso-\n44 lutely insufficient work, for work alone\n44 will efface the footsteps of work. \"\n& 44 The work of the master reeks not of\n44 the sweat of the brow suggests no\n44 effort.... and is finished from its begin-\n44 ning.\"\n& 44 The completed task of perseverance only\n44 has never been begun, and will remain\n44 unfinished to eternity.... a monument of\n\" goodwill and foolishness. There is one that\n44 laboureth, and taketh pains, and maketh\n44 haste, and is so much the more behind. \"\n44 The masterpiece should appear as the\n44 flower to the painter.... perfect in its bud\n44 as in its bloom with no reason to\n44 explain its presence, no mission to fulfil,\n44 a joy to the artist, a delusion to the phi-\n44 lanthropist, a puzzle to the botanist, an\n44 accident of sentiment and alliteration to\n44 the literary man \". & & &\n& And again, ... and how this applies to the\nhotch-potch of the theatre, where painter,\nmusician and poet all lend a hand !.... he\nreminds us how Whistler disdained to give\nhis harmonies and symphonies popular names\nborrowed from the literary man because,\n44 Even commercially this stocking of your\n44 shop with the goods of another would be\n44 indecent custom alone has made\n44 it dignified. Not even the popularity of\n44 Dickens should be invoked to lend an adven-\n44 titious aid to art of another kind from his.\n441 should hold It a vulgar and meretricious\n44 trick to excite people about 44Trotty Veck\"\n44 when, if they really care for pictorial art\n44 at all, they would know that the picture\n44 should have its own merit, and not depend\n44 upon dramatic, or legendary, or local in-\n44 teres!\". & &\n& 44 Art should be independent of all clap-\n44 trap.... should stand alone, and appeal to\n44 the artistic sense of eye or ear, without\n44 confounding this with emotions entirely\n44 foreign to it, such as devotion, pity, love\n44 patriotism, and the like. \"\n& All this, and much else which Mr Crowdy\ncites or says is well worth the serious con-\nsideration of the workers in the theatre\ntoday; we hope he will continue to contribute\nthese interesting pages and that the actors\nand actresses will not avoid reading them,\nfor when the actor and actress know a little\nmore about the other arts, and the indepen-\ndence of those other arts, they will become\ndiscontented with the existing state of the\ntheatre, and so discontent may lead to the\nrealisation of the necessity for reform.\nThe Playgoer and Society is well worth\nits sixpence, and promises to be the leading\nLondon theatrical journal.\n\nTHE BANG. Weekly. 5 cents.\n**jphe readers of The Mask may probably\nnever have heard of The Bangt a weekly\njournal published by Alexander Harvey on\nthe tenth floor of No. 140, West 29th Street,\nbut they should certainly buy the number\ndated April 25, 1910. &\n& It contains but one long essay, the subject\nbeing Mr Laurence Irving as Monsieur Du-\npont. & & & &\nIt is impossible to give the exact idea of\nthe quality of this journal without quoting\nfrom its pages. Here ,then, is the first passage\nof the essay 1 &\nTo the flawless art of Laurence Irving in\nthe part that dominates 44 The Three Daugh-\nters of Monsieur Dupont,\" the memoir writers\nof our time will pay tributes no less glowing,\nno less merited than were accorded Elizabeth\nBillington by the British diarists of the late\neighteenth century. As 44 Monsieur Dupont,\"\nLaurence Irving breathes into his art a spirit\nas fine as that of Mounet-Suliy. &\nMerely to see Laurence Irving emerge upon\nthe stage in his make-up for this part is to\nbecome conscious of the relation of his art\nto our personal affairs, for he makes us un-\nderstand a type of character. There is an\nirresistible and arresting humanity in the\nmere stroking of his whiskers as 44 Monsieur\nDupont\". Laurence Irving strokes those whis-\nkers with an inerrant ease and an Instinctive\ninevitability that proclaim the hand of the\nmaster. A detail, this, a trivial detail. He\nstrokes those whiskers unconsciously, gravely."}, {"page_pdf": 49, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.49", "texte": "An art less finished would stroke the whis-\nkers grotesquely, in defiance of the sense of\nproportion so much admired by Nietzsche.\nLaurence Irving strokes the whiskers with\nall the restraint of the Greek intellect as it\nfinds expression in the master pieces of tra-\ngedy. Were he not to stroke the whiskers\nthere would be something lacking in his\n44 Monsieur Dupont \" precisely as were there\nno knocking at the gate in Macbeth, we should\nmiss an impalpable and indescribable essence.\nLaurence Irving's stroking of those whiskers\nis sufficient to proclaim him a great inter-\npreter. He does not make 44 Monsieur Dupont\"\nabsurd in the gesture. He actualizes him,\nrenders the man of common clay like our-\nselves, weds the sublime with the ridiculous,\nand leads us at the outset of the piece to\nanticipate the greatest things. I have read\nsomewhere that no mortal could say 44 oh I\"\nso poignantly as Demosthenes. Certainly, no\nactor on any stage ever stroked or could\nstroke the whiskers of 44 Monsieur Dupont\"\nas Laurence Irving strokes them. They are\nridiculous, those whiskers, inches long, pen-\ndent to the shoulder from each cheek, hungry\nwhiskers, cheap whiskers, but as Laurence\nIrving strokes them they acquire the tragical\nsignificance of the gadfly that torments Io in\nthe Prometheus Vinctus. &\n\n/\nHARPER'S MONTHLY. //-. London\n& New Yotk.\nJ-j arper's Monthly continues to be one of\nthe best of the illustrated magazines. It\nhas individuality and vitality, and, having\nlived for sixty years, one hopes may live for\nsixty more. &\nAll the same, there is nothing so good\nthat it cannot be better, and in turning over\nthe pages of the last number an impression\nwas conveyed of something detracting, if but\na little, from its quality.... an impression\nbest described as one of pervading sadness.\nWhy are so many of its contributors,\n(especially the feminine portion), so sad ?\nWhy, to quote the opera ditty, 44 do these\nmournful ladies sigh\" so heavily upon so\nmany of its pages? The most admirable thing\nin life is pluck, and if ladies are bent on\nwriting, drawing, acting and playing let their\nart be gay, not sadder than that of their\nrivals. &\nConsider, for example, this present number\nof Harper's. & &\nIt opens excellently with a charming and\nexhiierating article about Marseilles and sets\nus on our way in a cheerful breezy mood.\n& But on page 13 the mist gathers. A lady\ntakes up her pen, and she sighs heavily as\nshe sets before us a picture of an 44 ugly\ncheerless twilight\", 44 bleak skies and raw\nwinds \" as the scene of her 44 Romance\", and\nwe also sigh and our spirits fall a degree\nor two. jz/\nOn page 22 another lady comes forward,\nnd we can almost hear her groan as she\nwrites, and when she does not groan she\nsighs. It is really very sad.\nOne turns over some more pages; it all\nseems rather pathetic, rather lacking in the\njoy of life. Then we reach page 107 where\nthere is a very sad story by a [lady named\nMuriel, and on page 148 another lady named\nAlice sobs through three verses as she tells\nhow her lover left her,... a subject on which\none would have counselled the utmost reti-\ncence and a good smile for the world.\nThen the pictures ! The illustrators choose\nthe most pathetic bits to portray. The worst\nis on page 19 where we are shown a girl on\nher knees by her bed, crying 44 till her head\nwas heavy, \" and we long to beg her to cheer\nup. .. For what is the ;good of all this ? &\nThere are doubtless plenty of men quite\nas down on their luck as the gentlemen who\nclasps his head so despairingly on page 73.\nThere are quite a number of girls whose\nlovers have left them or lovers who have\nbeen left by their girls, but if they had any\ngrit they were no doubt at their usual places\nnext morning and all the succeeding mor-\nnings, and no one any the wiser, and one\ncan imagine that these people who know so\nwell what real pain and real discipline are\nmust feel rather resentful when they turn\nto books or to the theatre or to pictures to\nbe braced, distracted, refreshed, and are met\nwith sighs and groans and floods of tearsi\nHarper's has always been so excellent a\njournal that it is perhaps rather impertinent\nfor one to find fault with it,.... what per-\nfect printing, what admirable drawings, what\na genius in Howard Pyle, what a splendid\neditor !.... only the tearful ladies detract\nfrom the whole effect,.... just a little ... I"}, {"page_pdf": 50, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.50", "texte": "FOREIGN NOTES\n\nPARIS\nJ. de S.\ngreat excitement of the season has\nbeen Mile. Anna Palovna's return to the\nOpera House in her charming dances, and\nwith her M. Orloff and other gentlemen who\ndance, and with them M. Benois, M. Bilibine\nand other gentlemen who paint.\n& The result has been something quite char-\nming, and, thank goodness, quite unimpor-\ntant. j£/ j!C/ jg}\nIn Paris we feel so much the charm of\nthe unimportant.\nHere is M. Orloff dressed up by M. Benois\nleaping charmingly in the air and eventually\ncoming down again upon the wooden boards\nof the Opera House. It is that which is so\nentrancing. We never forget the boards. &\n& Here in Paris we may boast of having\ncreated an ideal but a valueless theatre.\n& We have always raved over the idiotic\nprovided it was charming.,^\nThe Russian Ballet is a queer thing made\nup of pretty music, very pretty ladies, who\nare very light on their feet, pretty costumes\nand compares pretty favourably with the ballet\nof the last two hundred years. But should we\nstop to compare it with the ballets of the\nRenaissance and the ballets of the Greeks,\nthen, if report speaks and shows correctly,\nthe Russian ballet can be described as trash.\nThat it is the first ballet in Europe is\nnothing in its favour. It it were the last\nthere might be something to think about.^\n\nLONDON\nG. H.\nhas reached here from New York of\nthe downfall of the Theatrical Trust.\nIf it is true, the New York Review has\nprobably had something to do with it, But\nit is rather a bad prospect for England for\nit seems likely that all the Trustees will take\nrefuge in Briton.\n& Report says that the Schubert Brothers\nhave played an important part in this battle\nagainst the Trust. But what of the Schubert\nBrothers themselves? Have they a very splen-\ndid record of artistic achievement in their\nbooks ? Or are their books only concerned\nwith figures, even as the Trust was only\nconcerned with figures ?\nIt is nothing that business men should\nhave given place to other business men. What\nis wanted is that the business men should\ngive place to the artist. The whole question\nis so very simple and so very profitable\nwhen looked at rightly that it seems sheer folly\nof the business men to stand in their own\nlight any longer.\njy^r Forbes Robertson has been trying to\nform a committee in New York for the\nfurtherance of the movement for the estab-\nlishment of the proposed National Theatre\nin London. &\nNaturally he has been unable to achieve\nanything. jg?\nHe ought to go to Germany and try to\ncollect funds for the same purpose, or perhaps\nto Italy. & jgr\nIt is not a new idea, this of going round\nwith the hat for national enterprises, but this\nkind of thing strikes us as rather a pity\neven when it is only practised at home in\nEngland. jgr jg/\nBut when one goes abroad confessing that\none's nation,... the richest nation on earth....\nhas not got enough money to spare (or to\nwaste) for a National Theatre, only two impres-\nsions can be forthcoming ;.... Either that\nthe nation is uncommonly ignorant of what\nis good for itself, or that the idea of a Na-\ntional Theatre strikes the nation as tom-\nfoolery.\nTherefore it seems hardly a sensible thing\nto do to go round the world advertising\neither of these two facts as Mr Robertson\nis doing.\n\nCOPENHAGEN.\n\n''jphe Danish Open Air Performances are\ntaking place in the pretty and romantic\nwood \"Pyrehaven\" about four miles from\nCopenhagen and near the \"Oeresund\".\nThe stage is very simple, being only a\ngrass-covered hill, where a natural semicircle\nis formed by the majestic centenarian\nbeeches which surround it. &\n& In closest and happiest accordance with\nthe ancient northern sentiment which reigns\nupon the historic soil of these regions, the\nfirst play produced was the fine and powerful\ndrama 41 Hagbarth and Sign©'% the work of"}, {"page_pdf": 51, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.51", "texte": "the Sate poet laureate Adam Oehleijschl&ger,\nthe great Danish bard; the reviver of the\nnorthern Saga-era.... the age of the Vikings.\n<£? The first performance was given on June\n4th before a large and enthusiastic audience\nand was entirely successful owing to the\nbeauty of the surroundings, the mystery of\nthe half-dark woods, and, above all, to the\ndeep and religious sincerity with which the\npiece was produced.\nThe stage management, the work of Mr\nPoul Nielsen of the Royal Theatre in Copen-\nhagen, was really finely done, being In close\nsympathy with the scheme of open air per-\nformances, all stage apparatus and mechanism\nbeing absolutely avoided, since the meaning*\nof Out-of-Door Stage Art is and must be, not\nto attain realistic effects, naturalistic imita-\ntions or scenic illusion; not even to replace\nthe imagination of the stage with the abso-\nlute truth of nature, but merely to create a\ngreat and memorable impression of poetry\nand nature combined. The purpose is not to\nsmuggle nature into art but to introduce art\ninto nature; to reawaken the old myths and\nmysteries of earth and air; to make the woods\nalive with beauty and poetry. Of course Na-\nture is not to be the refuge for unsuccessful\nattempts at stage realism, and the Open Air\nPerformance is no desperate innovation of\nthe struggling in-doors theatre. &\nThe leaders of this national and admirable\nenterprise are, the prominent literary histo-\nrian Mr Vilhelm Anderson of Copenhagen\nUniversity, whose charming works on nor-\nthern classic poetry have made his name\nwidely known, and Mr Adam Poulsen, who,\nwith his brother, Mr Johannes Poulsen, both\nexcellent actors of the Danish national theatre,\nis taking a leading part in the dramas.\nOther parts are successfully performed by Mr\nJohannes Nielsen and by the actresses Mrs\nBlad and Mrs With. &\n& On either side of the stage stand two gi-\ngantic ravens carved in wood and covered\nwith plates of copper, grim and sinister as\nthe ominous symbols of the days of the hea-\nthen gods, and each bearing on his head a\nbowl in which burn sacred flames. These are\nthe work of the well-known Danish artist,\nMr Willumsen. & & &\n& In the auditorium built on the natural\namphitheatre of the hillside around the stage,\nthere is place for more than four thousand\nspectators ranged on simple wooden benches,\nwith, above their heads, the waving leaves\nand th© wonderful summer sky of these sunny\ndays.\n\nO. R.\n\nMOSCOW\na report which has had a very lively\nexistence in Moscow concerning an ima-\nginary disagreement between Stanislawsky\nand Gordon Craig has also spread to England\nwe take the opportunity of publishing the\ntranslation of an Interview which the Director\nof the Artistic Theatre in Moscow,\nV.S. Neniirevitch Dantchenko, gave to a repre®\nsentative of the leading Moscow journal.\nTRANSLATION OF THE INTERVIEW\n|t is known that 44 Hamlet\" is being put on\nthe stage at the Koudojestvenniy Theatre\nby C. S, Stanislawsky and Gordon Craig. &\ng? V. S. Nemirovitch tells many interesting\nthings about Gordon Craig's views and work*\n44 First of all I must confess that I am\ngreatly surprised at various articles which\nappear every now and again in newspapers\nwhich speak of certain disagreements between\nus and Gordon Craig. The reports spread by\nthese articles are entirely without foundation.\nThere are no disagreements whatever. Craig\nis quite an exceptional stage director. Gene®\nrally a stage director works together with\nan artist. & &\n44 Now Craig unites in one person the\ndirector and the artist. 4? &\n44 The stage director who unveils the spirit\nof the author gives a detailed psychological\nanalysis of the parts and detailed characte®\nrlstics. jg?\n44 The artist who gives the most detailed\ndesigns of scenery, costumes, lighting and\nmake® ups. Viz: the whole rnise® en® scene,\neverything that is generally done by the\nstage director together with the artist. &\n& 44 Craig needs only the scene® shifters and\ncarpenters to produce the play.\n& 44 There still remains one department of\nthe stage director's work,...work with the\nactor. Here Craig has quite definite views as\nto the manner and methods which he thinks\nare needful,.... beautiful.\n& \" How he works with actors we shall never\nknow as both sides speak different langu®\nages & 4?\n44 All rumour as to any misunderstandings\nbetween Craig and Stanislawsky are false.\nOn the contrary, Stanislawsky is quite under\nthe fascination of what he calls 44 Craig's\ngenius\". & & &\nj&r 44 Generally the literary and psychological\nside of each production devolves on me, but"}, {"page_pdf": 52, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.52", "texte": "those few sittings at which I assisted have\nevoked in me such a confidence in Craig; he\nIlluminates so profoundly, so gracefully, with\nsuch taste and nobility the meaning and\nsense of 44 Hamlet \" that I had nothing to do.\n44 He is going to produce the play as a\npoetical drama not belonging to any parti-\ncular epoch,.... and there is no epoch in\n44 Hamlet\", where the legend belongs to the\n9th century and the Idea to the Renaissance.\n44 We put the whole theatre at Craig's\ndisposal.\n& 44 Craig says that since he became a stage\nmanager he had never dreamed of finding a\ntheatre where an artist could work so free-\nly. He himself works very hard; he feels\nbored when some times half a day passes\nwithout work. & &\n& 44 Hamlet \" will have only four entr'actes;\nall the changing of scenes will take place\nwithout a curtain before the eyes of the\naudience. Craig does not leave anything\nout and assures us that the performance\nwill not take long. \" & &\n\nLONDON.\n''jphe Daily Mail gives the following report\nof Mr Frohrnan's promises and performan-\nces.\n& 44 When Mr Frohman, in February last,\n44 announced his plans for the Repertory\n44 Theatre, a dozen new plays were promised\n44 as well as fifteen important revivals. Of\n44 this number only seven new plays have\n44 been produced, and there have been only\n44 two revivals. One new play has also been\n44 given that was not in the original list. The\n'* following table shows how far the original\n44 plans have been abandoned.\nPLAYS PROMISED AND NOT PRODUCED.\n44 4The Eldest Son' by Mr John Galsworthy.\n£? 44 4The Iphigenia in Tauris' of Euripides,\n44 translated by Dr Gilbert Murray.\n& 44 4The Outcry' by Mr Henry James. &\n44 A new play by Mr John Masefield.\n44 A new play by Mr W. Somerset Mau-\n44 gham.\nREVIVALS PROMISED BUT NOT\nFORTHCOMING.\n& 44Barrie. Quality Street', 4What Every Wo-\nman 44 Knows' and the 44 Admirable Crichton'.\nGalsworthy. 4Strife' and 4The Silver Box'\n44 Pinero. 4 The Amazons ' and 4 Iris '.\n44 Bernard Shaw. 4 Major Barbara' 4 Man\nand Superman ' and 4 The Doctor's Dilemma'.\n& 44 Barker. 4 The Voysey Inheritance'\n44 Chambers 4 The Tyranny of Tears'.\n44 John Masefield. 4The Tragedy of Nan'.\nTHE PLAYS PRODUCED.\n& 44Galsworthy Mustiee', (28 performances.)\n44 Granville Barker. 4The Madras House'\n44 (10 performances.) & &\n& 44 Bernard Shaw. 4Misalliance' 1 perfor-\n44mance.) &&&&&?\n& \"J. M. Barrie.i The Twelve Pound Look'\n(22 performances.) 401d Friends' (6performan«\n44 ces.) & &\n44 George Meredith. 4 The Sentimenta-\n44 lists' (6 performances).\n44 Anthony Hope and Cosmo Gordon\nLennox. 4 Helena's Path '( 2 performances\n44 Not in the original list. &\n&44 Elisabeth Baker. 4 Chains', (9 perfor-\n44 mances.) & & & & &\n44 4Tre!awny of the Wells', revived, (40\n44 performances.) & & &\n44 4Prunella', revived. (14 performances) &\n\nEDITORIAL NOTES\n\nwe said in our last number, we reserved\nany judgement upon Mr Frohrnan's ven=\nture because we wanted to see whether those\nconnected with it were mutually loyal one\nto another and really in earnest about the\naim they had in view, for otherwise the en=\nterprise was valueless and not deserving of\nserious discussion.^\nWe now hear that the new theatrical house\nis already divided; that Mr Frohrnan's next\nyear's programme includes no plays by Messrs\nShaw and Barker, that Messrs Shaw and\nBarker announce, on their part, that they will\n44 presently break out in a new place and show\nour friend Frohman how to perform commer-\ncial impossibilities and that Mr Shaw has\nbeen publishing his criticisms of Mr Frohrnan's\nplans in the Daily Mail & &\n& There is not much mutual loyalty here,\nnor is there much earnestness in carrying"}, {"page_pdf": 53, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.53", "texte": "out the original purposes if these are to be\nabandoned after a year's trial; for can any\nof the gentlemen concerned honestly believe\nthat a serious artistic enterprise can be really\ntested, much less brought to any final suc-\ncess, in so short a time ? We do not know\nwhere the fault lies; whether it is that Mr\nFrohman's resources have proved less substan-\ntial than expected and so made the venture a\n\"commercial impossibility\" when it included\nthe work of Messrs Shaw and Barker, or\nwhether these gentlemen with their spirited\nsocialistic ideals have got on Mr Frohman's\nnerves. We only know that the crew no longer\npulls together, and that each man is pulling\nas he likes instead cf in obedience to the\nhead. &\nAnd who was the head man in the boat?\nUndoubtedly Mr Shaw, and for the obvious\nreason that he is not merely the most re-\nmarkable man concerned in the enterprise,\nbut one of the most remarkable men in Eng-\nland, and we fully recognise this fact al-\nthough we entirely disapprove of Mr Shaw\nand all that he says and does. &\nOf course it was obvious from the first\nthat the Shaw type and the Frohman type\ncould not go together, though Mr Frohman\nis hardly to be blamed for he was never\nanything but a busines man; he began as that\nand he goes on as that, ...and for his way\nof going on, well, we must believe him when\nhe says he Is \"crazy\" about the idea of the\nRepertory Theatre, for his handling of it justi-\nfies him ; it is crazy in all conscience.\n<£? Why, a theatre like the Court Theatre\nwas what Mr Frohman longed for above all\nelse; Mr Shaw was the soul of the Court\nTheatre, so surely when he secured Mr Shaw\nhe got what he desired, and yet he has let\nhim slip through his fingers. We suppose he\ngot frightened of Mr Shaw, and Mr Shaw got\ntired of Mr Frohman. Perhaps, Mr Shaw, with\nhis unquenchable Irish optimism, hoped that\nMr Frohman was going to reform in some\nway; but, having seen no signs of this after\na reasonable time, he is now washing his\nhands while Mr Barker dutifully holds for him\nthe towel which bears the legend \" honi soit\nqui mal y pense We wonder If Mr Barker\nrealises the meaning of those words ? If he\ndoes he will remain very loyal to Mr Shaw.\nIt is to the advantage of all that group\nto remain loyal and to see to it that the\nwhole burden of the fight does not rest on\ntheir leader. .., Where has Mr Archer been\nlately, by the way ? & &\nIf Mr Shaw's followers should desert him\nthere will be only one feather in the caps\nthey wear in future, and that will be their\nconnection with his personality; and when\nthey fall away Mr Shaw (and personality in-\ntact) will return to take his place in that\nsetting which really suits his figure best, that\nis to say, in a ring of open enemies against\nwhom he fights alone.\nThen he will forget the Repertory Theatre\n... and, let us hope, the Stage.\nare improving... Bubbles are burst-\ning. This time it is a Belasco bubble.\nBelasco, like nearly every other so-called\n44 Stage-manager\" has made his name through\nother men's talents. Belasco paid the men\nand took the credit. Now the bubble has burst.\nWe quote the following passage from the\nNew York Review, May 21st. & &\n44 The Review last autumn told how Mr.\n44 Buckland, who had been with the ex-martyr\n44 for years, was responsible for the lighting\n44 effects and the minute details of stage rea-\n44 lism upon which much of Belasco's fame\n44 rests. At that time Mr Buckland would not\n44 talk. Since going on tour with Mrs. Fiske\n44 he has become more loquacious. Here are\n44 his words bearing upon this subject as quo-\n44ted in the interview &\n& 44 My knowledge of drawing and color and\n44 my keen desire to maintain this integrity\n44 of detail in stage settimgs proved useful. \"\n& 441 went to France for Belasco later to\n44 get the minutiae of 4Du Barry,' to Virginia\n44 to get that of 4The Warrens' and to Japan\n44 to get that of 4The Darling of the Gods'.\"\n44 It is a great satisfaction to the educated\n44 playgoer to find no detail of costume or\n44 decoration that belongs, for instance, to the\n44 Louis XVI. period in a play of the period\n44 of Louis XV.\n& 44 Mr. Belasco devoted much of my time\n44 and his money to this careful study, and\n44 the result was gratifying to both of us and\n44 to his patrons. It made his name a guarantor\n44 for artistic accuracy, which built up his dis-\n•4 criminating clientele of which he is so justly\n44 proud. I studied to find out what the people\n44 of the period and locale of a play did and\n44 why they did it.\"\nFor the whole article we have no space\nhere ; and besides, it concerns America more\nthan England. But the same traffic in other\nmen's brains goes on in all the Theatres of\nEurope. The Production is generally supposed"}, {"page_pdf": 54, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.54", "texte": "to be the work of the Manager; it is more\noften the work of some one or two others.\nMiss Pauline Chase is said to be a very\ncharming actress. Alas! we have never\nseen her, but we hear that she is also a very\nbeautiful girl, and that added to this she\nhas a large share of the natural intelligence\nwhich belongs to her sex.\nFor what reason then does she wish to\ngive the world the impression that she be®\nlieves she is possessed of nothing and must\nhustle if she is to be in time ? jg? &\n& The papers have lately been full of Miss\nPauline Chase's journey to New York in order\nto sell photographs of herself and Mr Roosvelt\nat the Actors' Fair in that city. &\nAs one of the papers points out, if half\nthe money which it cost to send her over\nand bring her back again had been handed\ndirect to the bazaar the actors' fund would\nhave been richer by several hundred dollars.\nThis is perfectly.true.\nft is said that five dollars was the highest\nprice she could get for her photograph even\nwhen she auctioned it herself. It is under®\nstood that Mr Frohman sent her over and\nbrought her back.\nWhy, Miss Chase ? Why ? We suppose you\nhaven't the faintest idea why you were sent,\nor why you were brought back, or that you\nare too nice to understand why. Then why\ndo you do this sort of thing ? You know that\nthe eye of the public is upon the public life\nof every one connected with the theatre and\nthat it has a perfect right to criticise the\npublic actions of actors and actresses. &\n& The criticism dealt out to actresses today\nby the American press is rather cruel at\ntimes, and the New York Review has writ®\nten an article about this exploit which is\nsomewhat unfair; but then why does Miss\nChase accept such a task from Mr Frohman or\nany other wire puller? Why does she play the\nmarionette, allow herself to be attached to\na wire and answer to every pull of the ma-\nnipulator's hand ? Doesn't she see that there\nare at least thirty or fifty or even a hundred\nothers dangling by similar wires and Mr\nFrohman's fingers are pulling the strings of\nall of them and making these charming ladies\nbehave quite absurdly ? JZ/\n><& You never find the actor managers of\nLondon doing so. Sir Herbert Tree was never\nknown to advertise the ladies of his theatre\nin this manner. Mr George Alexander would\nsooner die than play with his theatre and\nhis performers In so vulgar a way.\nThere is more than plenty of opportunity\nfor a clever actress to succeed on the stage\nby means of her talent, and the public prefers\nan actress of talent who can avoid assisting\nin these advertising tricks played by adven-\nturesome managers.\n& May be this kind of thing Is liked well\nenough in America. To us in England It is\nout of date behind the times, ... for\nthe age of the mountebank is over.\n& Miss Chase, you must not be offended by\nour impertinence in advising you.... but\ntake our word for it; you are beautiful enough\nto stand alone,.... and how clever you might\nbecome should you realize this !\ne have heard of Donald Robertson in\nEurope. We know of him as a man who\nis reported to have done the best American\nwork in the Chicago Theatre, and quite lately\nwe have come across an Interview with him\nin a New York paper In which he talks about\nthe theatre as being the church of the future,\nand how its mission is purely esthetic and\ncannot be doctrinal, cannot be confounded\nwith the pulpit or the platform, is to show\nthe beauty of life, is not to be used for kil-\nling the idle hours of the idle rich nor even\nof the busy rich, but is in Mr Donald Robert-\nson's opinion a very important place entrus-\nted with a very serious duty.\n& Reading the Interview a long sigh in-\nstinctively escapes, for one has heard so much\nabout all this; but then one's caution whispers\nthat after all Mr Donald Robertson may have\nproduced such beautiful work that he is\nentitled to speak in this way, and then\none regrets that one has never seen his work.\nStill we are inclined to think that very little\ngood results when an artist speaks in the\nabstract about the theatre and repeats more\nthan a few times that it is the church of the\nfuture, etc, etc. <&>\nEveryone is prepared to let the theatre\nhe what it likes to be and what it will be,\nand we are glad to find in Europe more and\nmore that those artists who are discontent\nwith the present state of affairs in the theatre,\n(and what artist Is not) are devoting them-\nselves to a clearer definition of just exactly\nhow and where the theatre goes wrong.\nThus in the last year or two very many\nexcellent papers have been written pointing\nout technically some theatrical blunders\nand technically some remedy. Where these\narticles differ from those of proceeding years"}, {"page_pdf": 55, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.55", "texte": "Is in the attention the writers give to a new\nstandpoint: that is to say, to that point of\nview from which we see the theatre of the\nfuture being reborn as an independent art....\nan art unassisted by literature, music or\npainting. & &\n& And those writers, instead of picking up\nthe old themes such as \" Are footlights ob-\njectionable ? \", or \" Is the theatre a place of\namusement ?\", or \" Did the theatre spring\nfrom religious rites?\" or \"Shall we discuss\nethics in the theatre?\" choose fresher themes\nand such as can be spoken of practically\nonly by those who work in theatres and bring\nmore benefit to those who believe that the\nquestions of technique are more important\nthan questions in the air. These other vaguer\nquestions can be left to the tea-tables and\nthe amateur. jg?\n& And bearing all this in mind we would\nlike to see Mr. Donald Robertson when he\nwrites putting his powers to some better\nuse. We should like to see him turning his\nattention to some theme which other people\nhave not chattered about for years. He would\nthereby be joining the ranks of those more\nserious writers of whom we have spoken;\nof those who perceive the trick which is being\nplayed on the public at large by the com-\nmercial managers, press agents and the rest,\nwho every now and again attempt to hoodwink\nthe public as to the real questions which\nneed not be solved, and to which, in fact, there\nis no solution.\n& Such managers know perfectly well that\nif only they can hold the attention of the\npublic rivetted upon such a trivial question\nas whether footlights are good or bad they\ncan keep the public attention away from the\nfar more important question as to whether the\ndaylight is not far better, than all and every\nkind of artificial light. jg?\nSuch managers enter into heated discus-\nsion as to whether Shakespeare should be\nproduced lavishly or without scenery in order\nto avoid the far more important question as\nto whether Shakespeare should be produced\nat all.\nBut these other, more important, questions\nhave come to the fore lately, and once having\ncome there it is clear that they are not going\nto be left unanswered for long.\ngir Herbert Beerbohm Tree regrets the haste\nshown in dramatic criticism. &\nAs a cure he proposes making the play\ncommence an hour earlier. This, he points\nout, will give the critic an hour more; but\nhe does not reckon that it wil! also give the\nmanager an hour less. Has it suggested itself\nto Sir Herbert that, with an hour more at\nhis command, the critic will have time to\nnotice... and to regret... the haste shown In\ndramatic productions ? & &\nwe know many people who think\nthat there is no Art of the Theatre, we only\nknow of one person who thinks that the\ntheatre possesses several arts, and that is\n'Sir Mordred'.\nWhether he could define exactly what\nthese arts are it would be unfair to ask, but\nhe can be congratulated on his discovery*\nThe discovery was announced on June 5th\n1910 in that admirable paper, The Referee.\nH. B. Irving, speaking on \" The Press\nand the Stage \" the other day, drew\ntention to the efforts which his brother is\nmaking to reform theatrical criticism. He\nsaid, \" I have a brother touring in the United\n\" States with a play too short for a full eve-\n\" ning's entertainment. Consequently, he sup-\n\" plements it by nightly addresses to the\n\" audience.... not only in the theatre but\n\"throughout the empire and the civilized\n\" world... on the subject of criticism. And\n\" so successful are these orations that I con-\n\" fidently expect them to result in a crusade\n\" which shall enable the theatre to come to\n\" the same level of popularity as the music\n\" hall.\"\nThe paper which reported him says that\nhe spoke in a humourous vein. The humour\nseems a little difficult to understand. Was\nhe poking fun at his brother when he ex-\npressed the belief that Mr Laurence Irving\nwas working towards bringing the theatre to\nthe same level of popularity as the music\nhalls, or what was his intention ? £/\nHow strange it is that members of the\nEnglish theatre cannot get away from a com-\nparison between theatre and music hall!\n<£? The question of music hall and theatre\nis not an important one at all, and there is\nno call for actors to be facetious or patro-\nnising in regard to the comedians of the halls.\n& There are some more important problems\nto be solved, yet these are avoided year\nafter year by those who like to be known\nas the serious representatives of the English\ntheatre.\nWhy actors have been brought to say so\nmuch lately about the music hall is that its\nprogress affects their pockets. Actors will"}, {"page_pdf": 56, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.56", "texte": "not take any notice of the more serious ques-\ntions until ; these also affect their pockets.\nIt is a great pity that the English actor\nwill not wake up to the importance of his\ntrust.\nghice the New York Review started on its\ncampaign to assist in the reform of the\nNew York stage, in fact of the whole Ame-\nrican stage, it has continually accused Klaw\nand Erlanger of every conceivable villainy\nunder the sun, and especially Erlanger, be-\ncause of the indecent shows that he is sup-\nposed to have foisted upon the public.\n& The moral rage which the New York Re-\nview gets into is quite exciting. It is like the\nloudest platform speaking in the rowdiest of\ndistricts. &\nWhile attacking Klaw and Erlanger the\njournal holds the Schubert Brothers up as\nthe pattern of theatrical directors. Every\nsecond word in the paper is \" The Schubert\nBrothers \". Obviously it is the paper of those\ntwo brothers and their enormous army of\nassistants. And it is quite likely that the\nNew York Review is perfectly right, and\nthat Erlanger, in introducing indecent plays\nto the public, is doing a lot of harm, and that\nthe Schubert Brothers, in trying to do away\nwith them, are doing the theatre a great deal\nof good.\nWhat we want to know is, who lets Miss\nMay Mackenzie write as she does in the same\npaper? A paper which wants to protect the\npublic from Mr Erlanger should take care of\nMiss May Mackenzie as well. &\nWe note in the number of May 14th re-\nferences to the Royalty of England which are\nhighly offensive. & &\nWe do not know who is responsible for\nthese, but Messrs Schubert Brothers might\ngive that especial column a glance now and\nagain. They will find it as amusing as, and\nnot less indecent than Erlanger's plays which\nthey are trying to get rid of. £?\nJn a recent number of the New Age, Mr\nWalter Sickert advises artists to take more\nthought before they waste their time, energy\nand money In exhibiting their works, and\nthis is very good advice.\n& In the same number Professor Herron\nrails against Colonel Roosvelt in an article of\nseveral columns' length .... But why ?\nThat the Colonel should get it hot is only\nnatural, that he deserves to is undeniable;\nbut why should the gentle Professor waste\nhis time, energy and money on Roosvelt?\nDoes it do anyone on earth any good ? We\nthink not; and we should say that, instead\nof occupying himself in the negative and\nfruitless task of cursing the late President\nof the United States, Professor Herron would\nhe far better employed in the positive and\nfruitful work of strengthening and setting\nfree those forces which would cause the\nRoosvelts of the age and all their kind to\nbecome as rare as white elephants.\nThe forces we allude to are the forces\nof beauty, those who exercise them are the\nartists, and when the artists take their\nrightful position all ugly things will disappear\nwithout conscious effort upon anybody's part.\nThey cannot be forcibly driven out, but\nthey can be crowded out by the substitution\nof other things, and Professor Herron's at-\ntitude really seems analogous to us, in its\nfutility, to that of a man who stands in a\nshuttered room at midday and inveighs\nagainst the darkness. Let him divert his\nenergies to the simple business of opening\nthe shutters and the darkness disappears of\nItself. &\n& The thing which strikes us about The New\nAge,... not only the journal but the period...\nis that there are a great number of people\nof all classes sitting at one board grumbling\nat something in front of them and apparently\nunconscious that they could be more useful\nin assisting each other than in discontentedly\ninveighing against Colonel Roosvelt, the Ger-\nman Emperor, the Constitution of England,\nNelson, and Good Manners.\nThere is nothing so fruitless or so un-\nprofitable as vague grumbling. A discontent\nwhich manifests itself in some practical way,\nby a strong and persistent effort to remedy\nthe evil conditions personally, or to strength-\nen the hands of those are who capable of doing\nso, is both fruitful and valuable; but such a\ndiscontent usually begins in self-discipline,\nand knows the value of reserve force too\nwell to let it evaporate in aimless invectives\nwhich do no one any good.\nHow much more admirable it would be,\nfor instance, if Professor Herron, instead of\nfilling the columns of the New Age with\na string of lamentations and curses like a\nmodern Jeremiah, were to spend his time,\nenergy and money in trying to assist his fel-\nlow-contributor Mr Sickert, or some other\nartist, in the creation of such beautiful things\nas should counteract the influence of all the\nRoosvelts in the world. & &"}, {"page_pdf": 57, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.57", "texte": "& For no one today is doing more to annul\nsuch evil influences than the artists, ... the\npainters, poets, musicians and artists of the\nTheatre.... who are producing fine works\nof art. <<&\n& A beautiful picture, a well-decorated villa,\n(and we know the Professor to be possessed\nof a noble villa in Italy,... a villa awaiting\nthe touch of such an artist as Mr Sickert...)\nor a splendid poem, is a better protest against\nRoosveltism, Hooliganism, and kindred evils\nthan all the articles which man can pen, and\nif any duty upon earth is clear it is the duty\nof the rich socialists to act the part of nurse\nto the tremendous works of majesty and\nlabour being born around them,... too often\nstill-born for want of the fostering and pro-\ntective care of these wealthy men. J®\nWe have, in fact, little sympathy with\nthe rich socialist of today. We may go even\nfurther and say that we dislike and distrust\nthe railings of those who are in a position\nto \" work for the good \" and who avoid their\nresponsibilities. In regard to such man we\nfeel inclined to echo Macbeth;...\n\" Thy bones are marrowless, thy blood\nis cold ;\nThou hast no speculation in those eyes\nWhich thou dost glare with ....\nUnreal mockery, hence ! \"\nWhen men like Professor Herron are\nstrongly and sincerely working in a practical\nway to counteract existing evils we shall\nlisten with attention if at times they also\nfind it expedient,... or a relief to their feel-\nings,.... to decry those evils in the pages of\nthe New Age or any other journal; but it is\nby work, not words, by supporting the good\nrather than by inveighing against the bad,\nthat results are attained. &\nLet Professor Herron lay down his pen,\nforget Colonel Roosvelt,... the mere thought\nof whom, we are sure, sends up his tempe-\nrature... and look around him; and he will\nfind that, while he is talking, a good deal of\nsilent plucky work for the remedying of those\nevils is being done in the face of obstacles\nwhich it would be well within his power to\nremove. Until he does this and substantiates\nhis preaching by practise he has really no\nmore power to move us than a strident pho-\nnograph adding to that noise and disharmony\nof life which he decries. &\n& The desirability of some such action on the\npart of the capitalists Is brought before us very\nforcibly when, in the paralel columns in a\nmagazine, we find Mr Sickert advising the\nartists to withold the gift of their art because\nof the cold response it meets with and Pro-\nfessor H err on objecting to evils which would\ndisappear before the wider diffusion of those\nvery artists' works, and we would suggest\nthis Idea of co-operation to him and to all\nthe rich socialists of the day as worth con-\nsideration.\nThere are probably many fine and disin-\nterested enterprises going forward; there\nare certainly many artists working in the\nservice of beauty in face of obstacles quite\ninconceivable to the wealthy gentlemen who\nare so discontented with the present condition\nof the world. Let the said wealthy gentlemen\nbring their money to the service of these,\nset them free from small and mean preoccu-\npations about rents and boots and butchers\nand bakers, about how to procure colours\nand blocks of marble and paper and printers'\nink, so that they may be free to give their\nbest to the world, and they will soon so flood\nit with beauty that ugly conditions, ugly\npersonalities will disappear as noiselessly as\nthe dew before the rising sun.\n& ...We admit the inadequacy of the simile in\nthe present connection, realising that Colonel\nRoosvelt and his blatant company have no-\nthing in common with a thing so exquisite\nand evanescent as the dew; we only mean\nthat the order of their going will be equally\nunobtrusive and inevitable. Anyhow, we know\nthat Professor Herron will understand us; and\nperhaps the next time he feels tempted to\nsit down in his beautiful villa and pen so\ndenunciatory an article he will act the part\nof Balaam and, setting out to curse, will\nstay to bless,... the artist; and that by his\npractical support. & & &\nMEDIOCRITY. &\nthe admirable \"Letters of an Engli-\nshman\" which appeared in the Daily Mail\nduring June we have read with especial in-\nterest one upon the \"Normal Theatre\". It\nseems to us as just in its conclusions as it\nis temperate in its expression of them, and\nit emphasizes the fallacy of that belief held\nby certain serious minded persons, that the\ntheatre is a pulpit, shared by dramatist and\nactor, and that its object is to \"do good\nNo one cherishes this belief more fondly\nthan Mr Granville Barker. He is obsessed by\nit to such a degree that he Is obscuring his\nreal gift for stage management under the\npreacher's role; instead of \" doing well \" in"}, {"page_pdf": 58, "page_imprimee": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.58", "texte": "th© theatre he must be trying to \"do good\"\nin some vague uncensored way to the parish.\n& \"Englishman\" writes of him, \"It is cha-\nracteristic of Mr Barker, in whom humour,\n\"was never a dominant quality, that he\n\"should describe 'the movement which he is\n\" concerned to foster' as 'the normal theatre',\"\nand he then proceeds to point out very con-\nvincingly that it is nothing of the kind.\n& \"There is arrogance\", he continues, \"in\n\" this claim to be 'normal' which might be\n\"pathetic if it were not ludicrous; only the\n\" very greatest neither transcend nor fall\n\" below the norma!. Sophocles was normal;\n\"Shakespeare was normal; Moliere was nor-\n\"mal\"; whereas, he adds, \" abnormality is the\n\"very essence of Messrs Shaw and Barker.\"\n& But Mr Barker does not merely think that\nhis is the normal drama; he goes further,\nand sees in his own work and Mr Shaw's\nwhat he describes as the Puritan element\nin drama, and, as \"Englishman \" points out,\n\" here we have a clear and definite contra-\n\" diction, for there can be no Puritan element.\n\" Puritanism and th© Stage are old irrecon-\n\" cilable enemies. Not even Mr Barker's habit\n\" of preaching will avail to soften the hosti-\n\" lity... When we discover a vulpine sheep-\n\" fold then we may expect to see a Puritan\n\" theatre.\" & & &\nAnd the strange thing is that it is in the\nname of this Puritanism that Mr Barker\ndemands the abolition of the Censor! It is\nlittle wonder that \" Englishman \" cannot\nmake out what Mr Barker Is driving at for\nneither can anyone else. & &\nWe, on our part, would suggest that,\nbeing himself a very righteous person, and\nbeing dazzled by association with the para-\ndoxical nature of Mr Bernard Shaw, (who can\nnever be described as \" righteous \" even if\nhe may be described as \" thoroughly good \",)\nhe has assumed this kind of hypocritical\nsmirk as an effective thing and one which\ncosts very little. For we find that Mr Barker\nis not one to suffer for his righteousness's\nsake nor is he one of those men who are\nready to lose anything for any cause but that\nof \" self \". He is very moral,... but he has\nlost nothing by it: fearing isolation, and ever\nglad to be in with a party, he has yet cer-\ntainly made no definite stand.\n& His zeal for the abolishment of the Censor\nis a case in point. Mr Barker does not want\nto abolish him because he considers the prin-\nciple of Censorship a bad one but because he\nwants to get some of his own plays through.\nIt is characteristic of Mr Barker that he is\nalarmed at all mention of principles : he is\nconcerned rather with opportunities, espe°\ndally such as can be turned to his own ad-\nvantage, and though this may be a very\nadmirable thing it is not the stuff of which\ngreat men are made. & &\nWe have, in fact, doubts as to the con-\ndition of Mr Barker's artistic conscience. We\nwonder, for instance, wherein lay the magne-\ntism and repulsion of Mr Frohman,... why\nthis sudden enthusiasm for his cause and the\nequally sudden coldness ? And again, what\nare we to think when a capable young stage\nmanager folds himself in a preacher's gown\nand sets out to missionise the world across\nthe footlights? jg? <£?\n& But if in these cases Mr Barker's conduct\nseems inconsistent, he is, on the other hand,\ntimidly consistent in the smaller matters. He\ndare not contradict himself; he trips along\non a track narrow as a knife blade; he is\nexclusive,... as exclusive as mediocrity. He\nproves this in his 'abnormal' Puritan drama.\nCompare it and him with the work, the moral\nwidth, of the great men,.... with Synge,\nYeats, Barrie, Shaw: (don't let us drag the\nnames of Shakespeare, Sophocles and Moliere\nInto the case at all, but keep the comparison\nto his contemporaries,) and we must admit\nthat we do not find the largeness of sympathy\nin Mr Barker that we find in the others,...\nfor instance, in Mr Synge; we only find the\n44 eloquence of discourse \" and the 44 tedium\nof superfluous debates \". Therefore he is not\ngreat as a playwright.\nNor do we believe he is great as a prea-\ncher ; besides, sermons have nothing to do\nwith the theatre, and if Mr Barker feels a\ncall in that direction why does he not Join\nthe Salvation Army or the Young Men's\nChristian Association where such gifts as\nhis might find their full\nWe had once hoped that Mr Barker might\nhave had something to do with the artistry\nof the stage, but there also we have been\ndisappointed; he has nothing to do with it,\nhe feels little for it and we must conclude\nknows nothing about It; he does not even\nwant 44 two trestles, two actors, and a pas-\nsion \". No, what Mr Barker wants is a text,\na pulpit and a glass of water, together with\na congregation of parishioners glad to be\ncalled 44 brethren\" by so arrogant a man.\nGive him these, leave him free to expound"}, {"page_pdf": 59, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.59", "texte": "his doctrine of-Stage Puritanism without a\nCensor, and Mr Barker will have realised his\nidea of the seventh heaven.\njg? But that idea is nothing which can be\ncalled 4NationaS' although it may certainly\npass as parochial. The parish may blindly\naccept such a wolf in sheep's clothing, but\nthe nation will assuredly not temper the wind\nto such a representative of the shorn lamb.\n& In regard to the theatre as in regard to\nevery other branch of national enterprise,\nthe English will very soon put the question,\n44 why are we behind other nations?\" and\nthe answer 44 Because of the Censor\" will\nnot satisfy them. Neither will it do to offer\nany solution but the right one, which is that\nin England our little men have a prejudice\nagainst our great men and are allowed, by a\npolicy of intimidation, to weaken their in-\nfluence with the nation. jg? &\n& That this answer is the true one is slowly\nbeing perceived. In every branch of art\nor of industry we find the little men formed\ninto powerful cliques, devoting their whole\nenergy to the 44prevention\" or 44suppression\"\nof the big men and appealing to the nation\nto prevent these 44 rash \" men from interfe-\nring with the present 44ideal\" conditions.^\nThe great men we speak of are not those\nof any party; they are the individualists\nwhose sole master is the King, whose one\nideal is the majesty of the Empire. They are\nfound in every class of Society, in every in-\ndustry and in every art. J& jg?\nMr Barker belongs to that group of little\nmen who are frightened for the parish. What\nhe loves is that which he erroneously calls\n44 normality \" but which others call 44 medio-\ncrity \", ...and though mediocrity wins nothing\nthere are at least no risks. &\n& Under the rule of such men as Mr Barker\nthe English Theatre would sleep: he would\nnot have it either compete with, or be swept\nalong in, the wonderful movement which has\nfor some years now been felt everywhere in\nEurope except in London.\nIn Russia, Germany, Poland, Holland, Italy,\nAustria, France, Hungary, Spain, Portugal,\nGreece, Sweden, Norway, Denmark, every-\nwhere, in fact, but in London, the theatre\nis beginning to answer the call of its greatest,\nnot Its smallest, men ; is beginning to realise\nthat the older and nobler traditions of our\nart are in danger and that to save them\ncourage is needed; is beginning to realise\nthat our very liberty is at stake, that our\nartists are beset on all sides by traitors to\nthe art,,., we mean those so-called 44 artists \"\nwhose disloyal cry is 44 down with the king,\nmajesty and ceremony! Long live the Pro-\ntector, ugliness and the mediocre ! \"\n44 England, what of the Night ?\" cried\nSwinburne fifty years ago; and gave the\nanswer as he seemed to hear it from the\nnation :...\n44 England, what of the night?\nNight is for slumber and sleep,\nWarm, no season to weep,\nLet me alone till the day.\nSleep would I still if I might,\nWho have slept for two hundred years :\nOnce I had honour, they say,\nBut slumber is sweeter than tears.\n& And that reply we can expect still to hear\nfrom Mr Barker and his discreet company,\nwhile from the reawakening European thea-\ntre comes a prouder answer;...\n441 perceive, on the height,\nEastward, not now very far,\nA song too loud for the lark,\nA light too strong for a star.\nAnd the mastery of old and the might\nLives in the joints of mine hands,\nSteadies my limbs as they rise.\nStrengthens my foot as it stands,\nwii a number of an American publication,\n*New Shakespearean a, which has reached\nus we note a passage, which, in speaking of\nRichard Mansfield's death, is a trifle hard on\nDavid Garrick. The notice begins like this:\n44 When a mere local London actor, who\n44 had never played outside of England,\n44 one David Garrick, died, he was fortunate\n44 in having as a friend the sententious Dr.\n44 Johnson, who announced that 44 Garrick's\n44 death has eclipsed the gaiety of nations. \"\n44 A careful reading of contemporary accounts\n44 of Garrick's acting.... of his stage devices\n44 to heighten effects and his sacrificing his\n44 author to himself.... will convince us that\n44 his unearned fame rests more securely in\n44 Dr Johnson's praise than in his own abilities\n44 or achievements, however eminent. \" £/\n& The italics are ours.\nWhy the gentleman who never goes out\nof England should be a worse actor than the\ngentleman who travels all over the earth is\nnot quite clear. We do not believe that\nShakespeare himself ever wrote plays out of\nEngland, but does this make his plays com-\npare unfavourably with those of Clyde Fitch,\nfor example, who travelled all over Italy and"}, {"page_pdf": 60, "page_imprimee": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.60", "texte": "wrote in several lands?\nLater on in the same notice, speaking of\nMr Mansfield's 44 Shylock \" the writer is in-\ncorrect in saying that this character \" for its\nentire stage life has been portrayed the\nrobust incarnation of hate and malignity\nand then he praises Mr Mansfield for the\noriginality of his idea of presenting him as\na martyr... as a hero. & &\nHas the gentleman who penned the short\nnotice no recollection of the late Sir Henry\nIrving's stupendous achievement in this role?\nIt was Henry Irving who for the first time\nin the history of the stage treated the part\nin this manner. Since then most other actors\nhave copied him and have claimed for their\ncopy the virtue of originality, &\nIn the same number Mr Appleton Morgan\nwrites vividly about the Bacon Theory, and\nabout his own 44 Myth \" or 44 New Theory \"\nwhich proposed Shakespeare as the proprietor\nas well as the stage editor of the plays, and\ndeclared that he knew his public and that\nif what he purchased did not seem to him\nexactly what his public required he himself\nwrote the material over, so as to suit\nfamiliarizing, even popularizing it. &\nWe agree with Dr Morgan in his belief\nthat it is the public curiosity into the de-\ntails of great men's lives which has led to\nall the theories, and which, although 44 the\nplay's the thing \" and a rose under any other\nname would smell as sweet, turns people\nfrom appreciation of the play and enjoyment\nof the rose to arguments as to whether the\nname were Shakespeare or Bacon, whether\nthe work were done by one or two.\n\"Just so long\" he declares, \"as the Shakes-\n44 peareans write biographies of Shakespeare,\n44 just so long will there be a Baconian\n44 Theory! If the good people of Stratford...\n44 instead of destroying the vestiges of their\n44 poet piecemeal would burn their town to\n44 ashes, and if, into the conflagration, could\n44 be tossed every biography of Shakespeare\n44 that was ever written ... the twenty-third\n44 century would have no difficulty in believing\n44 in a Shakespeare \" ! & &\nCertainly, there is something to be said\nv\nfor Dr.Morgan's point of view. <£? &\njn regard to a passage in the last number of\nThe Mask where, referring to Mr Graham\nRobertson, it was said, 44 He recently had a\n44 sort of fairy play on in London in which\n44 amateurs were performing instead of profes-\n44 slonals, \" one of our subscribers has written\nto us taking exception to the use of the word\n4amateur' because, she says, the company\nincluded Miss Ellen Terry and Miss Viola\nTree. &\nAnd of course our correspondant would\nbe right had our Note referred to the ori-\nginal production in which these two ladies\nappeared, but it did not. It referred to that\nrevival of the same play in which the part\ncreated by Miss Ellen Terry was taken by a\nvery charming Baroness, so that we were\ncorrect in our use of the word 44Amateur\".\nWe insert this note, however, in case any\nother readers should, like our correspondant,\nhave received the Impression that we were\nreferring to that original production which\nwas graced by the performance of the First\nActress on the English Stage. & &\nntil now The Mask has had only a few\nwords to say about the Commedia dell'-\nArte, that powerful development of the thea-\ntrical art which has done more credit to the\nstage than any later development, yet which\nwas unable to survive Moliere's friendship:\nbut now we shall publish all we can collect\nupon this subject.\nAs most of our readers know, the Com-\nmedia dell'Arte was the name given to the\nimprovised performances of the professional\nactors and stage managers, and in trying to\ncollect together all that is to be said about\nthis vivid renaissance of the theatrical art\nwe do so, not for its value from an antiqua-\nrian point of view, considerable though that\nmay be, but for its value to the sincere\nstudent of the stage of the future.\nHere was a theatre which appealed to the\nordinary public, to the man of culture and\nto the actors themselves. &\nThese actors were so excellent, so intel-\nligent, perceived so well the advantage of\ncommunicating directly with their public in-\nstead of through the medium of a material\nforeign to them, that success came to them\nimmediately. & & &\nInstead of an actor's playing many parts\nhe played but one,... Pulcinella, Atiecchino,\nPantalone, the Doctor, the Captain, Bello-\nsguardo, Coviello, Fricasso, Fritellino, Fran-\ncatrippa, Guatsetto, Sciossclammocca, Cucuba,\nBellavlta, Cucaruca, Trastullo, Ciurlo, Mesto-\nlino, Maramao, Bagattino, Ricciulina, Signora\nLucia, Signora Lucretia, Signora Lavinia,\nFranceschina or another. But Pulcinella or any\nof these others could b© a madman today, a\ndrunkard tomorrow, a gallant the third day"}, {"page_pdf": 61, "page_imprimee": "51", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.61", "texte": "and on the day after a pious man, a coward\nor a hero.\n&If Hamlet\" must always be Hamlet and\ncan never be Falstaff or Benedict, Fritellino\nmay be all these men if he likes and still is\nwitty enough to remain himself. *£?\n& What first struck the beholder about these\nfigures was their folly, the second thing no-\nted was their humanity, the thiid then he-\nroism, and only finally was their divinity\nperceived. It was a witty idea, it was a pro-\nfound idea, one of those ideas that do not\ndie. They were free to say what they liked,\nthey were free to do what they liked, they\nhad only to let their feelings escape at the\nright moments and to obey the stage manager.\njgr In what order these feelings had to escape\nwas roughly indicated on a piece of paper\npinned up at each side of the stage. The\nactor had only to study this paper carefully\nafter the stage manager had composed it\ncarefully. If this master of the ceremonies\nhad genius he composed it so that the per-\nformance became natural, the passion weaving\nthese foolish and profound figures Into a pat-\ntern even as dancers in the morris-danc©\nweave a pattern; for to be perfectly natural\nis to be perfectly designed. &\n& Here was an art spontaneous but not ac-\ncidental. Moliere's whole fabric was built\nof the stones stolen from the ruins of this\nmost stupendous Palace. When M. Jourdain\nhas made us laugh and cry over the pain\nand pleasure he experienced through a little\nknowledge we leave the theatre in ecstacies\nover the brilliance of Moliere. That brilliance\nis the reflected light from the Commedia\ndelFArte.\n& Some of the characters in the Commedia\nare better known than others, but all are\nentrancing, and we hope to do all of them\njustice in our series of articles. &\n& Arlecchino who has travelled all over the\nworld is the best known; he is the last de-\nscendant of Mercury, and therefore one of\nthe divine figures of the group. Though this\nis not stated in the programme anyone can\nfeel it. Pantalone, on the other hand, al-\nthough he has lived as long, is a very human\nbeing. & & & &\n& Pulcinella during his travels, having the\ndesires of a God but the passions of a mortal\nand the arrogance of a monarch, determined\nto cut adrift from both Gods, kings and men,\nand transforms himself into that extraordi-\nnary being known as Punchinello and Punch,\nand cunningly builds himself a house into\nwhich he creeps and lies low like a crab. He\nwill be very difficult to destroy. &\n& Pulcinella makes his appearance among\nus today in the pages of this number of The\nMask, his genealogy being traced by Dr Mi®\nchele ScheriSlo, who has generously given to\nThe Mask the English version of his book\non the Commedia delFArte. & &\n& To the sincere student of the stage the\nhistorical side of this subject will be as an\naffectionate whisper from the dead: nothing\ndry about it, nothing boisterous; something\nbeautiful, exciting and full of promises. For\nhim we shall reprint all that has been said\non this subject since Molidre's presence made\nsociety ashamed of Arlecchino. &\nWe trust we are not doing injustice to a\nsecond or a third person in speaking of the\nSincere Student as though he were but one.\nWe hope there may be at least eight or ten\nsuch men living, who are not afraid to face\nthe truth of the theatre in all its beauty and\nits degradation. If there are such men alive\ntoday the principles of the Commedia delF-\nArte will by them be re-established and the\nspirit which vitalised it will once more find\nits way into the Theatre; and with that\nspirit, though the outer form may not be re-\nproduced, will come new life and health for\nthe Theatre's Art and for those who serve it.\n\nJ. S.\n\nALL RIGHTS RESERVED &\njg? Gerente Responsabile, GIULIO VANZ1"}, {"page_pdf": 63, "page_imprimee": "53", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.63", "texte": "SUPPLEMENT TO \"THE MASK\" JULY IQIO.\nMr_ F R O H M A TV' S F/ P/?QPQS^L.\nJt seems that we have been unwittingly doing Mr Frohman an injustice, and, no space\nremaining in the journal itself, hasten to make amends upon an extra and coloured page.\nWe had considered Mr Frohman a man of many words and no achievement; for among\nworkers in the theatre, we reckon as achievement only that which advances in some degree\nthe theatre's art. But now it seems that he is really in earnest in his desire to advance\nthe art about which he talks so much, for, through the columns of the Daily Mail of June\n5th he has made a statement which does him great credit.\n& \"1 WANT,\" he says, \"TO DO FOR THE THEATRE IN ENGLAND WHAT THE DAILY\nMAIL HAS DONE FOR AIRMANSHIP. NATURALLY IT WILL COST MONEY \".\n& Now we all know what the Daily Mali is doing and has done for airmanship. It has\ngiven an incalculable Impetus to the development of flying machines, quickened the energies\nand fired the courage of flying men not only in England but all over Europe, and facilitated\ntheir studies. And it has cost the Daily Alall more than L. 10,000.0.0 and Will cost It\nL. 20,000.0.0. And we know what the result has been ; the flight of the Channel, the flight\nfrom London to Manchester; one obstacle after another surmounted, one great feat after\nanother achieved.\nJSr And the system ? Prizes. Anybody could compete, and the best man had to win. Condi®\nlions not impossible.\n& It was a fine thing which the Daily Afail did ; and now we hear that Mr Frohman\nproposes to follow the same method with regard to the theatre, and we can understand\nthat all the European artists of the theatre are awaiting with keen interest the publication\nof details as to the kind of task to be accomplished and the prize to be awarded. By offe®\nring a large sum of money, (which is obviously his intention as he compares his purpose\nwith that of the Daily Alail), Mr Frohman will be affording the best man in the European\ntheatre the means of continuing his studies and experiments for the future of the theatre\nwithout hindrance, and he will thus be rendering a very valuable service to the st ige. &\nWe hope before the issue of our next number to have full details of Mr Froiiman's\nscheme for our readers. <£? jg?\n\\ S FKFTIFKC^TOM.\nChinee this was set up in type a letter has appeared in the Daily Mail from Mr Frohman\nin which he announces that he has not got L. 10,000.0.0 and is therefore unable to make\ngood his own words. &\n&if the Daily MaiPs report Is correct,... and Mr Frohman has not contradicted it,.. .\nhis words were, \" I want to do for the theatre in England what the Daily Mail has done\n\"for airmanship. NATURALLY IT WILL COST MONEY\".\nNow when a man of Mr Frohman's capacity makes such an announcement in the Daily\nMail the public Is forced to believe that he has behind him the L. 10,000.0.0 with which\nto do what the Daily Mai! has done for airmanship. What are we to think then when\nthe m3n who makes the proposition afterwards writes to the same paper to say that he\nhas not got the money with which to substantiate his declaration?\njg/ He even, in his letter, (which was written in answer to one from Mr Gordon Craig\nasking further details of the scheme,) ignores the fact that the suggestion was his at all.\nWith amazing modesty he credits Mr Craig with it instead, saying \" I am most eager to\ncomply with the fine suggestion made by Mr Crafg with reference to the Daily Mail air®\nmanship prize\", in justice ,to Mr Frohman we here state that the suggestion was Mr Froh®\nman's and was not Mr Craig's. Looking back to the original \"Interview\" It seems to us\nthe cheapest way of advertising we have ever come across.\nif every Tom, IXck and Charley may lightly make use of this expression of \" doing what\nthe Daily Mail has done for airmanship \" and then write letters to excuse himself it seems y\nto us to be belittling the action of the Daily Mail; and when Mr Frohman does this he is\ntrying to dignify his own little commercial enterprises by comparisons with actions greater\nthan he Is able to rise to. This is lowering the theatre of England. &\nIs that what Mr Frohman wishes to do?\nrr.*. ttiwiMitu.i'-.ir.mavM „-;Ti» fMfmrmmrmenmm-mrmti\nTHE MASK OFFICES. ARENA GOLD ONI FLORENCE. ITALY."}, {"page_pdf": 65, "page_imprimee": "55", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.65", "texte": "&•!JB HMHHBh\nTHE MASK\nQUARTERLY JOURNAL OF THE\nART OF THE THEATRE^\nWHY YOU SHOULD SUBSCRIBE TO THE MASK\n<& BECAUSE IT IS THE SUREST WAY TO RECEIVE IT REGULARLY, AND IT IS WORTH\nWHILE TO RECEIVE IT REGULARLY BECAUSE:\n(1) It Is 44 A very amusing and stimulating, as well as a most beautiful magazine £?\nTHE DAILY TELEGRAPH.\n(2) 44 There is not a page in it which is not interesting and stimulating in a fine way. \"\nPALL MALL GAZETTE.\n(3) It is 41 A quite remarkable magazine, rich in intelligence. \" WESTMINSTER GAZETTE.\n(4) It is 44 The most beautiful magazine published. \" & j& THE NEW AGE.\n(5) 44 By the delicacy of its format, the pleasantness and dignity of its types, the careful\nexcellence with which its illustrations have been reproduced, the character of the illustra-\ntions themselves, and the curious distinction and sincerity of its literary contents, it\nseems to prove that the artistic centre of Europe has once again shifted to Italy.\"\nLIVERPOOL COURIER.\n(6) It has 44 The rare attraction of abundant intellectual activity with aesthetic charm. Its\n44 freedom, its courage, its fecundity of ideas, its emphasis of vital potentialities in the\n44 theatre, its ample horizon which aims to review the centuries as well as the seasons of\ntheatrical art, its earnest search for rational criteria, its championship of the poetic and\n44 creative in its own field,... these unusual qualities differentiate The Mask from that large\n44 class of art journals which are mere catalogues and tend to give it a perennial rather\n44 than a momentary appeal. 0 £? Mr PERCY MACKAYE.\n(7) It is 44 A vital review, the independence and intelligence of which is a rare comfort in\nthese days. & Mr WILLIAM ROTHENSTEIN.\nHOW TO SUBSCRIBE TO THE MASK. &\n& Write your name and address on a post card and send it to us today; and then today\nor tomorrow or next week, or when we remind you, send the amount named below\naccording to the country in which you live. &\nCheques and postal orders should be made payable to the Proprietor of The Mask.\nIn countries where paper money is in use this may be enclosed in a registered letter.\nYEARLY England, 15 Shillings America, 4 Dollars Russia, 8 Roubles POST\nSUBSCRIPTION Germany, 15 Marks Italy, 15 Lire, France, 20 Francs. FREE\nTHE MASK OFFICES, ARENA GOLDONI, FLORENCE."}, {"page_pdf": 66, "page_imprimee": "56", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191007-01.1.66", "texte": "& Printed for the Proprietor by Tipografia R* Lastrocci, Via dei Serragli, 104 Florence and published at The Office «f \" The Mask\nArena Qoldoni\n\nANTONIO FRILLI\nPURVEYOR TO 10\nIMPERIAL & ROYAL\nFAMILIES £> j»\nFLORENCE\nVia dei Fossi 4 /s?\n0 (ESTABLISHED i860) ■£>\nAWARDED PRIZES\nAT 48 NATIONAL &\nINTERNATIONAL\nEXHIBITIONS\nThe largest Establishment of Sculpture in\nMarble & Reproductions from the Antique\n& Original Works. Portraits. Monuments,\nMantels, Pedestals, Garden Seats,\nVases Fountains Flower-stands, etc:\nESTIMATES GIVEN ON APPLICATION\nST LOUIS MO.\nGRAND PRIX\n1904\n\nFine Illustrated Edition of\n& OSCAR WILDE'S &\nThe Picture of Dorian Grey.\n\" Each man sees his own sins in Dorian Gray. What Dorian\nGray's sins are no one knows. He who finds them has\nbrought them.\"— OSCAR WILDE. (Letter, 9th July,1890).\nSm. 4to Vol. Pages VI. & 312. Hf. bd. gilt top, with Seven\nfull-paged Wood Engravings by PAUL THIRIAT(of Paris)\nPrice 12.s 6d. Net.\nALSO A POPULAR EDITION\nPages VI. &316. Sm. 8vo. (not illustrated), neat cloth\nbinding. Price 2s. 6d. Net.\n& FURTHER, AN EDITION 0\n(Pages YII. & 353)\nUniform in Style and Binding with Messrs. Methuen's\nFive Shilling Edition of \" OSCAR WILDE'S WORKS. \"\nPrice 5s. Net.\nPublished by Charles Carrington,\n10. Rue de la Tribune, Brussels, Belgium."}]}