{"numero_id": "bm-bmtnaau-1911-04-01", "volume": "bmtnaau_1911-04_01", "ocr_sha256": "3862e3382eced1960ac1b1641a37ab4d6a05b6d6d8ca8540c4675fb68094b8d2", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1911/04_01/bmtnaau_1911-04_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1911/04_01/bmtnaau_1911-04_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01", "articles": [{"article_id": "bm-bmtnaau-1911-04-01-c002", "article_bluemountain": "bmtnaau_1911-04_01#c002", "volume": "bmtnaau_1911-04_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=bmtnaau191104-01.2.2", "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=bmtnaau191104-01.1.2", "debut_caractere": 0, "fin_caractere_exclue": 816, "texte": "LITERARY CONTENTS.\nA LETTER RELATIVE TO THE COMMEDIA DELL'ARTE from GORDON CRAIG.\n\" CAPITAN FRACASSA \" by Dr. MICHELE SCHERILLO, & BIOGRAPHICAL NOTES TO\nDr. SCHERILLO'S ESSAY. THE INTRODUCTION TO \" LE THEATRE ITALIEN \" OF\nEVARISTO GHERARDI, WRITTEN BY HIMSELF; TRANSLATED, WITH A BIOGRAPHICAL\nNOTE UPON THE AUTHOR by D. NEVILE LEES. & A SEVENTEENTH CENTURY\n•« DEADHEAD \" ; A SiJENE FROM \" LE THEATRE ITALIEN \" ON ACTORS AND\nACTRESSES by COUNT CARLO GOZZI. & ANOTHER ESTIMATE OF THE ACTOR'S\nCHARACTER by WALTER PATER. RICCOBONI'S ADVICE TO ACTORS: TRANSLATED,\nWITH A BIOGRAPHICAL NOTE ON THE AUTHOR by PIERRE RAMES. & THE EXTEMPORE\nPLAYERS' ADVICE TO HAMLET, THE PLAYWRIGHT by E. E. 0 THE ENGLISH STAGE\nIN 1911 by ALLEN CARRIC. BOOK REVIEWS CRITICS CRITICISED by GORDON CRAIG\nFOREIGN NOTES. 0 EDITORIAL NOTES. &£>&&&&"}]}, {"article_id": "bm-bmtnaau-1911-04-01-c003", "article_bluemountain": "bmtnaau_1911-04_01#c003", "volume": "bmtnaau_1911-04_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=bmtnaau191104-01.2.3", "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=bmtnaau191104-01.1.2", "debut_caractere": 818, "fin_caractere_exclue": 1160, "texte": "ILLUSTRATIONS.\nFRONTISPIECE: DESION FOR \" THE FOOL'S \" MASK IN \" THE HOUR GLASS \" by GORDON\nCRAIG. SCARAMUCCIA AND FRICASSO by GIACOMO CALLOT. TWO ILLUSTRATIONS\nOF THE COMMEDIA DELL'ARTE by CLAUDE GILLOT. A DESIGN by .SCHUBLER 0\nHEAD AND TALE PIECES AND INITIAL LETTERS FROM DESIGNS by GIACOMO CALLOT.\nGORDON CRAIG, CHARLES BORROW AND OTHERS."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c004", "article_bluemountain": "bmtnaau_1911-04_01#c004", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[146]", "page_fin": "[146]", "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=bmtnaau191104-01.2.4", "titre_corps": "MASK OF THE FOOL IN \"THE HOUR GLASS\" BY W. B. YEATS", "titre_sommaire": "MASK OF THE FOOL IN \"THE HOUR GLASS\" BY W. B. YEATS", "signature_source": "GORDON CRAIG", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "[146]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 90, "texte": "MASK OF THE FOOL IN \"THE HOUR GLASS\" BY W. B. YEATS\nDESIGNED AND ENGRAVED BY GORDON CRAIG."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c005", "article_bluemountain": "bmtnaau_1911-04_01#c005", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "147", "page_fin": "147", "image_debut": 5, "image_fin": 5, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.2.5", "titre_corps": "THE COMMEDIA DELL'ARTE or PROFESSIONAL COMEDY", "titre_sommaire": "THE COMMEDIA DELL'ARTE or PROFESSIONAL COMEDY", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.5", "debut_caractere": 0, "fin_caractere_exclue": 1927, "texte": "THE COMMEDIA DELL'ARTE or PROFESSIONAL\nCOMEDY.\nJ. S.\n(1)\nThis number of \" The Mask \" is, like the preceding*,\ndedicated to the Actors and to the Peasant Folk.\nn the present number of The Mask we proceed with the story of the\nCommedia delPArte and of those men of genius, the great Improvisators,\nwho brought it to its perfection. And of such men we select Evaristo\nQherardi, (i663=«1700) and Luigi Riccoboni (1675=1753) for our special study\nsince they left on record in writing something of what they did and\ntheir predecessors discovered, and, as men who acted in the theatre,\ncreated for the theatre and wrote about the theatre, their lives and words\nshould have a special value for the student of today.\n& As their works have, with two exceptions, never been printed pre«\nviously in English, and as the books, even in the original French and\nItalian versions, are very rare and accordingly seldom read by members of the English\nstage, we hope that we are rendering some little service to the English theatre in making\nthem accessible to all who care to know about that period of dramatic art which was the\nmost courageous in its aim and the most successful in its\n& The general reader must remember that what we are introducing to him was a phase\nof the dramatic art almost without parallel; that it appealed not only to the people but\nto the aristocracy; in short, that it captured and held the Public,.... not merely a public,...\nfor three centuries.\n& The specializing reader, the one who looks keenly and deeply into things, will want to\nknow the reason for this, amd it is open to him to discover that reason for himself or to\nlet others forestall him.\nTo us it seems quite evident that when that reason shall be clearly demonstrated to\nthe actors and the artists of the theatre a new form of Acting and a new form of Drama\nwill come into existence.\n& Qherardi and\nRiccoboni\nThe importance\nof the Com -\nmedia delTArte."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c008", "article_bluemountain": "bmtnaau_1911-04_01#c008", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "147", "page_fin": "148", "image_debut": 5, "image_fin": 6, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.2.6", "titre_corps": "A LETTER TO THE EDITOR FROM GORDON CRAIG", "titre_sommaire": "A LETTER TO THE EDITOR FROM GORDON CRAIG", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.5", "debut_caractere": 1929, "fin_caractere_exclue": 2653, "texte": "A LETTER TO THE EDITOR FROM GORDON CRAIG.\n\nMy dear Semar.\now well you are doing to print in The Mask for the younger generation the\nfacts about tha Connadii dell'Arte; your translations from the Italian are\ng.-eat blessings. I feel sure that the few students for whom they are published\nwill not fail to express their gratitude. Signor Scherillo's articles have given\nme]|great pleasure and the Biographical Notes are very valuable.^\n& I understand that there is a great store of such material in Italy and elsewere and I\nsuppose you have just gathered the uppermost layer of it. Anyhow It is most exciting and\n\n(l) The expre33ioa, \" Pfo'easiaaal comedy \" refers to the execution, not to the subject, of the play. MLantzius."}, {"page_pdf": 6, "page_imprimee": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 3665, "texte": "ought to excite the younger generation. Will it ? That depends upon the stuff from which\nthe boys are made. Most of 'em seem keener about eight to fifteen pounds a week than\nas to whether Improvisation is a hard thing to master or how to set about mastering it.\nStill, everyone cannot be a master, and so the fewer who turn to this study the better.\nThe others will be taught (at eight to fifteen pounds a head) later on.\nThere was a cleverish young actor in London whom I first met some, nine years\nago in a theatre. I think he was playing the part of a cook. He looked well, he seemed\ninteresting ; he seemed out of the usual run. Then only last year I met him again in\nLondon. He said that one of the three famous playwrights had promised to write him\na part. He was worrying about that part; it didn't hurry up enough for him; he was out of\n•work he was one of ten thousand others and was waiting for Barrie or Shaw\nor Pinero, 1 forget which, to write him a part. A nice fellow, too ; but, great Jupiter,\nApollo, Dionysus, the young fellow was waiting &\n& He'll wait right enough. Patience, what a vice it has become, what a blanket\nto put out the fire, what a cloak under which to hide the ashes of incapacity. And that's\nwhat thousands of English actors are doing... waiting for what they call \" their chance \".\nIf only I could help them, if only one could destroy these large liars who enslave the\nyoung fellows with their promises of a future to him who has patience to wait for\na part.\nIt seems that I am to have my school very shortly and 1 shall then be able to do some-\nthing for these men who haven't learnt how and when to rebel. \" Revolutionary School \"\n« Founded by Gordon Craig in Paris\" or wherever it takes root. I anticipate the headline\nwhich will appear in the kindly journals. Yet of all revolutionary persons I suppose there\nnever was one less revolutionary than I am. Instead of wanting to upset things I want\nto get them straight again.\nWhen I changed the idiotic way of producing a play all I upset was the folly of pro-\nducing it backwards. I cannot but feel convinced that the right way of producing a play\nis to produce it forwards.\n& Yet some of the London managers at that time were producing plays backwards; calling\njerkiness rhythm, gaudiness taste, amateurishness professionalism and reality, Art.\nAnd they are still up to these tricks, though everyone knows that confusion Is not order,\nnor the haphazard lawful in a work of art.\n& Everyone acknowledges that it is wrong to put a bunch of ;real roses in the painted\nhand of a painted figure on a canvas at the Royal Academy. It would be anarchy to act\nin such away; and yet such an anarchy is permitted In the London theatres. It is to\ndestroy anarchy in the theatre, to expose the revolutionary principles which have disgraced\nour theatre for some time that I am working; therefore when my school is built it will\nbe dedicated not to Revolution but to Order, and we shall teach obedience there, not\ndisobedience, to what always was and will be the ruling principle of the Art of the Theatre;\nself-reliance and collaboration and quite a number of minor accomplishments, but we\nshall not encourage any of our pupils to wait patiently until Sir Arthur Pinero writes him\na part or Mr. Barrie sees an opening for him in his next play. If there are no openings,\nno parts, we will make them, for we shall open wide the larger doors of the future to the\nactor so that he may with self-reliance know that all parts are ready for the comedian\nwho cares to undergo the training which gives the power to improvise, f\nA school very\nshortly &\nAnarchy in the\nTheatre &\nTo give place\nto Order•"}, {"page_pdf": 6, "page_imprimee": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.6", "debut_caractere": 3708, "fin_caractere_exclue": 3721, "texte": "Gordon Craig."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c011", "article_bluemountain": "bmtnaau_1911-04_01#c011", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "149", "page_fin": "160", "image_debut": 7, "image_fin": 20, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.2.7", "titre_corps": "\"CAPITAN FRACASSA\"", "titre_sommaire": "\"CAPITAN FRACASSA\"", "signature_source": "Dr Michele Scherillo", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 2998, "texte": "\"CAPITAN FRACASSA\"\nby Dr Michele Scherillo.\n\nGautiers i' Capi-\ntan Fracassa. \"\n& The type of\n44 The Captain\n\nQnce upon a time there dwelt in Gascony a phantom of a Baron whose life was spent in\n* 44 contemplating his moth-eaten coat-of=arms which mouldered away day by day, and\n44 in awaiting the time when his crumbling castle should have finished falling about\n44 his ears and have buried him beneath the ruined greatness of his house.\n£/ 44 One wild night there happened to arrive at these ruins a company of strolling players\n44 who sought shelter from the storm and, among them, was one, Isabella the ingenue,\n44 who, by her modest and serious countenance, reawakened the soul in this ghost of a\n44 Baron. &\nFor love of her, he forsook that den of rats and bats disguised in the worn-out\n44 clothes of a provincial actor. He took the stage name of 44 Capitan Fracassa \" and filled\n44 the place and the part of the dead Matamoros. \" & & & &\n& Such is the story which Theophile Gautier relates of Capitan Fracassa in his novel of\nthat name, wherein he.gives an almost perfect idea of the nomadic life of those companies\nof actors which, in the sixteenth and seventeenth centuries, wandered about beneath the\nawning of a wagon drawn by oxen.\n& These companies were for the main part made up of Italian vagabonds, without country,\nwithout name, rejected, cursed, and even refused by the Church burial in the common\ncemetaries, but who, none the less, under their rags, yet bore witness that Italy was\nnot dead.\n& I do not pretend to make up a story in my turn; but rather to trace the historical\noutline of the 44 Capitano \" type in the popular Italian comedy, from the earliest times\nwhen he made his appearance on the stage until later, when he forsook it to reappear in\na different costume.\n& The Captain is one of the first types which the Italian Commedia dell' Arte pre-\nsents to us.\nHe is the caricature of the vain-glorious Spanish soldier. To hear him talk one would\nthink that he wanted to swallow the whole world with its accompanying satellites, but if\nin the midst of his boastings he hears a cry, a rustle of leaves, he stops short, stammers,\ntrembles and takes to his heels. He has the figure of some grotesque creature, dry and\nparched ; is wrapped in a threadbare cloak and has, fastened at his side, a sword around\nthe sheath of which a spider has spun its web. He wears in his hat a long straight moth-\neaten feather; with the fingers of his left hand he twists a pair of long and bristling\nmoustaches while he lays his right solemnly upon the hilt of his sword. He styles himself\nson of the Earthquake and the Lightning, cousin of Death and intimate friend of Beelze-\nbub : he is valiant enough to offer to pierce a mountain with his sword and to hurl the\nmoon against the sun, and his appearance is so attractive that it fascinates all the women\nwhom he meets.\n& 44 Superposed as it were on to the Italian comedy, \" writes Vernon Lee, 14 was the type\n\n(I) See also pages 147-8"}, {"page_pdf": 8, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.8", "debut_caractere": 21, "fin_caractere_exclue": 4421, "texte": "44 of the military adventurer, of the Spanish hidalgo, violent, tyrannical, overbearing and\n44 rapacious; a mixture of Don Juan, Pizarro and Don Quixote ; at first rather terrible\n44 than ridiculous, and growing into a bond fide comic figure, into a threadbare and hungry\n44 adventurer, a cowardly sonorous fire-eater, a Captain Fracassa or Matamoros, only in\n44 proportion as the redoubtable kingdom of Philip 11, odious but dignified, turned into the\n44 tattered Spain of the seventeenth century, execrable but ludicrous.\" (1)\n& You may see a goodly number of them engraved by the burin of Giacomo Callot. What\ngrotesque figures and what a variety of types ! One must see, to be able to form any idea\nof, those skeletons clothed in rags, upright, withered; forming, with the blades of their\nlong swords, the figure of an ipsilon. &\n& And what names, and how many of them! There dances Pasquariello Truono with Meo\nSquamara, Capitan Bombardon with Capitan Grillo, (2) Capitan Babeo with Cucuba, (3) Capitan\nMala Gamba with Capitan Bella vita, Capitan Esgangarato with Capitan Coccodrillo, Cardoni\nwith Maramao, (4) Capitan Cerimonia with the Signora Lavinia, Capitan Spezza Monti with\nBagatino, (5) Cicho Sgarra with Colii Francisco, Scapino with Capitan Zerbino, (6) Scaramuccia\nwith Fricasso, Taglia Canton! with Fracasso, (7) and in a corner, alone, drawn on a larger\nscale, is the 44 Capitan de' Baroni \". & & & & & &\nHe bears displayed over his shoulder a tattered banner upon which is inscribed his\nname; and, hung at his side, his pouch, porringer and flask. He has his right hand in a\nsling and wears a flowing beard. His hat is full of holes and pulled over his eyes, with a\nlong plume ; his breeches and stockings so ragged as to leave the right leg almost bare.\nIn the background of the little picture there is the figure of a blind man being led by an\nold man who, on seeing the Captain, writhes In terror and tries to escape, dragging the\nblind man after him.\nIt is strange that Callot's 44 Fracasso \" is not a captain at all. He wears a blouse and\na pair of loose trousers like those of Pulcinella, a hat with a very wide peak and adorned\nwith feathers, a small cloak upon his shoulders, and in his hand a large dagger with which\nhe pretends to fight with Taglia &\nRiccoboni gives us two distinct figures of Captains,... the Italian and the Spanish. The\n\n& The Balli di\nSfessania.\n& Callot's\nFracasso. &\n\nNOTES AND TRANSLATIONS.\n1. & Vernon Lee. Studies of the Eighteenth Century in Italy. London; Satchel), 1880.\nPage 235=236.\n2. & 3. j& See Illustrations facing page 108 in \" The Mask \" January. 1911. & &\n4. & Maramao is presented in the act of pointing an enormous clyster at Cardoni. It is\nworthy of notice that the name of the valiant Neapolitan soldier, the conqueror of Ferruccio\nshould have afterwards passed to a buffoon type of the Commedia delPArte. In the\n44 Balduino \", a work by Pierre Corneille, translated into Italian by the Abbot Gigli of\nSiena, (Bologna, Longhi, 1716) a 44 Capitano Maramao \" a foolish slave keeper, plays a part.\nThe following extract from the eighth scene is characteristic:\n& 44 Who goes there ? seize him ! thou art a dead man I It is a column ! (colonna), well\n44 for thee that thou wast not a Colonel! (colonnello). Bully! I swear by the left whisker of\n44 Mars that this envious night always plays its tricks on Captain Maramao. It has made\n44 me waste a sword-thrust which, striking on the rebound the turban of the Grand Sophi\n44 would have hurled his head against the temples of the Grand Mogul, and the temples\n44 of the Grand Mogul into the moustache of the King of China, and that moustache into\n44 the memory of the King of Japan, leaving that monarch until the fourth generation a\n44 man of poor memory. But thils is the fault of my impetuous nature. I set my hand to\n44 my flashing sword and immediately it grew dark. I carry the daylight in my eyes, but\n44 when I draw my sword the universe wraps itself in gloom. &\nA reference as to the later tradition relating to the name Maramaldo is to be found\nin G. de Blaslis's 44 Fabrizio Maramaldo ed i suoi antenati \" (in the 44 Archivio storico per\nle provincie napolitane \", a. 111, fasc: IV. pg. 815=6) and also in A. Luzio's 44 Fabrizio Ma-\nramaldo, nuovi documenti \" (Ancona, Morelli, 1883, page 104).\n5. 6. 7. See Illustrations facing pages 108 and 116 in The Mask. January 1911. &"}, {"page_pdf": 9, "page_imprimee": "151", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 2372, "texte": "former is in the act of posing, in all the pride of his tall figure, his stupendous pair of\nmoustaches, the hilt of his long sword ; the latter in the attitude of one who, in insolent\nmanner, wards off a blow. (1.) 0000.^00^\n0 A prototype of the Spanish Captain is Captain Cardone, who, says Stefano Arteaga of\nMadrid, with a certain bitter smile of offended national pride, \" by reason of the ancient\n\"goodwill of the Italian nation towards us, must always be made ridiculous on the stage.\" (3)\nHe takes part in the \" Amfiparnaso \" of the Modenese Orazio Vecchi, a musical comedy\nperformed at Venice in IS97> (3-) and he is graphically described to us in the \"Fiera\", a play\nby Michelangelo Buonarroti the younger, performed at Florence in the Carneval of 1618:\n\" Vedete\nQuel Capitan Cardon stare interato,\nScagliar le gam be e quei mostacchi neri\nSpietato arroncfgliarsi\nSimulando fierezza e crudeltade ;\nE granciti i pendagli\nColla sinistra, star pronto per porse\nLa destra a trar la spada\nA fender monti e penetrar nel centro,\nTagliar le corna a Pluto a per la coda\nPreso ed entrato poi quasi in savore\nDelia palude Stige,\nVivo e crudo ingolarselo. Codardo\nPoi piu di un blrro. Ecco ch'e' passa e spira\nBravura, e pauroso par che stia\nsull'ali per fugglre: vera espressione\nD'un poltron vantator valamedios (4)\n& One of the first actors to represent the Captain on the stage was Francesco Andreini.\nBorn at Pistoia in 1548 he became a soldier; then, enslaved by the Turks and liberated,\nhe devoted himself to the theatre and acted as the Innamorato, as a Sicilian Doctor, and\nas Falsirone the magician, speaking various languages and singing and playing different\nkinds of instruments. He called himself Capitan Spavento delia Vail' Interna, but -had also\nthe names of \" Ariararche, Diacatolicon, Leucopico, Melampigo: 44 Diacatollcon \" means\nuniversal capitan, 44 Capitan Ariararche \" means leader of the militia ; Capitan Melampigo\nmeans Capitan Blackbottom, and Capitan Leucopigo means Capitan Whitebottom. Hebelon-\nged t0 the Company of the 44 Gelosi \" directed by Flaminio Scala, one of the most\ncelebrated companies in the history of the Italian improvised theatre, drawn from the\ndisbanded company of the 44 Comici Uniti » which in 1574 had united together the 44 Con-\nfidenti - and the ancient 44 Gelosi \". While Andreini was still playing the lovers' parts he"}, {"page_pdf": 9, "page_imprimee": "151", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.9", "debut_caractere": 2397, "fin_caractere_exclue": 3744, "texte": "& C a p it an\nC at done .\n& Franeesco\nAndreini.\n\nNOTES AND TRANSLATIONS.\n1. & Hlstoire du Theatre Itallen. &■&&&&&&\n2. &3. &Le rlvoluzioni del teatro musicale dalla sua orlgine fino al presente \"by Ste-\nfano Arteaga. and edition, Venice 1785. Vol 1. page 263. The monograph, \"l'opera buffon\nnapohtana \", chapter 1. and especially the article by Luigl Lianovosanl, (Q. Salvioli), in\nthe Gazzetta Musicale di Milano, 39th year, numbers 17 and 18. (37 April and 4 May 1884).\n4. 0 See that Captain Cardone standing there stiff with pride, planting his feet far apart,\nand twirling those black bristling moustaches of his; simulating pride and cruelty. And\nsee him then, seizing their drooping ends with one hand, stand ready with his\nright to draw his sword and with it cleave mountains and, penetrating to the very centre,\ncut off the horns of Plutus, and, seizing him by the tail and entering almost into\nthe mire of the Stygian marsh, swallow him alive and raw. A coward is he rather than a\ncatchpoll. Behold him, breathing forth his bragging words while all the time he seems\ntrembling, on the point of taking to flight. A true example is he of a cowardly boastful\n\" Valamedios \"\n5. The •' Bravure del Capitano Spavento, divise in moiti ragionamenti in forma di\ndialogo di Francesco Andreini da Pistoia, comico Qeloso Venice 1634. Dialogue XVII. 0"}, {"page_pdf": 10, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.10", "debut_caractere": 25, "fin_caractere_exclue": 3969, "texte": "made the acquaintance of the beautiful Isabella, the diva of the time, sung by both Italian\nand French poets, not excluding Tasso and Chiabrera, and made her his wife. At Lyons,\nwhen returning to Italy,_ Isabella died, and Andreini, heart-broken, would no longer appear\nupon the stage and devoted himself to publishing the 44 Letters \" and 44 Fragments of\nwritings \" of his beloved wife. In 1607 he published at Venice 44 Le bravure del Capitano\nSpavento \" which he three times afterwards reprinted, and in 1618 the second part of the\n44 Bravure del Capitano Spavento \".\nThese 44 bravure \", says a later actor, 44 are full of hyperboles because such were ne-\ncessary to the character of that personnage which our Francesco represented ; but they are\n14 not on that account lacking In fine philosophical sentiments and in a civil and restrained\nwisdom \" (1.)\nTo Francesco and Isabella Andreini was born, in 1579, Glovan Battista, who likewise\ndedicated himself to the theatre assd played the part of 44 Lelio \" in the company of the\n44 Gelosl \". On the death of his mother, which took place in 1604, he, following his father's\nexample, retired from the stage, but found himself unable to remain inactive. The follow-\ning year he organized a new company which he called the 44 Comici Fedelis\"\n44 oggi ancora il mondo\nRisuona de' Gelosl il nome eterno,\nChe fra palme et honor spiegare a I'aura\nVirtuoso vessil, cui seguon lieti\n(Emuli professor) quei, che Fedeli\nComici appella I'uno e l'altro polo \" (2.)\nsang Andreini himself. (3).\n& In this new Company the part of the Captain was entrusted to GiroSamo Garavani of\nFerrara, who took the name of 44 Rinoceronte \" and played this personnage on the stage\nwith martial viguor, depicting fear and bragging of wondrous deeds too fantastic and\nfull of hyperboles for human belief. (4) He was very religious and of most exemplary\nhabits, and It is said that, while acting, he lacerated his flesh with a hair shirt, which\nwas found upon him, after his death, beneath his clothes. (5) He died at Paris on Oc-\ntober 2 1624.\nln the meantime, in these same early years of the seventeenth century, there flourished\nthe Neapolitan Silvio Fiorillo, who called himself 44 Capitan Mjitamoros\", slayer of Moors ;\nand of whom a contemporary actor says that, ,4 in acting the Spanish Captain there had\nbeen no one to surpass and perhaps few to equal him \". (6) jz?\n& It seems from the name that he, more than any other, was a genuine caricature of\nthe Spanish Rodomonts, and he toured with much success in Neapolitan companies and\nwith the Lombard companies of the 44 Accesl, \" the 44 Affezionati\" and the 44 Risoluti\nA poet, he wrote eclogues in the Neapolitan and Tuscan dialects, and various plays, such\nas the 44 Tre Capitani vanagloriosi \" printed at Naples in 2623: 44 La Cortesia di Leone e\ndi Ruggero colla Morte di Rodomonte \" at Milan in 1621, aud 44 Ariodante tradito in\nPavia in 1629. jZ? J?\njg? But one fine day this actor flung away the cloak and sword of Matamoros, donned a\nwhite shirt and a pair of loose white trousers like those worn by the peasants in the\n\nC a p it an\nRinoceronte.\n<£? Capi t an\nMatamoros.\nPulcinella.\n\nNOTES AN & TRANSLATIONS.\n1. Notizie istoriche de' comici i tali an i che fiorlrono intorno alPanno 1550 fino a' giorni\npresent! \" by Francesco BartoSi of Bologna, Padua ; Corzatti Vol. 1. Page 12. jzz\n2. jg? The world today yet echoes the eternal name of the 44Gelosi\" who, amid applause and\nhonours, displayed upon the breeze their glorious banner; and after whom joyously follow,\n(competitors in the same profession), those who are known from the one pole to the\nother as the 44 Fedeli Comici \" j&>\n3. La Saggia Egiziana.\n4. & Francesco Bartoli. Notizie istoriche de' comici italiani. (See Note 8). jg?\n5. 44 La Suppllca ; discorsi famigliari intorno alle Commedie \" by Nicolo Barbieri\nknown as Beltrame.\n6. Pier Maria Cecchin!; 44 Frutti delle moderne commedie \", page 35."}, {"page_pdf": 11, "page_imprimee": "153", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 2969, "texte": "neighbourhood of Naples, and called himself \" Pulcinella \" I And, even if not himself Its\ncreator, it is to his talent that we owe it if this attractive type was able .... almost the\nsole survivor,... to outlive the Golden Age of the popular Italian theatre of the sixteenth\ncentury. The Spanish Captain, with all his bombast, ends by surrendering the field to Pul-\ncinella, although this latter never succeeded in freeing himself entirely from his influence.\nTo the plays containing the part of the swaggering Captain Silvio Florillo added the\n\" Lucilla costante con le ridicolose disfide e prodezze di Pulcinella \" which he printed in 1632\nand which was his last work. &?«&&&?\nThe competitor and rival of Matamoros, Capitan Coccodrillo,... that is to say, the Nea-\npolitan Fabrizio de Fornaris,.,. in 1584 crossed the Alps with the company of the \" Confi-\ndent \" and took his way to Paris, to declaim to the public of that city his astounding deeds\nof valour. He usually spoke Spanish; &\n& \" Combattiendo yo, vino una bala d'artilleria, y me dio tie la bocca y me sacco da ella\ndos dientes, como veys, sin hazer me otro mal. Yo torno esta bala en las manos; y la\nvuelvo a tras contra Sos enemigos, y doy en una torre adonde havia mil y quinientos sol-\ndados, y la heche por tierra con matar todos los soldados la hige convertir en polvo, ne\naun quedo sennal adonde stava. Cleofila, viendo mi braveza, me vinb encontra con la espada\npor matarme, yo paro con my espada y le corto el brazo y I'hecho per tierra con toda la\nespada, y despeces la torno per los cabellos y la hecho con tal furia azia al zielo, quelle\ngada al fuso del hemispero lo rompe y entra nel qulnto zielo y halla Marte que jugava a\ntaroque con Venus yle rompe la Venus empiega a critar aiudo aiudo; todos los\nDioses y las Diosas del zielo espantados llamavan h Jove que lo soccorriesse ; Jove, viendo\nMarte par tierra, espantado desto, viene a su ventana, quando yo rodeando mi espada contra\nlos enemigos, parezia el fuego que salia della un nuovo Mongibello. Dixo: ninguno de vos\notros diga nada, porque el que ha matado Marte, ha sido el Capitan Cocodrillo, y agora sta\nenojando, podria venir en el zielo, y matarnos todos \"(1& 2) jZ? jZ? jZ?\nThis terror of heaven and earth died in 1637. & &\n& But the most famous of the actors who girded on the sword of the Captain was Tiberio\nFioriliOj, \" Scaramuccia \" who was born in Naples in 1608 and died at the age of eighty six\nin the year 1694. He did not create the part, since there already existed in the Company\nof the \" Fedeli \" an actor named Goldoni who acted as \" Scaramuccia \" and to whom\nCallot gave a place in the \" BalSi di Sfessania This mask \"is the type of the Neapo-\n\" litan adventurer, boastful and cowardly, more supple, less definite and less solemn\n\" than the Spanish Captain ; lascivious, maintaining in this respect all the tradition of the\n\" fescinnine licence \" (3) He dressed all in black, even to the ribbons on his shoes, and"}, {"page_pdf": 11, "page_imprimee": "153", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.11", "debut_caractere": 2992, "fin_caractere_exclue": 4536, "texte": "Capitau\nCoccodrillo.\n& Scaramaccia.\n\nNOTES AND TRANSLATIONS.\n(i.) jZ/ From the \" Angelica \" a play by De Fornaris himself 1585, Act 1. Sc: 48.\n(2.) JZ? While I am fighting there comes a cannon ball and strikes me in the mouth,\nknocking out, as you see, two teeth, but without doing me any further harm. I turn this\nbail round in my hands and hurl it back against the enemy, and, striking a tower in which\nare fifteen hundred men, knock it down, killing all the soldiers and reducing the whole\nto dust so that there remains no trace of it whatever. jz? jz?\n& Cleofila, seeing my valour, comes against me sword in hand to slay me; S parry her blow\nand with mine cut off her arm and fling it on the ground together with the sword. Then\n! take her by the hair and fling her with such fury against the sky that, on reaching the\ncentral point of the hemisphere, she breaks through it and enters into the fifth heaven*\nfinds Mars playing at chess with Venus, and breaks his head. & & & &\nVenus begins to cry out \"help ! help 1\" and all the gods and goddesses of Olympus, ter-\nrified, call on Jove to help them. & jZ? & & &\n& Jove, seeing Mars lying on the ground, and being frightened by the whole affair*\ncomes to his window, and, while I brandish my sword against the enemy till it flashes like\nthe fire rising from some new Mongibello, says: \"Be silent, all of you, for he who has\nslain Mars is Capitan Coccodrillo, and now he is so enraged that he might come into\nheaven and slay us all. \" &\n(3.) Moland. Moliere et la comedie italienne. page 165."}, {"page_pdf": 12, "page_imprimee": "154", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.12", "debut_caractere": 23, "fin_caractere_exclue": 4396, "texte": "Molidre, to signify a dark and starless night, makes an actor say that 44 the sky has clothed\nitself this evening like Scaramouche (1) &\nFiorillo visited all the theatres of Italy and in 1639 went to France where he received\na most hearty welcome alike from Court and Public. 44 In Italy \" says Riccoboni, 44 This\n44 personnage had never played any other part than that of the Captain, but in France he\n44 was so much appreciated that he was served up with all sauces. \" &\nHis principle talent lay in facial expression, and for that reason he wore no mask but\nwhitened his face and blackened his eyebrows and moustache. 44 This excellent actor \" says\na worthy critic, (himself a player), who was acquainted with him, 44 possessed to so high\n44 a degree of perfection this marvellous talent that he touched more hearts by simple\n44 natural means than the ablest speakers by the charms of the most persuasive rhetoric \",\na fact which caused a great prince who saw him act in Rome to declare that 44 Scara-\nmuccia does not speak and yet says everything \" ; and, as a mark of his esteem, he sum-\nmoned him after the play and made him a present of the coach and six horses in which\nhe had been fetched. (2).\nIt was from him that the upholsterer Gianbattiste Poquelin learned the art of acting,\nand from his scenarios that he derived the inspiration for some of his plays. So much so,\nindeed, as to cause Moland to say that, wherever in Moll&re there is complicated action,\nthere is imitation of the Italian Commedia. (1) Riccoboni has handed down his portrait to\nus, and the actor Angelo Contarini, (if indeed it be true that it was he), a life of him in\nFrench, although to this latter,.... and with every reason... all authority and veracity\nis denied. (3)\nHardly any memory survives of 44Capitan Spezzaferro\", (Giuseppe Bianchi,) who went to\nParis in 1639 and in 1645. Then, about 1655, Francesco Manzani walked the stages under\nthe name of 44 Capitan Terremoto his great stature and resounding voice winning for\nhim that disastrous name. And, as late as 1750, in the theatres of Naples, Nicola Boniti, a\nNeapolitan, gave infinite pleasure in the part of 44 Capitan Spacca \" by the readiness of his\nwit and the thorough knowledge which he possessed in all matters relating to his pro-\nfession. (4)\nAfter this date the part of the Captain was neglected to such an extent that In the\nyear 1781 Francesco Bartoli, in the 44 Notizie istoriche de' Comlcl Italian! \" only speaks of\nit as of a character gone out of fashion, while Francesco Cerlone, the playwright of Pulci-\nnella and of Don Fastidio, does not admit him to a place in a single one of his numerous\nplays. &\nBut, though neglected at the end of the eighteenth century, the Captain was restored\nto honour in the nineteenth. From the gutter where the kicks of the 44 Lelios \" and the\n44 Coviellos \" had driven him and where the mocking smiles of the 44 Flaminias \" and the\n44 Beatrices \" had been directed to annihilate him, he raises himself very cautiously, and,\nbehind the wings, changes his clothes. He sets on his head a tall white hat, girds his waist\nwith a red sash, dons a black jacket and a pair of white trousers, brandishes a malacca\ncane and reappears upon the stage with the title of guappo. (5) From the bragging Spanish\nsoldier of fortune he becomes the Neapolitan camorrista. The character is, however, fun-\ndamentally, the same. In fact, In the booth of the puppet showman he has not even left\nbehind his military name, he has only descended from the rank of Captain to that of\nCorporal. He is in eternal opposition to Pulcinella and his rival in love; The action in\n\nThree othei\nCaptains. &\n\nNOTES AND TRANSLATIONS.\n1. Le Sicilien ou I'Amour peintre, 1667. Sc: 2. & & & &\n2. & Evaristo Gherardi, 44 Le Theatre italien ou la recueil g£n6ral de toutes les comedies\net scenes Francoises jouees par les Comediens Italiens \". Paris, 1717* In the play in Volume 1\n44 Columbine avocat pour at contre \", Act 3, Scene 7.&&&&<&\n3. & Compare Adolfo Bartoli, 44Scenari inediti\", page 170 and following. The writer who in-\nveighs against the falsity of this unfounded romance is Gherardi, see preceding note.\n4. Bartoli. 44 Notizie istoriche \" etc* & & &\n5. 44 Guappo \" may mean an audacious or self-assertive person, used chiefly of the lower\nclasses or it may signify the equivalent of the modern 44 Hooligan & &"}, {"page_pdf": 13, "page_imprimee": "155", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 2311, "texte": "these primitive comedies is always the same; the quarrels of Corporal Fasulo with Pul-\ncinella for the possession of Columbine's heart. And to this same Corporal Fasulo has remained\n... .indelible mark of ancient nobility... the enormous nose which formerly made so fine\na show upon the gaunt and terrible faces of \" Spavento \", of 44 Francatrippa \", of 44 Bella-\nvita \" and of the old <4 Scaramuccia\".\n& In the Neapolitan Op£ra Buffe, that great and spontaneous manifestation of the Neapo-\nlitan genius of the eighteenth century, the Captain occupies a conspicuous place towards\nthe end of 1720, being there a singer as well as an actor. &\n& Let us now study our type in one single comedy,... in the \" Patro' Tonno d'lsca \"\nperformed at Naples at the Theatre of the Florentines in 1714, a play of which the verse is\nby Agasippe Mercotellis and the music by Giuseppe Veneziani.\nOne of the characters is Capita' Ciullo. He comes out upon the stage addressing his dis-\ncourse to 44 Uommene, uomenicche e uommennune \". (1) He believes himself an Adonis and\nsays that all the women are fulminated by the mere flicker of his eyelash. &\n44 Saje che bbo' di', Clannello,\nTieme', sta bella posta de cappiello,\nA la potta de diece !\nSto pede 'nnante e sta sbattuta 'n terra,\nSta spotazzelia jettata de sguinzo,\nTe farriano cade', che bbuo' che ddica,\nComm'a no bello conte\nPorzi' la Dea Caronte. \" (2.)\n& And for the beautiful ones he becomes a poet. In merely catching sight of their houses\nfrom a distance he falls into the poetic rage:\n44 Amor, che questo cor mi spacca e felia...\n(Chisto m'e 'sciuto da le catamella)\nE11a... e11a... ah si si... per Carminella...\nNon caddi no, precipitai di sella!\nOh in toscana favella\nVi' come corre il pie'...\" (3.)\nand, roughly interrupted by a volley of stones in the back he only observes 44 It is love\nwhich shoots \" and continues his song. He hears laughter behind his back, turns, and sees\nan urchin who is mocking him. 44 Do you know who I am! \" N0...\n44 Bennagg' o]o I\nTu non si de sto munno,\nTu si no' gnorantone,\nTu si n'&seno 'nviso 'nverbo et opera.\nSiente, piezzo d'anchione,\nSiente lo nomme mio, apre st'aurecchie,\nTremma da capo a pede,\nMo' te faccio venire le petecchie..! (4.)\n44 I am dead! \" cries the urchin. A crowd gathers and wants to fall upon Capita Ciullo"}, {"page_pdf": 13, "page_imprimee": "155", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.13", "debut_caractere": 2336, "fin_caractere_exclue": 3271, "texte": "44Capita Ciullo\".\nHis poems.\nAnd misfortunes\n\nNOT&S AND TRANSLATIONS.\n1. Men, big men and small men. & & & & &\n2. & Do you know what this means, Cianniello ? Look i This fine way of putting on one's\nhat, this planting of one's foot well forward, this stamping, and this sidelong spitting make\nsuch an impression that it would bowl over any on-looker, were he a great noble or one\nof the gods themselves! & & & & & & &\n3• Love, which this heart of mine cleaves and imbitters,... (Why, what a splendid phrase\nI've turned out now !) She... she... ah yes, ah yes, for Carminella I did not merely fall,\nbut flung myself from the saddle! (Oh, how well the metre runs in the Tuscan tongue !)\n4. & Bless your soul, you're not of this world, you're a great silly fellow, an ass in looks\nand speech and all you do ; listen, you stupid thing, listen to my name ; open those ears\nof yours, tremble from head to foot, for now I'll make your flesh &"}, {"page_pdf": 14, "page_imprimee": "156", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.14", "debut_caractere": 21, "fin_caractere_exclue": 3246, "texte": "who makes himself as small as possible, not understanding what has befallen him, and\nmurmurs :\n44 Vi' la mmalora I io sso' no maccarone,\nE unn'aggio fatto 111 aje male ana mosca.\nE mo' co no guaglione\nVoleva fa lo guappo ! \"\nand very softly, without being noticed, slips away. When he is seen far in the distance,\nrunning for his life, all burst into fits of laughter and the boy launches after him a\nvolley of insults. &&&&&&&& jp\n& One may say that the type of the Captain retained its popularity so long as we had\nthe Spaniards over us, and that, if not born at Naples, he certainly found his best fortune\nthere, since it was there that the dominion, and burden of that vainglorious nation\nweighed longest and most heavily. The Viceroy and the nobles declaimed on high, and\nCapitan Matamoros mimicked them in the piazza; while the people laughed, raising their\neyes to the windows of the Viceregal palace I 44 Through our streets \" says Del Tufo, de-\nscribing the Naples of the close of the Sixteenth century, 44 through our streets there march\nwith lofty mien the vile and cowardly bullies. \" & & & &\n44 tra di noi tagliacantoni\nFracassaferri e manglacatenazzi,\nPortando a la cintura\nCon certa lor tremenda intosciatura\nArrabbiando da cani,\nII diavolo sempre ed alle mani ....\nNel sembiante Ciclopi aspri e feroci,\nPolifemi ale voci,\nE ne le man' cotanti Briarei.\nQuesti bravan, quest! animosi cori,\nChe ucciderian la morte,\nRiescono di sorte\nCos! buon traditori\nChe non fu Giuda o Gano,\nMostrando, al poner mano,\nLa codardia piii d'ogni vil marrano \" (2).\n& Our lower classes listened to their amazing adventures, affecting terror and admiration,\nand sometimes tolerated their overbearing ways as if constrained thereto by the fascina*\ntion of the hero ; but not infrequently, so soon as the braggart had turned his back, attacked\nhim with jeers and rotten fruit, obliging him to run away. & & &\n& For the most part the actors who represented this character were themselves Neapoli*\ntans. But our public was not pleased to see him kicked by his fellow-citizen Coviello in\nthe booths and theatres, nor ridiculed In musical comedy; though it liked to hear\nthe story of his drubbings even in the little vernacular poems. Giulio Cesare Cortese makes\nhim the hero of the 44 Micco Passaro innamorato \" sg? jg? jg? jg?\n44 Io canto chelle brave cortellate,\nLe fente, le revierze e fi scenniente,\n\n& The Spanish\ninfluence. &\nMicco Passaro.\n\nNOTES AND TRANSLATIONS.\nI Just see what bad luck ! I* rn' but a poor silly fellow who never harmed a fly, and\nnow with a boy I wanted to play the bully. &\n2, See the Monograph on the 44 Opera buffa napolitana.\" pages 55 and following. jg?\n3. & Among us these cutters of corners, smashers of iron and devourers of chains, move\nwith tremendous affrontary and noisy as dogs, having the devil ever at their side and being\never ready to come to blows. In appearance the}' are like violent and ferocious Cyclops, in\nvoice so many Polyphemuses and in their blows like Briaseo. These braggarts, these over*\nbearing spirits who would slay death itself, prove themselves greater traitors than either\nJudas or Janus, showing, so soon as a hand is laid upon them, more cowardice than the\nbasest serf."}, {"page_pdf": 17, "page_imprimee": "157", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 2799, "texte": "Li fuorte stramazzune e le mbroccate\nDe lo shiore de l'huommene vallente\nE chille ammure tanto unommenate\nDa quante foro e so' ricche e pezziente,\nDe chillo ch'e smargiasso porzi' muorto\nMicco Passaro nato' mmiezzo Puorto. \" (1.)\n& Micco was the capoparanza (2.) of the 44 guappi \" who inhabited the quarters of the Duchesna\nand the Porto and led them to war. He was quick to provoke a combat and always ready\nto lay his hand to his sword, but he was also nimble in taking to his heels as soon as he\ncaught a glimpse of an enemy's blade or the train of powder of an arquebus. Passing along\nan alley in Naples he hears an uproar in a house near by. He goes up to see what is hap-\npening and finds a number of women, among whom is Ills own lady-love, are desirous\nof throwing one of the most popular doctors in the city down stairs because he had shown\nhimself incapable of making a good suggestion. Micco raises his voice to restore order, but\nthe women, having assembled there for the very purpose of confabulating against him, he\nhaving instigated their lovers to go off to the war, fall upon him, and by force of kicks with\ntheir wooden shoes, cuffs, and slaps on the face, drive him into the street. Micco, all\nbruised, stops, regains his breath, and then, turning to the closed door of the house\nexclaims in a bragging voice:\n44 Jesce cca co la spata ca t'aspecco,\nE te do conto de la vita mia ;\nE si non jesce, si no 'nfammo becco,\nE te lo provo 'mmiezzo de sta via \" (3,)\nBut suddenly, and quite contrary to his expectations, two men come out armed with guns:\n44 Ohime ! in'assassinate !\nChest'e sopierhieria ! Vocche de fuoco !\nFerma, potta de Nico, non Urate,\nCa craje nee travarrimo a n'autro loco,\" (4.)\nand he luns away without looking back. They fire several shots after him, and he, sup-\nposing it to be a regular volley, doubles his speed amid hisses and yells,.< 2* &\n& The orthordox critics, to whom a musty odour is pleasant, and who have claimed that\nthe Cotnmedia dell'Arte of the Cinquecento is but a continuation of the ancient Atellanian\nfarce, naturally see in the Captain none other than the *4 Miles gloriosus \" of Plautus (5)\nThe points of resemblance are in fact, very striking.\n& The Plautinian 44 Pyrgopolinices \" comes out upon the stage saying to the servants ;\nSee to it that the brightness of my shield be more brilliant than are the rays of the sun\n44 when the sky is clear, to the end that, when I use it, it may dazzle the enemy's sight,\n44 although they protect their eyes with their hands \". &\nAnd he delights in hearing his own deeds of valour related by the Parasite, who in-\nvents astounding ones so as, by means of his cunning, to procure for himself a more\nsucculent dinner.\nI remember \", says the Parasite, 44 that you slew in a single day one hundred and"}, {"page_pdf": 17, "page_imprimee": "157", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.17", "debut_caractere": 2820, "fin_caractere_exclue": 3739, "texte": "The Miles\ngloiiosus.\n\nNOTES AND TRANSLATIONS.\nl. & I sing of the noble stabs, the feints, the cuts, the thrusts, of the flower of valiant\nmen, and of the love affairs, (so celebrated among all to whom they were known, whether\nrich or poor) of him who, even when dead, strikes terror; I mean of Micco Passaro, who\nwas born in the midst of the Porto, (The Porto is a part of Naples. Ed.) &\nCapoparanza \". The head of a society or association of persons similarly employed.\n3. Come here with your sword for I'm awaiting you, and I'll soon let you know who\nI am , and if you don t come you're a horned villain, as I'll prove to you in the middle of\nthis street.\n4. Oh, oh, you re killing me! this is an outrage! a gun! stop! don't fire, for so tomorrow\nwe may meet again in another place. & & &\nis. \" Certainly this type descends from the 44 Miles of Plautus. \"A. Bartoli. 44 Scenari\ninediti \". pages 18 & 19. & & & & & & &"}, {"page_pdf": 18, "page_imprimee": "158", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.18", "debut_caractere": 23, "fin_caractere_exclue": 3874, "texte": "fifty in Sllicia, one hundred Sicolatronidi, thirty Sards and sixty Macedonians\n44 And to how many do all these amount ? \"\n44 To seven thousand\n44 Just so ! they must have been just so many. You are right \".\n44 Yet I have not noted down one of them : I recall them from memory \".\n44 By Pollux, you have a prodigious memory I \"\n44 (It is my empty stomach which prompts it I) \"\nAnd then in all affairs of the heart he is most tender. He has loved half the world\nbut he has been loved in return by the whole. jz? jz>\n44 All women love you \" says the Parasite, 44and, by Hercules, they are not wrong, you\nare so handsome. \" And he tells him how the fair ladies of the city, on seeing them pass\ntogether, accosted him and pulled at his toga to ask if it were Achilles, and exclaimed\n44 Nae illae sunt fortunatae, quae cum isto cubanti \" 44 A great misfortune, \" observes the\nMiles, 44 to be a very handsome man ; Nimia 'st miseria pulchrum esse hominem nimis I\n& Antemonides is another vainglorious soldier of the Plautinian drama, but he sins a\nlittle in the matter of gluttony, being in this unlike any of his fellows, who, on the con-\ntrary, take pleasure in satisfying the appetites of parasites so that these may discant upon\ntheir memorable deeds. In the matter of boasting, however, he Is second to none. jZ?\n44 As I said to you, then, in that battle of five crowned kings I slew with my own\nhands, in a single day, six hundred thousand flying men. \"\n44 What I flying men ? \"\n44 Certainly \".\n44 And wherever are the flying men ? \"\n44 They were there, but I killed them. \"\n44 And how did you do it ?\n44 I will tell you. I gave my soldiers birdlime and slings and bade them cover these\nlatter with leaves of coltsfoot. \"\n44 And why ? \"\n44 So that the birdlime should not stick to the slings\n44 Go on ! you tell lies marvellously ! And then ? \".\n44 In the slings they put some small globules of bird lime and I ordered that they should\n44 hurl these against those flyers. What need to say more ? When one of these was struck\n44 by the birdlime he fell to the ground like a stone, and, as fast as they fell, I slew them\n44 immediately, transpiercing their brains with one of their own feathers as though they\n<4 had been turtledoves. And if, by the gods, these things did not really happen, may Jove\n44 never hear or grant my prayers I\" (1)\n£? They certainly resemble each other ; but how is one to connect these two apparitions,...\nthe 4Miles' of the Plautinian Comedy with the 4Capitano' of the sixteenth century comedy ?\nRather is it necessary to go yet further back than Plautus, since the 44 Miles gloriouss\" is\ncopied from the 44 Alazon \" and the 44 Poenulus \" from the 44 Carchedonius \" of Menander,\nwhile a portrait which most closely resembles the Captain is to be met with in Luciano\nin the person of a certain 44 Leontico \" who, 44 the better to captivate the soul of Innide,\n44 boasts of his marvellous deeds of prowess in battle, and, among others, of a duel which\n44 he fought with the Satrap of Paflagonia. \" (2)\nsZ? But, as with Pulcinella, so here, we have neither one single proof nor one single docu-\nment which renders us certain that this type continued to exist during the Middle * Ages.\n44 What became of them during that long period of darkness ? \" asks Vernon Lee. 44 Did\n44 they lurk, with the last remnants of paganism, in the rural festivals, playing their\n44 pranks in honour of antique gods disguised as mediaeval saints ? Did the Church absorb\n44 them, as it absorbed all the life that remained, and let them loose to dance, gesticulate,\n44 and jest among the donkeys and drunken clerks of the feast of fools or the inummers of\n\n44 Antemonides \"\nand his exploits.\n.<& A yet older\nCaptain. &\n\nNOTLS AND TRANSLATIONS.\n1. Plautus. 44 Poenulus. \" Act 2.\n2. See Camerini: 44 I Precursor! del Goldoni \". Milan 1872. pages 47-48."}, {"page_pdf": 19, "page_imprimee": "159", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 4117, "texte": "44 shrove«tide, humouring the love of the ridiculous and the gross in the same way as It\n44 did in the dirty and grotesque aplshness of the Cathedral fronts ? \" & &\nI do not know and it does not seem so to me. Besides, I do not see the object of insis®\nting to such an extent upon the hypothesis of a historical connection. At a time when a\nSpanish soldier, Miguel de Cervantes, succeeded In creating the genial type of the hidalgo\nDon Quixote de la Manclia who has also many points of resemblance to our Captain, could\nnot the Italians, who had daily before their eyes these blustering fellows swollen with pride,\ncreate a 44 Capitano Spavento della ValFlnferna \" or a self=styled 44 Matamoros \" just as the\nGreeks and Romans had been able previously to create a 44 Miles Gloriosus \" ?\nAnd besides, who is there to certify that the 44 Miles \" was a popular type and not\nrather a creature of the individual imagination of the poet, having, however, a counterpart\nIn the contemporary life ? Might he not be, for instance, a creation such as 44 Fanfulla\"\nor 44 Don Abbondio \" 01* Don Quixote himself ? Whereas It is certain that the Italian Captain\nwas the personificatien of a sentiment common to all Italians of the Cinquecento : a type\nfirst presented by an actor, and then developed to suit their own taste by the people\nthemselves, approving with applause and correcting with hisses: and it seems to me that\nthere! is nothing either unnatural or improbable in admitting that our swaggering fellow\nmay have sprung spontaneously from the inner consciousness of the Italian people of the\nCinquecento, without a shadow of plagiarism.\n& It is conceivable, however, that the Idea may have been suggested to the actor who\nfirst presented that type 011 the stage through the reading of Plautus (1.) as was the case with\nmany other literary and artistic phenomena of the Renaissance; with musical drama, for\nexample, the first idea of which sprang from the reading of the Greek tragedians.\n& This is probable, but it excludes the hypothesis of the silent tradition of more than\nseventeen centuries : and one must also beware of falling into an optical delusion. If one\nobserves the type of the Captain in the plays of the Cinque® or Seicento one hears again\nin them the Plautinian 44 Miles \". For example, .... to cite some of them,.... in the\ncomedies of Glambattista della Porta, the Captains 44 Basilisco \" from the \"Furiosa\" (1609)\n44 Parabola \" from the 44 Moro \" (1607) 44 Gorgoleone \" from the 44 ChSappinaria \" (1609),\n44 Martibellonio \" from the 44 Two Rival Brothers \" (1601) 44 Trasiloco \" from the 44 Olimpia \"\n(1589), and 44 Dante \" and 44 Pantaleone\" from the 44 Fantesca \" (1597) and the 44 Cintia \"\n(1601), seem but pupils of 44 Pirgopolinice \" who have inherited from their master his invin®\ncible bravery and his incessant boasting. je?\nBut one cannot, on account of this hint of imitation, affirm that there have been two\ndifferent manifestations of that type in Italy, the one derived from the literary tradition,\nthe other spontaneous and popular. On the contrary, it seems certain that, when the regular\nCommedia appropriated from the public squares the already-formed masks and types and\nwith them the Captain, noting the likeness which he bore to the ancient Plautinian\ncharacter, it retouched the sixteenth century braggart with the vivid and characteristic\ncolours of the Roman soldier, and this retinting has occasioned an optical delusion in\nthe later critics.\nA famous art critic, Signor Ugo Fleres, puts forward a most reasonable and ingenious\ncomparison; 441t seems to me\", he says, \"that the 44Guappo\" stands in the same relation to\n44 the 44 Capitan Fracassa \" as this latter to the 44 Miles gloriosus \". That is to say, that as\n44 the 44 Miles was born from the insolence of the Roman soldier and the 44 Fracassa \" from\n\" the boasting of the Spanish soldier, (and perhaps also the Basque) so is the 44 Guappo \"\n44 born of the braggings of our 44 lazzarone (2.) They all have their roots in the society\n44 In which they live so that they are all derived the one from the other, as much, re®"}, {"page_pdf": 19, "page_imprimee": "159", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.19", "debut_caractere": 4140, "fin_caractere_exclue": 4762, "texte": "The Italian\nCaptainj&\n&A possible\norigin.\n& An ingenious\ncomparison.\n\nNOTES AND TRANSLATIONS.\n1. It is very noteworthy that in 1567, in the presence of Charles IV and of Catherine de'\nMedici at the Hdtel de Reims, Antoine de Baif, who boasted of having given 44 the French\nfashion of dress and the French speech to the actors of Terence \" had represented a play\nentitled 44 Le brave ou Taille-bras\", which was In part translated and in part Imitated from\nthe 44 Miles gloriosus \" (See Charles Gidel, 44 Histoire de la littdrature page 242.\n2. \"Lazzarone\" is used among the common people In Naples to describe an idler. jst"}, {"page_pdf": 20, "page_imprimee": "160", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.20", "debut_caractere": 25, "fin_caractere_exclue": 4019, "texte": "A genuine giant.\n\n44 spectively, as are their social surroundings; they resemble each other, not by the heritage\n44 of artistic traditions but of necessity through their very nature \". (1)\nBut my readers must not think that the 44 Fracassas \" were always base in their deeds\nand boasters in their words. There Is in the history of the Italian dialectic literature\nanother 44 Fracassa \", no longer Don Quixotian but a real giant. & &\n44 Cujus strips olim Morganto venit ab illo\nQui bachiocconem campanae ferre solebat\" (2.)\n£/ He is one of the heroes of the 44 Opus macaronicum \" of Teofilo Folengo and the most\nattractive. His size was immense. Imagine that with the mere lobe of one of his ears five\npairs of shoes could be made! There was no horse that could carry him:\n44 Quando scandit eos smagazzat more fritadae 99 (3).\nand his boldness and strength were such as to cause his companions to exclaim,\n44 Ire sub Internum tuti poterimus adessum,\nPostquam nobiscum venit haec montagna gigantis \" (4)\nBut this 44 Fracassus \"is akin to the Captain of the same name as were Orlando or\nAmadigi to Don Quixote! (5) <£? zz? & & &\n\nNOTES AND TRANSLATIONS.\n1. 44 Ancora del Capitan Fracassa, More about Capitan Fracassa, in 44 Capitan Fracassa\"\nfor September 26. 1880.\n2. j& \"Whose race originally decended from that Morgante who used to carry the clapper\nof the bell \"\n3. Teofili Folengi 44 vulgo Merlini Cocaii Opus macaronicum 9> etc. Part 1. Amstelodami\n2768, J. Braglia. 44 Macaronea \", 11, pages 99 and 100. 44 When he mouts he crushes them\nflat as pancakes jz? sZ? •£>\n4. Macaronea \" XVIII, volume 11. page 222. 44 We could now go safely to the bottom of\nHell itself since this mountain of a giant accompanies us. \"\nd& Ugo Fleres, who, In the paper 44 Capitan Fracassa 99 for Sept: 26th 1880 published a\nletter to me in reference to my historical sketch of the Captain=»type published In the\nnumber for September 12 of the same Journal, (and which was the basis of the present\nstudy), observes, in regard to this comparison of the Captain with Don Quixote : 44 Don\n44 Quixote is in spirit as much of a hero as Orlando and Amadigi: and if, instead of\n44 cutting down Moors, he fights with windmills and makes his breakfast off drubbings\n44 the fault is in his muscles and not in his spirit, which is, on the contrary, the more\n44 heroic in as much as he does not lose his paradoxical courage at the most violent\n44 caress of the cudgels, whereas all the heroes of the Round Table would have per-\n-44 haps bowed their proud heads if they had received but the half of what the Hidalgo\n44 received. jZ? js? j£?\n& Here is Orlando: a hero, permit me to express myself thus,.... both in soul\n44 and body. Little by little his muscles wither, his fresh colour fades, his skin, which\n44 seems like an ancient parchment, clothes a walking skeleton, a kind of stockfish, In\n44 which, however, there continues to beat the heart of Orlando, In which there yet burns\n44 a brain drunk with glory:... it is Don Quixote de la Mancha, <4caballero andante\".\n44 But all at once the 44 Hidalgo \" pulls himself together; the dull iris of his eyes\n44 usually veiled by the upper lid, is fully disclosed by the raising of this and by the dreadful\n44 arching of the eyebrow: then, with the tips of his thumb and forefinger he turns up\n44 the bristles of his moustache as though, as Gautier's 44 Matamoros says, to pierce the\n%\n44 very sky with them: next a tremendous step forward, an oath like an earthquake on his\n44 lips ~.. and we have Capitan Fracassa. jgr *&&<&&&&\n«« But we must not go too fast. The heart of Orlando is dead ; the heart of Don Quixote\n44 beats no longer. Capitan Fracassa is a mask like Don Quixote, but not a true Don Quixote ;\n44 he is not even a caricature of one ; in fact the 44 Hidalgo \" is already himself a ca»\n44 ricature.\n44 The Captain and the 4Guappo' are of the same race. The family of the della Mancha\n44 is as far removed from them both as it Is itself from the \"Montaulon\". & &"}]}, {"article_id": "bm-bmtnaau-1911-04-01-c013", "article_bluemountain": "bmtnaau_1911-04_01#c013", "volume": "bmtnaau_1911-04_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": 15, "image_fin": 15, "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=bmtnaau191104-01.2.7.2", "titre_corps": "FROM THE BALLI DI SFESSANIA. 1622", "titre_sommaire": "FROM THE BALLI DI SFESSANIA. 1622", "signature_source": "GIACOMO CALLOT", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 15, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 61, "texte": "FROM THE BALLI DI SFESSANIA. 1622. GIACOMO CALLOT: 1593-1635."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c014", "article_bluemountain": "bmtnaau_1911-04_01#c014", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "161", "page_fin": "163", "image_debut": 21, "image_fin": 23, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.2.8", "titre_corps": "BIOGRAPHICAL NOTES TO THE PRECEDING ESSAY", "titre_sommaire": "BIOGRAPHICAL NOTES TO THE PRECEDING ESSAY", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "161", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 4208, "texte": "BIOGRAPHICAL NOTES TO THE PRECEDING ESSAY.\n\nStefano. A Spanish Jesuit and litterateur. Born in 1747, he afterwards spent\nmany years in Italy at Bologna, moving later to Paris where he died in 1799. He wrote\nthe 44 Rivoluzioni del Teatro musicale \" which was first published in Italian and of which\nan abridged edition afterwards appeared in French under the title, 44 Les Revolutions du\nthe&tre musical en Italle, depuis son origin© jusqu'a nos jours \". He also left the manuscript\nof an Italian work, 44 del Ritmo sonoro et del Ritmo muto degli antichi: dissertazioni 7\",\nand Grainville, to whom he had entrusted the translation into French, says that in it the\nauthor had drawn upon the most celebrated writings of antiquity, treating therein of music,\npoetry, grammar, pantomime, the dance, etc. and adds that, according to the opinions of\nseveral leading savants, the discoveries of Arteaga as set forth in this work are absolutely\nnew and most essential to art.\nGiuseppe. An actor who flourished about the middle of the Seventeenth century\nunder the name of Capitano Spezzaferro. The Freres tell us that, during the two\nyears (1668=79) during which the famous Scaramuccia, (Tiberlo Fiorilli) was, by permission\n0\nof the Court, absent In Italy, his place in Paris was taken by a new and most able Italian\nactor whose talent was such as to cause his celebrated predecessor to be but little missed;\nand they add that on Fiorilli's return this actor, Bianchi, surrendered the part of Scara-\nmuccia and took again that of the Captain, which he seems to have played previously\nin 1645* &\nGiacomo or Jacques. Engraver born at Nancy in 1592. He lived a short adventurous\nlife,... the life of an artist, 44 accompanied, \" his biographer tells us, 44 de misere et de\njoie.\" When scarcely twelve, being opposed by his parents in his desire to become a painter,\nhe ran away from his home, and, having no resources, joined a company of gypsies or players\nbound for Italy. He reached Florence and there began to study, but, being recognised by\nsome merchants, he was sent back to his father. This happened more than once until he at\nlast obtained permission to remain in Italy. He returned later on to Nancy in the service\nof Henry Duke of Lorraine, and this prince's favour, added to his own talents and charm\nof character, quickly won him success.\njg/ After the capture of Nancy he was urged to engrave a souvenir of this conquest, but\nreplied proudly that 44 he would sooner cut off his thumb than do anything contrary to\nthe honour of his prince and country \". Louis XIII, admiring the artist's fine spirit, accepted\nthis refusal and even offered him a pension of five thousand francs to enter his own service,\nbut Callot, preferring liberty to all else, refused. *& & &\nHis works are far too numerous to name, but those which have a peculiar interest for\nthe student of the theatre are his 44 Balli di Sfessania \" (many of the figures from which\nappear in this and the preceding number of The Mask) and Illustrations of pageants and\nscenes from plays. He died at Nancy on March 27th, 1635 at the early age of forty two. Miguel\nMiguel Saavedrade de. Was born at Alcala de Henares on October 9, 1547 of\nan ancient family. He spent many years as a soldier and in the course of them was made\na slave and sent to Algiers. It was not until after his return to Spain in 1584 that he ap-\npears as an author, writing about thirty plays which are said to have won great applause\nwhen performed, but of which all but two were afterwards lost. In 1604 he published the\nfirst part of 44 Don Quixote \", the great work upon which his fame rests, and of which a\n\nNOTES AND TRANSLATIONS.\nj& 44 The figure in Italian art which most nearly resembles that of Don Quixote is the very\n\" charming, the mad, the brilliant figure of Fanfulla da Lodi. Don Quixote is in relation to\n44 Fanfulla as a Spaniard of that period, domineering, insolent, but yet courageous* is to\n44 an Italian,... always of that same period ... without country but not without honour;\n44 without God but not without ideals; mad but valiant. \"\n£? 1 have left my phrase without modification on purpose to be able to quote this fine\ncomparison of Fleres's. & jzr &"}, {"page_pdf": 22, "page_imprimee": "162", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.22", "debut_caractere": 25, "fin_caractere_exclue": 3994, "texte": "continuation appeared in 1615. Cervantes also wrote a collection of plays in the style of the\nnew school which had been introduced by Lope de Vega, and these, though never acted,\nwere published in Madrid in 1615. His death took place at Madrid on April 23, 1616, being the\nsame day as that of his great contemporary Shakespeare.\nCoRTESE. Giulio Cesare. A Neapolitan poet born in 1570. & & & &\npIORILLO, Silvio. Italian Actor born in Naples in the second half of the sixteenth century.\nHe performed first under the name of Capitan Matamoros and later under that of Pul-\ncinella. He wrote various plays and poems, of which 44 The Three Vainglorious Captains \"\nwas published at Naples in 1621. The date of his death is uncertain, but as he was already\nleader of a company in Naples in 1594 when he could hardly have been less than twenty\nyears of age, and as the date of his last publication is 1632 when he would, according to\nthe former supposition, have been nearly seventy, it seems probable that he died soon after\nthat date. His son Glovan Battista was also an actor, performing under the name of\nTrappolino.\npIORILLO, Tiberio. Italian actor born in Naples in 1608. He was one of the most celebrated\ncomedians of the seventeenth century, and was for about fifty years the delight of his\naudiences under the name of Scaramuccia. According to his biographer Angelo Costantlni\nhe was the son of Silvio Florillo, but this assertion, when tested by dates, and viewed in\nthe light of Costantinl's erroneousness on almost all points of his hero's [life seems very\ndoubtful.\npOLENGO, Teofilo. Born at Capada near the lake of Mantua in 149 L he entered the Order\nof St. Benedict in 1507, but, falling deeply in love, he forsook the cloister to follow the\nlady and they wandered together from place to place for many years. About the year 1526,\nhowever, he returned to his Order and died in a monastery in the territory of Vicenza\nin 1544. He wrote various plays, among them being 44 La Pinta \" or 44 La Palermita \", a\ndrama treating of the Creation and the Fall of Adam, and various other religious plays.\npORNARIS, Fabrizio de. An actor who recited in the second half of the Sixteenth century\nin the famous Company of the Confldenti. He was in France in the years 157* and 1584*\nand while there he published the 44 Angelica \", a prose play in five acts, which has a cer-\ntain value and interest as the work of an expert actor. & & & &\n/TARAVANI, Girolamo. An Italian actor celebrated under the name of 44 Capitan Rinoce-\nronte \". Beltrame gives his name as 44 Garavini \". He married an actress named Isabella\nand was with the Company of the Fedeli in Paris in 1621 and died in that city on October\n2, 1624. £?' & & & & & &\nClaude. A French artist born at Langres 1673, died in Paris 1722. Having begun his\nstudies under his father, himself a painter, he was sent to continue them in Paris under\nJean Battiste Corneille, a historical painter ; but the boy, endowed with keen imagination\nand impatient of the course of study laid down for him, preferred to escape from the studio\nand, wandering about the streets and squares, study from life and especially from the\nactors who performed in the public places, and his work chiefly represents popular scenes\nand burlesue adventures. He was the master of Watteau. He also directed the scenery and\ncostumes at the Opera, and published' the 44 Livre d'Ornements, de trophies, cul-de-lampe\net desslns \" and 44 Le Theatre Itallen \", a volume of scenes from plays, some of which are\nreproduced In The Mask.& & && <&&<&<&<&\niMANZANI Francesco. An actor who was playing, according to Francesco Bartoll, about\nthe middle of the seventeenth century. His stage name of 44 Terremoto \" was suggested\nby his great stature and powerful voice. As well as playing the part of the Captain he also\nwrote at times for the Theatre, and he translated into Italian prose the Spanish play, 44 A\ngran danno gran rimedio \", Turin, Zanpta, 1661. & & & & &"}, {"page_pdf": 23, "page_imprimee": "163", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 1679, "texte": "Buonarroti the younger. Born in Florence 156&, he was the son of Leo-\nnardo, a nephew of the great Michelangelo. He was a member of the Academy of the\nCrusca, and, being a very learned man and most zealous for the honour of the Italian\nlanguage, was employed on the first edition of the Vocabulary of the Crusca. He published\nmany poems, dramas and orations for the celebration of festivals, marriages, the visits of\nforeign Princes and other like occasions, and displayed great talent for such compositions.\nBut his chief fame arose from a rustic comedy in verse, the '* Tancia \" which he published\nin 1612 and from another, the \" Fiera the action of which was divided into five days and\ntwenty-five acts. This latter piece was performed in 1618 and published In 1626. In both of\nthese plays he introduced a great number of actors and displayed much skill in handling\nthe manners and customs of the Tuscan peasants. He made a collection of his uncle's poems\nwhich he published In 1623. He died on January 11, & &\npORTA, Giambattista della. A Neapolitan, born in 1540. He was a celebrated scientific\nscholar and writer. He also wrote tragedies, tragicomedies and scenarios, the best-known\nof these latter being the ** Trapolaria \" which was derived from one of the plays of Plautus,\nthe \" Pseudolus \", and which is interesting as showing how a sixteenth century playwright\nset about adapting a classic play as a scenario for the stage of his own day. He died In 1615.\n'jpUFO, Giovanni Battista del. Born 1546, died 1623. An ecclesiastical historian who wrote\nmuch about the life of Naples of that period. & &\nVECCHI, Orazio. An Italian monk and musical composer who died in 1605."}, {"page_pdf": 23, "page_imprimee": "163", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.23", "debut_caractere": 1706, "fin_caractere_exclue": 1710, "texte": "J.S."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c016", "article_bluemountain": "bmtnaau_1911-04_01#c016", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "164", "page_fin": "168", "image_debut": 24, "image_fin": 30, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.2.9", "titre_corps": "THE INTRODUCTION TO \"LE THEATRE ITALIEN\" of EVARISTO GHERARDI : Written by himself; Translated, with a Biographical Note upon the Author by D. Nevile Lees", "titre_sommaire": "THE INTRODUCTION TO \"LE THEATRE ITALIEN\" of EVARISTO GHERARDI : Written by himself; Translated, with a Biographical Note upon the Author by D. Nevile Lees", "signature_source": "D. Nevile Lees ; EVARISTO GHERARDI ; D. N. L", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 24, "page_imprimee": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 3954, "texte": "THE INTRODUCTION TO \"LE THEATRE\nITALIEN\" of EVARISTO GHERARDI,\nWritten by himself; Translated, with a\nBiographical Note upon the Author\nby D. Nevile Lees.\n\nmong the most delightful as well as the most useful books for\nthe student of the Italian Improvised Commedia dell' Arte is\nundoubtedly 44 Le Theatre Italien \" by Evaristo Gherardi.\nIndeed, (according to Professor RasS) it is, with the exception\nof the Scenarios of Flaininio Scala, the most important of all\nfor the history of the Italian actors.\nNo mere literary man could have achieved what he has\nachieved. The book is emphatically .... as should be all writings\nfor or about the theatre... one carried from the stage to the\nstudy and not from the study to the stage. That its contents\nhave literary charm, afford pleasant reading, is an added, not\nan essential grace, for that which is only complete in the theatre is essentially, and\nrightly, incomplete in any other form. & &\nThe book gives evidence on every page of its theatrical origin. It tells us just what wo\nwant to know and nothing that we do not. It tells us what Arlecchino, when in love with\nColumbine, said and did, not what some poet had prepared for him to say or do: it shows\ninto what words and gestures a comedian would expand the bare scenario direction of a\nscene of despair \" or 4< scene of misunderstanding \", not what the playwright, pen in\nhand, planned for him to do. It tells us, in some brief pause taken from setting down the\nwords of the dialogues, of the facial expression of that 44 Scaramuccia \" whose silence was\nmore expressive than other men's speech, and who, by merely sitting in his armchair, guitar\nIn hand, could keep the audience for a good quarter of an hour in roars of laughter at his\nvaried manifestations of terror at the unseen presence ef Pasquariei behind his chair; or\nit explains that certain rows of stops introduced into the text indicate that 44 here Arlec-\nchino changed his tone and his gesture \".... though, indeed, we knew they meant that\neven without being told, so living were the words themselves! One feels, from the first\npage one reads, the fundamental difference.... considered in regard to their quality, not\nto their degree.... between these plays and those of Shakespeare; between the works of\nthe poet, belonging to the world of literature, and those of the actor, belonging to and\ncreated in the world of the stage. The figures of the former shape themselves in our ima-\ngination in ideal scenes and surroundings which fade and recede before the impact with the\nreal when some equivalent of them is offered to us in wood and painted canvas; they be-\n' ong to the region of the purely imaginary: are complete as they speak to us from the\nprinted page, lose instead of gaining by being set upon the stage. &\nThe latter, on the contrary, however delightful in the reading, call in every line for\nhe theatre to round off their incompleteness, and the images they evoke are not of remote\n'beings of some world apart, 44 east of the sun and west of the moon \" where no mortal\never entered, but of those swift, lusty and immortal figures of the Italian Commedia, those\npure-blooded sons of the Mediterranean who had in their veins as much of the rankness\nas the refinement of the earth. Men of genius, they needed no poets to give them inspiration,\nto shape their speeches or set loose their tongues ; men of fertile imagination, they could\nstir the same in their audience without calling to their assistance the illusions of the stu-\ndio painter; men of action, they needed no playwrights to plan their plots and develop\ntheir situations; but, by their own individuality, created a living drama in which the lite-\nrary man with his petrified plays had no part, and which held the stage triumphantly for\nover two hundred years.\nOne such was Evaristo Gherardi, actor, and compiler of 44 Le Theatre I tali en.\n\nT,e Theatre\nItalien.\nIts value to the\nstudent.\nThe 44 Improvi«\nsatori \""}, {"page_pdf": 25, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.25", "debut_caractere": 78, "fin_caractere_exclue": 164, "texte": "0} Prom left to right. Mezzetino, AureHa. (probably) Arlecchino, Scaramuccia, Pierrot."}, {"page_pdf": 27, "page_imprimee": "165", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.27", "debut_caractere": 24, "fin_caractere_exclue": 4117, "texte": "Of his life we know but few facts which can be relied upon apart from his theatrical\ncareer. Francesco Bartoli would have him a Ferrarese who 44 was a- clever actor in the part\nof the Innamorato \", but a later writer, (1) weighing all the evidence, sets Bartoli's infor-\nmation regarding him aside as erroneous, and states him to have been the son of a certain\nGiovanni Gherardi* of Spoleto, himself an actor of considerable talent, who mad.e his first\nappearance at Paris in 1677 in the play 44 Arlechin Berger de Lemnos \" under the name of\n44 Flautino \" which he selected on account of the numerous wind instruments which he\nknew how to imitate with his mouth. In fact his talent for music was evidently a marked\none since as Robinet, in a rhymed letter of January 5 1675 tells us, he could give forth,\n44 de son seul gosier\n44 un concert de flutes entier!\" (2)\nand was also skilful with the guitar as is recorded in a verse beneath his portrait by\nBonnart: 44 Avec sa guittare toucli^e\nplus en maitre qu'en ecolier\nil semble qu'il tienn© cache©\nune flute dans son gosier \". (3)\nSkilled as he was alike in music and acting, this elder Gherardi won considerable po-\npularity and applause, and his association with the Comedie Italienne would have probably\nbeen of long duration had he not been, on account of his 44 depraved habits \", first impri-\nsoned and then expelled from France. &&&?*£?<<&;&<£?\nOf this debonnaire but disreputable person and of his wife Leonarda Galli was born in\nthe little town of Prato in Tuscany on November 11, 1663 (according to the Biblfografia\npratese) a son who received the name of Evaristo, and who, after concluding his studies\nin philosophy, made his debut at the Comedie italienne in Paris on October 1, 1689, playing\nthe part of Arlecchino in Regnard's play 44 The Divorce \" which had been acted for the\nfirst time at the Hotel de Bourgogne on the 17 th of March 1688 with Domenico Biancolelli\nin the caste.\nOf this debut Gherardi himself gives an account which, in its naive self-satisfaction\ncertainly proves that he had little need to use the Scotchman's prayer, 44 Lord, gie' us a\nguid conceit o' oursel's \"I\nThe play \" he says, 44 had no success in the hands of the late Signor Domenico. It had.\n44 been cut out of the repertoire and the parts burned; I, who had never before appeared\n44 on a stage and had just left th© Collegio della Marca where I had completed my course\n44 of philosophy under Doctor Balli, chose it for my first attempt. (October 1 1689) when I\n44 appeared before the public by order of the king and of Monsignore, and such and so great\n44 was the success that it brought very great gain to the & &\n& 44 Were I a man to pride myself on the talent with which nature has endowed me for the\n44 stage, whether with uncovered face or with the mask, in the leading roles, both serious\n44 and comic in which, amid applause, I have been seen to shine before the eyes of the\n44 most gracious and intelligent spectators, I should have plenty with which to satisfy my\n44 Rinout propre. I should say that I have done more, at the beginning of my career and\n44 in my early youth, than illustrious actors after twenty years of practise and in the flower\n44 of their age. But I protest that, far from being puffed up on account of such rare talents,\n44 I have always considered them as the result of my lucky star rather than of merit, and\n44 if anything has been able to beguile my spirit to such a comparison, it was nothing else\n44 but the pleasure of hearing myself applauded after the inimitable Signor Domenico, who\n44 carried to such a pitch the excellence of the burlesque in the part of Arlecchino that\n44 whoever may have seen him act must always find something to criticise in the most\n44 famous Ar leech in os of his time \". JZ?\n\nHis father. &\n& GhetatdVs <\ndebut. &\n\nNOTES AND TRANSLATIONS.\n1. <£? Professor Rasi. 44 I Comici Ifaliani. \" Life of Evaristo Gherardi. & &\n2. & From his own throat a whole orchestra of flutes.\n3. & Touching his guitar more as a master than as a pupil, he seems to have in his throat\na hidden flute. &"}, {"page_pdf": 28, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.28", "debut_caractere": 22, "fin_caractere_exclue": 3387, "texte": "Gherardl continued to act at the Comddie italienne until its suppression in 1697, and\ndied suddenly on August 31 1700 from a blow on the head received in a fall during a per-\nformance with Thorilliere and Poisson at Saint-Maur where he had been to offer a copy\nof his book \" le Theatre Italien \" to Monsignore, & & & &\nThe following description of his appearance is given in •• Le ponipe funebre d'Arlechin \"\nParis, Jean Musier, 1701) ;\nJe commence par son portrait.\nTune le vis que sous le masque,\net qu'avec son pourpoint de Basque;\nII n'dtait ni bien, ni mal fait,\ngrand ni petit, plus gras que maigre\n11 avait le corps alaigre.\nLe front haut, Toell foible mais vif.\nLe nez tr&s significatif,\net qui promettait des merveilles.\nLa bouche atteignoit ses oreilles;\nson teint dtoit d'homme de feu,\nson menton se doublait un peu,\nson encolure assez petite\nle menagait de mort subite.\nPour voir au vif son vrai portrait\nil faut voir le fils qu'il a fait,\na mon avis il lui ressembie,\nhormis qu'il est un peu vulcain,\nce que n'etoit pas Arlequin,\nou pour le moins il me le semble. (1)\nThus really all that we know of this actor is summed up in a very few, though suffi-\ncient, facts .... his birth, parentage, death ; the number of years he spent at the Comddie\nitalienne, the name of the mask under which he played, and then .... that which contains\nall, sums up all the rest and brings us near to the man himself... the work by and in which\nhe lives.\nIt is, as already said, emphatically an actor's book compiled by an actor. In it we have\nthe scenes, the dialogues, the lazzi, the little songs and the music which went with them,\nset down by one who had watched them all spring to life and weld themselves Into shape\nunder the swift touches of the actors themselves. We have a long series of copper plate\nengravings throwing most interesting light upon the stage costumes of the time; we find,\nin an endless sequence of fresh circumstance and fresh inter-relationship one with ano-\nther .... ever the same figures but ever in freshly varied connection as are the pieces in\nevery game of chess.... all our old friends; Scaramuccia, the Doctor, Mezzetino, Isabella,\nPasquarlello, Aurelia and the rest, laughing, jesting, making love, qnarrelling, intriguing,\nfighting, tumbling down, dancing, hiding in corners, running in and ont, and with them,\nabove all, perhaps best of all, Arlecchino, that incredible immortal being in the black mask\nand parti-coloured clothes.^\nNever, surely, was there any other being like him! Possessed of the qualities of that\nmercury to which his prototype, the god Mercury, gave his name, he can throw himself\n\nHis appearance.\nAn Actor''s Booh.\nA rlecchino.\n\nNOTES AND TRANSLATIONS.\ni. I begin by giving his portrait. You saw him only under a mask and with his Basque\ndoublet. He was neither well nor ill-favoured, neither tall nor short, and fat rather than\nthin. He had an active body, a high forehead, eyes weak but full of life, and an expressive\nnose which promised great things. His mouth stretched from ear to ear, his complexion\nwas fiery; he was rather double-chinned and his short neck threatened him with sudden\ndeath. If you would actually see him as he was you must see the son he has left, who in my\nopinion resembles him, save that he is somewhat deformed and Harlequin was not,. ... at\nleast so it seems to me. &&<&<&&&&&&"}, {"page_pdf": 29, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 4824, "texte": "into any part without perpetuating it in himself, just as the quicksilver, which will run\ninto any mould, yet retains the form of none.\nHe is always the same in essence, always different in expression. His many-facetted\npersonality catches every ray of light; is many«coloured as the rainbow.... the creation\nof sun and water, tears and smiles. He moves in a world full of magnificent laughter,\ngaiety, wit, inimitable repartee. He has the brilliance and the strength of some gorgeous\nflower born of the union of the sun and a rich marshy soil. He is a visitant from Olympus\nwho has brought with him some of the romantic devilry of the old gods. In his jovial robust\nspirit there is none of that sentimentality which we find, for instance, in Pierrot, mooning\naround with his cat and his rose and his floppy ruff. For Pierrot Is essentially artificial,\na dry and powdery figure, not the son of a god but the son of a barber: he was cradled\nin a powder box and his ancestry is mixed :he is no true son of Italy; has nothing in\ncommon with those greater figures of an earlier and finer age. But Arlecchino .... why,\nhe is as strong, as teeming with life both coarse and delicate as a rich manure heap, as\ngraceful and gaily coloured as the rose which blooms above. Philosopher and ragamuffin\nfused together; god and beast packed tight in a spangled coat and particoloured hose.\nPerhaps it was because he was really so dominant a figure in the Commedia, perhaps\nbecause the compiler of the 44 Theatre italien \" was himself Arlecchino and so threw even\nmore spirit into the recording of that mask than of the others, that his whimsical brilliant\npresence seems to pervade this collection from end to end. His invention is inexhaustible,\nhis spirits unflagging, his versatility amazing, his audacity superb. 4Z?\nHe calls himself 44 The Comet actor manager of a company of actors, and earnestly\ndiscusses with Columbine the choice of a play. Himself, he is all in favour of the 44 Horse\nof Troy \" .., . \" and 1 will play the Horse Or he gravely explains to Mezzetino his Inge-\nnious scheme for making 44 twelve dancing men fly without ropes and pulleys \", the death\nof the twelve seeming to him but a trifling obstacle to the carrying out of his plan.\nOr he describes his visit to the theatre as a 44 deadhead \", (i) doubtless a pointed\nsatire aimed at certain unprofitable and greedy spectators at the italienne.\nJZ? Or again, from a window in the Doctor's house, (where be certainly finds himself for\nno very good purpose), he sees Mezzetino and tells him that he is going to throw out all\nthe furniture. Mezzetino waits, and receives a mattress, a feather bed, some blankets, and\nhangings and a little child in a vest whom Arlecchino says he found sleeping on the bed.\nArlecchino also gives him a mousetrap to put in his room, 44 to prevent the mice front\nnibbling a little rind of Milanese cheese which he has been saving for ten years in his mat-\nress \" . ... and one can well believe, as Gherardi tells us, that the precipitancy of the two\nin giving and receiving the things 44 produces a very pleasant play\".. & &\nHaving consigned all the Doctor's goods to Mezzetino and himself stolen a basket of\nsilver plate from Scaramuccla, Arlecchino runs away ; but, when the back of the scene\nopens upon a hall of justice where his victims come to denounce the thefts, there is the\nübiquitous one again, playing the part of Commissioner and listening to their complaints.\nGravely he promises them justice, and in that moment his seat changes into a hideous beast,\nbelching fire, which terrifies the plaintiffs and puts them to flight. He and Pierrot roll\nCinthlo home in an empty wine barrel.... 44 the house of Cousin Diogenes \" as Arlecchino\ncalls it. He gives good advice to Aurelio on the occasion of his marriage, assuring him\nthat women, like carpets, need, for their preservation, a good beating from time to time.\nDriven to despair because the Doctor decides to marry Columbine to a Farmer, he con-\ntemplates suicide. But how to do it ? with his cutlass ? No. By hanging ? N0... 44that is a\ncommon death, a death that one sees every day, which would do me no honour. \"\n44 let us seek some extraordinary death, some heroic death, some Harlequinesque death \"\nand he thinks deeply. Then, a happy thought;... 44 I have it I I will stop up my mouth\nand nose, the wind will not be. able to escape and I shall die, \" So he tries with his hands,\nbut with poor success, since what does not escape in one way embarrasses and frustrates\nhim by escaping in another, So having heard that people die of laughing, he sets himself\nto laugh and falls and rolls upon the ground where he lies until Pasquarlel finds him in\nthis state, believes him to be drunk, calls him, brings him to himself, consoles him and leads\n(I) See The Mask page 170"}, {"page_pdf": 29, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.29", "debut_caractere": 4848, "fin_caractere_exclue": 4876, "texte": "Arleccli in o's\nVetsatility."}, {"page_pdf": 30, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.30", "debut_caractere": 23, "fin_caractere_exclue": 2737, "texte": "him away, thus ending a scene which it hardly needs Gherardi's note to assure us must\nhave been one of the most amusing ever played upon the Italian stage. ug?\n& But why seek to enumerate what is beyond enumeration ? For though one might set\ndown all the characters personified by Arlecchino, who shall enumerate the thousand\nvariations and slight subtle changes of inflection and interpretation with which Arlecchino\non repetition, played each part ? Born afresh every night, yet ever the same person, who\ncould predict from one moment to the next in what chariot of caprice the wind of im-\nprovisation would next carry him away ? & <£? & jg? &\nHe thinks of Columbine, for instance, and weeps great sad tears, catching them pensively\none by one with his thumbs until he realises that salt tears are folly and that the wise\nman weeps only the tears of the grape;\nArlequin quelque terns nous parut s'attendrir;\nMais jugeant la douleur inutile e mallgne,\nPar des pleurs superflus cessant de s'affolbllr,\nII se borne a verser les larmes de la vigne\nHe sits on an upturned drum nursing a flask and gives himself up to the pleasures of\ngreed. His salutations are a wonder, to see him take off his cap a revelation. He laughs,\nsings, weeps, sighs, protests, persuades, rages, makes love, steals, intrigues, dances, plays\nthe guitar. He is all things to all men, and all men find some reflection of themselves In\nhfim. He sums up in himself the genius of all the actors who have worn his mask, absorbs\nit and is still Arlecchino. They have been incorporated in him, never he in them. He is\nno more to be captured even by those who act him than is the rainbow by those who are\nseen touched with its prismatic colours where for a moment It seems to rest upon the earth.\n& How venture to write at all about so extraordinary a being ? The pen can never bring\nhim back to life, and neither can the pencil, for have not Callot, Gillot and many others\nall made the attempt without success ? Then shall we never see him again ? Let us not be\ntoo sure! Although his presence is removed his spirit is not dead and any night there may\ncome a knock upon the rdoor of the theatre, and, as it opens, we may see the god Mercury\nenter to take his old place, the same in essence whether he come in his old form or under\na new disguise,... and with him will come fresh life for the Theatre and its Art.\n\nArlecchin o\nthe supreme\nImprovisator, jg?\njg? His infinite\nvaiiety. jg?\nA hope for the\nfuture.\n\nD. N. L.\n\nNOTES AND TRANSLATIONS.\nI. & Harlequin seemed for a while to be overcome by grief; but then, judging sorrow to\nbe useless and malignant, he braces himself, ceases to weep and allows himself to shed none\nbut the tears of the vine."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c018", "article_bluemountain": "bmtnaau_1911-04_01#c018", "volume": "bmtnaau_1911-04_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": 25, "image_fin": 25, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.2.9.2", "titre_corps": "THE COMMEDIA DELL'ARTE. (1)", "titre_sommaire": "THE COMMEDIA DELL'ARTE. (1)", "signature_source": "CLAUDE GILLOT", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 52, "texte": "THE COMMEDIA DELL'ARTE. (1) CLAUDE GILLOT. 1673-1722"}]}, {"article_id": "bm-bmtnaau-1911-04-01-c020", "article_bluemountain": "bmtnaau_1911-04_01#c020", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "169", "page_fin": "171", "image_debut": 31, "image_fin": 33, "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=bmtnaau191104-01.2.10", "titre_corps": "THE PREFACE TO “LE THEATRE ITALIEN.”", "titre_sommaire": "THE PREFACE TO “LE THEATRE ITALIEN.”", "signature_source": "E. Gherardi", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 31, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 4313, "texte": "THE PREFACE TO “LE THEATREITALIEN.”\n\no one must expect to find complete plays in this collection since the\nItalian pieces could not be printed. &\n& The reason of this is that the Italian actors learn nothing by heart,\nand that, for the acting of a play, it is enough for them to have seen\nthe subject for a moment before going on the stage. In fact the greatest\nbeauty of their pieces is inseparable from the action, the success of their\nplays depending entirely upon the actors, who embellish them more or\nless according as they themselves possess more or less wit, and according\nto the good or bad situation in which they find themselves when acting.\nIt is this necessity of acting on the spur of the moment which makes it so difficult to\nreplace a good Italian actor when unfortunately he fails you. There is no one who cannot\nlearn by heart and recite upon the stage that which he has learned, but something very\ndifferent is required in the Italian actor. To say a 6i good Italian actor \" is as much as to\nsay a man who has depth, who plays more from imagination than from memory, who\ncomposes, while acting, all that he says : who seconds and supports whoever is with him\non the stage, that is to say, fits his words and actions so perfectly to those of his comrade\nthat he instantly enters into all the acting and movements which the other iequlres of\nhim In such a manner as to make everyone believe that, they were pre-arranged.\nIt is by no means the same with an actor who plays merely from memory, fie never\ncomes upon the stage but to recite as quickly as possible that which he has learned by\nheart, and with which he is so much occupied that, without paying attention to the\nmovements and gestures of his fellows, he always goes his own way, in a furious hurry\nto deliver himself of his role as if it were a burden which fatigues him too\nmuch. One may say that such actors are like scholars who come, trembling, to recite a\nlesson which they have carefully conned; or rather, they are like echoes, who would\nnever speak if others had not spoken before them. They are actors in name, but\nuseless, and a burden to their company. I compare an actor of this kind to a paralised\narm, which, however, useless, always bears the name of an arm. The only difference which\nI find between the dead arm and the useless member of the comedy is that, if the former\nbe of no service to the body it is equally certain that it does not receive from it any\nnourishment, this being divided among the members which fulfil their dutyi but the latter\n(although quite useless to the theatre), does not fail to receive as much nourishment as the\nactors who work more and are more necessary. j&\nIt may be said then in regard to the useless actors of whom almost all companies are\nfull, that they are people without life and without art, whom a capricious patronage or\nan extraordinary good luck has raised to their position, and who henceforth no longer\nregard the theatre but from the financial side and not from the point of view of the work\nit demands; always drawing a clear distinction, however, between these actors in name\nand those real actors, who, though they indeed learn by heart, yet, after the example of\nexcellent painters, know how to seek art with art, and who charm the spectators by their\nbeauty of voice, truth of gesture, perfect flexibility of manner, and a certain gracious,\neasy and natural air with which they accompany all their movements and which they impart\nto all they utter.\nBut I am wandering far from my subject <£?\njg? The question we are here concerned with is not the good qualities which a good actor\nshould possess, but the French scenes which have been acted on the Italian stage.\n& These scenes are the work of many persons of wit and talent, composed for the most\npart in their hours of recreation and by some given gratis to the company. They were,\nas it were, introduced Into our subject matter. All Paris admired them when we acted\ni\nthem, and all Paris regrets them now that they are acted no longer.\nThe favourable welcome which the public gave to the first volume of them which I pub-\nlished in 1694 excited the envy of some of my comrades, who represented that the\n\nItalian actots.\nImprovisation.\njZ? Recitation by\nrote. A? a&\n& A distinction.\nPublication ot\nthe French scenes"}, {"page_pdf": 32, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.32", "debut_caractere": 21, "fin_caractere_exclue": 4563, "texte": "printing of these scenes might he prejudicial to the performance of the pieces from which\nthey were taken. On this ground it pleased the Chancellor, so as to re-establish peace\nIn this company, (these are his own words) to recall the privilege which he had been so\ngood as to grant me and to require that I rendered a full obedience to his orders.\nThat which proves, however, that it was only due to envy and not to any good reason\nthat the suppression of them had been asked is that the nine hundred copies which had\nbeen seized from me and which the company had deposited with M. Octave, (i) one of the\nactors, were sold by him to several book-sellers of Paris at thirty-two sous a copy, he\nhaving, however, previously burned two or three leaves and having made his comrades\nbelieve that he had burned them all.\n£/ This volume, although prohibited, has sold so well and has attained so large a circula-\ntion that it has been reprinted not only in Holland, at Brussels and at but also in\nalmost all the provinces of the kingdom. It has even been augmented by two other volumes\nof which the one, which appeared under the title of Volume 111, was stolen from my\nstudy in MSS, and, before being given to the public, had all the pieces mutilated, so that\n1 should not recognise it; and the other, which is sold under the title of \"Supplement to the\nTheatre Italien \", and which is worth less than nothing, has been composed, from what I\nhear, by the author of either the \" Arlequiniana \" or the \" Vie de Scaramouche \".\nIt is true that these two authors are so much alike in the vileness of their style and\nthe falseness of the facts which they relate that one may easily make a mistake and con-\nfuse the one with the other without much difficulty. They are two equally bad writers and\ntwo equally false historians, each of them attributing to his hero things which neither\nArlecchino nor Scaramuccia ever did or thought. I excuse, however, the author of the Life\nof Scaramuccia in that he admits that his book is detestable, but that he was obliged to\nmake it such as it as so as to render it in conformity to the capacity of him who wished to\nset his name to it. I would likewise excuse the author of the \" Arlequiniana \" if I knew\nhis reason for introducing into it so many sorry things.\nHowever that may be, the multiplicity of dull books which appear from time to time and\nwhich do no honour to our theatre has determined me to reprint my own. &\n*£> I have augmented it with all the pleasing scenes which I had over, and with all those\nwhich have since been played upon our stage.\nAll this material has furnished me with the means to compile six volumes, which I have\nenriched with prints In copperplate at the beginning of each play, while at the end of\neach will be found the airs sung, noted down, with their figured bass accompaniment. In\na word, I have neglected nothing which I believed capable of embellishing my work and\naffording pleasure to the reader, who will, an' it please him, pass over the scenes which\nhe does not find to his taste, and which may perhaps be found among those which I\nhave myself been the first to condemn and which I have only printed because all tastes\nare not alike, and that which does not please one often pleases another. I have known\nnone but the \" Gradellns \" and the 44 Polichinelles \" which never pleased anyone ; and\nthey will never be found in any of the scenes of my collection, and if I have admitted\nthem to my Preface, it is because they have ever been at the door of the Italian Theatre.\nThose who are fond of the Italian language will find here and there scenes entirely In\nItalian, and others in French and Italian mixed, just as they were acted on our stage; with\nthis difference, however; that the Doctor and Arlecchino do not speak the harsh dialect\nof Bologna and Bergamo because they would not be understood. Those who like connected\nsubjects will find about forty complete plays which I have had printed just as they were\nacted on our stage, with the exception of the language of Pasquariello which I have cor-\nrected, and of the greater part of the scenes played by him, of which I have put only the\ntenor because they were either entirely super-added or wholly Italian,... that is to say, all\ngrimaces and posturings. &\n& These plays are not those Italian pieces to which I was referring when, at the beginning\nof my Preface, 1 said, \"one would not know how to print them because they are inseparable\nI. Giovan Battlsta Costantinl.\n\n& Fate of the\nfirst edition. &\nThe later edition"}, {"page_pdf": 33, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 1838, "texte": "\"from the action, and because the Italians act without learning anything by heart \" ; but\nare taken from those plays In which the company was obliged (in conformity to the taste\nand intelligence of the greater number of its auditors), to insert much more French than\nItalian, and which the authors called \" Comedies francalses accoinodees au theatre Italien \".\n(French plays adapted to the Italian stage). Z? Z? z&\nz& In regard to certain terms used among Italian actors, I have thought it best not to\nalter them ; but, that they may offer no hindrance to the reader, I explain them. \"Lazzi\"\nfor instance, is one of them. It means 'tour', *jeu italien'. \"After having repeated two or\nthree times the same \" Lazzi \", means to say, after having played two or three times the\nsame trick, after having repeated two or three times the same Italian jest. z& z?\n& u Cantonade \" is another. It means wing, corner, side of the stage. Arlecchino's\nspeaking \"a la cantonade\" means Arlecchino speaking from the wing, the corner, the side\nof the stage. zsru&j&z&j&z&zc?j&j&j&\nI pass over In silence the fine and delicate satire, the perfect knowledge of the man-\nners off the time, the fresh and subtle expressions, the sprightliness, the wit; in a word,\nall the salt and all the vivacity with which all the dialogues in this collection are filled,\nand content myself with saying that, if the first volume which I published In 1694 and\nof which I have spoken above, merited the title of \"grenier au sel\", (a glorious name given\nto it by that divine man, that superior genius whom heaven has endowed with a knowledge\nand intelligence which it has denied to all other men to the end that all other men should\nbecome the subjects of his satires,).. I hope that this will merit the name of 'saline'\nbeing much fuller and more correct than the former. & z&"}, {"page_pdf": 33, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.33", "debut_caractere": 1861, "fin_caractere_exclue": 1895, "texte": "Explanation\nof terms.\n\nE. Gherardi"}]}, {"article_id": "bm-bmtnaau-1911-04-01-c023", "article_bluemountain": "bmtnaau_1911-04_01#c023", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "171", "page_fin": "172", "image_debut": 33, "image_fin": 34, "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=bmtnaau191104-01.2.11", "titre_corps": "A SEVENTEENTH CENTURY \"DEADHEAD\"", "titre_sommaire": "A SEVENTEENTH CENTURY \"DEADHEAD\"", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 33, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.33", "debut_caractere": 1897, "fin_caractere_exclue": 3847, "texte": "A SEVENTEENTH CENTURY\nfollowing is a French Scene taken from Gherardi's \"Theatre Italien\" and served as\nPrologue to \" Le Banqueroutier\". Ed. z& & z&\n& z& & & ARLECCHINO AND MEZZETIN. z? & z? zp\nj& Mezzetin. & \" Where do you come from, my friend '?&&&&\nj& Atlecchino. j& I come from the Comedie Italienne. Those wretched people have at last\ngiven their \" Banqueroutier \" after having advertised it for eighteen months.\nMezzetin. And tell me, pray, is it a fine play ?\n& Atlecchino. 'faith, I don't know. The desire I had to criticize everything and to pass\nfor a wit prevented me from attending to the play. jg?\nZ& Mezzetin. Z? Then what do you go to the play for ?ZP <£?\nAtlecchino. What do I go for ? I go so as to enter without paying, to play the wit, to\neat and drink well without its costing me a sou and to have some money over. z?\n& Mezzetin. & Tell me, pray, this secret of yours. & &\nAtlecchino. Well then, this is what I did. In the morning I came across an Italian actor\nwhom I.„bad never met before. I buttonholed him most politely. I said to him, i( you, sir»\nare an illustrious actor, the most gifted man of the century. I should very much like to\nhave three tickets so that 1 can take two lady-friends to the Play who are dying to see\nyou act. \" Why, delighted \" said he. He gave me three tickets and I went all alone to the\nplay. As the people were crowding round the door of the parterre to buy tickets I drew two\nstrangers aside and I said to them: \" Gentlemen, I had taken two tickets for two of my\nfriends who have not turned up. They are thirty sous apiece for the gallery; if you like I\nwill give you the two for thirty sous; \" They accepted the offer, gave me thirty sous which\nI put in my pocket, and we all three entered the theatre together. z&\nI sat myself down in the middle of the first row of the gallery. When the curtain rose\nI cried out instantly, \" Fie, what a hideous scene! what devil of a dauber has daubed that ?"}, {"page_pdf": 34, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.34", "debut_caractere": 21, "fin_caractere_exclue": 3469, "texte": "Why, 1 have seen better ones at the Marionettes. There Is no common sense in it. Look at\nthose shadows ! they aren't light enough, and those lights, they aren't dark enough \".\n& \"Quite true\", said a man near me; \"and look, even that grass is not a real grass green.\"\n\" Evidently, Sir, \" I replied, \" you are in the business ? \"\n& 44 Oh, not at all, Sir \" he responded 44 but I am a dyer and am very experienced in\ncolours \".\nThe play opened with an Actor and an Actress, and I immediately cried out, 44 What a\nbad actor I how awkward he is in all that he does! how badly he speaksl To hear him\nwouldn't you say that he was a hawker of old silver lace ? \"\n44 It seems to me, however \", said a man, 44 that the woman acts naturally enough. \"\n\"Yes, indeed\" I returned promptly, \"but she is too small; she does not fill the theatre\".\n44 But is it her fault, Sir, that she is small ? \" he queried* & &\n44 No ! but nor is Is it mine either \" I retorted 44 But I want actresses with fine figures\nfor my money \"..<£?\n& Now you know that today the Italian actors play the first scene all in French. A townsman,\nwho had never before been to the Comedie italienne turned to me and said with a very\ngrave air, 441 am astonished to hear people say that they cannot understand the Italian\nactors, for this scene has been as clear as day to me. \"jg? & &\n& At last, having cut my jokes at the expense of play, actors, scenery and everything, I\ndrew a big whistle from my pocket and began to blow on it, hissing like the very devil.\nThere was a woman behind me who said to me, \" Oh, Sir, I can't hear anything \". 44 I am\nsorry for it, Madam,\" replied I 44 but I am hissing as loud as I can\". Other people said to\nme, 44 Why do you hiss, Sir?\" 44 Don't you see,\" returned I, 44 that these idiots on the\nstage deserve to be hissed ?\" jz? & & jg?\n& The first Act came to an end. The lemonade seller came into the gallery crying, \"Lemonade,\ngentlemen, biscuits, macaroons. \" I at once called to him, 44 Hie, you rascal, haven't you\na better play to give us \" ? 44 I haven't anything to do with the play \" said he ; 44 I only\nsell lemonade \". 4* Well, let's see if your lemonade is better than the play \", and I drank\nfive or six glasses and eat lots of biscuits and macaroons. Then 1 said to him, 44 Go and get\nme two cups of chocolate ; your lemonade has chilled piy stomach \". During his absense\nI pretended to recognise a man in the parterre although I did not really know anyone. I\ncalled out, 44 Hie, Chevalier! i' faith I have something of importance to tell you \": I\nsprang from the gallery into the parterre, I mingled in the crowd and disappeared, ....and\nnow you know how I got into the theatre without paying, how 1 played the wit, how I eat\nand drank well without it's costing me a penny, and how I had one and sixpence over,\n& Mezzetin. <£? Let us talk of something else. While you were out this letter was brought\nfor M. Perillet. JC? j? JZ?\n& Arlecchino. Was it brought by a footman in yellow ?\nMezzetin. Yes.zp\nArlecchino. ( taking the letter eagerly). Give it me, give it me, it is to me that\nthis letter is addressed. It is from a widow with whom I am madly in love, (opens the letter\nand reads.) 44 Sir \" . . . . ah, how polite that is! what wit there is in that! (continues to\nread). 44 I beg you not to fail to come and see me as soon as you receive the present\nletter \" . Yes, Madam, 1 go immediately ! (he dashes off, and Mezzetin runs\nafter him."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c025", "article_bluemountain": "bmtnaau_1911-04_01#c025", "volume": "bmtnaau_1911-04_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": 35, "image_fin": 35, "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=bmtnaau191104-01.2.12", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 35, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.35", "debut_caractere": 79, "fin_caractere_exclue": 163, "texte": "(1) From left to right, Pierrot, Mezsetioo, Arlecchino, Dottore, Aurelia. (probably)"}]}, {"article_id": "bm-bmtnaau-1911-04-01-c026", "article_bluemountain": "bmtnaau_1911-04_01#c026", "volume": "bmtnaau_1911-04_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": 35, "image_fin": 35, "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=bmtnaau191104-01.2.12.1", "titre_corps": "THE COMMEDIA DELL'ARTE", "titre_sommaire": "THE COMMEDIA DELL'ARTE", "signature_source": "CLAUDE GILLOT", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 35, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.35", "debut_caractere": 0, "fin_caractere_exclue": 53, "texte": "THE COMMEDIA DELL'ARTE. (1) CLAUDE GILLOT. 1673=1722."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c027", "article_bluemountain": "bmtnaau_1911-04_01#c027", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "173", "page_fin": "174", "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=bmtnaau191104-01.2.13", "titre_corps": "ON ACTORS AND ACTRESSES", "titre_sommaire": "ON ACTORS AND ACTRESSES", "signature_source": "Count Carlo Gozzi", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 37, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.37", "debut_caractere": 0, "fin_caractere_exclue": 4321, "texte": "ON ACTORS AND ACTRESSES\nby Count Carlo Gozzi.\n(1)\nTHE ACTORS AND ACTRESSES OF ITALY IN GENERAL, CONSIDERED WITH REGARD\nTO THEIR PROFESSION, THEIR CHARACTERS, AND THEIR MANNERS;\n& WRITTEN FROM THE POINT OF VIEW OF A PHILOSOPHICAL OBSERVER (I.) &\nmong all sorts and conditions of human beings who offer themselves\nto a philosophical observer, none are so difficult to know in their real\nnature as actors and actresses.\nEducated in deception from the cradle, they learn the art of masking\nfalsehood with an air of candour so completely, that it requires great\ngifts of penetration to arrive at their true heart and character.\nJourneyings from place to place, affairs of business, accidents of all sorts, experience of\ncommon life, examples furnished by their commerce with the world, the constant exercise\nof wit and intellect in rivalry, make their brains up, and subtilise their comedians nature.\nIn another chapter I intend to print a special picture of Sacchi's company, with whom\ni fraternised, and whom I helped for about a quarter of a century. At present I shall con-\nfine my remarks to Italian players in general, who are, I think, in no essential points of\nmoral quality different from those of other nations. &\nIt may be laid down as an axiom, to be accepted with closed eyes, that the chief idol\nof all actors is their venal interest. Expressions of politeness, acknowledgements of obliga-\ntion, terms of praise, humanity, sympathy, courteous welcome, and so forth, have no value\namong actors, except as parts of a fixed system of deception which they consider necessary\nin the worship of this idol. If that idol of pecuniary interest is attacked (with justice it may\nbe and the best reasons), you will not find in them a shadow of these fine sentiments.\nThe merest scent of coming profit makes them disregard and blindly sacrifice the persons\nwho have done them good ; the reputation of the whole world is as nothing to them then ;\nthey take no thought of the damage they may have to suffer in the future, blinded by\ngreediness, lulled into security for the time being, and hoping to avoid impending disasters\nby address and ingenuity. The present moment is all that actors think of.\nHot and choleric temperaments reveal their true selves more readily among this class\nof people. The cool-headed are more difficult to fathom. Their system of cozenage is not\nonly applied to persons outside the profession, from whom they expect material gains; it\nis always at work to take in and delude the members of the guild. Of course they find it\nless easy to checkmate the initiated in their own devices. But if they have attained to the\nposition of being necessary to their comrades in the trade, there is no sort of impropriety,\npretence, injustice, swindling, tyranny, which they do not deem it lawful to employ. &\n& These arts, which the progress of our century has extended to many kinds of persons\nwho are not of the profession, have a certain marked character among the tribe of actors.\nOther people, when detected, show some sense of shame and self-abasement. The unmasked\ncomedian, after all his turns and twists have been employed in vain, is so unprejudiced and\ncandid that he laughs good-humouredly in the face of his detective, and seems to exclaim\nwith indescribable effrontary; \" You are a great fool if you flatter yourself that you have\nmade a notable discovery.\nSuch is my experience. But of course it is possible that among the innumerable actors,\nmale and female, whom I have known, conversed with, and studied, some phoenix of the\none or the other sex may have escaped my observation.\n& In what concerns the practise of their art, all that these people know is how to read and\nwrite; one better, and one worse. Indeed, I have been acquainted with actors and actresses\nwho have not even had that minimum of education, and yet they carried on their business\nwithout flinching. They got their lines read out to them by some friend or some associate,\nwhenever a new part had to be impressed in outline on their memory. Keeping their ears\n\nThe chief idol\nof actois.\n& Theii system\nof cozenage. &\nTheir ignoiance\n\nProm the Translation of Qozzi'a Memoirs by J. A. Symonds.\n(2) We must remember that Gozzi is here writing of actors who had been obliged to turn from serving princes to serving the public. Ed."}, {"page_pdf": 38, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.38", "debut_caractere": 24, "fin_caractere_exclue": 2504, "texte": "open to the prompter, they entered boldly on the stage, and played a hero or a heroine\nwithout a touch of truth. The presentation of such characters by actors of the sort I have\ndescribed abounds in blunders, stops and stays, and barkings back upon the leading motive,\nwhich would put to shame the player in his common walk of life.\nBarefaced boldness is the prime quality, the chief stock-in-trade, the ground-element of\neducation in these artists. Assiduous use of this one talent makes not a few of them both\npassable and even able actors.\n& These are the reasons why a civil war is always raging in our companies about the first\nparts in new pieces. The conflict does not start from an honest desire to acquire or to\nmanifest theatrical ability. The players are actuated wholly by ambition, by the hope of\nattracting favourable notice through the merit of their rdle, by the wish to keep them-\nselves continually before the public, performing ill or welEas their blind rashness prompts\nthem. «£? jg? jg? jg? jg/ fg>\nNotwithstanding all these disadvantages, Italy would be able to make a good show in\ncomparison with other nations if our theatres were better supported and remunerated.\nThere are not wanting persons of fine presence, of talent, sensibility, and animation. What\nwe do want are the refinements of education, solid protection, and emoluments sufficient\nto encourage the actor In his profession. & & & & & &\n& I have observed that the best artists of both sexes are those who have some higher\nculture; but I have also observed that the support of themselves and their families, and\nthe inevitable expenses of their wardrobe, render their professional salaries inadequate.\nThey make up for these deficiencies by spunging upon credulous tradesmen and besotted\nlovers; and thus they bring discredit upon the whole profession. & &\n& I have always laughed at those who depreciate the Influences of the pulpit, and think\nthey can instil sound morality into the people by the means of scenic shows. When Rous-\nseau maintained that the precept, \" Do what I tell you and not what I do, \" is worthless\nwithout a good example from the man who gives it forth, he uttered one of the truest\nthings that can be said. I leave people to meditate upon the inverted morality which is\nnow being diffused In our most recent dramas, the dramas of so-called culture, from the\nlips of players in the place of preachers. & & & & & &\n\nTheii barefaced\nboldness• &\nA cause of these\nevils. & &"}]}, {"article_id": "bm-bmtnaau-1911-04-01-c030", "article_bluemountain": "bmtnaau_1911-04_01#c030", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "174", "page_fin": "174", "image_debut": 38, "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=bmtnaau191104-01.2.14", "titre_corps": "ANOTHER ESTIMATE OF THE ACTOR'S CHARACTER", "titre_sommaire": "ANOTHER ESTIMATE OF THE ACTOR'S CHARACTER", "signature_source": "Walter Pater", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 38, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.38", "debut_caractere": 2506, "fin_caractere_exclue": 4129, "texte": "ANOTHER ESTIMATE OF THE ACTOR'S CHARACTER.\nWalter Pater.\n\"Their Majesty's Servants An Essay from the Guardian.\nghould we really care for the great actors of the past could we have them before us ? Should\nwe find them too different from our accent of thought, of feeling, of speech, in a thousand\nminute particulars which are of the essence of all three ? Dr Doran's long and interesting\nrecords of the triumphs of Garrick, and other less familiar, but in their day hardly less\nastonishing, players, do not relieve one of the doubt. Garrick himself, as sometimes hap-\npens with people who have been the subject of much anecdote and other conversation,\nhere as elsewhere, bears no very distinct figure. One hardly sees the wood for the trees.\nOn the other hand, the account of Betterton, \" perhaps the greatest of English actors \".\nis delightfully fresh. That intimate friend of Dryden, Tillotson, Pope, who executed a copy\nof the actor's portrait by Kneller which is still extanct, was worthy of their friendship ;\nhis career brings out the best elements in stage life. The stage in these volumes presents\nitself indeed not merely as a mirror of life, but as an illustration of the utmost intensity\nof life, in the fortunes and characters of the players. Ups and downs, generosity, dark\nfates, the most delicate goodness, have nowhere been more prominent than in the private\nexistence of those devoted to the public mimicry of men and women. Contact with the stage,\nalmost throughout its history, presents itself as a kind of touchstone, to bring out the\nbizzarrerie, the theatrical tricks and contrasts of the actual world."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c031", "article_bluemountain": "bmtnaau_1911-04_01#c031", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "175", "page_fin": "177", "image_debut": 39, "image_fin": 41, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.2.15", "titre_corps": "RICCOBONI'S ADVICE TO ACTORS : Translated and Epitomized, with a Biographical Note on the Author", "titre_sommaire": "RICCOBONI'S ADVICE TO ACTORS : Translated and Epitomized, with a Biographical Note on the Author", "signature_source": "Pierre Ramés ; P. R", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 39, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.39", "debut_caractere": 0, "fin_caractere_exclue": 3982, "texte": "RICCOBONI'S ADVICE TO ACTORS;\nTranslated and Epitomized, with a Biogra=phical\nNote on the Author\nby Pierre Ramés.\n\nRiccoboni9 s\nParentage. &\nHis marriage.\nfixpeiiment in\nliterary Drama.\nAn invitation\nto Prance.\n& His petition\n\nt was in or about the year 1675 that Luigi Riccoboni, celebrated\nupon the stage under the name of 44LeIio \", was born at Modena,\nbeing the son of a Venetian actor, Antonio Riccoboni, who\nplayed the part of Pantalone in the company of the Duke of\nModena in 1670, and who, still in the service of the same Duke\nAlfonso, visited London and acted there in 1679. The first ap-\npearance of Luigi Riccoboni on the stage was in the part of the\n44 Innamorato \", but the name which he then adopted was Fe-\nderico, and he only changed this afterwards to Lelio at the\nInstance of the Directress of the Company, Diana, the wife of\nGiovan Battista Costantini, who thought the latter name more\n44 theatrical\nHe seems to have married twice. His first wife was Gabriella Gardelinl (\" Argentina \")\nwho was step-sister to Francesco Materazzi, the 44 Dottore \" of the Company, but she died\nvery young, leaving no children, and Luigi Riccoboni, left a widower, then married Elena\nVirginia Balletti, an actress who was celebrated under the name of Flamlnia.\nIn Luigi Riccoboni we see the beginnings of the decline of that splendid period of the great\nImprovisator!, ol Andreini, Pasquati, Biancolelli, Martinelli, Barbieri, FiorelH and those\nwho had rendered the Commedla dell'Arte so justly famous, since he believed himself to\nbe 44 reforming \" the theatre by introducing,instead of improvised comedies, the written\nworks of the poets, such as the 44 Sofonisba \" of Trissino, the 44 Edipus \" of Sophocles\nand many more.\n& This experiment in the literary drama seems to have been successful enough at Modena,\nbut fortunately Venice, to which city he next took his company, remained faithful to its\nArlecchinos, its Dottores and its Pantalones, and Riccoboni, disappointed and discouraged,\nhad to renounce his purpose.\n& It was at this time that he decided to accept an invitation which he had received from\nFrance to form a Company of Italian actors for Paris under the patronage of the Regent,\nthe Duke of Orleans, hoping to realise there the dreams which had been so rudely dis-\nappointed in his native land. But for a second time he had to submit, and renounce his\nliterary dramas, since, even before the opening of the theatre, the Parisians plainly mani-\nfested their intention of having only such plays as they had been familiarised with by the\nItalian companies which had visited Paris in previous years.\nThe new Company opened its season at the 44 Palais Royal \", 44 In the name of God, of\nthe Virgin Mary, of St Francis of Paola and of the souls In Purgatory \" with the 44 Happy\nSurprise a play which had great success, the receipts amounting to lire 4068 in spite of\nthe fact that the places cost a third less than a century later. &\n& The Company received the title of 44 Actors of his Royal Highness the Lord Duke of\nOrleans, Regent \", to which prince the actors, before joining him in Paris, had addressed\nthe following petition which is interesting on account of the light which it throws upon\nthe organisatiou and control of such companies.\n& 44 I. The whole company humbly entreats your Serene Highness to accord to it the same\n44 grace as that shown to Its predecessors, that no other Italian company be received at\n44 Paris under any pretext whatever, even though all the actors should speak French; and\n44 that it may be absolutely forbidden to any other to make use of the costumes of the\n44 masks of the Italian Theatre, such as Arlecchino, Scaramuccia, Pantalone, the Doctor and\n44 Scapino, and also of Pierrot, which, If French has none the less sprung from the Italian\n44 theatre.\n& *4 2. The actors, desiring to serve your Majesty in peace and good reputation, request\n44 that at no time may there be received into the company any of the family of the"}, {"page_pdf": 40, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.40", "debut_caractere": 18, "fin_caractere_exclue": 4466, "texte": "44 Costantlnl, through whom they all know that the Italian actors who preceded them fell\n44 into disgrace at the court.\n44 3, They humbly ask that dances and music in the interludes may be permitted to\n44 them as to their predecessors.\n44 4. If any one of the actors should have the misfortune not to win the favour of the\n44 court and of the city that the Company may have the right to dismiss him with a gift\n44 and send for another in his place. &\n& 44 5. The actors entreat your Highness to make urgent representations at the court that\n44 they may be permitted, as in Italy, the free use of the Holy Sacraments; the more\n44 so as they will never recite anything scandalous; and Riccoboni undertakes to submit\n44 the scenarios of the plays for examination by the Minister and also by an Ecclesiastic,\n44 for their approval. \" (i)\nThe above petition is interesting not mereiy, as already said, as a specimen of such\ncontracts in general, but for the sidelight thrown upon the character of Riccoboni himself,\nwho, as leader of the Company, was presumably responsable for the clauses it contained.\nThere is something both childish and mean, for instance, in the request that no\nmember of the Costantini family should ever be accepted in the Company. It is the\nattitude of the over-righteous who says, 44 I can't come to your dance if Jones comes ;\nbecause why ? because, forsooth, Jones is different from me. How different ? Well,\nthey do say, ! and then follows a list of Jones's enormities and indiscretions.\nSuch methods are mean and wholly unreasonable; foolish, too, in matters of Art, for\nin that connection there is but one question of any value to be put in regard to a\nman : Is he a good workman ? does he act well ? paint well ? build well ? If yes, then he\nis the man we are looking for; if no, then find the man, but don't ask if he is a good\nman because no other man can act as judge in this matter; that must be left to the\nCreator of men.\nRiccoboni seems, however, to have been suffering from an exaggerated moral sense, and\nit was this which probably accounts, not only for the insertion of the second and fifth\nclauses in the contract, but for his attempt to reestablish the literary drama. His pious\nsoul had doubtless been shocked and scandalised by the elder comedians, .....his parents\nin art, and their overflowing manners and jovial plays. Reaction perhaps produced\nin him, as usually in the case of sons of overflowing fathers, an eagerness to be correct;\nhe could not better them on their own lines, therefore he would strike out in another\ndirection and seek for that moral correctness of which they had been so joyously careless,\nand establish this correctness in the theatre by a careful choice of his fellow actors and\nthrough the restoration of those seemly literary plays which could be thoroughly censored\nbefore being set upon the stage.\nIn regard to the administration of the business affairs of the Company all the actors\nwithout distinction, Riccoboni himself included, had equal shares, the funds being kept\nby one member and two others appointed to oversee the expenditure. Each one had to\nprovide his own costumes with the exception of Fabio Sticotti, to whom they were furnished\nby the Company.\nIn June 1733 Riccoboni, together with his wife and son, became a naturalised French\nsubject and in April 1737 he obtained permission to absent himself for two months and go\nto act in England, while two years later leave was granted him to retire from [the stage\nwith his wife and son with an annual pension of one thousand francs. He withdrew to\nItaly, but after two years spent at Parma he returned to Paris where he died on December 6\n1753 at the age of seventy eight, being referred to in his death certificate as 44 un ancien\nufficiel du roi\nOf the many works which he wrote for the theatre nearly all, if not all, have been for-\ngotten, but his works about the theatre have retained all their value and are among\nthe number of those to which the student of that period chiefly turns. The most impor-\ntant are : 44 l'Histoire du Theatre italien \", (Paris, 1728) with eighteen illustrations of figures\nfrom the Italian Commedia engraved by Joullain. The 44 Nuovo Teatro Italiano \" (Paris 1733)\ncontaining the plays printed and performed by the 44 Signor Luigi Riccoboni, known as\n(1) See Rasi; 44 I Comici Italian!. \"\n\nRiccoboni9 s\ncharacter. &\nAn exaggerated\nmoral sense. &\nRetirement and\ndeath.\n& His works."}, {"page_pdf": 41, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.41", "debut_caractere": 0, "fin_caractere_exclue": 455, "texte": "Lelio \". The 44 Observations sur la Comedie et sur la Genie de Moliere \" (Paris, 1736), the\n\"Reflexions Historiques et Critiques sur les differenfcs Theatres de PEurope, avec les Pensees\nsur la Declamation \" (Paris 1738), 44 Reformation du Theatre (Paris 1767), and the treatise\n44 deli'Arte Rappresentativa \" (London, 1728) the paraphrase of which is here given and\nwhich contains much which is well worth the serious consideration of the actor of\ntoday."}, {"page_pdf": 41, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.41", "debut_caractere": 474, "fin_caractere_exclue": 479, "texte": "P. R."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c033", "article_bluemountain": "bmtnaau_1911-04_01#c033", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "177", "page_fin": "180", "image_debut": 41, "image_fin": 44, "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=bmtnaau191104-01.2.16", "titre_corps": "RICCOBONI'S ADVICE TO ACTORS", "titre_sommaire": "RICCOBONI'S ADVICE TO ACTORS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 41, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.41", "debut_caractere": 481, "fin_caractere_exclue": 4296, "texte": "RICCOBONI'S ADVICE TO ACTORS.\nhe author gives his advice in metrical form, using that same 44 Terza\nRima \"as Dante used for the 44 Divina Commedia and dividing the\nargument into six cantos. & & &\nIn the first Canto he occupies himself chiefly with the necessity for\nstudy on the part off the would=be actor, since it is not enough to\ntrust only to natural instinct. He quotes the popular saying that 44 only\nto histrions and comedians was no law given \" and asks why ? Was\none perhaps to believe [that no rule for the teaching of acting was given because such\nmight be held to be useless, since there is no need to teach men how to stand and walk\nand turn ? Does not every animal, from the time it wakes until it sleeps again, stand,\nmove and walk without instruction, and should not man likewise, without special instruc-\ntlon, be able to express as many passions and emotions as Nature prompts ? Surely he who\nsees in those around him the demonstrations cf fear, hope, joy, delight and fury has a\nschool in which to study ? What can be better than nature itself ? & &\njg/ But no, says Riccoboni; this is a mistake. He who has not studied long and closely by\nrule comports himself, when he comes to act, either too stiffly or in too free-and-easy a\nmanner. Doubtless there are some who say that on the stage one should imitate real\nlife as closely as possible, and that whoever seeks or desires more than this is a fool. But,\non the contrary, they are fools who do not so seek and who deny that there is\nfurther or better to be sought. Nature at times jests, and at times fails, in the shaping of\na human being. There are those, for instance, who have one leg shorter than the other,\none shoulder higher, or who squint or have some other physical defect, so that one finds\nnature has its monsters, which are not limited to one country but found among all natio-\nnalities alike. Good Mother-Nature endows some with talent and beauty, but to others\nshe acts as a stepmother, distorting their bodies or dulling their minds. & & &\n& Now, it is obvious that neither a person who is hunchbacked nor one who looks two\nways at once is to be imitated by any actor who wishes to make a handsome appearance\nupon the stage. Nor should all the excesses seen in this one or that one be copied\nalthough they should be ceaselessly studied.\n& The next point enforced is that the actor should be careful not to have a good conceit\nof himself, nor flatter himself because there flies about a good report of him, always\nbearing in mind that it is not enough to please the stupid or a few silly women. Undeserved\npraise is never stable, ard, since one person of good sense is enough to enlighten a\nhundred, the conceited actor should beware of coming across such a one, for his insolent\nglory, his self-satisfaction and his pride and presumption will then only win for him\ncontempt. It does not need a Solomon to judge him, and he will meet only too many who\nare very well able to sum him up and value him at his right worth.\n£? The second Canto treats chiefly of physical qualifications,\n& As a man who is crooked and awkward will only be ridiculous.dancing a minuet, so is\nit foolish for any, unless his figure be adapted, to choose acting as his profession, as how\ncan he hope for success in so gracious and delicate an art ? Everyone knows that it is\nnecessary on the stage to have well-formed limbs and to be without physical blemish,\nand if any should be so unfortunate as to be crooked and ugly and at the same time an\nactor, (a thing to make one's very blood run cold even on an August day!), he should at\nleast have the good sense to select roles fitted to him and beware of choosing parts that\ndemand dignity and gallantry, for in such he will be not only unadmired, but not\n\n& The need for\nstudy\nPhysical quali»\nfications*j&"}, {"page_pdf": 42, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.42", "debut_caractere": 13, "fin_caractere_exclue": 4463, "texte": "endured at all. & us? &\nIt is not enough, for instance, for him who plays a king to appear upon the stage\namid a noble company and wearing gold and jewelled robes. He must have the fiery eye\nwhich menaces death, the bearing at once lofty and courteous, the voice which can both\nterrify and inspire, and how are such things to be found in one physically deformed ?\n& And so is it in the playing of the lovers' parts. A sigh, a glance, a b0w,... these from\none so handicapped may be not only unbecoming but positively absurd.\nNo, the only possible way of escaping the limitations imposed by Nature lies in turning\ndefects themselves to advantage by the choice of suitable parts, so that misfortune may\nitself be made a gain. A fraudulant king or one who falsely feigns himself a knight, such\nparts as these may yield excellent results when interpreted by one who is deformed since\nit Is ever amusing to see a misshapen person imitating beauty.... and this is advice not\nto be disdained. jg?\nOn the other hand, the well-shaped actor is too apt to think that his physical gifts alone\nare enough to set him above his fellows, but it is useless to be handsome if stupidity lies\nbeneath. The danger of the handsome actor lies in moving too much by rule and compass,\ncalculating every step and acting stiffly as children do when they are set to recite some\npiece they have learned in school and make five or six set gestures to each word. &\nSuch an actor is too prodigal of gesture, but he should consult reason. What is it which\nprompts or controls him when he talks with various people in the house or street ? So\nconvinced is the author of the importance of this frugality of gesture that he goes on to pray\nthe Muse that each actor may feel as though lie were entirely deprived of arms and legs, and\nso, and so only, he wili be unembarassed and act well and his fame will go from east to west;\nand he continues praying that he himself, as actor, may understand the true and living\nsense of what he acts, for, he says, 44 I am the interpreter, I the priest \". He declares that\nin imagination he can hear them all inveighing against the 44 great reformer \" who would\nthus mutilate the actor of his four principle limbs, leaving him, in moments of the fiercest\npassion, like a 44 boccale ; \" (i.) but, let them say what they like ; if they can prove him to be\nwrong he will accept the correction gladly, but he still asserts that 44 the marking of every\ncomma with a gesture is a trespass against truth \" and that nothing is more annoying to\nthe audience.\nThe principal and necessary thing for the actor is, he asserts, to show clearly that he\ndoes not depart from the truth, for so he can almost convince his audience that what is\nfeigned is not false, and unless he attains to this he will not please them. The actor, to\ngive a natural effect, should forget not only his four limbs, but perhaps also the fifth, the\nhead; but. he must feel what he acts,..;, love, anger, jealousy; feel like a king or like\nBeelzebub, and if he really feels all these emotions, if 44 with his heart he measures his\nmovements\" they will of themselves germinatq in him and move him to the right\naction.\nIn the third Canto the actor is pictured as objecting that he can't feel like Beelzebub;\nlike Achilles, for instance, he manage to feel, but not like Beelzebub ; no, that is\na little too much to expect. The author admits that he has left the actor in a hard position\nat the end of the last canto, but that he does not really mean to send him to school to\nHell. What he means is that when right feeling is master it imparts the right movements\nto the limbs. &\nThe actor must regard just proportion and not over-pass the truth. He certainly does not\nwant to hear himself called a monkey, and the very characteristic of a monkey is that it\nimitates the reality of the living man but disfigures it by over-stepping truth.\nThe actor should remember that Nature has its limits. He must also avoid extremes,\nbearing in mind that he has to please both the poor man and the prince. But in trying\nto be human he must be careful not to lower himself. If his imagination sweeps him out\nof the direct way let him ever keep the helm turned rather towards the higher extreme\nthan the lower; And here the author, to emphasize his meaning, gives an example of the\nundignified behaviour of a king he once saw upon the stage.\n(1) A \" boccale \" la a kind of bottle.\n\n& Gesture.\nJust proportion"}, {"page_pdf": 43, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.43", "debut_caractere": 0, "fin_caractere_exclue": 4533, "texte": "This king had assembled before him his royal counsellors to examine and try a serious\ncase. The accused was his own son, and, for the maintenance of the law, there was a\nuniversal murmur of 44 Death. ' The king, who was seated, rested his elbows on his knees\nand his chin between his hands, until, says Riccoboni, 44 he really seemed to me, in all\ngood faith, one of those Pagodas that come from China, the only difference being that he\nwas made of flesh and bone instead of clay. \" Another example of the unbecoming behaviour\nof such petty kings was in a scene where a monarch, seated opposite his great lords and\nrobed in kingly splendour, received a foreign ambassador and listened to the orator with\nhis legs crossed and nibbling a glove. & &\nOf course all the stupid immediately began to cry out, 44 how natural, how true to life!\nwhy, I did that myself! \", 44 and 1, more than once; \" which could be well believed, since\nit was a gesture worthy of base persons, but certainly not of kings. True, a king might\nhave made such gestures, but they should never have been offered as typical 44 kingly\nactions \" on the stage.\nThe actor must show nature, yes; but in an elevated and noble form, the trivial,\n(which may be becoming enough to the common people), being reserved for the streets or\nfor the house. 44 In Comedy one smells at every flower, but Tragedy is a lady to be respected\nand full of majesty \" and if the actor finds himself applauded for such actions as those\ncited above he must remember that it is false applause and that the glory bestowed by\nthe base people is of little worth. In comedy it is permissable to show the low and trivial\nlife of the city, but when a king is brought upon the stage, (although it may be that in\nreal life there are kings who degrade themselves), he should be shown as noble and with\nall the dignity and beauty at command. &\nThe actor should be careful to make himself heard to the most distant spectator and\nalso to make all his gestures visible, being heedful at the same time not to appear to those\nclose at hand to be shouting and wildly gesticulating. As for other matters, those must be\nleft to the actor's own good sense until he find the right way,\nIn the fourth Canto facial expression is principally discussed. The author declares that\ninterest is concentrated upon the actor's face. He cites examples from pictures wherein\nthe impression caused by one central action is differently depicted upon each face in the\ngroup, and says that the actor must show feeling or he will not be believed to feel, and in\nthat case all is lost. It is foolish to delude oneself with the idea that the audience note\nonly gesture, form and voice. Why, it a line could be drawn from the eyes of every spectator\nto the point where his gaze fixes itself where would all the lines terminate and meet ? in\nthe actor's face;\n& This shews the value and importance of facial expression and the actor should practise\nthis in front of a mirror. He should seek after the old mimic art, now unknown to us,\nremembering that those ancient mimes had only gestures and face by which to express\neverything, and yet the modern actor, with eyes, hands, ears and mouth at his command,\nseems often unable to express joy or sorrow or any emotion, giving, by his immobility, the\nimpression that Nature sleeps in him.\nIn weeping on the stage the actor must be careful not to disfigure his face and so\nmake the people laugh or he will produce the opposite effect from that which he desires.\nA woman crying in a scene with her lover should, for instance, give the impression that\nher emotion is real to him, but should make it appear feigned to the audience, so that\nthey may see 44 the deception joined with the truth and yet distinct \". Again, in laughter,\nthat 44 jewel without which comedy cannot exist \", It is important to laugh well and infec-\ntiously, for nothing is worse than to see an actor gay and jubilant while his audience Is\ngloomy and bored.\nCanto five is chiefly about the cultivation of the voice. It is not enough to be good to\nlook upon, says the author, if you have a voice like a parrot. Also he urges that\nthe actor study the delivery of verse and learn neither to hurry nor to drawl, and that\nin comedy he be careful to set aside his declamatory manner and use the familar discourse\nsuch as his father Adam used. &\n& The sixth Canto treats principally of the value of Silences, and the actor is advised to\ninvoke Arpocrate, 44 the great ever-silent god \". You think it is so easy to be quiet when"}, {"page_pdf": 43, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.43", "debut_caractere": 4554, "fin_caractere_exclue": 4628, "texte": "The trivial to\nbe avoided. &\nFacial expres-\nsion,\n& The v o ice.\nSilence ."}, {"page_pdf": 44, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.44", "debut_caractere": 14, "fin_caractere_exclue": 176, "texte": "you have said your say \" says Riccoboni. \" I tell you it is the hardest thing there is, and\nthat as a rule to see you at such moments is enough drive one mad \". &"}]}, {"article_id": "bm-bmtnaau-1911-04-01-c036", "article_bluemountain": "bmtnaau_1911-04_01#c036", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "180", "page_fin": "180", "image_debut": 44, "image_fin": 44, "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=bmtnaau191104-01.2.17", "titre_corps": "THE EXTEMPORE PLAYERS' ADVICE TO HAMLET, THE PLAYWRIGHT", "titre_sommaire": "THE EXTEMPORE PLAYERS' ADVICE TO HAMLET, THE PLAYWRIGHT", "signature_source": "E. E", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 44, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.44", "debut_caractere": 178, "fin_caractere_exclue": 2765, "texte": "THE EXTEMPORE PLAYERS' ADVICE\nTO HAMLET, THE PLAYWRIGHT.\nE. E.\nThe Actors & Write the speech as we recite it to you, spontaneously, and with a\nfacile pen ; but if you correct and polish it too much as many of your writers do, we had\nas lief a notary wrote our lines.\nNor do not put down too many bombastic phrases such as \" From this time forth \"\n\" my thoughts be bloody or be nothing worth \", but write all gently : for in the very\ntorrent, tempest, and as I may say the whirlwind of passion, you must acquire and beget\na temperance, that may give it smoothness.\n& O, it offends us to the soul, to read the flatulent phrases of a pettifogging poet\ninflating a passion into a hollow O, to amaze the commentators ; who, for the most part,\nare capable of nothing but extravagant hieroglyphics ; we would have such a fellow whipped\nfor o' erdoing Abracadapra, .... it out Mumbos Jumbo. Pray avoid it. &\nThe Play-writei. & I warrent your honours.^\n& The Actors. Write not too tamely neither, but let your own discretion be your tutor;\nsuit the language to the action, the action to the language with this special observance,\nthat you o'erstep not the modesty of nature; for anything so overdone is from the\npurpose of language, whose end, both at the first, and now, was, and is, to hold, as\nt'were, the mirror up to nature; to show virtue her own feature, scorn her own image\nand the very age and body of the time, his form and pressure. Now this, over°embellished,\nthough it make commentator glow cannot but make the ideal spectator grieve ; the\ncensure of the which one must in your allowance o' erweigh a whole British Museum of\nothers. O there be play»writers whose works we have read, .... and heard others praise\nand that highly.... not to speak It profanely, that having neither the thoughts of\nChristians, nor the language of Christian, pagan nor man, have so written and rewritten\nand corrected and recorrected that we thought some of nature's journeymen had made\nphonographs and not made them well, they reported humanity so abominably. &\n& The Play writer. I hope I have reformed that indifferently with my plays, Sirs.\nThe Actois. O, reform it altogether. And let those that copy down our clowns' parts\nwrite no more thereto than has been spoken and omit nothing neither: for there be some\nwho will waste time in pondering and set on some quantity of barren commentators to\nponder too, though in the meantime some necessary question of the Drama be then to be\nconsidered. That's villainous, and shows a most pitiful ambition in the sage that uses it.\nGo, make ready your <£? <£?"}]}, {"article_id": "bm-bmtnaau-1911-04-01-c038", "article_bluemountain": "bmtnaau_1911-04_01#c038", "volume": "bmtnaau_1911-04_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": 45, "image_fin": 45, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.2.18", "titre_corps": "SCHUBLER. 1729", "titre_sommaire": "SCHUBLER. 1729", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 15, "texte": "SCHUBLER. 1729."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c039", "article_bluemountain": "bmtnaau_1911-04_01#c039", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "181", "page_fin": "184", "image_debut": 47, "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=bmtnaau191104-01.2.19", "titre_corps": "THE ENGLISH STAGE IN 1911 : A DIALOGUE BETWEEN A CRITIC AND A PROFESSIONAL PERFORMER", "titre_sommaire": "THE ENGLISH STAGE IN 1911 : A DIALOGUE BETWEEN A CRITIC AND A PROFESSIONAL PERFORMER", "signature_source": "Allen Carric", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 3164, "texte": "THE ENGLISH\nSTAGE IN 1911.\nA DIALOGUE BETWEEN A CRITIC AND A PROFESSIONAL PERFORMER.\nby Allen Carric.\nTHE PROFESSIONAL.\n£? Why are you always grumbling against\nthe modern English Theatre as If there were\nnothing good to be said about it &\nTHE CRITIC.\nBecause there is nothing good to be said\nabout It. It is intoxicated with itself. It does\nnothing to be at all proud of and yet deceives\nitself that it is doing admirably. Its idea of\nbeing up-to-date is to put back the hands\nof the clock. All its energy is concentrated\nupon this task and upon the still more\nhopeless task of proving this error to be the\ntruth. & & & £>\nTHE PROFESSIONAL.\nI am amazed to hear you say this. I\npresume you do not include certain talented\nactors and actresses in your wholesale abuse\nof the modern- stage ?\nTHE CRITIC,\nIt depends upon who you mean by 44 cer-\ntain talented actors and actresses\". There are\ncertainly a few men and women on the\nmodern stage who are remarkable actors\nand possessed of distinction and taste, men\nand women of fine and interesting character,\ncharming manners and fascinating country\nhouses. But when the individual makes no\nattempt to alter the vile conditions with\nwhich he is surrounded because those condi-\ntions in no way affect him, then he lays\nhimself open to be criticised as part and\nparcel of the modern theatre. &\nTHE PROFESSIONAL.\n& What can he do but go on doing his\nbest ?\nTHE CRITIC.\nHe can protest against the bad conditions,\nand his protest, if sincere, will bring about\nbetter conditions. & & &\nAs it Is he remains silent,... he lies by\nhis silence. Mark Twain puts the case clearly\nIn one of his books :44 It would not, \"he\nsays, 44 be possible for a humane and intel-\n-44 ligent person to Invent a rational excuse\n44 for slavery; yet you will remember that in\n44 the early days of the emancipation in the\n44 north the agitators got but small help\n44 or countenance from anyone. Argue and\n44 plead and pray as they might, they could\n44 not break the universal stillness that\n44 reigned,\" they were met, 4<all the way down\n44 to the bottom of society.... by 44 the\n44 clammy stillness created and maintained\n44 by the lie of silent assertion ... the silent\n44 assertion that there wasn't anything going\n44 on in which humane and intelligent people\n44 were interested\". & &\nThe modern theatre meets all attacks on\nits worthlessness and proposals for its Im-\nprovement with just this 44 lie of silent as-\nsertion \".\nTHE PROFESSIONAL.\nAgain I am amazed to hear you say this.\nTHE CRITIC.\nBut it is only what everyone else knows\nand doesn't say. 44 The universal conspiracy\nof the silent assertion lie is hard at work\nalways and everywhere, and always in the\ninterests of a stupidity or a sham, never in\nI\nthe interest of a thing fine and respectable.\"\nDon't imagine those are my words. Again\nthey are Mark Twain's. &\nTHE PROFESSIONAL.\n& May not the reason for remaining silent\nbe a tasteful desire not to interfere ?\nTHE CRITIC.\nNo, for there is a time for good taste in\nsuch matters and a time limit also. In my\nopinion you have exceeded the time limit\nby thirty or forty years and have not a leg\nto stand on. You would do better to admit"}, {"page_pdf": 48, "page_imprimee": "182", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.48", "debut_caractere": 26, "fin_caractere_exclue": 3767, "texte": "it than to waste your time and the patience\nof the century by brazening it out with an\nair of slightly astonished and offended\ndignity. & &\nTHE PROFESSIONAL.\n& Would you kindly inform me what you\nthink would be the best thing for us to do\nso that we might have something to guide us ?\nTHE CRITIC.\nWhy not ? ... although you are not sin-\ncere in your request. & &\njg/ Begin by remembering that you have the\ndisadvantage of being insular and art makes\nno allowances for this misfortune. Take the\ntrouble to go abroad so as to study the work\nof your contemporaries. Visit Paris, Berlin,\nMadrid, Munich, Vienna and Moscow more\noften ; and then do not forget that there\nare possibly still more Important places for\nyou to visit,... Warsaw, Cracow, Amsterdam,\nNaples, Palermo, Budapest; and even then\nyou have not exhausted the list of places\nwhere the theatre shows more profitable\nactivity than you are showing in London,\nand where life is to be seen in a more\nnatural pose. JZ? <£?\nTHE PROFESSIONAL.\n& Well, I have been to Paris, to Berlin and\nto Moscow. <£? & &\nTHE CRITIC.\nAnd did you learn nothing there ?\nTHE PROFESSIONAL.\nWhat is there to learn ? I saw rather\neccentric pieces in Paris, queer pieces done\nin a queer way in Berlin, and downright de-\ncadent things in Moscow. &\nTHE CRITIC-\nHow long were you in Paris ?\nTHE PROFESSIONAL.\nAbout a week.\nTHE CRITIC.\nAnd how long in Berlin ?\nTHE PROFESSIONAL.\nj& About ten days: but I had little time to\nsee more than two performances there for I\nwas working at the time.\nTHE CRITIC.\nAnd Moscow?., how long were you there?\nTHE PROFESSIONAL.\nThree days. £>\nTHE CRITIC.\n& And you judge the plays and performan-\nces of a nation and the life of that nation\nafter seeing them for about three or four\ndays and nights at most ?\nTHE PROFESSIONAL.\nI can tell in a moment what I like. &\nTHE CRITIC.\nThe question, my friend, is not what you\nlike, and I was not asking you to like or\ndislike anything. The question is what it is\nnecessary to Jknow. When you know thorough-\nly what is being done by your contempo-\nraries in Art you are better able to criticise\nyour own efforts, and after you know what\nthe life of Europe means you will be more\ncritical to yourself. But as you have indica-\nted, your conceit is so , abnormal that you\nare unable to - recognise the good things in\na piece of foreign work when you see it.\nI don't want you to be madly enthusiastic\nabout the work of strangers, but you might\nfor your own sake remember that these\nforeigners are your nearest kin,... artists\nall the world over belong to one family,\nand one would think itjmight bring aflittle na-\ntural warmth to your body to witness the\nwork of a brother artist no matter to what\nnationality he belonged.\nTHE PROFESSIONAL.\n& What you say is possibly very correct if\nits expression is a little exaggerated. Un-\nfortunately I have no time to enjoy myself\nin the way you propose.\nTHE CRITIC.\nAs I suspected you have no time to devote\nto the study of the work of your contempo-\nraries. But let me tell you that you have no\ntime to postpone it any longer. You have\nhardly time to extricate yourself from a dan-\ngerous situation. & & &\nTHE PROFESSIONAL.\nSir, you exaggerate! The condition of\nthe English stage is not, certainly, all that\nit might be, but it compares favourably with\nany other stage of modern times.\nTHE CRITIC.\n& I have so often heard you and your fel-\nlows say this that I begin to think that it\nmust be a quotation from Pinero. Pray how\ndoes it compare favourably ?\nTHE PROFESSIONAL.\nWell, we have as good actors and actresses,\nwe mount our plays as well as or better\nthan foreigners, we have as great play-\nwrights. &\nTHE CRITIC.\nWhat playwright have you of the first\nrank ?\nTHE PROFESSIONAL,\nOur Shakespeare. & &"}, {"page_pdf": 49, "page_imprimee": "183", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.49", "debut_caractere": 22, "fin_caractere_exclue": 4438, "texte": "THE CRITIC.\n(i Our Shakespeare \" indeed ! Why, you\nlet the Germans do more honour to him than\nyou will do yourselves, (i) It is wonderful\nhow you flourish the name of Shakespeare\nwhen you want to win an argument,.... it\ncosts so little .... and when you want to\nwin credit for your country you drop him\nlike a hot penny ... it costs too much. Yes,\nyou have the greatest playwright, but for\nall he is honoured in England he might be\nthe worst. When it comes to acts instead of\nwords you all of you with one accord cry\nout \" it won't pay; Shakespeare may be art\nbut it isn't business \". Instead of having a\ncontempt for anyone who was heard to utter\nsuch unpatriotic sentiments you think such\na one rather brave and call him a true\nEnglishman. It is disgusting. &\nIf any other nation could boast this dra-\nmatist as its son the whole land would have\na Shakespeare Festival in every city and\nvillage; the theatres of each centre such as\nBirmingham, Manchester, Bristol, Liverpool,\nStratford-on-Avon, Newcastle and many other\ntowns would each give at least sixty perfor-\nmaces of his plays each year and such a city\nas London would possess no less than fifteen\ntheatres wherein Shakespearean plays were\ngiven no less than one hundred times a year,\nand one, or perhaps two theatres where no-\nthing else was ever given.JG?\nWhereas what you do i 5,.... well, you\ntalk about Shakespeare and you do nothing.\nYou give a kind of Festival yearly, but one\nof your scape-goats bears the brunt of It.\nYou think it absolves the rest from all re-\nsponsability and you heave a sigh of relief\nwhen the period has passed. As for being able\nto see a play by Shakespeare all the year\nround at one theatre or another in London,\nwhy it is out of the question. JG? JG>\nTHE PROFESSIONAL.\nBut is this our fault\nTHE CRITIC.\nMost certainly it is. If as a body you\nshowed determination to produce these mas-\nter pieces you would soon have the support\nyou need. But you show no determination,\nand you leave those leaders who do show\nany determination unless they can buy you\n(I) In 1897 no fewer than 930 performances were given in Germany\nof 24 plays by Shakespeare, In 1898 no less than 895 performances\nof 28 plays of Shakespeare. In 1910 no more than 140 Performances\nwere given in London according to Mr Waters.and this number\nincluded the Shakespeare Festival.\nand your tongue; & & &\nTHE PROFESSIONAL.\nYou are getting abusive.\nTHE CRITIC.\nPerhaps,... and speaking the truth. You\nactors are without backbone or pluck. JG/\nTHE PROFESSIONAL.\nWas Hepry Irving without backbone or\npluck ? &\nTHE CRITIC.\nSo after Shakespeare whom you tremble\nto read you bring forward Irving whom you\ntrembled to see? You take Henry Irving\nas your example, but pray what kind of\nsupport did you give him ? If you had done\nyour duty when Henry Irving was alive you\nwould have all seen to it that when he left\nthe Lyceum he passed into the National\nTheatre as head and front of the whole In-\nstitution, supported by the first gentlemen\nof the land. You could have done it, but you\nneither valued Henry Irving nor the interests\nof the Theatre as a Palace of Art nor have\nyou the grace of true affection for great\nthings. Yon love yourselves each of you in-\ndivldually, and you do not love the theatre.\nTHE PROFESSIONAL.\nWe gave Ellen Terry one of the greatest\n\" Benefits \" it is possible to give.\nTHE CRITIC.\nA Benefit! What Ellen Terry, Henry\nIrving and every good worker in the Theatre\nis entitled to is Theatres, Theatres, Theatres•\nAway with your ''Benefits\" and fuss which\ncovers a rare lot of economy. Try to let\nyourselves go next time. Demand for Ellen\nTerry a Theatre, and for every good worker\nof the first order a Theatre, and let those\nTheatres be controlled by the State or en-\ndowed by the first gentlemen of England\nwhose duty it is to support this branch of\nArt. Do you suppose that these actors and\nactresses whom you pretend to rave about\nare enjoyng the fruit of their labours ? Take\nBenson, for instance. JG? JG?\nhave you, his comrades, done for him?\nNothing. If you took him to Manchester and\ninstalled him in a theatre of his own and\nlet him work on without the everlasting\nburden of having to make two ends meet\nyou might claim to be of some use to your\ngeneration. But you have no pluck. You let\nBenson waste his energies when you might\nassist him to nurse them, because you are\nlazy and because you hate putting the ca-\npable man above you. &"}, {"page_pdf": 50, "page_imprimee": "184", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 3038, "texte": "& But to return to our argument. You said\nyou had as good actors and actresses as\nthere are on the Continent, and I have just\npointed out to you how you reward them.\nWhat then have you to boast about?\nTHE PROFESSIONAL.\njg? But it's none of our business to reward\nourselves. We must leave that to the Public.\nTHE CRITIC.\nEvidently another quotation from Pinero !\nYou must leave nothing to the Public. You\nmust lead the Public in everything. You must\ndictate to the Public for you are its humble\nservants. But before being able to do that\nyou must show a little more spirit, get rid\nof your selfish leaders and put the other\nmen in their place,... the best men, those\nof most talent.\nTHE PROFESSIONAL.\n1 really don't understand you at all;\nTHE CRITIC.\nNever mind,... you will, And now about\nstage productions. Do you seriously claim to\nmount your plays better than or as well as\nplays are mounted in Germany, Russia or\nFrance ? or that your stage management is\nbetter than that of the Russians, Sicilians\nor Germans\nTHE PROFESSIONAL.\n& Certainly, far better.\nTHE CRITIC.\n<g? Then I give you up! You could mount and\nstage-manage them better, but you don't.\nYour scenery is just up to the level of your\nworst acting. You never but once gave Ellen\nTerry a background worthy of her genius,\nand as there is only one Ellen Terry you\nsay to yourselves, Why trouble to improve\nthe whole Theatre just so as properly to\nsupport one actress ? No, you will level down\nanything rather than level up to anything.\nYou are not ashamed of this for you call it\nyour practical ccmmon sense and set great\nstore by it. jg?\n& It is the same with your stage-manage-\nment . There is no standard. The Irving\nstandard was high and you have gone below\nit whilst in Europe it has been steadily ri-\nsing.\n& You realise that the first requirement of\na good stage-manager is a troupe of well-\ndisciplined actors of temperament; as you\ndo not like discipline and despise tempera-\nment you decide that you will also do with-\nout good stage- managers or anyhow make\nit impossible for them to achieve what they\nwant. &\n& My advice to you is to go abroad and see\nwhat is being done there, and to come back\nand see if you can discern the difference\nbetween what is first class in our theatre\nand what is of no class. And before we se-\nparate let me tell you that you have much\ngreater playwrights, greater actors and ac-\ntresses and greater producers in England\nthan abroad, but you cannot pick them out\nfrom the crowd and so you ignore them and\ntheir needs and rights and bring discredit\nupon your theatre through this apathy, and\nEngland is the sufferer.\n& Learn to rave less about'your home pro-\nducts and to cultivate them more. But before\nyou can do this you must get rid of your in-\ndifferent and conceited leaders who prevent\nbetter conditions for the art, and you\nmust learn that until you treat your art\nseriously and everything affecting its inte-\nrests, (not your interests), you will have the\nproud satisfaction of boasting the worst-\nconditioned theatre in Europe."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c042", "article_bluemountain": "bmtnaau_1911-04_01#c042", "volume": "bmtnaau_1911-04_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": 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=bmtnaau191104-01.2.20", "titre_corps": "HENRY IRVING", "titre_sommaire": "HENRY IRVING", "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": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.52", "debut_caractere": 0, "fin_caractere_exclue": 13, "texte": "HENRY IRVING."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c043", "article_bluemountain": "bmtnaau_1911-04_01#c043", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "185", "page_fin": "188", "image_debut": 53, "image_fin": 56, "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=bmtnaau191104-01.2.21", "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": 53, "page_imprimee": "185", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.53", "debut_caractere": 0, "fin_caractere_exclue": 4248, "texte": "BOOK REVIEWS\n\nART'S ENIGMA by Frederick Jameson.\nThe Bodley Head, Price seven\nshillings and sixpence.\nr Jameson is the last of many to come\nforward and try to solve the riddle of\nthe Sphinx. Many have done so before him,\nand many will do so yet; and still the rid-\ndle,... if riddle there be, ...is not\nJS? But why should it be ? What advantage\nis there in all this talk about Art ? Can a\nman, by searching, find out God ? and what\nshall it profit him to apprehend Art with\nhis brain when the only essential is that he\nperceive it with his spirit ? Is not the dis-\ncussion of Art in the abstract somewhat\nanalogous in its futility to discussion of the\nHoly Ghost ? for there are things which one\nfeels but cannot demonstrate, secret forces\nwhich inspire and explain the whole of life\nand which yet no man could conclusively\ndefine.\nTo the world at large it is more essential\nto have an appreciation of the manifestations\nof art than an intellectual understanding of\nits nature. Pater says that it is less know-\nledge than a particular kind of temper, a sen-\nsitiveness to impressions, which is required\nin one who approaches a work of art. Whit-\nman's words, 44 All architecture Is what you\ndo to it when you look upon it \" applies to\nmore than architecture, and this quality\nwhich expresses itself in the 44 looking \" is\nnot of the brain but of the hearts\nNor is this intellectual understanding\nmore essential to the artist himself. He\ncreates; and he will create none the better\nfor continually peering into and dissecting\nthe secret of his own power and his own\nsoul.\n& The greatest artist probably could n0t....\nalmost assuredly would not trouble to, explain\nwhy he acts or creates as he does; he obeys\nsome law as profound as that which governs\nthe stars in their courses ; Is probably hardly\nconscious of the processes which produced\nthe results : even while perfectly controlling\nand compelling his material he was in his\nturn compelled and controlled by some my-\nsterious inner spirit, and before his comple-\nted work would perhaps reply as did Aaron\nto Moses : 44 I cast it (the gold) into the fire,\nand there came out this calf\nMr Arthur Symons, in the Preface to the\nnew edition of his 44 Plays, Acting and Music \"\nsays that he is gradually working his way\n44 towards the concrete expression of a theory,\nor system of aesthetics, of all the arts \";\nand again, that 44 each art has its own laws,\n44 its own capacities, its own limits; these it\n44 is the business of the critic jealously to\n44 distinguish. Yet in the study of art as art\n44 it should be his endeavour to master the\n44 universal science of beauty\nMr Jameson seeks to discover the secret\nof 44 the essential unity of the several things\nwe range under the title of Art\", being\nsure that whatever is 44 included under one\ntitle will be found to have a vital bond of\nunion \" and his object is 44 to trace out that\nbond in the matter of art, and to discover\nsome of the essential characteristics of the\ndifferent things it unites in one\nHe divides his essay into chapters upon\nMusic, Poetry, Drama, Novel-writing, Pain-\nting, Architecture and Technique, and natu-\nrally the chapter which interests us most is\nthat upon Drama. But we come to it a little\ndoubtful of Mr Jameson's fitness fot the\ntask he has set himself,... the serious dis-\ncussion of Art,... after reading in his chapter\non Poetry so amazing a statement as that Walt\nWhitman's 44 essays in poetry \" are 44 a stri-\n-44 king example of the failure of the deepest\n4* feeling to produce poetry when unaided by\n44 true artistic imagination \" and when he\nfurther tells us that, in using the poetic form,\nWhitman 44 grasps at an instrument upon\nwhich he is unable to play \"I\nWe are not surprised after this to find Mr\nJameson basing all his arguments upon a\nmisconception of what Drama really is, and\ndisappointment to the student is the inevi-\ntable result of such a method, for if the\npremises are wrong how can the conclusions,\neven if arrived at, be right ? & &\nThe author confounds the dramatic with\nthe poetic art and complains that the works\nof the poets are spoiled by the way they are\ntreated when brought upon the stage. But\nthat is inevitable, for they are complete\nbefore being brought there, and so all ad-"}, {"page_pdf": 54, "page_imprimee": "186", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.54", "debut_caractere": 0, "fin_caractere_exclue": 4588, "texte": "dition can be only 44 gilding the lily \" with\nmore or less disastrous results. JZ?\nMr Jameson complains that 44 our ideas of\nthe relation of scenery to drama and of the atti-\ntude of the public with regard to it are unclear\nand ill-conceived \", but is this to be wonder-\ned at when one who sets out to teach others\nabout Drama is himself so 44 unclear \" as to\nwhat Drama really is, so oblivious of the\nfact that its essence is in action, not words,\nand that a written play bears as much rela-\ntionship to a living drama as does a fossil\nleaf to a similar leaf bursting from its sheath\nin spring ? & & jtsr\nA piece appears \" overweighted\" with\nscenery because the whole work, the\naction, the place, the sound,... has not deve-\nloped together to create one impression ; the\n44 piece \", that is, 44 the word \", is already\ncomplete in itself, a perfect literary work\nof art, and any addition at all will be 44 over-\nweighting \", and this will ever be the case\nwhen one artist tries to add to another's\ncompleted work of art.\nWould it not, for instance, have been\n44 overweighting\" had Botticelli put the colour\nof his Venus, not upon his canvas, but upon\nthe sculptured Venus dei Medici, she being\ncomplete as she was ? Or had Ghiberti chased\na fine set of metal armour and attached it\nto Donatello's figure of Gattamelata ? Here\nof course I do but re-echo the opinion expres-\nsed originally by Mr Gordon Craig in his\nessay on 44 Plays and Playwrights, Pictures\nand Painters in the Theatre \", (i) where he\nwrites as follows.\n44 Suppose we look at a picture by Signo-\n-44 relli, the famous one of the Berlin Gallery.\n44 1 fail utterly te [believe that a stirring\n44 quartett playing hard at the same time\n44 would assist our eyes; or that some one\n44 reciting to us simultaneously the 44 Birth\n44 of Pan\" would bring out the qualities in\n44 the picture. It would only confuse.\n44 Supposing we are listening to the Pa-\n-44 storal Symphony by Beethoven. I do not\n44 believe that a panorama of haymakers\n44 making hay, or a pleasant voice reading to\n44 us from Spenser's 44 Shepherd's Calendar \"\n44 would add in any way to the understanding\n44 or the enjoyment of those qualities which\n44 are in the Symphony. It would only\n44 confuse.\" &\n& And how right he Is, and how necessary\nit is that we all re-echo the statement.\nIn fact all this discussion as to how\nShakespeare should be put upon the stage is\nreally but a shirking of the larger issues;\nof the truth that the theatre should have\nno need to call in Shakespeare or any other\npoet at all, but should resume its old inde-\npendence, an independence of the other arts\nsuch as characterised it when the great Im-\nprovisators were the creators as well as\nthe actors of all that was set upon the\nstage.\n(1.) \"The Mask.\" December 1908\n\nADAM'S DREAM and Two other Miracle\nPlays for Children, by Alice Corbin.\nCharles Scribner's Sons. &\nrphis little book contains three plays, Adam's\nDream, 44 The Star of Bethelehem \" and\n44 Easter Morning \" together with stage de-\ncorations and suggestions for the colour\nschemes and costumes used in the plays, line\nillustrations of some of the scenes, and music\nfor the songs and choruses.\nThe whole possesses a certain unity owing\nto the fact that the author did not merely\nwrite these down, but herself set the pieces on\nthe stage, and seems to have grasped in\nrelation to her little plays a truth to which\nmany are blind :.. . that the words are only\na portion of a play, and that scene and move-\nment must be considered from the outset\nas factors of equal importance and not merely\nas extraneous additions when the 44 piay \"\nis already a completed thing; and she is\nfollowing a right train of thought when she\nwrites in her Preface of the visual stand-\npoint as that in which \" fully one-half of\nthe artistic importance of a play consists \"\nand tells us that she shaped her own plays\nso that \" colour and the natural and simple\ngrace of movement make up more than half\nthe mystery. \"\nOf course not having seen the plays acted it\nis really impossible to do them justice, for the\ncolour may have been bad, the movement far\nfrom graceful or natural; and then it would\nbe just to remind Miss Corbin that the good\nintentions which she shows in her Introduc-\ntion count little unless technically she is\nable to perform the miracle as well as chro-\nnicle it. & & & &\n& The little pieces themselves have much\ncharm of style and the book is heartily to be\nrecommended to those on the lookout for\nchildren's plays. We like, too, the little\nPrologue:\nOur play begins, be quiet all,\nAnd clap not till the curtain fall;"}, {"page_pdf": 55, "page_imprimee": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 4514, "texte": "'Tis Adam's Dream \" we mean to show,\nAnd you will like the play we know,\nSo please be quiet!\ni .... advice which might well be followed\nby audiences in larger theatres and of older\nfolk, and so, to quote the words of Mr Furst\n.n The Mask, 44 prevent a vulgarity \", since\n44 Applause is the flattery of the strong by\nthe weak \".\n\nI COMICI ITALIANI by Luigi Rasi.\nF. Lumachi; Florence. Price one hundred\nand fifty francs.\nJ. S.\nJn this work, the result of tireless and\namazing patience, and skilful, well-directed\nand discriminating research, Professor Rasi,\nthe distinguished head of the Florentine\nScuola di Recitazione, gives us a complete\nBiographical Dictionary of the Italian actors\nfrom the early days of the fifteenth\ncentury down to the late nineteenth\ncentury.\n& Professor Rasi has brought profound\nscholarship and an enthusiastic delight in\nhis subject to the preparation of his work.\nHe has searched libraries in all lands, studied\ndocuments, delved among old parchments ; he\nhas unearthed things forgotten for centuries;\nhe has brought to light facts about the\nlives of comedians whose very names had\nbeen forgotten, and he presents all this\naccumulated treasure to us further enriched\nwith innumerable illustrations in three large\nvolumes. & &\nCertainly his book is a remarkable achieve-\nment, and those who desire to know\nsomething of the Italian actors can go to no\nmore convenient and well-arranged source to\nsatisfy their curiosity. &\nHere they will find the lives of Andreini,\nMartinelli, Fiorilli, Gherardi, Riccoboni and\nall that splendid band who rendered the Ita-\nlian Theatre so famous in the sixteenth\nand seventeenth centuries; they will find\nheir portraits and their horoscopes, the record\nof what they did and of what they wrote.\nEvery page is full of valuable information,\nvivid with rare illustrations, alight with\nquaint anecdote grouped and arranged by\none possessed of a store of knowledge, a\nwell-stocked library and a facile pen.\nIndeed, we admire Professor Rasi's book\nso much that we fear lest our expression of\nthis admiration should seem insufficient in\nwarmth, incomplete In description, especially\nto the author himself, whom we should par-\nticularly like to convince of our sincere\nappreciation of his fine achievement.\nWe are glad to have been the first to intro-\nduce this remarkable work to English readers,\ngrateful for the information it has given us,\nhappy to seize this opportunity of publicly\nexpressing to Professor Rasi our appreciation\nof and gratitude for several little services\nwhich he, so rich in knowledge of, as well\nas in objects of historical value relating\nto, the Commedia dell'Arte has rendered\nto The Mask in its preparation of the\nnumbers which it has especially devoted\nto that most interesting phase of the Italian\nTheatre. JZ?\n\nDRAMATIC VALUES, by C.E. Montague.\n& Methuen. Price five shillings net.\nJYI* Montague is a good writer and goes in\nfor criticism. He criticises the theatre\nand forgets to inform himself thoroughly\nabout the theatre. He knows something about\nMoliere and his period, something about\nIbsen's period, a little about the Commedia\ndell'Arte, and he goes ahead.\nThen of course he has been obliged to\nstudy the plays of Synge, Masefield, Shaw\nand Wilde, and so he knows a good deal\nabout these things, and, writing well upon\nthem, he gives us great pleasure when we\nread. £> &\nIn the meantime some necessary question\nof the theatre be then to be considered,\nand of that Mr. Montague knows but little.\nBut how well he writes, how delightful\nare his words about the plays of Mr. Synge\nand the tragedies of Mr. Masefield I It is\nonly when he attempts to analyse the theatre\nand its yet unformed art that he writes in\nso queer away, saying that the three strict\nelements of great acting are, 44 a plastic\nphysical medium, a finished technical cunning,\n44 and a passion of joy In the thought of the\ncharacter acted \". All of which is, of course,\ntalking nonsense. £?\n& Again in the same essay where he speaks\nof Coquelin filling the impish valets of Moliere\n44 with a vehemence of life that no one had\nthought of before \" he reveals his ignorance\nof theatrical history. This tradition, this\nvehemence of life, was in these impish\nvalets even before Moliere copied them into\nhis book. Gherardl, Andreini, Fiorelli, Dom-\ninique Romagnesi, Martinelli, were all far\ngreater actors than Coquelin and greater\neven than Moliere in that they created these\nsame valets whereas the poet merely made\na record of their words and acts which the"}, {"page_pdf": 56, "page_imprimee": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 963, "texte": "modern actor simply repeats word for word\nand act for act. jgr\nThis It is to be a grand traditional actor,\nand that he is faithful to his old masters\ncan be his proud boast. He cannot claim to\ncreate nor can another claim for him that\nhe fills these roles 44 with a vehemence of\nlife no one had thought of before. \"\n\nTHE ADVENTURE by Henry Bryan\nBi'nns. A. C. Fifleld. London. Price\ntwo shillings and sixpence net. jg/\nromantic variation on the Homeric theme\nof Circe and Ulysses in which we find\nmuch of that vivid beauty and dignity of\nexpression of which Mr. Binns has already\nproved himself possessed in 44 The Wanderer \"\nand 44 The Great Companions&\n& We read Mr. Binns' poem with so much\npleasure that we hope he will not be tempted\nto materialise his 44 Isle Perilous \" in wood\nand canvas upon any stage, nor to allow his\n44 wanderer in quest of Freedom \" to wander\ninto the theatre out of that land of poetic\nliterature which is his right and only sphere."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c045", "article_bluemountain": "bmtnaau_1911-04_01#c045", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "185", "page_fin": "186", "image_debut": 53, "image_fin": 54, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.2.21.2", "titre_corps": "ART'S ENIGMA by Frederick Jameson", "titre_sommaire": "ART'S ENIGMA by Frederick Jameson", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 53, "page_imprimee": "185", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.53", "debut_caractere": 14, "fin_caractere_exclue": 4248, "texte": "ART'S ENIGMA by Frederick Jameson.\nThe Bodley Head, Price seven\nshillings and sixpence.\nr Jameson is the last of many to come\nforward and try to solve the riddle of\nthe Sphinx. Many have done so before him,\nand many will do so yet; and still the rid-\ndle,... if riddle there be, ...is not\nJS? But why should it be ? What advantage\nis there in all this talk about Art ? Can a\nman, by searching, find out God ? and what\nshall it profit him to apprehend Art with\nhis brain when the only essential is that he\nperceive it with his spirit ? Is not the dis-\ncussion of Art in the abstract somewhat\nanalogous in its futility to discussion of the\nHoly Ghost ? for there are things which one\nfeels but cannot demonstrate, secret forces\nwhich inspire and explain the whole of life\nand which yet no man could conclusively\ndefine.\nTo the world at large it is more essential\nto have an appreciation of the manifestations\nof art than an intellectual understanding of\nits nature. Pater says that it is less know-\nledge than a particular kind of temper, a sen-\nsitiveness to impressions, which is required\nin one who approaches a work of art. Whit-\nman's words, 44 All architecture Is what you\ndo to it when you look upon it \" applies to\nmore than architecture, and this quality\nwhich expresses itself in the 44 looking \" is\nnot of the brain but of the hearts\nNor is this intellectual understanding\nmore essential to the artist himself. He\ncreates; and he will create none the better\nfor continually peering into and dissecting\nthe secret of his own power and his own\nsoul.\n& The greatest artist probably could n0t....\nalmost assuredly would not trouble to, explain\nwhy he acts or creates as he does; he obeys\nsome law as profound as that which governs\nthe stars in their courses ; Is probably hardly\nconscious of the processes which produced\nthe results : even while perfectly controlling\nand compelling his material he was in his\nturn compelled and controlled by some my-\nsterious inner spirit, and before his comple-\nted work would perhaps reply as did Aaron\nto Moses : 44 I cast it (the gold) into the fire,\nand there came out this calf\nMr Arthur Symons, in the Preface to the\nnew edition of his 44 Plays, Acting and Music \"\nsays that he is gradually working his way\n44 towards the concrete expression of a theory,\nor system of aesthetics, of all the arts \";\nand again, that 44 each art has its own laws,\n44 its own capacities, its own limits; these it\n44 is the business of the critic jealously to\n44 distinguish. Yet in the study of art as art\n44 it should be his endeavour to master the\n44 universal science of beauty\nMr Jameson seeks to discover the secret\nof 44 the essential unity of the several things\nwe range under the title of Art\", being\nsure that whatever is 44 included under one\ntitle will be found to have a vital bond of\nunion \" and his object is 44 to trace out that\nbond in the matter of art, and to discover\nsome of the essential characteristics of the\ndifferent things it unites in one\nHe divides his essay into chapters upon\nMusic, Poetry, Drama, Novel-writing, Pain-\nting, Architecture and Technique, and natu-\nrally the chapter which interests us most is\nthat upon Drama. But we come to it a little\ndoubtful of Mr Jameson's fitness fot the\ntask he has set himself,... the serious dis-\ncussion of Art,... after reading in his chapter\non Poetry so amazing a statement as that Walt\nWhitman's 44 essays in poetry \" are 44 a stri-\n-44 king example of the failure of the deepest\n4* feeling to produce poetry when unaided by\n44 true artistic imagination \" and when he\nfurther tells us that, in using the poetic form,\nWhitman 44 grasps at an instrument upon\nwhich he is unable to play \"I\nWe are not surprised after this to find Mr\nJameson basing all his arguments upon a\nmisconception of what Drama really is, and\ndisappointment to the student is the inevi-\ntable result of such a method, for if the\npremises are wrong how can the conclusions,\neven if arrived at, be right ? & &\nThe author confounds the dramatic with\nthe poetic art and complains that the works\nof the poets are spoiled by the way they are\ntreated when brought upon the stage. But\nthat is inevitable, for they are complete\nbefore being brought there, and so all ad-"}, {"page_pdf": 54, "page_imprimee": "186", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.54", "debut_caractere": 0, "fin_caractere_exclue": 2776, "texte": "dition can be only 44 gilding the lily \" with\nmore or less disastrous results. JZ?\nMr Jameson complains that 44 our ideas of\nthe relation of scenery to drama and of the atti-\ntude of the public with regard to it are unclear\nand ill-conceived \", but is this to be wonder-\ned at when one who sets out to teach others\nabout Drama is himself so 44 unclear \" as to\nwhat Drama really is, so oblivious of the\nfact that its essence is in action, not words,\nand that a written play bears as much rela-\ntionship to a living drama as does a fossil\nleaf to a similar leaf bursting from its sheath\nin spring ? & & jtsr\nA piece appears \" overweighted\" with\nscenery because the whole work, the\naction, the place, the sound,... has not deve-\nloped together to create one impression ; the\n44 piece \", that is, 44 the word \", is already\ncomplete in itself, a perfect literary work\nof art, and any addition at all will be 44 over-\nweighting \", and this will ever be the case\nwhen one artist tries to add to another's\ncompleted work of art.\nWould it not, for instance, have been\n44 overweighting\" had Botticelli put the colour\nof his Venus, not upon his canvas, but upon\nthe sculptured Venus dei Medici, she being\ncomplete as she was ? Or had Ghiberti chased\na fine set of metal armour and attached it\nto Donatello's figure of Gattamelata ? Here\nof course I do but re-echo the opinion expres-\nsed originally by Mr Gordon Craig in his\nessay on 44 Plays and Playwrights, Pictures\nand Painters in the Theatre \", (i) where he\nwrites as follows.\n44 Suppose we look at a picture by Signo-\n-44 relli, the famous one of the Berlin Gallery.\n44 1 fail utterly te [believe that a stirring\n44 quartett playing hard at the same time\n44 would assist our eyes; or that some one\n44 reciting to us simultaneously the 44 Birth\n44 of Pan\" would bring out the qualities in\n44 the picture. It would only confuse.\n44 Supposing we are listening to the Pa-\n-44 storal Symphony by Beethoven. I do not\n44 believe that a panorama of haymakers\n44 making hay, or a pleasant voice reading to\n44 us from Spenser's 44 Shepherd's Calendar \"\n44 would add in any way to the understanding\n44 or the enjoyment of those qualities which\n44 are in the Symphony. It would only\n44 confuse.\" &\n& And how right he Is, and how necessary\nit is that we all re-echo the statement.\nIn fact all this discussion as to how\nShakespeare should be put upon the stage is\nreally but a shirking of the larger issues;\nof the truth that the theatre should have\nno need to call in Shakespeare or any other\npoet at all, but should resume its old inde-\npendence, an independence of the other arts\nsuch as characterised it when the great Im-\nprovisators were the creators as well as\nthe actors of all that was set upon the\nstage.\n(1.) \"The Mask.\" December 1908"}]}, {"article_id": "bm-bmtnaau-1911-04-01-c046", "article_bluemountain": "bmtnaau_1911-04_01#c046", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "186", "page_fin": "187", "image_debut": 54, "image_fin": 55, "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=bmtnaau191104-01.2.21.3", "titre_corps": "ADAM'S DREAM and Two other Miracle Plays for Children by Alice Corbin", "titre_sommaire": "ADAM'S DREAM and Two other Miracle Plays for Children by Alice Corbin", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 54, "page_imprimee": "186", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.54", "debut_caractere": 2778, "fin_caractere_exclue": 4588, "texte": "ADAM'S DREAM and Two other Miracle\nPlays for Children, by Alice Corbin.\nCharles Scribner's Sons. &\nrphis little book contains three plays, Adam's\nDream, 44 The Star of Bethelehem \" and\n44 Easter Morning \" together with stage de-\ncorations and suggestions for the colour\nschemes and costumes used in the plays, line\nillustrations of some of the scenes, and music\nfor the songs and choruses.\nThe whole possesses a certain unity owing\nto the fact that the author did not merely\nwrite these down, but herself set the pieces on\nthe stage, and seems to have grasped in\nrelation to her little plays a truth to which\nmany are blind :.. . that the words are only\na portion of a play, and that scene and move-\nment must be considered from the outset\nas factors of equal importance and not merely\nas extraneous additions when the 44 piay \"\nis already a completed thing; and she is\nfollowing a right train of thought when she\nwrites in her Preface of the visual stand-\npoint as that in which \" fully one-half of\nthe artistic importance of a play consists \"\nand tells us that she shaped her own plays\nso that \" colour and the natural and simple\ngrace of movement make up more than half\nthe mystery. \"\nOf course not having seen the plays acted it\nis really impossible to do them justice, for the\ncolour may have been bad, the movement far\nfrom graceful or natural; and then it would\nbe just to remind Miss Corbin that the good\nintentions which she shows in her Introduc-\ntion count little unless technically she is\nable to perform the miracle as well as chro-\nnicle it. & & & &\n& The little pieces themselves have much\ncharm of style and the book is heartily to be\nrecommended to those on the lookout for\nchildren's plays. We like, too, the little\nPrologue:\nOur play begins, be quiet all,\nAnd clap not till the curtain fall;"}, {"page_pdf": 55, "page_imprimee": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 327, "texte": "'Tis Adam's Dream \" we mean to show,\nAnd you will like the play we know,\nSo please be quiet!\ni .... advice which might well be followed\nby audiences in larger theatres and of older\nfolk, and so, to quote the words of Mr Furst\n.n The Mask, 44 prevent a vulgarity \", since\n44 Applause is the flattery of the strong by\nthe weak \"."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c047", "article_bluemountain": "bmtnaau_1911-04_01#c047", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "187", "page_fin": "187", "image_debut": 55, "image_fin": 55, "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=bmtnaau191104-01.2.21.4", "titre_corps": "I COMICI ITALIANI by Luigi Rasi", "titre_sommaire": "I COMICI ITALIANI by Luigi Rasi", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 55, "page_imprimee": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.55", "debut_caractere": 329, "fin_caractere_exclue": 2794, "texte": "I COMICI ITALIANI by Luigi Rasi.\nF. Lumachi; Florence. Price one hundred\nand fifty francs.\nJ. S.\nJn this work, the result of tireless and\namazing patience, and skilful, well-directed\nand discriminating research, Professor Rasi,\nthe distinguished head of the Florentine\nScuola di Recitazione, gives us a complete\nBiographical Dictionary of the Italian actors\nfrom the early days of the fifteenth\ncentury down to the late nineteenth\ncentury.\n& Professor Rasi has brought profound\nscholarship and an enthusiastic delight in\nhis subject to the preparation of his work.\nHe has searched libraries in all lands, studied\ndocuments, delved among old parchments ; he\nhas unearthed things forgotten for centuries;\nhe has brought to light facts about the\nlives of comedians whose very names had\nbeen forgotten, and he presents all this\naccumulated treasure to us further enriched\nwith innumerable illustrations in three large\nvolumes. & &\nCertainly his book is a remarkable achieve-\nment, and those who desire to know\nsomething of the Italian actors can go to no\nmore convenient and well-arranged source to\nsatisfy their curiosity. &\nHere they will find the lives of Andreini,\nMartinelli, Fiorilli, Gherardi, Riccoboni and\nall that splendid band who rendered the Ita-\nlian Theatre so famous in the sixteenth\nand seventeenth centuries; they will find\nheir portraits and their horoscopes, the record\nof what they did and of what they wrote.\nEvery page is full of valuable information,\nvivid with rare illustrations, alight with\nquaint anecdote grouped and arranged by\none possessed of a store of knowledge, a\nwell-stocked library and a facile pen.\nIndeed, we admire Professor Rasi's book\nso much that we fear lest our expression of\nthis admiration should seem insufficient in\nwarmth, incomplete In description, especially\nto the author himself, whom we should par-\nticularly like to convince of our sincere\nappreciation of his fine achievement.\nWe are glad to have been the first to intro-\nduce this remarkable work to English readers,\ngrateful for the information it has given us,\nhappy to seize this opportunity of publicly\nexpressing to Professor Rasi our appreciation\nof and gratitude for several little services\nwhich he, so rich in knowledge of, as well\nas in objects of historical value relating\nto, the Commedia dell'Arte has rendered\nto The Mask in its preparation of the\nnumbers which it has especially devoted\nto that most interesting phase of the Italian\nTheatre. JZ?"}]}, {"article_id": "bm-bmtnaau-1911-04-01-c048", "article_bluemountain": "bmtnaau_1911-04_01#c048", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "187", "page_fin": "188", "image_debut": 55, "image_fin": 56, "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=bmtnaau191104-01.2.21.5", "titre_corps": "DRAMATIC VALUES, by C.E. Montague", "titre_sommaire": "DRAMATIC VALUES, by C.E. Montague", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 55, "page_imprimee": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.55", "debut_caractere": 2796, "fin_caractere_exclue": 4514, "texte": "DRAMATIC VALUES, by C.E. Montague.\n& Methuen. Price five shillings net.\nJYI* Montague is a good writer and goes in\nfor criticism. He criticises the theatre\nand forgets to inform himself thoroughly\nabout the theatre. He knows something about\nMoliere and his period, something about\nIbsen's period, a little about the Commedia\ndell'Arte, and he goes ahead.\nThen of course he has been obliged to\nstudy the plays of Synge, Masefield, Shaw\nand Wilde, and so he knows a good deal\nabout these things, and, writing well upon\nthem, he gives us great pleasure when we\nread. £> &\nIn the meantime some necessary question\nof the theatre be then to be considered,\nand of that Mr. Montague knows but little.\nBut how well he writes, how delightful\nare his words about the plays of Mr. Synge\nand the tragedies of Mr. Masefield I It is\nonly when he attempts to analyse the theatre\nand its yet unformed art that he writes in\nso queer away, saying that the three strict\nelements of great acting are, 44 a plastic\nphysical medium, a finished technical cunning,\n44 and a passion of joy In the thought of the\ncharacter acted \". All of which is, of course,\ntalking nonsense. £?\n& Again in the same essay where he speaks\nof Coquelin filling the impish valets of Moliere\n44 with a vehemence of life that no one had\nthought of before \" he reveals his ignorance\nof theatrical history. This tradition, this\nvehemence of life, was in these impish\nvalets even before Moliere copied them into\nhis book. Gherardl, Andreini, Fiorelli, Dom-\ninique Romagnesi, Martinelli, were all far\ngreater actors than Coquelin and greater\neven than Moliere in that they created these\nsame valets whereas the poet merely made\na record of their words and acts which the"}, {"page_pdf": 56, "page_imprimee": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 315, "texte": "modern actor simply repeats word for word\nand act for act. jgr\nThis It is to be a grand traditional actor,\nand that he is faithful to his old masters\ncan be his proud boast. He cannot claim to\ncreate nor can another claim for him that\nhe fills these roles 44 with a vehemence of\nlife no one had thought of before. \""}]}, {"article_id": "bm-bmtnaau-1911-04-01-c049", "article_bluemountain": "bmtnaau_1911-04_01#c049", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "188", "page_fin": "188", "image_debut": 56, "image_fin": 56, "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=bmtnaau191104-01.2.21.6", "titre_corps": "THE ADVENTURE by Henry Bryan Binns", "titre_sommaire": "THE ADVENTURE by Henry Bryan Binns", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.56", "debut_caractere": 317, "fin_caractere_exclue": 963, "texte": "THE ADVENTURE by Henry Bryan\nBi'nns. A. C. Fifleld. London. Price\ntwo shillings and sixpence net. jg/\nromantic variation on the Homeric theme\nof Circe and Ulysses in which we find\nmuch of that vivid beauty and dignity of\nexpression of which Mr. Binns has already\nproved himself possessed in 44 The Wanderer \"\nand 44 The Great Companions&\n& We read Mr. Binns' poem with so much\npleasure that we hope he will not be tempted\nto materialise his 44 Isle Perilous \" in wood\nand canvas upon any stage, nor to allow his\n44 wanderer in quest of Freedom \" to wander\ninto the theatre out of that land of poetic\nliterature which is his right and only sphere."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c050", "article_bluemountain": "bmtnaau_1911-04_01#c050", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "188", "page_fin": "188", "image_debut": 56, "image_fin": 56, "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=bmtnaau191104-01.2.22", "titre_corps": "CRITICS CRITICISED", "titre_sommaire": "CRITICS CRITICISED", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.56", "debut_caractere": 965, "fin_caractere_exclue": 4099, "texte": "CRITICS CRITICISED\n\nAT-1' \" ~vy\" ' v• fjn. |*jri AllJJgajg\nTHE IMPERTINENCE OF AMATEUR\nCRITICISM, by Gordon Craig.<&\nhe New Age continues to invite\npainters to chatter about the Art of\nthe Theatre as though they had studied\nthe craft of the stage. It is meant well enough,\nbut it calls forth a tremendous amount of\ntwaddle, and what is more dangerous\nexcept trash ? This latter commodity the\nsame little group will now probably manu-\nfacture and offer to the public as Art. &\nStartlingly straightforward and useful are\nthe reasons given by two writers in the New\nAge Symposium who decline to enter into\nthe trap; these two are Madame Yvette\nGuilbert and M. Henri Marcel. j&\nThe former states clearly after a life's\nexperience in the theatre that u to reply\nintelligently 44t0 the questions put by the New\nAge on the reform of the theatre it would\nneed a book, and she excuses herself from\nthe task by informing the enthusiastic editor\nthat she has a big enough task in hand as it\nIs : that is, her daily work in the theatre.\nIndeed, Madam, that work is doing more\nto reform the theatre than any amount of\ntheory will ever do. jz?\n& M. Henri Marcel excuses himself because\nhe 44 has not the technical knowledge neces-\nsary to speak with authority \". Oh, if only\nthe others had M. Marcel's modesty, his good\nmanners which forbid him to intrude in an\nargument which concerns none but those\nwho have worked all their lives in the\ntheatre! jz? jg/\nM. Jacques Blanche is an example of one\nwho rushes in and exposes his folly. He sums\nup a list of incompetent and incorrect\nstatements by saying that he thinks \" those\nwho work for the stage should have three\nqualifications: & & jgr\n44 (i) Knowledge of the various styles in\n44 architecture (obtained from the best clas-\n-44 sical and historical examples) and know-\n-44 ledge of the finest pictures in the public\n44 galleries.\n44 (2) Taste, a genuine taste, and an un-\n-44 derstanding of beauty. An appreciation for\n44 the most beautiful works of art in existence,\n44 together with an understanding of the\n44 play or opera which they undertake to\n44 interpret, quicken and emphasize plasti-\n-44 cally. & &\n44 (3) A total and decided neglect of every-\n-44 thing done on the stage within the last\n44 fifty years. \"\nThe third qualification is rather more\noriginal than the first two, and one would\ngather from M. Blanche's own showing that\nhe is eminently qualified in his own way to\nproduce in his own theatre for himself quite\na number of sweet nothings, for he seems\nto have a total and decided neglect (?) of\neverything done on the stage within the\nlast fifty years \" developed to extraordinary\njz? &\n& What and who is M. Blanche anyway ?\nWe know who Madame Yvette Guilbert is.\nShe is a professional actress, and M. Blanche\nprobably not even an amateur actor.\nI hope that some day people will learn\nthat a carpenter is not the man to consult\nwhen it comes to reforming the bakeries;\nthat policemen are no authorities upon the\nsubject of making jewelry ; and that painters,\nprofessors and editors are incompetent to\ndeliver an opinion of any value upon the very\ndifficult Art of the Theatre."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c052", "article_bluemountain": "bmtnaau_1911-04_01#c052", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "188", "page_fin": "188", "image_debut": 56, "image_fin": 56, "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=bmtnaau191104-01.2.22.2", "titre_corps": "THE IMPERTINENCE OF AMATEUR CRITICISM", "titre_sommaire": "THE IMPERTINENCE OF AMATEUR CRITICISM", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.56", "debut_caractere": 985, "fin_caractere_exclue": 4099, "texte": "AT-1' \" ~vy\" ' v• fjn. |*jri AllJJgajg\nTHE IMPERTINENCE OF AMATEUR\nCRITICISM, by Gordon Craig.<&\nhe New Age continues to invite\npainters to chatter about the Art of\nthe Theatre as though they had studied\nthe craft of the stage. It is meant well enough,\nbut it calls forth a tremendous amount of\ntwaddle, and what is more dangerous\nexcept trash ? This latter commodity the\nsame little group will now probably manu-\nfacture and offer to the public as Art. &\nStartlingly straightforward and useful are\nthe reasons given by two writers in the New\nAge Symposium who decline to enter into\nthe trap; these two are Madame Yvette\nGuilbert and M. Henri Marcel. j&\nThe former states clearly after a life's\nexperience in the theatre that u to reply\nintelligently 44t0 the questions put by the New\nAge on the reform of the theatre it would\nneed a book, and she excuses herself from\nthe task by informing the enthusiastic editor\nthat she has a big enough task in hand as it\nIs : that is, her daily work in the theatre.\nIndeed, Madam, that work is doing more\nto reform the theatre than any amount of\ntheory will ever do. jz?\n& M. Henri Marcel excuses himself because\nhe 44 has not the technical knowledge neces-\nsary to speak with authority \". Oh, if only\nthe others had M. Marcel's modesty, his good\nmanners which forbid him to intrude in an\nargument which concerns none but those\nwho have worked all their lives in the\ntheatre! jz? jg/\nM. Jacques Blanche is an example of one\nwho rushes in and exposes his folly. He sums\nup a list of incompetent and incorrect\nstatements by saying that he thinks \" those\nwho work for the stage should have three\nqualifications: & & jgr\n44 (i) Knowledge of the various styles in\n44 architecture (obtained from the best clas-\n-44 sical and historical examples) and know-\n-44 ledge of the finest pictures in the public\n44 galleries.\n44 (2) Taste, a genuine taste, and an un-\n-44 derstanding of beauty. An appreciation for\n44 the most beautiful works of art in existence,\n44 together with an understanding of the\n44 play or opera which they undertake to\n44 interpret, quicken and emphasize plasti-\n-44 cally. & &\n44 (3) A total and decided neglect of every-\n-44 thing done on the stage within the last\n44 fifty years. \"\nThe third qualification is rather more\noriginal than the first two, and one would\ngather from M. Blanche's own showing that\nhe is eminently qualified in his own way to\nproduce in his own theatre for himself quite\na number of sweet nothings, for he seems\nto have a total and decided neglect (?) of\neverything done on the stage within the\nlast fifty years \" developed to extraordinary\njz? &\n& What and who is M. Blanche anyway ?\nWe know who Madame Yvette Guilbert is.\nShe is a professional actress, and M. Blanche\nprobably not even an amateur actor.\nI hope that some day people will learn\nthat a carpenter is not the man to consult\nwhen it comes to reforming the bakeries;\nthat policemen are no authorities upon the\nsubject of making jewelry ; and that painters,\nprofessors and editors are incompetent to\ndeliver an opinion of any value upon the very\ndifficult Art of the Theatre."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c054", "article_bluemountain": "bmtnaau_1911-04_01#c054", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "189", "page_fin": "193", "image_debut": 57, "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=bmtnaau191104-01.2.23", "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": 57, "page_imprimee": "189", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 3933, "texte": "FOREIGN NOTES.\n\nLONDON\n\n\" Sumurun \" and Mr Gordon Craig\njgveryone her© is speaking, of \" Sumurun \"\nthe Pantomime brought over by Professor\nRelnhardt from Berlin. Everyone is delighted\nwith it.\nOf course the production is, as Mr Paul\nKonody, writing in the Daily Mail, rightly\npoints out, \" merely the latest development\nof the stage reform initiated by Mr Gordon\nCraig\"... a fact which will naturally in=\ncrease the pleasure of the public since Mr\nCraig is an Englishman. JZ/\nBut what does Mr Konody mean when he\ngoes on to tell us that Mr Craig was in his\nturn \"inspired by the art of Mr James Pryde\"?\nI was so curious to know what Mr. James\nPryde had to do with it that I wrote to Mr\nCraig on the subject. I got a short line in\nreply; it ran ask Pryde\"; but not having\nthe pleasure of knowing more than the\npaintings of that remarkable artist 1 could'ut\nact according to this suggestion.\n& For my part 1 have never seen any stage\nwork by Mr Pryde and 1 know of no one else\nwho has seen any either. Therefore if Mr Craig,\nstage manager, has been inspired by Mr Pryde\npainter, it seems quite obvious that he has\nalso been inspired by Rembrandt, by Blake,\nby Fra Angelico and by Leonardo da Vinci,\nand it is only fair to these gentlemen to\ndrag them in somehow. & & &\nBut surely some credit is due to those\nmost responsible for producing the man,\nthat is, his parents. & .a\nI look forward to Mr Craig's return to\nLondon ; at present he is in Paris arranging\nfor the production of .., . but I must follow\nthe precedent of the London Theatre and be\nvery mysterious about it. R. S.\nMr Whelen1 s new\" Dusseldotf\" plans.\nWhelen has not yet obtained the capital\nhe requires to launch another Repertory\nTheatre of problem plays at us. But that is\nnot surprising, for in a recent article he asks\nfor money so as to make a theatre \" with a\ndramatic school attached on the Dusseldorf\nmodel \" As if England wanted to copy\na German model ! &\nWhat Mr Whelen can be thinking of is\nnot clear. Is he really so pessimistic about\nthe originality of the English?....\n\" The Dusseldorf model \"... tut! M. P.\nSalome: Realism versus the Censor. &\nIdealism delights people so much that they\nwill even take liberties with the law of\nthe land to get it.^s?\n& The New Players' Society has produced\n\" Salome \" at the Court Theatre, paragraphi-\nng their performances as 'in defiance of the\nCensor\".\n<£? \" Salome \" is a realistic piece about a\nlady who parades the stage in an almost\nnude condition saying she will kiss the lips\nof John the Baptist. She does it, and gets\nwhat used to be called toe-koe for it. In fact\nthe poor girl is killed.\nNow what the whole fuss is about is never\nclear. We go away from the performance quite\nunmoved and utterly worn out with listening\nto the conscious everlasting chant which the\nmarionettes and that hussy the leading lady\nhave kept up. We want a cup of tea; we want\nto get back to our fresh old garden or even\nto our stuffy old study where our books seem\nyoung and innocent with their old wisdom\nafter the terrible experience at the Court\nTheatre.\nThe performance was not so bad except\nthat it was awful. There were good actors\nacting worse than ever before. There were\npretty dresses looking sillier than ever.\nSweet voices forced themselves to utter fool=»\nlish or feeble sounds and graceful and well=\nbuilt bodies bent themselves jnto horrid\nshapes. & &\nAnd all for Hecuba=Salome, for not a\nsoul on the stage was expressing anything\neither experienced or felt; all was so much\nrepetition,... a pumping up of stray emotions\nfelt once by some one now long dead:\nWhat folly then this kind of mumming is !\n\" We will produce Salome \" said the New\nPlayers' Society, because:\ni. It is a prohibited play.\nа. Because Oscar wrote it.\n3. Because it's sure to make a sensation.\n4. Because it must make a sensation.\n5. Because we'll make it make a sensation.\nб. Because like the cat we will walk by\nourselves.\n7. Because we have to."}, {"page_pdf": 58, "page_imprimee": "190", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 4580, "texte": "jg? But this good Society has no answer to\nmake when we ask, why didn't you set about\nmaking a sensation in an original way so\nas to be sure of making at least that. ? &\nMiss Loie Fuller at 44 His Majesty's.\"\nLoie Fuller has for some unaccoun-\ntable reason accepted a little engagement\nat His Majesty's Theatre to help in some\nproduction. It has not transpired what\nshe will be asked to do, but from certain\nindications it can be gathered that the task\nwill not be an arduous one nor the engagement\nfor more than a few\n44 Macbeth\" at His Majesty's Theatre.\nJt Is pity Sir Herbert Beerbohm Tree couldn't\nspare Mr Gordon Craig the time he asked\nIn which to superintend 44 Macbeth, \"... that\nis to say, eight short weeks.\njg? It is a pity because London is just learning\nthrough the 44Daily Mail \" that the German\nwork 44Sumurun\" is 44the latest development\nof the stage reform initiated by Mr Gordon\nCraig \" and London is going crazy with de-\nlight over that piece of stage-craft, and\nEngland would probably have been glad to\nsee the work of one of her own sons. jg/\nOf course it is not always convenient for\nSir Herbert to supply the demand, but he\nshould not have let a few extra weeks' work\nhinder ' what promised to be an exceptional\nproduction from every point of view. jg?\nAs It Is, Sir Herbert promises to proceed\nalone with the work, taking for himself\nprobably twice eight weeks, or at any rate\nexceeding eight, and we may expect as ad-\nmirable a production as Sir Herbert gene-\nrally manages to concoct. & &\nWe shall see witches in the air, no doubt,\nand all the actors will be forced to take a\nback seat,... or rather, nearly all the actors,...\nand everyone will be pleased with himself,\nand the receipts will, we trust, reach the\nsame figure as those for 4<Henry VIII\" which\nhas been an overwhelming success. jg?\nBy the way, I hear on excellent authority\nthat very little money is going to be spent\non the production of \" Macbeth \"; in fact,\nevery penny is being saved... presumably for\nthe next fairy play. jgr\nAnd, again by the way, it has never been\nthoroughly explained why Sir Herbert did\nnot seize the opportunity offered to him to\nproduce 44 The Blue Bird\" at his theatre\ninstead of letting it pass to Mr Herbert\nTrench who, as everyone knows, made much\nfo it. & jgr\n\nJ. B.\n\nDUB L I N\nThe Abbey Theatre's Success.\nJanuary 12th was a memorable occasion\nin the history of the Abbey Theatre ;in\nfact I may say.... and I believe subsequent\nevents will prove me right,.... in the his-\ntory of the modern theatre as a whole,\nbeing the occasion of the first public use\nof the new scene for the poetic drama\nconceived, constructed and patented by Mr.\nGordon Craig.\nThe triple programme consisted of a\nfirst performace of 44 The Deliverer \" Lady\nGregory's tragicomedy, a revival of 44 The\nflour Glass \" by Mr. W. B. Yeats, and 44 The\nFull Moon \", a Comedy in one act also by\nLady Gregory.\n& The method of decoration employed for\nthe two former was invented by Mr. Craig and\nused by him for the famous Art Theatre\nof Moscow where, to quote the Abbey Theatre\nProgramme, 44 it will make possible a per-\n-44 formance of the full Hamlet, with a diffe-\n-44 rent decoration for every little scene, so\n44 rapidly can the scenes be changed. 44 Tiiis\nmethod, \" continues the same programme\nnote 44 does not aim at effects of realism,\n44 but at a decoration of the stage almost\n44 infinite in the variety of its expression\n44 and suggestion, and for the first time\n44 makes possible effects of lights and\n44 shadow various, powerful and delicate \" :\nand the note concludes, 44 Mr. Craig has\n44 given us the right to make use of his\n44 patent in Ireland, with the generosity of\n44 a great artist and because he respects our\n44 work and ambition \". &\nThis scene consists of a series of portable\nscreens capable of an infinite variety of\neffect; They are as plastic, as limitless in\ntheir potentiality as clay in the hands of a\nsculptor, as fluid in their capacity for change\nas the line which follows the draughtsman's\npencil, and yet as obedient to law, as closely\nallied one to another, as mathematically\nprecise in their movement as the notes in\na piece of music. With these, and these alone\nthe scenic artist can conjure up before us\nwalls, columns, corridors, halls, stairs, exits,\nentrances ; so elastic is the material that it\nmay widen to a spacious piazza or narrow\nto a secret winding way ; it may be trans-\nformed before our eyes from a palace hall\nto a prison cell, and this fact minimises\nfor the managers of the Abbey Theatre some\nof the limitations hitherto imposed upom"}, {"page_pdf": 59, "page_imprimee": "191", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.59", "debut_caractere": 0, "fin_caractere_exclue": 4642, "texte": "them by the structural conditions of their\nstage.\nMr. Yeats himself stated the advantages\nof Mr. Craig's invention as follows; \" The\n44 primary value of Mr. Craig's invention is\n44 that it enables one to use light in a\n44 more natural and more beautiful way\n44 than ever before. We get rid of all the\n44 top hamper of the stage all the\n44 hanging ropes and scenes which prevent\n44 the free play of light. It is now possible\n44 to substitute in the shading of one scene\n44 real Sight and shadow for painted light\n44 and shadow. Continually, in the contem-\n-44 porary theatre, the painted shadow is\n44 out of relation to the direction of the\n44 light, and what is more to the point, one\n44 loses the extraordinary beauty of delicate\n44 light and shade. This means, however, an\n44 abolition of realism, for it makes scene*\n44 painting, which is, of course, a matter of\n44 painted light and shade, impossible. One\n44 enters into a world of decorative effect\n44 which gives the actor a renewed impor-\n-44 tance. There is less to compete against\n44 him, for there is less detail, though there\n44 is more beauty. \" 22?\nThe application of the new method to\n44 The Hour Glass \" was of especial interest\nto those who had witnessed the play pre-\nviously as affording an opportunity of com-\nparing the old system with the new; and cer-\ntainly the verdict of all those present was\nall in favour of the new, which invested\nthe piece with a fresh beauty and dignity\nand rendered it infinitely more impressive\nthan of old. & &\nIndeed, the production was an irrefutable\nproof of the capacity of simple materials and\nmediums, when handled by a genius, to\nproduce beautiful results. The scene was a\nmere arrangement of neutral tinted screens,\nand the only accessories upon the stage\nwere the Wise Man's seat, built up of the\nsame neutral tinted material, the Wise\nMan's illuminated missal, bell and hour-glass ;\nbut through these scant and simple means,\nthis method of suggestion rather than state-\nment, beauty was brought upon the stage,\nand we found ourselves indeed in what The\nMask, referring to this Scene a year ago,\ndescribed as 44 that strange and wonderful\nplace called the land of imagination\nAll accessories which could distract from\nthe significance of the diamatic apotheosis\nahd been discarded, while the dramatic\nvalues were accentuated and thrown into relief\nThe costumes, made from Mr Craig's designs,\nwere, in their simplicity, perfectly in harmony\nwith the scenic setting, the graceful hanging\nrobes delighting the eye as they appeared\nin relief against the light neutral back-\nground. &\nIndeed, the whole production did more\nthan justify, it brilliantly vindicated, this\ninnovation in stage setting. &\nDublin has long had cause to be proud\nof the Abbey Theatre and the fine and cou-\nrageous enterprise being carried forward by\nLady Gregory, Mr W. B. Yeats and their\nlittle band of helpers. It has additional cause\nto be so since Friday night's performance.\nP. N.\nExtract from The Irish Times; January 13.\n|f the introduction of Mr. Gordon Craig's\nsystem does not mark 44 what the news-\npapers call an epoch, \" it has, nevertheless,\nmany striking points of merit, and consti-\ntutes a great improvement on the old staging.\nMr. Yeats has spoken of Mr. Craig's 44 inven-\ntion, \" and there is apparently a patent in\nconnection with the system. But what is\nvaluable in the new scheme does not arise so\nmuch from any 44 invention \" as from the\napplication of genius to the methods and\ndetails of staging. There is, in the first place,\na reduction of the stage furniture to its\nsimplest elements, so that the figures of the\nplayers stand out more prominently against\nthe primitive background, and attention is\nconcentrated on the human and truly expres-\nsive elements of the drama. There is next a\ncareful design and adjustment of the simple\nelements of staging which still further tends\nto secure that effect. Lastly, there is a\nsimilar care in regard to the supplementary\nelements, lighting arrangements and cos-\ntuming. The success of these aims is the work\nof the genius of an individual producer, who\ncombines with artistic and thoughtful ideas\non the principles of staging an unusual abi-\nlity to deal with the mechanical problems\ninvolved in giving effect to those principles.\nA system will work itself out in varying\nand numberless cases; but the fulfilment of\nMr. Gordon Craig's Ideas will be according\nto the measure of the ability of the indivi-\ndual producer to deal with each new piece\nas it comes up for treatment.\nThe Freeman's Journal. January 13.\nJt is one of the cardinal theories of Mr,\nGordon Craig that any particular presenta-"}, {"page_pdf": 60, "page_imprimee": "192", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.60", "debut_caractere": 0, "fin_caractere_exclue": 4343, "texte": "tion on a stage should be a unity in which\nthe spoken words and the acting and the\nsetting and the colour should combine and\nblend to form a harmony of mood\nvivet is difficult to pass judgment on the\nnew system of stage setting, so hard is it to\nrid oneself of the tyranny of custom and\nto enter a world where a totally different\nset of canons prevails.\nMr. Gordon Craig aims at large effects\nand at giving a setting which suggests rather\nthan depicts. The system which he employs\nseeks to achieve its aim by the use of a se-\nries of screens the full height of the prosce-\nnium, which fold and open according to the\npleasure of the scene-designer. The screens\nare arranged according to a mathematical\nplan, and are destitute of any painted design.\nPainting interferes, according to the the-\nories of Mr. Craig, with proper lighting\neffects. £/\nThe setting of Lady Gregory's play was\nextremely simple. The screens were placed\nslantwise across the stage and were folded\nso as to suggest pillars. The lighting was\nfrom the top and the sides. One did not get,\nhowever, the sense of space which was\nintended by the artist. Possibly this is the\nfault of the construction of the theatre, the\nproscenium being so close to the auditorium,\nbut it seemed to be in some measure due\nto the arrangement of the background. The\nlighting again was difficult to judge, partly\nbecause of the play, and partly because one\nwas wandering in 44 worlds not realised. \"\nIf one may venture, in one's ignorance, to\nquestion, why was there so much amber\nand so little white light ? There was white\nlight in the 44 Hour Glass \"... the setting of\nwhich, by the way, was entirely beautiful\nand convincing... when the Angel enters,\nand perhaps in that we may have the answer\nto our question.\nit must be borne in mind in criticising\nMr. Gordon Craig's work that he is not\nmerely a reformer in scene mounting, he\npreaches an entirely new theory of the\ntheatre. &?&&&<&\n& Far from pretending that his scenery\ncan be employed in every play, Mr. Craig\nwould banish from the stage to the study,\nalmost every work which we call a play,\nand would substitute an entirely new art-\nform based on all the conditions..... and not\nmerely on some.... of the theatre.\nLady Gregory's play, written as it is,\nwas perhaps a severe trial to which to sub-\nject a stage-setting which aims at creating\na mood. jg? & &\nIn Mr. Yeats' Morality the setting did\nachieve, better even than the simplicity of\nthe older setting, what it aimed at. The light\neffects with sombre and heightened tones\naccording to the change in mood invested\nthe play with a new beauty.\n\nFLORENCE\nJ. S.\nArena Goldoni.\nGordon Craig, having withdrawn his\nwork for 44 Macbeth \" from His Majesty's\nTheatre, has gone to Paris.\nWhile there he has been asked to produce\nany play he might select, and with entire\nliberty, at the Theatre des Arts. He was not\nable to accept the offer.\nHe goes again to Moscow very shortly. The\ndirector of the Moscow Art Theatre has been\nseriously ill and this caused the postpone-\nment of 44 Hamlet \" for a time. £/ &\nMr Craig has also been asked to work\non a piece for production in Paris in the\nautumn. He is considering the idea. Meantime\nhis school, about which he wrote in the\nJanuary number of The Mask 1910 begins\nto come nearer realization. This will be a\ngood thing, since, to anyone who knows the\nmodern theatre, the necessity of such a school\nof experiment, following the methods and\nfulfilling the requirements set forth by Mr\nCraig, is obvious. &\n\nP A R / S\nThe Comedie Francaise and the Odeon.\nJ send you news from Paris. Yet what is\nthere new in Paris ? Paris herself Is new\nfor she is Eternal ; and there is the\nComedie Francaise, the very blush of her\nyoung cheek.\n& The plays by Moliere acted by the superb\nchildren of the ancient house are just as\nentrancing as ever. I have not been in Paris\nfor close upon thirty-five years, and 1 assure\nyou that since I have returned here 1 feel\nmyself twenty-two again. How many men\nhave written just like this I Why, then, it\nmust be true. When I left Paris to go to\nNew Zealand, there was a young man named\nAntoine who was the very latest thing, and\nnow I come back after thirty-five years and\nfind him still the latest thing; in fact they\nare beginning to speak of him as being 44 be-\nfore his time & &\njg? i saw his production of \" Romeo and"}, {"page_pdf": 61, "page_imprimee": "193", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.61", "debut_caractere": 0, "fin_caractere_exclue": 4034, "texte": "Juliet \" and a very wonderful affair it was\nto be sure. I have never seen a better pro-\nduction. I have never before listened to the\nplay without going to sleep, but the Company\nat the Od£on recited the verse with such\nrapidity, with such youthful abandon that 1\ncouldn't sleep a wink. &\nI had been in Germany just before coming\nhere and seen such very drab performances\nin some of their cities, notably in Berlin,\nthat I was charmed to get home to the land\nof my birth and find everything so wide\nawake,.... even myself, and so I send you\nthis note. L. R.\nMadame Yvette Guilbert: Tragic Actress.\nadame Yvette Guilbert has been singing\nhere and is now touring Germany and\nother places which don't deserve the honour.\n44 Has she improved ? \" I was asked\nyesterday. &\n& 44 No, Madam, she has no t\" I replied ;\n44 and yet she is the greatest tragic actress\nof today.\n44 But 1 thought she was a comic actress? \"\n.... 44 Ah, Madam, now you are making\nfun of me \".... &\nMr Gordon Craig's new 44 Scene \".\nGordon Craig has been here bringing\nwith him his 44 Scene for the Poetic\nDrama\".\nIt has impressed the few people who\nhave seen it, and the inventer has been in-\nvited by two theatres here to produce a\nplay, and it is likely, other arrangements\npermitting, that before long we shall see\nhere the work of the man who perhaps,\nmore than any other, has been the source of\ninspiration for the modern imaginative\nwork in the theatre. &S. de S.\n«4 The Blue Bird. \" a la Russe & &\nGeorgette Leblanc has, with the\nassistance of the Russians, 44 produced \"\n44 The Blue Bird \" in a Paris Theatre. Why\nshe did not produce it alone at Saint-Wan-\ndrille no one has been told and everyone is\nguessing.\n& It is a great step forward for her to have\ngone in for a professional instead of an\namateur production, and it shows her good\ncommon-sense that she invited M. Stani-\nslawsky to do the work for her. Unfortu-\nnatelyM. Stanislawsky was too busy to accept\nbut he sent his right-hand man, the unique\nM. Soulerjitsky, to attend to the wants of\nMadame Leblanc. & &\nM. Soulerjitsky was responsible for very\nmuch of the original production of this play\nin Moscow where it was produced several\nyears previous to the English and American\nversions and his talent, or rather genius,\nfor being able to inspire the workers in\nevery branch with enthusiasm is exceptional.\nUnder him their best is bound to manifest\nitself;.... and what an organizer!\nM. Soulerjitsky took with him to Paris\nthe designer of the original production in\nMoscow, and the result has been triumphant.\nM. Egorof's designs with their towering\ncolumns and vast flights of steps have struck\nthe Parisians as delightful. It was a real\ntriumph for the Moscow Art Theatre.\nOf M. Soulerjitsky's work it is hard to\nspeak. &\nSome people, (Madame Leblanc, for exam-\nple,) speak of him as the chief machinist of\nthe Moscow Art Theatre. But if he is that\nhe is also far more. Some talk of his mar-\nvellous light effects,... but yet he is a good\ndeal more than a producer of light effects.\nI felt this while 1 was present at a re-\nhearsal which he was directing, and I came\nto the conclusion that one could only speak\nof him as one of those rare personalities\nwhich influence and make more beautiful\nand more living all that they approach.\nThe secret of the success of \" The Blue\nBird \" In Paris is the secret of the persona-\nlity of M. Soulerjitsky. &\nM. Rouche and his 44 Theatre des Arts.\"\nJifk Jacques Roucli£ has done some quite nice\n'things at his Theatre des Arts lately. 1\nsuppose that is why our genial friend\nReginald Piccadilly in the New York Review\ncalls his work \"freakish art.\"\n& M. Rouche's work is not on the same level\nas that of the Munich Theatre and is far below\nthat of Stanislawsky, but it has some good\nqualities. The theatre is neither a studio nor\na temple nor even a Chatelet, and it has no\ndefined character; hence Reggie Plccaledilly's\ndistress. He would have liked it a kind of\nmauve satin and rose-wood boudoir, I'm sure\n...and all Reggies really ought to have what\nthey &"}]}, {"article_id": "bm-bmtnaau-1911-04-01-c056", "article_bluemountain": "bmtnaau_1911-04_01#c056", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "189", "page_fin": "190", "image_debut": 57, "image_fin": 58, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.2.23.2", "titre_corps": "LONDON", "titre_sommaire": "LONDON", "signature_source": "J. B", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 57, "page_imprimee": "189", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.57", "debut_caractere": 16, "fin_caractere_exclue": 3933, "texte": "LONDON\n\n\" Sumurun \" and Mr Gordon Craig\njgveryone her© is speaking, of \" Sumurun \"\nthe Pantomime brought over by Professor\nRelnhardt from Berlin. Everyone is delighted\nwith it.\nOf course the production is, as Mr Paul\nKonody, writing in the Daily Mail, rightly\npoints out, \" merely the latest development\nof the stage reform initiated by Mr Gordon\nCraig\"... a fact which will naturally in=\ncrease the pleasure of the public since Mr\nCraig is an Englishman. JZ/\nBut what does Mr Konody mean when he\ngoes on to tell us that Mr Craig was in his\nturn \"inspired by the art of Mr James Pryde\"?\nI was so curious to know what Mr. James\nPryde had to do with it that I wrote to Mr\nCraig on the subject. I got a short line in\nreply; it ran ask Pryde\"; but not having\nthe pleasure of knowing more than the\npaintings of that remarkable artist 1 could'ut\nact according to this suggestion.\n& For my part 1 have never seen any stage\nwork by Mr Pryde and 1 know of no one else\nwho has seen any either. Therefore if Mr Craig,\nstage manager, has been inspired by Mr Pryde\npainter, it seems quite obvious that he has\nalso been inspired by Rembrandt, by Blake,\nby Fra Angelico and by Leonardo da Vinci,\nand it is only fair to these gentlemen to\ndrag them in somehow. & & &\nBut surely some credit is due to those\nmost responsible for producing the man,\nthat is, his parents. & .a\nI look forward to Mr Craig's return to\nLondon ; at present he is in Paris arranging\nfor the production of .., . but I must follow\nthe precedent of the London Theatre and be\nvery mysterious about it. R. S.\nMr Whelen1 s new\" Dusseldotf\" plans.\nWhelen has not yet obtained the capital\nhe requires to launch another Repertory\nTheatre of problem plays at us. But that is\nnot surprising, for in a recent article he asks\nfor money so as to make a theatre \" with a\ndramatic school attached on the Dusseldorf\nmodel \" As if England wanted to copy\na German model ! &\nWhat Mr Whelen can be thinking of is\nnot clear. Is he really so pessimistic about\nthe originality of the English?....\n\" The Dusseldorf model \"... tut! M. P.\nSalome: Realism versus the Censor. &\nIdealism delights people so much that they\nwill even take liberties with the law of\nthe land to get it.^s?\n& The New Players' Society has produced\n\" Salome \" at the Court Theatre, paragraphi-\nng their performances as 'in defiance of the\nCensor\".\n<£? \" Salome \" is a realistic piece about a\nlady who parades the stage in an almost\nnude condition saying she will kiss the lips\nof John the Baptist. She does it, and gets\nwhat used to be called toe-koe for it. In fact\nthe poor girl is killed.\nNow what the whole fuss is about is never\nclear. We go away from the performance quite\nunmoved and utterly worn out with listening\nto the conscious everlasting chant which the\nmarionettes and that hussy the leading lady\nhave kept up. We want a cup of tea; we want\nto get back to our fresh old garden or even\nto our stuffy old study where our books seem\nyoung and innocent with their old wisdom\nafter the terrible experience at the Court\nTheatre.\nThe performance was not so bad except\nthat it was awful. There were good actors\nacting worse than ever before. There were\npretty dresses looking sillier than ever.\nSweet voices forced themselves to utter fool=»\nlish or feeble sounds and graceful and well=\nbuilt bodies bent themselves jnto horrid\nshapes. & &\nAnd all for Hecuba=Salome, for not a\nsoul on the stage was expressing anything\neither experienced or felt; all was so much\nrepetition,... a pumping up of stray emotions\nfelt once by some one now long dead:\nWhat folly then this kind of mumming is !\n\" We will produce Salome \" said the New\nPlayers' Society, because:\ni. It is a prohibited play.\nа. Because Oscar wrote it.\n3. Because it's sure to make a sensation.\n4. Because it must make a sensation.\n5. Because we'll make it make a sensation.\nб. Because like the cat we will walk by\nourselves.\n7. Because we have to."}, {"page_pdf": 58, "page_imprimee": "190", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 2290, "texte": "jg? But this good Society has no answer to\nmake when we ask, why didn't you set about\nmaking a sensation in an original way so\nas to be sure of making at least that. ? &\nMiss Loie Fuller at 44 His Majesty's.\"\nLoie Fuller has for some unaccoun-\ntable reason accepted a little engagement\nat His Majesty's Theatre to help in some\nproduction. It has not transpired what\nshe will be asked to do, but from certain\nindications it can be gathered that the task\nwill not be an arduous one nor the engagement\nfor more than a few\n44 Macbeth\" at His Majesty's Theatre.\nJt Is pity Sir Herbert Beerbohm Tree couldn't\nspare Mr Gordon Craig the time he asked\nIn which to superintend 44 Macbeth, \"... that\nis to say, eight short weeks.\njg? It is a pity because London is just learning\nthrough the 44Daily Mail \" that the German\nwork 44Sumurun\" is 44the latest development\nof the stage reform initiated by Mr Gordon\nCraig \" and London is going crazy with de-\nlight over that piece of stage-craft, and\nEngland would probably have been glad to\nsee the work of one of her own sons. jg/\nOf course it is not always convenient for\nSir Herbert to supply the demand, but he\nshould not have let a few extra weeks' work\nhinder ' what promised to be an exceptional\nproduction from every point of view. jg?\nAs It Is, Sir Herbert promises to proceed\nalone with the work, taking for himself\nprobably twice eight weeks, or at any rate\nexceeding eight, and we may expect as ad-\nmirable a production as Sir Herbert gene-\nrally manages to concoct. & &\nWe shall see witches in the air, no doubt,\nand all the actors will be forced to take a\nback seat,... or rather, nearly all the actors,...\nand everyone will be pleased with himself,\nand the receipts will, we trust, reach the\nsame figure as those for 4<Henry VIII\" which\nhas been an overwhelming success. jg?\nBy the way, I hear on excellent authority\nthat very little money is going to be spent\non the production of \" Macbeth \"; in fact,\nevery penny is being saved... presumably for\nthe next fairy play. jgr\nAnd, again by the way, it has never been\nthoroughly explained why Sir Herbert did\nnot seize the opportunity offered to him to\nproduce 44 The Blue Bird\" at his theatre\ninstead of letting it pass to Mr Herbert\nTrench who, as everyone knows, made much\nfo it. & jgr\n\nJ. B."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c057", "article_bluemountain": "bmtnaau_1911-04_01#c057", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "190", "page_fin": "192", "image_debut": 58, "image_fin": 60, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.2.23.3", "titre_corps": "DUB L I N", "titre_sommaire": "DUB L I N", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 58, "page_imprimee": "190", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.58", "debut_caractere": 2292, "fin_caractere_exclue": 4580, "texte": "DUB L I N\nThe Abbey Theatre's Success.\nJanuary 12th was a memorable occasion\nin the history of the Abbey Theatre ;in\nfact I may say.... and I believe subsequent\nevents will prove me right,.... in the his-\ntory of the modern theatre as a whole,\nbeing the occasion of the first public use\nof the new scene for the poetic drama\nconceived, constructed and patented by Mr.\nGordon Craig.\nThe triple programme consisted of a\nfirst performace of 44 The Deliverer \" Lady\nGregory's tragicomedy, a revival of 44 The\nflour Glass \" by Mr. W. B. Yeats, and 44 The\nFull Moon \", a Comedy in one act also by\nLady Gregory.\n& The method of decoration employed for\nthe two former was invented by Mr. Craig and\nused by him for the famous Art Theatre\nof Moscow where, to quote the Abbey Theatre\nProgramme, 44 it will make possible a per-\n-44 formance of the full Hamlet, with a diffe-\n-44 rent decoration for every little scene, so\n44 rapidly can the scenes be changed. 44 Tiiis\nmethod, \" continues the same programme\nnote 44 does not aim at effects of realism,\n44 but at a decoration of the stage almost\n44 infinite in the variety of its expression\n44 and suggestion, and for the first time\n44 makes possible effects of lights and\n44 shadow various, powerful and delicate \" :\nand the note concludes, 44 Mr. Craig has\n44 given us the right to make use of his\n44 patent in Ireland, with the generosity of\n44 a great artist and because he respects our\n44 work and ambition \". &\nThis scene consists of a series of portable\nscreens capable of an infinite variety of\neffect; They are as plastic, as limitless in\ntheir potentiality as clay in the hands of a\nsculptor, as fluid in their capacity for change\nas the line which follows the draughtsman's\npencil, and yet as obedient to law, as closely\nallied one to another, as mathematically\nprecise in their movement as the notes in\na piece of music. With these, and these alone\nthe scenic artist can conjure up before us\nwalls, columns, corridors, halls, stairs, exits,\nentrances ; so elastic is the material that it\nmay widen to a spacious piazza or narrow\nto a secret winding way ; it may be trans-\nformed before our eyes from a palace hall\nto a prison cell, and this fact minimises\nfor the managers of the Abbey Theatre some\nof the limitations hitherto imposed upom"}, {"page_pdf": 59, "page_imprimee": "191", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.59", "debut_caractere": 0, "fin_caractere_exclue": 4642, "texte": "them by the structural conditions of their\nstage.\nMr. Yeats himself stated the advantages\nof Mr. Craig's invention as follows; \" The\n44 primary value of Mr. Craig's invention is\n44 that it enables one to use light in a\n44 more natural and more beautiful way\n44 than ever before. We get rid of all the\n44 top hamper of the stage all the\n44 hanging ropes and scenes which prevent\n44 the free play of light. It is now possible\n44 to substitute in the shading of one scene\n44 real Sight and shadow for painted light\n44 and shadow. Continually, in the contem-\n-44 porary theatre, the painted shadow is\n44 out of relation to the direction of the\n44 light, and what is more to the point, one\n44 loses the extraordinary beauty of delicate\n44 light and shade. This means, however, an\n44 abolition of realism, for it makes scene*\n44 painting, which is, of course, a matter of\n44 painted light and shade, impossible. One\n44 enters into a world of decorative effect\n44 which gives the actor a renewed impor-\n-44 tance. There is less to compete against\n44 him, for there is less detail, though there\n44 is more beauty. \" 22?\nThe application of the new method to\n44 The Hour Glass \" was of especial interest\nto those who had witnessed the play pre-\nviously as affording an opportunity of com-\nparing the old system with the new; and cer-\ntainly the verdict of all those present was\nall in favour of the new, which invested\nthe piece with a fresh beauty and dignity\nand rendered it infinitely more impressive\nthan of old. & &\nIndeed, the production was an irrefutable\nproof of the capacity of simple materials and\nmediums, when handled by a genius, to\nproduce beautiful results. The scene was a\nmere arrangement of neutral tinted screens,\nand the only accessories upon the stage\nwere the Wise Man's seat, built up of the\nsame neutral tinted material, the Wise\nMan's illuminated missal, bell and hour-glass ;\nbut through these scant and simple means,\nthis method of suggestion rather than state-\nment, beauty was brought upon the stage,\nand we found ourselves indeed in what The\nMask, referring to this Scene a year ago,\ndescribed as 44 that strange and wonderful\nplace called the land of imagination\nAll accessories which could distract from\nthe significance of the diamatic apotheosis\nahd been discarded, while the dramatic\nvalues were accentuated and thrown into relief\nThe costumes, made from Mr Craig's designs,\nwere, in their simplicity, perfectly in harmony\nwith the scenic setting, the graceful hanging\nrobes delighting the eye as they appeared\nin relief against the light neutral back-\nground. &\nIndeed, the whole production did more\nthan justify, it brilliantly vindicated, this\ninnovation in stage setting. &\nDublin has long had cause to be proud\nof the Abbey Theatre and the fine and cou-\nrageous enterprise being carried forward by\nLady Gregory, Mr W. B. Yeats and their\nlittle band of helpers. It has additional cause\nto be so since Friday night's performance.\nP. N.\nExtract from The Irish Times; January 13.\n|f the introduction of Mr. Gordon Craig's\nsystem does not mark 44 what the news-\npapers call an epoch, \" it has, nevertheless,\nmany striking points of merit, and consti-\ntutes a great improvement on the old staging.\nMr. Yeats has spoken of Mr. Craig's 44 inven-\ntion, \" and there is apparently a patent in\nconnection with the system. But what is\nvaluable in the new scheme does not arise so\nmuch from any 44 invention \" as from the\napplication of genius to the methods and\ndetails of staging. There is, in the first place,\na reduction of the stage furniture to its\nsimplest elements, so that the figures of the\nplayers stand out more prominently against\nthe primitive background, and attention is\nconcentrated on the human and truly expres-\nsive elements of the drama. There is next a\ncareful design and adjustment of the simple\nelements of staging which still further tends\nto secure that effect. Lastly, there is a\nsimilar care in regard to the supplementary\nelements, lighting arrangements and cos-\ntuming. The success of these aims is the work\nof the genius of an individual producer, who\ncombines with artistic and thoughtful ideas\non the principles of staging an unusual abi-\nlity to deal with the mechanical problems\ninvolved in giving effect to those principles.\nA system will work itself out in varying\nand numberless cases; but the fulfilment of\nMr. Gordon Craig's Ideas will be according\nto the measure of the ability of the indivi-\ndual producer to deal with each new piece\nas it comes up for treatment.\nThe Freeman's Journal. January 13.\nJt is one of the cardinal theories of Mr,\nGordon Craig that any particular presenta-"}, {"page_pdf": 60, "page_imprimee": "192", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.60", "debut_caractere": 0, "fin_caractere_exclue": 2602, "texte": "tion on a stage should be a unity in which\nthe spoken words and the acting and the\nsetting and the colour should combine and\nblend to form a harmony of mood\nvivet is difficult to pass judgment on the\nnew system of stage setting, so hard is it to\nrid oneself of the tyranny of custom and\nto enter a world where a totally different\nset of canons prevails.\nMr. Gordon Craig aims at large effects\nand at giving a setting which suggests rather\nthan depicts. The system which he employs\nseeks to achieve its aim by the use of a se-\nries of screens the full height of the prosce-\nnium, which fold and open according to the\npleasure of the scene-designer. The screens\nare arranged according to a mathematical\nplan, and are destitute of any painted design.\nPainting interferes, according to the the-\nories of Mr. Craig, with proper lighting\neffects. £/\nThe setting of Lady Gregory's play was\nextremely simple. The screens were placed\nslantwise across the stage and were folded\nso as to suggest pillars. The lighting was\nfrom the top and the sides. One did not get,\nhowever, the sense of space which was\nintended by the artist. Possibly this is the\nfault of the construction of the theatre, the\nproscenium being so close to the auditorium,\nbut it seemed to be in some measure due\nto the arrangement of the background. The\nlighting again was difficult to judge, partly\nbecause of the play, and partly because one\nwas wandering in 44 worlds not realised. \"\nIf one may venture, in one's ignorance, to\nquestion, why was there so much amber\nand so little white light ? There was white\nlight in the 44 Hour Glass \"... the setting of\nwhich, by the way, was entirely beautiful\nand convincing... when the Angel enters,\nand perhaps in that we may have the answer\nto our question.\nit must be borne in mind in criticising\nMr. Gordon Craig's work that he is not\nmerely a reformer in scene mounting, he\npreaches an entirely new theory of the\ntheatre. &?&&&<&\n& Far from pretending that his scenery\ncan be employed in every play, Mr. Craig\nwould banish from the stage to the study,\nalmost every work which we call a play,\nand would substitute an entirely new art-\nform based on all the conditions..... and not\nmerely on some.... of the theatre.\nLady Gregory's play, written as it is,\nwas perhaps a severe trial to which to sub-\nject a stage-setting which aims at creating\na mood. jg? & &\nIn Mr. Yeats' Morality the setting did\nachieve, better even than the simplicity of\nthe older setting, what it aimed at. The light\neffects with sombre and heightened tones\naccording to the change in mood invested\nthe play with a new beauty."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c058", "article_bluemountain": "bmtnaau_1911-04_01#c058", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "192", "page_fin": "192", "image_debut": 60, "image_fin": 60, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.2.23.4", "titre_corps": "FLORENCE", "titre_sommaire": "FLORENCE", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 60, "page_imprimee": "192", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.60", "debut_caractere": 2604, "fin_caractere_exclue": 3500, "texte": "FLORENCE\nJ. S.\nArena Goldoni.\nGordon Craig, having withdrawn his\nwork for 44 Macbeth \" from His Majesty's\nTheatre, has gone to Paris.\nWhile there he has been asked to produce\nany play he might select, and with entire\nliberty, at the Theatre des Arts. He was not\nable to accept the offer.\nHe goes again to Moscow very shortly. The\ndirector of the Moscow Art Theatre has been\nseriously ill and this caused the postpone-\nment of 44 Hamlet \" for a time. £/ &\nMr Craig has also been asked to work\non a piece for production in Paris in the\nautumn. He is considering the idea. Meantime\nhis school, about which he wrote in the\nJanuary number of The Mask 1910 begins\nto come nearer realization. This will be a\ngood thing, since, to anyone who knows the\nmodern theatre, the necessity of such a school\nof experiment, following the methods and\nfulfilling the requirements set forth by Mr\nCraig, is obvious. &"}]}, {"article_id": "bm-bmtnaau-1911-04-01-c059", "article_bluemountain": "bmtnaau_1911-04_01#c059", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "192", "page_fin": "193", "image_debut": 60, "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=bmtnaau191104-01.2.23.5", "titre_corps": "PARIS", "titre_sommaire": "PARIS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 60, "page_imprimee": "192", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.60", "debut_caractere": 3502, "fin_caractere_exclue": 4343, "texte": "P A R / S\nThe Comedie Francaise and the Odeon.\nJ send you news from Paris. Yet what is\nthere new in Paris ? Paris herself Is new\nfor she is Eternal ; and there is the\nComedie Francaise, the very blush of her\nyoung cheek.\n& The plays by Moliere acted by the superb\nchildren of the ancient house are just as\nentrancing as ever. I have not been in Paris\nfor close upon thirty-five years, and 1 assure\nyou that since I have returned here 1 feel\nmyself twenty-two again. How many men\nhave written just like this I Why, then, it\nmust be true. When I left Paris to go to\nNew Zealand, there was a young man named\nAntoine who was the very latest thing, and\nnow I come back after thirty-five years and\nfind him still the latest thing; in fact they\nare beginning to speak of him as being 44 be-\nfore his time & &\njg? i saw his production of \" Romeo and"}, {"page_pdf": 61, "page_imprimee": "193", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.61", "debut_caractere": 0, "fin_caractere_exclue": 4034, "texte": "Juliet \" and a very wonderful affair it was\nto be sure. I have never seen a better pro-\nduction. I have never before listened to the\nplay without going to sleep, but the Company\nat the Od£on recited the verse with such\nrapidity, with such youthful abandon that 1\ncouldn't sleep a wink. &\nI had been in Germany just before coming\nhere and seen such very drab performances\nin some of their cities, notably in Berlin,\nthat I was charmed to get home to the land\nof my birth and find everything so wide\nawake,.... even myself, and so I send you\nthis note. L. R.\nMadame Yvette Guilbert: Tragic Actress.\nadame Yvette Guilbert has been singing\nhere and is now touring Germany and\nother places which don't deserve the honour.\n44 Has she improved ? \" I was asked\nyesterday. &\n& 44 No, Madam, she has no t\" I replied ;\n44 and yet she is the greatest tragic actress\nof today.\n44 But 1 thought she was a comic actress? \"\n.... 44 Ah, Madam, now you are making\nfun of me \".... &\nMr Gordon Craig's new 44 Scene \".\nGordon Craig has been here bringing\nwith him his 44 Scene for the Poetic\nDrama\".\nIt has impressed the few people who\nhave seen it, and the inventer has been in-\nvited by two theatres here to produce a\nplay, and it is likely, other arrangements\npermitting, that before long we shall see\nhere the work of the man who perhaps,\nmore than any other, has been the source of\ninspiration for the modern imaginative\nwork in the theatre. &S. de S.\n«4 The Blue Bird. \" a la Russe & &\nGeorgette Leblanc has, with the\nassistance of the Russians, 44 produced \"\n44 The Blue Bird \" in a Paris Theatre. Why\nshe did not produce it alone at Saint-Wan-\ndrille no one has been told and everyone is\nguessing.\n& It is a great step forward for her to have\ngone in for a professional instead of an\namateur production, and it shows her good\ncommon-sense that she invited M. Stani-\nslawsky to do the work for her. Unfortu-\nnatelyM. Stanislawsky was too busy to accept\nbut he sent his right-hand man, the unique\nM. Soulerjitsky, to attend to the wants of\nMadame Leblanc. & &\nM. Soulerjitsky was responsible for very\nmuch of the original production of this play\nin Moscow where it was produced several\nyears previous to the English and American\nversions and his talent, or rather genius,\nfor being able to inspire the workers in\nevery branch with enthusiasm is exceptional.\nUnder him their best is bound to manifest\nitself;.... and what an organizer!\nM. Soulerjitsky took with him to Paris\nthe designer of the original production in\nMoscow, and the result has been triumphant.\nM. Egorof's designs with their towering\ncolumns and vast flights of steps have struck\nthe Parisians as delightful. It was a real\ntriumph for the Moscow Art Theatre.\nOf M. Soulerjitsky's work it is hard to\nspeak. &\nSome people, (Madame Leblanc, for exam-\nple,) speak of him as the chief machinist of\nthe Moscow Art Theatre. But if he is that\nhe is also far more. Some talk of his mar-\nvellous light effects,... but yet he is a good\ndeal more than a producer of light effects.\nI felt this while 1 was present at a re-\nhearsal which he was directing, and I came\nto the conclusion that one could only speak\nof him as one of those rare personalities\nwhich influence and make more beautiful\nand more living all that they approach.\nThe secret of the success of \" The Blue\nBird \" In Paris is the secret of the persona-\nlity of M. Soulerjitsky. &\nM. Rouche and his 44 Theatre des Arts.\"\nJifk Jacques Roucli£ has done some quite nice\n'things at his Theatre des Arts lately. 1\nsuppose that is why our genial friend\nReginald Piccadilly in the New York Review\ncalls his work \"freakish art.\"\n& M. Rouche's work is not on the same level\nas that of the Munich Theatre and is far below\nthat of Stanislawsky, but it has some good\nqualities. The theatre is neither a studio nor\na temple nor even a Chatelet, and it has no\ndefined character; hence Reggie Plccaledilly's\ndistress. He would have liked it a kind of\nmauve satin and rose-wood boudoir, I'm sure\n...and all Reggies really ought to have what\nthey &"}]}, {"article_id": "bm-bmtnaau-1911-04-01-c061", "article_bluemountain": "bmtnaau_1911-04_01#c061", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "194", "page_fin": "196", "image_debut": 62, "image_fin": 64, "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=bmtnaau191104-01.2.24", "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": 62, "page_imprimee": "194", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.62", "debut_caractere": 0, "fin_caractere_exclue": 3989, "texte": "EDITORIAL NOTES.\n\nMr. GORDON CRAIG'S INVENTION.\npon another page we give news sent by our\nDublin Correspondant relating to the\nfirst use in that city of Mr. Gordon Craig's\nScene for the Poetic Drama, and of the suc-\ncessful results achieved, and to this account\nwe add also some extracts from the Irish\npapers relative to the same event. jg?\njgr This success is the more satisfactory\nsince it was a first performance, and the\nsystem is so radically different from any\nprevious method of stage decoration that\nthe invention naturally ran the risk of being\ninadequately demonstrated owing to insuf-\nficient knowledge of its resources on the\npart of those who used jg/\nIt goes without saying that only some\nsmall portion of the intrinsic value of the\nScene was displayed on this occasion. A\nmusician needs long experience before he\ncan call forth the melodies which are latent\nin a violin, the result depending upon the skilj\nof the artist to manipulate the instrument\nrather than upon the instrument Itself, and we\nsay this in no sense in disparagement, nor even\nin criticism of the production at the Abbey\nTheatre, for the noble work of which we have\nthe most sincere admiration. This Theatre has\nbeen designated by a critic 44 a laboratory\nfor dramatic experiment \", and everyone\nknows that those who have the courage to\nmake experiments run the risks, and one\nshould rather admire the spirit which prompts\nthem to new enterprises than criticise the\nresults which they achieve in those essays.\nThough in the present case the result seems\nto have been a triumphant success. We\nsay what we do rather in reply to those\ncritics who might be inclined to ascribe\nany Imperfections in the production to\nthe methods employed.\n& This invention of Mr. Craig's is so entire-\nly fresh, so unlike any instrument ever\nbefore put into the hands of the stage\nmanager, that it is hard for the critic to\nreadjust his mental attitude and perceive\nthat he must attrbiute any shortcomings\nto the producer and not to the method, for\nto do otherwise would be as illogical as\nto criticise a Stradivarious if it failed to\nyield perfect harmonies in the hands of an\nimperfect musician.\nMr. Craig has himself likened his Invention\nto an instrument upon which each stage\nartist will perform according to the power\nof artistry that is in him, and the simile\nseems to us a just one. &\n& One thing the performance at Dublin has\namply demonstrated, and that is the practi-\ncality of the invention. It is cheaper to\nconstruct than ordinary scenery when it\nis taken into consideration that the same\npieces are used, in varied combinations, for\nevery scene in the play and can be adapted\nfor many succeeding plays ; it is capable of\ninfinite variety; it requires less space ; all\nfacts which should have their due weight with\nTheatre directors. jg?\nThe Dublin Theatre has already used it;\nthe Moscow Art Theatre Is completing a\nproduction of 44 Hamlet\" in which no other\nscenery will be used; three at least of\nthe more intelligent of the Paris managers,...\nM. Antoine, M. Rouch6 and M. Astruc\nhave approached Mr. Craig with a view to\nintroducing it into their theatres. Is London\nin this matter, as in all else, to lag behind ?\nAre the London managers going to wait\nuntil it is brought over by some French,\nRussian or German manager and set up\nin their midst before they recognise its\nbeauty and practicality ? If so it will not\nbe the first time that London has lost\nits head over the work of Mr. Craig's imi-\ntators and followers while refusing recog-\nnition to the original from which those\nimitations derive. jg?\nWe know whet happened in the recent\ncase of \"Sumurun,\" how enthusiastic London\nwaxed over Herr Relnhardt's production.\nSome few, however, were found to recognize\nthe source and inspiration of that production,\namong them the Daily Mail from which we\nquote the following passage: &\nIs it of German origin ? The question\n44 is not raised with any view to belittling\n44 the merit of those who were quick enough"}, {"page_pdf": 63, "page_imprimee": "195", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.63", "debut_caractere": 0, "fin_caractere_exclue": 4383, "texte": "\" to see the possibilities of a new stagecraft\n\" and to develop it to such perfect\n\" But German artists and stage®managers\n\" will be the first to admit that the move®\n\" ment of which \" Sumurun, \" is the outcome\n\" has originated in England. \" Sumurun \"\n\" is merely the latest development of the stage\n\" reform initiated by Mr. Gordon Craig, who\n•* in turn was inspired to a certain extent\n\" by the art of Mr. James Pryde. Mr. Gordon\n\" Craig began by attempting his stage\n\" reform in England. He was chilled by the\n\" indifference of the English public. He left\n*' his country and started his crusade on the\n\" Continent. His was a triumphal progress.\n** In Germany his teaching fell upon fertile\n\" ground. In hailing \" Sumurun \" as a great\n\" work of stagecraft England has begun to\n\" acknowledge the genius of one of her own\n\" children. Perhaps \" Sumurun \" has paved\n\" the way for Mr. Gordon Craig's trium®\n\" phant return. \"\n& We wonder why it is that the London\nmanagers prefer copies to originals in works\nof Art and how long they wiil continue to waste\ntheir time and money on them?\nOf course theatre has long been\nahead of them,... and now Ireland too !. ...\nWake up, England ! it's about time.\n\nINTELLECTUAL DRAMA.\nJt is good news to hear through the Daily\nMail that the \" Little Theatre \" of London\nis about to become for a few weeks the home\nof the intellectual Drama; but it is a bit\ndisheartening to learn later that the only\npeople who can supply the intellectual Drama\nare Mr Bernard Shaw, Mr John Galsworthy\nand Mr Granville Barker.\n& We always had an idea that Shakespeare\ncould be put down as intellectual as well as\nlovely, loveable, stupendous and all the other\nqualities. And Chapman, Marlowe, Beaumont\nand Fletcher, Webster, are not these\nintellectual? Was not the writer of \" Every®\nman \" intellectual ? & & &\nWe suppose what the Daily Mail wanted\nto say and didn't dare to was that the\n\" Littie Theatre \" is to be made for a few\nweeks the home of that demned dull discur-\nsive Drama. Ah! that's quite another thing.\n\nTHE FALLACY OF \" FREE SPEECH\nRev. George W. Fuller who writes on\nCensorship in the New York Dramatic\nMirror and Mr Austin Harrison who writes on\nthe same subject in the Monthly Review seem\nto be, to use the Italian phrase, \" two souls\nin one nut \" so closely do their opinions and\nsympathies coinside.\nThey both object to the limitation of the\nstage to works fitted to the needs and in®\ntelligence of a public composed of high school\nchildren or the \" young person \" , they both\nurge that the stage must enjoy the right of\nfree speech. &\nYet we cannot but feel that these gen®\ntlernen somehow or other miss the issue. For\nwhat does the stage \"want with more free®\ndom of speech than it has ? If any particu®\nlar playwright wishes to write about Reli®\ngion, Royalty, or Sexual matters what is to\nprevent him from doing so in an essay and\npub lishing his work if he can find a publi®\nslier ? But let him not think that these\nsubjects are to be discussed freely before a\nmixed audience upon a stage. We have no use\nfor them there.\nThe Censor is a hundred times a blessing\nto England.\n\nHERR REINHARDTS LAST STAND.\ng-jerr Max Reinhardt is going it with the\ndesperation of the loser who won't be\nbeaten. He is playing all his cards at once.\nPantomime, Circus, Greek Tragedy by the\nton; all has now been hastily brushed\naside by him to make way for a colossal\nproduction of Goethe's 41 Faust \" (second\npart). JS/ &\nFor this production a whole day and\nnight are necessary. There is a break at\nseven o' clock when dinner is served.\nThis idea of a protracted performance is\nof course not original; only the idea of the\ndinner is purely German.\n& The other day the Moscow Art Theatre pro®\nduced \"Crime and Punishment by Dostoievsky,\nletting the performance take two days. No\ndinner was served,... nor found necessary\nto the performance.\nThe haste to rush things forward which\nHerr Reinhardt exhibits just at present is\nbetter understood when it is known that\nthe Moscow Art Theatre is to visit Paris\nnext year. The German bubble will probably\nthen be pricked. J& G?\n\nMr. FROM MAN, PHILANTHROPIST. &\nFrohman \" and other philanthropists \"\n(how delicious!) are, says the Daily\nMail, \" going in for open air dramatic\nspectacles \". & &\nIt was to be feared; but the definite an®\nnouncement now removes the last remaining\nhope we cherished that all might yet be well."}, {"page_pdf": 64, "page_imprimee": "196", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.64", "debut_caractere": 0, "fin_caractere_exclue": 3713, "texte": "THE POVERTY OF MILLIONAIRES.\nM Jacques Blanche has lately told the pub«\nlie that M. Rouche the millionaire is\nhandicapped in his efforts to make his thea-\ntrical scheme at the Theatre des Arts a\nfine one owing to lack of financial\nsupport. & jg? £?\nBut it seems to us that a millionaire only\nneeds artistic support. & &\n& Perhaps that is what he can't get. Why? We\nare forced to the conclusion that artists are\ntoo expensive and that M. Rouche, millionaire\ncannot afford them. & & &\nAnd yet we have known artists give their\nwork to some people. Why won't artists\ngive their work to rich men ?... t Fveryone\nknows why.\n\nAN OPPORTUNIT Y FOR LONDONERS\ngy the way people in London who do prefer\ngold to ashes, art to trash, and flagons\nto teacups will be pleased to hnow where\nthey can always be sure of hearing rich and\nlovely music most of the year round and in\na nice quiet place. Let them go up the hill\ntowards Highgate, and at Primrose Hill, where\nBlake saw angels, they will still hear the\nvoices of some of those angels yet shouting\nfor joy as of old. It is at the Church of St\nMary the Virgin, Primrose Hill that the angels\nlike best to express their happiness. On the\nfirst three Sundays of Lent the following\nmusic was to be heard.\n£/ Sequence » Tallis 3rd Mode Melody. Com-\nmunion Hymn - \"Of the Glorious Body telling\"\n(Vittoria). Anthem at Evensong - \" O Lord\nof Hosts\" (Dr. C. Tye) [about 1550 A. D.\nSequence - Tallis ard Mode Melody. Commu-\nnion Hymn - \" Therefore we \" (Palestrina)\nAnthem at Evensong - \" Save me, O God \"\n(Dr. W. Boyce) and on Refreshment Sunday\nthe following : Sequence -J. Randall. Com-\nmunion Hymn - \" Therefore we \" (Palestrina).\nAnthem at Evensong - \" Save me, O God \"\n(Dr. W. Boyce).\n& The listener to these songs will remember\nas he passes out of the quiet chnrch he owes\nremembrance and gratitude to the musical\nleader of the church, Mr Martin Shaw, a\ncomposer whose work should be more often\nheard today in London, even as it is assuredly\ndestined to he heard in the future.\n\nTHE VITALITY OF THE MUSIC HALL.\nleading representative of the London\nstage has recently been speaking very\nslightingly of the Music Hails and of the ap-\npearance in them of actors and actresses seen\npreviously only in the theatre itself. He\nseems to regard it as a folly which will, like\nthe cinematograph, (of which also he Is very\nscornful,) wear itself out in\nSuch casual critics condemn in these\nactors and actresses what they wrongly sup-\npose to be their \" desertion of the Theatre\"..\nBut consider for a moment what their offence\nis? they have been guilty of making one step\nin the right direction.\nThe modern Theatre is worn out; It\nnever was so worn out as it is today. The\nMusic Hall, cherishing as it does so much\ncreative talent of a somewhat exaggerated\norder Is very much alive. Half, if not more,\nof the music hall \" turns \" may be called\ncreative. Madame Yvette Gullbert's perfor-\nmances are the finest examples of the living\nMusic Hall. Madame Bernhardt, the most\ndistinguished of those who have turned from\nthe Theatre to the Music Hall, does no creative\nwork of the kind, but the fact of so cele-\nbrated a performer appearing on the Music\nHall stage must be accepted as the \" legiti-\nmate \" Theatre's recognition of the force of *\nwhat is known as the Variety stage. &\n& The Variety stage is the sole remaining\nlink connecting us with that stupendnus\nachievement of the Sixteenth century known\nas the Commedia dell'Arte. It is not the\nCommedia but it has certain marked resem-\nblances to it and when the \" legitimate\ntheatre sees distinguished players stepping\non to the Music Hall stage it has, far from\nmatter for complaint, the best cause for self\ncongratulation and for hope. &"}]}, {"article_id": "bm-bmtnaau-1911-04-01-c063", "article_bluemountain": "bmtnaau_1911-04_01#c063", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "194", "page_fin": "195", "image_debut": 62, "image_fin": 63, "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=bmtnaau191104-01.2.24.2", "titre_corps": "Mr. GORDON CRAIG'S INVENTION", "titre_sommaire": "Mr. GORDON CRAIG'S INVENTION", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 62, "page_imprimee": "194", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.62", "debut_caractere": 18, "fin_caractere_exclue": 3989, "texte": "Mr. GORDON CRAIG'S INVENTION.\npon another page we give news sent by our\nDublin Correspondant relating to the\nfirst use in that city of Mr. Gordon Craig's\nScene for the Poetic Drama, and of the suc-\ncessful results achieved, and to this account\nwe add also some extracts from the Irish\npapers relative to the same event. jg?\njgr This success is the more satisfactory\nsince it was a first performance, and the\nsystem is so radically different from any\nprevious method of stage decoration that\nthe invention naturally ran the risk of being\ninadequately demonstrated owing to insuf-\nficient knowledge of its resources on the\npart of those who used jg/\nIt goes without saying that only some\nsmall portion of the intrinsic value of the\nScene was displayed on this occasion. A\nmusician needs long experience before he\ncan call forth the melodies which are latent\nin a violin, the result depending upon the skilj\nof the artist to manipulate the instrument\nrather than upon the instrument Itself, and we\nsay this in no sense in disparagement, nor even\nin criticism of the production at the Abbey\nTheatre, for the noble work of which we have\nthe most sincere admiration. This Theatre has\nbeen designated by a critic 44 a laboratory\nfor dramatic experiment \", and everyone\nknows that those who have the courage to\nmake experiments run the risks, and one\nshould rather admire the spirit which prompts\nthem to new enterprises than criticise the\nresults which they achieve in those essays.\nThough in the present case the result seems\nto have been a triumphant success. We\nsay what we do rather in reply to those\ncritics who might be inclined to ascribe\nany Imperfections in the production to\nthe methods employed.\n& This invention of Mr. Craig's is so entire-\nly fresh, so unlike any instrument ever\nbefore put into the hands of the stage\nmanager, that it is hard for the critic to\nreadjust his mental attitude and perceive\nthat he must attrbiute any shortcomings\nto the producer and not to the method, for\nto do otherwise would be as illogical as\nto criticise a Stradivarious if it failed to\nyield perfect harmonies in the hands of an\nimperfect musician.\nMr. Craig has himself likened his Invention\nto an instrument upon which each stage\nartist will perform according to the power\nof artistry that is in him, and the simile\nseems to us a just one. &\n& One thing the performance at Dublin has\namply demonstrated, and that is the practi-\ncality of the invention. It is cheaper to\nconstruct than ordinary scenery when it\nis taken into consideration that the same\npieces are used, in varied combinations, for\nevery scene in the play and can be adapted\nfor many succeeding plays ; it is capable of\ninfinite variety; it requires less space ; all\nfacts which should have their due weight with\nTheatre directors. jg?\nThe Dublin Theatre has already used it;\nthe Moscow Art Theatre Is completing a\nproduction of 44 Hamlet\" in which no other\nscenery will be used; three at least of\nthe more intelligent of the Paris managers,...\nM. Antoine, M. Rouch6 and M. Astruc\nhave approached Mr. Craig with a view to\nintroducing it into their theatres. Is London\nin this matter, as in all else, to lag behind ?\nAre the London managers going to wait\nuntil it is brought over by some French,\nRussian or German manager and set up\nin their midst before they recognise its\nbeauty and practicality ? If so it will not\nbe the first time that London has lost\nits head over the work of Mr. Craig's imi-\ntators and followers while refusing recog-\nnition to the original from which those\nimitations derive. jg?\nWe know whet happened in the recent\ncase of \"Sumurun,\" how enthusiastic London\nwaxed over Herr Relnhardt's production.\nSome few, however, were found to recognize\nthe source and inspiration of that production,\namong them the Daily Mail from which we\nquote the following passage: &\nIs it of German origin ? The question\n44 is not raised with any view to belittling\n44 the merit of those who were quick enough"}, {"page_pdf": 63, "page_imprimee": "195", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.63", "debut_caractere": 0, "fin_caractere_exclue": 1195, "texte": "\" to see the possibilities of a new stagecraft\n\" and to develop it to such perfect\n\" But German artists and stage®managers\n\" will be the first to admit that the move®\n\" ment of which \" Sumurun, \" is the outcome\n\" has originated in England. \" Sumurun \"\n\" is merely the latest development of the stage\n\" reform initiated by Mr. Gordon Craig, who\n•* in turn was inspired to a certain extent\n\" by the art of Mr. James Pryde. Mr. Gordon\n\" Craig began by attempting his stage\n\" reform in England. He was chilled by the\n\" indifference of the English public. He left\n*' his country and started his crusade on the\n\" Continent. His was a triumphal progress.\n** In Germany his teaching fell upon fertile\n\" ground. In hailing \" Sumurun \" as a great\n\" work of stagecraft England has begun to\n\" acknowledge the genius of one of her own\n\" children. Perhaps \" Sumurun \" has paved\n\" the way for Mr. Gordon Craig's trium®\n\" phant return. \"\n& We wonder why it is that the London\nmanagers prefer copies to originals in works\nof Art and how long they wiil continue to waste\ntheir time and money on them?\nOf course theatre has long been\nahead of them,... and now Ireland too !. ...\nWake up, England ! it's about time."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c064", "article_bluemountain": "bmtnaau_1911-04_01#c064", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "195", "page_fin": "195", "image_debut": 63, "image_fin": 63, "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=bmtnaau191104-01.2.24.3", "titre_corps": "INTELLECTUAL DRAMA", "titre_sommaire": "INTELLECTUAL DRAMA", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 63, "page_imprimee": "195", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.63", "debut_caractere": 1197, "fin_caractere_exclue": 2032, "texte": "INTELLECTUAL DRAMA.\nJt is good news to hear through the Daily\nMail that the \" Little Theatre \" of London\nis about to become for a few weeks the home\nof the intellectual Drama; but it is a bit\ndisheartening to learn later that the only\npeople who can supply the intellectual Drama\nare Mr Bernard Shaw, Mr John Galsworthy\nand Mr Granville Barker.\n& We always had an idea that Shakespeare\ncould be put down as intellectual as well as\nlovely, loveable, stupendous and all the other\nqualities. And Chapman, Marlowe, Beaumont\nand Fletcher, Webster, are not these\nintellectual? Was not the writer of \" Every®\nman \" intellectual ? & & &\nWe suppose what the Daily Mail wanted\nto say and didn't dare to was that the\n\" Littie Theatre \" is to be made for a few\nweeks the home of that demned dull discur-\nsive Drama. Ah! that's quite another thing."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c065", "article_bluemountain": "bmtnaau_1911-04_01#c065", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "195", "page_fin": "195", "image_debut": 63, "image_fin": 63, "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=bmtnaau191104-01.2.24.4", "titre_corps": "THE FALLACY OF \"FREE SPEECH\"", "titre_sommaire": "THE FALLACY OF \"FREE SPEECH\"", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 63, "page_imprimee": "195", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.63", "debut_caractere": 2034, "fin_caractere_exclue": 3114, "texte": "THE FALLACY OF \" FREE SPEECH\nRev. George W. Fuller who writes on\nCensorship in the New York Dramatic\nMirror and Mr Austin Harrison who writes on\nthe same subject in the Monthly Review seem\nto be, to use the Italian phrase, \" two souls\nin one nut \" so closely do their opinions and\nsympathies coinside.\nThey both object to the limitation of the\nstage to works fitted to the needs and in®\ntelligence of a public composed of high school\nchildren or the \" young person \" , they both\nurge that the stage must enjoy the right of\nfree speech. &\nYet we cannot but feel that these gen®\ntlernen somehow or other miss the issue. For\nwhat does the stage \"want with more free®\ndom of speech than it has ? If any particu®\nlar playwright wishes to write about Reli®\ngion, Royalty, or Sexual matters what is to\nprevent him from doing so in an essay and\npub lishing his work if he can find a publi®\nslier ? But let him not think that these\nsubjects are to be discussed freely before a\nmixed audience upon a stage. We have no use\nfor them there.\nThe Censor is a hundred times a blessing\nto England."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c066", "article_bluemountain": "bmtnaau_1911-04_01#c066", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "195", "page_fin": "195", "image_debut": 63, "image_fin": 63, "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=bmtnaau191104-01.2.24.5", "titre_corps": "HERR REINHARDT'S LAST STAND", "titre_sommaire": "HERR REINHARDT'S LAST STAND", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 63, "page_imprimee": "195", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.63", "debut_caractere": 3116, "fin_caractere_exclue": 4088, "texte": "HERR REINHARDTS LAST STAND.\ng-jerr Max Reinhardt is going it with the\ndesperation of the loser who won't be\nbeaten. He is playing all his cards at once.\nPantomime, Circus, Greek Tragedy by the\nton; all has now been hastily brushed\naside by him to make way for a colossal\nproduction of Goethe's 41 Faust \" (second\npart). JS/ &\nFor this production a whole day and\nnight are necessary. There is a break at\nseven o' clock when dinner is served.\nThis idea of a protracted performance is\nof course not original; only the idea of the\ndinner is purely German.\n& The other day the Moscow Art Theatre pro®\nduced \"Crime and Punishment by Dostoievsky,\nletting the performance take two days. No\ndinner was served,... nor found necessary\nto the performance.\nThe haste to rush things forward which\nHerr Reinhardt exhibits just at present is\nbetter understood when it is known that\nthe Moscow Art Theatre is to visit Paris\nnext year. The German bubble will probably\nthen be pricked. J& G?"}]}, {"article_id": "bm-bmtnaau-1911-04-01-c067", "article_bluemountain": "bmtnaau_1911-04_01#c067", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "195", "page_fin": "195", "image_debut": 63, "image_fin": 63, "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=bmtnaau191104-01.2.24.6", "titre_corps": "Mr. FROHMAN, PHILANTHROPIST", "titre_sommaire": "Mr. FROHMAN, PHILANTHROPIST", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 63, "page_imprimee": "195", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.63", "debut_caractere": 4090, "fin_caractere_exclue": 4383, "texte": "Mr. FROM MAN, PHILANTHROPIST. &\nFrohman \" and other philanthropists \"\n(how delicious!) are, says the Daily\nMail, \" going in for open air dramatic\nspectacles \". & &\nIt was to be feared; but the definite an®\nnouncement now removes the last remaining\nhope we cherished that all might yet be well."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c068", "article_bluemountain": "bmtnaau_1911-04_01#c068", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "196", "page_fin": "196", "image_debut": 64, "image_fin": 64, "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=bmtnaau191104-01.2.24.7", "titre_corps": "THE POVERTY OF MILLIONAIRES", "titre_sommaire": "THE POVERTY OF MILLIONAIRES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 64, "page_imprimee": "196", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.64", "debut_caractere": 0, "fin_caractere_exclue": 617, "texte": "THE POVERTY OF MILLIONAIRES.\nM Jacques Blanche has lately told the pub«\nlie that M. Rouche the millionaire is\nhandicapped in his efforts to make his thea-\ntrical scheme at the Theatre des Arts a\nfine one owing to lack of financial\nsupport. & jg? £?\nBut it seems to us that a millionaire only\nneeds artistic support. & &\n& Perhaps that is what he can't get. Why? We\nare forced to the conclusion that artists are\ntoo expensive and that M. Rouche, millionaire\ncannot afford them. & & &\nAnd yet we have known artists give their\nwork to some people. Why won't artists\ngive their work to rich men ?... t Fveryone\nknows why."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c069", "article_bluemountain": "bmtnaau_1911-04_01#c069", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "196", "page_fin": "196", "image_debut": 64, "image_fin": 64, "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=bmtnaau191104-01.2.24.8", "titre_corps": "AN OPPORTUNIT Y FOR LONDONERS", "titre_sommaire": "AN OPPORTUNIT Y FOR LONDONERS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 64, "page_imprimee": "196", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.64", "debut_caractere": 619, "fin_caractere_exclue": 2012, "texte": "AN OPPORTUNIT Y FOR LONDONERS\ngy the way people in London who do prefer\ngold to ashes, art to trash, and flagons\nto teacups will be pleased to hnow where\nthey can always be sure of hearing rich and\nlovely music most of the year round and in\na nice quiet place. Let them go up the hill\ntowards Highgate, and at Primrose Hill, where\nBlake saw angels, they will still hear the\nvoices of some of those angels yet shouting\nfor joy as of old. It is at the Church of St\nMary the Virgin, Primrose Hill that the angels\nlike best to express their happiness. On the\nfirst three Sundays of Lent the following\nmusic was to be heard.\n£/ Sequence » Tallis 3rd Mode Melody. Com-\nmunion Hymn - \"Of the Glorious Body telling\"\n(Vittoria). Anthem at Evensong - \" O Lord\nof Hosts\" (Dr. C. Tye) [about 1550 A. D.\nSequence - Tallis ard Mode Melody. Commu-\nnion Hymn - \" Therefore we \" (Palestrina)\nAnthem at Evensong - \" Save me, O God \"\n(Dr. W. Boyce) and on Refreshment Sunday\nthe following : Sequence -J. Randall. Com-\nmunion Hymn - \" Therefore we \" (Palestrina).\nAnthem at Evensong - \" Save me, O God \"\n(Dr. W. Boyce).\n& The listener to these songs will remember\nas he passes out of the quiet chnrch he owes\nremembrance and gratitude to the musical\nleader of the church, Mr Martin Shaw, a\ncomposer whose work should be more often\nheard today in London, even as it is assuredly\ndestined to he heard in the future."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c070", "article_bluemountain": "bmtnaau_1911-04_01#c070", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "196", "page_fin": "196", "image_debut": 64, "image_fin": 64, "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=bmtnaau191104-01.2.24.9", "titre_corps": "THE VITALITY OF THE MUSIC HALL", "titre_sommaire": "THE VITALITY OF THE MUSIC HALL", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 64, "page_imprimee": "196", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.64", "debut_caractere": 2014, "fin_caractere_exclue": 3713, "texte": "THE VITALITY OF THE MUSIC HALL.\nleading representative of the London\nstage has recently been speaking very\nslightingly of the Music Hails and of the ap-\npearance in them of actors and actresses seen\npreviously only in the theatre itself. He\nseems to regard it as a folly which will, like\nthe cinematograph, (of which also he Is very\nscornful,) wear itself out in\nSuch casual critics condemn in these\nactors and actresses what they wrongly sup-\npose to be their \" desertion of the Theatre\"..\nBut consider for a moment what their offence\nis? they have been guilty of making one step\nin the right direction.\nThe modern Theatre is worn out; It\nnever was so worn out as it is today. The\nMusic Hall, cherishing as it does so much\ncreative talent of a somewhat exaggerated\norder Is very much alive. Half, if not more,\nof the music hall \" turns \" may be called\ncreative. Madame Yvette Gullbert's perfor-\nmances are the finest examples of the living\nMusic Hall. Madame Bernhardt, the most\ndistinguished of those who have turned from\nthe Theatre to the Music Hall, does no creative\nwork of the kind, but the fact of so cele-\nbrated a performer appearing on the Music\nHall stage must be accepted as the \" legiti-\nmate \" Theatre's recognition of the force of *\nwhat is known as the Variety stage. &\n& The Variety stage is the sole remaining\nlink connecting us with that stupendnus\nachievement of the Sixteenth century known\nas the Commedia dell'Arte. It is not the\nCommedia but it has certain marked resem-\nblances to it and when the \" legitimate\ntheatre sees distinguished players stepping\non to the Music Hall stage it has, far from\nmatter for complaint, the best cause for self\ncongratulation and for hope. &"}]}, {"article_id": "bm-bmtnaau-1911-04-01-c071", "article_bluemountain": "bmtnaau_1911-04_01#c071", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "196", "page_fin": "196", "image_debut": 64, "image_fin": 64, "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=bmtnaau191104-01.2.25", "titre_corps": "TO OUR READERS", "titre_sommaire": "TO OUR READERS", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 64, "page_imprimee": "196", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.64", "debut_caractere": 3715, "fin_caractere_exclue": 4250, "texte": "TO OUR READERS.\nJ. S.\nrjp/re Mask completes its third year of\nexistence with this number. 4?\n& The number of its friends increases\ncontinually.\nWarmest thanks are offered here to\nthose who have helped our work forward,\nespecially to those of our friends who\nhave helped us through the Press. &\nAnd to those who have done so much\nto prevent our existence we have only\none thing to say:... Go on preventing\nand a merry Christmas to you. Be assured\nwe shall forget you, so have no fear,\nbut.... don't, \"don't throw us into a\nbriar patch \""}]}, {"article_id": "bm-bmtnaau-1911-04-01-c072", "article_bluemountain": "bmtnaau_1911-04_01#c072", "volume": "bmtnaau_1911-04_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=bmtnaau191104-01.2.26", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.2", "debut_caractere": 1686, "fin_caractere_exclue": 1970, "texte": "NEW YORK\nDRAMA TIC MIRROR\nEdited by Harrison Fiske\nThe oldest and most reliable Ameri-\ncan theatrical paper, published every\nweek at 92 West 42nd Street, New\nYork, U, S, A.^\nSample copies on request free of\ncharge. Foreign subscriptions 5- Dollars\none year; 1,70 Dollars three months,"}]}, {"article_id": "bm-bmtnaau-1911-04-01-c073", "article_bluemountain": "bmtnaau_1911-04_01#c073", "volume": "bmtnaau_1911-04_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=bmtnaau191104-01.2.27", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.2", "debut_caractere": 1972, "fin_caractere_exclue": 2226, "texte": "DINI & CELLAI\nArtistic & Decorative Terra Cotta of\nSigna.\nVia dei Fossi N. i - FLORENCE\nReproduction of sculptures of Old\nand Modern Masters = Statues - Busts\n- Vases = Bas=Reliefs » Fountains «\nDoors, Chimney - pieces - Bases etc.\netc. in every style. &"}]}, {"article_id": "bm-bmtnaau-1911-04-01-c074", "article_bluemountain": "bmtnaau_1911-04_01#c074", "volume": "bmtnaau_1911-04_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=bmtnaau191104-01.2.28", "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=bmtnaau191104-01.1.2", "debut_caractere": 2228, "fin_caractere_exclue": 2669, "texte": "& THE MOSHER BOOKS &\n& J& MDCCCXCI-MCMXI\nMy new Catalogue is sent free on request to book-lovers anywhere that can be reached\nby Mail. My Catalogues are not made up of old and hackneyed quotations concerning\nbooks- You are not wearied by\"a jollie good book\" jingle and that sort of thing but\nyou are treated to some very genuine prose & verse not found in every cut-and-\ndecidedly-dried anthology,\nTHOMAS B. MOSHER PORTLAND. MAINE & U, S, A,"}]}, {"article_id": "bm-bmtnaau-1911-04-01-c075", "article_bluemountain": "bmtnaau_1911-04_01#c075", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "197", "page_fin": "197", "image_debut": 65, "image_fin": 65, "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=bmtnaau191104-01.2.29", "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": 65, "page_imprimee": "197", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.65", "debut_caractere": 0, "fin_caractere_exclue": 2686, "texte": "A GREAT ITALIAN CLASSIC\n(FIFTEENTH CENTURY)\nThe Most Delectable Nights of\nStraparola\n——— -\nCOMPLETE TRANSLATION.\nTwo large stout 8vo vols.*, on Superfine English Paper. About 800\npages, with 50 Coloured Plates and 90 Black Drawings. Price L 4 4s. od.\nReduced to L. 1. us. 6d. nett.\nReasons why you should buy this Edition:\n1. BECAUSE the books, in addition to being a durable monument of strong,\nnervous English, are illustrated with fifty wittv plates in colours...and to-day\nthe rage is all for coloured illustrations...to say nothing of some ninety-seven\npen-and-ink drawings in the text. 44 Gorgeous\" is the only word that can\nadequately describe many of those hand-coloured illustrations.\n2. BECAUSE, in answer to the question, What are Straparola's 44 Nights \"?\nwe reply: ihey are a collection of bright, rollicking stories in the style of\nBoccaccio...now pathetic, anon brimming over with boisterous fun and Rabe-\nlaisian humour. The laugh rings true, the gallantry is never low-minded, the\nmorality is sometimes indeed high, and in any case there is no canting smirk\nlurking at the corner of the lip: the work reeks with the joy and gaiety\nof life.\nI 3. BECAUSE the work consists of two stout 8vo volumes of some 800 pages\nin all: and, being a magnificent piece of typography, in red and\nblack throughout, will please all who like fine printing. The initials letters\nare in red, the titles of the chapters in red, also the running titles on each\npage; the paper is fine, and of the best English make and quality,\nj • ■;\n4. BECAUSE, further, to add still more to the literary value of the book,\nthe Translator has given an exhaustive Introduction, and been prodigal of\nnotes elucidating names of those persons and places not generally known,\nand drawing attention to analogous stories in Boccaccio, Shakespeare, 44 The\nArabian Nights,\" thus making the work useful to the scholar and student,\nas well as agreeable to the general public who read for the sake of pleasure\nand amusement.\n5. BECAUSE the price is for the moment absurdly low for two such noble\nvolumes, whereof the value will increase in proportion as the books get scarcer,\nlike stocks and shares that fluctuate according to the well-known law of\nsupply and demand.\n6. BECAUSE only a small number of copies have been printed, and when\nthese are sold out, or given away...the terms are nearly convertible in the\npresent case...there will be no more obtainable, as we bind ourselves never\nto reprint the book, however great the demand.\nDetailed Prospectus and two specimen plates\nmay he had for the Asking against sixpence\nto cover Cost of Postage.\nBRITISH BIBLIOPHLES ' SOCIETY.\n10 Rue de la Tribune, Brussels, Belgium"}]}, {"article_id": "bm-bmtnaau-1911-04-01-c076", "article_bluemountain": "bmtnaau_1911-04_01#c076", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "200", "page_fin": "200", "image_debut": 68, "image_fin": 68, "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=bmtnaau191104-01.2.30", "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": 68, "page_imprimee": "200", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.68", "debut_caractere": 146, "fin_caractere_exclue": 488, "texte": "THREE YEARS OLD TODAY!\nWith this Number THE\ncompletes its third volume and\nthe third year of its life.\nThose who wish it well\ncan do so in no better way than\nby sending us today a post card\nauthorising us to enter their\nnames or the names of their\nfriends upon our\nsubscribers' list\nfor the coming\nyear.\n| TURN THE PAGE FOR FULL PARTICULARS.\\"}]}, {"article_id": "bm-bmtnaau-1911-04-01-c077", "article_bluemountain": "bmtnaau_1911-04_01#c077", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "200", "page_fin": "200", "image_debut": 68, "image_fin": 68, "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=bmtnaau191104-01.2.31", "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": 68, "page_imprimee": "200", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.68", "debut_caractere": 490, "fin_caractere_exclue": 742, "texte": "THE MASK\nBOUND VOLUMES.\n''jphe first three annual Volumes of\nThe Mask, bound in the best\nFlorentine vellum, may be had at\ntwenty shillings, (Francs 25,00, Marks\n20, Dollars 5.) a volume post free,\nfrom this office. & & &\nARENA GOLDONI, FLORENCE.\nITALY."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c078", "article_bluemountain": "bmtnaau_1911-04_01#c078", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "200", "page_fin": "200", "image_debut": 68, "image_fin": 68, "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=bmtnaau191104-01.2.32", "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": 68, "page_imprimee": "200", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.68", "debut_caractere": 744, "fin_caractere_exclue": 1123, "texte": "A HISTOR Y OF PAINTING\nby Ha.ld an e M acfal I\nwith a Preface by Frank Brangwyn.\nIn Eight Volumes. Illustrated with\nTwo Hundred Plates in Colour at seven\nshillings and sixpence net per Volume.\nMr Macfall brings to his task gifts\n\" and eqiupment that ensure his\n\" ability to present a book of living\n\" interest and free from all trace\n•• of pedantry.\nLondon. T. C. and E. C. Jack."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c079", "article_bluemountain": "bmtnaau_1911-04_01#c079", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "200", "page_fin": "200", "image_debut": 68, "image_fin": 68, "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=bmtnaau191104-01.2.33", "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": 68, "page_imprimee": "200", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.68", "debut_caractere": 1125, "fin_caractere_exclue": 1455, "texte": "A SPECIAL OF£E_R\nWith this number of The Mask a\nportrait of SIR HENRY IRVING,\nDesigned and Engraved b y E.\nGORDON CRAIG is presented to\nall annual subscribers. &\nsubscribers may obtain copies\nof this print by forwarding two\nshillings and sixpence with their\nname and address to\nThe Mask Publishers,\nArena Goldoni, Florence, Italy."}]}, {"article_id": "bm-bmtnaau-1911-04-01-c080", "article_bluemountain": "bmtnaau_1911-04_01#c080", "volume": "bmtnaau_1911-04_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "200", "page_fin": "200", "image_debut": 68, "image_fin": 68, "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=bmtnaau191104-01.2.34", "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": 68, "page_imprimee": "200", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.68", "debut_caractere": 1457, "fin_caractere_exclue": 1673, "texte": "+\nL'ART THEATRAL\nMODERNE\nby JACQUES\nPrice five francs.\nPROFUSELY I T\nTREATINQ OF THE WORK OF\nSTANISLAWSKY, APPIA, REINHARDT,\nFRITZ ERLER, FORTUNY &\nGORDON CRAIG\nJR du.atdC o i n ely & Ci e\n101 Rue de Vaugirard, Paris"}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.1", "texte": "Vol. 3 N.° 10=12 APRIL & 1911-\nTHE MASK\nA QUARTERLY JOURNAL OF\nTHE ART OF THE THEATRE\nARENA QOLDONI\nFLORENCE\nITALY\nYEARLY SUBSCRIPTION 0 FIFTEEN SHILLINGS, POST FREE"}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.2", "texte": "LITERARY CONTENTS.\nA LETTER RELATIVE TO THE COMMEDIA DELL'ARTE from GORDON CRAIG.\n\" CAPITAN FRACASSA \" by Dr. MICHELE SCHERILLO, & BIOGRAPHICAL NOTES TO\nDr. SCHERILLO'S ESSAY. THE INTRODUCTION TO \" LE THEATRE ITALIEN \" OF\nEVARISTO GHERARDI, WRITTEN BY HIMSELF; TRANSLATED, WITH A BIOGRAPHICAL\nNOTE UPON THE AUTHOR by D. NEVILE LEES. & A SEVENTEENTH CENTURY\n•« DEADHEAD \" ; A SiJENE FROM \" LE THEATRE ITALIEN \" ON ACTORS AND\nACTRESSES by COUNT CARLO GOZZI. & ANOTHER ESTIMATE OF THE ACTOR'S\nCHARACTER by WALTER PATER. RICCOBONI'S ADVICE TO ACTORS: TRANSLATED,\nWITH A BIOGRAPHICAL NOTE ON THE AUTHOR by PIERRE RAMES. & THE EXTEMPORE\nPLAYERS' ADVICE TO HAMLET, THE PLAYWRIGHT by E. E. 0 THE ENGLISH STAGE\nIN 1911 by ALLEN CARRIC. BOOK REVIEWS CRITICS CRITICISED by GORDON CRAIG\nFOREIGN NOTES. 0 EDITORIAL NOTES. &£>&&&&\n\nILLUSTRATIONS.\nFRONTISPIECE: DESION FOR \" THE FOOL'S \" MASK IN \" THE HOUR GLASS \" by GORDON\nCRAIG. SCARAMUCCIA AND FRICASSO by GIACOMO CALLOT. TWO ILLUSTRATIONS\nOF THE COMMEDIA DELL'ARTE by CLAUDE GILLOT. A DESIGN by .SCHUBLER 0\nHEAD AND TALE PIECES AND INITIAL LETTERS FROM DESIGNS by GIACOMO CALLOT.\nGORDON CRAIG, CHARLES BORROW AND OTHERS.\n\n■piie Editor will be glad to consider MSS relative to the Art and History of the\nbut would point out that he can only make use of articles written by such as have a real\nknowledge of the subjects treated. & & & & & &\n& All possible care will be taken, but he cannot hold himself responsible [for the acci-\ndental loss of MSS. These must in every case be accompanied by a stamped an d addressed\nenvelope as otherwise they cannot be returned. & & & &\nCommunications should be addressed to the Arena Goldoni, Florence. Italy.\n\nNEW YORK\nDRAMA TIC MIRROR\nEdited by Harrison Fiske\nThe oldest and most reliable Ameri-\ncan theatrical paper, published every\nweek at 92 West 42nd Street, New\nYork, U, S, A.^\nSample copies on request free of\ncharge. Foreign subscriptions 5- Dollars\none year; 1,70 Dollars three months,\n\nDINI & CELLAI\nArtistic & Decorative Terra Cotta of\nSigna.\nVia dei Fossi N. i - FLORENCE\nReproduction of sculptures of Old\nand Modern Masters = Statues - Busts\n- Vases = Bas=Reliefs » Fountains «\nDoors, Chimney - pieces - Bases etc.\netc. in every style. &\n\n& THE MOSHER BOOKS &\n& J& MDCCCXCI-MCMXI\nMy new Catalogue is sent free on request to book-lovers anywhere that can be reached\nby Mail. My Catalogues are not made up of old and hackneyed quotations concerning\nbooks- You are not wearied by\"a jollie good book\" jingle and that sort of thing but\nyou are treated to some very genuine prose & verse not found in every cut-and-\ndecidedly-dried anthology,\nTHOMAS B. MOSHER PORTLAND. MAINE & U, S, A,"}, {"page_pdf": 4, "page_imprimee": "[146]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.4", "texte": "MASK OF THE FOOL IN \"THE HOUR GLASS\" BY W. B. YEATS\nDESIGNED AND ENGRAVED BY GORDON CRAIG.\n\nTHE MASK.\nApr II 1911."}, {"page_pdf": 5, "page_imprimee": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.5", "texte": "THE COMMEDIA DELL'ARTE or PROFESSIONAL\nCOMEDY.\nJ. S.\n(1)\nThis number of \" The Mask \" is, like the preceding*,\ndedicated to the Actors and to the Peasant Folk.\nn the present number of The Mask we proceed with the story of the\nCommedia delPArte and of those men of genius, the great Improvisators,\nwho brought it to its perfection. And of such men we select Evaristo\nQherardi, (i663=«1700) and Luigi Riccoboni (1675=1753) for our special study\nsince they left on record in writing something of what they did and\ntheir predecessors discovered, and, as men who acted in the theatre,\ncreated for the theatre and wrote about the theatre, their lives and words\nshould have a special value for the student of today.\n& As their works have, with two exceptions, never been printed pre«\nviously in English, and as the books, even in the original French and\nItalian versions, are very rare and accordingly seldom read by members of the English\nstage, we hope that we are rendering some little service to the English theatre in making\nthem accessible to all who care to know about that period of dramatic art which was the\nmost courageous in its aim and the most successful in its\n& The general reader must remember that what we are introducing to him was a phase\nof the dramatic art almost without parallel; that it appealed not only to the people but\nto the aristocracy; in short, that it captured and held the Public,.... not merely a public,...\nfor three centuries.\n& The specializing reader, the one who looks keenly and deeply into things, will want to\nknow the reason for this, amd it is open to him to discover that reason for himself or to\nlet others forestall him.\nTo us it seems quite evident that when that reason shall be clearly demonstrated to\nthe actors and the artists of the theatre a new form of Acting and a new form of Drama\nwill come into existence.\n& Qherardi and\nRiccoboni\nThe importance\nof the Com -\nmedia delTArte.\n\nA LETTER TO THE EDITOR FROM GORDON CRAIG.\n\nMy dear Semar.\now well you are doing to print in The Mask for the younger generation the\nfacts about tha Connadii dell'Arte; your translations from the Italian are\ng.-eat blessings. I feel sure that the few students for whom they are published\nwill not fail to express their gratitude. Signor Scherillo's articles have given\nme]|great pleasure and the Biographical Notes are very valuable.^\n& I understand that there is a great store of such material in Italy and elsewere and I\nsuppose you have just gathered the uppermost layer of it. Anyhow It is most exciting and\n\n(l) The expre33ioa, \" Pfo'easiaaal comedy \" refers to the execution, not to the subject, of the play. MLantzius."}, {"page_pdf": 6, "page_imprimee": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.6", "texte": "ought to excite the younger generation. Will it ? That depends upon the stuff from which\nthe boys are made. Most of 'em seem keener about eight to fifteen pounds a week than\nas to whether Improvisation is a hard thing to master or how to set about mastering it.\nStill, everyone cannot be a master, and so the fewer who turn to this study the better.\nThe others will be taught (at eight to fifteen pounds a head) later on.\nThere was a cleverish young actor in London whom I first met some, nine years\nago in a theatre. I think he was playing the part of a cook. He looked well, he seemed\ninteresting ; he seemed out of the usual run. Then only last year I met him again in\nLondon. He said that one of the three famous playwrights had promised to write him\na part. He was worrying about that part; it didn't hurry up enough for him; he was out of\n•work he was one of ten thousand others and was waiting for Barrie or Shaw\nor Pinero, 1 forget which, to write him a part. A nice fellow, too ; but, great Jupiter,\nApollo, Dionysus, the young fellow was waiting &\n& He'll wait right enough. Patience, what a vice it has become, what a blanket\nto put out the fire, what a cloak under which to hide the ashes of incapacity. And that's\nwhat thousands of English actors are doing... waiting for what they call \" their chance \".\nIf only I could help them, if only one could destroy these large liars who enslave the\nyoung fellows with their promises of a future to him who has patience to wait for\na part.\nIt seems that I am to have my school very shortly and 1 shall then be able to do some-\nthing for these men who haven't learnt how and when to rebel. \" Revolutionary School \"\n« Founded by Gordon Craig in Paris\" or wherever it takes root. I anticipate the headline\nwhich will appear in the kindly journals. Yet of all revolutionary persons I suppose there\nnever was one less revolutionary than I am. Instead of wanting to upset things I want\nto get them straight again.\nWhen I changed the idiotic way of producing a play all I upset was the folly of pro-\nducing it backwards. I cannot but feel convinced that the right way of producing a play\nis to produce it forwards.\n& Yet some of the London managers at that time were producing plays backwards; calling\njerkiness rhythm, gaudiness taste, amateurishness professionalism and reality, Art.\nAnd they are still up to these tricks, though everyone knows that confusion Is not order,\nnor the haphazard lawful in a work of art.\n& Everyone acknowledges that it is wrong to put a bunch of ;real roses in the painted\nhand of a painted figure on a canvas at the Royal Academy. It would be anarchy to act\nin such away; and yet such an anarchy is permitted In the London theatres. It is to\ndestroy anarchy in the theatre, to expose the revolutionary principles which have disgraced\nour theatre for some time that I am working; therefore when my school is built it will\nbe dedicated not to Revolution but to Order, and we shall teach obedience there, not\ndisobedience, to what always was and will be the ruling principle of the Art of the Theatre;\nself-reliance and collaboration and quite a number of minor accomplishments, but we\nshall not encourage any of our pupils to wait patiently until Sir Arthur Pinero writes him\na part or Mr. Barrie sees an opening for him in his next play. If there are no openings,\nno parts, we will make them, for we shall open wide the larger doors of the future to the\nactor so that he may with self-reliance know that all parts are ready for the comedian\nwho cares to undergo the training which gives the power to improvise, f\nA school very\nshortly &\nAnarchy in the\nTheatre &\nTo give place\nto Order•\n\nTHE COMMEDIA\nDELL'ARTE 0\nImprovisation.\n\nGordon Craig."}, {"page_pdf": 7, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.7", "texte": "\"CAPITAN FRACASSA\"\nby Dr Michele Scherillo.\n\nGautiers i' Capi-\ntan Fracassa. \"\n& The type of\n44 The Captain\n\nQnce upon a time there dwelt in Gascony a phantom of a Baron whose life was spent in\n* 44 contemplating his moth-eaten coat-of=arms which mouldered away day by day, and\n44 in awaiting the time when his crumbling castle should have finished falling about\n44 his ears and have buried him beneath the ruined greatness of his house.\n£/ 44 One wild night there happened to arrive at these ruins a company of strolling players\n44 who sought shelter from the storm and, among them, was one, Isabella the ingenue,\n44 who, by her modest and serious countenance, reawakened the soul in this ghost of a\n44 Baron. &\nFor love of her, he forsook that den of rats and bats disguised in the worn-out\n44 clothes of a provincial actor. He took the stage name of 44 Capitan Fracassa \" and filled\n44 the place and the part of the dead Matamoros. \" & & & &\n& Such is the story which Theophile Gautier relates of Capitan Fracassa in his novel of\nthat name, wherein he.gives an almost perfect idea of the nomadic life of those companies\nof actors which, in the sixteenth and seventeenth centuries, wandered about beneath the\nawning of a wagon drawn by oxen.\n& These companies were for the main part made up of Italian vagabonds, without country,\nwithout name, rejected, cursed, and even refused by the Church burial in the common\ncemetaries, but who, none the less, under their rags, yet bore witness that Italy was\nnot dead.\n& I do not pretend to make up a story in my turn; but rather to trace the historical\noutline of the 44 Capitano \" type in the popular Italian comedy, from the earliest times\nwhen he made his appearance on the stage until later, when he forsook it to reappear in\na different costume.\n& The Captain is one of the first types which the Italian Commedia dell' Arte pre-\nsents to us.\nHe is the caricature of the vain-glorious Spanish soldier. To hear him talk one would\nthink that he wanted to swallow the whole world with its accompanying satellites, but if\nin the midst of his boastings he hears a cry, a rustle of leaves, he stops short, stammers,\ntrembles and takes to his heels. He has the figure of some grotesque creature, dry and\nparched ; is wrapped in a threadbare cloak and has, fastened at his side, a sword around\nthe sheath of which a spider has spun its web. He wears in his hat a long straight moth-\neaten feather; with the fingers of his left hand he twists a pair of long and bristling\nmoustaches while he lays his right solemnly upon the hilt of his sword. He styles himself\nson of the Earthquake and the Lightning, cousin of Death and intimate friend of Beelze-\nbub : he is valiant enough to offer to pierce a mountain with his sword and to hurl the\nmoon against the sun, and his appearance is so attractive that it fascinates all the women\nwhom he meets.\n& 44 Superposed as it were on to the Italian comedy, \" writes Vernon Lee, 14 was the type\n\n(I) See also pages 147-8"}, {"page_pdf": 8, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.8", "texte": "& CAPITAN\nFRACASSA.\n\n44 of the military adventurer, of the Spanish hidalgo, violent, tyrannical, overbearing and\n44 rapacious; a mixture of Don Juan, Pizarro and Don Quixote ; at first rather terrible\n44 than ridiculous, and growing into a bond fide comic figure, into a threadbare and hungry\n44 adventurer, a cowardly sonorous fire-eater, a Captain Fracassa or Matamoros, only in\n44 proportion as the redoubtable kingdom of Philip 11, odious but dignified, turned into the\n44 tattered Spain of the seventeenth century, execrable but ludicrous.\" (1)\n& You may see a goodly number of them engraved by the burin of Giacomo Callot. What\ngrotesque figures and what a variety of types ! One must see, to be able to form any idea\nof, those skeletons clothed in rags, upright, withered; forming, with the blades of their\nlong swords, the figure of an ipsilon. &\n& And what names, and how many of them! There dances Pasquariello Truono with Meo\nSquamara, Capitan Bombardon with Capitan Grillo, (2) Capitan Babeo with Cucuba, (3) Capitan\nMala Gamba with Capitan Bella vita, Capitan Esgangarato with Capitan Coccodrillo, Cardoni\nwith Maramao, (4) Capitan Cerimonia with the Signora Lavinia, Capitan Spezza Monti with\nBagatino, (5) Cicho Sgarra with Colii Francisco, Scapino with Capitan Zerbino, (6) Scaramuccia\nwith Fricasso, Taglia Canton! with Fracasso, (7) and in a corner, alone, drawn on a larger\nscale, is the 44 Capitan de' Baroni \". & & & & & &\nHe bears displayed over his shoulder a tattered banner upon which is inscribed his\nname; and, hung at his side, his pouch, porringer and flask. He has his right hand in a\nsling and wears a flowing beard. His hat is full of holes and pulled over his eyes, with a\nlong plume ; his breeches and stockings so ragged as to leave the right leg almost bare.\nIn the background of the little picture there is the figure of a blind man being led by an\nold man who, on seeing the Captain, writhes In terror and tries to escape, dragging the\nblind man after him.\nIt is strange that Callot's 44 Fracasso \" is not a captain at all. He wears a blouse and\na pair of loose trousers like those of Pulcinella, a hat with a very wide peak and adorned\nwith feathers, a small cloak upon his shoulders, and in his hand a large dagger with which\nhe pretends to fight with Taglia &\nRiccoboni gives us two distinct figures of Captains,... the Italian and the Spanish. The\n\n& The Balli di\nSfessania.\n& Callot's\nFracasso. &\n\nNOTES AND TRANSLATIONS.\n1. & Vernon Lee. Studies of the Eighteenth Century in Italy. London; Satchel), 1880.\nPage 235=236.\n2. & 3. j& See Illustrations facing page 108 in \" The Mask \" January. 1911. & &\n4. & Maramao is presented in the act of pointing an enormous clyster at Cardoni. It is\nworthy of notice that the name of the valiant Neapolitan soldier, the conqueror of Ferruccio\nshould have afterwards passed to a buffoon type of the Commedia delPArte. In the\n44 Balduino \", a work by Pierre Corneille, translated into Italian by the Abbot Gigli of\nSiena, (Bologna, Longhi, 1716) a 44 Capitano Maramao \" a foolish slave keeper, plays a part.\nThe following extract from the eighth scene is characteristic:\n& 44 Who goes there ? seize him ! thou art a dead man I It is a column ! (colonna), well\n44 for thee that thou wast not a Colonel! (colonnello). Bully! I swear by the left whisker of\n44 Mars that this envious night always plays its tricks on Captain Maramao. It has made\n44 me waste a sword-thrust which, striking on the rebound the turban of the Grand Sophi\n44 would have hurled his head against the temples of the Grand Mogul, and the temples\n44 of the Grand Mogul into the moustache of the King of China, and that moustache into\n44 the memory of the King of Japan, leaving that monarch until the fourth generation a\n44 man of poor memory. But thils is the fault of my impetuous nature. I set my hand to\n44 my flashing sword and immediately it grew dark. I carry the daylight in my eyes, but\n44 when I draw my sword the universe wraps itself in gloom. &\nA reference as to the later tradition relating to the name Maramaldo is to be found\nin G. de Blaslis's 44 Fabrizio Maramaldo ed i suoi antenati \" (in the 44 Archivio storico per\nle provincie napolitane \", a. 111, fasc: IV. pg. 815=6) and also in A. Luzio's 44 Fabrizio Ma-\nramaldo, nuovi documenti \" (Ancona, Morelli, 1883, page 104).\n5. 6. 7. See Illustrations facing pages 108 and 116 in The Mask. January 1911. &"}, {"page_pdf": 9, "page_imprimee": "151", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.9", "texte": "former is in the act of posing, in all the pride of his tall figure, his stupendous pair of\nmoustaches, the hilt of his long sword ; the latter in the attitude of one who, in insolent\nmanner, wards off a blow. (1.) 0000.^00^\n0 A prototype of the Spanish Captain is Captain Cardone, who, says Stefano Arteaga of\nMadrid, with a certain bitter smile of offended national pride, \" by reason of the ancient\n\"goodwill of the Italian nation towards us, must always be made ridiculous on the stage.\" (3)\nHe takes part in the \" Amfiparnaso \" of the Modenese Orazio Vecchi, a musical comedy\nperformed at Venice in IS97> (3-) and he is graphically described to us in the \"Fiera\", a play\nby Michelangelo Buonarroti the younger, performed at Florence in the Carneval of 1618:\n\" Vedete\nQuel Capitan Cardon stare interato,\nScagliar le gam be e quei mostacchi neri\nSpietato arroncfgliarsi\nSimulando fierezza e crudeltade ;\nE granciti i pendagli\nColla sinistra, star pronto per porse\nLa destra a trar la spada\nA fender monti e penetrar nel centro,\nTagliar le corna a Pluto a per la coda\nPreso ed entrato poi quasi in savore\nDelia palude Stige,\nVivo e crudo ingolarselo. Codardo\nPoi piu di un blrro. Ecco ch'e' passa e spira\nBravura, e pauroso par che stia\nsull'ali per fugglre: vera espressione\nD'un poltron vantator valamedios (4)\n& One of the first actors to represent the Captain on the stage was Francesco Andreini.\nBorn at Pistoia in 1548 he became a soldier; then, enslaved by the Turks and liberated,\nhe devoted himself to the theatre and acted as the Innamorato, as a Sicilian Doctor, and\nas Falsirone the magician, speaking various languages and singing and playing different\nkinds of instruments. He called himself Capitan Spavento delia Vail' Interna, but -had also\nthe names of \" Ariararche, Diacatolicon, Leucopico, Melampigo: 44 Diacatollcon \" means\nuniversal capitan, 44 Capitan Ariararche \" means leader of the militia ; Capitan Melampigo\nmeans Capitan Blackbottom, and Capitan Leucopigo means Capitan Whitebottom. Hebelon-\nged t0 the Company of the 44 Gelosi \" directed by Flaminio Scala, one of the most\ncelebrated companies in the history of the Italian improvised theatre, drawn from the\ndisbanded company of the 44 Comici Uniti » which in 1574 had united together the 44 Con-\nfidenti - and the ancient 44 Gelosi \". While Andreini was still playing the lovers' parts he\n\n& CAP ITA N\nFRACASSA.\n\n& C a p it an\nC at done .\n& Franeesco\nAndreini.\n\nNOTES AND TRANSLATIONS.\n1. & Hlstoire du Theatre Itallen. &■&&&&&&\n2. &3. &Le rlvoluzioni del teatro musicale dalla sua orlgine fino al presente \"by Ste-\nfano Arteaga. and edition, Venice 1785. Vol 1. page 263. The monograph, \"l'opera buffon\nnapohtana \", chapter 1. and especially the article by Luigl Lianovosanl, (Q. Salvioli), in\nthe Gazzetta Musicale di Milano, 39th year, numbers 17 and 18. (37 April and 4 May 1884).\n4. 0 See that Captain Cardone standing there stiff with pride, planting his feet far apart,\nand twirling those black bristling moustaches of his; simulating pride and cruelty. And\nsee him then, seizing their drooping ends with one hand, stand ready with his\nright to draw his sword and with it cleave mountains and, penetrating to the very centre,\ncut off the horns of Plutus, and, seizing him by the tail and entering almost into\nthe mire of the Stygian marsh, swallow him alive and raw. A coward is he rather than a\ncatchpoll. Behold him, breathing forth his bragging words while all the time he seems\ntrembling, on the point of taking to flight. A true example is he of a cowardly boastful\n\" Valamedios \"\n5. The •' Bravure del Capitano Spavento, divise in moiti ragionamenti in forma di\ndialogo di Francesco Andreini da Pistoia, comico Qeloso Venice 1634. Dialogue XVII. 0"}, {"page_pdf": 10, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.10", "texte": "C A P I T A N\nFRACASSA.\n\nmade the acquaintance of the beautiful Isabella, the diva of the time, sung by both Italian\nand French poets, not excluding Tasso and Chiabrera, and made her his wife. At Lyons,\nwhen returning to Italy,_ Isabella died, and Andreini, heart-broken, would no longer appear\nupon the stage and devoted himself to publishing the 44 Letters \" and 44 Fragments of\nwritings \" of his beloved wife. In 1607 he published at Venice 44 Le bravure del Capitano\nSpavento \" which he three times afterwards reprinted, and in 1618 the second part of the\n44 Bravure del Capitano Spavento \".\nThese 44 bravure \", says a later actor, 44 are full of hyperboles because such were ne-\ncessary to the character of that personnage which our Francesco represented ; but they are\n14 not on that account lacking In fine philosophical sentiments and in a civil and restrained\nwisdom \" (1.)\nTo Francesco and Isabella Andreini was born, in 1579, Glovan Battista, who likewise\ndedicated himself to the theatre assd played the part of 44 Lelio \" in the company of the\n44 Gelosl \". On the death of his mother, which took place in 1604, he, following his father's\nexample, retired from the stage, but found himself unable to remain inactive. The follow-\ning year he organized a new company which he called the 44 Comici Fedelis\"\n44 oggi ancora il mondo\nRisuona de' Gelosl il nome eterno,\nChe fra palme et honor spiegare a I'aura\nVirtuoso vessil, cui seguon lieti\n(Emuli professor) quei, che Fedeli\nComici appella I'uno e l'altro polo \" (2.)\nsang Andreini himself. (3).\n& In this new Company the part of the Captain was entrusted to GiroSamo Garavani of\nFerrara, who took the name of 44 Rinoceronte \" and played this personnage on the stage\nwith martial viguor, depicting fear and bragging of wondrous deeds too fantastic and\nfull of hyperboles for human belief. (4) He was very religious and of most exemplary\nhabits, and It is said that, while acting, he lacerated his flesh with a hair shirt, which\nwas found upon him, after his death, beneath his clothes. (5) He died at Paris on Oc-\ntober 2 1624.\nln the meantime, in these same early years of the seventeenth century, there flourished\nthe Neapolitan Silvio Fiorillo, who called himself 44 Capitan Mjitamoros\", slayer of Moors ;\nand of whom a contemporary actor says that, ,4 in acting the Spanish Captain there had\nbeen no one to surpass and perhaps few to equal him \". (6) jz?\n& It seems from the name that he, more than any other, was a genuine caricature of\nthe Spanish Rodomonts, and he toured with much success in Neapolitan companies and\nwith the Lombard companies of the 44 Accesl, \" the 44 Affezionati\" and the 44 Risoluti\nA poet, he wrote eclogues in the Neapolitan and Tuscan dialects, and various plays, such\nas the 44 Tre Capitani vanagloriosi \" printed at Naples in 2623: 44 La Cortesia di Leone e\ndi Ruggero colla Morte di Rodomonte \" at Milan in 1621, aud 44 Ariodante tradito in\nPavia in 1629. jZ? J?\njg? But one fine day this actor flung away the cloak and sword of Matamoros, donned a\nwhite shirt and a pair of loose white trousers like those worn by the peasants in the\n\nC a p it an\nRinoceronte.\n<£? Capi t an\nMatamoros.\nPulcinella.\n\nNOTES AN & TRANSLATIONS.\n1. Notizie istoriche de' comici i tali an i che fiorlrono intorno alPanno 1550 fino a' giorni\npresent! \" by Francesco BartoSi of Bologna, Padua ; Corzatti Vol. 1. Page 12. jzz\n2. jg? The world today yet echoes the eternal name of the 44Gelosi\" who, amid applause and\nhonours, displayed upon the breeze their glorious banner; and after whom joyously follow,\n(competitors in the same profession), those who are known from the one pole to the\nother as the 44 Fedeli Comici \" j&>\n3. La Saggia Egiziana.\n4. & Francesco Bartoli. Notizie istoriche de' comici italiani. (See Note 8). jg?\n5. 44 La Suppllca ; discorsi famigliari intorno alle Commedie \" by Nicolo Barbieri\nknown as Beltrame.\n6. Pier Maria Cecchin!; 44 Frutti delle moderne commedie \", page 35."}, {"page_pdf": 11, "page_imprimee": "153", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.11", "texte": "neighbourhood of Naples, and called himself \" Pulcinella \" I And, even if not himself Its\ncreator, it is to his talent that we owe it if this attractive type was able .... almost the\nsole survivor,... to outlive the Golden Age of the popular Italian theatre of the sixteenth\ncentury. The Spanish Captain, with all his bombast, ends by surrendering the field to Pul-\ncinella, although this latter never succeeded in freeing himself entirely from his influence.\nTo the plays containing the part of the swaggering Captain Silvio Florillo added the\n\" Lucilla costante con le ridicolose disfide e prodezze di Pulcinella \" which he printed in 1632\nand which was his last work. &?«&&&?\nThe competitor and rival of Matamoros, Capitan Coccodrillo,... that is to say, the Nea-\npolitan Fabrizio de Fornaris,.,. in 1584 crossed the Alps with the company of the \" Confi-\ndent \" and took his way to Paris, to declaim to the public of that city his astounding deeds\nof valour. He usually spoke Spanish; &\n& \" Combattiendo yo, vino una bala d'artilleria, y me dio tie la bocca y me sacco da ella\ndos dientes, como veys, sin hazer me otro mal. Yo torno esta bala en las manos; y la\nvuelvo a tras contra Sos enemigos, y doy en una torre adonde havia mil y quinientos sol-\ndados, y la heche por tierra con matar todos los soldados la hige convertir en polvo, ne\naun quedo sennal adonde stava. Cleofila, viendo mi braveza, me vinb encontra con la espada\npor matarme, yo paro con my espada y le corto el brazo y I'hecho per tierra con toda la\nespada, y despeces la torno per los cabellos y la hecho con tal furia azia al zielo, quelle\ngada al fuso del hemispero lo rompe y entra nel qulnto zielo y halla Marte que jugava a\ntaroque con Venus yle rompe la Venus empiega a critar aiudo aiudo; todos los\nDioses y las Diosas del zielo espantados llamavan h Jove que lo soccorriesse ; Jove, viendo\nMarte par tierra, espantado desto, viene a su ventana, quando yo rodeando mi espada contra\nlos enemigos, parezia el fuego que salia della un nuovo Mongibello. Dixo: ninguno de vos\notros diga nada, porque el que ha matado Marte, ha sido el Capitan Cocodrillo, y agora sta\nenojando, podria venir en el zielo, y matarnos todos \"(1& 2) jZ? jZ? jZ?\nThis terror of heaven and earth died in 1637. & &\n& But the most famous of the actors who girded on the sword of the Captain was Tiberio\nFioriliOj, \" Scaramuccia \" who was born in Naples in 1608 and died at the age of eighty six\nin the year 1694. He did not create the part, since there already existed in the Company\nof the \" Fedeli \" an actor named Goldoni who acted as \" Scaramuccia \" and to whom\nCallot gave a place in the \" BalSi di Sfessania This mask \"is the type of the Neapo-\n\" litan adventurer, boastful and cowardly, more supple, less definite and less solemn\n\" than the Spanish Captain ; lascivious, maintaining in this respect all the tradition of the\n\" fescinnine licence \" (3) He dressed all in black, even to the ribbons on his shoes, and\n\n& CAPITAN\nFRACASSA.\n\nCapitau\nCoccodrillo.\n& Scaramaccia.\n\nNOTES AND TRANSLATIONS.\n(i.) jZ/ From the \" Angelica \" a play by De Fornaris himself 1585, Act 1. Sc: 48.\n(2.) JZ? While I am fighting there comes a cannon ball and strikes me in the mouth,\nknocking out, as you see, two teeth, but without doing me any further harm. I turn this\nbail round in my hands and hurl it back against the enemy, and, striking a tower in which\nare fifteen hundred men, knock it down, killing all the soldiers and reducing the whole\nto dust so that there remains no trace of it whatever. jz? jz?\n& Cleofila, seeing my valour, comes against me sword in hand to slay me; S parry her blow\nand with mine cut off her arm and fling it on the ground together with the sword. Then\n! take her by the hair and fling her with such fury against the sky that, on reaching the\ncentral point of the hemisphere, she breaks through it and enters into the fifth heaven*\nfinds Mars playing at chess with Venus, and breaks his head. & & & &\nVenus begins to cry out \"help ! help 1\" and all the gods and goddesses of Olympus, ter-\nrified, call on Jove to help them. & jZ? & & &\n& Jove, seeing Mars lying on the ground, and being frightened by the whole affair*\ncomes to his window, and, while I brandish my sword against the enemy till it flashes like\nthe fire rising from some new Mongibello, says: \"Be silent, all of you, for he who has\nslain Mars is Capitan Coccodrillo, and now he is so enraged that he might come into\nheaven and slay us all. \" &\n(3.) Moland. Moliere et la comedie italienne. page 165."}, {"page_pdf": 12, "page_imprimee": "154", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.12", "texte": "JE> CAPITAN\nFRACASSA.\n\nMolidre, to signify a dark and starless night, makes an actor say that 44 the sky has clothed\nitself this evening like Scaramouche (1) &\nFiorillo visited all the theatres of Italy and in 1639 went to France where he received\na most hearty welcome alike from Court and Public. 44 In Italy \" says Riccoboni, 44 This\n44 personnage had never played any other part than that of the Captain, but in France he\n44 was so much appreciated that he was served up with all sauces. \" &\nHis principle talent lay in facial expression, and for that reason he wore no mask but\nwhitened his face and blackened his eyebrows and moustache. 44 This excellent actor \" says\na worthy critic, (himself a player), who was acquainted with him, 44 possessed to so high\n44 a degree of perfection this marvellous talent that he touched more hearts by simple\n44 natural means than the ablest speakers by the charms of the most persuasive rhetoric \",\na fact which caused a great prince who saw him act in Rome to declare that 44 Scara-\nmuccia does not speak and yet says everything \" ; and, as a mark of his esteem, he sum-\nmoned him after the play and made him a present of the coach and six horses in which\nhe had been fetched. (2).\nIt was from him that the upholsterer Gianbattiste Poquelin learned the art of acting,\nand from his scenarios that he derived the inspiration for some of his plays. So much so,\nindeed, as to cause Moland to say that, wherever in Moll&re there is complicated action,\nthere is imitation of the Italian Commedia. (1) Riccoboni has handed down his portrait to\nus, and the actor Angelo Contarini, (if indeed it be true that it was he), a life of him in\nFrench, although to this latter,.... and with every reason... all authority and veracity\nis denied. (3)\nHardly any memory survives of 44Capitan Spezzaferro\", (Giuseppe Bianchi,) who went to\nParis in 1639 and in 1645. Then, about 1655, Francesco Manzani walked the stages under\nthe name of 44 Capitan Terremoto his great stature and resounding voice winning for\nhim that disastrous name. And, as late as 1750, in the theatres of Naples, Nicola Boniti, a\nNeapolitan, gave infinite pleasure in the part of 44 Capitan Spacca \" by the readiness of his\nwit and the thorough knowledge which he possessed in all matters relating to his pro-\nfession. (4)\nAfter this date the part of the Captain was neglected to such an extent that In the\nyear 1781 Francesco Bartoli, in the 44 Notizie istoriche de' Comlcl Italian! \" only speaks of\nit as of a character gone out of fashion, while Francesco Cerlone, the playwright of Pulci-\nnella and of Don Fastidio, does not admit him to a place in a single one of his numerous\nplays. &\nBut, though neglected at the end of the eighteenth century, the Captain was restored\nto honour in the nineteenth. From the gutter where the kicks of the 44 Lelios \" and the\n44 Coviellos \" had driven him and where the mocking smiles of the 44 Flaminias \" and the\n44 Beatrices \" had been directed to annihilate him, he raises himself very cautiously, and,\nbehind the wings, changes his clothes. He sets on his head a tall white hat, girds his waist\nwith a red sash, dons a black jacket and a pair of white trousers, brandishes a malacca\ncane and reappears upon the stage with the title of guappo. (5) From the bragging Spanish\nsoldier of fortune he becomes the Neapolitan camorrista. The character is, however, fun-\ndamentally, the same. In fact, In the booth of the puppet showman he has not even left\nbehind his military name, he has only descended from the rank of Captain to that of\nCorporal. He is in eternal opposition to Pulcinella and his rival in love; The action in\n\nThree othei\nCaptains. &\n\nNOTES AND TRANSLATIONS.\n1. Le Sicilien ou I'Amour peintre, 1667. Sc: 2. & & & &\n2. & Evaristo Gherardi, 44 Le Theatre italien ou la recueil g£n6ral de toutes les comedies\net scenes Francoises jouees par les Comediens Italiens \". Paris, 1717* In the play in Volume 1\n44 Columbine avocat pour at contre \", Act 3, Scene 7.&&&&<&\n3. & Compare Adolfo Bartoli, 44Scenari inediti\", page 170 and following. The writer who in-\nveighs against the falsity of this unfounded romance is Gherardi, see preceding note.\n4. Bartoli. 44 Notizie istoriche \" etc* & & &\n5. 44 Guappo \" may mean an audacious or self-assertive person, used chiefly of the lower\nclasses or it may signify the equivalent of the modern 44 Hooligan & &"}, {"page_pdf": 13, "page_imprimee": "155", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.13", "texte": "these primitive comedies is always the same; the quarrels of Corporal Fasulo with Pul-\ncinella for the possession of Columbine's heart. And to this same Corporal Fasulo has remained\n... .indelible mark of ancient nobility... the enormous nose which formerly made so fine\na show upon the gaunt and terrible faces of \" Spavento \", of 44 Francatrippa \", of 44 Bella-\nvita \" and of the old <4 Scaramuccia\".\n& In the Neapolitan Op£ra Buffe, that great and spontaneous manifestation of the Neapo-\nlitan genius of the eighteenth century, the Captain occupies a conspicuous place towards\nthe end of 1720, being there a singer as well as an actor. &\n& Let us now study our type in one single comedy,... in the \" Patro' Tonno d'lsca \"\nperformed at Naples at the Theatre of the Florentines in 1714, a play of which the verse is\nby Agasippe Mercotellis and the music by Giuseppe Veneziani.\nOne of the characters is Capita' Ciullo. He comes out upon the stage addressing his dis-\ncourse to 44 Uommene, uomenicche e uommennune \". (1) He believes himself an Adonis and\nsays that all the women are fulminated by the mere flicker of his eyelash. &\n44 Saje che bbo' di', Clannello,\nTieme', sta bella posta de cappiello,\nA la potta de diece !\nSto pede 'nnante e sta sbattuta 'n terra,\nSta spotazzelia jettata de sguinzo,\nTe farriano cade', che bbuo' che ddica,\nComm'a no bello conte\nPorzi' la Dea Caronte. \" (2.)\n& And for the beautiful ones he becomes a poet. In merely catching sight of their houses\nfrom a distance he falls into the poetic rage:\n44 Amor, che questo cor mi spacca e felia...\n(Chisto m'e 'sciuto da le catamella)\nE11a... e11a... ah si si... per Carminella...\nNon caddi no, precipitai di sella!\nOh in toscana favella\nVi' come corre il pie'...\" (3.)\nand, roughly interrupted by a volley of stones in the back he only observes 44 It is love\nwhich shoots \" and continues his song. He hears laughter behind his back, turns, and sees\nan urchin who is mocking him. 44 Do you know who I am! \" N0...\n44 Bennagg' o]o I\nTu non si de sto munno,\nTu si no' gnorantone,\nTu si n'&seno 'nviso 'nverbo et opera.\nSiente, piezzo d'anchione,\nSiente lo nomme mio, apre st'aurecchie,\nTremma da capo a pede,\nMo' te faccio venire le petecchie..! (4.)\n44 I am dead! \" cries the urchin. A crowd gathers and wants to fall upon Capita Ciullo\n\n0 CA PI TAN\nFRACASS A\n\n44Capita Ciullo\".\nHis poems.\nAnd misfortunes\n\nNOT&S AND TRANSLATIONS.\n1. Men, big men and small men. & & & & &\n2. & Do you know what this means, Cianniello ? Look i This fine way of putting on one's\nhat, this planting of one's foot well forward, this stamping, and this sidelong spitting make\nsuch an impression that it would bowl over any on-looker, were he a great noble or one\nof the gods themselves! & & & & & & &\n3• Love, which this heart of mine cleaves and imbitters,... (Why, what a splendid phrase\nI've turned out now !) She... she... ah yes, ah yes, for Carminella I did not merely fall,\nbut flung myself from the saddle! (Oh, how well the metre runs in the Tuscan tongue !)\n4. & Bless your soul, you're not of this world, you're a great silly fellow, an ass in looks\nand speech and all you do ; listen, you stupid thing, listen to my name ; open those ears\nof yours, tremble from head to foot, for now I'll make your flesh &"}, {"page_pdf": 14, "page_imprimee": "156", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.14", "texte": "& CAPITAN\nFRACASSA.\n\nwho makes himself as small as possible, not understanding what has befallen him, and\nmurmurs :\n44 Vi' la mmalora I io sso' no maccarone,\nE unn'aggio fatto 111 aje male ana mosca.\nE mo' co no guaglione\nVoleva fa lo guappo ! \"\nand very softly, without being noticed, slips away. When he is seen far in the distance,\nrunning for his life, all burst into fits of laughter and the boy launches after him a\nvolley of insults. &&&&&&&& jp\n& One may say that the type of the Captain retained its popularity so long as we had\nthe Spaniards over us, and that, if not born at Naples, he certainly found his best fortune\nthere, since it was there that the dominion, and burden of that vainglorious nation\nweighed longest and most heavily. The Viceroy and the nobles declaimed on high, and\nCapitan Matamoros mimicked them in the piazza; while the people laughed, raising their\neyes to the windows of the Viceregal palace I 44 Through our streets \" says Del Tufo, de-\nscribing the Naples of the close of the Sixteenth century, 44 through our streets there march\nwith lofty mien the vile and cowardly bullies. \" & & & &\n44 tra di noi tagliacantoni\nFracassaferri e manglacatenazzi,\nPortando a la cintura\nCon certa lor tremenda intosciatura\nArrabbiando da cani,\nII diavolo sempre ed alle mani ....\nNel sembiante Ciclopi aspri e feroci,\nPolifemi ale voci,\nE ne le man' cotanti Briarei.\nQuesti bravan, quest! animosi cori,\nChe ucciderian la morte,\nRiescono di sorte\nCos! buon traditori\nChe non fu Giuda o Gano,\nMostrando, al poner mano,\nLa codardia piii d'ogni vil marrano \" (2).\n& Our lower classes listened to their amazing adventures, affecting terror and admiration,\nand sometimes tolerated their overbearing ways as if constrained thereto by the fascina*\ntion of the hero ; but not infrequently, so soon as the braggart had turned his back, attacked\nhim with jeers and rotten fruit, obliging him to run away. & & &\n& For the most part the actors who represented this character were themselves Neapoli*\ntans. But our public was not pleased to see him kicked by his fellow-citizen Coviello in\nthe booths and theatres, nor ridiculed In musical comedy; though it liked to hear\nthe story of his drubbings even in the little vernacular poems. Giulio Cesare Cortese makes\nhim the hero of the 44 Micco Passaro innamorato \" sg? jg? jg? jg?\n44 Io canto chelle brave cortellate,\nLe fente, le revierze e fi scenniente,\n\n& The Spanish\ninfluence. &\nMicco Passaro.\n\nNOTES AND TRANSLATIONS.\nI Just see what bad luck ! I* rn' but a poor silly fellow who never harmed a fly, and\nnow with a boy I wanted to play the bully. &\n2, See the Monograph on the 44 Opera buffa napolitana.\" pages 55 and following. jg?\n3. & Among us these cutters of corners, smashers of iron and devourers of chains, move\nwith tremendous affrontary and noisy as dogs, having the devil ever at their side and being\never ready to come to blows. In appearance the}' are like violent and ferocious Cyclops, in\nvoice so many Polyphemuses and in their blows like Briaseo. These braggarts, these over*\nbearing spirits who would slay death itself, prove themselves greater traitors than either\nJudas or Janus, showing, so soon as a hand is laid upon them, more cowardice than the\nbasest serf."}, {"page_pdf": 15, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.15", "texte": "FROM THE BALLI DI SFESSANIA. 1622. GIACOMO CALLOT: 1593-1635.\n\nTHE MASK.\nApril. 1911."}, {"page_pdf": 17, "page_imprimee": "157", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.17", "texte": "Li fuorte stramazzune e le mbroccate\nDe lo shiore de l'huommene vallente\nE chille ammure tanto unommenate\nDa quante foro e so' ricche e pezziente,\nDe chillo ch'e smargiasso porzi' muorto\nMicco Passaro nato' mmiezzo Puorto. \" (1.)\n& Micco was the capoparanza (2.) of the 44 guappi \" who inhabited the quarters of the Duchesna\nand the Porto and led them to war. He was quick to provoke a combat and always ready\nto lay his hand to his sword, but he was also nimble in taking to his heels as soon as he\ncaught a glimpse of an enemy's blade or the train of powder of an arquebus. Passing along\nan alley in Naples he hears an uproar in a house near by. He goes up to see what is hap-\npening and finds a number of women, among whom is Ills own lady-love, are desirous\nof throwing one of the most popular doctors in the city down stairs because he had shown\nhimself incapable of making a good suggestion. Micco raises his voice to restore order, but\nthe women, having assembled there for the very purpose of confabulating against him, he\nhaving instigated their lovers to go off to the war, fall upon him, and by force of kicks with\ntheir wooden shoes, cuffs, and slaps on the face, drive him into the street. Micco, all\nbruised, stops, regains his breath, and then, turning to the closed door of the house\nexclaims in a bragging voice:\n44 Jesce cca co la spata ca t'aspecco,\nE te do conto de la vita mia ;\nE si non jesce, si no 'nfammo becco,\nE te lo provo 'mmiezzo de sta via \" (3,)\nBut suddenly, and quite contrary to his expectations, two men come out armed with guns:\n44 Ohime ! in'assassinate !\nChest'e sopierhieria ! Vocche de fuoco !\nFerma, potta de Nico, non Urate,\nCa craje nee travarrimo a n'autro loco,\" (4.)\nand he luns away without looking back. They fire several shots after him, and he, sup-\nposing it to be a regular volley, doubles his speed amid hisses and yells,.< 2* &\n& The orthordox critics, to whom a musty odour is pleasant, and who have claimed that\nthe Cotnmedia dell'Arte of the Cinquecento is but a continuation of the ancient Atellanian\nfarce, naturally see in the Captain none other than the *4 Miles gloriosus \" of Plautus (5)\nThe points of resemblance are in fact, very striking.\n& The Plautinian 44 Pyrgopolinices \" comes out upon the stage saying to the servants ;\nSee to it that the brightness of my shield be more brilliant than are the rays of the sun\n44 when the sky is clear, to the end that, when I use it, it may dazzle the enemy's sight,\n44 although they protect their eyes with their hands \". &\nAnd he delights in hearing his own deeds of valour related by the Parasite, who in-\nvents astounding ones so as, by means of his cunning, to procure for himself a more\nsucculent dinner.\nI remember \", says the Parasite, 44 that you slew in a single day one hundred and\n\nCAPITAN\nFRACASSA,\n\nThe Miles\ngloiiosus.\n\nNOTES AND TRANSLATIONS.\nl. & I sing of the noble stabs, the feints, the cuts, the thrusts, of the flower of valiant\nmen, and of the love affairs, (so celebrated among all to whom they were known, whether\nrich or poor) of him who, even when dead, strikes terror; I mean of Micco Passaro, who\nwas born in the midst of the Porto, (The Porto is a part of Naples. Ed.) &\nCapoparanza \". The head of a society or association of persons similarly employed.\n3. Come here with your sword for I'm awaiting you, and I'll soon let you know who\nI am , and if you don t come you're a horned villain, as I'll prove to you in the middle of\nthis street.\n4. Oh, oh, you re killing me! this is an outrage! a gun! stop! don't fire, for so tomorrow\nwe may meet again in another place. & & &\nis. \" Certainly this type descends from the 44 Miles of Plautus. \"A. Bartoli. 44 Scenari\ninediti \". pages 18 & 19. & & & & & & &"}, {"page_pdf": 18, "page_imprimee": "158", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.18", "texte": "JZt CAPITAN\nFRACASSA.\n\nfifty in Sllicia, one hundred Sicolatronidi, thirty Sards and sixty Macedonians\n44 And to how many do all these amount ? \"\n44 To seven thousand\n44 Just so ! they must have been just so many. You are right \".\n44 Yet I have not noted down one of them : I recall them from memory \".\n44 By Pollux, you have a prodigious memory I \"\n44 (It is my empty stomach which prompts it I) \"\nAnd then in all affairs of the heart he is most tender. He has loved half the world\nbut he has been loved in return by the whole. jz? jz>\n44 All women love you \" says the Parasite, 44and, by Hercules, they are not wrong, you\nare so handsome. \" And he tells him how the fair ladies of the city, on seeing them pass\ntogether, accosted him and pulled at his toga to ask if it were Achilles, and exclaimed\n44 Nae illae sunt fortunatae, quae cum isto cubanti \" 44 A great misfortune, \" observes the\nMiles, 44 to be a very handsome man ; Nimia 'st miseria pulchrum esse hominem nimis I\n& Antemonides is another vainglorious soldier of the Plautinian drama, but he sins a\nlittle in the matter of gluttony, being in this unlike any of his fellows, who, on the con-\ntrary, take pleasure in satisfying the appetites of parasites so that these may discant upon\ntheir memorable deeds. In the matter of boasting, however, he Is second to none. jZ?\n44 As I said to you, then, in that battle of five crowned kings I slew with my own\nhands, in a single day, six hundred thousand flying men. \"\n44 What I flying men ? \"\n44 Certainly \".\n44 And wherever are the flying men ? \"\n44 They were there, but I killed them. \"\n44 And how did you do it ?\n44 I will tell you. I gave my soldiers birdlime and slings and bade them cover these\nlatter with leaves of coltsfoot. \"\n44 And why ? \"\n44 So that the birdlime should not stick to the slings\n44 Go on ! you tell lies marvellously ! And then ? \".\n44 In the slings they put some small globules of bird lime and I ordered that they should\n44 hurl these against those flyers. What need to say more ? When one of these was struck\n44 by the birdlime he fell to the ground like a stone, and, as fast as they fell, I slew them\n44 immediately, transpiercing their brains with one of their own feathers as though they\n<4 had been turtledoves. And if, by the gods, these things did not really happen, may Jove\n44 never hear or grant my prayers I\" (1)\n£? They certainly resemble each other ; but how is one to connect these two apparitions,...\nthe 4Miles' of the Plautinian Comedy with the 4Capitano' of the sixteenth century comedy ?\nRather is it necessary to go yet further back than Plautus, since the 44 Miles gloriouss\" is\ncopied from the 44 Alazon \" and the 44 Poenulus \" from the 44 Carchedonius \" of Menander,\nwhile a portrait which most closely resembles the Captain is to be met with in Luciano\nin the person of a certain 44 Leontico \" who, 44 the better to captivate the soul of Innide,\n44 boasts of his marvellous deeds of prowess in battle, and, among others, of a duel which\n44 he fought with the Satrap of Paflagonia. \" (2)\nsZ? But, as with Pulcinella, so here, we have neither one single proof nor one single docu-\nment which renders us certain that this type continued to exist during the Middle * Ages.\n44 What became of them during that long period of darkness ? \" asks Vernon Lee. 44 Did\n44 they lurk, with the last remnants of paganism, in the rural festivals, playing their\n44 pranks in honour of antique gods disguised as mediaeval saints ? Did the Church absorb\n44 them, as it absorbed all the life that remained, and let them loose to dance, gesticulate,\n44 and jest among the donkeys and drunken clerks of the feast of fools or the inummers of\n\n44 Antemonides \"\nand his exploits.\n.<& A yet older\nCaptain. &\n\nNOTLS AND TRANSLATIONS.\n1. Plautus. 44 Poenulus. \" Act 2.\n2. See Camerini: 44 I Precursor! del Goldoni \". Milan 1872. pages 47-48."}, {"page_pdf": 19, "page_imprimee": "159", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.19", "texte": "44 shrove«tide, humouring the love of the ridiculous and the gross in the same way as It\n44 did in the dirty and grotesque aplshness of the Cathedral fronts ? \" & &\nI do not know and it does not seem so to me. Besides, I do not see the object of insis®\nting to such an extent upon the hypothesis of a historical connection. At a time when a\nSpanish soldier, Miguel de Cervantes, succeeded In creating the genial type of the hidalgo\nDon Quixote de la Manclia who has also many points of resemblance to our Captain, could\nnot the Italians, who had daily before their eyes these blustering fellows swollen with pride,\ncreate a 44 Capitano Spavento della ValFlnferna \" or a self=styled 44 Matamoros \" just as the\nGreeks and Romans had been able previously to create a 44 Miles Gloriosus \" ?\nAnd besides, who is there to certify that the 44 Miles \" was a popular type and not\nrather a creature of the individual imagination of the poet, having, however, a counterpart\nIn the contemporary life ? Might he not be, for instance, a creation such as 44 Fanfulla\"\nor 44 Don Abbondio \" 01* Don Quixote himself ? Whereas It is certain that the Italian Captain\nwas the personificatien of a sentiment common to all Italians of the Cinquecento : a type\nfirst presented by an actor, and then developed to suit their own taste by the people\nthemselves, approving with applause and correcting with hisses: and it seems to me that\nthere! is nothing either unnatural or improbable in admitting that our swaggering fellow\nmay have sprung spontaneously from the inner consciousness of the Italian people of the\nCinquecento, without a shadow of plagiarism.\n& It is conceivable, however, that the Idea may have been suggested to the actor who\nfirst presented that type 011 the stage through the reading of Plautus (1.) as was the case with\nmany other literary and artistic phenomena of the Renaissance; with musical drama, for\nexample, the first idea of which sprang from the reading of the Greek tragedians.\n& This is probable, but it excludes the hypothesis of the silent tradition of more than\nseventeen centuries : and one must also beware of falling into an optical delusion. If one\nobserves the type of the Captain in the plays of the Cinque® or Seicento one hears again\nin them the Plautinian 44 Miles \". For example, .... to cite some of them,.... in the\ncomedies of Glambattista della Porta, the Captains 44 Basilisco \" from the \"Furiosa\" (1609)\n44 Parabola \" from the 44 Moro \" (1607) 44 Gorgoleone \" from the 44 ChSappinaria \" (1609),\n44 Martibellonio \" from the 44 Two Rival Brothers \" (1601) 44 Trasiloco \" from the 44 Olimpia \"\n(1589), and 44 Dante \" and 44 Pantaleone\" from the 44 Fantesca \" (1597) and the 44 Cintia \"\n(1601), seem but pupils of 44 Pirgopolinice \" who have inherited from their master his invin®\ncible bravery and his incessant boasting. je?\nBut one cannot, on account of this hint of imitation, affirm that there have been two\ndifferent manifestations of that type in Italy, the one derived from the literary tradition,\nthe other spontaneous and popular. On the contrary, it seems certain that, when the regular\nCommedia appropriated from the public squares the already-formed masks and types and\nwith them the Captain, noting the likeness which he bore to the ancient Plautinian\ncharacter, it retouched the sixteenth century braggart with the vivid and characteristic\ncolours of the Roman soldier, and this retinting has occasioned an optical delusion in\nthe later critics.\nA famous art critic, Signor Ugo Fleres, puts forward a most reasonable and ingenious\ncomparison; 441t seems to me\", he says, \"that the 44Guappo\" stands in the same relation to\n44 the 44 Capitan Fracassa \" as this latter to the 44 Miles gloriosus \". That is to say, that as\n44 the 44 Miles was born from the insolence of the Roman soldier and the 44 Fracassa \" from\n\" the boasting of the Spanish soldier, (and perhaps also the Basque) so is the 44 Guappo \"\n44 born of the braggings of our 44 lazzarone (2.) They all have their roots in the society\n44 In which they live so that they are all derived the one from the other, as much, re®\n\n& CAPITAN\nFRACASSA.\n\nThe Italian\nCaptainj&\n&A possible\norigin.\n& An ingenious\ncomparison.\n\nNOTES AND TRANSLATIONS.\n1. It is very noteworthy that in 1567, in the presence of Charles IV and of Catherine de'\nMedici at the Hdtel de Reims, Antoine de Baif, who boasted of having given 44 the French\nfashion of dress and the French speech to the actors of Terence \" had represented a play\nentitled 44 Le brave ou Taille-bras\", which was In part translated and in part Imitated from\nthe 44 Miles gloriosus \" (See Charles Gidel, 44 Histoire de la littdrature page 242.\n2. \"Lazzarone\" is used among the common people In Naples to describe an idler. jst"}, {"page_pdf": 20, "page_imprimee": "160", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.20", "texte": "& C A P IT A N\nPRACASSA\n\nA genuine giant.\n\n44 spectively, as are their social surroundings; they resemble each other, not by the heritage\n44 of artistic traditions but of necessity through their very nature \". (1)\nBut my readers must not think that the 44 Fracassas \" were always base in their deeds\nand boasters in their words. There Is in the history of the Italian dialectic literature\nanother 44 Fracassa \", no longer Don Quixotian but a real giant. & &\n44 Cujus strips olim Morganto venit ab illo\nQui bachiocconem campanae ferre solebat\" (2.)\n£/ He is one of the heroes of the 44 Opus macaronicum \" of Teofilo Folengo and the most\nattractive. His size was immense. Imagine that with the mere lobe of one of his ears five\npairs of shoes could be made! There was no horse that could carry him:\n44 Quando scandit eos smagazzat more fritadae 99 (3).\nand his boldness and strength were such as to cause his companions to exclaim,\n44 Ire sub Internum tuti poterimus adessum,\nPostquam nobiscum venit haec montagna gigantis \" (4)\nBut this 44 Fracassus \"is akin to the Captain of the same name as were Orlando or\nAmadigi to Don Quixote! (5) <£? zz? & & &\n\nNOTES AND TRANSLATIONS.\n1. 44 Ancora del Capitan Fracassa, More about Capitan Fracassa, in 44 Capitan Fracassa\"\nfor September 26. 1880.\n2. j& \"Whose race originally decended from that Morgante who used to carry the clapper\nof the bell \"\n3. Teofili Folengi 44 vulgo Merlini Cocaii Opus macaronicum 9> etc. Part 1. Amstelodami\n2768, J. Braglia. 44 Macaronea \", 11, pages 99 and 100. 44 When he mouts he crushes them\nflat as pancakes jz? sZ? •£>\n4. Macaronea \" XVIII, volume 11. page 222. 44 We could now go safely to the bottom of\nHell itself since this mountain of a giant accompanies us. \"\nd& Ugo Fleres, who, In the paper 44 Capitan Fracassa 99 for Sept: 26th 1880 published a\nletter to me in reference to my historical sketch of the Captain=»type published In the\nnumber for September 12 of the same Journal, (and which was the basis of the present\nstudy), observes, in regard to this comparison of the Captain with Don Quixote : 44 Don\n44 Quixote is in spirit as much of a hero as Orlando and Amadigi: and if, instead of\n44 cutting down Moors, he fights with windmills and makes his breakfast off drubbings\n44 the fault is in his muscles and not in his spirit, which is, on the contrary, the more\n44 heroic in as much as he does not lose his paradoxical courage at the most violent\n44 caress of the cudgels, whereas all the heroes of the Round Table would have per-\n-44 haps bowed their proud heads if they had received but the half of what the Hidalgo\n44 received. jZ? js? j£?\n& Here is Orlando: a hero, permit me to express myself thus,.... both in soul\n44 and body. Little by little his muscles wither, his fresh colour fades, his skin, which\n44 seems like an ancient parchment, clothes a walking skeleton, a kind of stockfish, In\n44 which, however, there continues to beat the heart of Orlando, In which there yet burns\n44 a brain drunk with glory:... it is Don Quixote de la Mancha, <4caballero andante\".\n44 But all at once the 44 Hidalgo \" pulls himself together; the dull iris of his eyes\n44 usually veiled by the upper lid, is fully disclosed by the raising of this and by the dreadful\n44 arching of the eyebrow: then, with the tips of his thumb and forefinger he turns up\n44 the bristles of his moustache as though, as Gautier's 44 Matamoros says, to pierce the\n%\n44 very sky with them: next a tremendous step forward, an oath like an earthquake on his\n44 lips ~.. and we have Capitan Fracassa. jgr *&&<&&&&\n«« But we must not go too fast. The heart of Orlando is dead ; the heart of Don Quixote\n44 beats no longer. Capitan Fracassa is a mask like Don Quixote, but not a true Don Quixote ;\n44 he is not even a caricature of one ; in fact the 44 Hidalgo \" is already himself a ca»\n44 ricature.\n44 The Captain and the 4Guappo' are of the same race. The family of the della Mancha\n44 is as far removed from them both as it Is itself from the \"Montaulon\". & &"}, {"page_pdf": 21, "page_imprimee": "161", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.21", "texte": "BIOGRAPHICAL NOTES TO THE PRECEDING ESSAY.\n\nStefano. A Spanish Jesuit and litterateur. Born in 1747, he afterwards spent\nmany years in Italy at Bologna, moving later to Paris where he died in 1799. He wrote\nthe 44 Rivoluzioni del Teatro musicale \" which was first published in Italian and of which\nan abridged edition afterwards appeared in French under the title, 44 Les Revolutions du\nthe&tre musical en Italle, depuis son origin© jusqu'a nos jours \". He also left the manuscript\nof an Italian work, 44 del Ritmo sonoro et del Ritmo muto degli antichi: dissertazioni 7\",\nand Grainville, to whom he had entrusted the translation into French, says that in it the\nauthor had drawn upon the most celebrated writings of antiquity, treating therein of music,\npoetry, grammar, pantomime, the dance, etc. and adds that, according to the opinions of\nseveral leading savants, the discoveries of Arteaga as set forth in this work are absolutely\nnew and most essential to art.\nGiuseppe. An actor who flourished about the middle of the Seventeenth century\nunder the name of Capitano Spezzaferro. The Freres tell us that, during the two\nyears (1668=79) during which the famous Scaramuccia, (Tiberlo Fiorilli) was, by permission\n0\nof the Court, absent In Italy, his place in Paris was taken by a new and most able Italian\nactor whose talent was such as to cause his celebrated predecessor to be but little missed;\nand they add that on Fiorilli's return this actor, Bianchi, surrendered the part of Scara-\nmuccia and took again that of the Captain, which he seems to have played previously\nin 1645* &\nGiacomo or Jacques. Engraver born at Nancy in 1592. He lived a short adventurous\nlife,... the life of an artist, 44 accompanied, \" his biographer tells us, 44 de misere et de\njoie.\" When scarcely twelve, being opposed by his parents in his desire to become a painter,\nhe ran away from his home, and, having no resources, joined a company of gypsies or players\nbound for Italy. He reached Florence and there began to study, but, being recognised by\nsome merchants, he was sent back to his father. This happened more than once until he at\nlast obtained permission to remain in Italy. He returned later on to Nancy in the service\nof Henry Duke of Lorraine, and this prince's favour, added to his own talents and charm\nof character, quickly won him success.\njg/ After the capture of Nancy he was urged to engrave a souvenir of this conquest, but\nreplied proudly that 44 he would sooner cut off his thumb than do anything contrary to\nthe honour of his prince and country \". Louis XIII, admiring the artist's fine spirit, accepted\nthis refusal and even offered him a pension of five thousand francs to enter his own service,\nbut Callot, preferring liberty to all else, refused. *& & &\nHis works are far too numerous to name, but those which have a peculiar interest for\nthe student of the theatre are his 44 Balli di Sfessania \" (many of the figures from which\nappear in this and the preceding number of The Mask) and Illustrations of pageants and\nscenes from plays. He died at Nancy on March 27th, 1635 at the early age of forty two. Miguel\nMiguel Saavedrade de. Was born at Alcala de Henares on October 9, 1547 of\nan ancient family. He spent many years as a soldier and in the course of them was made\na slave and sent to Algiers. It was not until after his return to Spain in 1584 that he ap-\npears as an author, writing about thirty plays which are said to have won great applause\nwhen performed, but of which all but two were afterwards lost. In 1604 he published the\nfirst part of 44 Don Quixote \", the great work upon which his fame rests, and of which a\n\nNOTES AND TRANSLATIONS.\nj& 44 The figure in Italian art which most nearly resembles that of Don Quixote is the very\n\" charming, the mad, the brilliant figure of Fanfulla da Lodi. Don Quixote is in relation to\n44 Fanfulla as a Spaniard of that period, domineering, insolent, but yet courageous* is to\n44 an Italian,... always of that same period ... without country but not without honour;\n44 without God but not without ideals; mad but valiant. \"\n£? 1 have left my phrase without modification on purpose to be able to quote this fine\ncomparison of Fleres's. & jzr &"}, {"page_pdf": 22, "page_imprimee": "162", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.22", "texte": "BIOGRAPHICAL\nNOTES. & &\n\ncontinuation appeared in 1615. Cervantes also wrote a collection of plays in the style of the\nnew school which had been introduced by Lope de Vega, and these, though never acted,\nwere published in Madrid in 1615. His death took place at Madrid on April 23, 1616, being the\nsame day as that of his great contemporary Shakespeare.\nCoRTESE. Giulio Cesare. A Neapolitan poet born in 1570. & & & &\npIORILLO, Silvio. Italian Actor born in Naples in the second half of the sixteenth century.\nHe performed first under the name of Capitan Matamoros and later under that of Pul-\ncinella. He wrote various plays and poems, of which 44 The Three Vainglorious Captains \"\nwas published at Naples in 1621. The date of his death is uncertain, but as he was already\nleader of a company in Naples in 1594 when he could hardly have been less than twenty\nyears of age, and as the date of his last publication is 1632 when he would, according to\nthe former supposition, have been nearly seventy, it seems probable that he died soon after\nthat date. His son Glovan Battista was also an actor, performing under the name of\nTrappolino.\npIORILLO, Tiberio. Italian actor born in Naples in 1608. He was one of the most celebrated\ncomedians of the seventeenth century, and was for about fifty years the delight of his\naudiences under the name of Scaramuccia. According to his biographer Angelo Costantlni\nhe was the son of Silvio Florillo, but this assertion, when tested by dates, and viewed in\nthe light of Costantinl's erroneousness on almost all points of his hero's [life seems very\ndoubtful.\npOLENGO, Teofilo. Born at Capada near the lake of Mantua in 149 L he entered the Order\nof St. Benedict in 1507, but, falling deeply in love, he forsook the cloister to follow the\nlady and they wandered together from place to place for many years. About the year 1526,\nhowever, he returned to his Order and died in a monastery in the territory of Vicenza\nin 1544. He wrote various plays, among them being 44 La Pinta \" or 44 La Palermita \", a\ndrama treating of the Creation and the Fall of Adam, and various other religious plays.\npORNARIS, Fabrizio de. An actor who recited in the second half of the Sixteenth century\nin the famous Company of the Confldenti. He was in France in the years 157* and 1584*\nand while there he published the 44 Angelica \", a prose play in five acts, which has a cer-\ntain value and interest as the work of an expert actor. & & & &\n/TARAVANI, Girolamo. An Italian actor celebrated under the name of 44 Capitan Rinoce-\nronte \". Beltrame gives his name as 44 Garavini \". He married an actress named Isabella\nand was with the Company of the Fedeli in Paris in 1621 and died in that city on October\n2, 1624. £?' & & & & & &\nClaude. A French artist born at Langres 1673, died in Paris 1722. Having begun his\nstudies under his father, himself a painter, he was sent to continue them in Paris under\nJean Battiste Corneille, a historical painter ; but the boy, endowed with keen imagination\nand impatient of the course of study laid down for him, preferred to escape from the studio\nand, wandering about the streets and squares, study from life and especially from the\nactors who performed in the public places, and his work chiefly represents popular scenes\nand burlesue adventures. He was the master of Watteau. He also directed the scenery and\ncostumes at the Opera, and published' the 44 Livre d'Ornements, de trophies, cul-de-lampe\net desslns \" and 44 Le Theatre Itallen \", a volume of scenes from plays, some of which are\nreproduced In The Mask.& & && <&&<&<&<&\niMANZANI Francesco. An actor who was playing, according to Francesco Bartoll, about\nthe middle of the seventeenth century. His stage name of 44 Terremoto \" was suggested\nby his great stature and powerful voice. As well as playing the part of the Captain he also\nwrote at times for the Theatre, and he translated into Italian prose the Spanish play, 44 A\ngran danno gran rimedio \", Turin, Zanpta, 1661. & & & & &"}, {"page_pdf": 23, "page_imprimee": "163", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.23", "texte": "Buonarroti the younger. Born in Florence 156&, he was the son of Leo-\nnardo, a nephew of the great Michelangelo. He was a member of the Academy of the\nCrusca, and, being a very learned man and most zealous for the honour of the Italian\nlanguage, was employed on the first edition of the Vocabulary of the Crusca. He published\nmany poems, dramas and orations for the celebration of festivals, marriages, the visits of\nforeign Princes and other like occasions, and displayed great talent for such compositions.\nBut his chief fame arose from a rustic comedy in verse, the '* Tancia \" which he published\nin 1612 and from another, the \" Fiera the action of which was divided into five days and\ntwenty-five acts. This latter piece was performed in 1618 and published In 1626. In both of\nthese plays he introduced a great number of actors and displayed much skill in handling\nthe manners and customs of the Tuscan peasants. He made a collection of his uncle's poems\nwhich he published In 1623. He died on January 11, & &\npORTA, Giambattista della. A Neapolitan, born in 1540. He was a celebrated scientific\nscholar and writer. He also wrote tragedies, tragicomedies and scenarios, the best-known\nof these latter being the ** Trapolaria \" which was derived from one of the plays of Plautus,\nthe \" Pseudolus \", and which is interesting as showing how a sixteenth century playwright\nset about adapting a classic play as a scenario for the stage of his own day. He died In 1615.\n'jpUFO, Giovanni Battista del. Born 1546, died 1623. An ecclesiastical historian who wrote\nmuch about the life of Naples of that period. & &\nVECCHI, Orazio. An Italian monk and musical composer who died in 1605.\n\nBIOGRAPHICAL\nNOTES; & &\n\nJ.S."}, {"page_pdf": 24, "page_imprimee": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.24", "texte": "THE INTRODUCTION TO \"LE THEATRE\nITALIEN\" of EVARISTO GHERARDI,\nWritten by himself; Translated, with a\nBiographical Note upon the Author\nby D. Nevile Lees.\n\nmong the most delightful as well as the most useful books for\nthe student of the Italian Improvised Commedia dell' Arte is\nundoubtedly 44 Le Theatre Italien \" by Evaristo Gherardi.\nIndeed, (according to Professor RasS) it is, with the exception\nof the Scenarios of Flaininio Scala, the most important of all\nfor the history of the Italian actors.\nNo mere literary man could have achieved what he has\nachieved. The book is emphatically .... as should be all writings\nfor or about the theatre... one carried from the stage to the\nstudy and not from the study to the stage. That its contents\nhave literary charm, afford pleasant reading, is an added, not\nan essential grace, for that which is only complete in the theatre is essentially, and\nrightly, incomplete in any other form. & &\nThe book gives evidence on every page of its theatrical origin. It tells us just what wo\nwant to know and nothing that we do not. It tells us what Arlecchino, when in love with\nColumbine, said and did, not what some poet had prepared for him to say or do: it shows\ninto what words and gestures a comedian would expand the bare scenario direction of a\nscene of despair \" or 4< scene of misunderstanding \", not what the playwright, pen in\nhand, planned for him to do. It tells us, in some brief pause taken from setting down the\nwords of the dialogues, of the facial expression of that 44 Scaramuccia \" whose silence was\nmore expressive than other men's speech, and who, by merely sitting in his armchair, guitar\nIn hand, could keep the audience for a good quarter of an hour in roars of laughter at his\nvaried manifestations of terror at the unseen presence ef Pasquariei behind his chair; or\nit explains that certain rows of stops introduced into the text indicate that 44 here Arlec-\nchino changed his tone and his gesture \".... though, indeed, we knew they meant that\neven without being told, so living were the words themselves! One feels, from the first\npage one reads, the fundamental difference.... considered in regard to their quality, not\nto their degree.... between these plays and those of Shakespeare; between the works of\nthe poet, belonging to the world of literature, and those of the actor, belonging to and\ncreated in the world of the stage. The figures of the former shape themselves in our ima-\ngination in ideal scenes and surroundings which fade and recede before the impact with the\nreal when some equivalent of them is offered to us in wood and painted canvas; they be-\n' ong to the region of the purely imaginary: are complete as they speak to us from the\nprinted page, lose instead of gaining by being set upon the stage. &\nThe latter, on the contrary, however delightful in the reading, call in every line for\nhe theatre to round off their incompleteness, and the images they evoke are not of remote\n'beings of some world apart, 44 east of the sun and west of the moon \" where no mortal\never entered, but of those swift, lusty and immortal figures of the Italian Commedia, those\npure-blooded sons of the Mediterranean who had in their veins as much of the rankness\nas the refinement of the earth. Men of genius, they needed no poets to give them inspiration,\nto shape their speeches or set loose their tongues ; men of fertile imagination, they could\nstir the same in their audience without calling to their assistance the illusions of the stu-\ndio painter; men of action, they needed no playwrights to plan their plots and develop\ntheir situations; but, by their own individuality, created a living drama in which the lite-\nrary man with his petrified plays had no part, and which held the stage triumphantly for\nover two hundred years.\nOne such was Evaristo Gherardi, actor, and compiler of 44 Le Theatre I tali en.\n\nT,e Theatre\nItalien.\nIts value to the\nstudent.\nThe 44 Improvi«\nsatori \""}, {"page_pdf": 25, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.25", "texte": "THE COMMEDIA DELL'ARTE. (1) CLAUDE GILLOT. 1673-1722\n\nTHE MASK.\nApril. 1911.\n\n0} Prom left to right. Mezzetino, AureHa. (probably) Arlecchino, Scaramuccia, Pierrot."}, {"page_pdf": 27, "page_imprimee": "165", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.27", "texte": "& EVARISTO\nQHERARDI.^?\n\nOf his life we know but few facts which can be relied upon apart from his theatrical\ncareer. Francesco Bartoli would have him a Ferrarese who 44 was a- clever actor in the part\nof the Innamorato \", but a later writer, (1) weighing all the evidence, sets Bartoli's infor-\nmation regarding him aside as erroneous, and states him to have been the son of a certain\nGiovanni Gherardi* of Spoleto, himself an actor of considerable talent, who mad.e his first\nappearance at Paris in 1677 in the play 44 Arlechin Berger de Lemnos \" under the name of\n44 Flautino \" which he selected on account of the numerous wind instruments which he\nknew how to imitate with his mouth. In fact his talent for music was evidently a marked\none since as Robinet, in a rhymed letter of January 5 1675 tells us, he could give forth,\n44 de son seul gosier\n44 un concert de flutes entier!\" (2)\nand was also skilful with the guitar as is recorded in a verse beneath his portrait by\nBonnart: 44 Avec sa guittare toucli^e\nplus en maitre qu'en ecolier\nil semble qu'il tienn© cache©\nune flute dans son gosier \". (3)\nSkilled as he was alike in music and acting, this elder Gherardi won considerable po-\npularity and applause, and his association with the Comedie Italienne would have probably\nbeen of long duration had he not been, on account of his 44 depraved habits \", first impri-\nsoned and then expelled from France. &&&?*£?<<&;&<£?\nOf this debonnaire but disreputable person and of his wife Leonarda Galli was born in\nthe little town of Prato in Tuscany on November 11, 1663 (according to the Biblfografia\npratese) a son who received the name of Evaristo, and who, after concluding his studies\nin philosophy, made his debut at the Comedie italienne in Paris on October 1, 1689, playing\nthe part of Arlecchino in Regnard's play 44 The Divorce \" which had been acted for the\nfirst time at the Hotel de Bourgogne on the 17 th of March 1688 with Domenico Biancolelli\nin the caste.\nOf this debut Gherardi himself gives an account which, in its naive self-satisfaction\ncertainly proves that he had little need to use the Scotchman's prayer, 44 Lord, gie' us a\nguid conceit o' oursel's \"I\nThe play \" he says, 44 had no success in the hands of the late Signor Domenico. It had.\n44 been cut out of the repertoire and the parts burned; I, who had never before appeared\n44 on a stage and had just left th© Collegio della Marca where I had completed my course\n44 of philosophy under Doctor Balli, chose it for my first attempt. (October 1 1689) when I\n44 appeared before the public by order of the king and of Monsignore, and such and so great\n44 was the success that it brought very great gain to the & &\n& 44 Were I a man to pride myself on the talent with which nature has endowed me for the\n44 stage, whether with uncovered face or with the mask, in the leading roles, both serious\n44 and comic in which, amid applause, I have been seen to shine before the eyes of the\n44 most gracious and intelligent spectators, I should have plenty with which to satisfy my\n44 Rinout propre. I should say that I have done more, at the beginning of my career and\n44 in my early youth, than illustrious actors after twenty years of practise and in the flower\n44 of their age. But I protest that, far from being puffed up on account of such rare talents,\n44 I have always considered them as the result of my lucky star rather than of merit, and\n44 if anything has been able to beguile my spirit to such a comparison, it was nothing else\n44 but the pleasure of hearing myself applauded after the inimitable Signor Domenico, who\n44 carried to such a pitch the excellence of the burlesque in the part of Arlecchino that\n44 whoever may have seen him act must always find something to criticise in the most\n44 famous Ar leech in os of his time \". JZ?\n\nHis father. &\n& GhetatdVs <\ndebut. &\n\nNOTES AND TRANSLATIONS.\n1. <£? Professor Rasi. 44 I Comici Ifaliani. \" Life of Evaristo Gherardi. & &\n2. & From his own throat a whole orchestra of flutes.\n3. & Touching his guitar more as a master than as a pupil, he seems to have in his throat\na hidden flute. &"}, {"page_pdf": 28, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.28", "texte": "& EVARISTO\nQHERARDI.\n\nGherardl continued to act at the Comddie italienne until its suppression in 1697, and\ndied suddenly on August 31 1700 from a blow on the head received in a fall during a per-\nformance with Thorilliere and Poisson at Saint-Maur where he had been to offer a copy\nof his book \" le Theatre Italien \" to Monsignore, & & & &\nThe following description of his appearance is given in •• Le ponipe funebre d'Arlechin \"\nParis, Jean Musier, 1701) ;\nJe commence par son portrait.\nTune le vis que sous le masque,\net qu'avec son pourpoint de Basque;\nII n'dtait ni bien, ni mal fait,\ngrand ni petit, plus gras que maigre\n11 avait le corps alaigre.\nLe front haut, Toell foible mais vif.\nLe nez tr&s significatif,\net qui promettait des merveilles.\nLa bouche atteignoit ses oreilles;\nson teint dtoit d'homme de feu,\nson menton se doublait un peu,\nson encolure assez petite\nle menagait de mort subite.\nPour voir au vif son vrai portrait\nil faut voir le fils qu'il a fait,\na mon avis il lui ressembie,\nhormis qu'il est un peu vulcain,\nce que n'etoit pas Arlequin,\nou pour le moins il me le semble. (1)\nThus really all that we know of this actor is summed up in a very few, though suffi-\ncient, facts .... his birth, parentage, death ; the number of years he spent at the Comddie\nitalienne, the name of the mask under which he played, and then .... that which contains\nall, sums up all the rest and brings us near to the man himself... the work by and in which\nhe lives.\nIt is, as already said, emphatically an actor's book compiled by an actor. In it we have\nthe scenes, the dialogues, the lazzi, the little songs and the music which went with them,\nset down by one who had watched them all spring to life and weld themselves Into shape\nunder the swift touches of the actors themselves. We have a long series of copper plate\nengravings throwing most interesting light upon the stage costumes of the time; we find,\nin an endless sequence of fresh circumstance and fresh inter-relationship one with ano-\nther .... ever the same figures but ever in freshly varied connection as are the pieces in\nevery game of chess.... all our old friends; Scaramuccia, the Doctor, Mezzetino, Isabella,\nPasquarlello, Aurelia and the rest, laughing, jesting, making love, qnarrelling, intriguing,\nfighting, tumbling down, dancing, hiding in corners, running in and ont, and with them,\nabove all, perhaps best of all, Arlecchino, that incredible immortal being in the black mask\nand parti-coloured clothes.^\nNever, surely, was there any other being like him! Possessed of the qualities of that\nmercury to which his prototype, the god Mercury, gave his name, he can throw himself\n\nHis appearance.\nAn Actor''s Booh.\nA rlecchino.\n\nNOTES AND TRANSLATIONS.\ni. I begin by giving his portrait. You saw him only under a mask and with his Basque\ndoublet. He was neither well nor ill-favoured, neither tall nor short, and fat rather than\nthin. He had an active body, a high forehead, eyes weak but full of life, and an expressive\nnose which promised great things. His mouth stretched from ear to ear, his complexion\nwas fiery; he was rather double-chinned and his short neck threatened him with sudden\ndeath. If you would actually see him as he was you must see the son he has left, who in my\nopinion resembles him, save that he is somewhat deformed and Harlequin was not,. ... at\nleast so it seems to me. &&<&<&&&&&&"}, {"page_pdf": 29, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.29", "texte": "into any part without perpetuating it in himself, just as the quicksilver, which will run\ninto any mould, yet retains the form of none.\nHe is always the same in essence, always different in expression. His many-facetted\npersonality catches every ray of light; is many«coloured as the rainbow.... the creation\nof sun and water, tears and smiles. He moves in a world full of magnificent laughter,\ngaiety, wit, inimitable repartee. He has the brilliance and the strength of some gorgeous\nflower born of the union of the sun and a rich marshy soil. He is a visitant from Olympus\nwho has brought with him some of the romantic devilry of the old gods. In his jovial robust\nspirit there is none of that sentimentality which we find, for instance, in Pierrot, mooning\naround with his cat and his rose and his floppy ruff. For Pierrot Is essentially artificial,\na dry and powdery figure, not the son of a god but the son of a barber: he was cradled\nin a powder box and his ancestry is mixed :he is no true son of Italy; has nothing in\ncommon with those greater figures of an earlier and finer age. But Arlecchino .... why,\nhe is as strong, as teeming with life both coarse and delicate as a rich manure heap, as\ngraceful and gaily coloured as the rose which blooms above. Philosopher and ragamuffin\nfused together; god and beast packed tight in a spangled coat and particoloured hose.\nPerhaps it was because he was really so dominant a figure in the Commedia, perhaps\nbecause the compiler of the 44 Theatre italien \" was himself Arlecchino and so threw even\nmore spirit into the recording of that mask than of the others, that his whimsical brilliant\npresence seems to pervade this collection from end to end. His invention is inexhaustible,\nhis spirits unflagging, his versatility amazing, his audacity superb. 4Z?\nHe calls himself 44 The Comet actor manager of a company of actors, and earnestly\ndiscusses with Columbine the choice of a play. Himself, he is all in favour of the 44 Horse\nof Troy \" .., . \" and 1 will play the Horse Or he gravely explains to Mezzetino his Inge-\nnious scheme for making 44 twelve dancing men fly without ropes and pulleys \", the death\nof the twelve seeming to him but a trifling obstacle to the carrying out of his plan.\nOr he describes his visit to the theatre as a 44 deadhead \", (i) doubtless a pointed\nsatire aimed at certain unprofitable and greedy spectators at the italienne.\nJZ? Or again, from a window in the Doctor's house, (where be certainly finds himself for\nno very good purpose), he sees Mezzetino and tells him that he is going to throw out all\nthe furniture. Mezzetino waits, and receives a mattress, a feather bed, some blankets, and\nhangings and a little child in a vest whom Arlecchino says he found sleeping on the bed.\nArlecchino also gives him a mousetrap to put in his room, 44 to prevent the mice front\nnibbling a little rind of Milanese cheese which he has been saving for ten years in his mat-\nress \" . ... and one can well believe, as Gherardi tells us, that the precipitancy of the two\nin giving and receiving the things 44 produces a very pleasant play\".. & &\nHaving consigned all the Doctor's goods to Mezzetino and himself stolen a basket of\nsilver plate from Scaramuccla, Arlecchino runs away ; but, when the back of the scene\nopens upon a hall of justice where his victims come to denounce the thefts, there is the\nübiquitous one again, playing the part of Commissioner and listening to their complaints.\nGravely he promises them justice, and in that moment his seat changes into a hideous beast,\nbelching fire, which terrifies the plaintiffs and puts them to flight. He and Pierrot roll\nCinthlo home in an empty wine barrel.... 44 the house of Cousin Diogenes \" as Arlecchino\ncalls it. He gives good advice to Aurelio on the occasion of his marriage, assuring him\nthat women, like carpets, need, for their preservation, a good beating from time to time.\nDriven to despair because the Doctor decides to marry Columbine to a Farmer, he con-\ntemplates suicide. But how to do it ? with his cutlass ? No. By hanging ? N0... 44that is a\ncommon death, a death that one sees every day, which would do me no honour. \"\n44 let us seek some extraordinary death, some heroic death, some Harlequinesque death \"\nand he thinks deeply. Then, a happy thought;... 44 I have it I I will stop up my mouth\nand nose, the wind will not be. able to escape and I shall die, \" So he tries with his hands,\nbut with poor success, since what does not escape in one way embarrasses and frustrates\nhim by escaping in another, So having heard that people die of laughing, he sets himself\nto laugh and falls and rolls upon the ground where he lies until Pasquarlel finds him in\nthis state, believes him to be drunk, calls him, brings him to himself, consoles him and leads\n(I) See The Mask page 170\n\n& EVARISTO\nGHERARDI.\n\nArleccli in o's\nVetsatility."}, {"page_pdf": 30, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.30", "texte": "& E VARISTo\nQMERARDI^\n\nhim away, thus ending a scene which it hardly needs Gherardi's note to assure us must\nhave been one of the most amusing ever played upon the Italian stage. ug?\n& But why seek to enumerate what is beyond enumeration ? For though one might set\ndown all the characters personified by Arlecchino, who shall enumerate the thousand\nvariations and slight subtle changes of inflection and interpretation with which Arlecchino\non repetition, played each part ? Born afresh every night, yet ever the same person, who\ncould predict from one moment to the next in what chariot of caprice the wind of im-\nprovisation would next carry him away ? & <£? & jg? &\nHe thinks of Columbine, for instance, and weeps great sad tears, catching them pensively\none by one with his thumbs until he realises that salt tears are folly and that the wise\nman weeps only the tears of the grape;\nArlequin quelque terns nous parut s'attendrir;\nMais jugeant la douleur inutile e mallgne,\nPar des pleurs superflus cessant de s'affolbllr,\nII se borne a verser les larmes de la vigne\nHe sits on an upturned drum nursing a flask and gives himself up to the pleasures of\ngreed. His salutations are a wonder, to see him take off his cap a revelation. He laughs,\nsings, weeps, sighs, protests, persuades, rages, makes love, steals, intrigues, dances, plays\nthe guitar. He is all things to all men, and all men find some reflection of themselves In\nhfim. He sums up in himself the genius of all the actors who have worn his mask, absorbs\nit and is still Arlecchino. They have been incorporated in him, never he in them. He is\nno more to be captured even by those who act him than is the rainbow by those who are\nseen touched with its prismatic colours where for a moment It seems to rest upon the earth.\n& How venture to write at all about so extraordinary a being ? The pen can never bring\nhim back to life, and neither can the pencil, for have not Callot, Gillot and many others\nall made the attempt without success ? Then shall we never see him again ? Let us not be\ntoo sure! Although his presence is removed his spirit is not dead and any night there may\ncome a knock upon the rdoor of the theatre, and, as it opens, we may see the god Mercury\nenter to take his old place, the same in essence whether he come in his old form or under\na new disguise,... and with him will come fresh life for the Theatre and its Art.\n\nArlecchin o\nthe supreme\nImprovisator, jg?\njg? His infinite\nvaiiety. jg?\nA hope for the\nfuture.\n\nD. N. L.\n\nNOTES AND TRANSLATIONS.\nI. & Harlequin seemed for a while to be overcome by grief; but then, judging sorrow to\nbe useless and malignant, he braces himself, ceases to weep and allows himself to shed none\nbut the tears of the vine."}, {"page_pdf": 31, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.31", "texte": "THE PREFACE TO “LE THEATREITALIEN.”\n\no one must expect to find complete plays in this collection since the\nItalian pieces could not be printed. &\n& The reason of this is that the Italian actors learn nothing by heart,\nand that, for the acting of a play, it is enough for them to have seen\nthe subject for a moment before going on the stage. In fact the greatest\nbeauty of their pieces is inseparable from the action, the success of their\nplays depending entirely upon the actors, who embellish them more or\nless according as they themselves possess more or less wit, and according\nto the good or bad situation in which they find themselves when acting.\nIt is this necessity of acting on the spur of the moment which makes it so difficult to\nreplace a good Italian actor when unfortunately he fails you. There is no one who cannot\nlearn by heart and recite upon the stage that which he has learned, but something very\ndifferent is required in the Italian actor. To say a 6i good Italian actor \" is as much as to\nsay a man who has depth, who plays more from imagination than from memory, who\ncomposes, while acting, all that he says : who seconds and supports whoever is with him\non the stage, that is to say, fits his words and actions so perfectly to those of his comrade\nthat he instantly enters into all the acting and movements which the other iequlres of\nhim In such a manner as to make everyone believe that, they were pre-arranged.\nIt is by no means the same with an actor who plays merely from memory, fie never\ncomes upon the stage but to recite as quickly as possible that which he has learned by\nheart, and with which he is so much occupied that, without paying attention to the\nmovements and gestures of his fellows, he always goes his own way, in a furious hurry\nto deliver himself of his role as if it were a burden which fatigues him too\nmuch. One may say that such actors are like scholars who come, trembling, to recite a\nlesson which they have carefully conned; or rather, they are like echoes, who would\nnever speak if others had not spoken before them. They are actors in name, but\nuseless, and a burden to their company. I compare an actor of this kind to a paralised\narm, which, however, useless, always bears the name of an arm. The only difference which\nI find between the dead arm and the useless member of the comedy is that, if the former\nbe of no service to the body it is equally certain that it does not receive from it any\nnourishment, this being divided among the members which fulfil their dutyi but the latter\n(although quite useless to the theatre), does not fail to receive as much nourishment as the\nactors who work more and are more necessary. j&\nIt may be said then in regard to the useless actors of whom almost all companies are\nfull, that they are people without life and without art, whom a capricious patronage or\nan extraordinary good luck has raised to their position, and who henceforth no longer\nregard the theatre but from the financial side and not from the point of view of the work\nit demands; always drawing a clear distinction, however, between these actors in name\nand those real actors, who, though they indeed learn by heart, yet, after the example of\nexcellent painters, know how to seek art with art, and who charm the spectators by their\nbeauty of voice, truth of gesture, perfect flexibility of manner, and a certain gracious,\neasy and natural air with which they accompany all their movements and which they impart\nto all they utter.\nBut I am wandering far from my subject <£?\njg? The question we are here concerned with is not the good qualities which a good actor\nshould possess, but the French scenes which have been acted on the Italian stage.\n& These scenes are the work of many persons of wit and talent, composed for the most\npart in their hours of recreation and by some given gratis to the company. They were,\nas it were, introduced Into our subject matter. All Paris admired them when we acted\ni\nthem, and all Paris regrets them now that they are acted no longer.\nThe favourable welcome which the public gave to the first volume of them which I pub-\nlished in 1694 excited the envy of some of my comrades, who represented that the\n\nItalian actots.\nImprovisation.\njZ? Recitation by\nrote. A? a&\n& A distinction.\nPublication ot\nthe French scenes"}, {"page_pdf": 32, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.32", "texte": "LE THEATRE\nIT ALIEN\n\nprinting of these scenes might he prejudicial to the performance of the pieces from which\nthey were taken. On this ground it pleased the Chancellor, so as to re-establish peace\nIn this company, (these are his own words) to recall the privilege which he had been so\ngood as to grant me and to require that I rendered a full obedience to his orders.\nThat which proves, however, that it was only due to envy and not to any good reason\nthat the suppression of them had been asked is that the nine hundred copies which had\nbeen seized from me and which the company had deposited with M. Octave, (i) one of the\nactors, were sold by him to several book-sellers of Paris at thirty-two sous a copy, he\nhaving, however, previously burned two or three leaves and having made his comrades\nbelieve that he had burned them all.\n£/ This volume, although prohibited, has sold so well and has attained so large a circula-\ntion that it has been reprinted not only in Holland, at Brussels and at but also in\nalmost all the provinces of the kingdom. It has even been augmented by two other volumes\nof which the one, which appeared under the title of Volume 111, was stolen from my\nstudy in MSS, and, before being given to the public, had all the pieces mutilated, so that\n1 should not recognise it; and the other, which is sold under the title of \"Supplement to the\nTheatre Italien \", and which is worth less than nothing, has been composed, from what I\nhear, by the author of either the \" Arlequiniana \" or the \" Vie de Scaramouche \".\nIt is true that these two authors are so much alike in the vileness of their style and\nthe falseness of the facts which they relate that one may easily make a mistake and con-\nfuse the one with the other without much difficulty. They are two equally bad writers and\ntwo equally false historians, each of them attributing to his hero things which neither\nArlecchino nor Scaramuccia ever did or thought. I excuse, however, the author of the Life\nof Scaramuccia in that he admits that his book is detestable, but that he was obliged to\nmake it such as it as so as to render it in conformity to the capacity of him who wished to\nset his name to it. I would likewise excuse the author of the \" Arlequiniana \" if I knew\nhis reason for introducing into it so many sorry things.\nHowever that may be, the multiplicity of dull books which appear from time to time and\nwhich do no honour to our theatre has determined me to reprint my own. &\n*£> I have augmented it with all the pleasing scenes which I had over, and with all those\nwhich have since been played upon our stage.\nAll this material has furnished me with the means to compile six volumes, which I have\nenriched with prints In copperplate at the beginning of each play, while at the end of\neach will be found the airs sung, noted down, with their figured bass accompaniment. In\na word, I have neglected nothing which I believed capable of embellishing my work and\naffording pleasure to the reader, who will, an' it please him, pass over the scenes which\nhe does not find to his taste, and which may perhaps be found among those which I\nhave myself been the first to condemn and which I have only printed because all tastes\nare not alike, and that which does not please one often pleases another. I have known\nnone but the \" Gradellns \" and the 44 Polichinelles \" which never pleased anyone ; and\nthey will never be found in any of the scenes of my collection, and if I have admitted\nthem to my Preface, it is because they have ever been at the door of the Italian Theatre.\nThose who are fond of the Italian language will find here and there scenes entirely In\nItalian, and others in French and Italian mixed, just as they were acted on our stage; with\nthis difference, however; that the Doctor and Arlecchino do not speak the harsh dialect\nof Bologna and Bergamo because they would not be understood. Those who like connected\nsubjects will find about forty complete plays which I have had printed just as they were\nacted on our stage, with the exception of the language of Pasquariello which I have cor-\nrected, and of the greater part of the scenes played by him, of which I have put only the\ntenor because they were either entirely super-added or wholly Italian,... that is to say, all\ngrimaces and posturings. &\n& These plays are not those Italian pieces to which I was referring when, at the beginning\nof my Preface, 1 said, \"one would not know how to print them because they are inseparable\nI. Giovan Battlsta Costantinl.\n\n& Fate of the\nfirst edition. &\nThe later edition"}, {"page_pdf": 33, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.33", "texte": "\"from the action, and because the Italians act without learning anything by heart \" ; but\nare taken from those plays In which the company was obliged (in conformity to the taste\nand intelligence of the greater number of its auditors), to insert much more French than\nItalian, and which the authors called \" Comedies francalses accoinodees au theatre Italien \".\n(French plays adapted to the Italian stage). Z? Z? z&\nz& In regard to certain terms used among Italian actors, I have thought it best not to\nalter them ; but, that they may offer no hindrance to the reader, I explain them. \"Lazzi\"\nfor instance, is one of them. It means 'tour', *jeu italien'. \"After having repeated two or\nthree times the same \" Lazzi \", means to say, after having played two or three times the\nsame trick, after having repeated two or three times the same Italian jest. z& z?\n& u Cantonade \" is another. It means wing, corner, side of the stage. Arlecchino's\nspeaking \"a la cantonade\" means Arlecchino speaking from the wing, the corner, the side\nof the stage. zsru&j&z&j&z&zc?j&j&j&\nI pass over In silence the fine and delicate satire, the perfect knowledge of the man-\nners off the time, the fresh and subtle expressions, the sprightliness, the wit; in a word,\nall the salt and all the vivacity with which all the dialogues in this collection are filled,\nand content myself with saying that, if the first volume which I published In 1694 and\nof which I have spoken above, merited the title of \"grenier au sel\", (a glorious name given\nto it by that divine man, that superior genius whom heaven has endowed with a knowledge\nand intelligence which it has denied to all other men to the end that all other men should\nbecome the subjects of his satires,).. I hope that this will merit the name of 'saline'\nbeing much fuller and more correct than the former. & z&\n\nLE THEATRE\nITALIEN.\n\nExplanation\nof terms.\n\nE. Gherardi\n\nA SEVENTEENTH CENTURY\nfollowing is a French Scene taken from Gherardi's \"Theatre Italien\" and served as\nPrologue to \" Le Banqueroutier\". Ed. z& & z&\n& z& & & ARLECCHINO AND MEZZETIN. z? & z? zp\nj& Mezzetin. & \" Where do you come from, my friend '?&&&&\nj& Atlecchino. j& I come from the Comedie Italienne. Those wretched people have at last\ngiven their \" Banqueroutier \" after having advertised it for eighteen months.\nMezzetin. And tell me, pray, is it a fine play ?\n& Atlecchino. 'faith, I don't know. The desire I had to criticize everything and to pass\nfor a wit prevented me from attending to the play. jg?\nZ& Mezzetin. Z? Then what do you go to the play for ?ZP <£?\nAtlecchino. What do I go for ? I go so as to enter without paying, to play the wit, to\neat and drink well without its costing me a sou and to have some money over. z?\n& Mezzetin. & Tell me, pray, this secret of yours. & &\nAtlecchino. Well then, this is what I did. In the morning I came across an Italian actor\nwhom I.„bad never met before. I buttonholed him most politely. I said to him, i( you, sir»\nare an illustrious actor, the most gifted man of the century. I should very much like to\nhave three tickets so that 1 can take two lady-friends to the Play who are dying to see\nyou act. \" Why, delighted \" said he. He gave me three tickets and I went all alone to the\nplay. As the people were crowding round the door of the parterre to buy tickets I drew two\nstrangers aside and I said to them: \" Gentlemen, I had taken two tickets for two of my\nfriends who have not turned up. They are thirty sous apiece for the gallery; if you like I\nwill give you the two for thirty sous; \" They accepted the offer, gave me thirty sous which\nI put in my pocket, and we all three entered the theatre together. z&\nI sat myself down in the middle of the first row of the gallery. When the curtain rose\nI cried out instantly, \" Fie, what a hideous scene! what devil of a dauber has daubed that ?"}, {"page_pdf": 34, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.34", "texte": "LE THEATRE\nITALIEN.\n\nWhy, 1 have seen better ones at the Marionettes. There Is no common sense in it. Look at\nthose shadows ! they aren't light enough, and those lights, they aren't dark enough \".\n& \"Quite true\", said a man near me; \"and look, even that grass is not a real grass green.\"\n\" Evidently, Sir, \" I replied, \" you are in the business ? \"\n& 44 Oh, not at all, Sir \" he responded 44 but I am a dyer and am very experienced in\ncolours \".\nThe play opened with an Actor and an Actress, and I immediately cried out, 44 What a\nbad actor I how awkward he is in all that he does! how badly he speaksl To hear him\nwouldn't you say that he was a hawker of old silver lace ? \"\n44 It seems to me, however \", said a man, 44 that the woman acts naturally enough. \"\n\"Yes, indeed\" I returned promptly, \"but she is too small; she does not fill the theatre\".\n44 But is it her fault, Sir, that she is small ? \" he queried* & &\n44 No ! but nor is Is it mine either \" I retorted 44 But I want actresses with fine figures\nfor my money \"..<£?\n& Now you know that today the Italian actors play the first scene all in French. A townsman,\nwho had never before been to the Comedie italienne turned to me and said with a very\ngrave air, 441 am astonished to hear people say that they cannot understand the Italian\nactors, for this scene has been as clear as day to me. \"jg? & &\n& At last, having cut my jokes at the expense of play, actors, scenery and everything, I\ndrew a big whistle from my pocket and began to blow on it, hissing like the very devil.\nThere was a woman behind me who said to me, \" Oh, Sir, I can't hear anything \". 44 I am\nsorry for it, Madam,\" replied I 44 but I am hissing as loud as I can\". Other people said to\nme, 44 Why do you hiss, Sir?\" 44 Don't you see,\" returned I, 44 that these idiots on the\nstage deserve to be hissed ?\" jz? & & jg?\n& The first Act came to an end. The lemonade seller came into the gallery crying, \"Lemonade,\ngentlemen, biscuits, macaroons. \" I at once called to him, 44 Hie, you rascal, haven't you\na better play to give us \" ? 44 I haven't anything to do with the play \" said he ; 44 I only\nsell lemonade \". 4* Well, let's see if your lemonade is better than the play \", and I drank\nfive or six glasses and eat lots of biscuits and macaroons. Then 1 said to him, 44 Go and get\nme two cups of chocolate ; your lemonade has chilled piy stomach \". During his absense\nI pretended to recognise a man in the parterre although I did not really know anyone. I\ncalled out, 44 Hie, Chevalier! i' faith I have something of importance to tell you \": I\nsprang from the gallery into the parterre, I mingled in the crowd and disappeared, ....and\nnow you know how I got into the theatre without paying, how 1 played the wit, how I eat\nand drank well without it's costing me a penny, and how I had one and sixpence over,\n& Mezzetin. <£? Let us talk of something else. While you were out this letter was brought\nfor M. Perillet. JC? j? JZ?\n& Arlecchino. Was it brought by a footman in yellow ?\nMezzetin. Yes.zp\nArlecchino. ( taking the letter eagerly). Give it me, give it me, it is to me that\nthis letter is addressed. It is from a widow with whom I am madly in love, (opens the letter\nand reads.) 44 Sir \" . . . . ah, how polite that is! what wit there is in that! (continues to\nread). 44 I beg you not to fail to come and see me as soon as you receive the present\nletter \" . Yes, Madam, 1 go immediately ! (he dashes off, and Mezzetin runs\nafter him."}, {"page_pdf": 35, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.35", "texte": "THE COMMEDIA DELL'ARTE. (1) CLAUDE GILLOT. 1673=1722.\n\nTHE MASK.\nApril. 1911.\n\n(1) From left to right, Pierrot, Mezsetioo, Arlecchino, Dottore, Aurelia. (probably)"}, {"page_pdf": 37, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.37", "texte": "ON ACTORS AND ACTRESSES\nby Count Carlo Gozzi.\n(1)\nTHE ACTORS AND ACTRESSES OF ITALY IN GENERAL, CONSIDERED WITH REGARD\nTO THEIR PROFESSION, THEIR CHARACTERS, AND THEIR MANNERS;\n& WRITTEN FROM THE POINT OF VIEW OF A PHILOSOPHICAL OBSERVER (I.) &\nmong all sorts and conditions of human beings who offer themselves\nto a philosophical observer, none are so difficult to know in their real\nnature as actors and actresses.\nEducated in deception from the cradle, they learn the art of masking\nfalsehood with an air of candour so completely, that it requires great\ngifts of penetration to arrive at their true heart and character.\nJourneyings from place to place, affairs of business, accidents of all sorts, experience of\ncommon life, examples furnished by their commerce with the world, the constant exercise\nof wit and intellect in rivalry, make their brains up, and subtilise their comedians nature.\nIn another chapter I intend to print a special picture of Sacchi's company, with whom\ni fraternised, and whom I helped for about a quarter of a century. At present I shall con-\nfine my remarks to Italian players in general, who are, I think, in no essential points of\nmoral quality different from those of other nations. &\nIt may be laid down as an axiom, to be accepted with closed eyes, that the chief idol\nof all actors is their venal interest. Expressions of politeness, acknowledgements of obliga-\ntion, terms of praise, humanity, sympathy, courteous welcome, and so forth, have no value\namong actors, except as parts of a fixed system of deception which they consider necessary\nin the worship of this idol. If that idol of pecuniary interest is attacked (with justice it may\nbe and the best reasons), you will not find in them a shadow of these fine sentiments.\nThe merest scent of coming profit makes them disregard and blindly sacrifice the persons\nwho have done them good ; the reputation of the whole world is as nothing to them then ;\nthey take no thought of the damage they may have to suffer in the future, blinded by\ngreediness, lulled into security for the time being, and hoping to avoid impending disasters\nby address and ingenuity. The present moment is all that actors think of.\nHot and choleric temperaments reveal their true selves more readily among this class\nof people. The cool-headed are more difficult to fathom. Their system of cozenage is not\nonly applied to persons outside the profession, from whom they expect material gains; it\nis always at work to take in and delude the members of the guild. Of course they find it\nless easy to checkmate the initiated in their own devices. But if they have attained to the\nposition of being necessary to their comrades in the trade, there is no sort of impropriety,\npretence, injustice, swindling, tyranny, which they do not deem it lawful to employ. &\n& These arts, which the progress of our century has extended to many kinds of persons\nwho are not of the profession, have a certain marked character among the tribe of actors.\nOther people, when detected, show some sense of shame and self-abasement. The unmasked\ncomedian, after all his turns and twists have been employed in vain, is so unprejudiced and\ncandid that he laughs good-humouredly in the face of his detective, and seems to exclaim\nwith indescribable effrontary; \" You are a great fool if you flatter yourself that you have\nmade a notable discovery.\nSuch is my experience. But of course it is possible that among the innumerable actors,\nmale and female, whom I have known, conversed with, and studied, some phoenix of the\none or the other sex may have escaped my observation.\n& In what concerns the practise of their art, all that these people know is how to read and\nwrite; one better, and one worse. Indeed, I have been acquainted with actors and actresses\nwho have not even had that minimum of education, and yet they carried on their business\nwithout flinching. They got their lines read out to them by some friend or some associate,\nwhenever a new part had to be impressed in outline on their memory. Keeping their ears\n\nThe chief idol\nof actois.\n& Theii system\nof cozenage. &\nTheir ignoiance\n\nProm the Translation of Qozzi'a Memoirs by J. A. Symonds.\n(2) We must remember that Gozzi is here writing of actors who had been obliged to turn from serving princes to serving the public. Ed."}, {"page_pdf": 38, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.38", "texte": "£> ACTORS &\nACTRESSES.\n\nopen to the prompter, they entered boldly on the stage, and played a hero or a heroine\nwithout a touch of truth. The presentation of such characters by actors of the sort I have\ndescribed abounds in blunders, stops and stays, and barkings back upon the leading motive,\nwhich would put to shame the player in his common walk of life.\nBarefaced boldness is the prime quality, the chief stock-in-trade, the ground-element of\neducation in these artists. Assiduous use of this one talent makes not a few of them both\npassable and even able actors.\n& These are the reasons why a civil war is always raging in our companies about the first\nparts in new pieces. The conflict does not start from an honest desire to acquire or to\nmanifest theatrical ability. The players are actuated wholly by ambition, by the hope of\nattracting favourable notice through the merit of their rdle, by the wish to keep them-\nselves continually before the public, performing ill or welEas their blind rashness prompts\nthem. «£? jg? jg? jg? jg/ fg>\nNotwithstanding all these disadvantages, Italy would be able to make a good show in\ncomparison with other nations if our theatres were better supported and remunerated.\nThere are not wanting persons of fine presence, of talent, sensibility, and animation. What\nwe do want are the refinements of education, solid protection, and emoluments sufficient\nto encourage the actor In his profession. & & & & & &\n& I have observed that the best artists of both sexes are those who have some higher\nculture; but I have also observed that the support of themselves and their families, and\nthe inevitable expenses of their wardrobe, render their professional salaries inadequate.\nThey make up for these deficiencies by spunging upon credulous tradesmen and besotted\nlovers; and thus they bring discredit upon the whole profession. & &\n& I have always laughed at those who depreciate the Influences of the pulpit, and think\nthey can instil sound morality into the people by the means of scenic shows. When Rous-\nseau maintained that the precept, \" Do what I tell you and not what I do, \" is worthless\nwithout a good example from the man who gives it forth, he uttered one of the truest\nthings that can be said. I leave people to meditate upon the inverted morality which is\nnow being diffused In our most recent dramas, the dramas of so-called culture, from the\nlips of players in the place of preachers. & & & & & &\n\nTheii barefaced\nboldness• &\nA cause of these\nevils. & &\n\nANOTHER ESTIMATE OF THE ACTOR'S CHARACTER.\nWalter Pater.\n\"Their Majesty's Servants An Essay from the Guardian.\nghould we really care for the great actors of the past could we have them before us ? Should\nwe find them too different from our accent of thought, of feeling, of speech, in a thousand\nminute particulars which are of the essence of all three ? Dr Doran's long and interesting\nrecords of the triumphs of Garrick, and other less familiar, but in their day hardly less\nastonishing, players, do not relieve one of the doubt. Garrick himself, as sometimes hap-\npens with people who have been the subject of much anecdote and other conversation,\nhere as elsewhere, bears no very distinct figure. One hardly sees the wood for the trees.\nOn the other hand, the account of Betterton, \" perhaps the greatest of English actors \".\nis delightfully fresh. That intimate friend of Dryden, Tillotson, Pope, who executed a copy\nof the actor's portrait by Kneller which is still extanct, was worthy of their friendship ;\nhis career brings out the best elements in stage life. The stage in these volumes presents\nitself indeed not merely as a mirror of life, but as an illustration of the utmost intensity\nof life, in the fortunes and characters of the players. Ups and downs, generosity, dark\nfates, the most delicate goodness, have nowhere been more prominent than in the private\nexistence of those devoted to the public mimicry of men and women. Contact with the stage,\nalmost throughout its history, presents itself as a kind of touchstone, to bring out the\nbizzarrerie, the theatrical tricks and contrasts of the actual world."}, {"page_pdf": 39, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.39", "texte": "RICCOBONI'S ADVICE TO ACTORS;\nTranslated and Epitomized, with a Biogra=phical\nNote on the Author\nby Pierre Ramés.\n\nRiccoboni9 s\nParentage. &\nHis marriage.\nfixpeiiment in\nliterary Drama.\nAn invitation\nto Prance.\n& His petition\n\nt was in or about the year 1675 that Luigi Riccoboni, celebrated\nupon the stage under the name of 44LeIio \", was born at Modena,\nbeing the son of a Venetian actor, Antonio Riccoboni, who\nplayed the part of Pantalone in the company of the Duke of\nModena in 1670, and who, still in the service of the same Duke\nAlfonso, visited London and acted there in 1679. The first ap-\npearance of Luigi Riccoboni on the stage was in the part of the\n44 Innamorato \", but the name which he then adopted was Fe-\nderico, and he only changed this afterwards to Lelio at the\nInstance of the Directress of the Company, Diana, the wife of\nGiovan Battista Costantini, who thought the latter name more\n44 theatrical\nHe seems to have married twice. His first wife was Gabriella Gardelinl (\" Argentina \")\nwho was step-sister to Francesco Materazzi, the 44 Dottore \" of the Company, but she died\nvery young, leaving no children, and Luigi Riccoboni, left a widower, then married Elena\nVirginia Balletti, an actress who was celebrated under the name of Flamlnia.\nIn Luigi Riccoboni we see the beginnings of the decline of that splendid period of the great\nImprovisator!, ol Andreini, Pasquati, Biancolelli, Martinelli, Barbieri, FiorelH and those\nwho had rendered the Commedla dell'Arte so justly famous, since he believed himself to\nbe 44 reforming \" the theatre by introducing,instead of improvised comedies, the written\nworks of the poets, such as the 44 Sofonisba \" of Trissino, the 44 Edipus \" of Sophocles\nand many more.\n& This experiment in the literary drama seems to have been successful enough at Modena,\nbut fortunately Venice, to which city he next took his company, remained faithful to its\nArlecchinos, its Dottores and its Pantalones, and Riccoboni, disappointed and discouraged,\nhad to renounce his purpose.\n& It was at this time that he decided to accept an invitation which he had received from\nFrance to form a Company of Italian actors for Paris under the patronage of the Regent,\nthe Duke of Orleans, hoping to realise there the dreams which had been so rudely dis-\nappointed in his native land. But for a second time he had to submit, and renounce his\nliterary dramas, since, even before the opening of the theatre, the Parisians plainly mani-\nfested their intention of having only such plays as they had been familiarised with by the\nItalian companies which had visited Paris in previous years.\nThe new Company opened its season at the 44 Palais Royal \", 44 In the name of God, of\nthe Virgin Mary, of St Francis of Paola and of the souls In Purgatory \" with the 44 Happy\nSurprise a play which had great success, the receipts amounting to lire 4068 in spite of\nthe fact that the places cost a third less than a century later. &\n& The Company received the title of 44 Actors of his Royal Highness the Lord Duke of\nOrleans, Regent \", to which prince the actors, before joining him in Paris, had addressed\nthe following petition which is interesting on account of the light which it throws upon\nthe organisatiou and control of such companies.\n& 44 I. The whole company humbly entreats your Serene Highness to accord to it the same\n44 grace as that shown to Its predecessors, that no other Italian company be received at\n44 Paris under any pretext whatever, even though all the actors should speak French; and\n44 that it may be absolutely forbidden to any other to make use of the costumes of the\n44 masks of the Italian Theatre, such as Arlecchino, Scaramuccia, Pantalone, the Doctor and\n44 Scapino, and also of Pierrot, which, If French has none the less sprung from the Italian\n44 theatre.\n& *4 2. The actors, desiring to serve your Majesty in peace and good reputation, request\n44 that at no time may there be received into the company any of the family of the"}, {"page_pdf": 40, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.40", "texte": "LUIGI\nRICCOBONI.\n\n44 Costantlnl, through whom they all know that the Italian actors who preceded them fell\n44 into disgrace at the court.\n44 3, They humbly ask that dances and music in the interludes may be permitted to\n44 them as to their predecessors.\n44 4. If any one of the actors should have the misfortune not to win the favour of the\n44 court and of the city that the Company may have the right to dismiss him with a gift\n44 and send for another in his place. &\n& 44 5. The actors entreat your Highness to make urgent representations at the court that\n44 they may be permitted, as in Italy, the free use of the Holy Sacraments; the more\n44 so as they will never recite anything scandalous; and Riccoboni undertakes to submit\n44 the scenarios of the plays for examination by the Minister and also by an Ecclesiastic,\n44 for their approval. \" (i)\nThe above petition is interesting not mereiy, as already said, as a specimen of such\ncontracts in general, but for the sidelight thrown upon the character of Riccoboni himself,\nwho, as leader of the Company, was presumably responsable for the clauses it contained.\nThere is something both childish and mean, for instance, in the request that no\nmember of the Costantini family should ever be accepted in the Company. It is the\nattitude of the over-righteous who says, 44 I can't come to your dance if Jones comes ;\nbecause why ? because, forsooth, Jones is different from me. How different ? Well,\nthey do say, ! and then follows a list of Jones's enormities and indiscretions.\nSuch methods are mean and wholly unreasonable; foolish, too, in matters of Art, for\nin that connection there is but one question of any value to be put in regard to a\nman : Is he a good workman ? does he act well ? paint well ? build well ? If yes, then he\nis the man we are looking for; if no, then find the man, but don't ask if he is a good\nman because no other man can act as judge in this matter; that must be left to the\nCreator of men.\nRiccoboni seems, however, to have been suffering from an exaggerated moral sense, and\nit was this which probably accounts, not only for the insertion of the second and fifth\nclauses in the contract, but for his attempt to reestablish the literary drama. His pious\nsoul had doubtless been shocked and scandalised by the elder comedians, .....his parents\nin art, and their overflowing manners and jovial plays. Reaction perhaps produced\nin him, as usually in the case of sons of overflowing fathers, an eagerness to be correct;\nhe could not better them on their own lines, therefore he would strike out in another\ndirection and seek for that moral correctness of which they had been so joyously careless,\nand establish this correctness in the theatre by a careful choice of his fellow actors and\nthrough the restoration of those seemly literary plays which could be thoroughly censored\nbefore being set upon the stage.\nIn regard to the administration of the business affairs of the Company all the actors\nwithout distinction, Riccoboni himself included, had equal shares, the funds being kept\nby one member and two others appointed to oversee the expenditure. Each one had to\nprovide his own costumes with the exception of Fabio Sticotti, to whom they were furnished\nby the Company.\nIn June 1733 Riccoboni, together with his wife and son, became a naturalised French\nsubject and in April 1737 he obtained permission to absent himself for two months and go\nto act in England, while two years later leave was granted him to retire from [the stage\nwith his wife and son with an annual pension of one thousand francs. He withdrew to\nItaly, but after two years spent at Parma he returned to Paris where he died on December 6\n1753 at the age of seventy eight, being referred to in his death certificate as 44 un ancien\nufficiel du roi\nOf the many works which he wrote for the theatre nearly all, if not all, have been for-\ngotten, but his works about the theatre have retained all their value and are among\nthe number of those to which the student of that period chiefly turns. The most impor-\ntant are : 44 l'Histoire du Theatre italien \", (Paris, 1728) with eighteen illustrations of figures\nfrom the Italian Commedia engraved by Joullain. The 44 Nuovo Teatro Italiano \" (Paris 1733)\ncontaining the plays printed and performed by the 44 Signor Luigi Riccoboni, known as\n(1) See Rasi; 44 I Comici Italian!. \"\n\nRiccoboni9 s\ncharacter. &\nAn exaggerated\nmoral sense. &\nRetirement and\ndeath.\n& His works."}, {"page_pdf": 41, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.41", "texte": "Lelio \". The 44 Observations sur la Comedie et sur la Genie de Moliere \" (Paris, 1736), the\n\"Reflexions Historiques et Critiques sur les differenfcs Theatres de PEurope, avec les Pensees\nsur la Declamation \" (Paris 1738), 44 Reformation du Theatre (Paris 1767), and the treatise\n44 deli'Arte Rappresentativa \" (London, 1728) the paraphrase of which is here given and\nwhich contains much which is well worth the serious consideration of the actor of\ntoday.\n\nLUIQI\nRICCOBONI\n\nP. R.\n\nRICCOBONI'S ADVICE TO ACTORS.\nhe author gives his advice in metrical form, using that same 44 Terza\nRima \"as Dante used for the 44 Divina Commedia and dividing the\nargument into six cantos. & & &\nIn the first Canto he occupies himself chiefly with the necessity for\nstudy on the part off the would=be actor, since it is not enough to\ntrust only to natural instinct. He quotes the popular saying that 44 only\nto histrions and comedians was no law given \" and asks why ? Was\none perhaps to believe [that no rule for the teaching of acting was given because such\nmight be held to be useless, since there is no need to teach men how to stand and walk\nand turn ? Does not every animal, from the time it wakes until it sleeps again, stand,\nmove and walk without instruction, and should not man likewise, without special instruc-\ntlon, be able to express as many passions and emotions as Nature prompts ? Surely he who\nsees in those around him the demonstrations cf fear, hope, joy, delight and fury has a\nschool in which to study ? What can be better than nature itself ? & &\njg/ But no, says Riccoboni; this is a mistake. He who has not studied long and closely by\nrule comports himself, when he comes to act, either too stiffly or in too free-and-easy a\nmanner. Doubtless there are some who say that on the stage one should imitate real\nlife as closely as possible, and that whoever seeks or desires more than this is a fool. But,\non the contrary, they are fools who do not so seek and who deny that there is\nfurther or better to be sought. Nature at times jests, and at times fails, in the shaping of\na human being. There are those, for instance, who have one leg shorter than the other,\none shoulder higher, or who squint or have some other physical defect, so that one finds\nnature has its monsters, which are not limited to one country but found among all natio-\nnalities alike. Good Mother-Nature endows some with talent and beauty, but to others\nshe acts as a stepmother, distorting their bodies or dulling their minds. & & &\n& Now, it is obvious that neither a person who is hunchbacked nor one who looks two\nways at once is to be imitated by any actor who wishes to make a handsome appearance\nupon the stage. Nor should all the excesses seen in this one or that one be copied\nalthough they should be ceaselessly studied.\n& The next point enforced is that the actor should be careful not to have a good conceit\nof himself, nor flatter himself because there flies about a good report of him, always\nbearing in mind that it is not enough to please the stupid or a few silly women. Undeserved\npraise is never stable, ard, since one person of good sense is enough to enlighten a\nhundred, the conceited actor should beware of coming across such a one, for his insolent\nglory, his self-satisfaction and his pride and presumption will then only win for him\ncontempt. It does not need a Solomon to judge him, and he will meet only too many who\nare very well able to sum him up and value him at his right worth.\n£? The second Canto treats chiefly of physical qualifications,\n& As a man who is crooked and awkward will only be ridiculous.dancing a minuet, so is\nit foolish for any, unless his figure be adapted, to choose acting as his profession, as how\ncan he hope for success in so gracious and delicate an art ? Everyone knows that it is\nnecessary on the stage to have well-formed limbs and to be without physical blemish,\nand if any should be so unfortunate as to be crooked and ugly and at the same time an\nactor, (a thing to make one's very blood run cold even on an August day!), he should at\nleast have the good sense to select roles fitted to him and beware of choosing parts that\ndemand dignity and gallantry, for in such he will be not only unadmired, but not\n\n& The need for\nstudy\nPhysical quali»\nfications*j&"}, {"page_pdf": 42, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.42", "texte": "TO\nACTORS &\n\nendured at all. & us? &\nIt is not enough, for instance, for him who plays a king to appear upon the stage\namid a noble company and wearing gold and jewelled robes. He must have the fiery eye\nwhich menaces death, the bearing at once lofty and courteous, the voice which can both\nterrify and inspire, and how are such things to be found in one physically deformed ?\n& And so is it in the playing of the lovers' parts. A sigh, a glance, a b0w,... these from\none so handicapped may be not only unbecoming but positively absurd.\nNo, the only possible way of escaping the limitations imposed by Nature lies in turning\ndefects themselves to advantage by the choice of suitable parts, so that misfortune may\nitself be made a gain. A fraudulant king or one who falsely feigns himself a knight, such\nparts as these may yield excellent results when interpreted by one who is deformed since\nit Is ever amusing to see a misshapen person imitating beauty.... and this is advice not\nto be disdained. jg?\nOn the other hand, the well-shaped actor is too apt to think that his physical gifts alone\nare enough to set him above his fellows, but it is useless to be handsome if stupidity lies\nbeneath. The danger of the handsome actor lies in moving too much by rule and compass,\ncalculating every step and acting stiffly as children do when they are set to recite some\npiece they have learned in school and make five or six set gestures to each word. &\nSuch an actor is too prodigal of gesture, but he should consult reason. What is it which\nprompts or controls him when he talks with various people in the house or street ? So\nconvinced is the author of the importance of this frugality of gesture that he goes on to pray\nthe Muse that each actor may feel as though lie were entirely deprived of arms and legs, and\nso, and so only, he wili be unembarassed and act well and his fame will go from east to west;\nand he continues praying that he himself, as actor, may understand the true and living\nsense of what he acts, for, he says, 44 I am the interpreter, I the priest \". He declares that\nin imagination he can hear them all inveighing against the 44 great reformer \" who would\nthus mutilate the actor of his four principle limbs, leaving him, in moments of the fiercest\npassion, like a 44 boccale ; \" (i.) but, let them say what they like ; if they can prove him to be\nwrong he will accept the correction gladly, but he still asserts that 44 the marking of every\ncomma with a gesture is a trespass against truth \" and that nothing is more annoying to\nthe audience.\nThe principal and necessary thing for the actor is, he asserts, to show clearly that he\ndoes not depart from the truth, for so he can almost convince his audience that what is\nfeigned is not false, and unless he attains to this he will not please them. The actor, to\ngive a natural effect, should forget not only his four limbs, but perhaps also the fifth, the\nhead; but. he must feel what he acts,..;, love, anger, jealousy; feel like a king or like\nBeelzebub, and if he really feels all these emotions, if 44 with his heart he measures his\nmovements\" they will of themselves germinatq in him and move him to the right\naction.\nIn the third Canto the actor is pictured as objecting that he can't feel like Beelzebub;\nlike Achilles, for instance, he manage to feel, but not like Beelzebub ; no, that is\na little too much to expect. The author admits that he has left the actor in a hard position\nat the end of the last canto, but that he does not really mean to send him to school to\nHell. What he means is that when right feeling is master it imparts the right movements\nto the limbs. &\nThe actor must regard just proportion and not over-pass the truth. He certainly does not\nwant to hear himself called a monkey, and the very characteristic of a monkey is that it\nimitates the reality of the living man but disfigures it by over-stepping truth.\nThe actor should remember that Nature has its limits. He must also avoid extremes,\nbearing in mind that he has to please both the poor man and the prince. But in trying\nto be human he must be careful not to lower himself. If his imagination sweeps him out\nof the direct way let him ever keep the helm turned rather towards the higher extreme\nthan the lower; And here the author, to emphasize his meaning, gives an example of the\nundignified behaviour of a king he once saw upon the stage.\n(1) A \" boccale \" la a kind of bottle.\n\n& Gesture.\nJust proportion"}, {"page_pdf": 43, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.43", "texte": "This king had assembled before him his royal counsellors to examine and try a serious\ncase. The accused was his own son, and, for the maintenance of the law, there was a\nuniversal murmur of 44 Death. ' The king, who was seated, rested his elbows on his knees\nand his chin between his hands, until, says Riccoboni, 44 he really seemed to me, in all\ngood faith, one of those Pagodas that come from China, the only difference being that he\nwas made of flesh and bone instead of clay. \" Another example of the unbecoming behaviour\nof such petty kings was in a scene where a monarch, seated opposite his great lords and\nrobed in kingly splendour, received a foreign ambassador and listened to the orator with\nhis legs crossed and nibbling a glove. & &\nOf course all the stupid immediately began to cry out, 44 how natural, how true to life!\nwhy, I did that myself! \", 44 and 1, more than once; \" which could be well believed, since\nit was a gesture worthy of base persons, but certainly not of kings. True, a king might\nhave made such gestures, but they should never have been offered as typical 44 kingly\nactions \" on the stage.\nThe actor must show nature, yes; but in an elevated and noble form, the trivial,\n(which may be becoming enough to the common people), being reserved for the streets or\nfor the house. 44 In Comedy one smells at every flower, but Tragedy is a lady to be respected\nand full of majesty \" and if the actor finds himself applauded for such actions as those\ncited above he must remember that it is false applause and that the glory bestowed by\nthe base people is of little worth. In comedy it is permissable to show the low and trivial\nlife of the city, but when a king is brought upon the stage, (although it may be that in\nreal life there are kings who degrade themselves), he should be shown as noble and with\nall the dignity and beauty at command. &\nThe actor should be careful to make himself heard to the most distant spectator and\nalso to make all his gestures visible, being heedful at the same time not to appear to those\nclose at hand to be shouting and wildly gesticulating. As for other matters, those must be\nleft to the actor's own good sense until he find the right way,\nIn the fourth Canto facial expression is principally discussed. The author declares that\ninterest is concentrated upon the actor's face. He cites examples from pictures wherein\nthe impression caused by one central action is differently depicted upon each face in the\ngroup, and says that the actor must show feeling or he will not be believed to feel, and in\nthat case all is lost. It is foolish to delude oneself with the idea that the audience note\nonly gesture, form and voice. Why, it a line could be drawn from the eyes of every spectator\nto the point where his gaze fixes itself where would all the lines terminate and meet ? in\nthe actor's face;\n& This shews the value and importance of facial expression and the actor should practise\nthis in front of a mirror. He should seek after the old mimic art, now unknown to us,\nremembering that those ancient mimes had only gestures and face by which to express\neverything, and yet the modern actor, with eyes, hands, ears and mouth at his command,\nseems often unable to express joy or sorrow or any emotion, giving, by his immobility, the\nimpression that Nature sleeps in him.\nIn weeping on the stage the actor must be careful not to disfigure his face and so\nmake the people laugh or he will produce the opposite effect from that which he desires.\nA woman crying in a scene with her lover should, for instance, give the impression that\nher emotion is real to him, but should make it appear feigned to the audience, so that\nthey may see 44 the deception joined with the truth and yet distinct \". Again, in laughter,\nthat 44 jewel without which comedy cannot exist \", It is important to laugh well and infec-\ntiously, for nothing is worse than to see an actor gay and jubilant while his audience Is\ngloomy and bored.\nCanto five is chiefly about the cultivation of the voice. It is not enough to be good to\nlook upon, says the author, if you have a voice like a parrot. Also he urges that\nthe actor study the delivery of verse and learn neither to hurry nor to drawl, and that\nin comedy he be careful to set aside his declamatory manner and use the familar discourse\nsuch as his father Adam used. &\n& The sixth Canto treats principally of the value of Silences, and the actor is advised to\ninvoke Arpocrate, 44 the great ever-silent god \". You think it is so easy to be quiet when\n\nADVICE TO\nACTORS.\n\nThe trivial to\nbe avoided. &\nFacial expres-\nsion,\n& The v o ice.\nSilence ."}, {"page_pdf": 44, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.44", "texte": "TO\nACTORS. &\n\nyou have said your say \" says Riccoboni. \" I tell you it is the hardest thing there is, and\nthat as a rule to see you at such moments is enough drive one mad \". &\n\nTHE EXTEMPORE PLAYERS' ADVICE\nTO HAMLET, THE PLAYWRIGHT.\nE. E.\nThe Actors & Write the speech as we recite it to you, spontaneously, and with a\nfacile pen ; but if you correct and polish it too much as many of your writers do, we had\nas lief a notary wrote our lines.\nNor do not put down too many bombastic phrases such as \" From this time forth \"\n\" my thoughts be bloody or be nothing worth \", but write all gently : for in the very\ntorrent, tempest, and as I may say the whirlwind of passion, you must acquire and beget\na temperance, that may give it smoothness.\n& O, it offends us to the soul, to read the flatulent phrases of a pettifogging poet\ninflating a passion into a hollow O, to amaze the commentators ; who, for the most part,\nare capable of nothing but extravagant hieroglyphics ; we would have such a fellow whipped\nfor o' erdoing Abracadapra, .... it out Mumbos Jumbo. Pray avoid it. &\nThe Play-writei. & I warrent your honours.^\n& The Actors. Write not too tamely neither, but let your own discretion be your tutor;\nsuit the language to the action, the action to the language with this special observance,\nthat you o'erstep not the modesty of nature; for anything so overdone is from the\npurpose of language, whose end, both at the first, and now, was, and is, to hold, as\nt'were, the mirror up to nature; to show virtue her own feature, scorn her own image\nand the very age and body of the time, his form and pressure. Now this, over°embellished,\nthough it make commentator glow cannot but make the ideal spectator grieve ; the\ncensure of the which one must in your allowance o' erweigh a whole British Museum of\nothers. O there be play»writers whose works we have read, .... and heard others praise\nand that highly.... not to speak It profanely, that having neither the thoughts of\nChristians, nor the language of Christian, pagan nor man, have so written and rewritten\nand corrected and recorrected that we thought some of nature's journeymen had made\nphonographs and not made them well, they reported humanity so abominably. &\n& The Play writer. I hope I have reformed that indifferently with my plays, Sirs.\nThe Actois. O, reform it altogether. And let those that copy down our clowns' parts\nwrite no more thereto than has been spoken and omit nothing neither: for there be some\nwho will waste time in pondering and set on some quantity of barren commentators to\nponder too, though in the meantime some necessary question of the Drama be then to be\nconsidered. That's villainous, and shows a most pitiful ambition in the sage that uses it.\nGo, make ready your <£? <£?"}, {"page_pdf": 45, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.45", "texte": "SCHUBLER. 1729.\n\nTHE MASK.\nApril. 1911."}, {"page_pdf": 47, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.47", "texte": "THE ENGLISH\nSTAGE IN 1911.\nA DIALOGUE BETWEEN A CRITIC AND A PROFESSIONAL PERFORMER.\nby Allen Carric.\nTHE PROFESSIONAL.\n£? Why are you always grumbling against\nthe modern English Theatre as If there were\nnothing good to be said about it &\nTHE CRITIC.\nBecause there is nothing good to be said\nabout It. It is intoxicated with itself. It does\nnothing to be at all proud of and yet deceives\nitself that it is doing admirably. Its idea of\nbeing up-to-date is to put back the hands\nof the clock. All its energy is concentrated\nupon this task and upon the still more\nhopeless task of proving this error to be the\ntruth. & & & £>\nTHE PROFESSIONAL.\nI am amazed to hear you say this. I\npresume you do not include certain talented\nactors and actresses in your wholesale abuse\nof the modern- stage ?\nTHE CRITIC,\nIt depends upon who you mean by 44 cer-\ntain talented actors and actresses\". There are\ncertainly a few men and women on the\nmodern stage who are remarkable actors\nand possessed of distinction and taste, men\nand women of fine and interesting character,\ncharming manners and fascinating country\nhouses. But when the individual makes no\nattempt to alter the vile conditions with\nwhich he is surrounded because those condi-\ntions in no way affect him, then he lays\nhimself open to be criticised as part and\nparcel of the modern theatre. &\nTHE PROFESSIONAL.\n& What can he do but go on doing his\nbest ?\nTHE CRITIC.\nHe can protest against the bad conditions,\nand his protest, if sincere, will bring about\nbetter conditions. & & &\nAs it Is he remains silent,... he lies by\nhis silence. Mark Twain puts the case clearly\nIn one of his books :44 It would not, \"he\nsays, 44 be possible for a humane and intel-\n-44 ligent person to Invent a rational excuse\n44 for slavery; yet you will remember that in\n44 the early days of the emancipation in the\n44 north the agitators got but small help\n44 or countenance from anyone. Argue and\n44 plead and pray as they might, they could\n44 not break the universal stillness that\n44 reigned,\" they were met, 4<all the way down\n44 to the bottom of society.... by 44 the\n44 clammy stillness created and maintained\n44 by the lie of silent assertion ... the silent\n44 assertion that there wasn't anything going\n44 on in which humane and intelligent people\n44 were interested\". & &\nThe modern theatre meets all attacks on\nits worthlessness and proposals for its Im-\nprovement with just this 44 lie of silent as-\nsertion \".\nTHE PROFESSIONAL.\nAgain I am amazed to hear you say this.\nTHE CRITIC.\nBut it is only what everyone else knows\nand doesn't say. 44 The universal conspiracy\nof the silent assertion lie is hard at work\nalways and everywhere, and always in the\ninterests of a stupidity or a sham, never in\nI\nthe interest of a thing fine and respectable.\"\nDon't imagine those are my words. Again\nthey are Mark Twain's. &\nTHE PROFESSIONAL.\n& May not the reason for remaining silent\nbe a tasteful desire not to interfere ?\nTHE CRITIC.\nNo, for there is a time for good taste in\nsuch matters and a time limit also. In my\nopinion you have exceeded the time limit\nby thirty or forty years and have not a leg\nto stand on. You would do better to admit"}, {"page_pdf": 48, "page_imprimee": "182", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.48", "texte": "& THE ENGLISH\nSTAGE. & &\n\nit than to waste your time and the patience\nof the century by brazening it out with an\nair of slightly astonished and offended\ndignity. & &\nTHE PROFESSIONAL.\n& Would you kindly inform me what you\nthink would be the best thing for us to do\nso that we might have something to guide us ?\nTHE CRITIC.\nWhy not ? ... although you are not sin-\ncere in your request. & &\njg/ Begin by remembering that you have the\ndisadvantage of being insular and art makes\nno allowances for this misfortune. Take the\ntrouble to go abroad so as to study the work\nof your contemporaries. Visit Paris, Berlin,\nMadrid, Munich, Vienna and Moscow more\noften ; and then do not forget that there\nare possibly still more Important places for\nyou to visit,... Warsaw, Cracow, Amsterdam,\nNaples, Palermo, Budapest; and even then\nyou have not exhausted the list of places\nwhere the theatre shows more profitable\nactivity than you are showing in London,\nand where life is to be seen in a more\nnatural pose. JZ? <£?\nTHE PROFESSIONAL.\n& Well, I have been to Paris, to Berlin and\nto Moscow. <£? & &\nTHE CRITIC.\nAnd did you learn nothing there ?\nTHE PROFESSIONAL.\nWhat is there to learn ? I saw rather\neccentric pieces in Paris, queer pieces done\nin a queer way in Berlin, and downright de-\ncadent things in Moscow. &\nTHE CRITIC-\nHow long were you in Paris ?\nTHE PROFESSIONAL.\nAbout a week.\nTHE CRITIC.\nAnd how long in Berlin ?\nTHE PROFESSIONAL.\nj& About ten days: but I had little time to\nsee more than two performances there for I\nwas working at the time.\nTHE CRITIC.\nAnd Moscow?., how long were you there?\nTHE PROFESSIONAL.\nThree days. £>\nTHE CRITIC.\n& And you judge the plays and performan-\nces of a nation and the life of that nation\nafter seeing them for about three or four\ndays and nights at most ?\nTHE PROFESSIONAL.\nI can tell in a moment what I like. &\nTHE CRITIC.\nThe question, my friend, is not what you\nlike, and I was not asking you to like or\ndislike anything. The question is what it is\nnecessary to Jknow. When you know thorough-\nly what is being done by your contempo-\nraries in Art you are better able to criticise\nyour own efforts, and after you know what\nthe life of Europe means you will be more\ncritical to yourself. But as you have indica-\nted, your conceit is so , abnormal that you\nare unable to - recognise the good things in\na piece of foreign work when you see it.\nI don't want you to be madly enthusiastic\nabout the work of strangers, but you might\nfor your own sake remember that these\nforeigners are your nearest kin,... artists\nall the world over belong to one family,\nand one would think itjmight bring aflittle na-\ntural warmth to your body to witness the\nwork of a brother artist no matter to what\nnationality he belonged.\nTHE PROFESSIONAL.\n& What you say is possibly very correct if\nits expression is a little exaggerated. Un-\nfortunately I have no time to enjoy myself\nin the way you propose.\nTHE CRITIC.\nAs I suspected you have no time to devote\nto the study of the work of your contempo-\nraries. But let me tell you that you have no\ntime to postpone it any longer. You have\nhardly time to extricate yourself from a dan-\ngerous situation. & & &\nTHE PROFESSIONAL.\nSir, you exaggerate! The condition of\nthe English stage is not, certainly, all that\nit might be, but it compares favourably with\nany other stage of modern times.\nTHE CRITIC.\n& I have so often heard you and your fel-\nlows say this that I begin to think that it\nmust be a quotation from Pinero. Pray how\ndoes it compare favourably ?\nTHE PROFESSIONAL.\nWell, we have as good actors and actresses,\nwe mount our plays as well as or better\nthan foreigners, we have as great play-\nwrights. &\nTHE CRITIC.\nWhat playwright have you of the first\nrank ?\nTHE PROFESSIONAL,\nOur Shakespeare. & &"}, {"page_pdf": 49, "page_imprimee": "183", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.49", "texte": "& THE ENGLISH\nSTAGE.\n\nTHE CRITIC.\n(i Our Shakespeare \" indeed ! Why, you\nlet the Germans do more honour to him than\nyou will do yourselves, (i) It is wonderful\nhow you flourish the name of Shakespeare\nwhen you want to win an argument,.... it\ncosts so little .... and when you want to\nwin credit for your country you drop him\nlike a hot penny ... it costs too much. Yes,\nyou have the greatest playwright, but for\nall he is honoured in England he might be\nthe worst. When it comes to acts instead of\nwords you all of you with one accord cry\nout \" it won't pay; Shakespeare may be art\nbut it isn't business \". Instead of having a\ncontempt for anyone who was heard to utter\nsuch unpatriotic sentiments you think such\na one rather brave and call him a true\nEnglishman. It is disgusting. &\nIf any other nation could boast this dra-\nmatist as its son the whole land would have\na Shakespeare Festival in every city and\nvillage; the theatres of each centre such as\nBirmingham, Manchester, Bristol, Liverpool,\nStratford-on-Avon, Newcastle and many other\ntowns would each give at least sixty perfor-\nmaces of his plays each year and such a city\nas London would possess no less than fifteen\ntheatres wherein Shakespearean plays were\ngiven no less than one hundred times a year,\nand one, or perhaps two theatres where no-\nthing else was ever given.JG?\nWhereas what you do i 5,.... well, you\ntalk about Shakespeare and you do nothing.\nYou give a kind of Festival yearly, but one\nof your scape-goats bears the brunt of It.\nYou think it absolves the rest from all re-\nsponsability and you heave a sigh of relief\nwhen the period has passed. As for being able\nto see a play by Shakespeare all the year\nround at one theatre or another in London,\nwhy it is out of the question. JG? JG>\nTHE PROFESSIONAL.\nBut is this our fault\nTHE CRITIC.\nMost certainly it is. If as a body you\nshowed determination to produce these mas-\nter pieces you would soon have the support\nyou need. But you show no determination,\nand you leave those leaders who do show\nany determination unless they can buy you\n(I) In 1897 no fewer than 930 performances were given in Germany\nof 24 plays by Shakespeare, In 1898 no less than 895 performances\nof 28 plays of Shakespeare. In 1910 no more than 140 Performances\nwere given in London according to Mr Waters.and this number\nincluded the Shakespeare Festival.\nand your tongue; & & &\nTHE PROFESSIONAL.\nYou are getting abusive.\nTHE CRITIC.\nPerhaps,... and speaking the truth. You\nactors are without backbone or pluck. JG/\nTHE PROFESSIONAL.\nWas Hepry Irving without backbone or\npluck ? &\nTHE CRITIC.\nSo after Shakespeare whom you tremble\nto read you bring forward Irving whom you\ntrembled to see? You take Henry Irving\nas your example, but pray what kind of\nsupport did you give him ? If you had done\nyour duty when Henry Irving was alive you\nwould have all seen to it that when he left\nthe Lyceum he passed into the National\nTheatre as head and front of the whole In-\nstitution, supported by the first gentlemen\nof the land. You could have done it, but you\nneither valued Henry Irving nor the interests\nof the Theatre as a Palace of Art nor have\nyou the grace of true affection for great\nthings. Yon love yourselves each of you in-\ndivldually, and you do not love the theatre.\nTHE PROFESSIONAL.\nWe gave Ellen Terry one of the greatest\n\" Benefits \" it is possible to give.\nTHE CRITIC.\nA Benefit! What Ellen Terry, Henry\nIrving and every good worker in the Theatre\nis entitled to is Theatres, Theatres, Theatres•\nAway with your ''Benefits\" and fuss which\ncovers a rare lot of economy. Try to let\nyourselves go next time. Demand for Ellen\nTerry a Theatre, and for every good worker\nof the first order a Theatre, and let those\nTheatres be controlled by the State or en-\ndowed by the first gentlemen of England\nwhose duty it is to support this branch of\nArt. Do you suppose that these actors and\nactresses whom you pretend to rave about\nare enjoyng the fruit of their labours ? Take\nBenson, for instance. JG? JG?\nhave you, his comrades, done for him?\nNothing. If you took him to Manchester and\ninstalled him in a theatre of his own and\nlet him work on without the everlasting\nburden of having to make two ends meet\nyou might claim to be of some use to your\ngeneration. But you have no pluck. You let\nBenson waste his energies when you might\nassist him to nurse them, because you are\nlazy and because you hate putting the ca-\npable man above you. &"}, {"page_pdf": 50, "page_imprimee": "184", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.50", "texte": "& But to return to our argument. You said\nyou had as good actors and actresses as\nthere are on the Continent, and I have just\npointed out to you how you reward them.\nWhat then have you to boast about?\nTHE PROFESSIONAL.\njg? But it's none of our business to reward\nourselves. We must leave that to the Public.\nTHE CRITIC.\nEvidently another quotation from Pinero !\nYou must leave nothing to the Public. You\nmust lead the Public in everything. You must\ndictate to the Public for you are its humble\nservants. But before being able to do that\nyou must show a little more spirit, get rid\nof your selfish leaders and put the other\nmen in their place,... the best men, those\nof most talent.\nTHE PROFESSIONAL.\n1 really don't understand you at all;\nTHE CRITIC.\nNever mind,... you will, And now about\nstage productions. Do you seriously claim to\nmount your plays better than or as well as\nplays are mounted in Germany, Russia or\nFrance ? or that your stage management is\nbetter than that of the Russians, Sicilians\nor Germans\nTHE PROFESSIONAL.\n& Certainly, far better.\nTHE CRITIC.\n<g? Then I give you up! You could mount and\nstage-manage them better, but you don't.\nYour scenery is just up to the level of your\nworst acting. You never but once gave Ellen\nTerry a background worthy of her genius,\nand as there is only one Ellen Terry you\nsay to yourselves, Why trouble to improve\nthe whole Theatre just so as properly to\nsupport one actress ? No, you will level down\nanything rather than level up to anything.\nYou are not ashamed of this for you call it\nyour practical ccmmon sense and set great\nstore by it. jg?\n& It is the same with your stage-manage-\nment . There is no standard. The Irving\nstandard was high and you have gone below\nit whilst in Europe it has been steadily ri-\nsing.\n& You realise that the first requirement of\na good stage-manager is a troupe of well-\ndisciplined actors of temperament; as you\ndo not like discipline and despise tempera-\nment you decide that you will also do with-\nout good stage- managers or anyhow make\nit impossible for them to achieve what they\nwant. &\n& My advice to you is to go abroad and see\nwhat is being done there, and to come back\nand see if you can discern the difference\nbetween what is first class in our theatre\nand what is of no class. And before we se-\nparate let me tell you that you have much\ngreater playwrights, greater actors and ac-\ntresses and greater producers in England\nthan abroad, but you cannot pick them out\nfrom the crowd and so you ignore them and\ntheir needs and rights and bring discredit\nupon your theatre through this apathy, and\nEngland is the sufferer.\n& Learn to rave less about'your home pro-\nducts and to cultivate them more. But before\nyou can do this you must get rid of your in-\ndifferent and conceited leaders who prevent\nbetter conditions for the art, and you\nmust learn that until you treat your art\nseriously and everything affecting its inte-\nrests, (not your interests), you will have the\nproud satisfaction of boasting the worst-\nconditioned theatre in Europe.\n\n& THE ENGLISH\nSTAGE. & &"}, {"page_pdf": 52, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.52", "texte": "HENRY IRVING.\n\nTUB MASK.\nApril 1911."}, {"page_pdf": 53, "page_imprimee": "185", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.53", "texte": "BOOK REVIEWS\n\nART'S ENIGMA by Frederick Jameson.\nThe Bodley Head, Price seven\nshillings and sixpence.\nr Jameson is the last of many to come\nforward and try to solve the riddle of\nthe Sphinx. Many have done so before him,\nand many will do so yet; and still the rid-\ndle,... if riddle there be, ...is not\nJS? But why should it be ? What advantage\nis there in all this talk about Art ? Can a\nman, by searching, find out God ? and what\nshall it profit him to apprehend Art with\nhis brain when the only essential is that he\nperceive it with his spirit ? Is not the dis-\ncussion of Art in the abstract somewhat\nanalogous in its futility to discussion of the\nHoly Ghost ? for there are things which one\nfeels but cannot demonstrate, secret forces\nwhich inspire and explain the whole of life\nand which yet no man could conclusively\ndefine.\nTo the world at large it is more essential\nto have an appreciation of the manifestations\nof art than an intellectual understanding of\nits nature. Pater says that it is less know-\nledge than a particular kind of temper, a sen-\nsitiveness to impressions, which is required\nin one who approaches a work of art. Whit-\nman's words, 44 All architecture Is what you\ndo to it when you look upon it \" applies to\nmore than architecture, and this quality\nwhich expresses itself in the 44 looking \" is\nnot of the brain but of the hearts\nNor is this intellectual understanding\nmore essential to the artist himself. He\ncreates; and he will create none the better\nfor continually peering into and dissecting\nthe secret of his own power and his own\nsoul.\n& The greatest artist probably could n0t....\nalmost assuredly would not trouble to, explain\nwhy he acts or creates as he does; he obeys\nsome law as profound as that which governs\nthe stars in their courses ; Is probably hardly\nconscious of the processes which produced\nthe results : even while perfectly controlling\nand compelling his material he was in his\nturn compelled and controlled by some my-\nsterious inner spirit, and before his comple-\nted work would perhaps reply as did Aaron\nto Moses : 44 I cast it (the gold) into the fire,\nand there came out this calf\nMr Arthur Symons, in the Preface to the\nnew edition of his 44 Plays, Acting and Music \"\nsays that he is gradually working his way\n44 towards the concrete expression of a theory,\nor system of aesthetics, of all the arts \";\nand again, that 44 each art has its own laws,\n44 its own capacities, its own limits; these it\n44 is the business of the critic jealously to\n44 distinguish. Yet in the study of art as art\n44 it should be his endeavour to master the\n44 universal science of beauty\nMr Jameson seeks to discover the secret\nof 44 the essential unity of the several things\nwe range under the title of Art\", being\nsure that whatever is 44 included under one\ntitle will be found to have a vital bond of\nunion \" and his object is 44 to trace out that\nbond in the matter of art, and to discover\nsome of the essential characteristics of the\ndifferent things it unites in one\nHe divides his essay into chapters upon\nMusic, Poetry, Drama, Novel-writing, Pain-\nting, Architecture and Technique, and natu-\nrally the chapter which interests us most is\nthat upon Drama. But we come to it a little\ndoubtful of Mr Jameson's fitness fot the\ntask he has set himself,... the serious dis-\ncussion of Art,... after reading in his chapter\non Poetry so amazing a statement as that Walt\nWhitman's 44 essays in poetry \" are 44 a stri-\n-44 king example of the failure of the deepest\n4* feeling to produce poetry when unaided by\n44 true artistic imagination \" and when he\nfurther tells us that, in using the poetic form,\nWhitman 44 grasps at an instrument upon\nwhich he is unable to play \"I\nWe are not surprised after this to find Mr\nJameson basing all his arguments upon a\nmisconception of what Drama really is, and\ndisappointment to the student is the inevi-\ntable result of such a method, for if the\npremises are wrong how can the conclusions,\neven if arrived at, be right ? & &\nThe author confounds the dramatic with\nthe poetic art and complains that the works\nof the poets are spoiled by the way they are\ntreated when brought upon the stage. But\nthat is inevitable, for they are complete\nbefore being brought there, and so all ad-"}, {"page_pdf": 54, "page_imprimee": "186", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.54", "texte": "dition can be only 44 gilding the lily \" with\nmore or less disastrous results. JZ?\nMr Jameson complains that 44 our ideas of\nthe relation of scenery to drama and of the atti-\ntude of the public with regard to it are unclear\nand ill-conceived \", but is this to be wonder-\ned at when one who sets out to teach others\nabout Drama is himself so 44 unclear \" as to\nwhat Drama really is, so oblivious of the\nfact that its essence is in action, not words,\nand that a written play bears as much rela-\ntionship to a living drama as does a fossil\nleaf to a similar leaf bursting from its sheath\nin spring ? & & jtsr\nA piece appears \" overweighted\" with\nscenery because the whole work, the\naction, the place, the sound,... has not deve-\nloped together to create one impression ; the\n44 piece \", that is, 44 the word \", is already\ncomplete in itself, a perfect literary work\nof art, and any addition at all will be 44 over-\nweighting \", and this will ever be the case\nwhen one artist tries to add to another's\ncompleted work of art.\nWould it not, for instance, have been\n44 overweighting\" had Botticelli put the colour\nof his Venus, not upon his canvas, but upon\nthe sculptured Venus dei Medici, she being\ncomplete as she was ? Or had Ghiberti chased\na fine set of metal armour and attached it\nto Donatello's figure of Gattamelata ? Here\nof course I do but re-echo the opinion expres-\nsed originally by Mr Gordon Craig in his\nessay on 44 Plays and Playwrights, Pictures\nand Painters in the Theatre \", (i) where he\nwrites as follows.\n44 Suppose we look at a picture by Signo-\n-44 relli, the famous one of the Berlin Gallery.\n44 1 fail utterly te [believe that a stirring\n44 quartett playing hard at the same time\n44 would assist our eyes; or that some one\n44 reciting to us simultaneously the 44 Birth\n44 of Pan\" would bring out the qualities in\n44 the picture. It would only confuse.\n44 Supposing we are listening to the Pa-\n-44 storal Symphony by Beethoven. I do not\n44 believe that a panorama of haymakers\n44 making hay, or a pleasant voice reading to\n44 us from Spenser's 44 Shepherd's Calendar \"\n44 would add in any way to the understanding\n44 or the enjoyment of those qualities which\n44 are in the Symphony. It would only\n44 confuse.\" &\n& And how right he Is, and how necessary\nit is that we all re-echo the statement.\nIn fact all this discussion as to how\nShakespeare should be put upon the stage is\nreally but a shirking of the larger issues;\nof the truth that the theatre should have\nno need to call in Shakespeare or any other\npoet at all, but should resume its old inde-\npendence, an independence of the other arts\nsuch as characterised it when the great Im-\nprovisators were the creators as well as\nthe actors of all that was set upon the\nstage.\n(1.) \"The Mask.\" December 1908\n\nADAM'S DREAM and Two other Miracle\nPlays for Children, by Alice Corbin.\nCharles Scribner's Sons. &\nrphis little book contains three plays, Adam's\nDream, 44 The Star of Bethelehem \" and\n44 Easter Morning \" together with stage de-\ncorations and suggestions for the colour\nschemes and costumes used in the plays, line\nillustrations of some of the scenes, and music\nfor the songs and choruses.\nThe whole possesses a certain unity owing\nto the fact that the author did not merely\nwrite these down, but herself set the pieces on\nthe stage, and seems to have grasped in\nrelation to her little plays a truth to which\nmany are blind :.. . that the words are only\na portion of a play, and that scene and move-\nment must be considered from the outset\nas factors of equal importance and not merely\nas extraneous additions when the 44 piay \"\nis already a completed thing; and she is\nfollowing a right train of thought when she\nwrites in her Preface of the visual stand-\npoint as that in which \" fully one-half of\nthe artistic importance of a play consists \"\nand tells us that she shaped her own plays\nso that \" colour and the natural and simple\ngrace of movement make up more than half\nthe mystery. \"\nOf course not having seen the plays acted it\nis really impossible to do them justice, for the\ncolour may have been bad, the movement far\nfrom graceful or natural; and then it would\nbe just to remind Miss Corbin that the good\nintentions which she shows in her Introduc-\ntion count little unless technically she is\nable to perform the miracle as well as chro-\nnicle it. & & & &\n& The little pieces themselves have much\ncharm of style and the book is heartily to be\nrecommended to those on the lookout for\nchildren's plays. We like, too, the little\nPrologue:\nOur play begins, be quiet all,\nAnd clap not till the curtain fall;"}, {"page_pdf": 55, "page_imprimee": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.55", "texte": "'Tis Adam's Dream \" we mean to show,\nAnd you will like the play we know,\nSo please be quiet!\ni .... advice which might well be followed\nby audiences in larger theatres and of older\nfolk, and so, to quote the words of Mr Furst\n.n The Mask, 44 prevent a vulgarity \", since\n44 Applause is the flattery of the strong by\nthe weak \".\n\nI COMICI ITALIANI by Luigi Rasi.\nF. Lumachi; Florence. Price one hundred\nand fifty francs.\nJ. S.\nJn this work, the result of tireless and\namazing patience, and skilful, well-directed\nand discriminating research, Professor Rasi,\nthe distinguished head of the Florentine\nScuola di Recitazione, gives us a complete\nBiographical Dictionary of the Italian actors\nfrom the early days of the fifteenth\ncentury down to the late nineteenth\ncentury.\n& Professor Rasi has brought profound\nscholarship and an enthusiastic delight in\nhis subject to the preparation of his work.\nHe has searched libraries in all lands, studied\ndocuments, delved among old parchments ; he\nhas unearthed things forgotten for centuries;\nhe has brought to light facts about the\nlives of comedians whose very names had\nbeen forgotten, and he presents all this\naccumulated treasure to us further enriched\nwith innumerable illustrations in three large\nvolumes. & &\nCertainly his book is a remarkable achieve-\nment, and those who desire to know\nsomething of the Italian actors can go to no\nmore convenient and well-arranged source to\nsatisfy their curiosity. &\nHere they will find the lives of Andreini,\nMartinelli, Fiorilli, Gherardi, Riccoboni and\nall that splendid band who rendered the Ita-\nlian Theatre so famous in the sixteenth\nand seventeenth centuries; they will find\nheir portraits and their horoscopes, the record\nof what they did and of what they wrote.\nEvery page is full of valuable information,\nvivid with rare illustrations, alight with\nquaint anecdote grouped and arranged by\none possessed of a store of knowledge, a\nwell-stocked library and a facile pen.\nIndeed, we admire Professor Rasi's book\nso much that we fear lest our expression of\nthis admiration should seem insufficient in\nwarmth, incomplete In description, especially\nto the author himself, whom we should par-\nticularly like to convince of our sincere\nappreciation of his fine achievement.\nWe are glad to have been the first to intro-\nduce this remarkable work to English readers,\ngrateful for the information it has given us,\nhappy to seize this opportunity of publicly\nexpressing to Professor Rasi our appreciation\nof and gratitude for several little services\nwhich he, so rich in knowledge of, as well\nas in objects of historical value relating\nto, the Commedia dell'Arte has rendered\nto The Mask in its preparation of the\nnumbers which it has especially devoted\nto that most interesting phase of the Italian\nTheatre. JZ?\n\nDRAMATIC VALUES, by C.E. Montague.\n& Methuen. Price five shillings net.\nJYI* Montague is a good writer and goes in\nfor criticism. He criticises the theatre\nand forgets to inform himself thoroughly\nabout the theatre. He knows something about\nMoliere and his period, something about\nIbsen's period, a little about the Commedia\ndell'Arte, and he goes ahead.\nThen of course he has been obliged to\nstudy the plays of Synge, Masefield, Shaw\nand Wilde, and so he knows a good deal\nabout these things, and, writing well upon\nthem, he gives us great pleasure when we\nread. £> &\nIn the meantime some necessary question\nof the theatre be then to be considered,\nand of that Mr. Montague knows but little.\nBut how well he writes, how delightful\nare his words about the plays of Mr. Synge\nand the tragedies of Mr. Masefield I It is\nonly when he attempts to analyse the theatre\nand its yet unformed art that he writes in\nso queer away, saying that the three strict\nelements of great acting are, 44 a plastic\nphysical medium, a finished technical cunning,\n44 and a passion of joy In the thought of the\ncharacter acted \". All of which is, of course,\ntalking nonsense. £?\n& Again in the same essay where he speaks\nof Coquelin filling the impish valets of Moliere\n44 with a vehemence of life that no one had\nthought of before \" he reveals his ignorance\nof theatrical history. This tradition, this\nvehemence of life, was in these impish\nvalets even before Moliere copied them into\nhis book. Gherardl, Andreini, Fiorelli, Dom-\ninique Romagnesi, Martinelli, were all far\ngreater actors than Coquelin and greater\neven than Moliere in that they created these\nsame valets whereas the poet merely made\na record of their words and acts which the"}, {"page_pdf": 56, "page_imprimee": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.56", "texte": "modern actor simply repeats word for word\nand act for act. jgr\nThis It is to be a grand traditional actor,\nand that he is faithful to his old masters\ncan be his proud boast. He cannot claim to\ncreate nor can another claim for him that\nhe fills these roles 44 with a vehemence of\nlife no one had thought of before. \"\n\nTHE ADVENTURE by Henry Bryan\nBi'nns. A. C. Fifleld. London. Price\ntwo shillings and sixpence net. jg/\nromantic variation on the Homeric theme\nof Circe and Ulysses in which we find\nmuch of that vivid beauty and dignity of\nexpression of which Mr. Binns has already\nproved himself possessed in 44 The Wanderer \"\nand 44 The Great Companions&\n& We read Mr. Binns' poem with so much\npleasure that we hope he will not be tempted\nto materialise his 44 Isle Perilous \" in wood\nand canvas upon any stage, nor to allow his\n44 wanderer in quest of Freedom \" to wander\ninto the theatre out of that land of poetic\nliterature which is his right and only sphere.\n\nCRITICS CRITICISED\n\nAT-1' \" ~vy\" ' v• fjn. |*jri AllJJgajg\nTHE IMPERTINENCE OF AMATEUR\nCRITICISM, by Gordon Craig.<&\nhe New Age continues to invite\npainters to chatter about the Art of\nthe Theatre as though they had studied\nthe craft of the stage. It is meant well enough,\nbut it calls forth a tremendous amount of\ntwaddle, and what is more dangerous\nexcept trash ? This latter commodity the\nsame little group will now probably manu-\nfacture and offer to the public as Art. &\nStartlingly straightforward and useful are\nthe reasons given by two writers in the New\nAge Symposium who decline to enter into\nthe trap; these two are Madame Yvette\nGuilbert and M. Henri Marcel. j&\nThe former states clearly after a life's\nexperience in the theatre that u to reply\nintelligently 44t0 the questions put by the New\nAge on the reform of the theatre it would\nneed a book, and she excuses herself from\nthe task by informing the enthusiastic editor\nthat she has a big enough task in hand as it\nIs : that is, her daily work in the theatre.\nIndeed, Madam, that work is doing more\nto reform the theatre than any amount of\ntheory will ever do. jz?\n& M. Henri Marcel excuses himself because\nhe 44 has not the technical knowledge neces-\nsary to speak with authority \". Oh, if only\nthe others had M. Marcel's modesty, his good\nmanners which forbid him to intrude in an\nargument which concerns none but those\nwho have worked all their lives in the\ntheatre! jz? jg/\nM. Jacques Blanche is an example of one\nwho rushes in and exposes his folly. He sums\nup a list of incompetent and incorrect\nstatements by saying that he thinks \" those\nwho work for the stage should have three\nqualifications: & & jgr\n44 (i) Knowledge of the various styles in\n44 architecture (obtained from the best clas-\n-44 sical and historical examples) and know-\n-44 ledge of the finest pictures in the public\n44 galleries.\n44 (2) Taste, a genuine taste, and an un-\n-44 derstanding of beauty. An appreciation for\n44 the most beautiful works of art in existence,\n44 together with an understanding of the\n44 play or opera which they undertake to\n44 interpret, quicken and emphasize plasti-\n-44 cally. & &\n44 (3) A total and decided neglect of every-\n-44 thing done on the stage within the last\n44 fifty years. \"\nThe third qualification is rather more\noriginal than the first two, and one would\ngather from M. Blanche's own showing that\nhe is eminently qualified in his own way to\nproduce in his own theatre for himself quite\na number of sweet nothings, for he seems\nto have a total and decided neglect (?) of\neverything done on the stage within the\nlast fifty years \" developed to extraordinary\njz? &\n& What and who is M. Blanche anyway ?\nWe know who Madame Yvette Guilbert is.\nShe is a professional actress, and M. Blanche\nprobably not even an amateur actor.\nI hope that some day people will learn\nthat a carpenter is not the man to consult\nwhen it comes to reforming the bakeries;\nthat policemen are no authorities upon the\nsubject of making jewelry ; and that painters,\nprofessors and editors are incompetent to\ndeliver an opinion of any value upon the very\ndifficult Art of the Theatre."}, {"page_pdf": 57, "page_imprimee": "189", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.57", "texte": "FOREIGN NOTES.\n\nLONDON\n\n\" Sumurun \" and Mr Gordon Craig\njgveryone her© is speaking, of \" Sumurun \"\nthe Pantomime brought over by Professor\nRelnhardt from Berlin. Everyone is delighted\nwith it.\nOf course the production is, as Mr Paul\nKonody, writing in the Daily Mail, rightly\npoints out, \" merely the latest development\nof the stage reform initiated by Mr Gordon\nCraig\"... a fact which will naturally in=\ncrease the pleasure of the public since Mr\nCraig is an Englishman. JZ/\nBut what does Mr Konody mean when he\ngoes on to tell us that Mr Craig was in his\nturn \"inspired by the art of Mr James Pryde\"?\nI was so curious to know what Mr. James\nPryde had to do with it that I wrote to Mr\nCraig on the subject. I got a short line in\nreply; it ran ask Pryde\"; but not having\nthe pleasure of knowing more than the\npaintings of that remarkable artist 1 could'ut\nact according to this suggestion.\n& For my part 1 have never seen any stage\nwork by Mr Pryde and 1 know of no one else\nwho has seen any either. Therefore if Mr Craig,\nstage manager, has been inspired by Mr Pryde\npainter, it seems quite obvious that he has\nalso been inspired by Rembrandt, by Blake,\nby Fra Angelico and by Leonardo da Vinci,\nand it is only fair to these gentlemen to\ndrag them in somehow. & & &\nBut surely some credit is due to those\nmost responsible for producing the man,\nthat is, his parents. & .a\nI look forward to Mr Craig's return to\nLondon ; at present he is in Paris arranging\nfor the production of .., . but I must follow\nthe precedent of the London Theatre and be\nvery mysterious about it. R. S.\nMr Whelen1 s new\" Dusseldotf\" plans.\nWhelen has not yet obtained the capital\nhe requires to launch another Repertory\nTheatre of problem plays at us. But that is\nnot surprising, for in a recent article he asks\nfor money so as to make a theatre \" with a\ndramatic school attached on the Dusseldorf\nmodel \" As if England wanted to copy\na German model ! &\nWhat Mr Whelen can be thinking of is\nnot clear. Is he really so pessimistic about\nthe originality of the English?....\n\" The Dusseldorf model \"... tut! M. P.\nSalome: Realism versus the Censor. &\nIdealism delights people so much that they\nwill even take liberties with the law of\nthe land to get it.^s?\n& The New Players' Society has produced\n\" Salome \" at the Court Theatre, paragraphi-\nng their performances as 'in defiance of the\nCensor\".\n<£? \" Salome \" is a realistic piece about a\nlady who parades the stage in an almost\nnude condition saying she will kiss the lips\nof John the Baptist. She does it, and gets\nwhat used to be called toe-koe for it. In fact\nthe poor girl is killed.\nNow what the whole fuss is about is never\nclear. We go away from the performance quite\nunmoved and utterly worn out with listening\nto the conscious everlasting chant which the\nmarionettes and that hussy the leading lady\nhave kept up. We want a cup of tea; we want\nto get back to our fresh old garden or even\nto our stuffy old study where our books seem\nyoung and innocent with their old wisdom\nafter the terrible experience at the Court\nTheatre.\nThe performance was not so bad except\nthat it was awful. There were good actors\nacting worse than ever before. There were\npretty dresses looking sillier than ever.\nSweet voices forced themselves to utter fool=»\nlish or feeble sounds and graceful and well=\nbuilt bodies bent themselves jnto horrid\nshapes. & &\nAnd all for Hecuba=Salome, for not a\nsoul on the stage was expressing anything\neither experienced or felt; all was so much\nrepetition,... a pumping up of stray emotions\nfelt once by some one now long dead:\nWhat folly then this kind of mumming is !\n\" We will produce Salome \" said the New\nPlayers' Society, because:\ni. It is a prohibited play.\nа. Because Oscar wrote it.\n3. Because it's sure to make a sensation.\n4. Because it must make a sensation.\n5. Because we'll make it make a sensation.\nб. Because like the cat we will walk by\nourselves.\n7. Because we have to."}, {"page_pdf": 58, "page_imprimee": "190", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.58", "texte": "jg? But this good Society has no answer to\nmake when we ask, why didn't you set about\nmaking a sensation in an original way so\nas to be sure of making at least that. ? &\nMiss Loie Fuller at 44 His Majesty's.\"\nLoie Fuller has for some unaccoun-\ntable reason accepted a little engagement\nat His Majesty's Theatre to help in some\nproduction. It has not transpired what\nshe will be asked to do, but from certain\nindications it can be gathered that the task\nwill not be an arduous one nor the engagement\nfor more than a few\n44 Macbeth\" at His Majesty's Theatre.\nJt Is pity Sir Herbert Beerbohm Tree couldn't\nspare Mr Gordon Craig the time he asked\nIn which to superintend 44 Macbeth, \"... that\nis to say, eight short weeks.\njg? It is a pity because London is just learning\nthrough the 44Daily Mail \" that the German\nwork 44Sumurun\" is 44the latest development\nof the stage reform initiated by Mr Gordon\nCraig \" and London is going crazy with de-\nlight over that piece of stage-craft, and\nEngland would probably have been glad to\nsee the work of one of her own sons. jg/\nOf course it is not always convenient for\nSir Herbert to supply the demand, but he\nshould not have let a few extra weeks' work\nhinder ' what promised to be an exceptional\nproduction from every point of view. jg?\nAs It Is, Sir Herbert promises to proceed\nalone with the work, taking for himself\nprobably twice eight weeks, or at any rate\nexceeding eight, and we may expect as ad-\nmirable a production as Sir Herbert gene-\nrally manages to concoct. & &\nWe shall see witches in the air, no doubt,\nand all the actors will be forced to take a\nback seat,... or rather, nearly all the actors,...\nand everyone will be pleased with himself,\nand the receipts will, we trust, reach the\nsame figure as those for 4<Henry VIII\" which\nhas been an overwhelming success. jg?\nBy the way, I hear on excellent authority\nthat very little money is going to be spent\non the production of \" Macbeth \"; in fact,\nevery penny is being saved... presumably for\nthe next fairy play. jgr\nAnd, again by the way, it has never been\nthoroughly explained why Sir Herbert did\nnot seize the opportunity offered to him to\nproduce 44 The Blue Bird\" at his theatre\ninstead of letting it pass to Mr Herbert\nTrench who, as everyone knows, made much\nfo it. & jgr\n\nJ. B.\n\nDUB L I N\nThe Abbey Theatre's Success.\nJanuary 12th was a memorable occasion\nin the history of the Abbey Theatre ;in\nfact I may say.... and I believe subsequent\nevents will prove me right,.... in the his-\ntory of the modern theatre as a whole,\nbeing the occasion of the first public use\nof the new scene for the poetic drama\nconceived, constructed and patented by Mr.\nGordon Craig.\nThe triple programme consisted of a\nfirst performace of 44 The Deliverer \" Lady\nGregory's tragicomedy, a revival of 44 The\nflour Glass \" by Mr. W. B. Yeats, and 44 The\nFull Moon \", a Comedy in one act also by\nLady Gregory.\n& The method of decoration employed for\nthe two former was invented by Mr. Craig and\nused by him for the famous Art Theatre\nof Moscow where, to quote the Abbey Theatre\nProgramme, 44 it will make possible a per-\n-44 formance of the full Hamlet, with a diffe-\n-44 rent decoration for every little scene, so\n44 rapidly can the scenes be changed. 44 Tiiis\nmethod, \" continues the same programme\nnote 44 does not aim at effects of realism,\n44 but at a decoration of the stage almost\n44 infinite in the variety of its expression\n44 and suggestion, and for the first time\n44 makes possible effects of lights and\n44 shadow various, powerful and delicate \" :\nand the note concludes, 44 Mr. Craig has\n44 given us the right to make use of his\n44 patent in Ireland, with the generosity of\n44 a great artist and because he respects our\n44 work and ambition \". &\nThis scene consists of a series of portable\nscreens capable of an infinite variety of\neffect; They are as plastic, as limitless in\ntheir potentiality as clay in the hands of a\nsculptor, as fluid in their capacity for change\nas the line which follows the draughtsman's\npencil, and yet as obedient to law, as closely\nallied one to another, as mathematically\nprecise in their movement as the notes in\na piece of music. With these, and these alone\nthe scenic artist can conjure up before us\nwalls, columns, corridors, halls, stairs, exits,\nentrances ; so elastic is the material that it\nmay widen to a spacious piazza or narrow\nto a secret winding way ; it may be trans-\nformed before our eyes from a palace hall\nto a prison cell, and this fact minimises\nfor the managers of the Abbey Theatre some\nof the limitations hitherto imposed upom"}, {"page_pdf": 59, "page_imprimee": "191", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.59", "texte": "them by the structural conditions of their\nstage.\nMr. Yeats himself stated the advantages\nof Mr. Craig's invention as follows; \" The\n44 primary value of Mr. Craig's invention is\n44 that it enables one to use light in a\n44 more natural and more beautiful way\n44 than ever before. We get rid of all the\n44 top hamper of the stage all the\n44 hanging ropes and scenes which prevent\n44 the free play of light. It is now possible\n44 to substitute in the shading of one scene\n44 real Sight and shadow for painted light\n44 and shadow. Continually, in the contem-\n-44 porary theatre, the painted shadow is\n44 out of relation to the direction of the\n44 light, and what is more to the point, one\n44 loses the extraordinary beauty of delicate\n44 light and shade. This means, however, an\n44 abolition of realism, for it makes scene*\n44 painting, which is, of course, a matter of\n44 painted light and shade, impossible. One\n44 enters into a world of decorative effect\n44 which gives the actor a renewed impor-\n-44 tance. There is less to compete against\n44 him, for there is less detail, though there\n44 is more beauty. \" 22?\nThe application of the new method to\n44 The Hour Glass \" was of especial interest\nto those who had witnessed the play pre-\nviously as affording an opportunity of com-\nparing the old system with the new; and cer-\ntainly the verdict of all those present was\nall in favour of the new, which invested\nthe piece with a fresh beauty and dignity\nand rendered it infinitely more impressive\nthan of old. & &\nIndeed, the production was an irrefutable\nproof of the capacity of simple materials and\nmediums, when handled by a genius, to\nproduce beautiful results. The scene was a\nmere arrangement of neutral tinted screens,\nand the only accessories upon the stage\nwere the Wise Man's seat, built up of the\nsame neutral tinted material, the Wise\nMan's illuminated missal, bell and hour-glass ;\nbut through these scant and simple means,\nthis method of suggestion rather than state-\nment, beauty was brought upon the stage,\nand we found ourselves indeed in what The\nMask, referring to this Scene a year ago,\ndescribed as 44 that strange and wonderful\nplace called the land of imagination\nAll accessories which could distract from\nthe significance of the diamatic apotheosis\nahd been discarded, while the dramatic\nvalues were accentuated and thrown into relief\nThe costumes, made from Mr Craig's designs,\nwere, in their simplicity, perfectly in harmony\nwith the scenic setting, the graceful hanging\nrobes delighting the eye as they appeared\nin relief against the light neutral back-\nground. &\nIndeed, the whole production did more\nthan justify, it brilliantly vindicated, this\ninnovation in stage setting. &\nDublin has long had cause to be proud\nof the Abbey Theatre and the fine and cou-\nrageous enterprise being carried forward by\nLady Gregory, Mr W. B. Yeats and their\nlittle band of helpers. It has additional cause\nto be so since Friday night's performance.\nP. N.\nExtract from The Irish Times; January 13.\n|f the introduction of Mr. Gordon Craig's\nsystem does not mark 44 what the news-\npapers call an epoch, \" it has, nevertheless,\nmany striking points of merit, and consti-\ntutes a great improvement on the old staging.\nMr. Yeats has spoken of Mr. Craig's 44 inven-\ntion, \" and there is apparently a patent in\nconnection with the system. But what is\nvaluable in the new scheme does not arise so\nmuch from any 44 invention \" as from the\napplication of genius to the methods and\ndetails of staging. There is, in the first place,\na reduction of the stage furniture to its\nsimplest elements, so that the figures of the\nplayers stand out more prominently against\nthe primitive background, and attention is\nconcentrated on the human and truly expres-\nsive elements of the drama. There is next a\ncareful design and adjustment of the simple\nelements of staging which still further tends\nto secure that effect. Lastly, there is a\nsimilar care in regard to the supplementary\nelements, lighting arrangements and cos-\ntuming. The success of these aims is the work\nof the genius of an individual producer, who\ncombines with artistic and thoughtful ideas\non the principles of staging an unusual abi-\nlity to deal with the mechanical problems\ninvolved in giving effect to those principles.\nA system will work itself out in varying\nand numberless cases; but the fulfilment of\nMr. Gordon Craig's Ideas will be according\nto the measure of the ability of the indivi-\ndual producer to deal with each new piece\nas it comes up for treatment.\nThe Freeman's Journal. January 13.\nJt is one of the cardinal theories of Mr,\nGordon Craig that any particular presenta-"}, {"page_pdf": 60, "page_imprimee": "192", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.60", "texte": "tion on a stage should be a unity in which\nthe spoken words and the acting and the\nsetting and the colour should combine and\nblend to form a harmony of mood\nvivet is difficult to pass judgment on the\nnew system of stage setting, so hard is it to\nrid oneself of the tyranny of custom and\nto enter a world where a totally different\nset of canons prevails.\nMr. Gordon Craig aims at large effects\nand at giving a setting which suggests rather\nthan depicts. The system which he employs\nseeks to achieve its aim by the use of a se-\nries of screens the full height of the prosce-\nnium, which fold and open according to the\npleasure of the scene-designer. The screens\nare arranged according to a mathematical\nplan, and are destitute of any painted design.\nPainting interferes, according to the the-\nories of Mr. Craig, with proper lighting\neffects. £/\nThe setting of Lady Gregory's play was\nextremely simple. The screens were placed\nslantwise across the stage and were folded\nso as to suggest pillars. The lighting was\nfrom the top and the sides. One did not get,\nhowever, the sense of space which was\nintended by the artist. Possibly this is the\nfault of the construction of the theatre, the\nproscenium being so close to the auditorium,\nbut it seemed to be in some measure due\nto the arrangement of the background. The\nlighting again was difficult to judge, partly\nbecause of the play, and partly because one\nwas wandering in 44 worlds not realised. \"\nIf one may venture, in one's ignorance, to\nquestion, why was there so much amber\nand so little white light ? There was white\nlight in the 44 Hour Glass \"... the setting of\nwhich, by the way, was entirely beautiful\nand convincing... when the Angel enters,\nand perhaps in that we may have the answer\nto our question.\nit must be borne in mind in criticising\nMr. Gordon Craig's work that he is not\nmerely a reformer in scene mounting, he\npreaches an entirely new theory of the\ntheatre. &?&&&<&\n& Far from pretending that his scenery\ncan be employed in every play, Mr. Craig\nwould banish from the stage to the study,\nalmost every work which we call a play,\nand would substitute an entirely new art-\nform based on all the conditions..... and not\nmerely on some.... of the theatre.\nLady Gregory's play, written as it is,\nwas perhaps a severe trial to which to sub-\nject a stage-setting which aims at creating\na mood. jg? & &\nIn Mr. Yeats' Morality the setting did\nachieve, better even than the simplicity of\nthe older setting, what it aimed at. The light\neffects with sombre and heightened tones\naccording to the change in mood invested\nthe play with a new beauty.\n\nFLORENCE\nJ. S.\nArena Goldoni.\nGordon Craig, having withdrawn his\nwork for 44 Macbeth \" from His Majesty's\nTheatre, has gone to Paris.\nWhile there he has been asked to produce\nany play he might select, and with entire\nliberty, at the Theatre des Arts. He was not\nable to accept the offer.\nHe goes again to Moscow very shortly. The\ndirector of the Moscow Art Theatre has been\nseriously ill and this caused the postpone-\nment of 44 Hamlet \" for a time. £/ &\nMr Craig has also been asked to work\non a piece for production in Paris in the\nautumn. He is considering the idea. Meantime\nhis school, about which he wrote in the\nJanuary number of The Mask 1910 begins\nto come nearer realization. This will be a\ngood thing, since, to anyone who knows the\nmodern theatre, the necessity of such a school\nof experiment, following the methods and\nfulfilling the requirements set forth by Mr\nCraig, is obvious. &\n\nP A R / S\nThe Comedie Francaise and the Odeon.\nJ send you news from Paris. Yet what is\nthere new in Paris ? Paris herself Is new\nfor she is Eternal ; and there is the\nComedie Francaise, the very blush of her\nyoung cheek.\n& The plays by Moliere acted by the superb\nchildren of the ancient house are just as\nentrancing as ever. I have not been in Paris\nfor close upon thirty-five years, and 1 assure\nyou that since I have returned here 1 feel\nmyself twenty-two again. How many men\nhave written just like this I Why, then, it\nmust be true. When I left Paris to go to\nNew Zealand, there was a young man named\nAntoine who was the very latest thing, and\nnow I come back after thirty-five years and\nfind him still the latest thing; in fact they\nare beginning to speak of him as being 44 be-\nfore his time & &\njg? i saw his production of \" Romeo and"}, {"page_pdf": 61, "page_imprimee": "193", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.61", "texte": "Juliet \" and a very wonderful affair it was\nto be sure. I have never seen a better pro-\nduction. I have never before listened to the\nplay without going to sleep, but the Company\nat the Od£on recited the verse with such\nrapidity, with such youthful abandon that 1\ncouldn't sleep a wink. &\nI had been in Germany just before coming\nhere and seen such very drab performances\nin some of their cities, notably in Berlin,\nthat I was charmed to get home to the land\nof my birth and find everything so wide\nawake,.... even myself, and so I send you\nthis note. L. R.\nMadame Yvette Guilbert: Tragic Actress.\nadame Yvette Guilbert has been singing\nhere and is now touring Germany and\nother places which don't deserve the honour.\n44 Has she improved ? \" I was asked\nyesterday. &\n& 44 No, Madam, she has no t\" I replied ;\n44 and yet she is the greatest tragic actress\nof today.\n44 But 1 thought she was a comic actress? \"\n.... 44 Ah, Madam, now you are making\nfun of me \".... &\nMr Gordon Craig's new 44 Scene \".\nGordon Craig has been here bringing\nwith him his 44 Scene for the Poetic\nDrama\".\nIt has impressed the few people who\nhave seen it, and the inventer has been in-\nvited by two theatres here to produce a\nplay, and it is likely, other arrangements\npermitting, that before long we shall see\nhere the work of the man who perhaps,\nmore than any other, has been the source of\ninspiration for the modern imaginative\nwork in the theatre. &S. de S.\n«4 The Blue Bird. \" a la Russe & &\nGeorgette Leblanc has, with the\nassistance of the Russians, 44 produced \"\n44 The Blue Bird \" in a Paris Theatre. Why\nshe did not produce it alone at Saint-Wan-\ndrille no one has been told and everyone is\nguessing.\n& It is a great step forward for her to have\ngone in for a professional instead of an\namateur production, and it shows her good\ncommon-sense that she invited M. Stani-\nslawsky to do the work for her. Unfortu-\nnatelyM. Stanislawsky was too busy to accept\nbut he sent his right-hand man, the unique\nM. Soulerjitsky, to attend to the wants of\nMadame Leblanc. & &\nM. Soulerjitsky was responsible for very\nmuch of the original production of this play\nin Moscow where it was produced several\nyears previous to the English and American\nversions and his talent, or rather genius,\nfor being able to inspire the workers in\nevery branch with enthusiasm is exceptional.\nUnder him their best is bound to manifest\nitself;.... and what an organizer!\nM. Soulerjitsky took with him to Paris\nthe designer of the original production in\nMoscow, and the result has been triumphant.\nM. Egorof's designs with their towering\ncolumns and vast flights of steps have struck\nthe Parisians as delightful. It was a real\ntriumph for the Moscow Art Theatre.\nOf M. Soulerjitsky's work it is hard to\nspeak. &\nSome people, (Madame Leblanc, for exam-\nple,) speak of him as the chief machinist of\nthe Moscow Art Theatre. But if he is that\nhe is also far more. Some talk of his mar-\nvellous light effects,... but yet he is a good\ndeal more than a producer of light effects.\nI felt this while 1 was present at a re-\nhearsal which he was directing, and I came\nto the conclusion that one could only speak\nof him as one of those rare personalities\nwhich influence and make more beautiful\nand more living all that they approach.\nThe secret of the success of \" The Blue\nBird \" In Paris is the secret of the persona-\nlity of M. Soulerjitsky. &\nM. Rouche and his 44 Theatre des Arts.\"\nJifk Jacques Roucli£ has done some quite nice\n'things at his Theatre des Arts lately. 1\nsuppose that is why our genial friend\nReginald Piccadilly in the New York Review\ncalls his work \"freakish art.\"\n& M. Rouche's work is not on the same level\nas that of the Munich Theatre and is far below\nthat of Stanislawsky, but it has some good\nqualities. The theatre is neither a studio nor\na temple nor even a Chatelet, and it has no\ndefined character; hence Reggie Plccaledilly's\ndistress. He would have liked it a kind of\nmauve satin and rose-wood boudoir, I'm sure\n...and all Reggies really ought to have what\nthey &"}, {"page_pdf": 62, "page_imprimee": "194", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.62", "texte": "EDITORIAL NOTES.\n\nMr. GORDON CRAIG'S INVENTION.\npon another page we give news sent by our\nDublin Correspondant relating to the\nfirst use in that city of Mr. Gordon Craig's\nScene for the Poetic Drama, and of the suc-\ncessful results achieved, and to this account\nwe add also some extracts from the Irish\npapers relative to the same event. jg?\njgr This success is the more satisfactory\nsince it was a first performance, and the\nsystem is so radically different from any\nprevious method of stage decoration that\nthe invention naturally ran the risk of being\ninadequately demonstrated owing to insuf-\nficient knowledge of its resources on the\npart of those who used jg/\nIt goes without saying that only some\nsmall portion of the intrinsic value of the\nScene was displayed on this occasion. A\nmusician needs long experience before he\ncan call forth the melodies which are latent\nin a violin, the result depending upon the skilj\nof the artist to manipulate the instrument\nrather than upon the instrument Itself, and we\nsay this in no sense in disparagement, nor even\nin criticism of the production at the Abbey\nTheatre, for the noble work of which we have\nthe most sincere admiration. This Theatre has\nbeen designated by a critic 44 a laboratory\nfor dramatic experiment \", and everyone\nknows that those who have the courage to\nmake experiments run the risks, and one\nshould rather admire the spirit which prompts\nthem to new enterprises than criticise the\nresults which they achieve in those essays.\nThough in the present case the result seems\nto have been a triumphant success. We\nsay what we do rather in reply to those\ncritics who might be inclined to ascribe\nany Imperfections in the production to\nthe methods employed.\n& This invention of Mr. Craig's is so entire-\nly fresh, so unlike any instrument ever\nbefore put into the hands of the stage\nmanager, that it is hard for the critic to\nreadjust his mental attitude and perceive\nthat he must attrbiute any shortcomings\nto the producer and not to the method, for\nto do otherwise would be as illogical as\nto criticise a Stradivarious if it failed to\nyield perfect harmonies in the hands of an\nimperfect musician.\nMr. Craig has himself likened his Invention\nto an instrument upon which each stage\nartist will perform according to the power\nof artistry that is in him, and the simile\nseems to us a just one. &\n& One thing the performance at Dublin has\namply demonstrated, and that is the practi-\ncality of the invention. It is cheaper to\nconstruct than ordinary scenery when it\nis taken into consideration that the same\npieces are used, in varied combinations, for\nevery scene in the play and can be adapted\nfor many succeeding plays ; it is capable of\ninfinite variety; it requires less space ; all\nfacts which should have their due weight with\nTheatre directors. jg?\nThe Dublin Theatre has already used it;\nthe Moscow Art Theatre Is completing a\nproduction of 44 Hamlet\" in which no other\nscenery will be used; three at least of\nthe more intelligent of the Paris managers,...\nM. Antoine, M. Rouch6 and M. Astruc\nhave approached Mr. Craig with a view to\nintroducing it into their theatres. Is London\nin this matter, as in all else, to lag behind ?\nAre the London managers going to wait\nuntil it is brought over by some French,\nRussian or German manager and set up\nin their midst before they recognise its\nbeauty and practicality ? If so it will not\nbe the first time that London has lost\nits head over the work of Mr. Craig's imi-\ntators and followers while refusing recog-\nnition to the original from which those\nimitations derive. jg?\nWe know whet happened in the recent\ncase of \"Sumurun,\" how enthusiastic London\nwaxed over Herr Relnhardt's production.\nSome few, however, were found to recognize\nthe source and inspiration of that production,\namong them the Daily Mail from which we\nquote the following passage: &\nIs it of German origin ? The question\n44 is not raised with any view to belittling\n44 the merit of those who were quick enough"}, {"page_pdf": 63, "page_imprimee": "195", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.63", "texte": "\" to see the possibilities of a new stagecraft\n\" and to develop it to such perfect\n\" But German artists and stage®managers\n\" will be the first to admit that the move®\n\" ment of which \" Sumurun, \" is the outcome\n\" has originated in England. \" Sumurun \"\n\" is merely the latest development of the stage\n\" reform initiated by Mr. Gordon Craig, who\n•* in turn was inspired to a certain extent\n\" by the art of Mr. James Pryde. Mr. Gordon\n\" Craig began by attempting his stage\n\" reform in England. He was chilled by the\n\" indifference of the English public. He left\n*' his country and started his crusade on the\n\" Continent. His was a triumphal progress.\n** In Germany his teaching fell upon fertile\n\" ground. In hailing \" Sumurun \" as a great\n\" work of stagecraft England has begun to\n\" acknowledge the genius of one of her own\n\" children. Perhaps \" Sumurun \" has paved\n\" the way for Mr. Gordon Craig's trium®\n\" phant return. \"\n& We wonder why it is that the London\nmanagers prefer copies to originals in works\nof Art and how long they wiil continue to waste\ntheir time and money on them?\nOf course theatre has long been\nahead of them,... and now Ireland too !. ...\nWake up, England ! it's about time.\n\nINTELLECTUAL DRAMA.\nJt is good news to hear through the Daily\nMail that the \" Little Theatre \" of London\nis about to become for a few weeks the home\nof the intellectual Drama; but it is a bit\ndisheartening to learn later that the only\npeople who can supply the intellectual Drama\nare Mr Bernard Shaw, Mr John Galsworthy\nand Mr Granville Barker.\n& We always had an idea that Shakespeare\ncould be put down as intellectual as well as\nlovely, loveable, stupendous and all the other\nqualities. And Chapman, Marlowe, Beaumont\nand Fletcher, Webster, are not these\nintellectual? Was not the writer of \" Every®\nman \" intellectual ? & & &\nWe suppose what the Daily Mail wanted\nto say and didn't dare to was that the\n\" Littie Theatre \" is to be made for a few\nweeks the home of that demned dull discur-\nsive Drama. Ah! that's quite another thing.\n\nTHE FALLACY OF \" FREE SPEECH\nRev. George W. Fuller who writes on\nCensorship in the New York Dramatic\nMirror and Mr Austin Harrison who writes on\nthe same subject in the Monthly Review seem\nto be, to use the Italian phrase, \" two souls\nin one nut \" so closely do their opinions and\nsympathies coinside.\nThey both object to the limitation of the\nstage to works fitted to the needs and in®\ntelligence of a public composed of high school\nchildren or the \" young person \" , they both\nurge that the stage must enjoy the right of\nfree speech. &\nYet we cannot but feel that these gen®\ntlernen somehow or other miss the issue. For\nwhat does the stage \"want with more free®\ndom of speech than it has ? If any particu®\nlar playwright wishes to write about Reli®\ngion, Royalty, or Sexual matters what is to\nprevent him from doing so in an essay and\npub lishing his work if he can find a publi®\nslier ? But let him not think that these\nsubjects are to be discussed freely before a\nmixed audience upon a stage. We have no use\nfor them there.\nThe Censor is a hundred times a blessing\nto England.\n\nHERR REINHARDTS LAST STAND.\ng-jerr Max Reinhardt is going it with the\ndesperation of the loser who won't be\nbeaten. He is playing all his cards at once.\nPantomime, Circus, Greek Tragedy by the\nton; all has now been hastily brushed\naside by him to make way for a colossal\nproduction of Goethe's 41 Faust \" (second\npart). JS/ &\nFor this production a whole day and\nnight are necessary. There is a break at\nseven o' clock when dinner is served.\nThis idea of a protracted performance is\nof course not original; only the idea of the\ndinner is purely German.\n& The other day the Moscow Art Theatre pro®\nduced \"Crime and Punishment by Dostoievsky,\nletting the performance take two days. No\ndinner was served,... nor found necessary\nto the performance.\nThe haste to rush things forward which\nHerr Reinhardt exhibits just at present is\nbetter understood when it is known that\nthe Moscow Art Theatre is to visit Paris\nnext year. The German bubble will probably\nthen be pricked. J& G?\n\nMr. FROM MAN, PHILANTHROPIST. &\nFrohman \" and other philanthropists \"\n(how delicious!) are, says the Daily\nMail, \" going in for open air dramatic\nspectacles \". & &\nIt was to be feared; but the definite an®\nnouncement now removes the last remaining\nhope we cherished that all might yet be well."}, {"page_pdf": 64, "page_imprimee": "196", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.64", "texte": "THE POVERTY OF MILLIONAIRES.\nM Jacques Blanche has lately told the pub«\nlie that M. Rouche the millionaire is\nhandicapped in his efforts to make his thea-\ntrical scheme at the Theatre des Arts a\nfine one owing to lack of financial\nsupport. & jg? £?\nBut it seems to us that a millionaire only\nneeds artistic support. & &\n& Perhaps that is what he can't get. Why? We\nare forced to the conclusion that artists are\ntoo expensive and that M. Rouche, millionaire\ncannot afford them. & & &\nAnd yet we have known artists give their\nwork to some people. Why won't artists\ngive their work to rich men ?... t Fveryone\nknows why.\n\nAN OPPORTUNIT Y FOR LONDONERS\ngy the way people in London who do prefer\ngold to ashes, art to trash, and flagons\nto teacups will be pleased to hnow where\nthey can always be sure of hearing rich and\nlovely music most of the year round and in\na nice quiet place. Let them go up the hill\ntowards Highgate, and at Primrose Hill, where\nBlake saw angels, they will still hear the\nvoices of some of those angels yet shouting\nfor joy as of old. It is at the Church of St\nMary the Virgin, Primrose Hill that the angels\nlike best to express their happiness. On the\nfirst three Sundays of Lent the following\nmusic was to be heard.\n£/ Sequence » Tallis 3rd Mode Melody. Com-\nmunion Hymn - \"Of the Glorious Body telling\"\n(Vittoria). Anthem at Evensong - \" O Lord\nof Hosts\" (Dr. C. Tye) [about 1550 A. D.\nSequence - Tallis ard Mode Melody. Commu-\nnion Hymn - \" Therefore we \" (Palestrina)\nAnthem at Evensong - \" Save me, O God \"\n(Dr. W. Boyce) and on Refreshment Sunday\nthe following : Sequence -J. Randall. Com-\nmunion Hymn - \" Therefore we \" (Palestrina).\nAnthem at Evensong - \" Save me, O God \"\n(Dr. W. Boyce).\n& The listener to these songs will remember\nas he passes out of the quiet chnrch he owes\nremembrance and gratitude to the musical\nleader of the church, Mr Martin Shaw, a\ncomposer whose work should be more often\nheard today in London, even as it is assuredly\ndestined to he heard in the future.\n\nTHE VITALITY OF THE MUSIC HALL.\nleading representative of the London\nstage has recently been speaking very\nslightingly of the Music Hails and of the ap-\npearance in them of actors and actresses seen\npreviously only in the theatre itself. He\nseems to regard it as a folly which will, like\nthe cinematograph, (of which also he Is very\nscornful,) wear itself out in\nSuch casual critics condemn in these\nactors and actresses what they wrongly sup-\npose to be their \" desertion of the Theatre\"..\nBut consider for a moment what their offence\nis? they have been guilty of making one step\nin the right direction.\nThe modern Theatre is worn out; It\nnever was so worn out as it is today. The\nMusic Hall, cherishing as it does so much\ncreative talent of a somewhat exaggerated\norder Is very much alive. Half, if not more,\nof the music hall \" turns \" may be called\ncreative. Madame Yvette Gullbert's perfor-\nmances are the finest examples of the living\nMusic Hall. Madame Bernhardt, the most\ndistinguished of those who have turned from\nthe Theatre to the Music Hall, does no creative\nwork of the kind, but the fact of so cele-\nbrated a performer appearing on the Music\nHall stage must be accepted as the \" legiti-\nmate \" Theatre's recognition of the force of *\nwhat is known as the Variety stage. &\n& The Variety stage is the sole remaining\nlink connecting us with that stupendnus\nachievement of the Sixteenth century known\nas the Commedia dell'Arte. It is not the\nCommedia but it has certain marked resem-\nblances to it and when the \" legitimate\ntheatre sees distinguished players stepping\non to the Music Hall stage it has, far from\nmatter for complaint, the best cause for self\ncongratulation and for hope. &\n\nTO OUR READERS.\nJ. S.\nrjp/re Mask completes its third year of\nexistence with this number. 4?\n& The number of its friends increases\ncontinually.\nWarmest thanks are offered here to\nthose who have helped our work forward,\nespecially to those of our friends who\nhave helped us through the Press. &\nAnd to those who have done so much\nto prevent our existence we have only\none thing to say:... Go on preventing\nand a merry Christmas to you. Be assured\nwe shall forget you, so have no fear,\nbut.... don't, \"don't throw us into a\nbriar patch \"\n\n& ALL RIGHTS RESERVED &\nGerente responsabile, GIULIO VANZI &"}, {"page_pdf": 65, "page_imprimee": "197", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.65", "texte": "A GREAT ITALIAN CLASSIC\n(FIFTEENTH CENTURY)\nThe Most Delectable Nights of\nStraparola\n——— -\nCOMPLETE TRANSLATION.\nTwo large stout 8vo vols.*, on Superfine English Paper. About 800\npages, with 50 Coloured Plates and 90 Black Drawings. Price L 4 4s. od.\nReduced to L. 1. us. 6d. nett.\nReasons why you should buy this Edition:\n1. BECAUSE the books, in addition to being a durable monument of strong,\nnervous English, are illustrated with fifty wittv plates in colours...and to-day\nthe rage is all for coloured illustrations...to say nothing of some ninety-seven\npen-and-ink drawings in the text. 44 Gorgeous\" is the only word that can\nadequately describe many of those hand-coloured illustrations.\n2. BECAUSE, in answer to the question, What are Straparola's 44 Nights \"?\nwe reply: ihey are a collection of bright, rollicking stories in the style of\nBoccaccio...now pathetic, anon brimming over with boisterous fun and Rabe-\nlaisian humour. The laugh rings true, the gallantry is never low-minded, the\nmorality is sometimes indeed high, and in any case there is no canting smirk\nlurking at the corner of the lip: the work reeks with the joy and gaiety\nof life.\nI 3. BECAUSE the work consists of two stout 8vo volumes of some 800 pages\nin all: and, being a magnificent piece of typography, in red and\nblack throughout, will please all who like fine printing. The initials letters\nare in red, the titles of the chapters in red, also the running titles on each\npage; the paper is fine, and of the best English make and quality,\nj • ■;\n4. BECAUSE, further, to add still more to the literary value of the book,\nthe Translator has given an exhaustive Introduction, and been prodigal of\nnotes elucidating names of those persons and places not generally known,\nand drawing attention to analogous stories in Boccaccio, Shakespeare, 44 The\nArabian Nights,\" thus making the work useful to the scholar and student,\nas well as agreeable to the general public who read for the sake of pleasure\nand amusement.\n5. BECAUSE the price is for the moment absurdly low for two such noble\nvolumes, whereof the value will increase in proportion as the books get scarcer,\nlike stocks and shares that fluctuate according to the well-known law of\nsupply and demand.\n6. BECAUSE only a small number of copies have been printed, and when\nthese are sold out, or given away...the terms are nearly convertible in the\npresent case...there will be no more obtainable, as we bind ourselves never\nto reprint the book, however great the demand.\nDetailed Prospectus and two specimen plates\nmay he had for the Asking against sixpence\nto cover Cost of Postage.\nBRITISH BIBLIOPHLES ' SOCIETY.\n10 Rue de la Tribune, Brussels, Belgium"}, {"page_pdf": 67, "page_imprimee": "199", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.67", "texte": "IT\" H E MA S K|\nA QUARTERLY JOURNAL OF THE\nART OF THE THEATRE\n\"I read \" The Mask\"... Ifs excellent... Like fresh I\n\"air in a stuffy room, those who live in the I\n\"close atmosphere never know how stuffy it is\n\"till the window is opened. What a lot of colds\n\"it must cause, that \"Mask\" of yours with the\n\" fresh air whistling through its eyes and mouth !\"\nPaul Cooper.\n\"The Mask. A delight to bibliophiles, with its I\n\" budget of frank, original notions to most of\n\" which we subscribe willingly.\".\nNew York Dramatic Mirrori Nov 9:1910 ||\n\" The Mask always inspires me,'... it creates a\n\" vague vision of a new sort of joyous, over flowing\n\" dramatic art. No sort of criticism is any use\n\"to an artist but technical criticism.... criticism\n\" at once technical and philosophical, and that is I\n\" what The Mask gives one.\"\nW. B. Yeats. Irish National Theatre. I\n\" It is good, in these days of imitation and unifor-\n\" mity, to meet with a sincere and individual en-\n\" thus iasm, and this is to be found within the pages\n\"of The Mask. Never before has the theatre in this\n\" country had so earnest an advocate. \"\nBlack & White.\nHOW TO SUBSCRIBE TO THE MASK.\nWrite 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 usey 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\n7HE MASK OFFICES, ARENA GOLDONI, FLORENCE."}, {"page_pdf": 68, "page_imprimee": "200", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191104-01.1.68", "texte": "Printed for the Proprietor by Tipografia R. Lastrucci, Via dei Serragli, 104 Florence and published at The Office of \" The Mask \"\nArena Qoldoni.\n\nTHREE YEARS OLD TODAY!\nWith this Number THE\ncompletes its third volume and\nthe third year of its life.\nThose who wish it well\ncan do so in no better way than\nby sending us today a post card\nauthorising us to enter their\nnames or the names of their\nfriends upon our\nsubscribers' list\nfor the coming\nyear.\n| TURN THE PAGE FOR FULL PARTICULARS.\\\n\nTHE MASK\nBOUND VOLUMES.\n''jphe first three annual Volumes of\nThe Mask, bound in the best\nFlorentine vellum, may be had at\ntwenty shillings, (Francs 25,00, Marks\n20, Dollars 5.) a volume post free,\nfrom this office. & & &\nARENA GOLDONI, FLORENCE.\nITALY.\n\nA HISTOR Y OF PAINTING\nby Ha.ld an e M acfal I\nwith a Preface by Frank Brangwyn.\nIn Eight Volumes. Illustrated with\nTwo Hundred Plates in Colour at seven\nshillings and sixpence net per Volume.\nMr Macfall brings to his task gifts\n\" and eqiupment that ensure his\n\" ability to present a book of living\n\" interest and free from all trace\n•• of pedantry.\nLondon. T. C. and E. C. Jack.\n\nA SPECIAL OF£E_R\nWith this number of The Mask a\nportrait of SIR HENRY IRVING,\nDesigned and Engraved b y E.\nGORDON CRAIG is presented to\nall annual subscribers. &\nsubscribers may obtain copies\nof this print by forwarding two\nshillings and sixpence with their\nname and address to\nThe Mask Publishers,\nArena Goldoni, Florence, Italy.\n\n+\nL'ART THEATRAL\nMODERNE\nby JACQUES\nPrice five francs.\nPROFUSELY I T\nTREATINQ OF THE WORK OF\nSTANISLAWSKY, APPIA, REINHARDT,\nFRITZ ERLER, FORTUNY &\nGORDON CRAIG\nJR du.atdC o i n ely & Ci e\n101 Rue de Vaugirard, Paris"}]}