{"numero_id": "bm-bmtnaau-1911-10-01", "volume": "bmtnaau_1911-10_01", "ocr_sha256": "3c83fd45ff51b9d911ea3e285b0597b6ba59a79010c2f60277c8f944ddc335ab", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1911/10_01/bmtnaau_1911-10_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1911/10_01/bmtnaau_1911-10_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01", "articles": [{"article_id": "bm-bmtnaau-1911-10-01-c002", "article_bluemountain": "bmtnaau_1911-10_01#c002", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.2.2", "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=bmtnaau191110-01.1.2", "debut_caractere": 536, "fin_caractere_exclue": 1562, "texte": "LITERARY CONTENTS .\nTHE RETURN OF GORDON CRAIG TO ENGLAND • 8s-\nKLEPTOMANIA, OR THE RUSSIAN THEATRE. . John Balance. . . 97.\nTHE COSTUME OF \" HENRY VIII \" . . . . E. W. Godwin. . . 102.\nAPPRENTICESHIP IN JAPAN Lafcadio Hearn. . . 107.\nDISCIPLINE. A Note by. ..... John Semar . . . 108.\nSOME DEFINITIONS FROM AN OLD DICTIONARY\nTranslated by ........ Pierre Rames. . • no.\nTHE COMMEDIA DELL'ARTE. Some Directions. . Andrea Perrucci . . 113.\nA NOTE ON THE MEANING OF \" LAZZ1\" \"5-\nTHE FOUR LUNATICS. A SCENARIO\nAN IMPROVISATION Count Carlo Oozzi. . 121.\nTHE POSITION OF THE THEATRE. A SYMPOSIUM\nREPLIES FROM EIIenTerry . . . 127.\nArthur PInero . . 128.\nMartin Harvey. . . 129.\nGordon Craig. . . 129.\nWalter Crane. . . i3*«\nJohn Balance. . . 131.\nChristopher St John. . 132.\nGeorge Calderon. . . 132.\nAllen Carrie. . . 132.\nUNFORTUNATELY & FORTUNATELY. A Note , . Allen Carrie. . 134.\nFAKE FOLK ART Felix Urban, . . 135.\nVENETIAN COSTUME. ; Cesare Vecellio . . 137.\njp BOOK AND MAGAZINE REVIEWS. FOREIGN NOTES, jsz EDITORIAL NOTES."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c003", "article_bluemountain": "bmtnaau_1911-10_01#c003", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.2.3", "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=bmtnaau191110-01.1.2", "debut_caractere": 1564, "fin_caractere_exclue": 1856, "texte": "ILLUSTRATIONS.\nTHE DESIGN FOR THE MENU AT THE DINNER IN\nHONOUR OF Mr GORDON CRAIG (Coloured\nFrontispiece) Albert Rothensteln Face i.\nFOUR JAPANESE DESIGNS Half Tone 96. 160.\nSIX VENETIAN COSTUMES : Cesare Vecellio 139 .143.145.147.149.153.\nHEAD AND TALE PIECES .... Oliver, Borrow and others."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c004", "article_bluemountain": "bmtnaau_1911-10_01#c004", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[80]", "page_fin": "[80]", "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=bmtnaau191110-01.2.4", "titre_corps": "Design of the Menu at the Banquet given in honour of Mr Gordon Craig", "titre_sommaire": "Design of the Menu at the Banquet given in honour of Mr Gordon Craig", "signature_source": "Albert Rothenstein", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "[80]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 130, "texte": "Desing of the Menu at the Banquet given in honour of Mr Gordon Craig. In London. July 16, 1911.\nDesigned by Mr Albert Rothenstein."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c005", "article_bluemountain": "bmtnaau_1911-10_01#c005", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "81", "page_fin": "86", "image_debut": 5, "image_fin": 10, "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=bmtnaau191110-01.2.5", "titre_corps": "THE RETURN OF GORDON CRAIG TO ENGLAND", "titre_sommaire": "THE RETURN OF GORDON CRAIG TO ENGLAND", "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": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.5", "debut_caractere": 0, "fin_caractere_exclue": 1667, "texte": "THE RETURN OF GORDON CRAIG TO\nENGLAND.\n\nSOME SPEECHES MADE AT THE BANQUET GIVEN IN HIS HONOUR ON\nJULY 16, TOGETHER WITH SOME LETTERS RELATIVE TO THAT EVENT\nRECEIVED FROM REPRESENTATIVE MEMBERS OF THE EUROPEAN\nTHEATRE, AND A FOREWORD BY JOHN SEMAR.\nThe Dinner given in honour of Mr Gordon Craig on July i6th at the\nCaf£ Royal in London was a significant event. jg?\nIt was something far more than the mere acclamation of a persona-\nlity ; it was the public recognition and advocacy of a principle : something\ngreater than a public tribute to the achievement of one artist; it was\n\\\nthe acknowledgement and acceptance of an ideal which he upholds : it was\nnot merely an assembly of friends met together to celebrate the return\nof an individual; it was the gathering of a large number [of the most\nrepresentative and distinguished figures in the world of art and the world\nof society to testify unanimously to their championship of the cause for\nwhich he is striving and their belief in the aims he has in view, and\nto do honour in his person to that awakening European Theatre of which\nhe is the acknowledged representative and head.\nWhen Craig began his work he began alone so far as his contempo-\nraries went. \"Every new opinion at its starting is precisely in a minority\nof one \", and so it was in this case so far as the living were concerned,\nalthough the great traditions and the great artists of the past of both\nEast and West were on his side. jg? & &\n& He is not alone now. He has the artists with him almost to a man.\nHe has the leading figures of the European Theatre on his side. Stani-\nslawski of Moscow, Sieves! of Budapest, De Vos and Rooyards of Holland,"}, {"page_pdf": 6, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.6", "debut_caractere": 26, "fin_caractere_exclue": 2343, "texte": "Antoine and Yvette Quilberi of Paris, and in England Ellen Terry, w. R\nYeats, Martin Harvey and many more ; while others, like Professor Rein,\nhardt, pay him, however unintentionally, the slncerest tribute admiration\ncan offer the closest imitation of his work which German thoroughness\nand acquisitiveness can achieve. &\n■£? Nor is his influence limited to these prominent figures, it Is everywhere\n1 hese .-.'le a.he gr ?..tt beacons, • •.. .. but who shall keep count of the\nsmaller fires he has set alight? The Italians have an old custom that,\nas the new fire, fresh struck from the flint, is carried through the streets\nat Easter, all who wfl! may stop him who carries it and light their own\ntapers at the fiame.\nAnd so, In the years that Craig has spent away from England, he has\nbeen distributing the fire of his new discoveries and ideals,.... the fire\nwhich his genius has struck from the old traditions and the old truths,...\nin ail directions, and by Its light groups of young artists of all nations,\neach in his own place and degree, are studying and working, and\nvfsunng and preparing the ground for a new theatre which shall embody\nthose ideals. In fact, to quote Mr Max Beerbohm, Craig's influence \"is\nfestooned from point to point around Europe \", his adherents are every.\nwhere, and the number assembled at the Cafe Royal on July I6th must\nhave been small indeed compared with those who were present in spirit;\nand who, unable to testify in person to their belief or their admiration,\ncousd only, 44 with a forced cheerfulness but a full heart \" raise their\nglasses from afar. & &&^\n& There is no need to speak here of the work which Craig has accom-\nplished or to reiterate the services he has rendered to the Theatre. Those\nwho know anything of the history of the modern theatre know that he has\nbeen bailed by all who love It as an Art on the strength ol\nhss superlative merits as a producer of the Poetic Drama and by all who\nhonour it a.~. an lis.siu Joa by the dignified and uncompromi\"\nsing way in which he has up=held and fought for its noblest traditions\nand its best Ideals. & & & & &\n& That the English Theatre has not seen fit to do him, and itself, honour\nby Valuing tho»© gkfis at their true worth is only one of the many errors\nfor which England will sooner or later have to answer. &"}, {"page_pdf": 7, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.7", "debut_caractere": 26, "fin_caractere_exclue": 2391, "texte": "For years she has been told by men of brains that In Gordon Craig\nshe possesses a genius of rare quality. She has been told it now more\nInsistently than ever. She has welcomed the work of his imitators and\npupils: now she has the opportunity of profiting by his own presence.\n.€/ It will be interesting to watch the issue.\nOf course \" against stupidity the gods themselves contend in vain, \"\nand unfortunately the real talent which the English stage undoubtedly\npossesses is too often nullified by an amazing stupidity, a. blindness to\nany but personal or petty interests, on the part of the majority of those\nby whom it is controlled. &\nAs one of the daily papers, in reporting the Dinner, said, the signi-\nficance of those present, although including \"many of the best living men\nin art, the drama...; and so forth \" \" pale before the tremendous signifi-\ncance of the absentees\", and! the same paper continues that, though the\nnames of those absentees are not given, 44 one can guess and calculate\n44 and come to conclusions \".\n& 44 The knighted theatre-managers were not there, conspicuously not\n44 there. When Signora Eleonora Duse said to Mr Arthur Symons eight\n44 years ago 44 To save the theatre the theatre must be destroyed. The\n44 actors and actresses must all die of the plague. They poison the air,\n44 they make art impossible \" she meant the London west-end type, and\n44 she mortally offended its chief representatives. There was a dead silence.\n44 In a recent number of 44 The Mask \" Mr Gordon Craig developed Signora\n44 Duse's dictum, and there was at once a great outcry against the un-\n-44 heard-of enormity. Every new movement begins with an attack on the\n44 established or the effete. In order to be reproduced the seed of a plant\n44 must die in the earth to come alive again ; no death, no life. In order\n44 to save an art the bad old must go and clear the ground for the good\n44 new. Life and progress is a continual passing and renewal. In opera\n44 and the music of the concert-hall and the theatre the same Is true.\n44 New schools arise on the decay of the old; Progress leaves high and\n44 dry on the banks of the onward stream of events a number of works\n44 that become classics; the rest pass down to oblivion, washed away by\n44 the stream. The fashionable drama and opera of the present time are\n44 dying of their own moribund qualities. \""}, {"page_pdf": 8, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.8", "debut_caractere": 26, "fin_caractere_exclue": 2295, "texte": "All this being very true, it Is obvious why the adherents of the old\nslack realistic methods oppose themselves to this new movement which\nis daily gathering strength; why they throw all their influence into the\nopposite scale. They are too contented in their rut to step out of it;\nthey want nothing newer than their own old box of tricks. & &\ns&So far as England is concerned Craig has fought against the enemies\nof progress and against dull routine and the old clumsy realistic methods\nfor years, and has had to fight his battle practically alone. A few indi-\nviduals have understood and championed his aims. Now for the first time\nsome public and corporate acknowledgement has been made of the services\nhe has rendered and the work he has achieved. Nothing very much, it\nis true,.... but still a beginning.\nThey have given him a dinner,.... the Englishman's immemorial way\nof showing honour; but now let them give him something more lasting;\nlet them give him the one thing he asks of them, a 5ch001,.... an expe-\nrimental school for the study of the Art of the Theatre. Let them recog-\nnise that the best way of proving their appreciation of what he has\nalready accomplished is by giving him the means of accomplishing more;\nthat the best way of honouring his genius is to afford him the opportunity\nof exercising it in the English Theatre and on the English Theatre's\nbehalf.\n& Anything short of this is futile.\nWhat is the use of a partisanship which stops short at words ? Strong\nbelief manifests Itself in strong action; profound feeling crystallises into\nsome permanent and fruitful form ; love is creative and not content with\nmerely drinking to the health of the person or cause beloved.\nAnd it ought to be so easy of accomplishment,.... the foundation of\nsuch a School! No country can be more hotly responsive than England\nwhen it chooses. No country can raise money more swiftly when it wiil.\nNowhere are there rich men more ready to back their beliefs with their\nbank-books. £? £f\nThis has been evidenced more than once within the last few months.\nThose who believed in the Importance of the new Polar expedition\nadvocated by Sir Ernest Shackleton did not content themselves with good\nwishes; the money needed poured in within a few days. Those who valued"}, {"page_pdf": 9, "page_imprimee": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.9", "debut_caractere": 26, "fin_caractere_exclue": 2332, "texte": "Rembrandt's \" Mill\" as a national asset raised thousands of pounds\nwithin a few hours in an effort to secure it for the nation. jP\n& And In like manner those who believe that In Gordon Craig England\npossesses an artist of rare and unique talent, those who are convinced\nof the vital importance to the nation of the status of the theatre as Art\nand Institution ; those who have publicly proclaimed these beliefs, and\nasserted, moreover, that they recognise in Craig the man who has proved\nhimself best qualified to assist the theatre, the one upon whose judgement\nreliance should be placed, will not let the matter rest there now that\nthe healths are drunk and the tables cleared.\nThey will believe him when he tells them that years of experience and\nexperiment have shown him the absolute necessity of a School of experi-\nment and they will lose no time in raising the funds necessary for the\nestablishment of such a School.\n4? The institution or the nation which disregards the opinion of an expert\nIs taking upon itself a heavy responsabllity. Craig is acknowledged as an\nexpert in all that pertains to the theatre, and he has spoken very clearly\non this matter again and again.\njp \" No one \" he is reported as saying In a recent Interview, \" not even\n\" a super should be allowed on the stage until he has been trained and\n\" shown to competent judges that he has profited by his training.......\n\" We (referring to himself and his followers,) are constructive in so far\n\" as we aim at the establishment of schools for the art and at putting\n\" them under the control of the few artists who have been born to the\nart of the theatre \", and he went on to declare yet once more that only\nby the discipline and training .'obtained in very serious and difficult\nschools could we succeed in reversing the present condition of things,\n\" for by such schools will be produced those 'great persons' who shall\n\" destroy the theatre that the theatre may be saved \". 4?\nP The English Theatre has now got an opportunity. It has - \" got the\nman and got the money too \". The artists and Theatre-workers of\nEurope will watch with interest to see what it makes of this oppor-\ntunity. JC? 4/4? 4^\n& News comes to us from London that there were two hundred\ninfluential persons present at the dinner; that letters of regret were"}, {"page_pdf": 10, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.10", "debut_caractere": 26, "fin_caractere_exclue": 1256, "texte": "received from many more, and that a yet larger number who apphed\nto the committee for invitations were unable to be present owing to the\nFmfted space.\nAssuming the sincerity of all those persons, the reality of their interest\nIn the cause whose leader they acclaimed, one starts with a nucleous of\nat least some hundreds of persons who are, one presumes, ready to use both\ntheir influence and their money to forward the cause in which thev\nprofess themselves believers. &\nWhy, the thing should be an accomplished fact within a month!\nDelay is dangerous and stupid, for leaders and experts are not to be\nfound at every corner, genius is too rare to be trifled with, and it is\na pity to waste the time of a man whose gifts and qualifications are\nso unique.\n& \" A great age is an age which employs its men of genius; a poor\nage is an age which has no use for them \" said Mr W. B. Yeats speak-\ning at the Dinner. &•&&&J& &\nEngland would do well to bear this in mind in relation to the use\nshe makes of Gordon Craig. She does not want to advertise herself to\nthe worad at large as too poor to perceive, employ, or profit by, the\ngenius of the greatest Artist of the Theatre of the age... and that Artist\none or ner own sons. & &\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c007", "article_bluemountain": "bmtnaau_1911-10_01#c007", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "86", "page_fin": "90", "image_debut": 10, "image_fin": 14, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.2.6", "titre_corps": "SOME LETTERS AND SPEECHES", "titre_sommaire": "SOME LETTERS AND SPEECHES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 10, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.10", "debut_caractere": 1258, "fin_caractere_exclue": 1808, "texte": "SOME LETTERS AND SPEECHES.\n\naccount of the Evening, with the names of some of the guests will\nfound among our Foreign Notes. We here reprint some\nfew of the letters from those unable to be present which, after the King's\nhealth had been drunk, were read by the Chairman, Mr William\nRothenstein. & & a\n* We a,so give Mr Rothenstein's speech, in which he proposed the\nhealth of the Quest of the Evening, seconded by Mr W. B.Yeats; Mr Craig's\nteply and toe speech made on behalf of the Quests by Mr Michael\nLyklardopoulos, of the Moscow Art Theatre. & *"}, {"page_pdf": 11, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.11", "debut_caractere": 27, "fin_caractere_exclue": 2134, "texte": "Dr ALEXANDER HEVESI BUDAPEST.\n\nSir,\nI lose no time in replying to your kind invitation (which reached me\nIn the country), and which gave me at once pleasure and pain as I\nam prevented from paying a visit to London this year, though I have\nalways been very fond of England (where I had passed perhaps the most\npleasant days of my life), and though I am one of the honest admirers\nofour mutual friend, and so 1 would have been very happy indeed to\nsee him at the dinner given in his honour by such a splendid and excellent\nassembly.\n& 1 think, Mr Craig is the truest revolutionist 1 ever saw in my life,\nbecause he is requiring the oldest things we can ever fancy. Revolution\nand revelation are not far from one another and he gives us both. His\ntorch destined to set on fire our pseudo-Theatres, our monstrous and\nbarbarous play-houses, has been kindled at the sacred fires of the most\nancient arts. He discovered for us that in a rope-dancer there may be\nmore theatrical art than In an up-to-date actor reciting from his memory\nand depending on his prompter.\n& 1 am sure all who are working on the stage throughout Europe, creative\nminds or stage managers, priding themselves on their being creative\nminds:.... cannot be but most grateful to Mr Craig and must regard\nall that is and shall be done in his honour, to be done in the vital in-\nterest of the very art of the theatre.\nPor more than a hundred years there have been two men working on\nthe stage, spoiling almost all that is to be called theatrical art. These\ntwo men are: the Realist and the Machinist. & &\nThe Realist offers imitation for life, and the Machinist tricks in place\nof marvels. So we have lost the truth and the marvel of life, that Is,\nwe have Sost the main thing possessed by the art. The Art of the Theatre\nas pure imitation Is nothing but an alarming demonstration of the\nabundance of life and the narrowness of Art.\n& It is like the ancient example of the child who was trying to empty\nthe sea with a shell, and as for the wonderful tricks of the machinist,\nthey can be marvellous but they can never be a marvel. A flying machine"}, {"page_pdf": 12, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.12", "debut_caractere": 27, "fin_caractere_exclue": 1993, "texte": "is marvellous but a bird is a marvel. To the true Artist common life is\na marvel and Art more abundant, more intense and more living than\nlife itself. & £>\n& True Art is always discovering the marvel in all that does not seem\nto be marvellous at a!!, because Art is not imitation but vision. That is\nthe great discovery of Mr Craig on the stage. He found the forgotten\nwonder-land with the sleeping beauty; the land of our dreams and wishes,\nand has fought for it with the gestures of an artist, with the soul of\na child, with the knowledge of a student and with the constancy of a\nlover. He has done the greatest service to the Art in which we are so\nprofoundly interested and it is a great happiness for us all that he comes\noff with flying &\n& He has his admirers and followers in our little Hungary, the whole\nof the new generation being under his Influence, and without any dispa-\nragement to the great merit and good luck of Professor Relnhardt, we\nHungarians, as close neighbours and good observers dare say, that almost\nall that has been done in Berlin or Dusseldorf, in Munich or in Mannheim\nfor the last ten years is to be called the success of Mr Craig.\n1 am very sorry, my dear Sir, that I am not able to express all that\n1 feel in a better style. But I am writing in a language which is not\nmine and living in a country cottage far even from my English dictionaries.\nI am obliged to write it as I can and not as 1 would. £?£? £/\n\nDr Alexander Hevesi.\nDramaturg. Regisseur of the State Theatre, Budapest.\n\nDIREKTOR KONSTANTIN STANISLAWSKI MOSCOW.\n\nMr Craig.\nPlease accept the sincerest congratulations of your Russian friends and\nadmirers, who were fortunate enough to witness the realisation of\nyour artistic ambitions and have shared the |oys and disappointments\nwhich you felt so keenly in a foreign country. &\n& When you were in Moscow you were always thinking about the theatre\nof your native land, and your thoughts were always turning to the gates"}, {"page_pdf": 13, "page_imprimee": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.13", "debut_caractere": 26, "fin_caractere_exclue": 1675, "texte": "that were closed to you. £/£/&■£> •&\n& Now these sates are opening for you with honour, and today most\nbrilliant representatives of the English literary and artistic world at last\nrecognise you as a prophet in your own country. & &\nThe good wishes of all your friends In Russia are at this moment\n*\nwith you on this day of your long and well-earned triumph.\n& We rejoice in the recognition accorded you not only In Russia and\nother foreign countries but In your native land, which you have now at\nlast conquered.\nMay you have further perseverance to fulfil your mission of beauty....\nThe beauty which is too subtle and too strange to be appreciated imme-\ndiately by the throng of ordinary theatre goers, over which your genius\nhovers.\nMy wife, my daughter and son write themselves with me in the heart-\nfelt congratulations and greetings which 1 send.\n\nK. Stanislawski.\nDirector of the Art Theatre, Moscow.\n\nMADAME YVETTE GUIBERT.\nis a very great artist, and it is a joy for me to see in this\ncountry this charming solidarity existing to honour a man like\nCraig.\n\nMr MAX BEERBOHM RAPALLO.\n\nYeats,\nHow I wish 1 could be at the dinner next Sunday! When 1 lived in\nLondon it was one of my standing grievances that Gordon Craig was\nin Italy. And now that I live In Italy, it is so like him to be In London.\nI won't go so far as to say that he never is where he ought to be; for\nhe must always be somewhere, and wherever he is, he is needed.But\nhe Is needed everywhere else too. Men of genius are so few; and they\nought to atone for their fewness by being at any rate übiquitous...*. &\n& Craig's influence is übiquitous, certainly festooned from point to"}, {"page_pdf": 14, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.14", "debut_caractere": 26, "fin_caractere_exclue": 1064, "texte": "point around Europe. But the charming fellow himself, ever as gay as\nhe is earnest, and as Inspiriting as he is inspired.... is confined always\nto one place at a time and I resent that! jsr &\nHowever, I don't want to spoil your evening; and with a forced\ncheerfulness but a full heart I raise my glass from afar. &\n\nVillino Chiaro, Rapallo.\nYours sincerely\nMax Beerbohm.\n\nMr GRANVILLE BARKER LONDON.\nYours\nH. Granville Barker\nRothenstein.\n1 have to go away or I'd much like to have been there tomorrow\nand helped to give Craig a dinner.... if we'd only ten years ago given\nhim a theatre.... I am a pedestrian person, 1 always feel, and if I'd met\nhim working I'd have fought and got in his way...: like the blindest,....\nbut I'd have known what I was fighting.... it was more than ten years\nback, it was before he went to Germany.... 1 remember then that I told\nhim he was big enough to steal from.... that's turning out a prophecy.\nVou're to be in the chair tomorrow night Yeats tells me. Give Craig if\nyou remember my very warm regards."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c008", "article_bluemountain": "bmtnaau_1911-10_01#c008", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "86", "page_fin": "86", "image_debut": 10, "image_fin": 10, "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=bmtnaau191110-01.2.6.1", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 10, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.10", "debut_caractere": 1286, "fin_caractere_exclue": 1808, "texte": "account of the Evening, with the names of some of the guests will\nfound among our Foreign Notes. We here reprint some\nfew of the letters from those unable to be present which, after the King's\nhealth had been drunk, were read by the Chairman, Mr William\nRothenstein. & & a\n* We a,so give Mr Rothenstein's speech, in which he proposed the\nhealth of the Quest of the Evening, seconded by Mr W. B.Yeats; Mr Craig's\nteply and toe speech made on behalf of the Quests by Mr Michael\nLyklardopoulos, of the Moscow Art Theatre. & *"}]}, {"article_id": "bm-bmtnaau-1911-10-01-c009", "article_bluemountain": "bmtnaau_1911-10_01#c009", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "87", "page_fin": "88", "image_debut": 11, "image_fin": 12, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.2.6.2", "titre_corps": "Dr ALEXANDER HEVESI BUDAPEST", "titre_sommaire": "Dr ALEXANDER HEVESI BUDAPEST", "signature_source": "Dr Alexander Hevesi", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 11, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.11", "debut_caractere": 27, "fin_caractere_exclue": 2134, "texte": "Dr ALEXANDER HEVESI BUDAPEST.\n\nSir,\nI lose no time in replying to your kind invitation (which reached me\nIn the country), and which gave me at once pleasure and pain as I\nam prevented from paying a visit to London this year, though I have\nalways been very fond of England (where I had passed perhaps the most\npleasant days of my life), and though I am one of the honest admirers\nofour mutual friend, and so 1 would have been very happy indeed to\nsee him at the dinner given in his honour by such a splendid and excellent\nassembly.\n& 1 think, Mr Craig is the truest revolutionist 1 ever saw in my life,\nbecause he is requiring the oldest things we can ever fancy. Revolution\nand revelation are not far from one another and he gives us both. His\ntorch destined to set on fire our pseudo-Theatres, our monstrous and\nbarbarous play-houses, has been kindled at the sacred fires of the most\nancient arts. He discovered for us that in a rope-dancer there may be\nmore theatrical art than In an up-to-date actor reciting from his memory\nand depending on his prompter.\n& 1 am sure all who are working on the stage throughout Europe, creative\nminds or stage managers, priding themselves on their being creative\nminds:.... cannot be but most grateful to Mr Craig and must regard\nall that is and shall be done in his honour, to be done in the vital in-\nterest of the very art of the theatre.\nPor more than a hundred years there have been two men working on\nthe stage, spoiling almost all that is to be called theatrical art. These\ntwo men are: the Realist and the Machinist. & &\nThe Realist offers imitation for life, and the Machinist tricks in place\nof marvels. So we have lost the truth and the marvel of life, that Is,\nwe have Sost the main thing possessed by the art. The Art of the Theatre\nas pure imitation Is nothing but an alarming demonstration of the\nabundance of life and the narrowness of Art.\n& It is like the ancient example of the child who was trying to empty\nthe sea with a shell, and as for the wonderful tricks of the machinist,\nthey can be marvellous but they can never be a marvel. A flying machine"}, {"page_pdf": 12, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.12", "debut_caractere": 27, "fin_caractere_exclue": 1543, "texte": "is marvellous but a bird is a marvel. To the true Artist common life is\na marvel and Art more abundant, more intense and more living than\nlife itself. & £>\n& True Art is always discovering the marvel in all that does not seem\nto be marvellous at a!!, because Art is not imitation but vision. That is\nthe great discovery of Mr Craig on the stage. He found the forgotten\nwonder-land with the sleeping beauty; the land of our dreams and wishes,\nand has fought for it with the gestures of an artist, with the soul of\na child, with the knowledge of a student and with the constancy of a\nlover. He has done the greatest service to the Art in which we are so\nprofoundly interested and it is a great happiness for us all that he comes\noff with flying &\n& He has his admirers and followers in our little Hungary, the whole\nof the new generation being under his Influence, and without any dispa-\nragement to the great merit and good luck of Professor Relnhardt, we\nHungarians, as close neighbours and good observers dare say, that almost\nall that has been done in Berlin or Dusseldorf, in Munich or in Mannheim\nfor the last ten years is to be called the success of Mr Craig.\n1 am very sorry, my dear Sir, that I am not able to express all that\n1 feel in a better style. But I am writing in a language which is not\nmine and living in a country cottage far even from my English dictionaries.\nI am obliged to write it as I can and not as 1 would. £?£? £/\n\nDr Alexander Hevesi.\nDramaturg. Regisseur of the State Theatre, Budapest."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c010", "article_bluemountain": "bmtnaau_1911-10_01#c010", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "88", "page_fin": "89", "image_debut": 12, "image_fin": 13, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.2.6.3", "titre_corps": "DIREKTOR KONSTANTIN STANISLAWSKI MOSCOW", "titre_sommaire": "DIREKTOR KONSTANTIN STANISLAWSKI MOSCOW", "signature_source": "K. Stanislawski", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 12, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.12", "debut_caractere": 1545, "fin_caractere_exclue": 1993, "texte": "DIREKTOR KONSTANTIN STANISLAWSKI MOSCOW.\n\nMr Craig.\nPlease accept the sincerest congratulations of your Russian friends and\nadmirers, who were fortunate enough to witness the realisation of\nyour artistic ambitions and have shared the |oys and disappointments\nwhich you felt so keenly in a foreign country. &\n& When you were in Moscow you were always thinking about the theatre\nof your native land, and your thoughts were always turning to the gates"}, {"page_pdf": 13, "page_imprimee": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.13", "debut_caractere": 26, "fin_caractere_exclue": 932, "texte": "that were closed to you. £/£/&■£> •&\n& Now these sates are opening for you with honour, and today most\nbrilliant representatives of the English literary and artistic world at last\nrecognise you as a prophet in your own country. & &\nThe good wishes of all your friends In Russia are at this moment\n*\nwith you on this day of your long and well-earned triumph.\n& We rejoice in the recognition accorded you not only In Russia and\nother foreign countries but In your native land, which you have now at\nlast conquered.\nMay you have further perseverance to fulfil your mission of beauty....\nThe beauty which is too subtle and too strange to be appreciated imme-\ndiately by the throng of ordinary theatre goers, over which your genius\nhovers.\nMy wife, my daughter and son write themselves with me in the heart-\nfelt congratulations and greetings which 1 send.\n\nK. Stanislawski.\nDirector of the Art Theatre, Moscow."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c011", "article_bluemountain": "bmtnaau_1911-10_01#c011", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "89", "page_fin": "89", "image_debut": 13, "image_fin": 13, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.2.6.4", "titre_corps": "MADAME YVETTE GUIBERT", "titre_sommaire": "MADAME YVETTE GUIBERT", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 13, "page_imprimee": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.13", "debut_caractere": 934, "fin_caractere_exclue": 1088, "texte": "MADAME YVETTE GUIBERT.\nis a very great artist, and it is a joy for me to see in this\ncountry this charming solidarity existing to honour a man like\nCraig."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c012", "article_bluemountain": "bmtnaau_1911-10_01#c012", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "89", "page_fin": "90", "image_debut": 13, "image_fin": 14, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.2.6.5", "titre_corps": "Mr MAX BEERBOHM RAPALLO", "titre_sommaire": "Mr MAX BEERBOHM RAPALLO", "signature_source": "Villino Chiaro ; Max Beerbohm", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 13, "page_imprimee": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.13", "debut_caractere": 1090, "fin_caractere_exclue": 1675, "texte": "Mr MAX BEERBOHM RAPALLO.\n\nYeats,\nHow I wish 1 could be at the dinner next Sunday! When 1 lived in\nLondon it was one of my standing grievances that Gordon Craig was\nin Italy. And now that I live In Italy, it is so like him to be In London.\nI won't go so far as to say that he never is where he ought to be; for\nhe must always be somewhere, and wherever he is, he is needed.But\nhe Is needed everywhere else too. Men of genius are so few; and they\nought to atone for their fewness by being at any rate übiquitous...*. &\n& Craig's influence is übiquitous, certainly festooned from point to"}, {"page_pdf": 14, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.14", "debut_caractere": 26, "fin_caractere_exclue": 396, "texte": "point around Europe. But the charming fellow himself, ever as gay as\nhe is earnest, and as Inspiriting as he is inspired.... is confined always\nto one place at a time and I resent that! jsr &\nHowever, I don't want to spoil your evening; and with a forced\ncheerfulness but a full heart I raise my glass from afar. &\n\nVillino Chiaro, Rapallo.\nYours sincerely\nMax Beerbohm."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c013", "article_bluemountain": "bmtnaau_1911-10_01#c013", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "90", "page_fin": "90", "image_debut": 14, "image_fin": 14, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.2.6.6", "titre_corps": "Mr GRANVILLE BARKER LONDON", "titre_sommaire": "Mr GRANVILLE BARKER LONDON", "signature_source": "H. Granville Barker", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 14, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.14", "debut_caractere": 398, "fin_caractere_exclue": 1064, "texte": "Mr GRANVILLE BARKER LONDON.\nYours\nH. Granville Barker\nRothenstein.\n1 have to go away or I'd much like to have been there tomorrow\nand helped to give Craig a dinner.... if we'd only ten years ago given\nhim a theatre.... I am a pedestrian person, 1 always feel, and if I'd met\nhim working I'd have fought and got in his way...: like the blindest,....\nbut I'd have known what I was fighting.... it was more than ten years\nback, it was before he went to Germany.... 1 remember then that I told\nhim he was big enough to steal from.... that's turning out a prophecy.\nVou're to be in the chair tomorrow night Yeats tells me. Give Craig if\nyou remember my very warm regards."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c014", "article_bluemountain": "bmtnaau_1911-10_01#c014", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "90", "page_fin": "96", "image_debut": 14, "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=bmtnaau191110-01.2.7", "titre_corps": "THE SPEECHES", "titre_sommaire": "THE SPEECHES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 14, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.14", "debut_caractere": 1066, "fin_caractere_exclue": 1664, "texte": "THE SPEECHES.\nMr WILLIAM ROTHENSTEIN: CHAIRMAN.\nMiss Terry, Ladies and Gentlemen.\n'® one of the qualities of fine works of art that when we are\nunder their spell we feel a sense of elation, of added power and of\nunderstanding; above all, it seems for a moment as though the curtain\nwere drawn aside and we get a momentary glimpse of the infinite well.\n4s we feel towards sound works of art, so do some of us feel towards\nsound artists, and 1 for one can scarcely remember a time when 1 have\nnot wanted to run along the roofs of the houses crying out, Can't you\nsee? Craig is a wonderful person. & &"}, {"page_pdf": 15, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.15", "debut_caractere": 27, "fin_caractere_exclue": 2350, "texte": "great delight, and that it should be my privilege to be chosen to express\nour common admiration for Craig's genius I feel to be a rare honour.\nWhat is it then that we admire in Craig's work, which causes us to\nplace him high above all others of our contemporaries connected with\nthe drama ? x? & x?\nX/ First and foremost it is the clearness of his\nx& There is a general Idea abroad that Craig, like so many artists, is a\nvague idealist. Nothing could be more false. It is because people are\nvague about the great facts of life which artists see with crystal clearness\nthat they consider them to be vague. From the beginning Craig saw that\nArt to be worthy of the name must in some way represent these great\nfacts of life. The crash of thunder, and the song of the birds, the moun-\ntains and plains, the beauty of the face of the world, of man and woman\nand children, the terrors and joys of life, in fact something of the spirit\nof all these things must be present in the work of very true artists.\n& That this relationship to the forces which underlie ail existence should\nlikewise be brought into all dramatic representation, if it is to be con-\nsidered as seriously as the other arts, has been Craig's constant preoc«>\ncupation. He saw it was this spirit which gave its significance to the\nancient art of the theatre, and he has devoted himself continuously,\npassionately, yet with the utmost patience to trying to bring it back\nonce more Into the modern stage. x> X? x/\nare here tonight, then, to acknowledge our debt to him as\nthe one man connected with the theatre who has before him a definite\nand clear ideal, and to tell him that he has so far succeeded in realising\nit, that at last the mere mention of his name evokes among people\nthroughout Europe a noble series 3f images symbolic of a grand signifi-\ncant world.\n** He saw» too» that the other arts, architecture, music, sculpture, and\npainting were based upon certain unwritten but precise laws of rhythm\nand harmony, and that these same laws once existed in the Theatre\nbut no longer exist there at present. There is always much talk among\ncritics and dilettanti of going back to tradition, but to which tradition\nare we to return ? Craig might have chosen as so many artists have done\nto give to his work that superficial resemblance to 17th or 18th century"}, {"page_pdf": 16, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.16", "debut_caractere": 27, "fin_caractere_exclue": 2300, "texte": "modes, or that flavour of classical archaism by which the more educated\npublic is so readily deceived.\nInstead, however of taking easy short cuts to a fictitious beauty he\npreferred to say \" I don't know, but lam trying to learn Above all, he\nscorned those stupid and empty formulas connected in the public mind\nwith the \" poetic drama \" which make the light of the stage as grotesque\nand wearisome as is the sound of the actor's \" poetic \" enunciation In\none's ear. & & &\n& For him, as for all true artists, beauty Is strong, triumphant and\nclear stirring as the blast of a trumpet. Giotto's tower and St Mark's at\nVenice are as beautiful In the light of the mid-day sun as they are by\nfirelight. &\n& Art Is a worker of the perfect adjustment of each part to the whole,\nand to that end, the precise part to be played by actor and scenes, mass,\nlight and shade, clearness and mystery, height and breadth, voice and\ncolour, he has chosen to devote all his energy. £> £?\nIt has been said many times that the managers have treated Craig\nvery badly In not having made use of his great gifts. The managers on\ntheir side say that they would have liked to do so, but that our friend\nIs an extremely difficult person. &\n' think that is very likely to be true; during the last century, all\ngood artists have been so described, and the reason is not far to seek:\nthe people no longer have the knowledge which enables them to make\npractical use of sound artists. When work is to be done, bad artists are\nemployed, and as they have not the clear vision I have already referred\nto, they do their bad work with great skill and ability. The consequence\nis that, In all the arts, the second-rate men get the great practical\nknowledge. The experience they gain allows of their giving correct\nestimates for work required, whether it be of the nature of sculptures,\nbuilding, or the staging of plays, and managers, public-works depactments\nor private clients, congratulate themselves on the smartness with which\neverything has gone off. So accustomed has the public became to this\nstate of affairs that a good artist is by nature supposed to please nobody\nbut one or two rare spirits, to remain poor and obscure, and working\nfor the public is become synonymous with insincere work. If then he"}, {"page_pdf": 17, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.17", "debut_caractere": 27, "fin_caractere_exclue": 2303, "texte": "suddenly, through some curious accident, does get some public work to\ndo, he has not Infinite acquaintance with financial figures which is the\nbetter part.of public talents. To us, however, Craig has been in the best\nsense a servant of the public. It is now many years since he first showed\nus how noble a thing the stage could be; those of us who saw the\n44 Masque of Love \", 44 Dido and Aeneas 44 Acis and Galatea 44 Beth-\nlehem \" and the plays he staged for you, Miss Terry, Ibsen's\n44 Vikings\" and Shakespeare's 44 Much Ado \",will not, 1 think, forget our\ndebt of gratitude to your son so long as we live. &\n& Here was a new and wonderful thing, that the theatre should\nsuddenly give us that unity which until then we believed to be\npossible only in the more generally recognised arts of painting, music,\nsculpture and\nIt was so unexpected, so profoundly moving, that those of us who saw\n1\nthese things have had ever since so exalted a view of the art of the\nTheatre that we find it hard to accept as true coin those pieces which\npass through so many of the changers' hands in the booths about the\nTemple. &\n& Those of us who read The Mask,.... and I hope all of us here are\nsubscribers to that unique and inspiring review..... know how ceaselessly\nCraig has toiled to get to the root, hidden so deeply beneath the ground,\nof theatrical canons. I hat they lie entwined among the roots of life\nitself he has long since discovered. His aim, then, is clear. The Theatre\nexists to interpret life.... use not in the accidental sense in which most\npeople conceive it, but that essense through which all things are made\nmanifest.\nBuilder,sculptor,painter and musician have worked together to bring the\nsignificance of life to bear upon the Church so that when the people wished\nto commune with their Gods their presence has been felt and their voices\nheard about them. That the atmosphere of the Theatre should be one and\nthe same and should serve a similar purpose not the purpose\nof the preacher, is the object of Craig's labours. This is the end for which\nhe has worked and Is still striving; as a man, lost in tortuous caverns\nsuddenly sees far off a speck of light and knows then he will find his way\ninto the light of the sun, so he too is beginning to see a clear way out."}, {"page_pdf": 18, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.18", "debut_caractere": 26, "fin_caractere_exclue": 1926, "texte": "Edward Gordon Craig, we who are met here tonight to do you honour\nwish then, not only to set on record our great admiration for the noble\nwork you have achieved, but we wish also tell you that we have a strong\nfaith in the great work you are doing now and will we believe continue\nto do as long as you live. We wish you God speed upon your difficult\njourney, but at least you will know that you have good friends who\ntrust you and honour those great traditions of men's effort to express\nthe divine in life which are older and snore glorious than any others,\n0> Ladies and Gentlemen, let us drink to the strength and inspiration\nof our friend, Edward Gordon Craig. 0?\nMr W. B. YEATS.\nYeats, speaking In support of the toast, said it was Mr Craig who\nfirst taught the use of light and shade on the stage. Before that they\nhad been accustomed to paint light and shade, thus presenting scenery\nwhich looked like a bad Academy picture. A great age was an age\nthat employed its men of genius, and a poor age one that could not\ndo so. This age found it difficult to employ men of genius like Mr Craig.\nMr GORDON CRAIG'S\nChairman, Ladies and Gentlemen;\n's *\" STout happiness to me to feel that 1 have so many friends,\nIt is a great honour to know that amongst those friends are the names\nof the first artists of England, Scotland and Ireland. jz?\nIt is because of t?i-s fact that this dinner becomes one of the most\nsignificant honours which can be paid to a representative of the Euro-\npean Theatre...; and it is as the English representative of the awakening\nEuropean Theatre that I am here this evening. jg? 0\n0? I have been often told that in England the Art of the Theatre, like\nmost other arts, is ignored by the public although much talked about by\na few individuals. & 0> & & 0\n0> But what is astonishing in that ? 0? & ' 0\n0r Art JS not a national thing. It is far more than that, It is a religious"}, {"page_pdf": 19, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.19", "debut_caractere": 26, "fin_caractere_exclue": 1972, "texte": "thing. Is it then surprising that only a few million people In Europe\nshould love it?\nBut let us avoid as much as possible talking about Art. Let us\ncreate and enjoy it.\nAnd now, let me end.\n& Now let me thank you again many many times for your love.\nis that which counts and only that. It is that which creates art\nand only that. & &\nArt is only Incomprehensible because love is so incomprehensible and\nso contradictory a thing; so earthly and so divine; and no great Art\ncan possibly be created by men and women who do not understand and\naccept this truth.\nXef Once more my thanks to you, and my love. & &\nMr MICHAEL LYKIARDOPOULOS.\nMr- Chairman, Ladies and Gentlemen, Please allow me first to thank Mr®\nFrederick Whelen for his expression of good=will to the guests and\nmyself# A chance visit to London has afforded me the fortunate opportunity\nof being present here this evening in my capacity of secretary of the\nMoscow Art Theatre. Will you allow me, on behalf of that institution\nand my Moscow comrades, to convey to Mr. Gordon Craig the sentiments\nof cordiality and gratulatlon which are shared by all of us on seeing his\ngenius recognised as it should be by his English contemporaries. &\n\" The Moscow Art Theatre is proud indeed to have been the first\nEuropean stage on whose boards Mr. Gordon Craig was able to materialise\nbis artistic vision and to realise on the completes! scale possible those\nideals which, born in England, were cradled in Moscow. Mr. Gordon\nCraig was, i fear, regarded by a good many of you some years ago as\nan alchemist searching for a philosopher's stone in the art of the theatre ;\n....a philosopher's stone that would turn everything to gold. It was the\nprivilege of the Moscow Art Theatre to provide that alchemist with the\nmaterials by which the philosopher's can be found.\n& \" In a few months Moscow, St. Petersburg, and, I hope, London will\nsee ' Hamlet' produced in a manner not unworthy of Shakespeare's"}, {"page_pdf": 20, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.20", "debut_caractere": 19, "fin_caractere_exclue": 359, "texte": "genius, and a new chapter will be opened in the history of the art of\nthe theatre.\n\" Mr. Gordon Craig, We who have worked with you in Moscow, we\nwho have had the felicity of watching the builder laying the foundations\nof a new Thespian shrine, shall indeed rejoice if such a theatre, such\nshrine, can be materialised here in London. «e> «£?"}]}, {"article_id": "bm-bmtnaau-1911-10-01-c016", "article_bluemountain": "bmtnaau_1911-10_01#c016", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 21, "image_fin": 21, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.2.8", "titre_corps": "SHUNZAN", "titre_sommaire": "SHUNZAN", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 57, "texte": "SHUNZAN: Dance of Four Geishas, Two disguised as Monkeys."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c017", "article_bluemountain": "bmtnaau_1911-10_01#c017", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 23, "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=bmtnaau191110-01.2.9", "titre_corps": "HOKUSAI", "titre_sommaire": "HOKUSAI", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 70, "texte": "HOKUSAI: A Travelling Company. From the “Onno Sanju rokkasen” of 1798."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c018", "article_bluemountain": "bmtnaau_1911-10_01#c018", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "97", "page_fin": "101", "image_debut": 25, "image_fin": 29, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.2.10", "titre_corps": "KLEPTOMANIA : OR THE RUSSIAN THEATRE", "titre_sommaire": "KLEPTOMANIA : OR THE RUSSIAN THEATRE", "signature_source": "John Balance", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 2035, "texte": "KLEPTOMANIA, OR THE RUSSIAN\nTHEATRE\nby John Balance.\nhere is so much Russian art being let loose into the theatres of\nEurope lately that it may be as well to study some specimens of\nit and see what has made the thing so popular and whether there\nis sufficient ground for so much sudden and insincere enthusiasm.\nOne finds upon enquiry that some queer and commonplace points\narrest attention and dispose of the idea which has somehow gained cre-\ndence that this art differs from other theatrical work or that it is in\nany way remarkable. &\njzr Mr Gordon Craig has told us that the Moscow Art Theatre is the first\nin Europe, but I have noticed that when writing of that theatre he has\ninvariably treated of it as an organization and made no mention of its art.\nHe, has been very particular upon this point and his discrimination is\nsignificant.\nWith that side of the story, however, I am not here concerned. What\nI am interested in are the results. Mr Craig tells us that the Russians are\nexcellent workers and I do not question his statement; I merely observe\nthat the results obtained by that work of theirs are essentially commonplace*\nldo not intend to write here of the Moscow Art Theatre; that is a\nsubject into which I hope to go in my next article, when 1 shall point\nout that their work, admirable as it is in execution, is very much the\nsame as that which any other theatre in Europe has to offer us. I hope\nto consider the Russian Theatre in general under its three aspects of\nDrama, Ballet and Opera, but here and now shall confine myseif to the\nconsideration of the Ballet, which is visiting the European capitals and\nwhich is called Russian. & & & &\nTHE RUSSIAN BALLET.\nAnd first what is this Russian Ballet which has lately caught the fancy\nof the impressionable Frenchman ? &\nWell, to begin with, it is nothing new. It is the old French ballet\nwarmed up; it Is a charming absurdity which has survived the centuries.\nThe French Ballet is the most dellciously artificial impertinence that\never turned up its nose at Nature."}, {"page_pdf": 26, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.26", "debut_caractere": 14, "fin_caractere_exclue": 2348, "texte": "& Nature, so tolerant, has never objected to man making a foo! of himself\n(\"no, nor woman neither though by your smiling...\") Nature loves a century\nor two of idiots, and if she can wreck a world on the score of its stupidity,\nthen she is in her seventh heaven, and we fools of Nature, desiring\nnothing but a little notice to make us intoxicated, often lose our lives\nby playing thus into the hands of our savage and inexorable mother. But\nshe is our mother, and when we forget that we forget an essentia! truth.\nThe Russians have forgotten it. They have borrowed an artificiality\nfrom a blase people and have elaborated it :... and France is charmed.\nThey t/ansplanted the French Ballet to St Petersberg, and with the\nassistance of the cane they persuaded their young dancers into leaping\nhigher than ever. St Petersberg enjoyed the fun for years, but they never\nsent any troupe into France until quite lately. What has encouraged\nthem to d 6 so now ? & jZ? jz? jZ? *Z>\nlndeed, there seems to be no exquisite reason. Perhaps the Japanese\nwar had something to do with it. This seems to me as good an excuse\nas any other, for, as ! have said, tlsey bring nothing new.\nThere are equally good dancers already in the Ballet at the Paris\nOpera House, and there are ballet masters and mistresses who are most\ncertainly quite as talented in this old-fashioned artifice ; and the Paris\n\\\nscene-painters and costumiers are as capable as any of these new arrivals.\nBut the Russians have done one clever -thing : they have increased\nthe value of their French Ballet by adding to it a few tricks stolen from\nother lands and other arts. This was. clever of them and highly\nreprehensible.\njZ? They invited painters of taste co assist them. They knew that some\npainters who are not very great as painters are only too delighted to\nair their knowledge of colour and decoration in the more refined\natmosphere of the footlights. It gives them a chance. jZ? jZ> &\n& So when the painters were secured they dressed up their old Ballet\nafresh and gave it a new coat of paint. zz? jZ? jZ? <0\n& While doing this they stole an idea or two from the only original\ndances* of the age, the American, and another idea or two from the most\n*\nadvanced scene designers of Europe and superimposed all these upon the\nwirey artificial framework of the old French Ballet."}, {"page_pdf": 27, "page_imprimee": "99", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.27", "debut_caractere": 14, "fin_caractere_exclue": 2338, "texte": "Such is the modern Russian Baliet which Paris has today taken into\nits dear feeble old arms. The whole spectacle is not a little farcical. &\nLet us now look at the work of M. Bakst who, once an intelligent if\nsuccessful painter, has become a scene and costume designer to the troupe\nand who shares the laurels with the dancers Nijinsky and Karsavina. 0\nOM. Bakst has a pretty knack of drawing coloured supplements and\ncovers for the Illustrated papers. Although the designs are ugly they are\nonly ugly enough to shock Parisians, (This has become a very easy feat\nof late years). The ugliness of Bakst's designs is not due to any stern\nqualities in his work; it is never terrible like Daumier, nor has it the\nirony of Beardsley's demon. Bakst is ugly on account of his clumsy sense\nof the sensual. All his women, (and he is never tired of putting them\nbefore the public,) are drugged and in a kind of sofa orgy. They seem to\nhate ecstacy and they adore a good wriggle.\nThe costumes he puts them into are mute; they want to speak and\ncannot; they are the old refurbished wardrobe of the old Racinet and of\nSarah Bernhardt, save that these two spoiled us often with stockings,\nunderwear and sleeves, vests and pinafores.\n0 Bakst has a passion for beads, and his evidently sincere devotion to\nthick lips and flat noses enables him to indulge In a ring or two now and\nagain. When he is at a loss how to get away from Racinet he fills In the\ngap, he covers his confusion, with a bead.\n0 The women he draws protrude ; therefore when he attempts to suggest\nsomething Indian or Chinese (and Russian Ballets are wedded to the\nEast), he gets curiously confused. Indians and Chinese hate that which\nbulges. Bakst adores bulge ; ...it helps his beads so much. In short Bakst\nis vulgar. He is like a decorator of the French match boxes ; on seeing\nthese maidens of the French match box one is reminded of Bakst.\nOn paper his vulgarity beams with a kind of blue glow which is not\nwithout charm and he has fingers which can draw in delicate outlines\nhis gross visions. 0 0 7\n0 On the stage Bakst is not vulgar, he is simply lost. &\n0 His designs for \"La Peri \" and 44 Narclsse \" are charming in the\nmagazines ; in actuality they are nonexistent. No one has seen them on\nthe stage. This is an oversight on his part for which he can hardlv be"}, {"page_pdf": 28, "page_imprimee": "100", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.28", "debut_caractere": 18, "fin_caractere_exclue": 2132, "texte": "held responsible for he has the misfortune to be an amateur, and in\namateur theatricals these accidents always happen.\nMany of his designs for costumes have lately been published, but to\nhis eternal undoing photographs of these same costumes have been pu-\nblished at the same time. These photographs give M. Bakst away, for the\ndesigns and the photographs are unlike each other, and the stage with\nwhich he has merely flirted opens its artificial arms for a last embrace.\nM. Bakst is dead. £?\nThe stage does not like philanderers,... and M. Bakst was a phi-\nlanderer. R. 1. P. j0 j£? &\nM. Benois is even worse than M. Bakst. He is a serious old rake. He\nis another painter who without caution rushed in. The stage Is killing\nhim too, but he still manages to totter along pleased to death with\nhimself.^\n& When the two were together they suggested nothing so much\nas our old friends Pantalone and 11 Dottore, such a skit did they seem\nupon the uselessness of impotence. &\nIf 1 am incorrect, if these old gentlemen have really created\nsomething, really been of some benefit to the European Theatre ; If their\nscenes and costumes are anything but the old vulgarity warmed up again;\nif they are artists and not merely blunderers, then let them bring evi-\ndence to prove it. j£? & £t\nThey are blunderers because they draw their designs on papsr and\nthen attempt to translate them into the language of the stage. They\ncannot think in the language of stage land .... or let us say, in the\nmaterial of the stage, because, as the only serious master of theatrical\nart has said, (i) there is no material; \"you cannot co-mingle the arts and\n\" cry out that you have created a new art; If you can find in nature a\n\" new material, (2) one which has never yet been used by man to give form\n\" to his thoughts, then you can say that you are on the high road to\n•' creating a new art. For you have found that by which you can create\n\n(!) Qordon Craig ia Tbe Mask. April 1908. u The Actor and the TJebermarionette.\n(2) When that material has been discovered and tested it will be time enough to take M. Bakst and M.\nBenois seriously."}, {"page_pdf": 29, "page_imprimee": "101", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.29", "debut_caractere": 14, "fin_caractere_exclue": 2068, "texte": "\" it, It then only remains for you to begin. The theatre, as I see it, has\n\" yet to find that material. \" &\nTHE DANCERS.\nrjp he Russian Dancers have always been most agile. Until quite lately\nIn fact only since Miss Isadora Duncan's visit to St Petersberg in, 1\nthink, 1904, they have not understood the value of the curve. The last\nseven years they have been studying the charm of the weak and tender\nline won by non-resistence. The great American was the first to de-\nmonstrate this in Europe. 4P\nThe two most perfect Russian dancers are Pavlowa and Nijinsky.\nThese two have been the most successful in acquiring the grace taught\nthem by the American, and every performance of theirs becomes less and\nless the old French thing and more and more American. As with M. Bakst\nand his scenes and costumes so it is with their Dancing. It is not ori-\nginal ; it is something learned and then made. They create nothing.\n♦ ♦\n& In order to create anything a fierce belief is essential. The Artificial\nis that which Is made by hands, and any sceptic can make it. A work of\nart is that which is created in distinction to that which is made. All\nmodern dancing is manufactured and the Russian dancers are merely a\ncopy of this made thing. &&£/&&&\nIt is pretence, fascinating and daring pretence, Just as their scenery\nis pretentious. A!I great Art is very simple and direct. The Russians are\nsly about their work, oh, very very sly. There is no trusting, it, and it\nIs very elaborate like most sly things are.\n& And this elaboration and these winks are very comforting to the worn-\nout Parisian society and to a certain weary group of Londoners who ask\nfor nothing better than artifice to keep them awake.\nAs a work of Art then the Russian Ballet is a myth ; as a work of\noriginality it is a fraud. The dancers, painters and wig-makers of the\ntroupe are all charming will o' the wisps and their light is certainly not\nto be trusted. &\nWe await the time when Dancing shall move onward and upwards\ninto a quite different plane before we can accept it as a fine art. &"}]}, {"article_id": "bm-bmtnaau-1911-10-01-c020", "article_bluemountain": "bmtnaau_1911-10_01#c020", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "102", "page_fin": "106", "image_debut": 30, "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=bmtnaau191110-01.2.11", "titre_corps": "THE ARCHITECTURE AND COSTUME OF SHAKESPEARE'S PLAYS : THE COSTUME OF HENRY VIII. (I)", "titre_sommaire": "THE ARCHITECTURE AND COSTUME OF SHAKESPEARE'S PLAYS : THE COSTUME OF HENRY VIII. (I)", "signature_source": "E. W. Godwin", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 30, "page_imprimee": "102", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.30", "debut_caractere": 0, "fin_caractere_exclue": 2255, "texte": "THE ARCHITECTURE AND COSTUME OF\nSHAKESPEARE'S PLAYS\nTHE COSTUME OF HENRY VIII. (I).\nby E. W. Godwin. 1875\nostume in this play reaches the utmost limit of costly mag-\nnificence. The action is the movement of a pageant, the\ncostume is the dress of a spectacle. In the text itself we\nare told that at Andren every Frenchman was \"all clinquant\"\nall in gold that every Englishman \" show'd like a mine, \" that the\n\" pages were as cherubins, all gilt. \" The cost of \"these fierce vanities\",\nas Buckingham calls them, fell so heavily on the gentlemen who took\npart In those days' doings that many \" broke their backs with laying\nmanors on them \". The third Scene of the first Act is devoted to Paris\nfashions, and In it we find mentioned not only the \" fit or two o' the\nface \" and the mincing walk of the travelled gallants, but such articles\nas the tall stocking, short blistered breeches, and those remnants of fool\nand feather that they got in France. The particular point, then, to re-\nmember In clothing the characters in Henry VIII. Is that the play opens\nimmediately after the great meeting at the Field of the Cloth of Gold,\nand that London copied, with her usual exaggeration, the Parisian\nmode. Authorities for the period we have now reached are so numerous,\nso easily attainable, and so near to Shakespeare's own time, that error\n*\nin costume is'less to be excused than a failure in scenery. Monumental\nand decorative sculpture, easel pictures, including life-size portraits, ta-\npestry, drawings, MSS, and printed books furnish us with a rich store of\nmaterial. Of contemporary portraits we have a large number; there are\nsome in the National Portrait Gallery, and the King's picture is to be\nfound in more than one collection, but that in Warwick Castle is the\nbest 1 have seen. Holbein's Wolsey everybody knows Is In Christ\nChurch, Oxford; and in Cavendish's \" Life of Wolsey \" and Lodge's\n\" Portraits \" we have engravings taken from pictures by Holbein, Titian,\nand others of nearly every person of note in the play. The picture at\nWindsor Castle representing the meeting of the Kings of England and\nFrance on the Field of the Cloth of Gold may be compared with the\n\n(I) The article on the Scenery of this play appeared in \" The Mask October 1910."}, {"page_pdf": 31, "page_imprimee": "103", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.31", "debut_caractere": 13, "fin_caractere_exclue": 2234, "texte": "sculpture at Rouen which exhibits the same event, and shows the full\nforce of the expression \" fool and feather, \" for the plume on the head\nof the horse ridden by Francis Is not far short of three feet in height!\nTowards the end of the period «t)f the action some Important sumptuary\nlaws were passed, and from this enactment and inventories we gather\nthat the dress of 1521=23 included.... ■£? zZ?\nSquare-toed shoes of slashed velvet. £? £?\nTrunks or breeches of silk...black silk and gold, purple silk and Venice\ngold woven net-wise, and white silk and gold. &\nStocks or stockings of velvet, cloth, and satin. JZ? £7\n£? Doublets of cloth, velvet, damask, cloth of gold, cloth of silver, velvet\ncut in meandering patterns on the gold or silver c10th.... and velvet\ncovered with embroidery of gold and pearls, and buttons of diamonds,\nrubies, &c.\nJZ? Sleeves wide, detached, and fastened to the jacket or doublet... like\nthe breeches or trunk hose were... with points or laces and tags. They\nwere generally of satin when the doublet was of velvet, and usually of\nthe same colour (worn by both sexes), (i) .z?\nWaistcoats with sleeves tightly fitting, made of cloth of silver, quilted,\nand \" tuffed out with fine camerike \" (worn by both sexes).\nJackets or jerkins worn over the doublet, usually of velvet.\nCoats of velvet, damask, or cloth, with bases or skirts, ribbed and\nquilted, and loose, hanging coats, like short cloaks, with broad collars\nand trimmings of fur, and large, hanging sleeves.\n(\nGowns of velvet, satin, damask, and cloth, trimmed with fur of the\nblack genet, the sable, and lamb's wool (worn by both sexes). After 1533\nblack genet was only worn by the blood royal.^\nHabit-shirts or partlets, with or without sleeves (worn by ladies only)\nwere made of fine cambric, often richly embroidered with gold, or of\nlawn with network of gold woven therein.\nKirtles or petticoats were made of cloth of gold, brocade, satin, velvet,\ndamask, cloth, and worsted. Seven yards is quoted as the quantity ne-\ncessary for a Queen's kirtle.\n\n(1) At an evening party held in the Parliament House at Westminster ladies appeared for the first timo in short\nor demy sleeves \"with barearms. i.et. \"naked down from the elbows\""}, {"page_pdf": 32, "page_imprimee": "104", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.32", "debut_caractere": 14, "fin_caractere_exclue": 2209, "texte": "j& Caps or coifs were of velvet, gold cloth, &c., sometimes shaped like\nthe flat hood familiar to us in the portraits of the unfortunate Queen of\nScots, and sometimes three-cornered, the peaks or corners projecting\nthree or four inches beyond the head. The humbler women folk wore\nwhite kerchiefs of linen or holland.\n£? Of the different shapes of the articles above enumerated, it is almost\nImpossible to give anything like an adequate idea without numerous\ndrawings. There are, however, certain points which can easily be borne\nin mind ; thus, for example, the trunk sleeves were nearly always opened,\ncut or slit up and fastened together with laces and tags or buttons in\nsuch a manner as to reveal the lining, which latter was sometimes of\nvery precious material. Here are a few examples of sleeves. & &\n** Long sleeves all cut and lyned with cloth of gold. &\n\" Purple satin sleeves, embroidered all over with Venice gold, with\ndiamond and gold buttons set thereon.\" £? &\n** A pair of truncke sleeves of redde cloth of gold, with cut workes,\nhaving twelve pair of agletes of gold \" & & &\n** A pair of French sleeves of green velvet, richly embroidered with\nflowers of damask gold, pirl of morisco work, with knops of Venice gold,\ncordlan raised, either sleeve having six small buttons of gold, and in\nevery button a pearl, and the branches of the flowers set with pearles\"*\n&\"A pair of sleeves, ruffed at the hande with strawberry leaves and\nflowers of golde, embroidered with black silke. \" 0\n*< One pair of linen sleeves, paned with gold over the arm, quilted\nwith black silk, and wrought with flowers between the panes and at\nthe hands.\n\" One pair of sleeves of purple gold tissue damask wire, each sleeve\ntied with aglets of gold.\nOne pair of crimson satin sleeves, four buttons on each sleeve, and\nin every button nine pearls.\" &&\njs? Cutting or slashing was by no means confined to the sleeve; it per-\nvades the whole costume down to the shoes, and the material, Instead\nof being made as formerly with a few bold slashes, is now found to be\nslivered and snipped into a multitude of little cuts, making the fabric\nalmost as open as a network of shreds. Besides this cutting and puffing*"}, {"page_pdf": 33, "page_imprimee": "105", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.33", "debut_caractere": 15, "fin_caractere_exclue": 2498, "texte": "other modes of ornamentation were adopted, such as ribbing, quilting,\nand striping. A full-skirted doublet ribbed appears to have been a kind\nof dress very much in favour. Of special dresses we must not forget that\nthe Duke of Buckingham had In his wardrobe a white doublet and hose\ncut upon cloth of gold, embroidered and furnished with clasps and tags\nof gold. The King's dress was often so much covered with embroidery of\ngold that the material forming the ground showed but little. He was as\nfond of change in his costume as in other things, and his wardrobe\ncontained what even nowadays a tailor might be justified in describing\nas an extensive assortment. Anne Boleyn wore at her coronation a surcoat\nand robe of purple velvet furred with ermine; her hair hung down from\nunder a coif surrounded by a coronal of jewels; the dais or canopy over\nher was carried by the Barons of the Cinque Ports, dressed in crimson;\nthe Lord-Chancellor wore scarlet bordered with fur; the dukes were clad\nin crimson velvet trimmed with ermine ; Suffolk's doublet and short\novercoat or cloak were thick with pearls, and his gown was of crimson\nvelvet embroidered with gold. The feather worn in the hat and cap was\noften jewelled up the quill, and a large jewel or medallion usually covered\nthe base of It. Henry wore a medallion or brooch In his hat, having the\nimage of St. George wrought in it In high relief. Benvenuto Cellini de-\nscribes three medallions that he made for wearing in the hat or cap.\nTwo were of gold, one a Leda and swan, another Hercules tearing a lion;\nthe third was of silver, lapis lazuli, and crystal, and contained a figure\nof Atlas with the world on his ba'ck. The figure was of silver, the world\nof crystal, the zodiac of lapis lazuli, with the signs inlaid in gold, and\nthe background of the medallion lapis lazuli, the margin being made of\nsliver wrought \" with fruit and flowers, and other charming things bound\nround \". To this same artist we are indebted for the introduction of\ndamascened steel=work..../.e. inlaying swords, halberds, &c., with gold,\nas practised in Damascus. The partizan was one of the new weapons of\nthis reign, and both this and the halberd and the way of carrying and\nholding them may be seen on the tomb of Francis at St. Denis, illustrated\nby M. Qulcherat in his \" Hlstoire du Costume en France \". £?\nln stage representation there may naturally arise an objection on the\npart of the manager, be he ever so liberally inclined, to clothe his"}, {"page_pdf": 34, "page_imprimee": "106", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.34", "debut_caractere": 15, "fin_caractere_exclue": 1496, "texte": "dramatis pgrsonae in velvet cut on real cloth of gold, but why the\ngenuine patterns of the sixteenth century should be thought equally\ndifficult to attain is somewhat strange, seeing that many of them were\ncarefully reproduced in Birmingham under the direction of the late\nAugustus Welby Pugin about five and twenty years ago, and that one\nor two have been reproduced within the last two years under my own\ndirection for Messrs. Collinson & Lock. 1 have also seen at Messrs.\nGillow's some remarkably good reproductions of early Renaissance\nfabrics, and I believe Messrs. Cowlishaw, Nicol & Co., of Manchester, are\ndirecting their attention to the revival of genuine old designs In brocades,\ndamasks, &c. So that, apart from the very costly materials, there are no\ndifficulties in the way if any one wishes to revive Henry VIII. and the\nworld of his day...so close to Shakespeare's own time that he might easily\nhave had it described to him by an eye=witness. On all sides authorities\nare to be found without any trouble to unearth them. Holbein is especially\nto be noted, and his life°size cartoon of the King at Kardwick Hall, made\nA. D. 1537, must on no account be overlooked. Nicholas Hoghenberg's\nseries of prints, representing the triumphal entry of the Emperor Char-\nles V. into Bologna A. D. 1530, may also be consulted as an authority for\nthe costumes of the foreign nobles, ambassadors, &c., who might be\nintroduced to fill up the picture of this highly pictorial play. £?"}]}, {"article_id": "bm-bmtnaau-1911-10-01-c023", "article_bluemountain": "bmtnaau_1911-10_01#c023", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "107", "page_fin": "109", "image_debut": 35, "image_fin": 37, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.2.12", "titre_corps": "APPRENTICESHIP IN JAPAN : Described by Lafcadio Hearn; with a Note on Discipline", "titre_sommaire": "APPRENTICESHIP IN JAPAN : Described by Lafcadio Hearn; with a Note on Discipline", "signature_source": "John Semar ; Lafcadio Hearn", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 35, "page_imprimee": "107", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.35", "debut_caractere": 0, "fin_caractere_exclue": 2200, "texte": "APPRENTICESHIP IN JAPAN Described by\nLafcadio Hearn; with a Note on Discipline\nby John Semar.\n\nQsaka is the great commercial school of the empire. From all parts of\nJapan lads are sent there to learn particular branches of industry or\ntrade. There are hosts of applications for any vacancy; and the business\n*\nmen are said fo be very cautious in choosing their detchi, or apprentice\nclerks. Careful enquiries are made as to the personal character and fa-\nmily history of applicants. No money is paid by the parents or relatives\nof the apprentices. The term of service varies according to the nature\nof the trade or industry; but it is generally quite as long as the term\nP\nof apprenticeship in Europe ; and in some branches of business it may be\nfrom twelve to fourteen years. Such, I am told, is the time of service\nusually exacted in the dry-goods business ; and the detchi in a dry-goods\nhouse may have to work fifteen hours a day, with not more than one\nholiday a month. During the whole of his apprenticeship he receives no\nwages whatever,...nothing but his board, lodging, and absolutely neces-\nsary clothing. His master is supposed to furnish him with two robes a\nyear, and to keep him in sandals, or geta. Perhaps on some great holiday\nhe may be presented with a small gift of pocket money ;...but this is not\nIn the bond.\nThe discipline of these long apprenticeships may be considered a\nsevere test of character. Though a detchi is never addressed harshly, he\nhas to bear what no European clerk would bear. He has no leisure,...no\ntime of his own except the time necessary for sleep; he must work\nquietly but steadily from dawn till late in the evening; he must content\nhimself with the simplest diet; must keep himself neat, and must never\nshow iil-temper. Wild oats he Is not supposed to have, and no chance is\ngiven him to sow them. Some detchi never even leave their shop, night\nor day, for months at a time,...sleeping on the same mats where they sit\nin business hours. -\n& My last day in Osaka was given to shopping,...chiefly in the districts\nof the toy-makers and of the silk merchants. A Japanese acquaintance,\nhimself a shopkeeper, took me about, and showed me extraordinary things"}, {"page_pdf": 36, "page_imprimee": "108", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.36", "debut_caractere": 25, "fin_caractere_exclue": 2090, "texte": "until my eyes ached. We went to a famous silk-house,...a tumultuous\nplace, so crowded that we had some trouble to squeeze our way to the\nfloor-platform, which, in every Japanese shop, serves at once for chairs\nand counter. Scores of barefooted light-Ilmbed boys were running over\nit, bearing bundles of merchandise to customers. & &\n& 1 asked how many persons the firm employed, and my friend replied;\n<« Probably about two hundred here; there are several branch houses.\nIn this shop the work is very hard, but the working-hours are shorter\nthan In most of the silk-houses,...not more than twelve hours a day. \"\nj0 \" What about salaries ? \" I enquired.\n\" No salaries.\n& \" Is all the work of this firm done without pay ?\" &\n\" Perhaps one or two of the very cleverest salesmen may get some-\ntliing...not exactly a salary, but a little special remuneration every month\nand the old superintendent...(he has been forty years in the house)...gets\na salary. The rest get nothing but their food \". £>\n*' Good food ? \" jst\n\" No, very cheap, coarse food. After a man has served his time here,\nfourteen or fifteen years, he may be helped to open a small store of\nhis own\n\" Are the conditions the same in all the shops of Osaka ?\" &\nj£> \" Yes, everywhere the same. But now many of the detchi are gra-\nduates of commercial schools. Those sent to a commercial school begin\ntheir apprenticeship much later; and they are said not to make such\ngood detchi as those taught from childhood\n& It is not exaggeration to say that most of the intelligent service ren-\ndered in Japanese trade and skilled industry is unsalaried. Perhaps one\nthird of the business work of the country is done without wages; the\nrelation between master and servant being one of perfect trust on both\nsides, and absolute obedience being assured by the simplest of moral\nconditions. &\nIn the last number of The Mask It was pointed out to how great an\nextent taste and distinction, the capacity for achieving the maximum of\nbeauty with the minimum of expense, are displayed by all classes in the\n\nLafcadio Hearn."}, {"page_pdf": 37, "page_imprimee": "109", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.37", "debut_caractere": 25, "fin_caractere_exclue": 1295, "texte": "East, while In England we do but succeed in obtaining, inversely, a\nminimum of beauty with a maximum of cost. And surely in the above\npassages we find the secret of this: for are not such taste and distinction\nas characterise the Japanese the outcome of a national spirit which ren-\nders possible such conditions as those described by Hearn:... a spirit of\nobedience, thoroughness, and submission to discipline for the attainment\nof that thoroughness ? £? & &\n& The training described, the conditions imposed, hard though they seem\nare no exception, but the commonplace daily custom of the East; but\nwhere in the West is to be found any such submission to discipline, such\nstern apprenticeship, such earnestness in passing through a \" long and\nexhausting \" novitiate for the development of powers and the attainment\nof an end ? And if such conditions are unquestioningly accepted by an\napprentice to a trade what must be the training exacted from a student\nin an art ?\nThe Mask has again and again pointed out the absolute necessity of\nthrough training for all workers in the Theatre, and when some such\nconditions as the above are imposed upon, and willingly submitted\nto by, those workers, then, and not before, we may hope for a renais«\nsance of the Theatre. &\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c025", "article_bluemountain": "bmtnaau_1911-10_01#c025", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "110", "page_fin": "112", "image_debut": 38, "image_fin": 40, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.2.13", "titre_corps": "SOME DEFINITIONS FROM AN OLD 1825 DICTIONARY", "titre_sommaire": "SOME DEFINITIONS FROM AN OLD 1825 DICTIONARY", "signature_source": "Pierre Ramés", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 38, "page_imprimee": "110", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.38", "debut_caractere": 0, "fin_caractere_exclue": 2118, "texte": "SOME DEFINITIONS FROM AN OLD 1825\nDICTIONARY,\nTranslated by Pierre Ramés\nP. R.\nhe following Definitions are drawn from an old Theatrical\nDictionary or Book of \" Twelve hundred and thirty three\n♦' truths about the Directors, Reglsseurs, Actors, Actresses\n/\n\" and Employes of the various Theatres, with Confidences\n\" upon the Production of Illusion, Examination of the\n* * Dramatic Vocabulary, a Glance at the Material and Morals of the\n\" Performances, etc, etc, etc \" ; a little work by an anonymous author\nwhich was already in its second edition in Paris in 1825. &\njg? Old as it is in years it is remarkably up to date, for not to all things\ndoes the saying \" Other times, other manners \" apply, and the Theatre\nof today, by the superficial change of but a few names, may yet find a\nvery faithful image of itself in the mirror of this little old book. \" Tis\ntrue tis pity; and pity 'tis 'tis true \" 42\nADMINISTRATOR. ADMINISTRATION. & Severity, Justice, consideration\nfor all his subordinates, consideration above all for the public whose\ntaste he should always consider, such are the qualities which make a\ngood administrator. There are several systems of theatrical administra-\ntion ; the direction by an individual which resembles absolute monarchy;\nthe direction divided among several, which resembles the triumverate or\npentarchie ; the direction by the associated actors which is like consti-\ntutional government; finally the administration by the company of actors,\nbut subject to the authority of a gentleman of the chamber or a minister;\nthis has all the inconveniences of the protectorate without having all\nits advantages. The royal theatres enjoy the protectorate ; their situation\nis the strongest argument against this kind of 0\nAGE. A woman of the theatre is never between two ages, she is\ntwenty or sixty: she is an ingenue or a duenna. Mile. Mars is eighteen\nat\non the stage; no one enquires if she is forty=five in town : What does\nit matter, indeed ? talent has no age.\nARTISTE. A qualification taken by the comedians to whom one would\nrefuse if, and which those who have the right to it neglect. 0"}, {"page_pdf": 39, "page_imprimee": "111", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.39", "debut_caractere": 25, "fin_caractere_exclue": 1926, "texte": "ENNUI. Its usual dwelling is at the Odeon ; after this theatre the\nGrand Opera and the Vaudeville are those which it most frequently vi-\nsits. One never perceives it at the Odry or the Brunet: bad taste dwells\nthere permanently to forbid its entrance.\nENVY. A contageous illness in the theatre ; a mere nothing caq give\nbirth to it and nothing can put it out. It Is a devouring flame which\nburns the hearts of mediocre comedians. Preville was inaccessible to envy.\nGENIUS. Reassure yourselves, authors and comedians : 1 do not define\nit so as to discourage no one. 0\nHARMONY Rare in the orchestra, very rare on the stage, rarer yet\nbehind the scenes. jg/\nINDISPOSITION. The piece is not ready but it has been promised to\nthe public a month since. One replaces the formula 44 en attendant \"\nby this: 44 delayed through indisposition \". .2?\nMadame Rigaut and Madame Casimir sing in the 44 Deux Jumelles\nMadame Casimir obtains a deserved success, and Madame Rigaut imme-\ndiately 44 Indisposes herself \" against the parterre which has so much\napplauded Madame Rigaut but which has made the blunder of also ap-\nplauding Madame Casiinir. The 44 Deux Jumelles \" disappears from the\nbill on account of 44 Indisposition \". jg? jg/ & &\njg/ Indisposition is the common pretext, the banal excuse of all the\njealous, of all the mediocre and capricious actors. Talma is never indi-\nsposed save when he is ill. I know more than one actor who, on the\ncontrary, is never in better health than when he is indisposed. uc?\n(\nINSTRUCTION. It does not bestow talent but it adorns it; it does not\nmake the artist, but it perfects him. A learned comedian may not be\ngood, an ignorant comedian may have fine qualities.\nJOURNALIST; Independent, equitable, impartial, severe without\ncruelty, indulgent without weakness, disinterested in praise as in blame,\nassiduous at the performances of which he must give an account, careful"}, {"page_pdf": 40, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.40", "debut_caractere": 24, "fin_caractere_exclue": 2228, "texte": "to avoid intercourse with the actors and actresses, that is what he\nought to be.\nPOSTERS. Before the revolution the announcement of the performance\ndid not bear the names of the actors. Today they are advertised, and\nthe vanity of certain actors is gratified by this mode of publication.\nThe names printed on the posters in iarge type are a distinction to which\none aspires as to the ovation prepared by the claqueurs. The playbills\nof the royal theatres do not admit these typographical differences. Se-\nniority there assigns the order, as, at the corners of the streets and\nsquares, it assigns them to the posters themselves.\nPURCHASE of Plays. This is an important branch of commerce. The\nstarving authors, and those who wish to see their names figure often on\nthe play bills sell their productions to some influential actors,\nwho produce them as often as they can. Nor do the actors alone perform\nthis traffic of wit; some capitalists buy from the authors a portion of\nthe interest in the performance of their plays, which gives them the right\nto pose as men of letters, from the boulevard Montmontre to the\nboulevard de Pont-aux-Choux. JZ? £>\nREHEARSALS. & They are generally very badly carried on: thus it hap-\npens that on the day of the first performance the pieces are indifferently\nacted. The rehearsals take place from eleven to two o'clock ; and are\nthe occasion for conversation quite irrelevant to the theatrical art. Mme,\nSo-and-so talks of her carriage; Mr So-and-so of his house in the\ncountry ; this little student of her riding lessons; and the prompter, of\na game of dominoes. Meantime the poor author commends himself to all\nthe devils, the regisseur scolds, and the manager complaisantly lets\nhimself be flattered by the courtiers who abound as much in the theatre\nas in the town ; thus the days pass, and people are amazed that, after\nhaving rehearsed the piece for two months, an understanding of\nthe intentions of the musician or of the dramatic conception of the poet\nhas not yet been arrived at. In the small theatres the rehearsals are\nbetter managed than in the royal theatres ; and this is not the only\nadvantage which the secondary spectacles have over their superb rivals."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c027", "article_bluemountain": "bmtnaau_1911-10_01#c027", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "113", "page_fin": "115", "image_debut": 41, "image_fin": 43, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.2.14", "titre_corps": "THE COMMEDIA DELL' ARTE, OR PROFESSIONAL COMEDY", "titre_sommaire": "THE COMMEDIA DELL' ARTE, OR PROFESSIONAL COMEDY", "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": "113", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.41", "debut_caractere": 0, "fin_caractere_exclue": 1731, "texte": "THE COMMEDIA DELL' ARTE, OR PROFESSIONAL COMEDY.\nDIRECTIONS AS TO THE PREPARATION OF A PERFORMANCE FROM A\nSCENARIO, TRANSLATED FROM THE \" ARTE RAPPRESENTATIVA ED\nALL'IMPROVVISO\" OF ANDREA PERRUCCI. 1699 &\n'\"phe Corago, manager, or most experienced of the company, should plan\nout the subject before It Is acted, so that one may know the contents\nof the Comedy, understand where the speeches are to end, and diligently\nstudy the addition of some new quips and lazzi. (i) &\nThus the office of him who manages is not merely to read the argu-\nment, but to explain the characters with their quality and condition, the\nsubject of the story, the place where the scene is laid and the houses:\nto set forth the lazzi and all the necessary details, giving attention\nto the things which are required for the play. J£?\nHe wi'l say, for example, \" The comedy which is to be acted is... the\ncharacters are ' ... Then he shall name their houses, assigning to them\nthe first on the right, the second on the left, the second on the right...\nThen he shall state the argument.\n(\n& The Performers must above all give heed that they do not mistake\nthe country where the scene is laid, whence they come and for what\nend, and that they keep well In mind their own names, it being too\ngreat an error, and an unpardonable blunder, for one to speak of being\nin Rome and another in Naples, or that one who is supposed to come\nfrom Spain should say Germany... or for the father to forget the name\nof his son or the lover that of his lady... So also they must pay attention\nto the apportionment of the houses so that each may know his own\nhouse, it being too ridiculous and foolish for anyone to knock at or enter\n\n(1) For the meaning of \" Lazzi\" see page 115."}, {"page_pdf": 42, "page_imprimee": "114", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.42", "debut_caractere": 15, "fin_caractere_exclue": 2373, "texte": "Into someone else's house instead of his own... And these are the greatest\nblunders that can be made upon the stage.\nThe Director then goes on pointing out and explaining the lazzi and\nthe plot, saying, \" here one needs such and such a lazzo which Is done\nin such and such away: here such and such an equivocal scene, here\nsuch a metaphor, such a hyperbole, Irony, and so on with all the lazzi\nand jokes, showing the characters what to do in each difficulty: &\nThe different characters must be careful not to run Into each\nother in entering, which is easier in the improvised than in the preme-\nditated comedy. One can likewise do more In the improvised than pre-\nmeditated plays to remedy empty and silent scenes, each one being able\nto hold forth on the tenor of the preceding scene and talk on until the\narrival of the actor whose turn it is to enter, (i) &\njg? The actors, having heard what they have to do in the matter ot\nentering as well as in the treatment and termination of the scenes, will\nbe able with their companions to rehearse the scenes and devise among\nthemselves some new lazzi or something after their own fancy. One must\ntake care, however, not to depart so much from the main argument as\nnot to be able to return to it, and be prudent in this respect so that\nthe audience may not, owing to long and persistent lazzi, lose the thread\nof the story or have difficulty in understanding it again £?\nLet all the actors be gathered to listen, and let them not trust to\nknowing by heart, or having previously acted, that Comedy; because it\nmight happen that different Managers would arrange the plot differently\nand that the names and places might be different. &\nHaving heard the Argument mapped out let the actors think how to\napply something prepared already, or composed expressly for that Play,\nthe latter being called \" doti proprie per quella \" (special gifts for that\nparticular play,) some fact, story or thing specially concerning it, or\nuniversal things which they have ready by heart to apply to any Co-\nmedy or Favola, such as.., First Entrances, Desperations, Conceits, Dialo-\ngues, Reproofs, Salutations, Parellels and whatever they may have said of\neither serious or comic, showing that they know how to collocate and\napply them in such away as not to seem out of place but as though they\n\nU) As an example of this see page 121."}, {"page_pdf": 43, "page_imprimee": "115", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.43", "debut_caractere": 24, "fin_caractere_exclue": 398, "texte": "necessarily fitted in there; not doing as do some who, to get in some=\nthing good or amusing or serious, say it and take no care to avoid\nputting it where, on consideration, it does not fit in... J£>\nWhen night must toilow upon some scene one must be careful In\nthe preceding scene to indicate it saying, \"already it Is dark\"; and so\nalso when dawn comes and it grows light."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c030", "article_bluemountain": "bmtnaau_1911-10_01#c030", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "115", "page_fin": "115", "image_debut": 43, "image_fin": 43, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.2.15", "titre_corps": "A NOTE ON THE MEANING OF THE WORD \"LAZZI\"", "titre_sommaire": "A NOTE ON THE MEANING OF THE WORD \"LAZZI\"", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 43, "page_imprimee": "115", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.43", "debut_caractere": 400, "fin_caractere_exclue": 1348, "texte": "A NOTE ON THE MEANING OF THE WORD “LAZZI”.\n|n his \"Histoire du Theatre Italien\" Luigi Riccoboni writes: \"We call\n\" Lazzi that which Harlequins or the other masked actors do in the\n\" middle of a scene to Interrupt It either by expressing fear or by making\n\" jokes which have no connection with the subject of the play and to\n\" which they are constantly obliged to resort. So It is these superfluities\n\" suggested to the actor by his own genius on the spur of the moment,\n\" which the Italian comic actors call Lazzi. \"\nv \\ /\nWriting about this same word Dr Karl Mantzius, in his \" History of\nTheatrical Art\" says : \" According to Riccoboni lazzi is the Lombardic\n\" pronunciation of the word Lacci, which means ribbons. With his lacci\n\" the actor joins the parts of the action where the original connection\n\" between them Is loose ; he binds them together with knots of his own\n\" invention, or with such as have been settled once for all by tradition."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c032", "article_bluemountain": "bmtnaau_1911-10_01#c032", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "116", "page_fin": "121", "image_debut": 44, "image_fin": 49, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.2.16", "titre_corps": "THE FOUR LUNATICS : A Scenario of the Commedia dell'Arte", "titre_sommaire": "THE FOUR LUNATICS : A Scenario of the Commedia dell'Arte", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 44, "page_imprimee": "116", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.44", "debut_caractere": 0, "fin_caractere_exclue": 1650, "texte": "THE FOUR LUNATICS. A Scenario of the\nCommedia dell'Arte.\njG> CHARACTERS.\nThe Prince of Netturno. Lucinda, believed to be his daugh-\nAurelio, his confidential servant. ter, afterwards a Princess.\nStoppino, Aurelio's servant. Rosetta, her servant.\nPandolfo, Counsellor. Captain of the Court.\nArdelia, his daughter. Cola, his servant.\nUlivetta, her servant. Giangurgolo, of the Court.\nÜbaido, second Counsellor. Pages, footmen as required.\nA Magician at the end.\n& ACT. 1. SCENE &\nArdelia and Ulivetta.\n& Ardelia from the house, pretending it is dawn, complains about the\ntardy arrival of Aurelio who has been, sent by the Prince to the oracle\nof Cuma; nor does she know how to defend herself from the Prince who\nsays that he wants to marry her that day. Ulivetta complains of Stoppino;\nthey say that t'ley want to speak with Übaido ; In this, #\n& SCENE &\n& Lucinda, the aforesaid and afterwards Übaido.\nLucinda comes to the door with a pistol in her hand ; says \" I was\njust thinking of you \", and pulls the trigger ; it does not go off;\nArdelia screams, Ulivetta faints. In this Übaido enters; learns that Lu-\ncinda wanted to kill Ardelia so that the marriage with the Prince should\nnot take place. Übaido promises to help both. They go in; he remains,\nand in this, jg?\nSCENE 3.\nThe Prince, Pandolfo, Captain, Cola and .\n& The Prince says that he wishes to await Aurelio with the Oracle's\nreply and that he has made up his mind to marry. All approve. He says\nto Pandolfo that he wants his daughter as wife; then calls, and in this\nSCENE 4. &\nArdelia, the aforesaid and Ulivetta.\n& She (Ardelia) learns the will of the Prince; replies sadly and refuses"}, {"page_pdf": 45, "page_imprimee": "117", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.45", "debut_caractere": 20, "fin_caractere_exclue": 1649, "texte": "him. He tells her to think it over and all go into the Court.\nSCENE 5.\nAurelio and Stoppino.\n& Aurelio says that he has returned from the Oracle of Cuma; they\nspeak about their love affairs. Stoppino, wishing to try the constancy of\nthe women, makes Aurelio draw back; makes a sign, and in this &\n& SCENE 6. &\n& Arde/ia, Ulivetta and the aforesaid.\nThe women see Stoppino; act the scene of the- ghosts,... that is, they\nbelieve that it is his ghost. In the end he shows that he is not a ghost\nbut Stoppino; they act a love scene ; the women go into the house, they\n(Aurelio and Stoppino) into the Palace.^\n£> SCENE 7. &\nCaptain and Cola.\n& The Captain discourses upon the cruelty of Lucinda, Cola on that of\nUlivetta. The Captain says that he has understood that the Prince wants\nto marry Lucinda. In this &\n£> SCENE 3. x?\nRosetta, Lucinda and the aforesaid.\n& She (Lucinda) is entreated by the Captain ; she rejects him and goes\nin with Rosetta; the Captain goes off. Cola remains.\nSCENE 9. &\nGiangurgolo, Cola, Stoppino aside.\n& Qiangurgolo discourses on his love for Lucinda and the rivalry of the\nCaptain. Stoppino arranges to get the Captain into disgrace with the\nPrince so that he may not give him Lucinda, and in this &\n& SCENE 10.\n& Stoppino and aforesaid.\n& Stoppino hears how they have arranged to disguise themselves pre=\ntending to come from Orb o and sent by the Authorities to Imprison\nthe Captain for theft; they go out. Stoppino says he will remedy all when\nthe time comes and\nSCENE 11. &\n& Princef Pandolfo, Captain, Court, Giangurgolo and Cola,\nThe Prince promises Lucinda to the Captain and says that Pandolfo"}, {"page_pdf": 46, "page_imprimee": "118", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.46", "debut_caractere": 15, "fin_caractere_exclue": 1920, "texte": "must persuade his daughter. He goes into the house. The Prince says\nthat Aurelio does not give him the answer of the Oracle. In this &\n& SCENE 12.\n& Qiangurgolo, Cola, disguised, Sioppino : the aforesaid and\nConstables.\n& They (Qiangurgolo and Cola) come disguised as constables to find the\nCaptain so that he may be punished as a thief; they describe many\nthefts; the Prince looks at the Captain ; he is astonished. In this Stop,\npino says, \"By your Excellency's leave pulls off the beards and reveals\nthe trick. The Prince orders them to be imprisoned. The police are called.\nThe Prince with the Court goes off; the police came and want to arrest\nthem. They defend themselves.\n& END OF ACT 1.\n& ACT 2. SCENE 1. &\nPrince, Captain, Court, and Übaldo.\n& The Prince is very angry with the two prisoners. In this Übaldo says\nthat the prisoners entreat to be heard before being condemned; the\nPrince orders them to come in; in this\nSCENE 2. &\nThe Prisoners and the aforesaid.\nj»7Qiangurgolo falls on his knees saying that love has led him to a?t so.\nCola says that If the Prince will pardon them both he will disclose im-\nportant matters relating to his own love affairs. The Prince promises and\nmakes all withdraw. Cola reveals to him the love affair of Ardelia with\nAurelio and says that if he wants Ardelia he must make her believe that\nAurelio is faithless, causing Aurelio by his order to escort Lucinda to\nthe Court fete. The Prince gives permission; they go into the Court; he\ncalls; In this & & & & & & #\n& SCENE 3. &\n& Princej Pandolfo, and later Ardelia•\nj(p> The Prince asks what Ard©lia decides, he (Pandolfo) timidly says tha\nsh© does not want him* The Prince has her called; asks her in marria?®*\nshe refuses; he says he knows that she is in love with Aurelio who\nshe cannot have, he being already married to Lucinda whom that same\nevening he lis to conduct to the government house fete; Ardeli\""}, {"page_pdf": 47, "page_imprimee": "119", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.47", "debut_caractere": 19, "fin_caractere_exclue": 1844, "texte": "swears that if that be true she will be his excellency's wife, She goes\nout, in this\nJ£> SCENE 4.\nj& Aurelio, Stoppino and the aforesa\nThe Prince orders all to withdraw and tells Aurelio that in the\nevening at the second hour of the night he is to conduct Lucinda to the\nCourt. He gives him his seal as a token and goes off; Aurelio Is jubilant\nbelieving that the Prince must have changed his love. Knocks at Lucinda's\nhouse. It is supposed to be night.\n& SCENE\nAurelio, Stoppino, Lucinda and R\n& Lucinda having understood the order of his Excellency, fears that\nhe may make her marry the Captain. Stoppino assures her that he will\nmake the Captain stop at home and that in case of emergency they will\ngive him Rosetta in exchange. The women are satisfied. Stoppino makes\nLucinda give him a sign so that she may recognise him, in this\nSCENE 6. j&\n£? Ulivetta, Ardelia and the aforesaidand afterwards Cola.\n£? Ulivetta has spied, and calls her mistress who comes and hears that\nLucinda is to go with Aurelio. They act a Lazzo. Lucinda and Rosetta\ngo Into the house; Aurelio and Stoppino want to talk to Ardelia and\nUlivetta who pretend to come out of the house just then. Aurelio wants\nto disclose all to them. In this Cola suddenly asks Aurelio on behalf of\nthe Prince if he has carried out his mission. He says yes. Cola in pas-\nsing says to the women \" you are ruined \" and goes off. In this\n& SCENE £>\nI\nPandolfo and aforesaid.\nPandolfo is heard from within ; issues from the Court. Aurelio and\nStoppino go off. Pandolfo makes lazzi with his daughter because she is\nin the street at that hour. She, lazzi, and goes in with Ulivetta; Pandolfo\ngoes into the Court. & & £> &\nSCENE 8.\n& The Captain receives Lucinda's countersign from Stoppino with orders\nto await her at home for she will go that night to visit him conducted"}, {"page_pdf": 48, "page_imprimee": "120", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.48", "debut_caractere": 19, "fin_caractere_exclue": 1813, "texte": "by Stoppino. Referring to Its being night they go off. &\nJS> SCENE & -: j\nArdeJ/a, Aurelio, Luc in da and Pr\n& Ardelia, disguised as she likes, awaits impatiently the mandate of\nAurelio; in this he comes in conformity with the Prince's order. It being\ndark he makes a sign; in this Lucinda is taken by Aurelio and conducted\nto the Palace.. Ardelia sees this from the side and goes mad with jea-\nlousy. In this comes the Prince and embraces her. In this comes Aurelio,\nobserves that the Prince and Ardelia are going with their arms round\neach other into the Court; goes mad with jealousy and goes out.\n£/ SCENE 10.\nStoppino, Rosetta, Ulivetta and Cola.\n& Stoppino comes to conduct Rosetta to the Court. Makes a sign. She\ncomes and they set off. Ulivetta sees this and goes mad for love. In this\nCola embraces her; in this Stoppino returns, sees them going away with\ntheir arms round each other; goes mad for jealousy.\nEND OF ACT 11.\n& ACT 111 SCENE 1. &\n& Giangurgolo and Cola.\nThey make peace and Giangurgolo cedes to the Captain all claim\nto Lucinda. In this Cola gives news of all the events of the night. Calls\nfor help. The Captain goes with him ; in this &\nSCENE 2.\nÜbaldo, Giangurgolo,Cola, Ulivetta, Aurelio, Stoppino, Lucinda\nand Rosetta.\nÜbaldo is followed by Ardelia who makes a mad scene with Giangur-\ngolo and she goes off. In this Cola, who cannot find Ulivetta. In this\nAurelio makes a scene and goes off. Übaldo and Cola remain. In this\ncomes Stoppino; his absurdities, blunders and exit; they follow\nhim. In this Lucinda enters from the Court, complaining about the\nPrince and the deception practised on her by Aurielio. Rosetta and\nÜbaldo learn from Giangurgolo the madness of his daughter. In this &\nSCENE 3,\n& Übaldo confirms to Pandolfo the madness of his daughter. Pandolfo"}, {"page_pdf": 49, "page_imprimee": "121", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.49", "debut_caractere": 20, "fin_caractere_exclue": 1018, "texte": "goes off to find her. Qiangurgolo follows him. Lucinda expatiates to Übal-\ndo on the wrongs done her by the Prince. He then shows the letters\nhe has received from Flanders from the person who left her in his\ncare which show that she is the Princess of Netturno. They go into the\ncourt to tell the Prince.\n-c? SCENE 4. &\nArdelia, Aurelio, Ulivetta, Stoppino and Magician.\nThey come in acting madly, playing, dancing, singing and saying\ngeogeo. Then they sit down and fall asleep. In this enters the Magician,\ntouches them with his wand ; all get up, make their acknowledgements,\nand in this &■&¥&¥&&&&\n¥\nLast Scene. All on the stage.\nWith every ceremony it is revealed that Lucinda must be the legi-\ntimate wife of the Prince, Ardelia of Aurelio, and they repeat the words\nof the Oracle:\nUomo non fu gi& rnai che Io conforti\nsin che la morte viva non ritorni:\nAuditaci (sic) suoi rlcchi soggiornl.\nE chi morte non ebbe abbia consorte (I).\n£> PROPERTIES REQUIRED &\n& Letters, Magician's robe, guitar."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c033", "article_bluemountain": "bmtnaau_1911-10_01#c033", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "121", "page_fin": "123", "image_debut": 49, "image_fin": 51, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.2.17", "titre_corps": "AN IMPROVISATION", "titre_sommaire": "AN IMPROVISATION", "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": 49, "page_imprimee": "121", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.49", "debut_caractere": 1020, "fin_caractere_exclue": 1849, "texte": "AN IMPROVISATION\nby Count Carlo Gozzi.\n(*)\n[ had to P|ay the Paft of Luce, married to Pantalone, a vicious old man\nbroken in health and fortune. I was reduced to extreme poverty, with a\ndaughter in the cradle, the fruit of my unhappy marriage.\nThere was a night-scene, in which I had to soliloquise, while rocking\nmy child and singing it to sleep with some old ditty. This lullaby I in-\nterrupted from time to time with the narrative of my misfortunes and\nwith sallies which made the audience die of laughter. Bursts of applause\nbrought the house down as I told my story, enlarged upon my reasons\n\n(i , \" Never was there a man able to console him until the dead should return alive. Let his rich mansions\nhear us, and (she) whom death did not have may have a husband.\n(2) From the translation of Qozzi's Memoirs by J. A. Symonds."}, {"page_pdf": 50, "page_imprimee": "122", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.50", "debut_caractere": 20, "fin_caractere_exclue": 2363, "texte": "for marrying an old man, related the incidents of my life, alluded in\nmodest monosyllables to what I had to bear, described what a fine figure\nof a woman 1 had been, and what a scarecrow matrimony had made me\nI complained of cold, hunger, evil treatment. I did not make milk enough\nto suckle my baby; and what I made was sour, nay, venomous from fits\nof rage and all the suffering I had to go through. This bad milk gave my\ndarling, the fruit of my womb, the stomach-ache. It kept bleating af|\nnight like a lamb, and would not let me close an eye. The night was far\nadvanced. 1 was waiting for my old fool of a husband. What could be\nkeeping him abroad ? He must surely be in the Calle del Pozzetto, noto-\ntorious at Zara for its evil fame. 1 had a presentiment of coming troubles,\nmoralised upon the woes of life, and burst into a flood of tears which\nmade everybody laugh. &\nThe truth was that one of our officers, Signor Antonio Zeuo, who\nplayed the part of Pantalone excellently, had not turned up at the proper\ntime to enter into dialogue with me. Until he arrived, I was forced to\ncontinue my soliloquy, which had already occupied the attention of the\naudience full fifteen minutes. &\n& A good extempore actor ought never to lose presence of mind, or to\nbe at a loss for material. In order to prolong the scene, I pretended that\nmy baby was crying, and that it would not go to sleep for all my lullabies\nand cradle-rocking. In a fit of impatience 1 took it up, unlaced my dress,\nand laid it with endearing caresses to my breasts to quiet it. This fresh\nabsurdity, together with my lamentations over the non-existent teats 1\nsaid the greedy little thing was biting, kept my audience in good humour.\nFrom time to time 1 turned my eyes to the sides, being really disturbed\nat Signor Zeno-Pantalone's non-appearance, and racking my brains in\nvain for some new matter to sustain the soliloquy. 0\n& Just then I happened to catch sight of Tonina seated in one of the\nfront boxes of the theatre, resplendent with beauty, and attired in a gala\ndress which cast a glaring light upon her'dubious career. She was laughing\nwith mors assurance and sense of fun than anybody at my jokes. The\ncatastrophe which she had nearly caused flashed suddenly across my\nmind. I felt that I had discovered a treasure; and plunged like lightning\nInto a new subject."}, {"page_pdf": 51, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.51", "debut_caractere": 20, "fin_caractere_exclue": 1679, "texte": "jg? what I proceeded to do was bold, I admit, yet quite within the limits of\ngood taste upon our amateur stage, where personal allusions were allowed\nperhaps a little too liberally.\n& I called my doll-baby by the name of Tonlna, and addressed my speech\nto it, 1 caressd It. admired its features, flattered my maternal heart with\nthe hope that Tonlna would grow up a lovely girl. So far as 1 was con-\ncerned, 1 vowed to give her a good education, by example, precepts,\nchastisement, and watchful care. Then, taking a tone of gravity, I warned\nher that if, in spite of all my trouble, she fell into such and such\nfaults, such and such acts of imprudence, such and such immoral ways\nand caused such and such disturbances, she would be the worst Tonina\nin the world, and I prayed God to cut her days short rather in the cradle.\nAll the evil things I mentioned were faithfully copied from anecdotes\nabout Tonlna In the front box, with which my audience were only too\nwell acquainted.\njgz Never in my whole life have 1 known an improvised soliloquy to be so\ntumultuously applauded as this of mine was. The spectators as: one point\nof the speech turned their faces with a simultaneous movement towards\nTonina, in her gala dress, clapping their hands and laughing till the theatre\nrang again. His excellency, who had some inkling of the siren's ways,\nhonoured my unexpected satire with explosions of unconcealed merriment.\nTonina backed out of her .box in a fit of fury, and escaped from the\ntheatre, cursing my soliloquy and the man who made it. Pantalone finally\narrived, and the comedy ended without any episode more mirthful than\nthe scene between me and my baby."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c035", "article_bluemountain": "bmtnaau_1911-10_01#c035", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "124", "page_fin": "133", "image_debut": 52, "image_fin": 61, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.2.18", "titre_corps": "THE POSITION OF THE THEATRE : A SYMPOSIUM", "titre_sommaire": "THE POSITION OF THE THEATRE : A SYMPOSIUM", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 52, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.52", "debut_caractere": 0, "fin_caractere_exclue": 1666, "texte": "THE POSITION OF\nTHE THEATRE.\nA SYMPOSIUM.\n\n'p/re Referee is only an important paper so long as It considers the\nArt of the Theatre as of Importance. But lately for some unexplained\nreason (in fact since the death of Sir Henry Irving), the Referee has\ntaken to laughing in its sleeve at the Theatre and its Art and its\nThere are no doubt many London managers, actor-managers, actors\nand dramatists who regret this change, yet who are powerless to resist\nit whilst a certain few high-placed actor-managers encourage it.\n£> When a serious man is at the head of the Theatrical Profession the\nJournals which live upon bits of news from the weekly stage are obliged\nto tolerate his rule and to give up all idea of the much enlarged circu-\nlation which they could command by sinking into cheap jokes about that\nupon which they live. In short, under the leadership of a serious man\nthe comic parasite, which laughingly devours and destroys that upon which\nits very existence depends, is kept in check. But when a jester rules the\nroost the journal becomes inflated and the roost becomes defiled.\nJust lately The Referee, which is a journal circulated largely amongst\nthe members of the English Theatrical Profession, has stated several things\nabout the Theatre which are so appalling in their levity that they guage\nto a nicety the lowest water level to which the Theatrical Journalistic\nriver has sunk since Irving was at the head of the Theatrical Pro-\nfession. & &\n& The following are some of the choice statements or reflections published\nin that journal during the last few weeks:\ni. & People do go to the Theatre to digest their dinner. Why should\nthe} not J £? jgf /7"}, {"page_pdf": 53, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.53", "debut_caractere": 13, "fin_caractere_exclue": 2173, "texte": "а. & The standard of Public Taste In certain matters pertaining to\nthe Theatre has been raised by Sir Herbert Tree on the one hand\nand by Mr George Edwardes on the other.\n3; Going to the Theatre is a diversion, not a sacred office.\n4. The Theatre does not aspire to a position among the fine arts,\nand never has aspired and never can aspire to such a position.\n5. Sir Herbert Tree's 44 Malvolio \" and his 44 Falstaff\" I regard as\nmasterpieces which I would rather see any day that such a thing as\nthat statue of Victor Hugo by Rodin....\nб. I do not rank acting among the fine arts. ■&\n7. Acting is not only an art; it is the first of all arts of the Theatre.\n8. Madame Duse's remark as to how to save the Theatre is a very\nsilly sort of remark. &\n9. Certain hysterical remarks about the theatrical profession by\nEleonora Duse ; an insulting reflection upon her calling. ■£?\n10. The Mask mistakes the functions of the Theatre.\n*\n11. 44 The awakening European Theatre \" whatever that may be.\n0\n12. What Eleonora Duse means and what Mr Craig means passes\nmy comprehension...... is more than I can imagine. & ■£?\n£? All this and more is supposed to represent the modern English\nTheatre's point of view. We do not believe it represents It a scrap. We\nbelieve on the contrary that it misrepresents it entirely.\nWe believe it to be a senseless pose on the part of The .\nThe Referee admits, (as seen above), that it has not sufficient imagina-\ntion or comprehension to understand what the great Italian actress has\nto say, nor what Mr Craig says ; so the poor thing backs out of the whole\nquestion of understanding. & &\n£? We always suspected this. But that the Referee should find it neces-\nsary to pillory itself by repeating over and over again 44 we do not un =\nderstand \" 44 we cannot imagine \", is as extraordinary a piece of self-\npunishment as we have 'ever had the fun of witnessing. &\nThe Mask was founded shortly after the death of Sir Henry Irving\nand is determined to keep up the standard of the Theatre to the best\nof its ability and to attack any and all who are against this ideal.\nThe Referee is against it. In the course of the last year or so it has"}, {"page_pdf": 54, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.54", "debut_caractere": 13, "fin_caractere_exclue": 2000, "texte": "sneered incessantly at the ideal and has said that Mask does wrong\nin expecting the Theatre to follow those who believe in &\n& While doing this The Referee has patted on the back the leading\ndramatists, actors and actresses in the presumptuous belief that these\nmen and women are not great idealists. £* £/\n& So we have written to such representative leaders as Sir Arthur\nPinero, Miss Ellen Terry, and Mr Martin Harvey, and asked them whether\nThe Mask does right or wrong in asking everything of the Theatre.\n& Tiie Questions put were the following :\n1. Do you believe that the standard in theatrical work has risen\nsince the days of Henry Irving ? & &\n2. Can you name any manager who has added more distinction to\nthe stage since those days ? j\n3. Have Sir Herbert Tree and Mr George Edwardes raised the Theatre\nin any way f\n4. *£? If so, could you say exactly in what way ? G? js? &\n5. Do you think the Theatre never has aspired to a position among\nthe fine arts and never can aspire to such a position ? &\n6. Do you consider The Mask does wrong in asking everything of\nthe Theatre as a Public Institution and as a Fine Art ? &\n& Most of those who have answered these questions wonder why the\nnames of Sir Herbert Beerbohm Tree and Mr George Edwardes are linked\ntogether.\nWe would like once and for all to remind our readers and the general\npublic that it was the Stage's pet journal which blundered in this parti-\ncular manner. The Referee classed the two together who are we that\nwe should put them asunder again ? £/\n& Still, the particular questions dealing with these gentlemen are not\nof vital importance to us. & &\nWhat naturally was, and always will be, of far greater importance to\nus is that The Referee seemed to imply that we were wrong in upholding\nthe theatre and in claiming that the Theatre aspired to the position of\na Fine Art.\nThose who have answered our questions are all agreed that we were\nright, and we are encouraged to think that Sir Arthur Pinero, Miss Ellen"}, {"page_pdf": 55, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.55", "debut_caractere": 13, "fin_caractere_exclue": 1344, "texte": ". Terry and Mr Martin Harvey, all three in the highest and most respon-\nsible positions in the English Theatre, hold this opinion.\nWe print their replies below. They speak for themselves. We are glad\nthat in their eyes we are doing the right thing.\nWe shall continue to hold up the ideals of the theatre and we\nappeal to every true lover of the Theatre to assist us to make our mutual\ncause better known. JZ?\nTHE QUESTIONS.\n/. Do you believe that the standard in theatrical work has risen\nsince the days of Henry Irving ?\n2. Can you name any manager who has added more distinction to\nthe stage since those days ?\n3. Have Sir Herbert Tree and Mr George Edwardes raised the\nTheatre in any way.\n4. If so, could you say exactly in what way?\n5. Do you think the Theatre never has aspired to a position among\nthe fine arts and never can aspire to such a position ?\n6. Do you consider The Mask does wrong in asking everything of\nthe Theatre as a Public Institution and a fine Art?\nTHE ANSWERS.\nELLEN T E R R V. «<s>\nI. No. JS/\nYes. In my opinion Mr George Edwardes has in England raised\nthe lighter form of entertainment and brought more distinction\nand beauty to it..., more grace and gentleness. & &\n1 am sure Herbert Beerbohm Tree has always presented his best\nendeavours. He was a devoted disciple of Henry Irving, and has fol-\n\nJ. S."}, {"page_pdf": 56, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.56", "debut_caractere": 13, "fin_caractere_exclue": 1992, "texte": "lowed In his footsteps \" according to his lights but I consider\nHenry Irving had come to the perfection of his own methods, and\nhad he remained on this earth it is possible he might have evolved\nor adopted a new method of expression. But certainly his expression\nhas not been extended. -\n5. The Theatre has a peculiar advantage towards elevating or degrading\nthe tone of a nation. 1 think the Theatre always has aspired to a\nposition among the fine arts. (There are at least a dozen authorities\nwhich 1 can quote to prove this): it always aspire, and always\nshould aspire to that position. &\n6. & I consider The Mask does right, and the Referee was gravely\nwrong in making assertions which in the long run tend to lower the\nTheatre in the minds of the young men and women who have entered\nmy profession full of hope and belief in the Art which they are\nbeginning to study.... & &\nThe Po,nt of view which the Referee advocates will soon create\nIn the beginner a tendency to mock at and belittle their own ideals.\nThe Mask was born to encourage the younger generation of\nthe Theatre,.... young girls and boys of twenty to twenty-five, and\nto keep them young at forty to forty-five and.... after; and so long\nas the people in any art remain young they will hold the belief\nthat every art aspires to be a high and fine art. & & &\nAt the Mansion House I quoted Matthew Arnold and said: \" The\nTheatre is irresistible, organize the Theatre \". I was then speaking\nof an institution. I now speak of its Art and I say, \" The Art of the\nTheatre is a fine art; keep it fine \". Have courage to venture into\nthe unknown, and Remember:\n\" A shipwrecked sailor burled on this coast\nBids you set sail ;\nFull many a gallant ship when we were lost\nWeathered the gale. \"\n& ARTHUR PIN E R O & 0\n& Sir Henry Irving's successors, profiting by his example, have, in\nmy opinion, worthily upheld the high standard of theatrical art In\nthis country. His extraordinary personality cannot be replaced; that is"}, {"page_pdf": 57, "page_imprimee": "129", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.57", "debut_caractere": 13, "fin_caractere_exclue": 1739, "texte": "not their fault. Mr Edwardes's light productions are beautiful and\nin good taste. They far excel anything of the kind that has preceded\nthem within memory. He does not, I understand, assay to 44 raise\nthe Theatre \" in a solemn sense. & jgr &\nThe Art of the Theatre is a Fine Art and is, at its best, regar-\nded as such by unprejudiced people. The Mask does well In urging\nthe more open recognition of the Theatre as a useful and enobiing\ninstitution.\nMARTIN HARVEY\nI. 2. No. <£? j2? J&\n3. This is not a fair question..&\n5. The achievement of the Theatre.... the serious Theatre is and\nalways has been a \" fine art\": it is not a question of\naspiration.\n1 know of no definition of art which is not the definition also of\ntheatrical art. Hear Ruskin : 44 Every art which is properly called\n\"fine demands the exercise of the full faculties .of heart and intellect\";\nagain, '* The highest thing that art can do is to set before you the\n\" true image of the presence of a noble human being. \" Or, if you\nwant your detractors to catch a fall, read them this from the same\nauthority: \"It is impossible to direct fine art to an immoral end,\n\" except by giving it characters unconnected with its fineness, or\n\" by addressing it to persons who cannot perceive it to be\n44 fine\" / jg? &\n6. Certainly not it Is doing a great service, only do make your\nprecepts clear 11\nGORDON CRAIG\ni. In answer to your first question. Ido not think that the standard\nof theatrical work has risen in England since the days of Henry\nIrving.\nI do believe it has risen in Germany, Hungary and Russia. I have\n/\nseen the work of the modern theatres in England, in Russia and in\nGermany and have studied it carefully. The Hungarian work I only\nknow from report.^"}, {"page_pdf": 58, "page_imprimee": "130", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.58", "debut_caractere": 13, "fin_caractere_exclue": 2219, "texte": "The standard In Germany and Russia for the scenic representation\nIs much higher than it was ten years ago. Both their realistic and\npoetic dramas have great care spent on them when in course of\npreparation when compared with the very same dramas as produced\nhere in England. This Is to be greatly regretted.\njSf Putting aside the scenic side of the question I should say that\nthe standard for acting pure and simple is much higher in Italy\nthan elsewhere. I regret that I have never visited Spain. & &\n2. In answer to your second question I would say that there are\nfew managers who have added distinction to the stage since the\ndays of Irving. Stanislawsky in Moscow has done so; Professor Max\nReinhardt tries to do so, a very earnest German, Mr Herbert\nTrench tried to do 50,... and I believe Sir Herbert Tree would like to.\n3.4. & You ask if Mr George Edwardes and Sir Herbert Tree have raised\nthe stage in any way and if I can say in exactly what way. I cannot\ndo so: but I feel that Sir Herbert Tree when a young man had\nan idealist's view of the stage. I remember well being struck by a\nphotograph I saw of the celebrated actor-manager when he was\nquite a youth and thinking that he had the face of a man who would\nalways be on the side of the angels. Irving had such a face to the\nend of his days.\nI believe Mr George Edwardes makes no pretentions to having raised\nthe standard of the Theatre or its work, though I daresay he does\nraise it for I understand he is thorough in all that he takes up. Sir\nHerbert Tree, on the contrary, is, after a careful test, known to me\nas not thorough. I regret that I am obliged to make this statement\nbut I have good proof now that what I state is unfortunately correct.\nAs a rule I fear that the managers of the London Theatre are less\nthorough and more pretentious than is good for the stage.\n5* You ask me if I think the Theatre has ever aspired to a position\namong the Pine Arts and ever can aspire to such a position. I am\nonly living so as to prove that. You tell me that the /Referee denies\nthe Theatre that right. The Referee may go on denying until it\nbecomes a quarterly journal and The Mask is a daily journal, but\nI think that will make no difference."}, {"page_pdf": 59, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.59", "debut_caractere": 13, "fin_caractere_exclue": 1878, "texte": "1 think you will find, my dear Editor, that those who reply to this\nfifth question will all say the Theatre does and can aspire to be a\nfine Art. If they say so and are at all representative names, then\nthe Referee may make less mistakes in the future on this important\npoint.\n6. To your last question, Do I consider The Mask does wrong in\nasking everything of the Theatre as Public Institution and as a Fine\nArt, I can only answer that I believe The Mask was started with\nthat purpose in view and that it does right in sticking to its guns.\nThe Public has grown rather tired in the last few hundred years of\nexpecting the Theatre to be worthy of itself, but I am sure The Mask\nwill not grow tired and that it will live to see its hopes fulfilled....\nOn that day 1 shall congratulate you. Till then there can be no talk\nof rejoicings. You must only fight on. If today the Theatre itself\ndoes not understand or acknowledge what you are doing on Its\nbehalf you must not be surprised. If you are sincere you can do no\nwrong and all right, and in time the English Theatre will be with\nyou to a man.\nWALTER CRANE\n1. & Not distinctly or generally, despite increased attention to detail\nin costume and accessories.\n2. Certainly not. & & & &\n3. 4. £> Not unless the increase of a kind of spectacular interest can be\nsaid to have raised it\n5. & The Theatre in ancient times, say, In Greece, must have held\nsuch a position, and, considered as the most vivid expression in art\nof the life of its age, the Theatre should certainly aim at the highest\nart, and seek to exercise the ennobling Influence of the greatest beauty.\n6. & 1 think The Mash is perfectly justified In asking for, and seek-\ning, the best art In the Theatre as a public institution and as a\nfine Art.\nJOHN BALANCE\ni. I do not believe the standard in theatrical work in England has\nrisen since Irving's death."}, {"page_pdf": 60, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.60", "debut_caractere": 13, "fin_caractere_exclue": 1827, "texte": "2. No.\n3. Well, 1 asked a lady this question, for 1 failed to see how Mr\nEdwardes the master of Musical Comedy production could be classed\nwith Sir Herbert Beerbohm Tree the master of Short Cuts to Shake-\nspeare. She began her reply in these words: \"You see you can't level\nthe same brick at George Edwardes that you throw at Sir Herbert\nBeerbohm Tree\". At which the whole company was so much amused,\n(so seriously was it said), that the rest of the reply was lost. Anyhow,\n1 think it can stand by itself as a fair answer.\nSM6.& I think that if you answer these last two questions with a No\nthe first four questions are also answered. The Mask has more than\nright to demand everything of the Theatre it Is Its duty. And\nthe Theatre always must aspire to the position of a fine art\nalways. Those who deny this, whether actors, actresses or theat-\nrical journals like the Referee, are utterly worthless and have\nreason to be heartily ashamed of themselves.\nCHRISTOPHER St JOHN\nNo.\n4• Answers to 1, 2 & 3 answer this also. 0\n5. No. The position to which the Theatre once aspired may be judged\nfrom the fact that some of its beauty is still preserved In the forms\nand ceremonies of Holy Mass, (Notably the Chorus). &\n6. The Mask does right as usual.^\nGEORGE CALDERON\nThe Art of the Theatre serves two purposes, (i) The expression\ni— §\nof the highest thought to which its form is adaptable, (a) The en-\ntertainment of the sort of people who read The Referee by the\nsort of performance that Sir Herbert Tree and Mr George Edwardes\nhave brought to such perfection. & & & & 0\nThe second purpose is the only one worth pursuing, but the first\nis the only one worth writing about.\nALLEN C A R R I C.\n1. In England, no. In Russia, Hungary and Germany, Yes. &\n2. & Stanislawsky, Hevesi, Relnhardt. A Russian, a Hungarian, and a"}, {"page_pdf": 61, "page_imprimee": "133", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.61", "debut_caractere": 13, "fin_caractere_exclue": 1320, "texte": "German; and there are others on the Continent. These names lead\nback to the name of the man by whose work they have all been\ninfluenced and inspired and to whom the additional distinction of\nthe work upon the European stage may be directly traced,.... the\nEnglishman, Gordon Craig. & & &\n3& 4 Sir Herbert Tree has not done so. Mr George Edwardes has\nalways done his best and his best is quite admirable. 1 do not think\n»\nhe aspires to produce a serious or poetic Drama, but if he were\nto make the attempt his thoroughness would Incline him to select\ngood workmen and to direct them with care.\n5. & The Theatre has always aspired to a position among the Fine\nArts and always will aspire to such a position. Perhaps some day It\nmay achieve it. j£? &\n6. Certainly I do not. The Mask was founded with that purpose in\nview. It Is doing right. If Sir Herbert Tree were in a less responsible\nposition and were looked upon by others, and himself professed, to\nbe merely a commercial manager who only cared for the Theatre\nas a money-making business, then no one could find fault with him\nexcept from that point of view; but he professes to have at heart\nthe Theatre's best interests as an Art, and, while protesting that he\ndislikes vulgarity in scenic display, he indulges In it in every\nproduction. jg? jg? £?&£>&"}]}, {"article_id": "bm-bmtnaau-1911-10-01-c038", "article_bluemountain": "bmtnaau_1911-10_01#c038", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "134", "page_fin": "134", "image_debut": 62, "image_fin": 62, "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=bmtnaau191110-01.2.19", "titre_corps": "UNFORTUNATELY", "titre_sommaire": "UNFORTUNATELY", "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": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.62", "debut_caractere": 0, "fin_caractere_exclue": 1067, "texte": "UNFORTUNATELY\n« Acting is not an art. It is therefore incorrect to speak of the actor\n\" as an artist. For accident is an enemy of the artist. Art is the exact\n'* antithesis of Pandemonium, and Pandemonium is created by the tum-\n\" bling together of many accidents; Art arrives only by design. Therefore\n\" in order to make any work of art it is clear we may only work in\n\" those materials with which we can calculate. Man is not one of these\n\" materials. \" (i) J& JE/\n(i) A work of Art can NOT be made by a quantity of people each of a\ndifferent opinion as to each different part of that work.\n(a) A Work of Art can NOT be made from any material which has vitality\nor is subject to individual movement; not, that is, from water or air or\nvegetation or animals or man can a work of art be fashioned, but only\nfrom rock, from wood, and such like inanimate material. &\n(3) A Work of Art can NOT \" happen \" by accident but only by deli-\nberation.\n(4) it is | because these facts are insufficiently realised in the Theatre\nthat a Work of Art is never created by the Theatre."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c039", "article_bluemountain": "bmtnaau_1911-10_01#c039", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "134", "page_fin": "134", "image_debut": 62, "image_fin": 62, "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=bmtnaau191110-01.2.20", "titre_corps": "FORTUNATELY", "titre_sommaire": "FORTUNATELY", "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": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.62", "debut_caractere": 1069, "fin_caractere_exclue": 1752, "texte": "FOR TUNA TEL Y.\n(1) There is a remedy for all this. & &\n(a) The impersonal Is stronger than the personal, even as the love for\nan ideal is always stronger and finer than the love for a person...oneself.\n(3) There will always be a few men In the Theatre who try ever \" not\nto belittle art for the satisfaction of an isolated personality \". (a) £>\n(4) They will ultimately find no difficulty in selecting a new material\nfor the art. & &\n(5) The Muses always assist such men and therefore they will create a\nnew Art. It will be the first time that the Theatre shall have given birth\nto a fine Art. Allen Carrie'\n(1) The Actor and the Uebermarionette. The Mask. April 1908.\n(2) Flaubert."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c041", "article_bluemountain": "bmtnaau_1911-10_01#c041", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "135", "page_fin": "137", "image_debut": 63, "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=bmtnaau191110-01.2.21", "titre_corps": "FAKE FOLK ART : Or the So-Called \"Revival\" of Folk Art", "titre_sommaire": "FAKE FOLK ART : Or the So-Called \"Revival\" of Folk Art", "signature_source": "Felix Urban", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 63, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.63", "debut_caractere": 0, "fin_caractere_exclue": 2278, "texte": "FARE FOLK ART, Or the So-Called \" Revival\"\nof Folk Art,\nby Felix Urban.\nTHhe PoJk need something more than the interest of Sociologists to inspire\nthem to sing, dance and act again, and no fire will be kindled in the\nFolk merely because they are blown upon by the bellows of the idle rich.\nThe thing is a hobby. Even as we but lately began to collect old\nfurniture so we are now collecting old songs and dances, and, after\ndrumming them into some few peasants, we say complacently in books\nthat the Folk have burst out again into song and dance; that \" the re-\nvival of Folk-Art in song and dance, in game and drama is, in England\ntoday, an accomplished fact\" (i). J&\n& Artists, too, are said to be \" going back to the creations of the simple\nand unlettered folk that they may build on the foundations of natural\ntaste and emotionßut that artists should love the purest accidents\nof the natural expression of peasants is nothing new. Artists and the\nFolk are of the same family; they are all the children of Nature and\nobey her and no one else. But Nature abhors \" fake \", and that is all\nthat this present so-called \" revival \" of Folk-art amounts to.\n& When a nation sings it goes on singing until the reason for its song\nis gone. The reason in England has gone. There can be two reasons, joy\nor sorrow. But in England respectability shuts out both, and that is\nwhy there is 110 spontaneous song in England. &&&?£/\nIn Poland, the land of lands for Folk-music, (I know of a collection\nof many thousand songs), they are joyous or sorrowful, but the State\ndoes not allow them to become commonplace. In England, on the contrary,\nthat is just what the State does do and just what they become. The\nyoung in England, even as the young in Poland, are joyous, since, as\nWalt Whitman wrote, \" lads and lasses, that universal race \" are\n\" mainly the same, all ages, all lands but sooner or later they learn\nthe lie that joy is not respectable. This does not make them miserable.\nIf that were so they might \" out of their sorrow make little songs \". No,\nthey prefer to become banal, and banality never created ** Folk-Art \"\nhowever much of it it may have stifled.\nIreland is more fortunate. There it is somewhat the same story as\n\nt\n(i) \"The Shakespeare Revival \"reviewed on a later page."}, {"page_pdf": 64, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.64", "debut_caractere": 15, "fin_caractere_exclue": 2552, "texte": "in Poland one wonders if Home Rule will improve their voices or\ndeaden both joy and sorrow. JZ? JZ? & jzr &\nThis so-called Revival of Folk Art is, as I have said, not genuine. It\nis an eruption of sentimentality. Those who are concerned in it, (except\nfor the one or two scholars whose interest is decidedly an erudite one,)\nare mostly ignorant of what the significance of Art really is, and one\nmay safely say that hardly any guess the cause which lies at the roots\nof the art expression of the Folk. It would shock some of these good\npeople if they guessed aright. jzr\nonly great Folk-drama created by the Folk was that known as\nthe Commedia dell'Arte. (i) The Religious Drama, however much loved\nby the people, was created by the Aristocracy, for Religious drama deals\nin mysteries, and mysteries are always created by the aristocratic brain.\nj0 All Folk Art is clear, highly coloured, coarse, healthy. All Aristocratic\nArt is the reverse and must be so. JZ?\nWe have need of both, and perhaps the fake of both is also necessary\neven as London smoke and mud are necessary ; but if will make no\nimpression on a sane nation even if it subdue a Garden City or two.\nJZ? I have spoken of the difference between Folk Art and Aristocratic\nArt, but this fact must be remembered. Folk and Aristocratic AH, what-\nV\never their differences, are in one respect alike. The artist creates both.\nGiven the Folk or the Aristocracy without artists and no art is possible.\nArtistry \" will out \", only the character and form of its expression varies\naccording to the surroundings among which it springs. If your artist is\ntending sheep with Giotto he creates Folk Art: if he is attending soirles\nlike Benvenuto he creates Aristocratic Art. Had Shakespeare stayed in\nStratford he would perhaps have written different plays. Had Burns come\nto live in London he woald perhaps have written different poems, (a)\nBut in each case we find the spirit of the 44 Folk \" and the 44 Aristocrats \"\nail merged, incorporated in one or two men,., and these always the artists.\n\n(1) See \" The Mask January and April, 1911.\nif\", says Wait Whitman, writing of \" the lyrics of illicit lores and carousing intoxication\" of the \" odd*\n\" kind chiel\", \"he had lived steady, fat, moral, comfortable, well-to-do years, and died well; ripen'd aid\n\" respectable, where could have come in that burst of passionate sobbing and remorse which weil'd forth\n\" instantly and generally in Scotland and soon followed everywhere among English-speaking races, on the\nannouncement of bis death?\""}, {"page_pdf": 65, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.65", "debut_caractere": 15, "fin_caractere_exclue": 501, "texte": "So will it ever be. And if England can stamp out this blighting \" re-\nspectability \" and Its accompanying /ear, voices will sing and be heard.\nBut timidity will never find expression in song; only courage does that,\nand heroic beauty, singing whether it be joyous or sorrowful. Meantime,\nwhat Impulse has a man in England to sing of simple things? He can\nfind refuge from the banality, the timidity which rule and cramp the\nland only in mystic things, and Folk Art is not born of these."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c042", "article_bluemountain": "bmtnaau_1911-10_01#c042", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "137", "page_fin": "155", "image_debut": 65, "image_fin": 83, "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=bmtnaau191110-01.2.22", "titre_corps": "VENETIAN COSTUME : Translated from the Book of Cesare Vecellio. 1589", "titre_sommaire": "VENETIAN COSTUME : Translated from the Book of Cesare Vecellio. 1589", "signature_source": "Cesare Vecellio ; D. Nevile Lees", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 65, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.65", "debut_caractere": 503, "fin_caractere_exclue": 2027, "texte": "VENETIAN COSTUME Translated from the\nBook of Cesare Vecellio. 1589.\nby D. Nevile Lees.\nANCIENT COSTUME OF A YOUNG NOBLE DECKED OUT FOR COURTING.\n*■\nI have taken the costume In the accompanying picture from a figure\ncarved on the capital of one of those columns which support the Palace\nof San Marco in Venice, (the which is near the women's prison,) besides\nhaving seen it painted and sculptured in other pictures and statues\nof Venice. JZ? jg/ & jgr\nThe young men used formerly to make themselves little curls in the\nmiddle of the forehead and to wear the rest of their hair waved on\ntheir & & & & & &\nThey also wore a robe of silk or gold brocade with various embel-\nlishments reaching to the knee, all buttoned with gold buttons as far as\nthe waist, the which they girded with a silken girdle, from the left side\nof which hung a sword. & jg> & & &\nThe said dress was all adorned with lace about the edges, and had a\nfairly long hood of the same stuff which hung behind to below the belt\nand which enabled them In wet weather to dispense with any other\ncovering for the head. jg/ £? £/ &\nThe sleeves of the over-dress covered their arms to the elbow, but\nthen opened and hung down from the aforesaid half-length sleeves.\nThey wore stockings of red cloth and low pointed shoes. & &\n& & ANCIENT COSTUME OF A MAIDEN IN LOVE. &\nTh« accompanying costume of a young Noblewoman in love has been\ndrawn from the same place and is very beautiful. They used to make\na few modest curls on the forehead and let the hair flow over their"}, {"page_pdf": 66, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.66", "debut_caractere": 18, "fin_caractere_exclue": 2256, "texte": "shoulders fairly long. They wore gold ear-rings of fine work, and a\nstring of pearls round the neck. They had a close fitting dress without\nbodice, and not very wide, but much adorned about the breast, the\nsleeves and in front near the opening with plates of gold or silver so\nwell set on that they resembled bird's feathers in their arrangement which\nwas very beautiful and magnificent. £>\nVENETIAN COSTUME AND BEGINNING OP THE SLEEVES 44 A COMEO\".\nV have devoted much study as to when and where this costume could\nhave had its origin, the\" which is very handsome\nalthough It was of wool, and I also wished to know when they gave\nup wearing the mantellino (little cloak), as It was called. Nor can I\npersuade myself that such a change of costume was due to any other\nreason than the inconvenience of the loose robes in many folds.\nNevertheless it seems to me that persons of position have worn the\nlong robe in the style of a toga, although different from these modern\nones.\nHence I, like many others, having thought over such a change,\nfind that many discourses have been made on the subject so as\nto investigate the origin of that style of dress.\n<0 Some say that it comes from the Romans, clearly seeing figures with\nit in the Arch of Septimus. Others would have it that it comes from\nCyprus, brought from that Island by the French, which 1 am led to\nbelieve by the many fleurs=de=!ys which, with other patterns, are seen\nembroidered on the sleeves. Also, to give greater likelihood to this opinion\nthere have been seen at Venice many pictures of that Realm, which\nin their designs give much indication of the same.\ni 0 But because this matters but little to me it shall suffice me to have\nsaid thus much about it and to represent for you this Costume, which\nyou will perhaps adjudge to be, in fact, a beginning of the dresses called\n44 k Maniche a Cometo \" which were in those days fairly short, and were\nperhaps for that reason the more easily accepted, on account of the\nfreedom of movement afforded by the youths and those who delighted in\nthe games and dances which in those days were in use. j0\n£* They next began to wear certain round caps, but much higher than\nthose formerly worn or than those that are at present worn by the"}, {"page_pdf": 69, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.69", "debut_caractere": 18, "fin_caractere_exclue": 2230, "texte": "Nobility. j& & j& & & & j&\nj£> They girded themselves near the side with a belt three fingers wide\nin the style in vogue today. And from this mode of dressing has been\nintroduced little by little the long toga reaching to the ground, the\nwhich, as we see in our own times, lends so much dignity that it has\nbeen welcomed by all the Nobles and Citizens.\n& And this same costume is also worn by the Doctors who dwell in\nVenice, and by almost all those who exercise some virtuous and honoured\nprofession.\nI will not omit to say, however; before 1 end, that in those days the\nt\nhose and the dresses were of different colours and the shoes purple :\nall of which can be seen in the Church of San Qiovanni and San Paolo\nof Venice in the altar piece which is at the right hand of the entrance\nto the Choir.\nOF THE COMPANY OF THE 44 CALZA &\nTP his celebrated and honourable Company had its origin many years ago,\nand such were the performances and feasts instituted by it that no\nother Company in our times has attained to such a point of magnificence\nand splendour. Which is attested by many who are still alive today. &\nThose who were inscribed (as it is still the custom to do), in the\nnumber of these Companions, were all noble; but this Company was so\nmuch more distinguished and illustrious than the other companies which\nhad been founded at that time and than those which have up to the\npresent been instituted that many Prlnces's sons prided themselves upon\nbeing elected among the number of those Companions. & &\nAnd it had its origin under the Prince Zeno, which was in 1400, be-\ncause then many noble youths of the leaders of the city, having collected\na great deal of money and made among themselves a most choice selection,\ncalled it the 4* Compagnia della Calza, \" and for the whole time that it\nflourished they each wore a stocking quartered with different colours.\nAnd by this common sign were all the Companions recognised ; but each\none then made known his own idea and personality by some beautiful\nand ingeniuos device chosen by each according to his temperament.\nThere was also seen among them a noble and honourable competition\nand emulation in appearing decked out and gorgeous, each one displaying"}, {"page_pdf": 70, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.70", "debut_caractere": 18, "fin_caractere_exclue": 2314, "texte": "much splendour and magnificence in his own person at his own expense,\nalthough they united together in the festivals and public performances\nwith money subscribed and put together by them for that purpose. The\nwhich money was not all converted to the use of worldly spectacles,\nbecause they wished also In religious matters to show forth the libera-\nlity and greatness of their souls. & **\nThus they had selected a church where, at certain times, they ga-\nthered, and there, adorned with pomp and royal magnificence, were\npresent at a solemn mass of the Holy Spirit which they caused to be\nsung by priests at their expense. 0 & & *\n& The fame of which Company aroused the greatness of soul in the\nyouths of many cities of Italy where the same thing was afterwards done.\nThe costume, which is here shown, bore, on the inner side ot the\nlong hood, and just at the back, their device, with embroideries in gold\nand in silk. And all those inscribed among the number of the Companions\nwore a little cap, slashed in red or black, hanging over the left ear; and\ntheir hair, which they wore long, and as bushy as possible, tied with a\nlittle silken cord.\n& They wore doublets of velvet or some other stuff of silk or gold.\nThe sleeves were laced with strings which were very often of silk or\ngold with tags of massive gold, and they were slit in the middle, and\nthrough that opening the shirt could be seen. And for splendour they put\nthese also on their hose, where they were not needed, thus showing off\nnot only their wealth but also their figure which, owing to the\ntight and well-girded hose, displayed almost all their muscles as\nthough they were nude. The stockings were, as already said, striped\nlengthways with varied colours and one of them was embroidered with\npearls and other jewels to the knee.\njg? The one whose portrait 1 saw had In the back of the hood a Siren,\nwhich I believe was the emblem of him whom the picture represented.\n& Prom the same portrait one sees the custom they had of carrying in\ntheir hand a scented ball; and this portrait I found in the school or company\nof S. Giovanni Evangelista, where it is painted in ancient style but by a\nskilful hand. And from that same place 1 have taken the pictures of many\nother figures which will be reproduced by me in this same book."}, {"page_pdf": 79, "page_imprimee": "151", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.79", "debut_caractere": 20, "fin_caractere_exclue": 2148, "texte": "j& ANCIENT COSTUME OF YOUTHS.\nI recall having come across certain hats almost a braccio high, turned\nup behind, and, in fact, not a little bizarre in shape; and also certain\ncaps made of several folds, but very wide and\n£/ These were of so many kinds that, should one wish to write of them\nin full, it would be necessary to make a special book. £?\n& Nevertheless it has pleased me to throw some light upon them briefly ;\nfirst, to show that I had some knowledge of them, and then to\nsatisfy any curious person who should desire to know something of\nthem; having put in the design that which 1 judged to be the most\napposite.\nThese caps, then, were of several colours as one may yet see in Padua,\nin Venice, in Ciuidal di Belluno and in many other places where I found\nmany of them painted; and especially in the house of Signor Pagano\nPagani, a most excellent Doctor and my most especial Lord, the which\nhouse is in truth ancient and noble.\ni have likewise seen the same in other ancient and great houses\nthrough the courtesy of their Masters who have afforded me the\nopportunity and aroused my interest yet more, and given information\nabout many old costumes formerly used in their most ancient lands.\nAnd among those whom 1 judge worthy of praise are the two brothers\nSignor Antonio and Signor Tristano Ecchali or Carpedoni who are among\nthe foremost of their country and men of singular virtue, exemplary\nhabits and mature judgement, and, in short, gentlemen deserving of praise\nand no less endowed with the riches of the spirit than with those of\n/\nfortune; all of which has led me, out of gratitude, to make this slight\ndisgression.\nNow, returning to our subject, I say that, the art of painting having\nbeen lost for a long time, one sometimes cannot obtain that exact in=>\nformation relative to this very wide subject for which one would seek.\nHence I am obliged to make use of certain little notes, (not to say\nhints), of certain remains which have survived of the Greek reli-\nquaries.-g? /£/\nThis costume was, then, painted, among many costumes of women\nand young men, on certain coffers in the form of chests, decorated"}, {"page_pdf": 80, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.80", "debut_caractere": 18, "fin_caractere_exclue": 2299, "texte": "on the outer side, in which they kept their clothes and the bride's\ndresses which were given to them as dowry and as gifts. And that,\nwhich is here seen, was the costume of a bridegroom, with one of those\nred caps.\njp His dress was of damask, with elbow sleeves as is here seen. But in\nthe picture one discerns so little of the fashion that little light is thrown\nupon it, and thus we can ill conjecture the rest. The which would not\nbe so if for five hundred years painting, which so much pleased Alexander\nthe Great, had been held in full esteem, as it seems in our own day to\nhave begun to be once more, reacquiring the honour in which it was\nheld among the ancient Greeks, who would not have anyone exercise it\nwho was not noble, or at least rich: wishing by this means to prevent\nmen from painting for gain or to earn their living; so that he who set\nhimself to painting should have leisure, and facility to study, and to\ncreate works of such excellence as those of Appelles and of others.\nIt seems none the less that now it is brought back to such good\nconditions that one can desire little more. Because the modern Painters\nare so desirous of imitating nature that they no longer deign to paint\na clothed body; hence, drawing it nude, they avoid as much as possible\nrepresenting it with any kind of drapery around it. And even when they\ndo make it covered they strive to do so in such manner that beneath\nthe slight shades of the clothes, or rather veils, one sees the nude stand\nout with all the muscles of the anatomy and with all the natural fore-\nshortenings, almost showing one the impossible.\nIf therefore 1 have not described nor reproduced in drawing according\nto the order of the world's ages the diversity of the Costumes, which,\nit is to be supposed, has been great, excuse me,\nANCIENT COSTUME OF GENTLEWOMEN 44 ALLA DOGALINA \" OUT.\nOF DOORS.\nT*he ancient costume of Venetian gentlewomen adorned \"alia dogaiina\"\nfor appearance in public out-of-doors was of an amazing magnificence.\nOn their heads they wore a frame made of gold wire like a round gar-\nland, which surrounded the head as a diadem; the neck was bare without\nany ornament. Where the top of the bodice (which was girded above the\nhips with a girdle of massive gold.) began, it was adorned with gems.\n\\"}, {"page_pdf": 83, "page_imprimee": "155", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.83", "debut_caractere": 18, "fin_caractere_exclue": 1169, "texte": "The greater number of them wore this bodice covered with gold and the\nremainder of the dress of purple or scarlet silk. They the sleeves\nof these gowns open and reaching to the knee, and usually they wore\nthem turned back or gathered up on the shoulders, as they often did\nalso those of the chemisette, showing their bare arms, the beauty of which\nwas enhanced by splendid gold bracelets which they were accustomed to\nwear at their wrists, the which they rendered white and delicate. Hence\nin those days the women, who had naturally beautiful hands and beautiful\narms, preserved them most beautiful as do those today who have a beau=\ntlful face.\nThey girded the said gowns with a silken girdle and In summer lined\nthem with watered silk and in winter with furs, either martin or ermine\nor grey squirril according to their taste.\nBeneath they wore several silken petticoats superbly embroidered, and\nthis continued until the year 1303 when it was established by law that\nso much must not be expended upon dress as had been the custom for\nmany years ; and this was decreed under the government of Piero Gra=\nnigo who was the forty eighth Doge of Venice."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c050", "article_bluemountain": "bmtnaau_1911-10_01#c050", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "156", "page_fin": "160", "image_debut": 84, "image_fin": 88, "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=bmtnaau191110-01.2.23", "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": 84, "page_imprimee": "156", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.84", "debut_caractere": 0, "fin_caractere_exclue": 1482, "texte": "BOOK REVIEWS.\n\nTHE APOSTLE. A DRAMA IN\nTHREE ACTS by George Moore.\nMaunsell and Co. Dublin.\nThree shillings and sixpence net.\njy\\r George Moore just holds you\nwith his glittering eye.... and\ndoes not hold you long. That is his\ncharm.\nHere in this volume he tells you\na story about Jesus Christ which is\nimmensely interesting,.... and which\nyou forget easily.\n£/ It is not the way he tells it, nor\nwhat he tells ; It is just the way he\nhas with him.\nIt must have been a rare pleasure\nto meet Mr Moore and hear and\nsee him talking.\nThis drama about Christ and\nPaul is no use at all, but Mr Moore\nhimself must be of enormous use.\nSurely he is a born actor, a teller\nof tales I How different it would be\nto hear him tell this story, getting\nit over and done in twelve or fifteen\nminutes, from reading 1t.... How\nmuch better. -S*\nIt is well written... all well done;\nbut it ought not to have been writ=\nten at all except as a poem ; in its\nprose it needs the face and the\nhands and the voice of the teller.\nIreland needs a man who can tefl\nstories like this. He should go round\nthe island in a cart and give the\nboys and girls something to dream\nabout; to spoil it in a book seems\ntoo bad.\n\nPROGRESS AND OTHER\nSKETCHES by R. B. Cunningham\nGraham. Duckworth. Price\nTwo shillings and sixpence. &\n¥)rogress \" is one of the best stories\nI have ever read, and Mr Cun=\nningham Grahamfis one of my favou-\nrite authors.\nJ£? The story is less like a real story\nthan any I know, and yet it is more"}, {"page_pdf": 85, "page_imprimee": "157", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.85", "debut_caractere": 17, "fin_caractere_exclue": 2376, "texte": "like a true story than any I have read.\n£7 It is a tale about sacrifices. £7\n£/ Cain and Abel used sheep and\nfruit to sacrifice to the Lord ; the\nLord nowadays seems to demand\ngreater proofs of man and asks him\nto sacrifice himself. \" Willingly \"\nsays the man ; and does it. &\nIt is a pity: it is as terribly sad\nas it is terribly gay; but it is quite\nclear that if it goes on much longer\nwe shall have none but Gods on this\nearth of ours. £ £7 £7\n£7 From man's point of view this\nis very unpractical. He would do\nbetter to persecute his fellows less\nif he really wants to exist; but if\nas we suspect he wants to get away\nfrom the vile world of his own in-\nvention, then he is going about it in\nthe best and quickest way possible.\n\" Progress \" shows pretty clearly\nthat soon, very soon, there will be\nnone but Gods on earth. Let us not\nbe sorry for those who are bringing\nthis about; they are but instru-\nments ; they cannot help their action:\nlet us congratulate them upon their\nobedience to the Devil and beg them\nto remain true to him. £7 £7\n\nWILLIAM BLAKE by G. K.\nChesterton. Duckworth £7 Price\ntwo shillings net. £7 &\nHPhe idea of publishing a little book\non Blake for such a sum with\nthirty=three of Blake's masterly de-\nsigns In it was an admirable one on\nthe part of Messrs Duckworth and Co.\n& The more one sees these designs\nthe more one marvels at the complete\nmastery of the artist; and it is\nso glorious a sensation as an English-\nman to be able to have one master\nwhose work one can lay with glowing\nassurance before the eyes of the\nmost cultured foreigner as represen-\ntative of England.^\nTo have chosen Mr Chesterton to\nwrite about Blake seems, alas, pretty\ndisastrous, when MrSturge Moore, Mr\nYeats and others have written so\nwell of him. For it seems doubt-\nful whether the burly Mr Chesterton\nwould ever know anything about\nBlake even after reading him up.\nYou see, he speaks of Blake as\nthough he were Chesterton,.... such\na mistake. He writes down to a\nPublic which floats above his ken.\nHe asks, if Blake could do so many\nthings \" why is it he could do none\nof them quite right ? \" £7\n£7 Of course that question can never\nbe answered for it is as though you\nhad said \" Answer this question,\nHi=he=ho-hum-hass \" and Echo an-\nswers \" A... 5... 5..!\" £7\n£7 But the illustrations are fully\nworth the few pence asked for the\nbOOk. £7 £7 J* £7"}, {"page_pdf": 86, "page_imprimee": "158", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.86", "debut_caractere": 17, "fin_caractere_exclue": 2262, "texte": "THE GARRICK CLUB by Percy\nFitzgerald. Elliot Stock. 0 Price\none guinea net. 0 0 0\niyir Percy Fitzgerald's book will\ninterest plenty of people who\nwant to know just a little about the\nactors of- England and it tells this\nlittle pleasantly. There is no attempt\nmade to treat the actors' calling too\nseriously; it is as if it were a plea-\nsant half-an-hour's chat In the vl-\nsitors' room of the club. 0\njZ? Some hundred pictures are in the\nbook and ali are agreable. 0\n\nMEMOIRS OF A MANAGER by\nDaniel Frohman. 0 Heinemann.\nFive shillings net. 0 0\njyl r Daniel Frohman has written a\nbook which will do more to show\nup the methods and vulgarity of\ntheatrical business men than any ar=\ntides we could publish on the subject\neven were we to write and publish\nsuch an article every week for the\nnext five years. 0 0 0\n0 In this book Mr Frohman has\nsuccessfully damned once and for\nall a calling which was already dis-\nreputable enough through the swin-\ndling of its devotees. 0 0\n0 As an example of the elegance of\nthe methods of the Impresario in\nregard to the artists whose business\nhe manages we cannot do better\nthan quote Mr Frohman's own words\nabout Miss Maud Adams; \"1 loaned\nher to the late Charles H. Hoyt to\nplay in The Midnight Bell at the\nBijou Theatre \" 1 Loaned her \"\nthe expression is superb ! And again\nIn reference to a play called \"Liberty\nHall\" he says that it was presented\nin England \"with Mr and Mrs Kendal\nwhen they were under my manage-\nment, to whom I ceded my rights\nto the play. It was then regarded\nas exceedingly strong meat\njZ? Those who find these extracts to\ntheir taste will find much more of\nthe same kind in the volume, which\nis actually issued in England by\nthat distinguished publisher Mr\nWilliam Heinemann, jZ? £?\n\nTHE STAGE YEAR BOOK. 0\nThe \" Stage \" offices, Londoni\nPrice one shilling net. 0 0\n.A very reliable book of information\ncovering most things theatrical.\n0 It is a pity this is true, but the\nevidence is in favour of what we\nstate. \" The Stage Year Book \", in\nshort, reveals at a glance the gla-\nring vulgarity of the modern\ntheatre and its methods. 0\n0 It is, in fact an admirable work\ncompiled with considerable trouble\nand expense to prove the utter\nfailure of the theatre to achieve\ndistinction. & 0"}, {"page_pdf": 87, "page_imprimee": "159", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.87", "debut_caractere": 18, "fin_caractere_exclue": 2241, "texte": "THE SHAKESPEARE REVIVAL\nby R. R. Buckley and Mary\nNeal. & George Allen. Price\nthree shillings and sixpence.\nTphis book, which opens with a\nForeword by Mr F. R. Benson and\na record of the work of the Shake-\nspeare Memorial Theatre at Stratford-\non-Avon by Arthur Hutchinson, is\nthen divided into two parts, \" The\n\" Nature of Drama \" by Reginald\nBuckley and Folk-Art by Mary Neal...\nOn the subject of the so-called\nUrban \"Revival of Folk-Art\" Mr Felix\nhas written more fully on another\npage, (1) so that here we need only\nsay that the book is weli printed by\nMessrs George Allen and illustrated\nwith many photographs of well-\nknown actors and actresess in\nShakespearean parts.\n\nTHE ART OF MIMICRY by J.\nArthur Bleackley. Samuel French\nyyjr Bleackley, having perceived\nthat \" Drama is action \" instead\nof fuddling his brains with the de-\nlusion that it is the spoken word,\nhas already taken a step in advance\nof the majority of the wise and\nlearned gentlemen who amuse them-\nselves with writing books about the\ntheatre.\nx? In this unpretentious little hand-\nbook he has some interesting things\nto say about the art of Mimicry,\nrightly emphasising the fact that\nthe mimic must be interpretative\nand not merely imitative.\nBut he should go a step further\nnow and pass from Mimicry to the\ncreative art of Improvisation.\nHe, and all interested in this\nsubject, should study the history of\nthe Commedia dell'Arte (2) that\nsuperb school of Improvisation...;.,\nand the giant figures who created it\nand they will perceive an immense\npossibility opening out before those\nwho are ready to bring to the work\nsympathetic understanding, ceaseless\nand concentrated study,and a courage\nand determination which the initial\ndifficulties will not be able to daunt.\n(1) Page 135.\n(2) See \"The Mask\", from January 1911 onwards.\n\nTRAINING OF THE MEM OR Y IN\nART by Lecoq d\nTranslated by L. D. Louard.\nMacmillan, & Six shillings net.\njyi r Louard has rendered a useful\nservice in translating this book,\nfor Lecoq de Boisbaudron, who died\nin 1897 at the age of nlnety=two, is\nan interesting figure whose name\nand teaching are too little known.\nNumbering among his many pupils\nsuch artists as Rodin, Legros, Cazin\nand Fantin=Latour, and, through their"}, {"page_pdf": 88, "page_imprimee": "160", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.88", "debut_caractere": 15, "fin_caractere_exclue": 2119, "texte": "association with his own student s\ninfluencing, however indirectly,\nsuch others as Whistler and Brac-\nquemond, it is interesting to note\nhow fully the results of his teaching\nexemplified his own principle that\n\" Art is essentially individua I \",\nsince the same method did but assist\neach pupil to follow his own bent,\nwhether it were Rodin the sculptor,\nLegros the painter, Gaillard the\nengraver, Roty the medallist or Solon\nthe designer of pots.\nThe principle which Lecoq emp-\nhasized in his teaching was the im-\nportance of the cultivation of the\nMemory, meaning by Memory \"stored\nobservation\", and his method de-\nmanded from his pupils the strictest\naccuracy, thoroughness and most\nstern discipline. &\n& The present volume contains three\nTreatises, \" Memory of Form \",\n*' A Survey of Art Teaching \" and\n\"Letters to a Young Professor\",and is\ndeserving of such careful attention on\nthe part of the student as is ever due\nto the words of an expert; for Lecoq\nwas an expert in the work of teaching,\na work which, as he conceived it,\n\" requires a professor of unusual\ntalent, willing to devote his best\nenergies to the task\".\n\" If only people could understand\"\nhe writes himself, \" the immense\nself-denial, devotion, knowledge, and\nbreadth of mind that is demanded\nby his office, they could not fail to\nhold the teacher In the honour he\ndeserves\n. ** Undoubtedly \" we are told, \"\n\" Lecoq's own gift of teaching amoun-\n\" ted to genius, and genius of a\n\" very rare kind, the combination of\n\" strong personality with a complete\n\" power of self-effacement s \" and\nhis best success, as that of all true\nteachers, is in the success of those\nwho studied under him and who so\nfar surpassed their teacher In the\npractise of their art, for:\n\"He that by me spreads a wider\nbreast than my own proves\nthe width of hiy own,\n\" He most honours my style who\nlearns under it to destroy\nthe teacher\n%\n\nA HISTORY OF JAPANESE\nCOLOUR PRINTS by W. von\nSeidlitz. Heinemann. Price\ntwenty five shillings net.\nCrom this book, reviewed in the\nJuly number of The Mask, we\nnow reproduce four designs, by\nkind permission of Mr Heinemann."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c052", "article_bluemountain": "bmtnaau_1911-10_01#c052", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "156", "page_fin": "156", "image_debut": 84, "image_fin": 84, "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=bmtnaau191110-01.2.23.2", "titre_corps": "THE APOSTLE. A DRAMA IN THREE ACTS by George Moore", "titre_sommaire": "THE APOSTLE. A DRAMA IN THREE ACTS by George Moore", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 84, "page_imprimee": "156", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.84", "debut_caractere": 15, "fin_caractere_exclue": 1184, "texte": "THE APOSTLE. A DRAMA IN\nTHREE ACTS by George Moore.\nMaunsell and Co. Dublin.\nThree shillings and sixpence net.\njy\\r George Moore just holds you\nwith his glittering eye.... and\ndoes not hold you long. That is his\ncharm.\nHere in this volume he tells you\na story about Jesus Christ which is\nimmensely interesting,.... and which\nyou forget easily.\n£/ It is not the way he tells it, nor\nwhat he tells ; It is just the way he\nhas with him.\nIt must have been a rare pleasure\nto meet Mr Moore and hear and\nsee him talking.\nThis drama about Christ and\nPaul is no use at all, but Mr Moore\nhimself must be of enormous use.\nSurely he is a born actor, a teller\nof tales I How different it would be\nto hear him tell this story, getting\nit over and done in twelve or fifteen\nminutes, from reading 1t.... How\nmuch better. -S*\nIt is well written... all well done;\nbut it ought not to have been writ=\nten at all except as a poem ; in its\nprose it needs the face and the\nhands and the voice of the teller.\nIreland needs a man who can tefl\nstories like this. He should go round\nthe island in a cart and give the\nboys and girls something to dream\nabout; to spoil it in a book seems\ntoo bad."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c053", "article_bluemountain": "bmtnaau_1911-10_01#c053", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "156", "page_fin": "157", "image_debut": 84, "image_fin": 85, "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=bmtnaau191110-01.2.23.3", "titre_corps": "PROGRESS AND OTHER SKETCHES by R. B. Cunningham", "titre_sommaire": "PROGRESS AND OTHER SKETCHES by R. B. Cunningham", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 84, "page_imprimee": "156", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.84", "debut_caractere": 1186, "fin_caractere_exclue": 1482, "texte": "PROGRESS AND OTHER\nSKETCHES by R. B. Cunningham\nGraham. Duckworth. Price\nTwo shillings and sixpence. &\n¥)rogress \" is one of the best stories\nI have ever read, and Mr Cun=\nningham Grahamfis one of my favou-\nrite authors.\nJ£? The story is less like a real story\nthan any I know, and yet it is more"}, {"page_pdf": 85, "page_imprimee": "157", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.85", "debut_caractere": 17, "fin_caractere_exclue": 1061, "texte": "like a true story than any I have read.\n£7 It is a tale about sacrifices. £7\n£/ Cain and Abel used sheep and\nfruit to sacrifice to the Lord ; the\nLord nowadays seems to demand\ngreater proofs of man and asks him\nto sacrifice himself. \" Willingly \"\nsays the man ; and does it. &\nIt is a pity: it is as terribly sad\nas it is terribly gay; but it is quite\nclear that if it goes on much longer\nwe shall have none but Gods on this\nearth of ours. £ £7 £7\n£7 From man's point of view this\nis very unpractical. He would do\nbetter to persecute his fellows less\nif he really wants to exist; but if\nas we suspect he wants to get away\nfrom the vile world of his own in-\nvention, then he is going about it in\nthe best and quickest way possible.\n\" Progress \" shows pretty clearly\nthat soon, very soon, there will be\nnone but Gods on earth. Let us not\nbe sorry for those who are bringing\nthis about; they are but instru-\nments ; they cannot help their action:\nlet us congratulate them upon their\nobedience to the Devil and beg them\nto remain true to him. £7 £7"}]}, {"article_id": "bm-bmtnaau-1911-10-01-c054", "article_bluemountain": "bmtnaau_1911-10_01#c054", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "157", "page_fin": "158", "image_debut": 85, "image_fin": 86, "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=bmtnaau191110-01.2.23.4", "titre_corps": "WILLIAM BLAKE by G. K. Chesterton", "titre_sommaire": "WILLIAM BLAKE by G. K. Chesterton", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 85, "page_imprimee": "157", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.85", "debut_caractere": 1063, "fin_caractere_exclue": 2376, "texte": "WILLIAM BLAKE by G. K.\nChesterton. Duckworth £7 Price\ntwo shillings net. £7 &\nHPhe idea of publishing a little book\non Blake for such a sum with\nthirty=three of Blake's masterly de-\nsigns In it was an admirable one on\nthe part of Messrs Duckworth and Co.\n& The more one sees these designs\nthe more one marvels at the complete\nmastery of the artist; and it is\nso glorious a sensation as an English-\nman to be able to have one master\nwhose work one can lay with glowing\nassurance before the eyes of the\nmost cultured foreigner as represen-\ntative of England.^\nTo have chosen Mr Chesterton to\nwrite about Blake seems, alas, pretty\ndisastrous, when MrSturge Moore, Mr\nYeats and others have written so\nwell of him. For it seems doubt-\nful whether the burly Mr Chesterton\nwould ever know anything about\nBlake even after reading him up.\nYou see, he speaks of Blake as\nthough he were Chesterton,.... such\na mistake. He writes down to a\nPublic which floats above his ken.\nHe asks, if Blake could do so many\nthings \" why is it he could do none\nof them quite right ? \" £7\n£7 Of course that question can never\nbe answered for it is as though you\nhad said \" Answer this question,\nHi=he=ho-hum-hass \" and Echo an-\nswers \" A... 5... 5..!\" £7\n£7 But the illustrations are fully\nworth the few pence asked for the\nbOOk. £7 £7 J* £7"}, {"page_pdf": 86, "page_imprimee": "158", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.86", "debut_caractere": 17, "fin_caractere_exclue": 482, "texte": "THE GARRICK CLUB by Percy\nFitzgerald. Elliot Stock. 0 Price\none guinea net. 0 0 0\niyir Percy Fitzgerald's book will\ninterest plenty of people who\nwant to know just a little about the\nactors of- England and it tells this\nlittle pleasantly. There is no attempt\nmade to treat the actors' calling too\nseriously; it is as if it were a plea-\nsant half-an-hour's chat In the vl-\nsitors' room of the club. 0\njZ? Some hundred pictures are in the\nbook and ali are agreable. 0"}]}, {"article_id": "bm-bmtnaau-1911-10-01-c055", "article_bluemountain": "bmtnaau_1911-10_01#c055", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "158", "page_fin": "158", "image_debut": 86, "image_fin": 86, "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=bmtnaau191110-01.2.23.5", "titre_corps": "MEMOIRS OF A MANAGER by Daniel Frohman", "titre_sommaire": "MEMOIRS OF A MANAGER by Daniel Frohman", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 86, "page_imprimee": "158", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.86", "debut_caractere": 484, "fin_caractere_exclue": 1760, "texte": "MEMOIRS OF A MANAGER by\nDaniel Frohman. 0 Heinemann.\nFive shillings net. 0 0\njyl r Daniel Frohman has written a\nbook which will do more to show\nup the methods and vulgarity of\ntheatrical business men than any ar=\ntides we could publish on the subject\neven were we to write and publish\nsuch an article every week for the\nnext five years. 0 0 0\n0 In this book Mr Frohman has\nsuccessfully damned once and for\nall a calling which was already dis-\nreputable enough through the swin-\ndling of its devotees. 0 0\n0 As an example of the elegance of\nthe methods of the Impresario in\nregard to the artists whose business\nhe manages we cannot do better\nthan quote Mr Frohman's own words\nabout Miss Maud Adams; \"1 loaned\nher to the late Charles H. Hoyt to\nplay in The Midnight Bell at the\nBijou Theatre \" 1 Loaned her \"\nthe expression is superb ! And again\nIn reference to a play called \"Liberty\nHall\" he says that it was presented\nin England \"with Mr and Mrs Kendal\nwhen they were under my manage-\nment, to whom I ceded my rights\nto the play. It was then regarded\nas exceedingly strong meat\njZ? Those who find these extracts to\ntheir taste will find much more of\nthe same kind in the volume, which\nis actually issued in England by\nthat distinguished publisher Mr\nWilliam Heinemann, jZ? £?"}]}, {"article_id": "bm-bmtnaau-1911-10-01-c056", "article_bluemountain": "bmtnaau_1911-10_01#c056", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "158", "page_fin": "158", "image_debut": 86, "image_fin": 86, "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=bmtnaau191110-01.2.23.6", "titre_corps": "THE STAGE YEAR BOOK", "titre_sommaire": "THE STAGE YEAR BOOK", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 86, "page_imprimee": "158", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.86", "debut_caractere": 1762, "fin_caractere_exclue": 2262, "texte": "THE STAGE YEAR BOOK. 0\nThe \" Stage \" offices, Londoni\nPrice one shilling net. 0 0\n.A very reliable book of information\ncovering most things theatrical.\n0 It is a pity this is true, but the\nevidence is in favour of what we\nstate. \" The Stage Year Book \", in\nshort, reveals at a glance the gla-\nring vulgarity of the modern\ntheatre and its methods. 0\n0 It is, in fact an admirable work\ncompiled with considerable trouble\nand expense to prove the utter\nfailure of the theatre to achieve\ndistinction. & 0"}]}, {"article_id": "bm-bmtnaau-1911-10-01-c057", "article_bluemountain": "bmtnaau_1911-10_01#c057", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "159", "page_fin": "159", "image_debut": 87, "image_fin": 87, "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=bmtnaau191110-01.2.23.7", "titre_corps": "THE SHAKESPEARE REVIVAL by R. R. Buckley and Mary Neal", "titre_sommaire": "THE SHAKESPEARE REVIVAL by R. R. Buckley and Mary Neal", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 87, "page_imprimee": "159", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.87", "debut_caractere": 18, "fin_caractere_exclue": 692, "texte": "THE SHAKESPEARE REVIVAL\nby R. R. Buckley and Mary\nNeal. & George Allen. Price\nthree shillings and sixpence.\nTphis book, which opens with a\nForeword by Mr F. R. Benson and\na record of the work of the Shake-\nspeare Memorial Theatre at Stratford-\non-Avon by Arthur Hutchinson, is\nthen divided into two parts, \" The\n\" Nature of Drama \" by Reginald\nBuckley and Folk-Art by Mary Neal...\nOn the subject of the so-called\nUrban \"Revival of Folk-Art\" Mr Felix\nhas written more fully on another\npage, (1) so that here we need only\nsay that the book is weli printed by\nMessrs George Allen and illustrated\nwith many photographs of well-\nknown actors and actresess in\nShakespearean parts."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c058", "article_bluemountain": "bmtnaau_1911-10_01#c058", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "159", "page_fin": "159", "image_debut": 87, "image_fin": 87, "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=bmtnaau191110-01.2.23.8", "titre_corps": "THE ART OF MIMICRY by J. Arthur Bleackley", "titre_sommaire": "THE ART OF MIMICRY by J. Arthur Bleackley", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 87, "page_imprimee": "159", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.87", "debut_caractere": 694, "fin_caractere_exclue": 1821, "texte": "THE ART OF MIMICRY by J.\nArthur Bleackley. Samuel French\nyyjr Bleackley, having perceived\nthat \" Drama is action \" instead\nof fuddling his brains with the de-\nlusion that it is the spoken word,\nhas already taken a step in advance\nof the majority of the wise and\nlearned gentlemen who amuse them-\nselves with writing books about the\ntheatre.\nx? In this unpretentious little hand-\nbook he has some interesting things\nto say about the art of Mimicry,\nrightly emphasising the fact that\nthe mimic must be interpretative\nand not merely imitative.\nBut he should go a step further\nnow and pass from Mimicry to the\ncreative art of Improvisation.\nHe, and all interested in this\nsubject, should study the history of\nthe Commedia dell'Arte (2) that\nsuperb school of Improvisation...;.,\nand the giant figures who created it\nand they will perceive an immense\npossibility opening out before those\nwho are ready to bring to the work\nsympathetic understanding, ceaseless\nand concentrated study,and a courage\nand determination which the initial\ndifficulties will not be able to daunt.\n(1) Page 135.\n(2) See \"The Mask\", from January 1911 onwards."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c059", "article_bluemountain": "bmtnaau_1911-10_01#c059", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "159", "page_fin": "160", "image_debut": 87, "image_fin": 88, "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=bmtnaau191110-01.2.23.9", "titre_corps": "TRAINING OF THE MEMORY IN ART by Lecoq de Boisbaudron", "titre_sommaire": "TRAINING OF THE MEMORY IN ART by Lecoq de Boisbaudron", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 87, "page_imprimee": "159", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.87", "debut_caractere": 1823, "fin_caractere_exclue": 2241, "texte": "TRAINING OF THE MEM OR Y IN\nART by Lecoq d\nTranslated by L. D. Louard.\nMacmillan, & Six shillings net.\njyi r Louard has rendered a useful\nservice in translating this book,\nfor Lecoq de Boisbaudron, who died\nin 1897 at the age of nlnety=two, is\nan interesting figure whose name\nand teaching are too little known.\nNumbering among his many pupils\nsuch artists as Rodin, Legros, Cazin\nand Fantin=Latour, and, through their"}, {"page_pdf": 88, "page_imprimee": "160", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.88", "debut_caractere": 15, "fin_caractere_exclue": 1894, "texte": "association with his own student s\ninfluencing, however indirectly,\nsuch others as Whistler and Brac-\nquemond, it is interesting to note\nhow fully the results of his teaching\nexemplified his own principle that\n\" Art is essentially individua I \",\nsince the same method did but assist\neach pupil to follow his own bent,\nwhether it were Rodin the sculptor,\nLegros the painter, Gaillard the\nengraver, Roty the medallist or Solon\nthe designer of pots.\nThe principle which Lecoq emp-\nhasized in his teaching was the im-\nportance of the cultivation of the\nMemory, meaning by Memory \"stored\nobservation\", and his method de-\nmanded from his pupils the strictest\naccuracy, thoroughness and most\nstern discipline. &\n& The present volume contains three\nTreatises, \" Memory of Form \",\n*' A Survey of Art Teaching \" and\n\"Letters to a Young Professor\",and is\ndeserving of such careful attention on\nthe part of the student as is ever due\nto the words of an expert; for Lecoq\nwas an expert in the work of teaching,\na work which, as he conceived it,\n\" requires a professor of unusual\ntalent, willing to devote his best\nenergies to the task\".\n\" If only people could understand\"\nhe writes himself, \" the immense\nself-denial, devotion, knowledge, and\nbreadth of mind that is demanded\nby his office, they could not fail to\nhold the teacher In the honour he\ndeserves\n. ** Undoubtedly \" we are told, \"\n\" Lecoq's own gift of teaching amoun-\n\" ted to genius, and genius of a\n\" very rare kind, the combination of\n\" strong personality with a complete\n\" power of self-effacement s \" and\nhis best success, as that of all true\nteachers, is in the success of those\nwho studied under him and who so\nfar surpassed their teacher In the\npractise of their art, for:\n\"He that by me spreads a wider\nbreast than my own proves\nthe width of hiy own,\n\" He most honours my style who\nlearns under it to destroy\nthe teacher\n%"}]}, {"article_id": "bm-bmtnaau-1911-10-01-c060", "article_bluemountain": "bmtnaau_1911-10_01#c060", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "160", "page_fin": "160", "image_debut": 88, "image_fin": 88, "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=bmtnaau191110-01.2.23.10", "titre_corps": "A HISTORY OF JAPANESE COLOUR PRINTS by W. von Seidlitz", "titre_sommaire": "A HISTORY OF JAPANESE COLOUR PRINTS by W. von Seidlitz", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 88, "page_imprimee": "160", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.88", "debut_caractere": 1896, "fin_caractere_exclue": 2119, "texte": "A HISTORY OF JAPANESE\nCOLOUR PRINTS by W. von\nSeidlitz. Heinemann. Price\ntwenty five shillings net.\nCrom this book, reviewed in the\nJuly number of The Mask, we\nnow reproduce four designs, by\nkind permission of Mr Heinemann."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c062", "article_bluemountain": "bmtnaau_1911-10_01#c062", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 89, "image_fin": 89, "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=bmtnaau191110-01.2.24", "titre_corps": "SHUNSHO", "titre_sommaire": "SHUNSHO", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 89, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.89", "debut_caractere": 0, "fin_caractere_exclue": 114, "texte": "SHUNSHO: ACTOR IN FEMALE COSTUME\nExecuting a Dance with a Hobby Horse.\nFrom “A History of Japanese Colour Prints.”"}]}, {"article_id": "bm-bmtnaau-1911-10-01-c063", "article_bluemountain": "bmtnaau_1911-10_01#c063", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 91, "image_fin": 91, "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=bmtnaau191110-01.2.25", "titre_corps": "A LADY IN THE SNOW", "titre_sommaire": "A LADY IN THE SNOW", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 91, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.91", "debut_caractere": 0, "fin_caractere_exclue": 18, "texte": "A LADY IN THE SNOW"}]}, {"article_id": "bm-bmtnaau-1911-10-01-c064", "article_bluemountain": "bmtnaau_1911-10_01#c064", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "161", "page_fin": "161", "image_debut": 93, "image_fin": 93, "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=bmtnaau191110-01.2.26", "titre_corps": "MAGAZINE REVIEWS", "titre_sommaire": "MAGAZINE REVIEWS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 93, "page_imprimee": "161", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.93", "debut_caractere": 0, "fin_caractere_exclue": 2142, "texte": "MAGAZINE REVIEWS.\n\nThe Forum, published monthly by\nMitchell Kennerley, New York, is\nalways interesting.\nThe most notable among recent\ncontributions have been by Mr W.\nB. Yeats, whose fine play, 44 The\nGreen Helmet\" appeared in the Sep-\ntember number, while to the August\nnumber he contributed a long essay\non 44 J. M. Synge and the Ireland of\nhis time\", which should be of especial\ninterest to Afhericans just now since\nthey will so soon have the opportu-\nnity of seeing some of Synge's plays\nacted by Mr Yeats's own company\nfrom the Dublin Abbey Thea-\ntre. jgf /£>\n£? The last number includes also an\narticle by Gaspard Etscher on the\n44 Renaissance of the Dance \" as\nexemplified in the art of Miss Isadora\nDuncan.\n«£> Mr Etscher writes enthusiastically\nand intelligently, but he is surely\nincorrect when he attributes to Miss\nDuncan the abolition of footlights,\nstating that 44 It is to her love of\n44 nature that we owe the alteration\n44 she made in the stage-light-\ning \".\n& 44 She diminished very much, as\n44 much as possible\" he goes on, \"the\n44 importance of the footlights, which\n44 are so irrational and produce so\n* often ugly shadows, throwing from\n44 the nose a black triangle on the\n'' forehead. \" &\nWe believe, however, that we are\ncorrect In saying that this doing\naway with the footlights was not due\nto any initiative of Miss Duncan's,\nbut was one of the first changes\nmade by Mr Gordon Craig when he\nbegan to stage plays in London ten\nyears ago, and that the American\ndancer has been but one among the\nmany who have imitated him In this\nas in his other methods of stage\nproduction.\n\nhicago's new theatrical quarterly,\nThe Drama, has reached Its\nthird number, which contains a\ndrama in four acts by Byornstjerne\nBjornson, together with papers upon\nsuch subjects as the French Dramatic\nSeason, the Irish Drama, the Reper-\ntory Theatre and the Art of Play\nReading. &\n\nHp*l6 Studio has issued a fine spe-\ncial number devoted entirely to\nPeasant Arts and Crafts in Austria\nand Hungary and containing about\neight hundred illustrations.\nIt should be secured by all who\nlove the natural and spontaneous\nArt Expression of the Folk. &"}]}, {"article_id": "bm-bmtnaau-1911-10-01-c065", "article_bluemountain": "bmtnaau_1911-10_01#c065", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "161", "page_fin": "161", "image_debut": 93, "image_fin": 93, "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=bmtnaau191110-01.2.26.1", "titre_corps": "The Forum", "titre_sommaire": "The Forum", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 93, "page_imprimee": "161", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.93", "debut_caractere": 19, "fin_caractere_exclue": 1599, "texte": "The Forum, published monthly by\nMitchell Kennerley, New York, is\nalways interesting.\nThe most notable among recent\ncontributions have been by Mr W.\nB. Yeats, whose fine play, 44 The\nGreen Helmet\" appeared in the Sep-\ntember number, while to the August\nnumber he contributed a long essay\non 44 J. M. Synge and the Ireland of\nhis time\", which should be of especial\ninterest to Afhericans just now since\nthey will so soon have the opportu-\nnity of seeing some of Synge's plays\nacted by Mr Yeats's own company\nfrom the Dublin Abbey Thea-\ntre. jgf /£>\n£? The last number includes also an\narticle by Gaspard Etscher on the\n44 Renaissance of the Dance \" as\nexemplified in the art of Miss Isadora\nDuncan.\n«£> Mr Etscher writes enthusiastically\nand intelligently, but he is surely\nincorrect when he attributes to Miss\nDuncan the abolition of footlights,\nstating that 44 It is to her love of\n44 nature that we owe the alteration\n44 she made in the stage-light-\ning \".\n& 44 She diminished very much, as\n44 much as possible\" he goes on, \"the\n44 importance of the footlights, which\n44 are so irrational and produce so\n* often ugly shadows, throwing from\n44 the nose a black triangle on the\n'' forehead. \" &\nWe believe, however, that we are\ncorrect In saying that this doing\naway with the footlights was not due\nto any initiative of Miss Duncan's,\nbut was one of the first changes\nmade by Mr Gordon Craig when he\nbegan to stage plays in London ten\nyears ago, and that the American\ndancer has been but one among the\nmany who have imitated him In this\nas in his other methods of stage\nproduction."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c066", "article_bluemountain": "bmtnaau_1911-10_01#c066", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "161", "page_fin": "161", "image_debut": 93, "image_fin": 93, "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=bmtnaau191110-01.2.26.2", "titre_corps": "The Drama", "titre_sommaire": "The Drama", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 93, "page_imprimee": "161", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.93", "debut_caractere": 1601, "fin_caractere_exclue": 1881, "texte": "hicago's new theatrical quarterly,\nThe Drama, has reached Its\nthird number, which contains a\ndrama in four acts by Byornstjerne\nBjornson, together with papers upon\nsuch subjects as the French Dramatic\nSeason, the Irish Drama, the Reper-\ntory Theatre and the Art of Play\nReading. &"}]}, {"article_id": "bm-bmtnaau-1911-10-01-c067", "article_bluemountain": "bmtnaau_1911-10_01#c067", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "161", "page_fin": "161", "image_debut": 93, "image_fin": 93, "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=bmtnaau191110-01.2.26.3", "titre_corps": "The Studio", "titre_sommaire": "The Studio", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 93, "page_imprimee": "161", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.93", "debut_caractere": 1883, "fin_caractere_exclue": 2142, "texte": "Hp*l6 Studio has issued a fine spe-\ncial number devoted entirely to\nPeasant Arts and Crafts in Austria\nand Hungary and containing about\neight hundred illustrations.\nIt should be secured by all who\nlove the natural and spontaneous\nArt Expression of the Folk. &"}]}, {"article_id": "bm-bmtnaau-1911-10-01-c068", "article_bluemountain": "bmtnaau_1911-10_01#c068", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "162", "page_fin": "168", "image_debut": 94, "image_fin": 100, "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=bmtnaau191110-01.2.27", "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": 94, "page_imprimee": "162", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.94", "debut_caractere": 0, "fin_caractere_exclue": 23, "texte": "FOREIGN NOTES.\n\nLONDON."}, {"page_pdf": 99, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.99", "debut_caractere": 1021, "fin_caractere_exclue": 1032, "texte": "WITTERSHAM."}, {"page_pdf": 99, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.99", "debut_caractere": 2164, "fin_caractere_exclue": 2170, "texte": "PARIS."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c070", "article_bluemountain": "bmtnaau_1911-10_01#c070", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "162", "page_fin": "167", "image_debut": 94, "image_fin": 99, "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=bmtnaau191110-01.2.27.2", "titre_corps": "LONDON", "titre_sommaire": "LONDON", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 94, "page_imprimee": "162", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.94", "debut_caractere": 16, "fin_caractere_exclue": 23, "texte": "LONDON."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c071", "article_bluemountain": "bmtnaau_1911-10_01#c071", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "162", "page_fin": "164", "image_debut": 94, "image_fin": 96, "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=bmtnaau191110-01.2.27.2.1", "titre_corps": "Mr Gordon Craig's Return", "titre_sommaire": "Mr Gordon Craig's Return", "signature_source": "G. H", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 94, "page_imprimee": "162", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.94", "debut_caractere": 25, "fin_caractere_exclue": 1730, "texte": "Mr Gordon Craig's Return\n\nr|phe Banquet given in honour of\nMr Gordon Craig on July 16th at\nthe Cafe Royal was in every way a\nsuccess A room full of welFknown\nfaces, universal good spirits, a com=\nplete absense of the stiffness which\nusually makes such affairs so dull,\nall combined to make a most enjoy=\nable evening. JZ? JZ? JZ?\n& Upwards of two hundred guests\nwere present and the number would\nhave been yet greater had the size\nof the room permitted. As it was it\nwas a most representative gathering\nincluding a large number of well=\nknown persons. JZ7 JZ?\nTo name but a few of those\npresent:.... JZ? JZ?\n& The Stage was represented by\nMiss Ellen Terry, Mrs Patrick Camp=\nbell, Mr Martin Harvey, Mr Herbert\nTrench, Mr Frederick Whelen, Mr\nW. B. Yeats, Miss Gertrude Kingston,\nMr C. B. Fernald and Mr Michael\nLykiardopoulos of the Moscow Art\nTheatre. JZ>\nAmong the Critics were Mr Roger\nFry, Mr D. S. Mc Coll, Mr P. Q.\nKonody, Mr E. F. Spence, Mr Austin\nHarrison, Mr J. S. Garvin, Mr Gilbert\nCannon. <0\nThe Church was represented by\nMrs Dearmer and the Rev M. F.\nBell. &\n£? Of the Painters there were Mr\nWilliam and Mr Albert Rothenstein :\nMr Augustus John, Mr James Pryde,\nMrWilliam Strang, Mr C. H. Shannon,\nMr Walter Crane, Professor Sauter,\nMr Hugh Riviere, Mr Young Hunter\nand Mr Chowne. & &\nThe Musicians were represented\nby Mr Martin Shaw, Mr Dunhill and\nMr Vaughn Williams, while among\nthe Writers present were the Hon.\nMaurice Baring, Mr H, G. Wells,\nLady Gregory, Mr George Calderon,\nMiss Cicely Hamilton, Mr Frank\nHarris, Mr Laurence Binyon and Mr\nHaldane Macfall.\nThe Guests also included Sir A.\nTurner, Lady Gomme, Lady Alix\nEgerton, Lady lan Hamilton and\nLady Downs, while letters or tele-"}, {"page_pdf": 95, "page_imprimee": "163", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.95", "debut_caractere": 16, "fin_caractere_exclue": 2329, "texte": "grams of regret (i) were received\nfrom a large number including the\nDuchess of Sutherland, the Countess\nof Wemys, Mrs Alfred Lyttelton,\nMiss Marian Terry, Mrs Asquith,\nMr Laurence Housman, Mr Granville\nBarker, Mr Max Beerbohm, Mr\nMuirhead Bone, Sir Charles Holroyd,\nSir Squire Bancroft, and Mr Arthur\nBourchier. & & &\n& After the King's health had been\ndrunk with the enthusiam which all\nartists feel for Royalty, the Health\nof the Guest of the Evening was\nproposed by the Chairman, Mr Wil-\nliam Rothenstein, seconded by Mr\nW. B. Yeats. The Toast was drunk\nenthusiastically and replied to by\nMr Craig. & &\nMr R. E. Fry then gave \" The\nCritics \" and Mr E. F; Spence re-\nplied, after which the health of \"The\nGuests\" was proposed by Mr Fre-\nderick Whelen and responded to by\nMr Michael Lykiardopoulos.\n\" Macbeth \" at His Majesty's.\n/Auite the best production ever\nby the management of this\ntheatre and quite the best perfor-\nmance ever given by Sir Herbert\nTree. What has brought this about?\nSome of the London and Provincial\npapers have suggestions to make,\n(1) Some of these letters, together with some of the\nSpeeches are reprinted on pages 86 to 96 of this number\nand some put the goodness of the\nproduction down to the Influence of\nMr Gordon Craig, but none of the\npapers suggest why Sir Herbert\nwas so excellent as \" Macbeth\nI believe the reason was a simple\none. Sir Herbert Is impressionable,\nand has lately been impressed by\ncertain rumours that people were\nnot taking him as seriously as he\nhad all along hoped they were. He\nhas lately been told that if foolery\nIs admirable in the Circus it is some\ntimes intolerable in Shakespearean\ntragedy. &\nHe has also been told quite lately\nthat simplicity in stage production\nIs what the public can grasp as\neasily as elaboration and that the\nfirst is better suited as setting to a\nwork of art than the second. &\n<£? Besides this Mr Comyns Carr, the\nloyal friend of Henry Irving, has\nhelped Sir Herbert in the production,\nand Mr Carr knows all Irving\ndid, for Mr Carr is also impres-\nsionable. One noticed it in Sir\nHerbert's production of \" Faust\"\nsome years ago when Mr Carr acted\nas adviser, and one sees it again\nhere in ** Macbeth \". The Lyceum\ndays are not revived but there is\nsomething more than merely remi-\n%\nniscent of them. &\nThen Sir Herbert has asked"}, {"page_pdf": 96, "page_imprimee": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.96", "debut_caractere": 16, "fin_caractere_exclue": 1523, "texte": "someone to design him scenes and\ncostumes, and someone else to design\nhim some dances, and someone else\nto arrange him some fights and some\none else to suggest some ghost\nappearances and someone else..;.but\nif I began to give a list of the\nnames of people who had 44 helped \"\nSir Herbert produce 44 Macbeth \" I\nshould never come to an end. Sir\nHerbert puts some of their names\ndown ou his programme.... the others\nhe doesn't mention. uZ/ &\nu& I must say, however, that I\nshould like to see Sir Herbert pro«=\nduce a play by himself some day. I\nam sure it would be good much\nbetter than this patch~work of many\nhands who save the manager's time.\nuZ/ The part of 44 Macbeth \" however\nis all Tree, If you can manage to\noverlook the hand Shakespeare had\nin it. As an interpretation it is\nexcellent,.... quite first class. It is\ntheatrical and that is a great step\nfor Sir Herbert who is as a rule\namateurish. Not a touch of the\namateur marred this admirable\nproduction. uzz j£/ usz\nus> One last word about the produce\ntion. jZ/ us/ u? jS/\nu& Although Sir Herbert Tree spoke\nhis lines clearly,.... I heard nearly\nevery word.... many of the other\nactors were for the most part inau~\ndible; and added to this I could\nhardly see anyone except in three\nscenes. Mr. Gordon Craig had one\nfault when he gave us his first pro=\nductions in 1900 and thereabouts. It\nwas that he kept the stage too dark.\n&/ They say Sir Herbert Tree has\nborrowed from Mr Craig, but it seems\nhe has only been able to borrow\nthis fault.\n\nG. H."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c072", "article_bluemountain": "bmtnaau_1911-10_01#c072", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "164", "page_fin": "165", "image_debut": 96, "image_fin": 97, "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=bmtnaau191110-01.2.27.2.2", "titre_corps": "Romeo and Juliet", "titre_sommaire": "Romeo and Juliet", "signature_source": "F. N", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 96, "page_imprimee": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.96", "debut_caractere": 1525, "fin_caractere_exclue": 2353, "texte": "Romeo and Juliet.\n\nTyjr Fred Terry produced \" Romeo\nand Juliet\" here for his daughter\nMiss Phyllis Neilson Terry and worked\nwith much love. The result was de=\nlightful in very many ways. The\nplay was rapidly acted, (the only\nregret was that the curtain had to\nbe lowered more often than either\ndesirable or necessary) and the pro=\nduction was magnificent. The poetry\nof Italy was not there, but Shake-\nspeare's idea of the poetry of Italy\nwas there. Shakespeare is always\nEnglish. &\nAs for Miss Phyllis Neilson\nTerry.... how go on? How write about\nthe unwritable ? 1 could easily cri=\nticise and go wrong and abstain from\ncriticism and not do right. For\nexample how can one write about a\nseated figure of a young girl between\ntwo elder women, her mother and\nnurse ? The young girl's back is\ntowards us. She says only a few short"}, {"page_pdf": 97, "page_imprimee": "165", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.97", "debut_caractere": 16, "fin_caractere_exclue": 1392, "texte": "quiet sentences, and yet you are\nconscious that the whole essence of\nLove Is seated before you com-\nmanding the experienced. JZ?\nHow can one write of a look and\nI\nall it says? Such things inspire\nnot mere critics. Yet such a look is to\nbe seen In the face of this young and\ninspired actress when she abruptly\nis brought face to face with Romeo\nfor the first time. (Thai; was a most\nadmirable piece of stage management,\nby the way). Volumes of poems are\ncontained In that look.\nI must avoid all further attempts\nat criticism. But 1 would humbly\nsuggest to someone behind the cur-\ntain that if Miss Neilson Terry could\nbe let off the penance of having to\ncome before the curtain between each\nscene to acknowledge the roars of\nnoise from the audience I believe the\nwonderful actress would be better\nable to preserve that amazing mas-\ntery which possesses her in the\nearlier scenes until the very end of\nthe performance. u2?\nIt Is unfair to so delicate a human\nnature to expect it to preserve its\nfineness when faced with the over-\npowering experience of the approval\nof a London audience. Let the house\ncall at the end; let there be a million\ncalls then ; but during the perfor-\nmance If only Miss Neilson Terry\ncould be allowed to get away to the\nquiet of her room and keep to herself\nand her thought and emotion 1 feel\nso much would be gained for her\nand for us all. J£?\n\nF. N."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c073", "article_bluemountain": "bmtnaau_1911-10_01#c073", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "165", "page_fin": "167", "image_debut": 97, "image_fin": 99, "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=bmtnaau191110-01.2.27.2.3", "titre_corps": "The Leicester Galleries", "titre_sommaire": "The Leicester Galleries", "signature_source": "G H", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 97, "page_imprimee": "165", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.97", "debut_caractere": 1394, "fin_caractere_exclue": 2366, "texte": "The Leicester Galleries.\n\nHPhere has been an Important exhi-\nbition of designs and models for\nstage scenery here this last month\nand the London press has honoured\nthe exhibitor, Mr Gordon Craig,\nwith a serious and enthusiastic\nJS>\nIn a leading article The Times\ndraws attention to the difference\nbetween scenery in the modern\nI\ntheatre and the scenery Mr Craig\nhas given us. \" One may take it as\nan axiom \" says the Times \" that\n\" any stage scene which satisfies the\n\" eye without the actors will distract\n\" both eye and mind when the actors\n\" are present. This is an axiom upon\n\" which Mr Craig's designs are based;\n\" but it is ignored in nearly all\n\" theatres, especially in poetic\n\" drama \". & &\nIn the Observer Mr Konody, in\na particularly clear article, says\nmany original things, and also re-\nmembers to repeat an obvious thing\nwhich has to be repeated again and\nagain before it will be clearly recog-\nnised. He mentions the PRACTIC-\nALITY of Mr Craig's work. \" What"}, {"page_pdf": 98, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.98", "debut_caractere": 16, "fin_caractere_exclue": 2407, "texte": "\" is truly extraordinary is that Mr\n44 Craig's opponents persist In con-\n-44 demning his work as unpractical,\n44 his effects of light and spaciousness\n44 as impossible of realisation on\n44 the stage. But Mr Craig has his\n44 answer ready for them, and the\n44 hammer blows of his logic are\n44 the more telling as the force\n44 behind them is... practical achieve-\n-44 ment\". £? £? & &\nHe then quotes from Mr Craig's\nnotes to his Catalogue:\ni\n44 The obvious thing that the\n44 London critic may say is that you\n44 cannot get such a height on the\n44 actual stage, and the surprising\n44 answer is that you cannot.... in\n44 London. Somehow or other, a sense\n44 of space is a thing seldom attemp-\n-44 ted in London. Those who have\n44 visited Italy, for Instance, notice\n44 how we dwarf our triumphal\n44 arches and our castle walls, (i) It\n44 is all rather neat here in London.\n44 You may say that would in EO\n44 way prevent a stage carpenter\n44 from being able to realise the\n44 of the wall before\n44 him. But 1 am afraid I must sug-\n-44 gest that you are wrong, for stage\n44 carpenters are as impressionable\n44 as yourself, and they have at last\n44 been • convinced that space is a\n44 thing which does not exist \". &\nj& In some of the theatres on the\nContinent they have got past this\ndifficulty, and yet without robbing\nthe actor, the stage manager and\nthe call boy of their employments. \"\nSeveral of the newspapers draw\nattention to Sir Herbert Tree's\nimitation of certain of the \"Macbeth\"\ndesigns..., made for Sir Herbert at\nItis request and withdrawn sby the\ndesigner from the theatre.\nWhether Sir Herbert has con-\nsciously copied would be unfair\neven to guess at; it is better to\nagree with those who believe that\nSir Herbert made strenuous efforts\nto avoid Mr Craig's powerful sugges-\ntions and was unable to get free.\nBesides one may be sure that Mr\nCraig would be the first to be de®\nlighted that any production should be\ninfluenced in the right direction.\nThe private view of the Designs\nattracted a large number of well®\nknown people, among whom were\nthe Duchess of Leeds, Lady Curzon,\nLady Shand, Sir Lawrence Alma\nTadema, Sir John Hare, Mr Maurice\nBaring, Miss Ellen Terry and Miss\nMarion Terry, Mr and Mrs Arthur\nBourchier, Mr and Mrs John Gals-\nworthy, Mrs Alfred Lyttelton; while\nduring the first two weeks of the\nexhibition some of those who visited\n\n(I) off the stage a* well as on."}, {"page_pdf": 99, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.99", "debut_caractere": 17, "fin_caractere_exclue": 1019, "texte": "the Galleries were Sir George and\nLady Alexander, Madame Yvette\nGuilbert and M. Schiller, Mr Laurence\nHousman, Mr William Heinemann\nMr E. F. Spence, Miss Phyllis Neilson\nTerry, Miss Edith Craig, Mr and Mrs\nRothenstein, Mr and Mrs Bradbury,\nSignor Meo, Professor Sauter, Mr\nPatric CoSlum, Sir Albert Seymour,\nand Mrs Alfred Sutro. jp\n/\nSir Herbert Tree put in an ap=\npearance but only got as far as the\ninside of the half doors where he\nlingered for three minutes and then\nleft hurrldly. &\nMadame Sarah Bernhardt visited\nthe Exhibition and expressed her\npractical admiration of the work\nshown by inviting Mr Gordon Craig to\ndesign her a production of \"Hamlet\";\nMr Arthur Collins also visited\nthe Exhibition and expressed the\nopinion that he had never seen such\nrubbish in his life.\n& Thus we see that Mr Arthur\nCollins differs from Madame Sarah\nBernhardt and most of the English\ncritics and artists. Yet probably Mr\nCollins believed he was voicing\npublic opinion Is Drury Lane\nbecoming parochial ?\n\nG H."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c074", "article_bluemountain": "bmtnaau_1911-10_01#c074", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "167", "page_fin": "167", "image_debut": 99, "image_fin": 99, "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=bmtnaau191110-01.2.27.3", "titre_corps": "WITTERSHAM", "titre_sommaire": "WITTERSHAM", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 99, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.99", "debut_caractere": 1021, "fin_caractere_exclue": 1032, "texte": "WITTERSHAM."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c075", "article_bluemountain": "bmtnaau_1911-10_01#c075", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "167", "page_fin": "167", "image_debut": 99, "image_fin": 99, "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=bmtnaau191110-01.2.27.3.1", "titre_corps": "A New Theatre", "titre_sommaire": "A New Theatre", "signature_source": "T. E", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 99, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.99", "debut_caractere": 1034, "fin_caractere_exclue": 2162, "texte": "A New Theatre.\nT. E.\ngt is not often that we are able to\nsend out any word about the\nDrama from this pleasant garden of\nEngland. But quite lately an artist\nhas come amongst us who has had\nthe desire to give us dramas and\nso we are all excited here. J£?\njg?The artist is Miss Laurence Alma\nTadema, and she not only writes us\nplays and promises to have us in to\nact them for her but she has just\nlately built us a theatre.\n1 have never seen another theatre\nlike it anywhere and so I think\nWittersham should be proud.\n.<s> Now we await the day when the\ncurtain shall be rung up though if we\nawait that day nothing will happen\nfor there is no curtain in her theatre.\nI will send you more news about\nthe delightful place In a few weeks.\nWhen England has ten thousand\nsuch little homes of drama in Eng=\nland all will be well: and now that\nWittersham has given the nation a\nlead what should prevent it ?\nMr MacEvoy has a theatre in a\nvillage but it is not like Miss\nTadema's. Hers is original and sim=\npie and untheatrical. Mr MacEvoy\nlike everyone else sees nothing but\nthe modern London Ttreatre in his\nvision. Miss Tadema sees Life."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c076", "article_bluemountain": "bmtnaau_1911-10_01#c076", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "167", "page_fin": "168", "image_debut": 99, "image_fin": 100, "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=bmtnaau191110-01.2.27.4", "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": 99, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.99", "debut_caractere": 2164, "fin_caractere_exclue": 2170, "texte": "PARIS."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c077", "article_bluemountain": "bmtnaau_1911-10_01#c077", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "167", "page_fin": "168", "image_debut": 99, "image_fin": 100, "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=bmtnaau191110-01.2.27.4.1", "titre_corps": "The \"Grand Guignol\"", "titre_sommaire": "The \"Grand Guignol\"", "signature_source": "H. L", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 99, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.99", "debut_caractere": 2172, "fin_caractere_exclue": 2255, "texte": "The \" Grand Guignol \".\n\nof the best known theatres in\nEurope, the Grand Guignol, is"}, {"page_pdf": 100, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.100", "debut_caractere": 16, "fin_caractere_exclue": 2288, "texte": "surely the smallest building of the\nkind. There may be smaller audito-\nriums in out of the way towns ; in\nfact I know of one in Firenzuo'a on\nthe road to Bologna ; but for Paris\nit is amazingly sm'ali. ■£*\n& The Kleines Theater in Berlin is\nlarge in comparison. The Kunstler\nTheater of Munich and the Theatre\ndes Arts of Paris immense. jg?\njg? One pays very little for a seat in\nthis theatre de luxe ; the programme\ncosts another sixpence, and if one\ncomes three minutes before the\ncurtain rises one has time to count\nthe people in the house.\nIt assuredly cannot take much\nmore money than a hundred pounds\na night if every seat and every\nprogramme is sold, and it is likely\nthat not more than fifty pounds\nis taken on an a\\erage. & jg?\njg? How then is the theatre kept\nopen ? When 1 was there the other\nevening thirteen performers appear-\ned ; there were six pieces played ,\nand these performers, playwrights,\nnot to mention stage manager, scene\nshifters, gas men and others, need\npaying. jg/ jgf jg/\njg? I suppose the theatre is run by\nM. Max Maurey for political purposes\nor that he enjoys playing with a\ntheatre as collectors of stamps enjoy\ntheir own particularly thrilling\nhobby. £? & &\n<£? Stamp collecting is thrilling. The\nGrand Guignol is not. Or rather, it\nwas not on the night I went\nthere. &\nIt was about as tame as the\nPolice Gazette ; it is a kind of grown-\nup Frenchman's Hans Anderson.\nVery sentimental plays acted Indif-\n«\nferently by French actors who seem\nto be resting on the reputation won\nfor the place years ago. <g? &\nMile. Suzanne Valiier gave the\nonly really amusing performance,\nand when she was on the stage her\ncollaborators seemed to gather\nforce.\njg/ I saw Le Pharmacien, La Fee\nAtelier d'Aveugles, Le Devoir,\n(a farce acted in a surprisingly strong\nway by the three performers): Sous\nla Lumiere Rouge, (a very poorly\nacted piece of rubbish) and Apres\nvous Capitaine \". J£?\njg? I have no doubt that if the au-\ndience who go to the Grand Guignol\nwere alive the actors would become\nso in a trice; but the audience is a\ndead one, and compares most shame-\nfully with, for example, an Italian\naudience. jgr jg? jg? jg?\njg? An Italian audience would have\nhooted the performers of the Grand\nGuignol into acting. jg?\nParis Is decidedly tired.\n\nH. L."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c078", "article_bluemountain": "bmtnaau_1911-10_01#c078", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "169", "page_fin": "169", "image_debut": 101, "image_fin": 101, "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=bmtnaau191110-01.2.28", "titre_corps": "EDITORIAL", "titre_sommaire": "EDITORIAL", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 101, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.101", "debut_caractere": 0, "fin_caractere_exclue": 2021, "texte": "EDITORIAL\n\nTWO STORIES. The First Story.\nJ. S.\nM essrs Klaw and Erlanger are\ntimid. The following tale will\nshow it. They are also inventive. jZ?\n£? It appears that a certain American\nlady who wished to produce an opera\nin America went to see Messrs Klaw\nand Erlanger and asked them to get\nMr Gordon Craig to produce the work.\nOn hearing Mr Craig's name the\ntwo famous directors exclaimed in\nduet, \"Impossible 1 why we once\nwired to Mr Craig asking him to\nproduce us a spectacular drama here\nand he replied by cable \" wire a\nmillion dollars by return and I will\ncome over and consider proposition\".\nThis is true story for we have it\nfrom the lady herself. But there is one\nerror. Mr Craig never received any\nproposition whatever.\nIt Is true that Mr Craig has re-\nceived about the largest sum ever\ni\npaid a producer, but that should not\nfrighten Messrs Klaw and Erlanger.\nWe think these gentlemen must\nbe labouring under a delusion begot-\nten by a desire to open negotiations\nwith Mr Craig, and a fear lest they\nmight actually be able to pay him\nthe requisite fee. £?\nThe Second Story. &\nleading London actor in all since-\nrity was heard to say that no\nmanager would dream of asking Mr\nCraig to produce a play for him \"as\nMr Craig refuses anything but fifty\nper cent of the gross receipts \". £?\nThis, the poor gentleman could\nhardly know, was a lie, so he could\nhardly but be shocked and surprised.\nThe report was originally spread\nby a well known Actor-Manager\nwho offered Mr Craig ONE per cent,\nand we presume that he was too\nmuch ashamed to own up to such\nmiserly methods and attempted to\ncover the traces by false reports.\nAs a matter of fact we learn that\nMr Craig accepted these absurd terms\nin order to show his sincere desire\nto cooperate with the manager in\nquestion. We are curious to know\nwho that Manager is and what was\nthe result of the contract, and we\nhope that before long we may know\nmore of the Interesting details... for\ninteresting and amusing they cer-\ntainly must be:.... but one per\ncent Oh !. .. ."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c080", "article_bluemountain": "bmtnaau_1911-10_01#c080", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "169", "page_fin": "169", "image_debut": 101, "image_fin": 101, "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=bmtnaau191110-01.2.28.2", "titre_corps": "TWO STORIES : The First Story", "titre_sommaire": "TWO STORIES : The First Story", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 101, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.101", "debut_caractere": 11, "fin_caractere_exclue": 2021, "texte": "TWO STORIES. The First Story.\nJ. S.\nM essrs Klaw and Erlanger are\ntimid. The following tale will\nshow it. They are also inventive. jZ?\n£? It appears that a certain American\nlady who wished to produce an opera\nin America went to see Messrs Klaw\nand Erlanger and asked them to get\nMr Gordon Craig to produce the work.\nOn hearing Mr Craig's name the\ntwo famous directors exclaimed in\nduet, \"Impossible 1 why we once\nwired to Mr Craig asking him to\nproduce us a spectacular drama here\nand he replied by cable \" wire a\nmillion dollars by return and I will\ncome over and consider proposition\".\nThis is true story for we have it\nfrom the lady herself. But there is one\nerror. Mr Craig never received any\nproposition whatever.\nIt Is true that Mr Craig has re-\nceived about the largest sum ever\ni\npaid a producer, but that should not\nfrighten Messrs Klaw and Erlanger.\nWe think these gentlemen must\nbe labouring under a delusion begot-\nten by a desire to open negotiations\nwith Mr Craig, and a fear lest they\nmight actually be able to pay him\nthe requisite fee. £?\nThe Second Story. &\nleading London actor in all since-\nrity was heard to say that no\nmanager would dream of asking Mr\nCraig to produce a play for him \"as\nMr Craig refuses anything but fifty\nper cent of the gross receipts \". £?\nThis, the poor gentleman could\nhardly know, was a lie, so he could\nhardly but be shocked and surprised.\nThe report was originally spread\nby a well known Actor-Manager\nwho offered Mr Craig ONE per cent,\nand we presume that he was too\nmuch ashamed to own up to such\nmiserly methods and attempted to\ncover the traces by false reports.\nAs a matter of fact we learn that\nMr Craig accepted these absurd terms\nin order to show his sincere desire\nto cooperate with the manager in\nquestion. We are curious to know\nwho that Manager is and what was\nthe result of the contract, and we\nhope that before long we may know\nmore of the Interesting details... for\ninteresting and amusing they cer-\ntainly must be:.... but one per\ncent Oh !. .. ."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c081", "article_bluemountain": "bmtnaau_1911-10_01#c081", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "171", "page_fin": "171", "image_debut": 103, "image_fin": 103, "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=bmtnaau191110-01.2.29", "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": 103, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.103", "debut_caractere": 0, "fin_caractere_exclue": 86, "texte": "THOROUGHNESS\nIN THE THEATRE.\nBY GORDON CRAIG,\nIN\n& THE ENGLISH REVIEW\nOCTOBERi 9 i i ."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c082", "article_bluemountain": "bmtnaau_1911-10_01#c082", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "171", "page_fin": "171", "image_debut": 103, "image_fin": 103, "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=bmtnaau191110-01.2.30", "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": 103, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.103", "debut_caractere": 88, "fin_caractere_exclue": 219, "texte": "-<£> EDWARD HILL BRANDON. &\nFowler Road, Forest Essex,\n* DESfGNS MENU CARDS, ETC. •*>\nPlease send for particulars to above address*"}]}, {"article_id": "bm-bmtnaau-1911-10-01-c083", "article_bluemountain": "bmtnaau_1911-10_01#c083", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "172", "page_fin": "172", "image_debut": 104, "image_fin": 104, "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=bmtnaau191110-01.2.31", "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": 104, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.104", "debut_caractere": 0, "fin_caractere_exclue": 1860, "texte": "WALT WHITMAN.\nA \"LEAVES OF GRASS \" REPRINT.\nI propose to publish in facsimile Walt Whitman's personal copy of Leaves of Grass,\nedition of 1860=1861, in which he did much of the work of revision for the edition\nthat followed five years later.\nThis copy of Leaves of Grass is historic. It Is the volume abstracted by Secretary\ntiarlan from Whitman's desk in the Interior Department and made the basis for\nWhitman's discharge from that branch of the service. An account of this incident,\nwritten by Whitman himsif, will be photographically reproduced and\nincluded. The edition will be limited to five hundred copies. The price fixed\nten dollars for each copy. No books will be sent to editors for review and no\nrebates or discounts will be allowed to collectors or booksellers.\nThe text matter of this book will be printed from the original plates, which stil\nexist. The chirographical matter in Whitman's hand will be superimposed. In order to\nmaintain a strict likeness to the original, in which Whitman used black ink and pen =\ncils of several colors, it will be necessary for each sheet to go through the press from\nthree to five times. This is a costly process.\nThe production of this work calls for the finest skill of the photographer, engraver\nand printer. But it will be faithfully supervised to the remotest particulars\nEach volume will be authenticated by a number and my signature. Subs criptions\nwill be filled in the order they are received.\n& To persons who have a special interest in Whitman, as well as to students and\nslibraries (particularly to the libraries of schools and colleges), this remarkable reprint\nmust have unusual significance.\nNo steps will be practically taken in this matter until subscriptions sufficient to\ncover the initial expenses are received & Send for circular. HORACE TRAUBEL\n1613 CHESTNUT STREET, PHILADELPHIA. U. S. A"}]}, {"article_id": "bm-bmtnaau-1911-10-01-c084", "article_bluemountain": "bmtnaau_1911-10_01#c084", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "172", "page_fin": "172", "image_debut": 104, "image_fin": 104, "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=bmtnaau191110-01.2.32", "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": 104, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.104", "debut_caractere": 1862, "fin_caractere_exclue": 2074, "texte": "9\nUk K\nMODERNE\nby JACQUESROUCHE\nprice five francs. _\n\"pROFUS EL Y I \"L\"\"L\nTREATING OF THE WORK OF\nSTANISLAWSKY, APPIA, REINHARDT,\nFRITZ ERLER, FORTUNY &\nGORDON CRAIG\nRduard Cotnely & Cie\n101 Rue de Vaug ira Paris"}]}, {"article_id": "bm-bmtnaau-1911-10-01-c085", "article_bluemountain": "bmtnaau_1911-10_01#c085", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "172", "page_fin": "172", "image_debut": 104, "image_fin": 104, "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=bmtnaau191110-01.2.33", "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": 104, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.104", "debut_caractere": 2076, "fin_caractere_exclue": 2348, "texte": "DINI & CELLAI\nArtistic & Decorative Terra Cotta of\nSigna.\nVia di Foss i N. 1 - FLORENCE\n______________ -\nReproduction of sculptures of Old and\nModern Masters - Statues - Busts - Vases\n= Ba s - Reliefs - Fountains - Doors,\nChimney - pieces « Bases etc. etc. in\nevery style."}]}, {"article_id": "bm-bmtnaau-1911-10-01-c086", "article_bluemountain": "bmtnaau_1911-10_01#c086", "volume": "bmtnaau_1911-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "174", "page_fin": "174", "image_debut": 106, "image_fin": 106, "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=bmtnaau191110-01.2.34", "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": 106, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.106", "debut_caractere": 146, "fin_caractere_exclue": 610, "texte": "A LETTER FROM\nMme BERTHA RALICH NEW •\n1 cannot say enough in praise of\" The\nMask\n7o me it is a journal of rare intel-\nligence, embracing a knowledge of the\naesthetic in Drama, which is much needed\nin this era of commonplaceness and\nmediocrity•\nWith its truthful, instructive criticisms\nand progressive ideas, The Mask is\na school to the actor and to the general\npublic, a unique and interesting journal.\nTRADE AGENTS\nSimkin, Marshall, Hamilton,\nKent & Co. sLondon."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.1", "texte": "THE MASK\nA QUARTERLY JOURNAL OF\nTHE ART OF THE THEATRE\nVolume Four. Number Two.\nOCTOBER\nI O I I\nARENA QOLDONi\nFLORENCE\nITA L V\nYEARLY SUBSCRIPTION FIFTEEN SHILLINGS.\nSINGLE COPY PRICE FOUR SHILLINGS\nTRADE AGENTS.\nSIMKIN, MARSHALL, HAMILTON, KENT & CO. LONDON."}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.2", "texte": "THE MASK. OCTOBER 1 9 »»•\nTHha Editor will be glad to consider MSS relative to the Art and History of the\nTheatre, but would point out that he can only make use of articles written by\nsuch as have a real knowledge of the subjects treated.\nj0 All possible care will be taken, but he cannot hold himself responsible for the\naccidental loss of MSS. These must in every case be accompanied by a stamped and\naddressed envelope a3 otherwise they cannot be returned. &\nCommunications should be addressed to the Arena Qoldoni. Florence. Italy\n\nLITERARY CONTENTS .\nTHE RETURN OF GORDON CRAIG TO ENGLAND • 8s-\nKLEPTOMANIA, OR THE RUSSIAN THEATRE. . John Balance. . . 97.\nTHE COSTUME OF \" HENRY VIII \" . . . . E. W. Godwin. . . 102.\nAPPRENTICESHIP IN JAPAN Lafcadio Hearn. . . 107.\nDISCIPLINE. A Note by. ..... John Semar . . . 108.\nSOME DEFINITIONS FROM AN OLD DICTIONARY\nTranslated by ........ Pierre Rames. . • no.\nTHE COMMEDIA DELL'ARTE. Some Directions. . Andrea Perrucci . . 113.\nA NOTE ON THE MEANING OF \" LAZZ1\" \"5-\nTHE FOUR LUNATICS. A SCENARIO\nAN IMPROVISATION Count Carlo Oozzi. . 121.\nTHE POSITION OF THE THEATRE. A SYMPOSIUM\nREPLIES FROM EIIenTerry . . . 127.\nArthur PInero . . 128.\nMartin Harvey. . . 129.\nGordon Craig. . . 129.\nWalter Crane. . . i3*«\nJohn Balance. . . 131.\nChristopher St John. . 132.\nGeorge Calderon. . . 132.\nAllen Carrie. . . 132.\nUNFORTUNATELY & FORTUNATELY. A Note , . Allen Carrie. . 134.\nFAKE FOLK ART Felix Urban, . . 135.\nVENETIAN COSTUME. ; Cesare Vecellio . . 137.\njp BOOK AND MAGAZINE REVIEWS. FOREIGN NOTES, jsz EDITORIAL NOTES.\n\nILLUSTRATIONS.\nTHE DESIGN FOR THE MENU AT THE DINNER IN\nHONOUR OF Mr GORDON CRAIG (Coloured\nFrontispiece) Albert Rothensteln Face i.\nFOUR JAPANESE DESIGNS Half Tone 96. 160.\nSIX VENETIAN COSTUMES : Cesare Vecellio 139 .143.145.147.149.153.\nHEAD AND TALE PIECES .... Oliver, Borrow and others."}, {"page_pdf": 4, "page_imprimee": "[80]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.4", "texte": "Desing of the Menu at the Banquet given in honour of Mr Gordon Craig. In London. July 16, 1911.\nDesigned by Mr Albert Rothenstein.\n\nThe Mask.\nOctober 1911."}, {"page_pdf": 5, "page_imprimee": "81", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.5", "texte": "THE RETURN OF GORDON CRAIG TO\nENGLAND.\n\nSOME SPEECHES MADE AT THE BANQUET GIVEN IN HIS HONOUR ON\nJULY 16, TOGETHER WITH SOME LETTERS RELATIVE TO THAT EVENT\nRECEIVED FROM REPRESENTATIVE MEMBERS OF THE EUROPEAN\nTHEATRE, AND A FOREWORD BY JOHN SEMAR.\nThe Dinner given in honour of Mr Gordon Craig on July i6th at the\nCaf£ Royal in London was a significant event. jg?\nIt was something far more than the mere acclamation of a persona-\nlity ; it was the public recognition and advocacy of a principle : something\ngreater than a public tribute to the achievement of one artist; it was\n\\\nthe acknowledgement and acceptance of an ideal which he upholds : it was\nnot merely an assembly of friends met together to celebrate the return\nof an individual; it was the gathering of a large number [of the most\nrepresentative and distinguished figures in the world of art and the world\nof society to testify unanimously to their championship of the cause for\nwhich he is striving and their belief in the aims he has in view, and\nto do honour in his person to that awakening European Theatre of which\nhe is the acknowledged representative and head.\nWhen Craig began his work he began alone so far as his contempo-\nraries went. \"Every new opinion at its starting is precisely in a minority\nof one \", and so it was in this case so far as the living were concerned,\nalthough the great traditions and the great artists of the past of both\nEast and West were on his side. jg? & &\n& He is not alone now. He has the artists with him almost to a man.\nHe has the leading figures of the European Theatre on his side. Stani-\nslawski of Moscow, Sieves! of Budapest, De Vos and Rooyards of Holland,"}, {"page_pdf": 6, "page_imprimee": "82", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.6", "texte": "Mr GORDON CRAIG'S RETURN\n\nAntoine and Yvette Quilberi of Paris, and in England Ellen Terry, w. R\nYeats, Martin Harvey and many more ; while others, like Professor Rein,\nhardt, pay him, however unintentionally, the slncerest tribute admiration\ncan offer the closest imitation of his work which German thoroughness\nand acquisitiveness can achieve. &\n■£? Nor is his influence limited to these prominent figures, it Is everywhere\n1 hese .-.'le a.he gr ?..tt beacons, • •.. .. but who shall keep count of the\nsmaller fires he has set alight? The Italians have an old custom that,\nas the new fire, fresh struck from the flint, is carried through the streets\nat Easter, all who wfl! may stop him who carries it and light their own\ntapers at the fiame.\nAnd so, In the years that Craig has spent away from England, he has\nbeen distributing the fire of his new discoveries and ideals,.... the fire\nwhich his genius has struck from the old traditions and the old truths,...\nin ail directions, and by Its light groups of young artists of all nations,\neach in his own place and degree, are studying and working, and\nvfsunng and preparing the ground for a new theatre which shall embody\nthose ideals. In fact, to quote Mr Max Beerbohm, Craig's influence \"is\nfestooned from point to point around Europe \", his adherents are every.\nwhere, and the number assembled at the Cafe Royal on July I6th must\nhave been small indeed compared with those who were present in spirit;\nand who, unable to testify in person to their belief or their admiration,\ncousd only, 44 with a forced cheerfulness but a full heart \" raise their\nglasses from afar. & &&^\n& There is no need to speak here of the work which Craig has accom-\nplished or to reiterate the services he has rendered to the Theatre. Those\nwho know anything of the history of the modern theatre know that he has\nbeen bailed by all who love It as an Art on the strength ol\nhss superlative merits as a producer of the Poetic Drama and by all who\nhonour it a.~. an lis.siu Joa by the dignified and uncompromi\"\nsing way in which he has up=held and fought for its noblest traditions\nand its best Ideals. & & & & &\n& That the English Theatre has not seen fit to do him, and itself, honour\nby Valuing tho»© gkfis at their true worth is only one of the many errors\nfor which England will sooner or later have to answer. &"}, {"page_pdf": 7, "page_imprimee": "83", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.7", "texte": "Mr GORDON CRAIG'S RETURN\n\nFor years she has been told by men of brains that In Gordon Craig\nshe possesses a genius of rare quality. She has been told it now more\nInsistently than ever. She has welcomed the work of his imitators and\npupils: now she has the opportunity of profiting by his own presence.\n.€/ It will be interesting to watch the issue.\nOf course \" against stupidity the gods themselves contend in vain, \"\nand unfortunately the real talent which the English stage undoubtedly\npossesses is too often nullified by an amazing stupidity, a. blindness to\nany but personal or petty interests, on the part of the majority of those\nby whom it is controlled. &\nAs one of the daily papers, in reporting the Dinner, said, the signi-\nficance of those present, although including \"many of the best living men\nin art, the drama...; and so forth \" \" pale before the tremendous signifi-\ncance of the absentees\", and! the same paper continues that, though the\nnames of those absentees are not given, 44 one can guess and calculate\n44 and come to conclusions \".\n& 44 The knighted theatre-managers were not there, conspicuously not\n44 there. When Signora Eleonora Duse said to Mr Arthur Symons eight\n44 years ago 44 To save the theatre the theatre must be destroyed. The\n44 actors and actresses must all die of the plague. They poison the air,\n44 they make art impossible \" she meant the London west-end type, and\n44 she mortally offended its chief representatives. There was a dead silence.\n44 In a recent number of 44 The Mask \" Mr Gordon Craig developed Signora\n44 Duse's dictum, and there was at once a great outcry against the un-\n-44 heard-of enormity. Every new movement begins with an attack on the\n44 established or the effete. In order to be reproduced the seed of a plant\n44 must die in the earth to come alive again ; no death, no life. In order\n44 to save an art the bad old must go and clear the ground for the good\n44 new. Life and progress is a continual passing and renewal. In opera\n44 and the music of the concert-hall and the theatre the same Is true.\n44 New schools arise on the decay of the old; Progress leaves high and\n44 dry on the banks of the onward stream of events a number of works\n44 that become classics; the rest pass down to oblivion, washed away by\n44 the stream. The fashionable drama and opera of the present time are\n44 dying of their own moribund qualities. \""}, {"page_pdf": 8, "page_imprimee": "84", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.8", "texte": "Mr GORDON CRAIG'S RETURN\n\nAll this being very true, it Is obvious why the adherents of the old\nslack realistic methods oppose themselves to this new movement which\nis daily gathering strength; why they throw all their influence into the\nopposite scale. They are too contented in their rut to step out of it;\nthey want nothing newer than their own old box of tricks. & &\ns&So far as England is concerned Craig has fought against the enemies\nof progress and against dull routine and the old clumsy realistic methods\nfor years, and has had to fight his battle practically alone. A few indi-\nviduals have understood and championed his aims. Now for the first time\nsome public and corporate acknowledgement has been made of the services\nhe has rendered and the work he has achieved. Nothing very much, it\nis true,.... but still a beginning.\nThey have given him a dinner,.... the Englishman's immemorial way\nof showing honour; but now let them give him something more lasting;\nlet them give him the one thing he asks of them, a 5ch001,.... an expe-\nrimental school for the study of the Art of the Theatre. Let them recog-\nnise that the best way of proving their appreciation of what he has\nalready accomplished is by giving him the means of accomplishing more;\nthat the best way of honouring his genius is to afford him the opportunity\nof exercising it in the English Theatre and on the English Theatre's\nbehalf.\n& Anything short of this is futile.\nWhat is the use of a partisanship which stops short at words ? Strong\nbelief manifests Itself in strong action; profound feeling crystallises into\nsome permanent and fruitful form ; love is creative and not content with\nmerely drinking to the health of the person or cause beloved.\nAnd it ought to be so easy of accomplishment,.... the foundation of\nsuch a School! No country can be more hotly responsive than England\nwhen it chooses. No country can raise money more swiftly when it wiil.\nNowhere are there rich men more ready to back their beliefs with their\nbank-books. £? £f\nThis has been evidenced more than once within the last few months.\nThose who believed in the Importance of the new Polar expedition\nadvocated by Sir Ernest Shackleton did not content themselves with good\nwishes; the money needed poured in within a few days. Those who valued"}, {"page_pdf": 9, "page_imprimee": "85", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.9", "texte": "Mr GORDON CRAIG'S RETURN\n\nRembrandt's \" Mill\" as a national asset raised thousands of pounds\nwithin a few hours in an effort to secure it for the nation. jP\n& And In like manner those who believe that In Gordon Craig England\npossesses an artist of rare and unique talent, those who are convinced\nof the vital importance to the nation of the status of the theatre as Art\nand Institution ; those who have publicly proclaimed these beliefs, and\nasserted, moreover, that they recognise in Craig the man who has proved\nhimself best qualified to assist the theatre, the one upon whose judgement\nreliance should be placed, will not let the matter rest there now that\nthe healths are drunk and the tables cleared.\nThey will believe him when he tells them that years of experience and\nexperiment have shown him the absolute necessity of a School of experi-\nment and they will lose no time in raising the funds necessary for the\nestablishment of such a School.\n4? The institution or the nation which disregards the opinion of an expert\nIs taking upon itself a heavy responsabllity. Craig is acknowledged as an\nexpert in all that pertains to the theatre, and he has spoken very clearly\non this matter again and again.\njp \" No one \" he is reported as saying In a recent Interview, \" not even\n\" a super should be allowed on the stage until he has been trained and\n\" shown to competent judges that he has profited by his training.......\n\" We (referring to himself and his followers,) are constructive in so far\n\" as we aim at the establishment of schools for the art and at putting\n\" them under the control of the few artists who have been born to the\nart of the theatre \", and he went on to declare yet once more that only\nby the discipline and training .'obtained in very serious and difficult\nschools could we succeed in reversing the present condition of things,\n\" for by such schools will be produced those 'great persons' who shall\n\" destroy the theatre that the theatre may be saved \". 4?\nP The English Theatre has now got an opportunity. It has - \" got the\nman and got the money too \". The artists and Theatre-workers of\nEurope will watch with interest to see what it makes of this oppor-\ntunity. JC? 4/4? 4^\n& News comes to us from London that there were two hundred\ninfluential persons present at the dinner; that letters of regret were"}, {"page_pdf": 10, "page_imprimee": "86", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.10", "texte": "Mr GORDON CRAIG'S RETURN\n\nreceived from many more, and that a yet larger number who apphed\nto the committee for invitations were unable to be present owing to the\nFmfted space.\nAssuming the sincerity of all those persons, the reality of their interest\nIn the cause whose leader they acclaimed, one starts with a nucleous of\nat least some hundreds of persons who are, one presumes, ready to use both\ntheir influence and their money to forward the cause in which thev\nprofess themselves believers. &\nWhy, the thing should be an accomplished fact within a month!\nDelay is dangerous and stupid, for leaders and experts are not to be\nfound at every corner, genius is too rare to be trifled with, and it is\na pity to waste the time of a man whose gifts and qualifications are\nso unique.\n& \" A great age is an age which employs its men of genius; a poor\nage is an age which has no use for them \" said Mr W. B. Yeats speak-\ning at the Dinner. &•&&&J& &\nEngland would do well to bear this in mind in relation to the use\nshe makes of Gordon Craig. She does not want to advertise herself to\nthe worad at large as too poor to perceive, employ, or profit by, the\ngenius of the greatest Artist of the Theatre of the age... and that Artist\none or ner own sons. & &\n\nJ. S.\n\nSOME LETTERS AND SPEECHES.\n\naccount of the Evening, with the names of some of the guests will\nfound among our Foreign Notes. We here reprint some\nfew of the letters from those unable to be present which, after the King's\nhealth had been drunk, were read by the Chairman, Mr William\nRothenstein. & & a\n* We a,so give Mr Rothenstein's speech, in which he proposed the\nhealth of the Quest of the Evening, seconded by Mr W. B.Yeats; Mr Craig's\nteply and toe speech made on behalf of the Quests by Mr Michael\nLyklardopoulos, of the Moscow Art Theatre. & *"}, {"page_pdf": 11, "page_imprimee": "87", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.11", "texte": "Mr GORDON CRAIG'S RETURN.\n\nDr ALEXANDER HEVESI BUDAPEST.\n\nSir,\nI lose no time in replying to your kind invitation (which reached me\nIn the country), and which gave me at once pleasure and pain as I\nam prevented from paying a visit to London this year, though I have\nalways been very fond of England (where I had passed perhaps the most\npleasant days of my life), and though I am one of the honest admirers\nofour mutual friend, and so 1 would have been very happy indeed to\nsee him at the dinner given in his honour by such a splendid and excellent\nassembly.\n& 1 think, Mr Craig is the truest revolutionist 1 ever saw in my life,\nbecause he is requiring the oldest things we can ever fancy. Revolution\nand revelation are not far from one another and he gives us both. His\ntorch destined to set on fire our pseudo-Theatres, our monstrous and\nbarbarous play-houses, has been kindled at the sacred fires of the most\nancient arts. He discovered for us that in a rope-dancer there may be\nmore theatrical art than In an up-to-date actor reciting from his memory\nand depending on his prompter.\n& 1 am sure all who are working on the stage throughout Europe, creative\nminds or stage managers, priding themselves on their being creative\nminds:.... cannot be but most grateful to Mr Craig and must regard\nall that is and shall be done in his honour, to be done in the vital in-\nterest of the very art of the theatre.\nPor more than a hundred years there have been two men working on\nthe stage, spoiling almost all that is to be called theatrical art. These\ntwo men are: the Realist and the Machinist. & &\nThe Realist offers imitation for life, and the Machinist tricks in place\nof marvels. So we have lost the truth and the marvel of life, that Is,\nwe have Sost the main thing possessed by the art. The Art of the Theatre\nas pure imitation Is nothing but an alarming demonstration of the\nabundance of life and the narrowness of Art.\n& It is like the ancient example of the child who was trying to empty\nthe sea with a shell, and as for the wonderful tricks of the machinist,\nthey can be marvellous but they can never be a marvel. A flying machine"}, {"page_pdf": 12, "page_imprimee": "88", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.12", "texte": "Mr GORDON CRAIG'S RETURN.\n\nis marvellous but a bird is a marvel. To the true Artist common life is\na marvel and Art more abundant, more intense and more living than\nlife itself. & £>\n& True Art is always discovering the marvel in all that does not seem\nto be marvellous at a!!, because Art is not imitation but vision. That is\nthe great discovery of Mr Craig on the stage. He found the forgotten\nwonder-land with the sleeping beauty; the land of our dreams and wishes,\nand has fought for it with the gestures of an artist, with the soul of\na child, with the knowledge of a student and with the constancy of a\nlover. He has done the greatest service to the Art in which we are so\nprofoundly interested and it is a great happiness for us all that he comes\noff with flying &\n& He has his admirers and followers in our little Hungary, the whole\nof the new generation being under his Influence, and without any dispa-\nragement to the great merit and good luck of Professor Relnhardt, we\nHungarians, as close neighbours and good observers dare say, that almost\nall that has been done in Berlin or Dusseldorf, in Munich or in Mannheim\nfor the last ten years is to be called the success of Mr Craig.\n1 am very sorry, my dear Sir, that I am not able to express all that\n1 feel in a better style. But I am writing in a language which is not\nmine and living in a country cottage far even from my English dictionaries.\nI am obliged to write it as I can and not as 1 would. £?£? £/\n\nDr Alexander Hevesi.\nDramaturg. Regisseur of the State Theatre, Budapest.\n\nDIREKTOR KONSTANTIN STANISLAWSKI MOSCOW.\n\nMr Craig.\nPlease accept the sincerest congratulations of your Russian friends and\nadmirers, who were fortunate enough to witness the realisation of\nyour artistic ambitions and have shared the |oys and disappointments\nwhich you felt so keenly in a foreign country. &\n& When you were in Moscow you were always thinking about the theatre\nof your native land, and your thoughts were always turning to the gates"}, {"page_pdf": 13, "page_imprimee": "89", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.13", "texte": "Mr GORDON CRAIG'S RETURN\n\nthat were closed to you. £/£/&■£> •&\n& Now these sates are opening for you with honour, and today most\nbrilliant representatives of the English literary and artistic world at last\nrecognise you as a prophet in your own country. & &\nThe good wishes of all your friends In Russia are at this moment\n*\nwith you on this day of your long and well-earned triumph.\n& We rejoice in the recognition accorded you not only In Russia and\nother foreign countries but In your native land, which you have now at\nlast conquered.\nMay you have further perseverance to fulfil your mission of beauty....\nThe beauty which is too subtle and too strange to be appreciated imme-\ndiately by the throng of ordinary theatre goers, over which your genius\nhovers.\nMy wife, my daughter and son write themselves with me in the heart-\nfelt congratulations and greetings which 1 send.\n\nK. Stanislawski.\nDirector of the Art Theatre, Moscow.\n\nMADAME YVETTE GUIBERT.\nis a very great artist, and it is a joy for me to see in this\ncountry this charming solidarity existing to honour a man like\nCraig.\n\nMr MAX BEERBOHM RAPALLO.\n\nYeats,\nHow I wish 1 could be at the dinner next Sunday! When 1 lived in\nLondon it was one of my standing grievances that Gordon Craig was\nin Italy. And now that I live In Italy, it is so like him to be In London.\nI won't go so far as to say that he never is where he ought to be; for\nhe must always be somewhere, and wherever he is, he is needed.But\nhe Is needed everywhere else too. Men of genius are so few; and they\nought to atone for their fewness by being at any rate übiquitous...*. &\n& Craig's influence is übiquitous, certainly festooned from point to"}, {"page_pdf": 14, "page_imprimee": "90", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.14", "texte": "Mr GORDON CRAIG'S RETURN\n\npoint around Europe. But the charming fellow himself, ever as gay as\nhe is earnest, and as Inspiriting as he is inspired.... is confined always\nto one place at a time and I resent that! jsr &\nHowever, I don't want to spoil your evening; and with a forced\ncheerfulness but a full heart I raise my glass from afar. &\n\nVillino Chiaro, Rapallo.\nYours sincerely\nMax Beerbohm.\n\nMr GRANVILLE BARKER LONDON.\nYours\nH. Granville Barker\nRothenstein.\n1 have to go away or I'd much like to have been there tomorrow\nand helped to give Craig a dinner.... if we'd only ten years ago given\nhim a theatre.... I am a pedestrian person, 1 always feel, and if I'd met\nhim working I'd have fought and got in his way...: like the blindest,....\nbut I'd have known what I was fighting.... it was more than ten years\nback, it was before he went to Germany.... 1 remember then that I told\nhim he was big enough to steal from.... that's turning out a prophecy.\nVou're to be in the chair tomorrow night Yeats tells me. Give Craig if\nyou remember my very warm regards.\n\nTHE SPEECHES.\nMr WILLIAM ROTHENSTEIN: CHAIRMAN.\nMiss Terry, Ladies and Gentlemen.\n'® one of the qualities of fine works of art that when we are\nunder their spell we feel a sense of elation, of added power and of\nunderstanding; above all, it seems for a moment as though the curtain\nwere drawn aside and we get a momentary glimpse of the infinite well.\n4s we feel towards sound works of art, so do some of us feel towards\nsound artists, and 1 for one can scarcely remember a time when 1 have\nnot wanted to run along the roofs of the houses crying out, Can't you\nsee? Craig is a wonderful person. & &"}, {"page_pdf": 15, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.15", "texte": "Mr GORDON CRAIG'S RETURN.\n\ngreat delight, and that it should be my privilege to be chosen to express\nour common admiration for Craig's genius I feel to be a rare honour.\nWhat is it then that we admire in Craig's work, which causes us to\nplace him high above all others of our contemporaries connected with\nthe drama ? x? & x?\nX/ First and foremost it is the clearness of his\nx& There is a general Idea abroad that Craig, like so many artists, is a\nvague idealist. Nothing could be more false. It is because people are\nvague about the great facts of life which artists see with crystal clearness\nthat they consider them to be vague. From the beginning Craig saw that\nArt to be worthy of the name must in some way represent these great\nfacts of life. The crash of thunder, and the song of the birds, the moun-\ntains and plains, the beauty of the face of the world, of man and woman\nand children, the terrors and joys of life, in fact something of the spirit\nof all these things must be present in the work of very true artists.\n& That this relationship to the forces which underlie ail existence should\nlikewise be brought into all dramatic representation, if it is to be con-\nsidered as seriously as the other arts, has been Craig's constant preoc«>\ncupation. He saw it was this spirit which gave its significance to the\nancient art of the theatre, and he has devoted himself continuously,\npassionately, yet with the utmost patience to trying to bring it back\nonce more Into the modern stage. x> X? x/\nare here tonight, then, to acknowledge our debt to him as\nthe one man connected with the theatre who has before him a definite\nand clear ideal, and to tell him that he has so far succeeded in realising\nit, that at last the mere mention of his name evokes among people\nthroughout Europe a noble series 3f images symbolic of a grand signifi-\ncant world.\n** He saw» too» that the other arts, architecture, music, sculpture, and\npainting were based upon certain unwritten but precise laws of rhythm\nand harmony, and that these same laws once existed in the Theatre\nbut no longer exist there at present. There is always much talk among\ncritics and dilettanti of going back to tradition, but to which tradition\nare we to return ? Craig might have chosen as so many artists have done\nto give to his work that superficial resemblance to 17th or 18th century"}, {"page_pdf": 16, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.16", "texte": "Mr GORDON CRAIG'S RETURN.\n\nmodes, or that flavour of classical archaism by which the more educated\npublic is so readily deceived.\nInstead, however of taking easy short cuts to a fictitious beauty he\npreferred to say \" I don't know, but lam trying to learn Above all, he\nscorned those stupid and empty formulas connected in the public mind\nwith the \" poetic drama \" which make the light of the stage as grotesque\nand wearisome as is the sound of the actor's \" poetic \" enunciation In\none's ear. & & &\n& For him, as for all true artists, beauty Is strong, triumphant and\nclear stirring as the blast of a trumpet. Giotto's tower and St Mark's at\nVenice are as beautiful In the light of the mid-day sun as they are by\nfirelight. &\n& Art Is a worker of the perfect adjustment of each part to the whole,\nand to that end, the precise part to be played by actor and scenes, mass,\nlight and shade, clearness and mystery, height and breadth, voice and\ncolour, he has chosen to devote all his energy. £> £?\nIt has been said many times that the managers have treated Craig\nvery badly In not having made use of his great gifts. The managers on\ntheir side say that they would have liked to do so, but that our friend\nIs an extremely difficult person. &\n' think that is very likely to be true; during the last century, all\ngood artists have been so described, and the reason is not far to seek:\nthe people no longer have the knowledge which enables them to make\npractical use of sound artists. When work is to be done, bad artists are\nemployed, and as they have not the clear vision I have already referred\nto, they do their bad work with great skill and ability. The consequence\nis that, In all the arts, the second-rate men get the great practical\nknowledge. The experience they gain allows of their giving correct\nestimates for work required, whether it be of the nature of sculptures,\nbuilding, or the staging of plays, and managers, public-works depactments\nor private clients, congratulate themselves on the smartness with which\neverything has gone off. So accustomed has the public became to this\nstate of affairs that a good artist is by nature supposed to please nobody\nbut one or two rare spirits, to remain poor and obscure, and working\nfor the public is become synonymous with insincere work. If then he"}, {"page_pdf": 17, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.17", "texte": "Mr GORDON CRAIG S RETURN.\n\nsuddenly, through some curious accident, does get some public work to\ndo, he has not Infinite acquaintance with financial figures which is the\nbetter part.of public talents. To us, however, Craig has been in the best\nsense a servant of the public. It is now many years since he first showed\nus how noble a thing the stage could be; those of us who saw the\n44 Masque of Love \", 44 Dido and Aeneas 44 Acis and Galatea 44 Beth-\nlehem \" and the plays he staged for you, Miss Terry, Ibsen's\n44 Vikings\" and Shakespeare's 44 Much Ado \",will not, 1 think, forget our\ndebt of gratitude to your son so long as we live. &\n& Here was a new and wonderful thing, that the theatre should\nsuddenly give us that unity which until then we believed to be\npossible only in the more generally recognised arts of painting, music,\nsculpture and\nIt was so unexpected, so profoundly moving, that those of us who saw\n1\nthese things have had ever since so exalted a view of the art of the\nTheatre that we find it hard to accept as true coin those pieces which\npass through so many of the changers' hands in the booths about the\nTemple. &\n& Those of us who read The Mask,.... and I hope all of us here are\nsubscribers to that unique and inspiring review..... know how ceaselessly\nCraig has toiled to get to the root, hidden so deeply beneath the ground,\nof theatrical canons. I hat they lie entwined among the roots of life\nitself he has long since discovered. His aim, then, is clear. The Theatre\nexists to interpret life.... use not in the accidental sense in which most\npeople conceive it, but that essense through which all things are made\nmanifest.\nBuilder,sculptor,painter and musician have worked together to bring the\nsignificance of life to bear upon the Church so that when the people wished\nto commune with their Gods their presence has been felt and their voices\nheard about them. That the atmosphere of the Theatre should be one and\nthe same and should serve a similar purpose not the purpose\nof the preacher, is the object of Craig's labours. This is the end for which\nhe has worked and Is still striving; as a man, lost in tortuous caverns\nsuddenly sees far off a speck of light and knows then he will find his way\ninto the light of the sun, so he too is beginning to see a clear way out."}, {"page_pdf": 18, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.18", "texte": "Mr GORDON CRAIG'S RETURN\n\nEdward Gordon Craig, we who are met here tonight to do you honour\nwish then, not only to set on record our great admiration for the noble\nwork you have achieved, but we wish also tell you that we have a strong\nfaith in the great work you are doing now and will we believe continue\nto do as long as you live. We wish you God speed upon your difficult\njourney, but at least you will know that you have good friends who\ntrust you and honour those great traditions of men's effort to express\nthe divine in life which are older and snore glorious than any others,\n0> Ladies and Gentlemen, let us drink to the strength and inspiration\nof our friend, Edward Gordon Craig. 0?\nMr W. B. YEATS.\nYeats, speaking In support of the toast, said it was Mr Craig who\nfirst taught the use of light and shade on the stage. Before that they\nhad been accustomed to paint light and shade, thus presenting scenery\nwhich looked like a bad Academy picture. A great age was an age\nthat employed its men of genius, and a poor age one that could not\ndo so. This age found it difficult to employ men of genius like Mr Craig.\nMr GORDON CRAIG'S\nChairman, Ladies and Gentlemen;\n's *\" STout happiness to me to feel that 1 have so many friends,\nIt is a great honour to know that amongst those friends are the names\nof the first artists of England, Scotland and Ireland. jz?\nIt is because of t?i-s fact that this dinner becomes one of the most\nsignificant honours which can be paid to a representative of the Euro-\npean Theatre...; and it is as the English representative of the awakening\nEuropean Theatre that I am here this evening. jg? 0\n0? I have been often told that in England the Art of the Theatre, like\nmost other arts, is ignored by the public although much talked about by\na few individuals. & 0> & & 0\n0> But what is astonishing in that ? 0? & ' 0\n0r Art JS not a national thing. It is far more than that, It is a religious"}, {"page_pdf": 19, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.19", "texte": "Mr GORDON CRAIG'S RETURN\n\nthing. Is it then surprising that only a few million people In Europe\nshould love it?\nBut let us avoid as much as possible talking about Art. Let us\ncreate and enjoy it.\nAnd now, let me end.\n& Now let me thank you again many many times for your love.\nis that which counts and only that. It is that which creates art\nand only that. & &\nArt is only Incomprehensible because love is so incomprehensible and\nso contradictory a thing; so earthly and so divine; and no great Art\ncan possibly be created by men and women who do not understand and\naccept this truth.\nXef Once more my thanks to you, and my love. & &\nMr MICHAEL LYKIARDOPOULOS.\nMr- Chairman, Ladies and Gentlemen, Please allow me first to thank Mr®\nFrederick Whelen for his expression of good=will to the guests and\nmyself# A chance visit to London has afforded me the fortunate opportunity\nof being present here this evening in my capacity of secretary of the\nMoscow Art Theatre. Will you allow me, on behalf of that institution\nand my Moscow comrades, to convey to Mr. Gordon Craig the sentiments\nof cordiality and gratulatlon which are shared by all of us on seeing his\ngenius recognised as it should be by his English contemporaries. &\n\" The Moscow Art Theatre is proud indeed to have been the first\nEuropean stage on whose boards Mr. Gordon Craig was able to materialise\nbis artistic vision and to realise on the completes! scale possible those\nideals which, born in England, were cradled in Moscow. Mr. Gordon\nCraig was, i fear, regarded by a good many of you some years ago as\nan alchemist searching for a philosopher's stone in the art of the theatre ;\n....a philosopher's stone that would turn everything to gold. It was the\nprivilege of the Moscow Art Theatre to provide that alchemist with the\nmaterials by which the philosopher's can be found.\n& \" In a few months Moscow, St. Petersburg, and, I hope, London will\nsee ' Hamlet' produced in a manner not unworthy of Shakespeare's"}, {"page_pdf": 20, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.20", "texte": "Mr GORDON CRAIG'S\n\ngenius, and a new chapter will be opened in the history of the art of\nthe theatre.\n\" Mr. Gordon Craig, We who have worked with you in Moscow, we\nwho have had the felicity of watching the builder laying the foundations\nof a new Thespian shrine, shall indeed rejoice if such a theatre, such\nshrine, can be materialised here in London. «e> «£?"}, {"page_pdf": 21, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.21", "texte": "SHUNZAN: Dance of Four Geishas, Two disguised as Monkeys.\n\nTHE MASK.\nOctober 1911."}, {"page_pdf": 23, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.23", "texte": "HOKUSAI: A Travelling Company. From the “Onno Sanju rokkasen” of 1798.\n\nTHE MASK.\nOctober 111"}, {"page_pdf": 25, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.25", "texte": "KLEPTOMANIA, OR THE RUSSIAN\nTHEATRE\nby John Balance.\nhere is so much Russian art being let loose into the theatres of\nEurope lately that it may be as well to study some specimens of\nit and see what has made the thing so popular and whether there\nis sufficient ground for so much sudden and insincere enthusiasm.\nOne finds upon enquiry that some queer and commonplace points\narrest attention and dispose of the idea which has somehow gained cre-\ndence that this art differs from other theatrical work or that it is in\nany way remarkable. &\njzr Mr Gordon Craig has told us that the Moscow Art Theatre is the first\nin Europe, but I have noticed that when writing of that theatre he has\ninvariably treated of it as an organization and made no mention of its art.\nHe, has been very particular upon this point and his discrimination is\nsignificant.\nWith that side of the story, however, I am not here concerned. What\nI am interested in are the results. Mr Craig tells us that the Russians are\nexcellent workers and I do not question his statement; I merely observe\nthat the results obtained by that work of theirs are essentially commonplace*\nldo not intend to write here of the Moscow Art Theatre; that is a\nsubject into which I hope to go in my next article, when 1 shall point\nout that their work, admirable as it is in execution, is very much the\nsame as that which any other theatre in Europe has to offer us. I hope\nto consider the Russian Theatre in general under its three aspects of\nDrama, Ballet and Opera, but here and now shall confine myseif to the\nconsideration of the Ballet, which is visiting the European capitals and\nwhich is called Russian. & & & &\nTHE RUSSIAN BALLET.\nAnd first what is this Russian Ballet which has lately caught the fancy\nof the impressionable Frenchman ? &\nWell, to begin with, it is nothing new. It is the old French ballet\nwarmed up; it Is a charming absurdity which has survived the centuries.\nThe French Ballet is the most dellciously artificial impertinence that\never turned up its nose at Nature."}, {"page_pdf": 26, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.26", "texte": "KLEPTOMANIA.\n\n& Nature, so tolerant, has never objected to man making a foo! of himself\n(\"no, nor woman neither though by your smiling...\") Nature loves a century\nor two of idiots, and if she can wreck a world on the score of its stupidity,\nthen she is in her seventh heaven, and we fools of Nature, desiring\nnothing but a little notice to make us intoxicated, often lose our lives\nby playing thus into the hands of our savage and inexorable mother. But\nshe is our mother, and when we forget that we forget an essentia! truth.\nThe Russians have forgotten it. They have borrowed an artificiality\nfrom a blase people and have elaborated it :... and France is charmed.\nThey t/ansplanted the French Ballet to St Petersberg, and with the\nassistance of the cane they persuaded their young dancers into leaping\nhigher than ever. St Petersberg enjoyed the fun for years, but they never\nsent any troupe into France until quite lately. What has encouraged\nthem to d 6 so now ? & jZ? jz? jZ? *Z>\nlndeed, there seems to be no exquisite reason. Perhaps the Japanese\nwar had something to do with it. This seems to me as good an excuse\nas any other, for, as ! have said, tlsey bring nothing new.\nThere are equally good dancers already in the Ballet at the Paris\nOpera House, and there are ballet masters and mistresses who are most\ncertainly quite as talented in this old-fashioned artifice ; and the Paris\n\\\nscene-painters and costumiers are as capable as any of these new arrivals.\nBut the Russians have done one clever -thing : they have increased\nthe value of their French Ballet by adding to it a few tricks stolen from\nother lands and other arts. This was. clever of them and highly\nreprehensible.\njZ? They invited painters of taste co assist them. They knew that some\npainters who are not very great as painters are only too delighted to\nair their knowledge of colour and decoration in the more refined\natmosphere of the footlights. It gives them a chance. jZ? jZ> &\n& So when the painters were secured they dressed up their old Ballet\nafresh and gave it a new coat of paint. zz? jZ? jZ? <0\n& While doing this they stole an idea or two from the only original\ndances* of the age, the American, and another idea or two from the most\n*\nadvanced scene designers of Europe and superimposed all these upon the\nwirey artificial framework of the old French Ballet."}, {"page_pdf": 27, "page_imprimee": "99", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.27", "texte": "KLEPTOMANIA.\n\nSuch is the modern Russian Baliet which Paris has today taken into\nits dear feeble old arms. The whole spectacle is not a little farcical. &\nLet us now look at the work of M. Bakst who, once an intelligent if\nsuccessful painter, has become a scene and costume designer to the troupe\nand who shares the laurels with the dancers Nijinsky and Karsavina. 0\nOM. Bakst has a pretty knack of drawing coloured supplements and\ncovers for the Illustrated papers. Although the designs are ugly they are\nonly ugly enough to shock Parisians, (This has become a very easy feat\nof late years). The ugliness of Bakst's designs is not due to any stern\nqualities in his work; it is never terrible like Daumier, nor has it the\nirony of Beardsley's demon. Bakst is ugly on account of his clumsy sense\nof the sensual. All his women, (and he is never tired of putting them\nbefore the public,) are drugged and in a kind of sofa orgy. They seem to\nhate ecstacy and they adore a good wriggle.\nThe costumes he puts them into are mute; they want to speak and\ncannot; they are the old refurbished wardrobe of the old Racinet and of\nSarah Bernhardt, save that these two spoiled us often with stockings,\nunderwear and sleeves, vests and pinafores.\n0 Bakst has a passion for beads, and his evidently sincere devotion to\nthick lips and flat noses enables him to indulge In a ring or two now and\nagain. When he is at a loss how to get away from Racinet he fills In the\ngap, he covers his confusion, with a bead.\n0 The women he draws protrude ; therefore when he attempts to suggest\nsomething Indian or Chinese (and Russian Ballets are wedded to the\nEast), he gets curiously confused. Indians and Chinese hate that which\nbulges. Bakst adores bulge ; ...it helps his beads so much. In short Bakst\nis vulgar. He is like a decorator of the French match boxes ; on seeing\nthese maidens of the French match box one is reminded of Bakst.\nOn paper his vulgarity beams with a kind of blue glow which is not\nwithout charm and he has fingers which can draw in delicate outlines\nhis gross visions. 0 0 7\n0 On the stage Bakst is not vulgar, he is simply lost. &\n0 His designs for \"La Peri \" and 44 Narclsse \" are charming in the\nmagazines ; in actuality they are nonexistent. No one has seen them on\nthe stage. This is an oversight on his part for which he can hardlv be"}, {"page_pdf": 28, "page_imprimee": "100", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.28", "texte": "KLEP TOM A NIA .\n\nheld responsible for he has the misfortune to be an amateur, and in\namateur theatricals these accidents always happen.\nMany of his designs for costumes have lately been published, but to\nhis eternal undoing photographs of these same costumes have been pu-\nblished at the same time. These photographs give M. Bakst away, for the\ndesigns and the photographs are unlike each other, and the stage with\nwhich he has merely flirted opens its artificial arms for a last embrace.\nM. Bakst is dead. £?\nThe stage does not like philanderers,... and M. Bakst was a phi-\nlanderer. R. 1. P. j0 j£? &\nM. Benois is even worse than M. Bakst. He is a serious old rake. He\nis another painter who without caution rushed in. The stage Is killing\nhim too, but he still manages to totter along pleased to death with\nhimself.^\n& When the two were together they suggested nothing so much\nas our old friends Pantalone and 11 Dottore, such a skit did they seem\nupon the uselessness of impotence. &\nIf 1 am incorrect, if these old gentlemen have really created\nsomething, really been of some benefit to the European Theatre ; If their\nscenes and costumes are anything but the old vulgarity warmed up again;\nif they are artists and not merely blunderers, then let them bring evi-\ndence to prove it. j£? & £t\nThey are blunderers because they draw their designs on papsr and\nthen attempt to translate them into the language of the stage. They\ncannot think in the language of stage land .... or let us say, in the\nmaterial of the stage, because, as the only serious master of theatrical\nart has said, (i) there is no material; \"you cannot co-mingle the arts and\n\" cry out that you have created a new art; If you can find in nature a\n\" new material, (2) one which has never yet been used by man to give form\n\" to his thoughts, then you can say that you are on the high road to\n•' creating a new art. For you have found that by which you can create\n\n(!) Qordon Craig ia Tbe Mask. April 1908. u The Actor and the TJebermarionette.\n(2) When that material has been discovered and tested it will be time enough to take M. Bakst and M.\nBenois seriously."}, {"page_pdf": 29, "page_imprimee": "101", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.29", "texte": "KLEPTOMANIA.\n\n\" it, It then only remains for you to begin. The theatre, as I see it, has\n\" yet to find that material. \" &\nTHE DANCERS.\nrjp he Russian Dancers have always been most agile. Until quite lately\nIn fact only since Miss Isadora Duncan's visit to St Petersberg in, 1\nthink, 1904, they have not understood the value of the curve. The last\nseven years they have been studying the charm of the weak and tender\nline won by non-resistence. The great American was the first to de-\nmonstrate this in Europe. 4P\nThe two most perfect Russian dancers are Pavlowa and Nijinsky.\nThese two have been the most successful in acquiring the grace taught\nthem by the American, and every performance of theirs becomes less and\nless the old French thing and more and more American. As with M. Bakst\nand his scenes and costumes so it is with their Dancing. It is not ori-\nginal ; it is something learned and then made. They create nothing.\n♦ ♦\n& In order to create anything a fierce belief is essential. The Artificial\nis that which Is made by hands, and any sceptic can make it. A work of\nart is that which is created in distinction to that which is made. All\nmodern dancing is manufactured and the Russian dancers are merely a\ncopy of this made thing. &&£/&&&\nIt is pretence, fascinating and daring pretence, Just as their scenery\nis pretentious. A!I great Art is very simple and direct. The Russians are\nsly about their work, oh, very very sly. There is no trusting, it, and it\nIs very elaborate like most sly things are.\n& And this elaboration and these winks are very comforting to the worn-\nout Parisian society and to a certain weary group of Londoners who ask\nfor nothing better than artifice to keep them awake.\nAs a work of Art then the Russian Ballet is a myth ; as a work of\noriginality it is a fraud. The dancers, painters and wig-makers of the\ntroupe are all charming will o' the wisps and their light is certainly not\nto be trusted. &\nWe await the time when Dancing shall move onward and upwards\ninto a quite different plane before we can accept it as a fine art. &"}, {"page_pdf": 30, "page_imprimee": "102", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.30", "texte": "THE ARCHITECTURE AND COSTUME OF\nSHAKESPEARE'S PLAYS\nTHE COSTUME OF HENRY VIII. (I).\nby E. W. Godwin. 1875\nostume in this play reaches the utmost limit of costly mag-\nnificence. The action is the movement of a pageant, the\ncostume is the dress of a spectacle. In the text itself we\nare told that at Andren every Frenchman was \"all clinquant\"\nall in gold that every Englishman \" show'd like a mine, \" that the\n\" pages were as cherubins, all gilt. \" The cost of \"these fierce vanities\",\nas Buckingham calls them, fell so heavily on the gentlemen who took\npart In those days' doings that many \" broke their backs with laying\nmanors on them \". The third Scene of the first Act is devoted to Paris\nfashions, and In it we find mentioned not only the \" fit or two o' the\nface \" and the mincing walk of the travelled gallants, but such articles\nas the tall stocking, short blistered breeches, and those remnants of fool\nand feather that they got in France. The particular point, then, to re-\nmember In clothing the characters in Henry VIII. Is that the play opens\nimmediately after the great meeting at the Field of the Cloth of Gold,\nand that London copied, with her usual exaggeration, the Parisian\nmode. Authorities for the period we have now reached are so numerous,\nso easily attainable, and so near to Shakespeare's own time, that error\n*\nin costume is'less to be excused than a failure in scenery. Monumental\nand decorative sculpture, easel pictures, including life-size portraits, ta-\npestry, drawings, MSS, and printed books furnish us with a rich store of\nmaterial. Of contemporary portraits we have a large number; there are\nsome in the National Portrait Gallery, and the King's picture is to be\nfound in more than one collection, but that in Warwick Castle is the\nbest 1 have seen. Holbein's Wolsey everybody knows Is In Christ\nChurch, Oxford; and in Cavendish's \" Life of Wolsey \" and Lodge's\n\" Portraits \" we have engravings taken from pictures by Holbein, Titian,\nand others of nearly every person of note in the play. The picture at\nWindsor Castle representing the meeting of the Kings of England and\nFrance on the Field of the Cloth of Gold may be compared with the\n\n(I) The article on the Scenery of this play appeared in \" The Mask October 1910."}, {"page_pdf": 31, "page_imprimee": "103", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.31", "texte": "HENRY VIII.\n\nsculpture at Rouen which exhibits the same event, and shows the full\nforce of the expression \" fool and feather, \" for the plume on the head\nof the horse ridden by Francis Is not far short of three feet in height!\nTowards the end of the period «t)f the action some Important sumptuary\nlaws were passed, and from this enactment and inventories we gather\nthat the dress of 1521=23 included.... ■£? zZ?\nSquare-toed shoes of slashed velvet. £? £?\nTrunks or breeches of silk...black silk and gold, purple silk and Venice\ngold woven net-wise, and white silk and gold. &\nStocks or stockings of velvet, cloth, and satin. JZ? £7\n£? Doublets of cloth, velvet, damask, cloth of gold, cloth of silver, velvet\ncut in meandering patterns on the gold or silver c10th.... and velvet\ncovered with embroidery of gold and pearls, and buttons of diamonds,\nrubies, &c.\nJZ? Sleeves wide, detached, and fastened to the jacket or doublet... like\nthe breeches or trunk hose were... with points or laces and tags. They\nwere generally of satin when the doublet was of velvet, and usually of\nthe same colour (worn by both sexes), (i) .z?\nWaistcoats with sleeves tightly fitting, made of cloth of silver, quilted,\nand \" tuffed out with fine camerike \" (worn by both sexes).\nJackets or jerkins worn over the doublet, usually of velvet.\nCoats of velvet, damask, or cloth, with bases or skirts, ribbed and\nquilted, and loose, hanging coats, like short cloaks, with broad collars\nand trimmings of fur, and large, hanging sleeves.\n(\nGowns of velvet, satin, damask, and cloth, trimmed with fur of the\nblack genet, the sable, and lamb's wool (worn by both sexes). After 1533\nblack genet was only worn by the blood royal.^\nHabit-shirts or partlets, with or without sleeves (worn by ladies only)\nwere made of fine cambric, often richly embroidered with gold, or of\nlawn with network of gold woven therein.\nKirtles or petticoats were made of cloth of gold, brocade, satin, velvet,\ndamask, cloth, and worsted. Seven yards is quoted as the quantity ne-\ncessary for a Queen's kirtle.\n\n(1) At an evening party held in the Parliament House at Westminster ladies appeared for the first timo in short\nor demy sleeves \"with barearms. i.et. \"naked down from the elbows\""}, {"page_pdf": 32, "page_imprimee": "104", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.32", "texte": "HENRY VI //.\n\nj& Caps or coifs were of velvet, gold cloth, &c., sometimes shaped like\nthe flat hood familiar to us in the portraits of the unfortunate Queen of\nScots, and sometimes three-cornered, the peaks or corners projecting\nthree or four inches beyond the head. The humbler women folk wore\nwhite kerchiefs of linen or holland.\n£? Of the different shapes of the articles above enumerated, it is almost\nImpossible to give anything like an adequate idea without numerous\ndrawings. There are, however, certain points which can easily be borne\nin mind ; thus, for example, the trunk sleeves were nearly always opened,\ncut or slit up and fastened together with laces and tags or buttons in\nsuch a manner as to reveal the lining, which latter was sometimes of\nvery precious material. Here are a few examples of sleeves. & &\n** Long sleeves all cut and lyned with cloth of gold. &\n\" Purple satin sleeves, embroidered all over with Venice gold, with\ndiamond and gold buttons set thereon.\" £? &\n** A pair of truncke sleeves of redde cloth of gold, with cut workes,\nhaving twelve pair of agletes of gold \" & & &\n** A pair of French sleeves of green velvet, richly embroidered with\nflowers of damask gold, pirl of morisco work, with knops of Venice gold,\ncordlan raised, either sleeve having six small buttons of gold, and in\nevery button a pearl, and the branches of the flowers set with pearles\"*\n&\"A pair of sleeves, ruffed at the hande with strawberry leaves and\nflowers of golde, embroidered with black silke. \" 0\n*< One pair of linen sleeves, paned with gold over the arm, quilted\nwith black silk, and wrought with flowers between the panes and at\nthe hands.\n\" One pair of sleeves of purple gold tissue damask wire, each sleeve\ntied with aglets of gold.\nOne pair of crimson satin sleeves, four buttons on each sleeve, and\nin every button nine pearls.\" &&\njs? Cutting or slashing was by no means confined to the sleeve; it per-\nvades the whole costume down to the shoes, and the material, Instead\nof being made as formerly with a few bold slashes, is now found to be\nslivered and snipped into a multitude of little cuts, making the fabric\nalmost as open as a network of shreds. Besides this cutting and puffing*"}, {"page_pdf": 33, "page_imprimee": "105", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.33", "texte": "HEN R Y VIII.\n\nother modes of ornamentation were adopted, such as ribbing, quilting,\nand striping. A full-skirted doublet ribbed appears to have been a kind\nof dress very much in favour. Of special dresses we must not forget that\nthe Duke of Buckingham had In his wardrobe a white doublet and hose\ncut upon cloth of gold, embroidered and furnished with clasps and tags\nof gold. The King's dress was often so much covered with embroidery of\ngold that the material forming the ground showed but little. He was as\nfond of change in his costume as in other things, and his wardrobe\ncontained what even nowadays a tailor might be justified in describing\nas an extensive assortment. Anne Boleyn wore at her coronation a surcoat\nand robe of purple velvet furred with ermine; her hair hung down from\nunder a coif surrounded by a coronal of jewels; the dais or canopy over\nher was carried by the Barons of the Cinque Ports, dressed in crimson;\nthe Lord-Chancellor wore scarlet bordered with fur; the dukes were clad\nin crimson velvet trimmed with ermine ; Suffolk's doublet and short\novercoat or cloak were thick with pearls, and his gown was of crimson\nvelvet embroidered with gold. The feather worn in the hat and cap was\noften jewelled up the quill, and a large jewel or medallion usually covered\nthe base of It. Henry wore a medallion or brooch In his hat, having the\nimage of St. George wrought in it In high relief. Benvenuto Cellini de-\nscribes three medallions that he made for wearing in the hat or cap.\nTwo were of gold, one a Leda and swan, another Hercules tearing a lion;\nthe third was of silver, lapis lazuli, and crystal, and contained a figure\nof Atlas with the world on his ba'ck. The figure was of silver, the world\nof crystal, the zodiac of lapis lazuli, with the signs inlaid in gold, and\nthe background of the medallion lapis lazuli, the margin being made of\nsliver wrought \" with fruit and flowers, and other charming things bound\nround \". To this same artist we are indebted for the introduction of\ndamascened steel=work..../.e. inlaying swords, halberds, &c., with gold,\nas practised in Damascus. The partizan was one of the new weapons of\nthis reign, and both this and the halberd and the way of carrying and\nholding them may be seen on the tomb of Francis at St. Denis, illustrated\nby M. Qulcherat in his \" Hlstoire du Costume en France \". £?\nln stage representation there may naturally arise an objection on the\npart of the manager, be he ever so liberally inclined, to clothe his"}, {"page_pdf": 34, "page_imprimee": "106", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.34", "texte": "HEN R V VIII.\n\ndramatis pgrsonae in velvet cut on real cloth of gold, but why the\ngenuine patterns of the sixteenth century should be thought equally\ndifficult to attain is somewhat strange, seeing that many of them were\ncarefully reproduced in Birmingham under the direction of the late\nAugustus Welby Pugin about five and twenty years ago, and that one\nor two have been reproduced within the last two years under my own\ndirection for Messrs. Collinson & Lock. 1 have also seen at Messrs.\nGillow's some remarkably good reproductions of early Renaissance\nfabrics, and I believe Messrs. Cowlishaw, Nicol & Co., of Manchester, are\ndirecting their attention to the revival of genuine old designs In brocades,\ndamasks, &c. So that, apart from the very costly materials, there are no\ndifficulties in the way if any one wishes to revive Henry VIII. and the\nworld of his day...so close to Shakespeare's own time that he might easily\nhave had it described to him by an eye=witness. On all sides authorities\nare to be found without any trouble to unearth them. Holbein is especially\nto be noted, and his life°size cartoon of the King at Kardwick Hall, made\nA. D. 1537, must on no account be overlooked. Nicholas Hoghenberg's\nseries of prints, representing the triumphal entry of the Emperor Char-\nles V. into Bologna A. D. 1530, may also be consulted as an authority for\nthe costumes of the foreign nobles, ambassadors, &c., who might be\nintroduced to fill up the picture of this highly pictorial play. £?"}, {"page_pdf": 35, "page_imprimee": "107", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.35", "texte": "APPRENTICESHIP IN JAPAN Described by\nLafcadio Hearn; with a Note on Discipline\nby John Semar.\n\nQsaka is the great commercial school of the empire. From all parts of\nJapan lads are sent there to learn particular branches of industry or\ntrade. There are hosts of applications for any vacancy; and the business\n*\nmen are said fo be very cautious in choosing their detchi, or apprentice\nclerks. Careful enquiries are made as to the personal character and fa-\nmily history of applicants. No money is paid by the parents or relatives\nof the apprentices. The term of service varies according to the nature\nof the trade or industry; but it is generally quite as long as the term\nP\nof apprenticeship in Europe ; and in some branches of business it may be\nfrom twelve to fourteen years. Such, I am told, is the time of service\nusually exacted in the dry-goods business ; and the detchi in a dry-goods\nhouse may have to work fifteen hours a day, with not more than one\nholiday a month. During the whole of his apprenticeship he receives no\nwages whatever,...nothing but his board, lodging, and absolutely neces-\nsary clothing. His master is supposed to furnish him with two robes a\nyear, and to keep him in sandals, or geta. Perhaps on some great holiday\nhe may be presented with a small gift of pocket money ;...but this is not\nIn the bond.\nThe discipline of these long apprenticeships may be considered a\nsevere test of character. Though a detchi is never addressed harshly, he\nhas to bear what no European clerk would bear. He has no leisure,...no\ntime of his own except the time necessary for sleep; he must work\nquietly but steadily from dawn till late in the evening; he must content\nhimself with the simplest diet; must keep himself neat, and must never\nshow iil-temper. Wild oats he Is not supposed to have, and no chance is\ngiven him to sow them. Some detchi never even leave their shop, night\nor day, for months at a time,...sleeping on the same mats where they sit\nin business hours. -\n& My last day in Osaka was given to shopping,...chiefly in the districts\nof the toy-makers and of the silk merchants. A Japanese acquaintance,\nhimself a shopkeeper, took me about, and showed me extraordinary things"}, {"page_pdf": 36, "page_imprimee": "108", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.36", "texte": "APPRENTICESHIP IN JAPAN\n\nuntil my eyes ached. We went to a famous silk-house,...a tumultuous\nplace, so crowded that we had some trouble to squeeze our way to the\nfloor-platform, which, in every Japanese shop, serves at once for chairs\nand counter. Scores of barefooted light-Ilmbed boys were running over\nit, bearing bundles of merchandise to customers. & &\n& 1 asked how many persons the firm employed, and my friend replied;\n<« Probably about two hundred here; there are several branch houses.\nIn this shop the work is very hard, but the working-hours are shorter\nthan In most of the silk-houses,...not more than twelve hours a day. \"\nj0 \" What about salaries ? \" I enquired.\n\" No salaries.\n& \" Is all the work of this firm done without pay ?\" &\n\" Perhaps one or two of the very cleverest salesmen may get some-\ntliing...not exactly a salary, but a little special remuneration every month\nand the old superintendent...(he has been forty years in the house)...gets\na salary. The rest get nothing but their food \". £>\n*' Good food ? \" jst\n\" No, very cheap, coarse food. After a man has served his time here,\nfourteen or fifteen years, he may be helped to open a small store of\nhis own\n\" Are the conditions the same in all the shops of Osaka ?\" &\nj£> \" Yes, everywhere the same. But now many of the detchi are gra-\nduates of commercial schools. Those sent to a commercial school begin\ntheir apprenticeship much later; and they are said not to make such\ngood detchi as those taught from childhood\n& It is not exaggeration to say that most of the intelligent service ren-\ndered in Japanese trade and skilled industry is unsalaried. Perhaps one\nthird of the business work of the country is done without wages; the\nrelation between master and servant being one of perfect trust on both\nsides, and absolute obedience being assured by the simplest of moral\nconditions. &\nIn the last number of The Mask It was pointed out to how great an\nextent taste and distinction, the capacity for achieving the maximum of\nbeauty with the minimum of expense, are displayed by all classes in the\n\nLafcadio Hearn."}, {"page_pdf": 37, "page_imprimee": "109", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.37", "texte": "APPRENTICESHIP IN JAPAN\n\nEast, while In England we do but succeed in obtaining, inversely, a\nminimum of beauty with a maximum of cost. And surely in the above\npassages we find the secret of this: for are not such taste and distinction\nas characterise the Japanese the outcome of a national spirit which ren-\nders possible such conditions as those described by Hearn:... a spirit of\nobedience, thoroughness, and submission to discipline for the attainment\nof that thoroughness ? £? & &\n& The training described, the conditions imposed, hard though they seem\nare no exception, but the commonplace daily custom of the East; but\nwhere in the West is to be found any such submission to discipline, such\nstern apprenticeship, such earnestness in passing through a \" long and\nexhausting \" novitiate for the development of powers and the attainment\nof an end ? And if such conditions are unquestioningly accepted by an\napprentice to a trade what must be the training exacted from a student\nin an art ?\nThe Mask has again and again pointed out the absolute necessity of\nthrough training for all workers in the Theatre, and when some such\nconditions as the above are imposed upon, and willingly submitted\nto by, those workers, then, and not before, we may hope for a renais«\nsance of the Theatre. &\n\nJ. S."}, {"page_pdf": 38, "page_imprimee": "110", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.38", "texte": "SOME DEFINITIONS FROM AN OLD 1825\nDICTIONARY,\nTranslated by Pierre Ramés\nP. R.\nhe following Definitions are drawn from an old Theatrical\nDictionary or Book of \" Twelve hundred and thirty three\n♦' truths about the Directors, Reglsseurs, Actors, Actresses\n/\n\" and Employes of the various Theatres, with Confidences\n\" upon the Production of Illusion, Examination of the\n* * Dramatic Vocabulary, a Glance at the Material and Morals of the\n\" Performances, etc, etc, etc \" ; a little work by an anonymous author\nwhich was already in its second edition in Paris in 1825. &\njg? Old as it is in years it is remarkably up to date, for not to all things\ndoes the saying \" Other times, other manners \" apply, and the Theatre\nof today, by the superficial change of but a few names, may yet find a\nvery faithful image of itself in the mirror of this little old book. \" Tis\ntrue tis pity; and pity 'tis 'tis true \" 42\nADMINISTRATOR. ADMINISTRATION. & Severity, Justice, consideration\nfor all his subordinates, consideration above all for the public whose\ntaste he should always consider, such are the qualities which make a\ngood administrator. There are several systems of theatrical administra-\ntion ; the direction by an individual which resembles absolute monarchy;\nthe direction divided among several, which resembles the triumverate or\npentarchie ; the direction by the associated actors which is like consti-\ntutional government; finally the administration by the company of actors,\nbut subject to the authority of a gentleman of the chamber or a minister;\nthis has all the inconveniences of the protectorate without having all\nits advantages. The royal theatres enjoy the protectorate ; their situation\nis the strongest argument against this kind of 0\nAGE. A woman of the theatre is never between two ages, she is\ntwenty or sixty: she is an ingenue or a duenna. Mile. Mars is eighteen\nat\non the stage; no one enquires if she is forty=five in town : What does\nit matter, indeed ? talent has no age.\nARTISTE. A qualification taken by the comedians to whom one would\nrefuse if, and which those who have the right to it neglect. 0"}, {"page_pdf": 39, "page_imprimee": "111", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.39", "texte": "THEATRICAL DEFINITIONS.\n\nENNUI. Its usual dwelling is at the Odeon ; after this theatre the\nGrand Opera and the Vaudeville are those which it most frequently vi-\nsits. One never perceives it at the Odry or the Brunet: bad taste dwells\nthere permanently to forbid its entrance.\nENVY. A contageous illness in the theatre ; a mere nothing caq give\nbirth to it and nothing can put it out. It Is a devouring flame which\nburns the hearts of mediocre comedians. Preville was inaccessible to envy.\nGENIUS. Reassure yourselves, authors and comedians : 1 do not define\nit so as to discourage no one. 0\nHARMONY Rare in the orchestra, very rare on the stage, rarer yet\nbehind the scenes. jg/\nINDISPOSITION. The piece is not ready but it has been promised to\nthe public a month since. One replaces the formula 44 en attendant \"\nby this: 44 delayed through indisposition \". .2?\nMadame Rigaut and Madame Casimir sing in the 44 Deux Jumelles\nMadame Casimir obtains a deserved success, and Madame Rigaut imme-\ndiately 44 Indisposes herself \" against the parterre which has so much\napplauded Madame Rigaut but which has made the blunder of also ap-\nplauding Madame Casiinir. The 44 Deux Jumelles \" disappears from the\nbill on account of 44 Indisposition \". jg? jg/ & &\njg/ Indisposition is the common pretext, the banal excuse of all the\njealous, of all the mediocre and capricious actors. Talma is never indi-\nsposed save when he is ill. I know more than one actor who, on the\ncontrary, is never in better health than when he is indisposed. uc?\n(\nINSTRUCTION. It does not bestow talent but it adorns it; it does not\nmake the artist, but it perfects him. A learned comedian may not be\ngood, an ignorant comedian may have fine qualities.\nJOURNALIST; Independent, equitable, impartial, severe without\ncruelty, indulgent without weakness, disinterested in praise as in blame,\nassiduous at the performances of which he must give an account, careful"}, {"page_pdf": 40, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.40", "texte": "THEATRICAL DEFINITIONS\n\nto avoid intercourse with the actors and actresses, that is what he\nought to be.\nPOSTERS. Before the revolution the announcement of the performance\ndid not bear the names of the actors. Today they are advertised, and\nthe vanity of certain actors is gratified by this mode of publication.\nThe names printed on the posters in iarge type are a distinction to which\none aspires as to the ovation prepared by the claqueurs. The playbills\nof the royal theatres do not admit these typographical differences. Se-\nniority there assigns the order, as, at the corners of the streets and\nsquares, it assigns them to the posters themselves.\nPURCHASE of Plays. This is an important branch of commerce. The\nstarving authors, and those who wish to see their names figure often on\nthe play bills sell their productions to some influential actors,\nwho produce them as often as they can. Nor do the actors alone perform\nthis traffic of wit; some capitalists buy from the authors a portion of\nthe interest in the performance of their plays, which gives them the right\nto pose as men of letters, from the boulevard Montmontre to the\nboulevard de Pont-aux-Choux. JZ? £>\nREHEARSALS. & They are generally very badly carried on: thus it hap-\npens that on the day of the first performance the pieces are indifferently\nacted. The rehearsals take place from eleven to two o'clock ; and are\nthe occasion for conversation quite irrelevant to the theatrical art. Mme,\nSo-and-so talks of her carriage; Mr So-and-so of his house in the\ncountry ; this little student of her riding lessons; and the prompter, of\na game of dominoes. Meantime the poor author commends himself to all\nthe devils, the regisseur scolds, and the manager complaisantly lets\nhimself be flattered by the courtiers who abound as much in the theatre\nas in the town ; thus the days pass, and people are amazed that, after\nhaving rehearsed the piece for two months, an understanding of\nthe intentions of the musician or of the dramatic conception of the poet\nhas not yet been arrived at. In the small theatres the rehearsals are\nbetter managed than in the royal theatres ; and this is not the only\nadvantage which the secondary spectacles have over their superb rivals."}, {"page_pdf": 41, "page_imprimee": "113", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.41", "texte": "THE COMMEDIA DELL' ARTE, OR PROFESSIONAL COMEDY.\nDIRECTIONS AS TO THE PREPARATION OF A PERFORMANCE FROM A\nSCENARIO, TRANSLATED FROM THE \" ARTE RAPPRESENTATIVA ED\nALL'IMPROVVISO\" OF ANDREA PERRUCCI. 1699 &\n'\"phe Corago, manager, or most experienced of the company, should plan\nout the subject before It Is acted, so that one may know the contents\nof the Comedy, understand where the speeches are to end, and diligently\nstudy the addition of some new quips and lazzi. (i) &\nThus the office of him who manages is not merely to read the argu-\nment, but to explain the characters with their quality and condition, the\nsubject of the story, the place where the scene is laid and the houses:\nto set forth the lazzi and all the necessary details, giving attention\nto the things which are required for the play. J£?\nHe wi'l say, for example, \" The comedy which is to be acted is... the\ncharacters are ' ... Then he shall name their houses, assigning to them\nthe first on the right, the second on the left, the second on the right...\nThen he shall state the argument.\n(\n& The Performers must above all give heed that they do not mistake\nthe country where the scene is laid, whence they come and for what\nend, and that they keep well In mind their own names, it being too\ngreat an error, and an unpardonable blunder, for one to speak of being\nin Rome and another in Naples, or that one who is supposed to come\nfrom Spain should say Germany... or for the father to forget the name\nof his son or the lover that of his lady... So also they must pay attention\nto the apportionment of the houses so that each may know his own\nhouse, it being too ridiculous and foolish for anyone to knock at or enter\n\n(1) For the meaning of \" Lazzi\" see page 115."}, {"page_pdf": 42, "page_imprimee": "114", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.42", "texte": "THE COM MEDIA\n\nInto someone else's house instead of his own... And these are the greatest\nblunders that can be made upon the stage.\nThe Director then goes on pointing out and explaining the lazzi and\nthe plot, saying, \" here one needs such and such a lazzo which Is done\nin such and such away: here such and such an equivocal scene, here\nsuch a metaphor, such a hyperbole, Irony, and so on with all the lazzi\nand jokes, showing the characters what to do in each difficulty: &\nThe different characters must be careful not to run Into each\nother in entering, which is easier in the improvised than in the preme-\nditated comedy. One can likewise do more In the improvised than pre-\nmeditated plays to remedy empty and silent scenes, each one being able\nto hold forth on the tenor of the preceding scene and talk on until the\narrival of the actor whose turn it is to enter, (i) &\njg? The actors, having heard what they have to do in the matter ot\nentering as well as in the treatment and termination of the scenes, will\nbe able with their companions to rehearse the scenes and devise among\nthemselves some new lazzi or something after their own fancy. One must\ntake care, however, not to depart so much from the main argument as\nnot to be able to return to it, and be prudent in this respect so that\nthe audience may not, owing to long and persistent lazzi, lose the thread\nof the story or have difficulty in understanding it again £?\nLet all the actors be gathered to listen, and let them not trust to\nknowing by heart, or having previously acted, that Comedy; because it\nmight happen that different Managers would arrange the plot differently\nand that the names and places might be different. &\nHaving heard the Argument mapped out let the actors think how to\napply something prepared already, or composed expressly for that Play,\nthe latter being called \" doti proprie per quella \" (special gifts for that\nparticular play,) some fact, story or thing specially concerning it, or\nuniversal things which they have ready by heart to apply to any Co-\nmedy or Favola, such as.., First Entrances, Desperations, Conceits, Dialo-\ngues, Reproofs, Salutations, Parellels and whatever they may have said of\neither serious or comic, showing that they know how to collocate and\napply them in such away as not to seem out of place but as though they\n\nU) As an example of this see page 121."}, {"page_pdf": 43, "page_imprimee": "115", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.43", "texte": "THE COM MEDIA DELVARTE\n\nnecessarily fitted in there; not doing as do some who, to get in some=\nthing good or amusing or serious, say it and take no care to avoid\nputting it where, on consideration, it does not fit in... J£>\nWhen night must toilow upon some scene one must be careful In\nthe preceding scene to indicate it saying, \"already it Is dark\"; and so\nalso when dawn comes and it grows light.\n\nA NOTE ON THE MEANING OF THE WORD “LAZZI”.\n|n his \"Histoire du Theatre Italien\" Luigi Riccoboni writes: \"We call\n\" Lazzi that which Harlequins or the other masked actors do in the\n\" middle of a scene to Interrupt It either by expressing fear or by making\n\" jokes which have no connection with the subject of the play and to\n\" which they are constantly obliged to resort. So It is these superfluities\n\" suggested to the actor by his own genius on the spur of the moment,\n\" which the Italian comic actors call Lazzi. \"\nv \\ /\nWriting about this same word Dr Karl Mantzius, in his \" History of\nTheatrical Art\" says : \" According to Riccoboni lazzi is the Lombardic\n\" pronunciation of the word Lacci, which means ribbons. With his lacci\n\" the actor joins the parts of the action where the original connection\n\" between them Is loose ; he binds them together with knots of his own\n\" invention, or with such as have been settled once for all by tradition."}, {"page_pdf": 44, "page_imprimee": "116", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.44", "texte": "THE FOUR LUNATICS. A Scenario of the\nCommedia dell'Arte.\njG> CHARACTERS.\nThe Prince of Netturno. Lucinda, believed to be his daugh-\nAurelio, his confidential servant. ter, afterwards a Princess.\nStoppino, Aurelio's servant. Rosetta, her servant.\nPandolfo, Counsellor. Captain of the Court.\nArdelia, his daughter. Cola, his servant.\nUlivetta, her servant. Giangurgolo, of the Court.\nÜbaido, second Counsellor. Pages, footmen as required.\nA Magician at the end.\n& ACT. 1. SCENE &\nArdelia and Ulivetta.\n& Ardelia from the house, pretending it is dawn, complains about the\ntardy arrival of Aurelio who has been, sent by the Prince to the oracle\nof Cuma; nor does she know how to defend herself from the Prince who\nsays that he wants to marry her that day. Ulivetta complains of Stoppino;\nthey say that t'ley want to speak with Übaido ; In this, #\n& SCENE &\n& Lucinda, the aforesaid and afterwards Übaido.\nLucinda comes to the door with a pistol in her hand ; says \" I was\njust thinking of you \", and pulls the trigger ; it does not go off;\nArdelia screams, Ulivetta faints. In this Übaido enters; learns that Lu-\ncinda wanted to kill Ardelia so that the marriage with the Prince should\nnot take place. Übaido promises to help both. They go in; he remains,\nand in this, jg?\nSCENE 3.\nThe Prince, Pandolfo, Captain, Cola and .\n& The Prince says that he wishes to await Aurelio with the Oracle's\nreply and that he has made up his mind to marry. All approve. He says\nto Pandolfo that he wants his daughter as wife; then calls, and in this\nSCENE 4. &\nArdelia, the aforesaid and Ulivetta.\n& She (Ardelia) learns the will of the Prince; replies sadly and refuses"}, {"page_pdf": 45, "page_imprimee": "117", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.45", "texte": "THE FOUR LUNATICS.\n\nhim. He tells her to think it over and all go into the Court.\nSCENE 5.\nAurelio and Stoppino.\n& Aurelio says that he has returned from the Oracle of Cuma; they\nspeak about their love affairs. Stoppino, wishing to try the constancy of\nthe women, makes Aurelio draw back; makes a sign, and in this &\n& SCENE 6. &\n& Arde/ia, Ulivetta and the aforesaid.\nThe women see Stoppino; act the scene of the- ghosts,... that is, they\nbelieve that it is his ghost. In the end he shows that he is not a ghost\nbut Stoppino; they act a love scene ; the women go into the house, they\n(Aurelio and Stoppino) into the Palace.^\n£> SCENE 7. &\nCaptain and Cola.\n& The Captain discourses upon the cruelty of Lucinda, Cola on that of\nUlivetta. The Captain says that he has understood that the Prince wants\nto marry Lucinda. In this &\n£> SCENE 3. x?\nRosetta, Lucinda and the aforesaid.\n& She (Lucinda) is entreated by the Captain ; she rejects him and goes\nin with Rosetta; the Captain goes off. Cola remains.\nSCENE 9. &\nGiangurgolo, Cola, Stoppino aside.\n& Qiangurgolo discourses on his love for Lucinda and the rivalry of the\nCaptain. Stoppino arranges to get the Captain into disgrace with the\nPrince so that he may not give him Lucinda, and in this &\n& SCENE 10.\n& Stoppino and aforesaid.\n& Stoppino hears how they have arranged to disguise themselves pre=\ntending to come from Orb o and sent by the Authorities to Imprison\nthe Captain for theft; they go out. Stoppino says he will remedy all when\nthe time comes and\nSCENE 11. &\n& Princef Pandolfo, Captain, Court, Giangurgolo and Cola,\nThe Prince promises Lucinda to the Captain and says that Pandolfo"}, {"page_pdf": 46, "page_imprimee": "118", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.46", "texte": "FOUR LUNATICS\n\nmust persuade his daughter. He goes into the house. The Prince says\nthat Aurelio does not give him the answer of the Oracle. In this &\n& SCENE 12.\n& Qiangurgolo, Cola, disguised, Sioppino : the aforesaid and\nConstables.\n& They (Qiangurgolo and Cola) come disguised as constables to find the\nCaptain so that he may be punished as a thief; they describe many\nthefts; the Prince looks at the Captain ; he is astonished. In this Stop,\npino says, \"By your Excellency's leave pulls off the beards and reveals\nthe trick. The Prince orders them to be imprisoned. The police are called.\nThe Prince with the Court goes off; the police came and want to arrest\nthem. They defend themselves.\n& END OF ACT 1.\n& ACT 2. SCENE 1. &\nPrince, Captain, Court, and Übaldo.\n& The Prince is very angry with the two prisoners. In this Übaldo says\nthat the prisoners entreat to be heard before being condemned; the\nPrince orders them to come in; in this\nSCENE 2. &\nThe Prisoners and the aforesaid.\nj»7Qiangurgolo falls on his knees saying that love has led him to a?t so.\nCola says that If the Prince will pardon them both he will disclose im-\nportant matters relating to his own love affairs. The Prince promises and\nmakes all withdraw. Cola reveals to him the love affair of Ardelia with\nAurelio and says that if he wants Ardelia he must make her believe that\nAurelio is faithless, causing Aurelio by his order to escort Lucinda to\nthe Court fete. The Prince gives permission; they go into the Court; he\ncalls; In this & & & & & & #\n& SCENE 3. &\n& Princej Pandolfo, and later Ardelia•\nj(p> The Prince asks what Ard©lia decides, he (Pandolfo) timidly says tha\nsh© does not want him* The Prince has her called; asks her in marria?®*\nshe refuses; he says he knows that she is in love with Aurelio who\nshe cannot have, he being already married to Lucinda whom that same\nevening he lis to conduct to the government house fete; Ardeli\""}, {"page_pdf": 47, "page_imprimee": "119", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.47", "texte": "THE FOUR LUNATICS\n\nswears that if that be true she will be his excellency's wife, She goes\nout, in this\nJ£> SCENE 4.\nj& Aurelio, Stoppino and the aforesa\nThe Prince orders all to withdraw and tells Aurelio that in the\nevening at the second hour of the night he is to conduct Lucinda to the\nCourt. He gives him his seal as a token and goes off; Aurelio Is jubilant\nbelieving that the Prince must have changed his love. Knocks at Lucinda's\nhouse. It is supposed to be night.\n& SCENE\nAurelio, Stoppino, Lucinda and R\n& Lucinda having understood the order of his Excellency, fears that\nhe may make her marry the Captain. Stoppino assures her that he will\nmake the Captain stop at home and that in case of emergency they will\ngive him Rosetta in exchange. The women are satisfied. Stoppino makes\nLucinda give him a sign so that she may recognise him, in this\nSCENE 6. j&\n£? Ulivetta, Ardelia and the aforesaidand afterwards Cola.\n£? Ulivetta has spied, and calls her mistress who comes and hears that\nLucinda is to go with Aurelio. They act a Lazzo. Lucinda and Rosetta\ngo Into the house; Aurelio and Stoppino want to talk to Ardelia and\nUlivetta who pretend to come out of the house just then. Aurelio wants\nto disclose all to them. In this Cola suddenly asks Aurelio on behalf of\nthe Prince if he has carried out his mission. He says yes. Cola in pas-\nsing says to the women \" you are ruined \" and goes off. In this\n& SCENE £>\nI\nPandolfo and aforesaid.\nPandolfo is heard from within ; issues from the Court. Aurelio and\nStoppino go off. Pandolfo makes lazzi with his daughter because she is\nin the street at that hour. She, lazzi, and goes in with Ulivetta; Pandolfo\ngoes into the Court. & & £> &\nSCENE 8.\n& The Captain receives Lucinda's countersign from Stoppino with orders\nto await her at home for she will go that night to visit him conducted"}, {"page_pdf": 48, "page_imprimee": "120", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.48", "texte": "THE FOUR LUNATICS\n\nby Stoppino. Referring to Its being night they go off. &\nJS> SCENE & -: j\nArdeJ/a, Aurelio, Luc in da and Pr\n& Ardelia, disguised as she likes, awaits impatiently the mandate of\nAurelio; in this he comes in conformity with the Prince's order. It being\ndark he makes a sign; in this Lucinda is taken by Aurelio and conducted\nto the Palace.. Ardelia sees this from the side and goes mad with jea-\nlousy. In this comes the Prince and embraces her. In this comes Aurelio,\nobserves that the Prince and Ardelia are going with their arms round\neach other into the Court; goes mad with jealousy and goes out.\n£/ SCENE 10.\nStoppino, Rosetta, Ulivetta and Cola.\n& Stoppino comes to conduct Rosetta to the Court. Makes a sign. She\ncomes and they set off. Ulivetta sees this and goes mad for love. In this\nCola embraces her; in this Stoppino returns, sees them going away with\ntheir arms round each other; goes mad for jealousy.\nEND OF ACT 11.\n& ACT 111 SCENE 1. &\n& Giangurgolo and Cola.\nThey make peace and Giangurgolo cedes to the Captain all claim\nto Lucinda. In this Cola gives news of all the events of the night. Calls\nfor help. The Captain goes with him ; in this &\nSCENE 2.\nÜbaldo, Giangurgolo,Cola, Ulivetta, Aurelio, Stoppino, Lucinda\nand Rosetta.\nÜbaldo is followed by Ardelia who makes a mad scene with Giangur-\ngolo and she goes off. In this Cola, who cannot find Ulivetta. In this\nAurelio makes a scene and goes off. Übaldo and Cola remain. In this\ncomes Stoppino; his absurdities, blunders and exit; they follow\nhim. In this Lucinda enters from the Court, complaining about the\nPrince and the deception practised on her by Aurielio. Rosetta and\nÜbaldo learn from Giangurgolo the madness of his daughter. In this &\nSCENE 3,\n& Übaldo confirms to Pandolfo the madness of his daughter. Pandolfo"}, {"page_pdf": 49, "page_imprimee": "121", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.49", "texte": "THE FOUR LUNATICS.\n\ngoes off to find her. Qiangurgolo follows him. Lucinda expatiates to Übal-\ndo on the wrongs done her by the Prince. He then shows the letters\nhe has received from Flanders from the person who left her in his\ncare which show that she is the Princess of Netturno. They go into the\ncourt to tell the Prince.\n-c? SCENE 4. &\nArdelia, Aurelio, Ulivetta, Stoppino and Magician.\nThey come in acting madly, playing, dancing, singing and saying\ngeogeo. Then they sit down and fall asleep. In this enters the Magician,\ntouches them with his wand ; all get up, make their acknowledgements,\nand in this &■&¥&¥&&&&\n¥\nLast Scene. All on the stage.\nWith every ceremony it is revealed that Lucinda must be the legi-\ntimate wife of the Prince, Ardelia of Aurelio, and they repeat the words\nof the Oracle:\nUomo non fu gi& rnai che Io conforti\nsin che la morte viva non ritorni:\nAuditaci (sic) suoi rlcchi soggiornl.\nE chi morte non ebbe abbia consorte (I).\n£> PROPERTIES REQUIRED &\n& Letters, Magician's robe, guitar.\n\nAN IMPROVISATION\nby Count Carlo Gozzi.\n(*)\n[ had to P|ay the Paft of Luce, married to Pantalone, a vicious old man\nbroken in health and fortune. I was reduced to extreme poverty, with a\ndaughter in the cradle, the fruit of my unhappy marriage.\nThere was a night-scene, in which I had to soliloquise, while rocking\nmy child and singing it to sleep with some old ditty. This lullaby I in-\nterrupted from time to time with the narrative of my misfortunes and\nwith sallies which made the audience die of laughter. Bursts of applause\nbrought the house down as I told my story, enlarged upon my reasons\n\n(i , \" Never was there a man able to console him until the dead should return alive. Let his rich mansions\nhear us, and (she) whom death did not have may have a husband.\n(2) From the translation of Qozzi's Memoirs by J. A. Symonds."}, {"page_pdf": 50, "page_imprimee": "122", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.50", "texte": "AN IMPRO VISA TION\n\nfor marrying an old man, related the incidents of my life, alluded in\nmodest monosyllables to what I had to bear, described what a fine figure\nof a woman 1 had been, and what a scarecrow matrimony had made me\nI complained of cold, hunger, evil treatment. I did not make milk enough\nto suckle my baby; and what I made was sour, nay, venomous from fits\nof rage and all the suffering I had to go through. This bad milk gave my\ndarling, the fruit of my womb, the stomach-ache. It kept bleating af|\nnight like a lamb, and would not let me close an eye. The night was far\nadvanced. 1 was waiting for my old fool of a husband. What could be\nkeeping him abroad ? He must surely be in the Calle del Pozzetto, noto-\ntorious at Zara for its evil fame. 1 had a presentiment of coming troubles,\nmoralised upon the woes of life, and burst into a flood of tears which\nmade everybody laugh. &\nThe truth was that one of our officers, Signor Antonio Zeuo, who\nplayed the part of Pantalone excellently, had not turned up at the proper\ntime to enter into dialogue with me. Until he arrived, I was forced to\ncontinue my soliloquy, which had already occupied the attention of the\naudience full fifteen minutes. &\n& A good extempore actor ought never to lose presence of mind, or to\nbe at a loss for material. In order to prolong the scene, I pretended that\nmy baby was crying, and that it would not go to sleep for all my lullabies\nand cradle-rocking. In a fit of impatience 1 took it up, unlaced my dress,\nand laid it with endearing caresses to my breasts to quiet it. This fresh\nabsurdity, together with my lamentations over the non-existent teats 1\nsaid the greedy little thing was biting, kept my audience in good humour.\nFrom time to time 1 turned my eyes to the sides, being really disturbed\nat Signor Zeno-Pantalone's non-appearance, and racking my brains in\nvain for some new matter to sustain the soliloquy. 0\n& Just then I happened to catch sight of Tonina seated in one of the\nfront boxes of the theatre, resplendent with beauty, and attired in a gala\ndress which cast a glaring light upon her'dubious career. She was laughing\nwith mors assurance and sense of fun than anybody at my jokes. The\ncatastrophe which she had nearly caused flashed suddenly across my\nmind. I felt that I had discovered a treasure; and plunged like lightning\nInto a new subject."}, {"page_pdf": 51, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.51", "texte": "AN IMPRO VISA TION\n\njg? what I proceeded to do was bold, I admit, yet quite within the limits of\ngood taste upon our amateur stage, where personal allusions were allowed\nperhaps a little too liberally.\n& I called my doll-baby by the name of Tonlna, and addressed my speech\nto it, 1 caressd It. admired its features, flattered my maternal heart with\nthe hope that Tonlna would grow up a lovely girl. So far as 1 was con-\ncerned, 1 vowed to give her a good education, by example, precepts,\nchastisement, and watchful care. Then, taking a tone of gravity, I warned\nher that if, in spite of all my trouble, she fell into such and such\nfaults, such and such acts of imprudence, such and such immoral ways\nand caused such and such disturbances, she would be the worst Tonina\nin the world, and I prayed God to cut her days short rather in the cradle.\nAll the evil things I mentioned were faithfully copied from anecdotes\nabout Tonlna In the front box, with which my audience were only too\nwell acquainted.\njgz Never in my whole life have 1 known an improvised soliloquy to be so\ntumultuously applauded as this of mine was. The spectators as: one point\nof the speech turned their faces with a simultaneous movement towards\nTonina, in her gala dress, clapping their hands and laughing till the theatre\nrang again. His excellency, who had some inkling of the siren's ways,\nhonoured my unexpected satire with explosions of unconcealed merriment.\nTonina backed out of her .box in a fit of fury, and escaped from the\ntheatre, cursing my soliloquy and the man who made it. Pantalone finally\narrived, and the comedy ended without any episode more mirthful than\nthe scene between me and my baby."}, {"page_pdf": 52, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.52", "texte": "THE POSITION OF\nTHE THEATRE.\nA SYMPOSIUM.\n\n'p/re Referee is only an important paper so long as It considers the\nArt of the Theatre as of Importance. But lately for some unexplained\nreason (in fact since the death of Sir Henry Irving), the Referee has\ntaken to laughing in its sleeve at the Theatre and its Art and its\nThere are no doubt many London managers, actor-managers, actors\nand dramatists who regret this change, yet who are powerless to resist\nit whilst a certain few high-placed actor-managers encourage it.\n£> When a serious man is at the head of the Theatrical Profession the\nJournals which live upon bits of news from the weekly stage are obliged\nto tolerate his rule and to give up all idea of the much enlarged circu-\nlation which they could command by sinking into cheap jokes about that\nupon which they live. In short, under the leadership of a serious man\nthe comic parasite, which laughingly devours and destroys that upon which\nits very existence depends, is kept in check. But when a jester rules the\nroost the journal becomes inflated and the roost becomes defiled.\nJust lately The Referee, which is a journal circulated largely amongst\nthe members of the English Theatrical Profession, has stated several things\nabout the Theatre which are so appalling in their levity that they guage\nto a nicety the lowest water level to which the Theatrical Journalistic\nriver has sunk since Irving was at the head of the Theatrical Pro-\nfession. & &\n& The following are some of the choice statements or reflections published\nin that journal during the last few weeks:\ni. & People do go to the Theatre to digest their dinner. Why should\nthe} not J £? jgf /7"}, {"page_pdf": 53, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.53", "texte": "A SYMPOSIUM\n\nа. & The standard of Public Taste In certain matters pertaining to\nthe Theatre has been raised by Sir Herbert Tree on the one hand\nand by Mr George Edwardes on the other.\n3; Going to the Theatre is a diversion, not a sacred office.\n4. The Theatre does not aspire to a position among the fine arts,\nand never has aspired and never can aspire to such a position.\n5. Sir Herbert Tree's 44 Malvolio \" and his 44 Falstaff\" I regard as\nmasterpieces which I would rather see any day that such a thing as\nthat statue of Victor Hugo by Rodin....\nб. I do not rank acting among the fine arts. ■&\n7. Acting is not only an art; it is the first of all arts of the Theatre.\n8. Madame Duse's remark as to how to save the Theatre is a very\nsilly sort of remark. &\n9. Certain hysterical remarks about the theatrical profession by\nEleonora Duse ; an insulting reflection upon her calling. ■£?\n10. The Mask mistakes the functions of the Theatre.\n*\n11. 44 The awakening European Theatre \" whatever that may be.\n0\n12. What Eleonora Duse means and what Mr Craig means passes\nmy comprehension...... is more than I can imagine. & ■£?\n£? All this and more is supposed to represent the modern English\nTheatre's point of view. We do not believe it represents It a scrap. We\nbelieve on the contrary that it misrepresents it entirely.\nWe believe it to be a senseless pose on the part of The .\nThe Referee admits, (as seen above), that it has not sufficient imagina-\ntion or comprehension to understand what the great Italian actress has\nto say, nor what Mr Craig says ; so the poor thing backs out of the whole\nquestion of understanding. & &\n£? We always suspected this. But that the Referee should find it neces-\nsary to pillory itself by repeating over and over again 44 we do not un =\nderstand \" 44 we cannot imagine \", is as extraordinary a piece of self-\npunishment as we have 'ever had the fun of witnessing. &\nThe Mask was founded shortly after the death of Sir Henry Irving\nand is determined to keep up the standard of the Theatre to the best\nof its ability and to attack any and all who are against this ideal.\nThe Referee is against it. In the course of the last year or so it has"}, {"page_pdf": 54, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.54", "texte": "A SYMPOSIUM\n\nsneered incessantly at the ideal and has said that Mask does wrong\nin expecting the Theatre to follow those who believe in &\n& While doing this The Referee has patted on the back the leading\ndramatists, actors and actresses in the presumptuous belief that these\nmen and women are not great idealists. £* £/\n& So we have written to such representative leaders as Sir Arthur\nPinero, Miss Ellen Terry, and Mr Martin Harvey, and asked them whether\nThe Mask does right or wrong in asking everything of the Theatre.\n& Tiie Questions put were the following :\n1. Do you believe that the standard in theatrical work has risen\nsince the days of Henry Irving ? & &\n2. Can you name any manager who has added more distinction to\nthe stage since those days ? j\n3. Have Sir Herbert Tree and Mr George Edwardes raised the Theatre\nin any way f\n4. *£? If so, could you say exactly in what way ? G? js? &\n5. Do you think the Theatre never has aspired to a position among\nthe fine arts and never can aspire to such a position ? &\n6. Do you consider The Mask does wrong in asking everything of\nthe Theatre as a Public Institution and as a Fine Art ? &\n& Most of those who have answered these questions wonder why the\nnames of Sir Herbert Beerbohm Tree and Mr George Edwardes are linked\ntogether.\nWe would like once and for all to remind our readers and the general\npublic that it was the Stage's pet journal which blundered in this parti-\ncular manner. The Referee classed the two together who are we that\nwe should put them asunder again ? £/\n& Still, the particular questions dealing with these gentlemen are not\nof vital importance to us. & &\nWhat naturally was, and always will be, of far greater importance to\nus is that The Referee seemed to imply that we were wrong in upholding\nthe theatre and in claiming that the Theatre aspired to the position of\na Fine Art.\nThose who have answered our questions are all agreed that we were\nright, and we are encouraged to think that Sir Arthur Pinero, Miss Ellen"}, {"page_pdf": 55, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.55", "texte": "A SYMPOSIUM\n\n. Terry and Mr Martin Harvey, all three in the highest and most respon-\nsible positions in the English Theatre, hold this opinion.\nWe print their replies below. They speak for themselves. We are glad\nthat in their eyes we are doing the right thing.\nWe shall continue to hold up the ideals of the theatre and we\nappeal to every true lover of the Theatre to assist us to make our mutual\ncause better known. JZ?\nTHE QUESTIONS.\n/. Do you believe that the standard in theatrical work has risen\nsince the days of Henry Irving ?\n2. Can you name any manager who has added more distinction to\nthe stage since those days ?\n3. Have Sir Herbert Tree and Mr George Edwardes raised the\nTheatre in any way.\n4. If so, could you say exactly in what way?\n5. Do you think the Theatre never has aspired to a position among\nthe fine arts and never can aspire to such a position ?\n6. Do you consider The Mask does wrong in asking everything of\nthe Theatre as a Public Institution and a fine Art?\nTHE ANSWERS.\nELLEN T E R R V. «<s>\nI. No. JS/\nYes. In my opinion Mr George Edwardes has in England raised\nthe lighter form of entertainment and brought more distinction\nand beauty to it..., more grace and gentleness. & &\n1 am sure Herbert Beerbohm Tree has always presented his best\nendeavours. He was a devoted disciple of Henry Irving, and has fol-\n\nJ. S."}, {"page_pdf": 56, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.56", "texte": "A SYMPOSIUM\n\nlowed In his footsteps \" according to his lights but I consider\nHenry Irving had come to the perfection of his own methods, and\nhad he remained on this earth it is possible he might have evolved\nor adopted a new method of expression. But certainly his expression\nhas not been extended. -\n5. The Theatre has a peculiar advantage towards elevating or degrading\nthe tone of a nation. 1 think the Theatre always has aspired to a\nposition among the fine arts. (There are at least a dozen authorities\nwhich 1 can quote to prove this): it always aspire, and always\nshould aspire to that position. &\n6. & I consider The Mask does right, and the Referee was gravely\nwrong in making assertions which in the long run tend to lower the\nTheatre in the minds of the young men and women who have entered\nmy profession full of hope and belief in the Art which they are\nbeginning to study.... & &\nThe Po,nt of view which the Referee advocates will soon create\nIn the beginner a tendency to mock at and belittle their own ideals.\nThe Mask was born to encourage the younger generation of\nthe Theatre,.... young girls and boys of twenty to twenty-five, and\nto keep them young at forty to forty-five and.... after; and so long\nas the people in any art remain young they will hold the belief\nthat every art aspires to be a high and fine art. & & &\nAt the Mansion House I quoted Matthew Arnold and said: \" The\nTheatre is irresistible, organize the Theatre \". I was then speaking\nof an institution. I now speak of its Art and I say, \" The Art of the\nTheatre is a fine art; keep it fine \". Have courage to venture into\nthe unknown, and Remember:\n\" A shipwrecked sailor burled on this coast\nBids you set sail ;\nFull many a gallant ship when we were lost\nWeathered the gale. \"\n& ARTHUR PIN E R O & 0\n& Sir Henry Irving's successors, profiting by his example, have, in\nmy opinion, worthily upheld the high standard of theatrical art In\nthis country. His extraordinary personality cannot be replaced; that is"}, {"page_pdf": 57, "page_imprimee": "129", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.57", "texte": "A SYMPOSIUM\n\nnot their fault. Mr Edwardes's light productions are beautiful and\nin good taste. They far excel anything of the kind that has preceded\nthem within memory. He does not, I understand, assay to 44 raise\nthe Theatre \" in a solemn sense. & jgr &\nThe Art of the Theatre is a Fine Art and is, at its best, regar-\nded as such by unprejudiced people. The Mask does well In urging\nthe more open recognition of the Theatre as a useful and enobiing\ninstitution.\nMARTIN HARVEY\nI. 2. No. <£? j2? J&\n3. This is not a fair question..&\n5. The achievement of the Theatre.... the serious Theatre is and\nalways has been a \" fine art\": it is not a question of\naspiration.\n1 know of no definition of art which is not the definition also of\ntheatrical art. Hear Ruskin : 44 Every art which is properly called\n\"fine demands the exercise of the full faculties .of heart and intellect\";\nagain, '* The highest thing that art can do is to set before you the\n\" true image of the presence of a noble human being. \" Or, if you\nwant your detractors to catch a fall, read them this from the same\nauthority: \"It is impossible to direct fine art to an immoral end,\n\" except by giving it characters unconnected with its fineness, or\n\" by addressing it to persons who cannot perceive it to be\n44 fine\" / jg? &\n6. Certainly not it Is doing a great service, only do make your\nprecepts clear 11\nGORDON CRAIG\ni. In answer to your first question. Ido not think that the standard\nof theatrical work has risen in England since the days of Henry\nIrving.\nI do believe it has risen in Germany, Hungary and Russia. I have\n/\nseen the work of the modern theatres in England, in Russia and in\nGermany and have studied it carefully. The Hungarian work I only\nknow from report.^"}, {"page_pdf": 58, "page_imprimee": "130", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.58", "texte": "A SYMPOSIUM\n\nThe standard In Germany and Russia for the scenic representation\nIs much higher than it was ten years ago. Both their realistic and\npoetic dramas have great care spent on them when in course of\npreparation when compared with the very same dramas as produced\nhere in England. This Is to be greatly regretted.\njSf Putting aside the scenic side of the question I should say that\nthe standard for acting pure and simple is much higher in Italy\nthan elsewhere. I regret that I have never visited Spain. & &\n2. In answer to your second question I would say that there are\nfew managers who have added distinction to the stage since the\ndays of Irving. Stanislawsky in Moscow has done so; Professor Max\nReinhardt tries to do so, a very earnest German, Mr Herbert\nTrench tried to do 50,... and I believe Sir Herbert Tree would like to.\n3.4. & You ask if Mr George Edwardes and Sir Herbert Tree have raised\nthe stage in any way and if I can say in exactly what way. I cannot\ndo so: but I feel that Sir Herbert Tree when a young man had\nan idealist's view of the stage. I remember well being struck by a\nphotograph I saw of the celebrated actor-manager when he was\nquite a youth and thinking that he had the face of a man who would\nalways be on the side of the angels. Irving had such a face to the\nend of his days.\nI believe Mr George Edwardes makes no pretentions to having raised\nthe standard of the Theatre or its work, though I daresay he does\nraise it for I understand he is thorough in all that he takes up. Sir\nHerbert Tree, on the contrary, is, after a careful test, known to me\nas not thorough. I regret that I am obliged to make this statement\nbut I have good proof now that what I state is unfortunately correct.\nAs a rule I fear that the managers of the London Theatre are less\nthorough and more pretentious than is good for the stage.\n5* You ask me if I think the Theatre has ever aspired to a position\namong the Pine Arts and ever can aspire to such a position. I am\nonly living so as to prove that. You tell me that the /Referee denies\nthe Theatre that right. The Referee may go on denying until it\nbecomes a quarterly journal and The Mask is a daily journal, but\nI think that will make no difference."}, {"page_pdf": 59, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.59", "texte": "A SYMPOSIUM\n\n1 think you will find, my dear Editor, that those who reply to this\nfifth question will all say the Theatre does and can aspire to be a\nfine Art. If they say so and are at all representative names, then\nthe Referee may make less mistakes in the future on this important\npoint.\n6. To your last question, Do I consider The Mask does wrong in\nasking everything of the Theatre as Public Institution and as a Fine\nArt, I can only answer that I believe The Mask was started with\nthat purpose in view and that it does right in sticking to its guns.\nThe Public has grown rather tired in the last few hundred years of\nexpecting the Theatre to be worthy of itself, but I am sure The Mask\nwill not grow tired and that it will live to see its hopes fulfilled....\nOn that day 1 shall congratulate you. Till then there can be no talk\nof rejoicings. You must only fight on. If today the Theatre itself\ndoes not understand or acknowledge what you are doing on Its\nbehalf you must not be surprised. If you are sincere you can do no\nwrong and all right, and in time the English Theatre will be with\nyou to a man.\nWALTER CRANE\n1. & Not distinctly or generally, despite increased attention to detail\nin costume and accessories.\n2. Certainly not. & & & &\n3. 4. £> Not unless the increase of a kind of spectacular interest can be\nsaid to have raised it\n5. & The Theatre in ancient times, say, In Greece, must have held\nsuch a position, and, considered as the most vivid expression in art\nof the life of its age, the Theatre should certainly aim at the highest\nart, and seek to exercise the ennobling Influence of the greatest beauty.\n6. & 1 think The Mash is perfectly justified In asking for, and seek-\ning, the best art In the Theatre as a public institution and as a\nfine Art.\nJOHN BALANCE\ni. I do not believe the standard in theatrical work in England has\nrisen since Irving's death."}, {"page_pdf": 60, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.60", "texte": "A SYMPOSIUM\n\n2. No.\n3. Well, 1 asked a lady this question, for 1 failed to see how Mr\nEdwardes the master of Musical Comedy production could be classed\nwith Sir Herbert Beerbohm Tree the master of Short Cuts to Shake-\nspeare. She began her reply in these words: \"You see you can't level\nthe same brick at George Edwardes that you throw at Sir Herbert\nBeerbohm Tree\". At which the whole company was so much amused,\n(so seriously was it said), that the rest of the reply was lost. Anyhow,\n1 think it can stand by itself as a fair answer.\nSM6.& I think that if you answer these last two questions with a No\nthe first four questions are also answered. The Mask has more than\nright to demand everything of the Theatre it Is Its duty. And\nthe Theatre always must aspire to the position of a fine art\nalways. Those who deny this, whether actors, actresses or theat-\nrical journals like the Referee, are utterly worthless and have\nreason to be heartily ashamed of themselves.\nCHRISTOPHER St JOHN\nNo.\n4• Answers to 1, 2 & 3 answer this also. 0\n5. No. The position to which the Theatre once aspired may be judged\nfrom the fact that some of its beauty is still preserved In the forms\nand ceremonies of Holy Mass, (Notably the Chorus). &\n6. The Mask does right as usual.^\nGEORGE CALDERON\nThe Art of the Theatre serves two purposes, (i) The expression\ni— §\nof the highest thought to which its form is adaptable, (a) The en-\ntertainment of the sort of people who read The Referee by the\nsort of performance that Sir Herbert Tree and Mr George Edwardes\nhave brought to such perfection. & & & & 0\nThe second purpose is the only one worth pursuing, but the first\nis the only one worth writing about.\nALLEN C A R R I C.\n1. In England, no. In Russia, Hungary and Germany, Yes. &\n2. & Stanislawsky, Hevesi, Relnhardt. A Russian, a Hungarian, and a"}, {"page_pdf": 61, "page_imprimee": "133", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.61", "texte": "A SYMPOSIUM\n\nGerman; and there are others on the Continent. These names lead\nback to the name of the man by whose work they have all been\ninfluenced and inspired and to whom the additional distinction of\nthe work upon the European stage may be directly traced,.... the\nEnglishman, Gordon Craig. & & &\n3& 4 Sir Herbert Tree has not done so. Mr George Edwardes has\nalways done his best and his best is quite admirable. 1 do not think\n»\nhe aspires to produce a serious or poetic Drama, but if he were\nto make the attempt his thoroughness would Incline him to select\ngood workmen and to direct them with care.\n5. & The Theatre has always aspired to a position among the Fine\nArts and always will aspire to such a position. Perhaps some day It\nmay achieve it. j£? &\n6. Certainly I do not. The Mask was founded with that purpose in\nview. It Is doing right. If Sir Herbert Tree were in a less responsible\nposition and were looked upon by others, and himself professed, to\nbe merely a commercial manager who only cared for the Theatre\nas a money-making business, then no one could find fault with him\nexcept from that point of view; but he professes to have at heart\nthe Theatre's best interests as an Art, and, while protesting that he\ndislikes vulgarity in scenic display, he indulges In it in every\nproduction. jg? jg? £?&£>&"}, {"page_pdf": 62, "page_imprimee": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.62", "texte": "UNFORTUNATELY\n« Acting is not an art. It is therefore incorrect to speak of the actor\n\" as an artist. For accident is an enemy of the artist. Art is the exact\n'* antithesis of Pandemonium, and Pandemonium is created by the tum-\n\" bling together of many accidents; Art arrives only by design. Therefore\n\" in order to make any work of art it is clear we may only work in\n\" those materials with which we can calculate. Man is not one of these\n\" materials. \" (i) J& JE/\n(i) A work of Art can NOT be made by a quantity of people each of a\ndifferent opinion as to each different part of that work.\n(a) A Work of Art can NOT be made from any material which has vitality\nor is subject to individual movement; not, that is, from water or air or\nvegetation or animals or man can a work of art be fashioned, but only\nfrom rock, from wood, and such like inanimate material. &\n(3) A Work of Art can NOT \" happen \" by accident but only by deli-\nberation.\n(4) it is | because these facts are insufficiently realised in the Theatre\nthat a Work of Art is never created by the Theatre.\n\nFOR TUNA TEL Y.\n(1) There is a remedy for all this. & &\n(a) The impersonal Is stronger than the personal, even as the love for\nan ideal is always stronger and finer than the love for a person...oneself.\n(3) There will always be a few men In the Theatre who try ever \" not\nto belittle art for the satisfaction of an isolated personality \". (a) £>\n(4) They will ultimately find no difficulty in selecting a new material\nfor the art. & &\n(5) The Muses always assist such men and therefore they will create a\nnew Art. It will be the first time that the Theatre shall have given birth\nto a fine Art. Allen Carrie'\n(1) The Actor and the Uebermarionette. The Mask. April 1908.\n(2) Flaubert."}, {"page_pdf": 63, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.63", "texte": "FARE FOLK ART, Or the So-Called \" Revival\"\nof Folk Art,\nby Felix Urban.\nTHhe PoJk need something more than the interest of Sociologists to inspire\nthem to sing, dance and act again, and no fire will be kindled in the\nFolk merely because they are blown upon by the bellows of the idle rich.\nThe thing is a hobby. Even as we but lately began to collect old\nfurniture so we are now collecting old songs and dances, and, after\ndrumming them into some few peasants, we say complacently in books\nthat the Folk have burst out again into song and dance; that \" the re-\nvival of Folk-Art in song and dance, in game and drama is, in England\ntoday, an accomplished fact\" (i). J&\n& Artists, too, are said to be \" going back to the creations of the simple\nand unlettered folk that they may build on the foundations of natural\ntaste and emotionßut that artists should love the purest accidents\nof the natural expression of peasants is nothing new. Artists and the\nFolk are of the same family; they are all the children of Nature and\nobey her and no one else. But Nature abhors \" fake \", and that is all\nthat this present so-called \" revival \" of Folk-art amounts to.\n& When a nation sings it goes on singing until the reason for its song\nis gone. The reason in England has gone. There can be two reasons, joy\nor sorrow. But in England respectability shuts out both, and that is\nwhy there is 110 spontaneous song in England. &&&?£/\nIn Poland, the land of lands for Folk-music, (I know of a collection\nof many thousand songs), they are joyous or sorrowful, but the State\ndoes not allow them to become commonplace. In England, on the contrary,\nthat is just what the State does do and just what they become. The\nyoung in England, even as the young in Poland, are joyous, since, as\nWalt Whitman wrote, \" lads and lasses, that universal race \" are\n\" mainly the same, all ages, all lands but sooner or later they learn\nthe lie that joy is not respectable. This does not make them miserable.\nIf that were so they might \" out of their sorrow make little songs \". No,\nthey prefer to become banal, and banality never created ** Folk-Art \"\nhowever much of it it may have stifled.\nIreland is more fortunate. There it is somewhat the same story as\n\nt\n(i) \"The Shakespeare Revival \"reviewed on a later page."}, {"page_pdf": 64, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.64", "texte": "FAKE FOLK ART\n\nin Poland one wonders if Home Rule will improve their voices or\ndeaden both joy and sorrow. JZ? JZ? & jzr &\nThis so-called Revival of Folk Art is, as I have said, not genuine. It\nis an eruption of sentimentality. Those who are concerned in it, (except\nfor the one or two scholars whose interest is decidedly an erudite one,)\nare mostly ignorant of what the significance of Art really is, and one\nmay safely say that hardly any guess the cause which lies at the roots\nof the art expression of the Folk. It would shock some of these good\npeople if they guessed aright. jzr\nonly great Folk-drama created by the Folk was that known as\nthe Commedia dell'Arte. (i) The Religious Drama, however much loved\nby the people, was created by the Aristocracy, for Religious drama deals\nin mysteries, and mysteries are always created by the aristocratic brain.\nj0 All Folk Art is clear, highly coloured, coarse, healthy. All Aristocratic\nArt is the reverse and must be so. JZ?\nWe have need of both, and perhaps the fake of both is also necessary\neven as London smoke and mud are necessary ; but if will make no\nimpression on a sane nation even if it subdue a Garden City or two.\nJZ? I have spoken of the difference between Folk Art and Aristocratic\nArt, but this fact must be remembered. Folk and Aristocratic AH, what-\nV\never their differences, are in one respect alike. The artist creates both.\nGiven the Folk or the Aristocracy without artists and no art is possible.\nArtistry \" will out \", only the character and form of its expression varies\naccording to the surroundings among which it springs. If your artist is\ntending sheep with Giotto he creates Folk Art: if he is attending soirles\nlike Benvenuto he creates Aristocratic Art. Had Shakespeare stayed in\nStratford he would perhaps have written different plays. Had Burns come\nto live in London he woald perhaps have written different poems, (a)\nBut in each case we find the spirit of the 44 Folk \" and the 44 Aristocrats \"\nail merged, incorporated in one or two men,., and these always the artists.\n\n(1) See \" The Mask January and April, 1911.\nif\", says Wait Whitman, writing of \" the lyrics of illicit lores and carousing intoxication\" of the \" odd*\n\" kind chiel\", \"he had lived steady, fat, moral, comfortable, well-to-do years, and died well; ripen'd aid\n\" respectable, where could have come in that burst of passionate sobbing and remorse which weil'd forth\n\" instantly and generally in Scotland and soon followed everywhere among English-speaking races, on the\nannouncement of bis death?\""}, {"page_pdf": 65, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.65", "texte": "FAKE FOLK ART\n\nSo will it ever be. And if England can stamp out this blighting \" re-\nspectability \" and Its accompanying /ear, voices will sing and be heard.\nBut timidity will never find expression in song; only courage does that,\nand heroic beauty, singing whether it be joyous or sorrowful. Meantime,\nwhat Impulse has a man in England to sing of simple things? He can\nfind refuge from the banality, the timidity which rule and cramp the\nland only in mystic things, and Folk Art is not born of these.\n\nVENETIAN COSTUME Translated from the\nBook of Cesare Vecellio. 1589.\nby D. Nevile Lees.\nANCIENT COSTUME OF A YOUNG NOBLE DECKED OUT FOR COURTING.\n*■\nI have taken the costume In the accompanying picture from a figure\ncarved on the capital of one of those columns which support the Palace\nof San Marco in Venice, (the which is near the women's prison,) besides\nhaving seen it painted and sculptured in other pictures and statues\nof Venice. JZ? jg/ & jgr\nThe young men used formerly to make themselves little curls in the\nmiddle of the forehead and to wear the rest of their hair waved on\ntheir & & & & & &\nThey also wore a robe of silk or gold brocade with various embel-\nlishments reaching to the knee, all buttoned with gold buttons as far as\nthe waist, the which they girded with a silken girdle, from the left side\nof which hung a sword. & jg> & & &\nThe said dress was all adorned with lace about the edges, and had a\nfairly long hood of the same stuff which hung behind to below the belt\nand which enabled them In wet weather to dispense with any other\ncovering for the head. jg/ £? £/ &\nThe sleeves of the over-dress covered their arms to the elbow, but\nthen opened and hung down from the aforesaid half-length sleeves.\nThey wore stockings of red cloth and low pointed shoes. & &\n& & ANCIENT COSTUME OF A MAIDEN IN LOVE. &\nTh« accompanying costume of a young Noblewoman in love has been\ndrawn from the same place and is very beautiful. They used to make\na few modest curls on the forehead and let the hair flow over their"}, {"page_pdf": 66, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.66", "texte": "VENETIAN COSTUME\n\nshoulders fairly long. They wore gold ear-rings of fine work, and a\nstring of pearls round the neck. They had a close fitting dress without\nbodice, and not very wide, but much adorned about the breast, the\nsleeves and in front near the opening with plates of gold or silver so\nwell set on that they resembled bird's feathers in their arrangement which\nwas very beautiful and magnificent. £>\nVENETIAN COSTUME AND BEGINNING OP THE SLEEVES 44 A COMEO\".\nV have devoted much study as to when and where this costume could\nhave had its origin, the\" which is very handsome\nalthough It was of wool, and I also wished to know when they gave\nup wearing the mantellino (little cloak), as It was called. Nor can I\npersuade myself that such a change of costume was due to any other\nreason than the inconvenience of the loose robes in many folds.\nNevertheless it seems to me that persons of position have worn the\nlong robe in the style of a toga, although different from these modern\nones.\nHence I, like many others, having thought over such a change,\nfind that many discourses have been made on the subject so as\nto investigate the origin of that style of dress.\n<0 Some say that it comes from the Romans, clearly seeing figures with\nit in the Arch of Septimus. Others would have it that it comes from\nCyprus, brought from that Island by the French, which 1 am led to\nbelieve by the many fleurs=de=!ys which, with other patterns, are seen\nembroidered on the sleeves. Also, to give greater likelihood to this opinion\nthere have been seen at Venice many pictures of that Realm, which\nin their designs give much indication of the same.\ni 0 But because this matters but little to me it shall suffice me to have\nsaid thus much about it and to represent for you this Costume, which\nyou will perhaps adjudge to be, in fact, a beginning of the dresses called\n44 k Maniche a Cometo \" which were in those days fairly short, and were\nperhaps for that reason the more easily accepted, on account of the\nfreedom of movement afforded by the youths and those who delighted in\nthe games and dances which in those days were in use. j0\n£* They next began to wear certain round caps, but much higher than\nthose formerly worn or than those that are at present worn by the"}, {"page_pdf": 69, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.69", "texte": "VENETIAN COSTUME\n\nNobility. j& & j& & & & j&\nj£> They girded themselves near the side with a belt three fingers wide\nin the style in vogue today. And from this mode of dressing has been\nintroduced little by little the long toga reaching to the ground, the\nwhich, as we see in our own times, lends so much dignity that it has\nbeen welcomed by all the Nobles and Citizens.\n& And this same costume is also worn by the Doctors who dwell in\nVenice, and by almost all those who exercise some virtuous and honoured\nprofession.\nI will not omit to say, however; before 1 end, that in those days the\nt\nhose and the dresses were of different colours and the shoes purple :\nall of which can be seen in the Church of San Qiovanni and San Paolo\nof Venice in the altar piece which is at the right hand of the entrance\nto the Choir.\nOF THE COMPANY OF THE 44 CALZA &\nTP his celebrated and honourable Company had its origin many years ago,\nand such were the performances and feasts instituted by it that no\nother Company in our times has attained to such a point of magnificence\nand splendour. Which is attested by many who are still alive today. &\nThose who were inscribed (as it is still the custom to do), in the\nnumber of these Companions, were all noble; but this Company was so\nmuch more distinguished and illustrious than the other companies which\nhad been founded at that time and than those which have up to the\npresent been instituted that many Prlnces's sons prided themselves upon\nbeing elected among the number of those Companions. & &\nAnd it had its origin under the Prince Zeno, which was in 1400, be-\ncause then many noble youths of the leaders of the city, having collected\na great deal of money and made among themselves a most choice selection,\ncalled it the 4* Compagnia della Calza, \" and for the whole time that it\nflourished they each wore a stocking quartered with different colours.\nAnd by this common sign were all the Companions recognised ; but each\none then made known his own idea and personality by some beautiful\nand ingeniuos device chosen by each according to his temperament.\nThere was also seen among them a noble and honourable competition\nand emulation in appearing decked out and gorgeous, each one displaying"}, {"page_pdf": 70, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.70", "texte": "VENETIAN COSTUME\n\nmuch splendour and magnificence in his own person at his own expense,\nalthough they united together in the festivals and public performances\nwith money subscribed and put together by them for that purpose. The\nwhich money was not all converted to the use of worldly spectacles,\nbecause they wished also In religious matters to show forth the libera-\nlity and greatness of their souls. & **\nThus they had selected a church where, at certain times, they ga-\nthered, and there, adorned with pomp and royal magnificence, were\npresent at a solemn mass of the Holy Spirit which they caused to be\nsung by priests at their expense. 0 & & *\n& The fame of which Company aroused the greatness of soul in the\nyouths of many cities of Italy where the same thing was afterwards done.\nThe costume, which is here shown, bore, on the inner side ot the\nlong hood, and just at the back, their device, with embroideries in gold\nand in silk. And all those inscribed among the number of the Companions\nwore a little cap, slashed in red or black, hanging over the left ear; and\ntheir hair, which they wore long, and as bushy as possible, tied with a\nlittle silken cord.\n& They wore doublets of velvet or some other stuff of silk or gold.\nThe sleeves were laced with strings which were very often of silk or\ngold with tags of massive gold, and they were slit in the middle, and\nthrough that opening the shirt could be seen. And for splendour they put\nthese also on their hose, where they were not needed, thus showing off\nnot only their wealth but also their figure which, owing to the\ntight and well-girded hose, displayed almost all their muscles as\nthough they were nude. The stockings were, as already said, striped\nlengthways with varied colours and one of them was embroidered with\npearls and other jewels to the knee.\njg? The one whose portrait 1 saw had In the back of the hood a Siren,\nwhich I believe was the emblem of him whom the picture represented.\n& Prom the same portrait one sees the custom they had of carrying in\ntheir hand a scented ball; and this portrait I found in the school or company\nof S. Giovanni Evangelista, where it is painted in ancient style but by a\nskilful hand. And from that same place 1 have taken the pictures of many\nother figures which will be reproduced by me in this same book."}, {"page_pdf": 79, "page_imprimee": "151", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.79", "texte": "VENETIAN COSTUME .\n\nj& ANCIENT COSTUME OF YOUTHS.\nI recall having come across certain hats almost a braccio high, turned\nup behind, and, in fact, not a little bizarre in shape; and also certain\ncaps made of several folds, but very wide and\n£/ These were of so many kinds that, should one wish to write of them\nin full, it would be necessary to make a special book. £?\n& Nevertheless it has pleased me to throw some light upon them briefly ;\nfirst, to show that I had some knowledge of them, and then to\nsatisfy any curious person who should desire to know something of\nthem; having put in the design that which 1 judged to be the most\napposite.\nThese caps, then, were of several colours as one may yet see in Padua,\nin Venice, in Ciuidal di Belluno and in many other places where I found\nmany of them painted; and especially in the house of Signor Pagano\nPagani, a most excellent Doctor and my most especial Lord, the which\nhouse is in truth ancient and noble.\ni have likewise seen the same in other ancient and great houses\nthrough the courtesy of their Masters who have afforded me the\nopportunity and aroused my interest yet more, and given information\nabout many old costumes formerly used in their most ancient lands.\nAnd among those whom 1 judge worthy of praise are the two brothers\nSignor Antonio and Signor Tristano Ecchali or Carpedoni who are among\nthe foremost of their country and men of singular virtue, exemplary\nhabits and mature judgement, and, in short, gentlemen deserving of praise\nand no less endowed with the riches of the spirit than with those of\n/\nfortune; all of which has led me, out of gratitude, to make this slight\ndisgression.\nNow, returning to our subject, I say that, the art of painting having\nbeen lost for a long time, one sometimes cannot obtain that exact in=>\nformation relative to this very wide subject for which one would seek.\nHence I am obliged to make use of certain little notes, (not to say\nhints), of certain remains which have survived of the Greek reli-\nquaries.-g? /£/\nThis costume was, then, painted, among many costumes of women\nand young men, on certain coffers in the form of chests, decorated"}, {"page_pdf": 80, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.80", "texte": "VENETIAN COSTUME\n\non the outer side, in which they kept their clothes and the bride's\ndresses which were given to them as dowry and as gifts. And that,\nwhich is here seen, was the costume of a bridegroom, with one of those\nred caps.\njp His dress was of damask, with elbow sleeves as is here seen. But in\nthe picture one discerns so little of the fashion that little light is thrown\nupon it, and thus we can ill conjecture the rest. The which would not\nbe so if for five hundred years painting, which so much pleased Alexander\nthe Great, had been held in full esteem, as it seems in our own day to\nhave begun to be once more, reacquiring the honour in which it was\nheld among the ancient Greeks, who would not have anyone exercise it\nwho was not noble, or at least rich: wishing by this means to prevent\nmen from painting for gain or to earn their living; so that he who set\nhimself to painting should have leisure, and facility to study, and to\ncreate works of such excellence as those of Appelles and of others.\nIt seems none the less that now it is brought back to such good\nconditions that one can desire little more. Because the modern Painters\nare so desirous of imitating nature that they no longer deign to paint\na clothed body; hence, drawing it nude, they avoid as much as possible\nrepresenting it with any kind of drapery around it. And even when they\ndo make it covered they strive to do so in such manner that beneath\nthe slight shades of the clothes, or rather veils, one sees the nude stand\nout with all the muscles of the anatomy and with all the natural fore-\nshortenings, almost showing one the impossible.\nIf therefore 1 have not described nor reproduced in drawing according\nto the order of the world's ages the diversity of the Costumes, which,\nit is to be supposed, has been great, excuse me,\nANCIENT COSTUME OF GENTLEWOMEN 44 ALLA DOGALINA \" OUT.\nOF DOORS.\nT*he ancient costume of Venetian gentlewomen adorned \"alia dogaiina\"\nfor appearance in public out-of-doors was of an amazing magnificence.\nOn their heads they wore a frame made of gold wire like a round gar-\nland, which surrounded the head as a diadem; the neck was bare without\nany ornament. Where the top of the bodice (which was girded above the\nhips with a girdle of massive gold.) began, it was adorned with gems.\n\\"}, {"page_pdf": 83, "page_imprimee": "155", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.83", "texte": "VENETIAN COSTUME\n\nThe greater number of them wore this bodice covered with gold and the\nremainder of the dress of purple or scarlet silk. They the sleeves\nof these gowns open and reaching to the knee, and usually they wore\nthem turned back or gathered up on the shoulders, as they often did\nalso those of the chemisette, showing their bare arms, the beauty of which\nwas enhanced by splendid gold bracelets which they were accustomed to\nwear at their wrists, the which they rendered white and delicate. Hence\nin those days the women, who had naturally beautiful hands and beautiful\narms, preserved them most beautiful as do those today who have a beau=\ntlful face.\nThey girded the said gowns with a silken girdle and In summer lined\nthem with watered silk and in winter with furs, either martin or ermine\nor grey squirril according to their taste.\nBeneath they wore several silken petticoats superbly embroidered, and\nthis continued until the year 1303 when it was established by law that\nso much must not be expended upon dress as had been the custom for\nmany years ; and this was decreed under the government of Piero Gra=\nnigo who was the forty eighth Doge of Venice."}, {"page_pdf": 84, "page_imprimee": "156", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.84", "texte": "BOOK REVIEWS.\n\nTHE APOSTLE. A DRAMA IN\nTHREE ACTS by George Moore.\nMaunsell and Co. Dublin.\nThree shillings and sixpence net.\njy\\r George Moore just holds you\nwith his glittering eye.... and\ndoes not hold you long. That is his\ncharm.\nHere in this volume he tells you\na story about Jesus Christ which is\nimmensely interesting,.... and which\nyou forget easily.\n£/ It is not the way he tells it, nor\nwhat he tells ; It is just the way he\nhas with him.\nIt must have been a rare pleasure\nto meet Mr Moore and hear and\nsee him talking.\nThis drama about Christ and\nPaul is no use at all, but Mr Moore\nhimself must be of enormous use.\nSurely he is a born actor, a teller\nof tales I How different it would be\nto hear him tell this story, getting\nit over and done in twelve or fifteen\nminutes, from reading 1t.... How\nmuch better. -S*\nIt is well written... all well done;\nbut it ought not to have been writ=\nten at all except as a poem ; in its\nprose it needs the face and the\nhands and the voice of the teller.\nIreland needs a man who can tefl\nstories like this. He should go round\nthe island in a cart and give the\nboys and girls something to dream\nabout; to spoil it in a book seems\ntoo bad.\n\nPROGRESS AND OTHER\nSKETCHES by R. B. Cunningham\nGraham. Duckworth. Price\nTwo shillings and sixpence. &\n¥)rogress \" is one of the best stories\nI have ever read, and Mr Cun=\nningham Grahamfis one of my favou-\nrite authors.\nJ£? The story is less like a real story\nthan any I know, and yet it is more"}, {"page_pdf": 85, "page_imprimee": "157", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.85", "texte": "BOOK RE VIE WS.\n\nlike a true story than any I have read.\n£7 It is a tale about sacrifices. £7\n£/ Cain and Abel used sheep and\nfruit to sacrifice to the Lord ; the\nLord nowadays seems to demand\ngreater proofs of man and asks him\nto sacrifice himself. \" Willingly \"\nsays the man ; and does it. &\nIt is a pity: it is as terribly sad\nas it is terribly gay; but it is quite\nclear that if it goes on much longer\nwe shall have none but Gods on this\nearth of ours. £ £7 £7\n£7 From man's point of view this\nis very unpractical. He would do\nbetter to persecute his fellows less\nif he really wants to exist; but if\nas we suspect he wants to get away\nfrom the vile world of his own in-\nvention, then he is going about it in\nthe best and quickest way possible.\n\" Progress \" shows pretty clearly\nthat soon, very soon, there will be\nnone but Gods on earth. Let us not\nbe sorry for those who are bringing\nthis about; they are but instru-\nments ; they cannot help their action:\nlet us congratulate them upon their\nobedience to the Devil and beg them\nto remain true to him. £7 £7\n\nWILLIAM BLAKE by G. K.\nChesterton. Duckworth £7 Price\ntwo shillings net. £7 &\nHPhe idea of publishing a little book\non Blake for such a sum with\nthirty=three of Blake's masterly de-\nsigns In it was an admirable one on\nthe part of Messrs Duckworth and Co.\n& The more one sees these designs\nthe more one marvels at the complete\nmastery of the artist; and it is\nso glorious a sensation as an English-\nman to be able to have one master\nwhose work one can lay with glowing\nassurance before the eyes of the\nmost cultured foreigner as represen-\ntative of England.^\nTo have chosen Mr Chesterton to\nwrite about Blake seems, alas, pretty\ndisastrous, when MrSturge Moore, Mr\nYeats and others have written so\nwell of him. For it seems doubt-\nful whether the burly Mr Chesterton\nwould ever know anything about\nBlake even after reading him up.\nYou see, he speaks of Blake as\nthough he were Chesterton,.... such\na mistake. He writes down to a\nPublic which floats above his ken.\nHe asks, if Blake could do so many\nthings \" why is it he could do none\nof them quite right ? \" £7\n£7 Of course that question can never\nbe answered for it is as though you\nhad said \" Answer this question,\nHi=he=ho-hum-hass \" and Echo an-\nswers \" A... 5... 5..!\" £7\n£7 But the illustrations are fully\nworth the few pence asked for the\nbOOk. £7 £7 J* £7"}, {"page_pdf": 86, "page_imprimee": "158", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.86", "texte": "BOOK RE VIE WS.\n\nTHE GARRICK CLUB by Percy\nFitzgerald. Elliot Stock. 0 Price\none guinea net. 0 0 0\niyir Percy Fitzgerald's book will\ninterest plenty of people who\nwant to know just a little about the\nactors of- England and it tells this\nlittle pleasantly. There is no attempt\nmade to treat the actors' calling too\nseriously; it is as if it were a plea-\nsant half-an-hour's chat In the vl-\nsitors' room of the club. 0\njZ? Some hundred pictures are in the\nbook and ali are agreable. 0\n\nMEMOIRS OF A MANAGER by\nDaniel Frohman. 0 Heinemann.\nFive shillings net. 0 0\njyl r Daniel Frohman has written a\nbook which will do more to show\nup the methods and vulgarity of\ntheatrical business men than any ar=\ntides we could publish on the subject\neven were we to write and publish\nsuch an article every week for the\nnext five years. 0 0 0\n0 In this book Mr Frohman has\nsuccessfully damned once and for\nall a calling which was already dis-\nreputable enough through the swin-\ndling of its devotees. 0 0\n0 As an example of the elegance of\nthe methods of the Impresario in\nregard to the artists whose business\nhe manages we cannot do better\nthan quote Mr Frohman's own words\nabout Miss Maud Adams; \"1 loaned\nher to the late Charles H. Hoyt to\nplay in The Midnight Bell at the\nBijou Theatre \" 1 Loaned her \"\nthe expression is superb ! And again\nIn reference to a play called \"Liberty\nHall\" he says that it was presented\nin England \"with Mr and Mrs Kendal\nwhen they were under my manage-\nment, to whom I ceded my rights\nto the play. It was then regarded\nas exceedingly strong meat\njZ? Those who find these extracts to\ntheir taste will find much more of\nthe same kind in the volume, which\nis actually issued in England by\nthat distinguished publisher Mr\nWilliam Heinemann, jZ? £?\n\nTHE STAGE YEAR BOOK. 0\nThe \" Stage \" offices, Londoni\nPrice one shilling net. 0 0\n.A very reliable book of information\ncovering most things theatrical.\n0 It is a pity this is true, but the\nevidence is in favour of what we\nstate. \" The Stage Year Book \", in\nshort, reveals at a glance the gla-\nring vulgarity of the modern\ntheatre and its methods. 0\n0 It is, in fact an admirable work\ncompiled with considerable trouble\nand expense to prove the utter\nfailure of the theatre to achieve\ndistinction. & 0"}, {"page_pdf": 87, "page_imprimee": "159", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.87", "texte": "BOOK REV I E WS.\n\nTHE SHAKESPEARE REVIVAL\nby R. R. Buckley and Mary\nNeal. & George Allen. Price\nthree shillings and sixpence.\nTphis book, which opens with a\nForeword by Mr F. R. Benson and\na record of the work of the Shake-\nspeare Memorial Theatre at Stratford-\non-Avon by Arthur Hutchinson, is\nthen divided into two parts, \" The\n\" Nature of Drama \" by Reginald\nBuckley and Folk-Art by Mary Neal...\nOn the subject of the so-called\nUrban \"Revival of Folk-Art\" Mr Felix\nhas written more fully on another\npage, (1) so that here we need only\nsay that the book is weli printed by\nMessrs George Allen and illustrated\nwith many photographs of well-\nknown actors and actresess in\nShakespearean parts.\n\nTHE ART OF MIMICRY by J.\nArthur Bleackley. Samuel French\nyyjr Bleackley, having perceived\nthat \" Drama is action \" instead\nof fuddling his brains with the de-\nlusion that it is the spoken word,\nhas already taken a step in advance\nof the majority of the wise and\nlearned gentlemen who amuse them-\nselves with writing books about the\ntheatre.\nx? In this unpretentious little hand-\nbook he has some interesting things\nto say about the art of Mimicry,\nrightly emphasising the fact that\nthe mimic must be interpretative\nand not merely imitative.\nBut he should go a step further\nnow and pass from Mimicry to the\ncreative art of Improvisation.\nHe, and all interested in this\nsubject, should study the history of\nthe Commedia dell'Arte (2) that\nsuperb school of Improvisation...;.,\nand the giant figures who created it\nand they will perceive an immense\npossibility opening out before those\nwho are ready to bring to the work\nsympathetic understanding, ceaseless\nand concentrated study,and a courage\nand determination which the initial\ndifficulties will not be able to daunt.\n(1) Page 135.\n(2) See \"The Mask\", from January 1911 onwards.\n\nTRAINING OF THE MEM OR Y IN\nART by Lecoq d\nTranslated by L. D. Louard.\nMacmillan, & Six shillings net.\njyi r Louard has rendered a useful\nservice in translating this book,\nfor Lecoq de Boisbaudron, who died\nin 1897 at the age of nlnety=two, is\nan interesting figure whose name\nand teaching are too little known.\nNumbering among his many pupils\nsuch artists as Rodin, Legros, Cazin\nand Fantin=Latour, and, through their"}, {"page_pdf": 88, "page_imprimee": "160", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.88", "texte": "BOOK REVIEWS.\n\nassociation with his own student s\ninfluencing, however indirectly,\nsuch others as Whistler and Brac-\nquemond, it is interesting to note\nhow fully the results of his teaching\nexemplified his own principle that\n\" Art is essentially individua I \",\nsince the same method did but assist\neach pupil to follow his own bent,\nwhether it were Rodin the sculptor,\nLegros the painter, Gaillard the\nengraver, Roty the medallist or Solon\nthe designer of pots.\nThe principle which Lecoq emp-\nhasized in his teaching was the im-\nportance of the cultivation of the\nMemory, meaning by Memory \"stored\nobservation\", and his method de-\nmanded from his pupils the strictest\naccuracy, thoroughness and most\nstern discipline. &\n& The present volume contains three\nTreatises, \" Memory of Form \",\n*' A Survey of Art Teaching \" and\n\"Letters to a Young Professor\",and is\ndeserving of such careful attention on\nthe part of the student as is ever due\nto the words of an expert; for Lecoq\nwas an expert in the work of teaching,\na work which, as he conceived it,\n\" requires a professor of unusual\ntalent, willing to devote his best\nenergies to the task\".\n\" If only people could understand\"\nhe writes himself, \" the immense\nself-denial, devotion, knowledge, and\nbreadth of mind that is demanded\nby his office, they could not fail to\nhold the teacher In the honour he\ndeserves\n. ** Undoubtedly \" we are told, \"\n\" Lecoq's own gift of teaching amoun-\n\" ted to genius, and genius of a\n\" very rare kind, the combination of\n\" strong personality with a complete\n\" power of self-effacement s \" and\nhis best success, as that of all true\nteachers, is in the success of those\nwho studied under him and who so\nfar surpassed their teacher In the\npractise of their art, for:\n\"He that by me spreads a wider\nbreast than my own proves\nthe width of hiy own,\n\" He most honours my style who\nlearns under it to destroy\nthe teacher\n%\n\nA HISTORY OF JAPANESE\nCOLOUR PRINTS by W. von\nSeidlitz. Heinemann. Price\ntwenty five shillings net.\nCrom this book, reviewed in the\nJuly number of The Mask, we\nnow reproduce four designs, by\nkind permission of Mr Heinemann."}, {"page_pdf": 89, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.89", "texte": "SHUNSHO: ACTOR IN FEMALE COSTUME\nExecuting a Dance with a Hobby Horse.\nFrom “A History of Japanese Colour Prints.”\n\nTHE MASK.\nOctober 1911."}, {"page_pdf": 91, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.91", "texte": "A LADY IN THE SNOW\n\nTHE MASK\nOctober 1911"}, {"page_pdf": 93, "page_imprimee": "161", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.93", "texte": "MAGAZINE REVIEWS.\n\nThe Forum, published monthly by\nMitchell Kennerley, New York, is\nalways interesting.\nThe most notable among recent\ncontributions have been by Mr W.\nB. Yeats, whose fine play, 44 The\nGreen Helmet\" appeared in the Sep-\ntember number, while to the August\nnumber he contributed a long essay\non 44 J. M. Synge and the Ireland of\nhis time\", which should be of especial\ninterest to Afhericans just now since\nthey will so soon have the opportu-\nnity of seeing some of Synge's plays\nacted by Mr Yeats's own company\nfrom the Dublin Abbey Thea-\ntre. jgf /£>\n£? The last number includes also an\narticle by Gaspard Etscher on the\n44 Renaissance of the Dance \" as\nexemplified in the art of Miss Isadora\nDuncan.\n«£> Mr Etscher writes enthusiastically\nand intelligently, but he is surely\nincorrect when he attributes to Miss\nDuncan the abolition of footlights,\nstating that 44 It is to her love of\n44 nature that we owe the alteration\n44 she made in the stage-light-\ning \".\n& 44 She diminished very much, as\n44 much as possible\" he goes on, \"the\n44 importance of the footlights, which\n44 are so irrational and produce so\n* often ugly shadows, throwing from\n44 the nose a black triangle on the\n'' forehead. \" &\nWe believe, however, that we are\ncorrect In saying that this doing\naway with the footlights was not due\nto any initiative of Miss Duncan's,\nbut was one of the first changes\nmade by Mr Gordon Craig when he\nbegan to stage plays in London ten\nyears ago, and that the American\ndancer has been but one among the\nmany who have imitated him In this\nas in his other methods of stage\nproduction.\n\nhicago's new theatrical quarterly,\nThe Drama, has reached Its\nthird number, which contains a\ndrama in four acts by Byornstjerne\nBjornson, together with papers upon\nsuch subjects as the French Dramatic\nSeason, the Irish Drama, the Reper-\ntory Theatre and the Art of Play\nReading. &\n\nHp*l6 Studio has issued a fine spe-\ncial number devoted entirely to\nPeasant Arts and Crafts in Austria\nand Hungary and containing about\neight hundred illustrations.\nIt should be secured by all who\nlove the natural and spontaneous\nArt Expression of the Folk. &"}, {"page_pdf": 94, "page_imprimee": "162", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.94", "texte": "FOREIGN NOTES.\n\nLONDON.\n\nMr Gordon Craig's Return\n\nr|phe Banquet given in honour of\nMr Gordon Craig on July 16th at\nthe Cafe Royal was in every way a\nsuccess A room full of welFknown\nfaces, universal good spirits, a com=\nplete absense of the stiffness which\nusually makes such affairs so dull,\nall combined to make a most enjoy=\nable evening. JZ? JZ? JZ?\n& Upwards of two hundred guests\nwere present and the number would\nhave been yet greater had the size\nof the room permitted. As it was it\nwas a most representative gathering\nincluding a large number of well=\nknown persons. JZ7 JZ?\nTo name but a few of those\npresent:.... JZ? JZ?\n& The Stage was represented by\nMiss Ellen Terry, Mrs Patrick Camp=\nbell, Mr Martin Harvey, Mr Herbert\nTrench, Mr Frederick Whelen, Mr\nW. B. Yeats, Miss Gertrude Kingston,\nMr C. B. Fernald and Mr Michael\nLykiardopoulos of the Moscow Art\nTheatre. JZ>\nAmong the Critics were Mr Roger\nFry, Mr D. S. Mc Coll, Mr P. Q.\nKonody, Mr E. F. Spence, Mr Austin\nHarrison, Mr J. S. Garvin, Mr Gilbert\nCannon. <0\nThe Church was represented by\nMrs Dearmer and the Rev M. F.\nBell. &\n£? Of the Painters there were Mr\nWilliam and Mr Albert Rothenstein :\nMr Augustus John, Mr James Pryde,\nMrWilliam Strang, Mr C. H. Shannon,\nMr Walter Crane, Professor Sauter,\nMr Hugh Riviere, Mr Young Hunter\nand Mr Chowne. & &\nThe Musicians were represented\nby Mr Martin Shaw, Mr Dunhill and\nMr Vaughn Williams, while among\nthe Writers present were the Hon.\nMaurice Baring, Mr H, G. Wells,\nLady Gregory, Mr George Calderon,\nMiss Cicely Hamilton, Mr Frank\nHarris, Mr Laurence Binyon and Mr\nHaldane Macfall.\nThe Guests also included Sir A.\nTurner, Lady Gomme, Lady Alix\nEgerton, Lady lan Hamilton and\nLady Downs, while letters or tele-"}, {"page_pdf": 95, "page_imprimee": "163", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.95", "texte": "FOREIGN NOTES.\n\ngrams of regret (i) were received\nfrom a large number including the\nDuchess of Sutherland, the Countess\nof Wemys, Mrs Alfred Lyttelton,\nMiss Marian Terry, Mrs Asquith,\nMr Laurence Housman, Mr Granville\nBarker, Mr Max Beerbohm, Mr\nMuirhead Bone, Sir Charles Holroyd,\nSir Squire Bancroft, and Mr Arthur\nBourchier. & & &\n& After the King's health had been\ndrunk with the enthusiam which all\nartists feel for Royalty, the Health\nof the Guest of the Evening was\nproposed by the Chairman, Mr Wil-\nliam Rothenstein, seconded by Mr\nW. B. Yeats. The Toast was drunk\nenthusiastically and replied to by\nMr Craig. & &\nMr R. E. Fry then gave \" The\nCritics \" and Mr E. F; Spence re-\nplied, after which the health of \"The\nGuests\" was proposed by Mr Fre-\nderick Whelen and responded to by\nMr Michael Lykiardopoulos.\n\" Macbeth \" at His Majesty's.\n/Auite the best production ever\nby the management of this\ntheatre and quite the best perfor-\nmance ever given by Sir Herbert\nTree. What has brought this about?\nSome of the London and Provincial\npapers have suggestions to make,\n(1) Some of these letters, together with some of the\nSpeeches are reprinted on pages 86 to 96 of this number\nand some put the goodness of the\nproduction down to the Influence of\nMr Gordon Craig, but none of the\npapers suggest why Sir Herbert\nwas so excellent as \" Macbeth\nI believe the reason was a simple\none. Sir Herbert Is impressionable,\nand has lately been impressed by\ncertain rumours that people were\nnot taking him as seriously as he\nhad all along hoped they were. He\nhas lately been told that if foolery\nIs admirable in the Circus it is some\ntimes intolerable in Shakespearean\ntragedy. &\nHe has also been told quite lately\nthat simplicity in stage production\nIs what the public can grasp as\neasily as elaboration and that the\nfirst is better suited as setting to a\nwork of art than the second. &\n<£? Besides this Mr Comyns Carr, the\nloyal friend of Henry Irving, has\nhelped Sir Herbert in the production,\nand Mr Carr knows all Irving\ndid, for Mr Carr is also impres-\nsionable. One noticed it in Sir\nHerbert's production of \" Faust\"\nsome years ago when Mr Carr acted\nas adviser, and one sees it again\nhere in ** Macbeth \". The Lyceum\ndays are not revived but there is\nsomething more than merely remi-\n%\nniscent of them. &\nThen Sir Herbert has asked"}, {"page_pdf": 96, "page_imprimee": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.96", "texte": "FOREIGN NOTES.\n\nsomeone to design him scenes and\ncostumes, and someone else to design\nhim some dances, and someone else\nto arrange him some fights and some\none else to suggest some ghost\nappearances and someone else..;.but\nif I began to give a list of the\nnames of people who had 44 helped \"\nSir Herbert produce 44 Macbeth \" I\nshould never come to an end. Sir\nHerbert puts some of their names\ndown ou his programme.... the others\nhe doesn't mention. uZ/ &\nu& I must say, however, that I\nshould like to see Sir Herbert pro«=\nduce a play by himself some day. I\nam sure it would be good much\nbetter than this patch~work of many\nhands who save the manager's time.\nuZ/ The part of 44 Macbeth \" however\nis all Tree, If you can manage to\noverlook the hand Shakespeare had\nin it. As an interpretation it is\nexcellent,.... quite first class. It is\ntheatrical and that is a great step\nfor Sir Herbert who is as a rule\namateurish. Not a touch of the\namateur marred this admirable\nproduction. uzz j£/ usz\nus> One last word about the produce\ntion. jZ/ us/ u? jS/\nu& Although Sir Herbert Tree spoke\nhis lines clearly,.... I heard nearly\nevery word.... many of the other\nactors were for the most part inau~\ndible; and added to this I could\nhardly see anyone except in three\nscenes. Mr. Gordon Craig had one\nfault when he gave us his first pro=\nductions in 1900 and thereabouts. It\nwas that he kept the stage too dark.\n&/ They say Sir Herbert Tree has\nborrowed from Mr Craig, but it seems\nhe has only been able to borrow\nthis fault.\n\nG. H.\n\nRomeo and Juliet.\n\nTyjr Fred Terry produced \" Romeo\nand Juliet\" here for his daughter\nMiss Phyllis Neilson Terry and worked\nwith much love. The result was de=\nlightful in very many ways. The\nplay was rapidly acted, (the only\nregret was that the curtain had to\nbe lowered more often than either\ndesirable or necessary) and the pro=\nduction was magnificent. The poetry\nof Italy was not there, but Shake-\nspeare's idea of the poetry of Italy\nwas there. Shakespeare is always\nEnglish. &\nAs for Miss Phyllis Neilson\nTerry.... how go on? How write about\nthe unwritable ? 1 could easily cri=\nticise and go wrong and abstain from\ncriticism and not do right. For\nexample how can one write about a\nseated figure of a young girl between\ntwo elder women, her mother and\nnurse ? The young girl's back is\ntowards us. She says only a few short"}, {"page_pdf": 97, "page_imprimee": "165", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.97", "texte": "FOREIGN NOTES,\n\nquiet sentences, and yet you are\nconscious that the whole essence of\nLove Is seated before you com-\nmanding the experienced. JZ?\nHow can one write of a look and\nI\nall it says? Such things inspire\nnot mere critics. Yet such a look is to\nbe seen In the face of this young and\ninspired actress when she abruptly\nis brought face to face with Romeo\nfor the first time. (Thai; was a most\nadmirable piece of stage management,\nby the way). Volumes of poems are\ncontained In that look.\nI must avoid all further attempts\nat criticism. But 1 would humbly\nsuggest to someone behind the cur-\ntain that if Miss Neilson Terry could\nbe let off the penance of having to\ncome before the curtain between each\nscene to acknowledge the roars of\nnoise from the audience I believe the\nwonderful actress would be better\nable to preserve that amazing mas-\ntery which possesses her in the\nearlier scenes until the very end of\nthe performance. u2?\nIt Is unfair to so delicate a human\nnature to expect it to preserve its\nfineness when faced with the over-\npowering experience of the approval\nof a London audience. Let the house\ncall at the end; let there be a million\ncalls then ; but during the perfor-\nmance If only Miss Neilson Terry\ncould be allowed to get away to the\nquiet of her room and keep to herself\nand her thought and emotion 1 feel\nso much would be gained for her\nand for us all. J£?\n\nF. N.\n\nThe Leicester Galleries.\n\nHPhere has been an Important exhi-\nbition of designs and models for\nstage scenery here this last month\nand the London press has honoured\nthe exhibitor, Mr Gordon Craig,\nwith a serious and enthusiastic\nJS>\nIn a leading article The Times\ndraws attention to the difference\nbetween scenery in the modern\nI\ntheatre and the scenery Mr Craig\nhas given us. \" One may take it as\nan axiom \" says the Times \" that\n\" any stage scene which satisfies the\n\" eye without the actors will distract\n\" both eye and mind when the actors\n\" are present. This is an axiom upon\n\" which Mr Craig's designs are based;\n\" but it is ignored in nearly all\n\" theatres, especially in poetic\n\" drama \". & &\nIn the Observer Mr Konody, in\na particularly clear article, says\nmany original things, and also re-\nmembers to repeat an obvious thing\nwhich has to be repeated again and\nagain before it will be clearly recog-\nnised. He mentions the PRACTIC-\nALITY of Mr Craig's work. \" What"}, {"page_pdf": 98, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.98", "texte": "FOREIGN NOTES.\n\n\" is truly extraordinary is that Mr\n44 Craig's opponents persist In con-\n-44 demning his work as unpractical,\n44 his effects of light and spaciousness\n44 as impossible of realisation on\n44 the stage. But Mr Craig has his\n44 answer ready for them, and the\n44 hammer blows of his logic are\n44 the more telling as the force\n44 behind them is... practical achieve-\n-44 ment\". £? £? & &\nHe then quotes from Mr Craig's\nnotes to his Catalogue:\ni\n44 The obvious thing that the\n44 London critic may say is that you\n44 cannot get such a height on the\n44 actual stage, and the surprising\n44 answer is that you cannot.... in\n44 London. Somehow or other, a sense\n44 of space is a thing seldom attemp-\n-44 ted in London. Those who have\n44 visited Italy, for Instance, notice\n44 how we dwarf our triumphal\n44 arches and our castle walls, (i) It\n44 is all rather neat here in London.\n44 You may say that would in EO\n44 way prevent a stage carpenter\n44 from being able to realise the\n44 of the wall before\n44 him. But 1 am afraid I must sug-\n-44 gest that you are wrong, for stage\n44 carpenters are as impressionable\n44 as yourself, and they have at last\n44 been • convinced that space is a\n44 thing which does not exist \". &\nj& In some of the theatres on the\nContinent they have got past this\ndifficulty, and yet without robbing\nthe actor, the stage manager and\nthe call boy of their employments. \"\nSeveral of the newspapers draw\nattention to Sir Herbert Tree's\nimitation of certain of the \"Macbeth\"\ndesigns..., made for Sir Herbert at\nItis request and withdrawn sby the\ndesigner from the theatre.\nWhether Sir Herbert has con-\nsciously copied would be unfair\neven to guess at; it is better to\nagree with those who believe that\nSir Herbert made strenuous efforts\nto avoid Mr Craig's powerful sugges-\ntions and was unable to get free.\nBesides one may be sure that Mr\nCraig would be the first to be de®\nlighted that any production should be\ninfluenced in the right direction.\nThe private view of the Designs\nattracted a large number of well®\nknown people, among whom were\nthe Duchess of Leeds, Lady Curzon,\nLady Shand, Sir Lawrence Alma\nTadema, Sir John Hare, Mr Maurice\nBaring, Miss Ellen Terry and Miss\nMarion Terry, Mr and Mrs Arthur\nBourchier, Mr and Mrs John Gals-\nworthy, Mrs Alfred Lyttelton; while\nduring the first two weeks of the\nexhibition some of those who visited\n\n(I) off the stage a* well as on."}, {"page_pdf": 99, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.99", "texte": "FOREIGN NO TES.\n\nthe Galleries were Sir George and\nLady Alexander, Madame Yvette\nGuilbert and M. Schiller, Mr Laurence\nHousman, Mr William Heinemann\nMr E. F. Spence, Miss Phyllis Neilson\nTerry, Miss Edith Craig, Mr and Mrs\nRothenstein, Mr and Mrs Bradbury,\nSignor Meo, Professor Sauter, Mr\nPatric CoSlum, Sir Albert Seymour,\nand Mrs Alfred Sutro. jp\n/\nSir Herbert Tree put in an ap=\npearance but only got as far as the\ninside of the half doors where he\nlingered for three minutes and then\nleft hurrldly. &\nMadame Sarah Bernhardt visited\nthe Exhibition and expressed her\npractical admiration of the work\nshown by inviting Mr Gordon Craig to\ndesign her a production of \"Hamlet\";\nMr Arthur Collins also visited\nthe Exhibition and expressed the\nopinion that he had never seen such\nrubbish in his life.\n& Thus we see that Mr Arthur\nCollins differs from Madame Sarah\nBernhardt and most of the English\ncritics and artists. Yet probably Mr\nCollins believed he was voicing\npublic opinion Is Drury Lane\nbecoming parochial ?\n\nG H.\n\nWITTERSHAM.\n\nA New Theatre.\nT. E.\ngt is not often that we are able to\nsend out any word about the\nDrama from this pleasant garden of\nEngland. But quite lately an artist\nhas come amongst us who has had\nthe desire to give us dramas and\nso we are all excited here. J£?\njg?The artist is Miss Laurence Alma\nTadema, and she not only writes us\nplays and promises to have us in to\nact them for her but she has just\nlately built us a theatre.\n1 have never seen another theatre\nlike it anywhere and so I think\nWittersham should be proud.\n.<s> Now we await the day when the\ncurtain shall be rung up though if we\nawait that day nothing will happen\nfor there is no curtain in her theatre.\nI will send you more news about\nthe delightful place In a few weeks.\nWhen England has ten thousand\nsuch little homes of drama in Eng=\nland all will be well: and now that\nWittersham has given the nation a\nlead what should prevent it ?\nMr MacEvoy has a theatre in a\nvillage but it is not like Miss\nTadema's. Hers is original and sim=\npie and untheatrical. Mr MacEvoy\nlike everyone else sees nothing but\nthe modern London Ttreatre in his\nvision. Miss Tadema sees Life.\n\nPARIS.\n\nThe \" Grand Guignol \".\n\nof the best known theatres in\nEurope, the Grand Guignol, is"}, {"page_pdf": 100, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.100", "texte": "FOREIGN NOTES.\n\nsurely the smallest building of the\nkind. There may be smaller audito-\nriums in out of the way towns ; in\nfact I know of one in Firenzuo'a on\nthe road to Bologna ; but for Paris\nit is amazingly sm'ali. ■£*\n& The Kleines Theater in Berlin is\nlarge in comparison. The Kunstler\nTheater of Munich and the Theatre\ndes Arts of Paris immense. jg?\njg? One pays very little for a seat in\nthis theatre de luxe ; the programme\ncosts another sixpence, and if one\ncomes three minutes before the\ncurtain rises one has time to count\nthe people in the house.\nIt assuredly cannot take much\nmore money than a hundred pounds\na night if every seat and every\nprogramme is sold, and it is likely\nthat not more than fifty pounds\nis taken on an a\\erage. & jg?\njg? How then is the theatre kept\nopen ? When 1 was there the other\nevening thirteen performers appear-\ned ; there were six pieces played ,\nand these performers, playwrights,\nnot to mention stage manager, scene\nshifters, gas men and others, need\npaying. jg/ jgf jg/\njg? I suppose the theatre is run by\nM. Max Maurey for political purposes\nor that he enjoys playing with a\ntheatre as collectors of stamps enjoy\ntheir own particularly thrilling\nhobby. £? & &\n<£? Stamp collecting is thrilling. The\nGrand Guignol is not. Or rather, it\nwas not on the night I went\nthere. &\nIt was about as tame as the\nPolice Gazette ; it is a kind of grown-\nup Frenchman's Hans Anderson.\nVery sentimental plays acted Indif-\n«\nferently by French actors who seem\nto be resting on the reputation won\nfor the place years ago. <g? &\nMile. Suzanne Valiier gave the\nonly really amusing performance,\nand when she was on the stage her\ncollaborators seemed to gather\nforce.\njg/ I saw Le Pharmacien, La Fee\nAtelier d'Aveugles, Le Devoir,\n(a farce acted in a surprisingly strong\nway by the three performers): Sous\nla Lumiere Rouge, (a very poorly\nacted piece of rubbish) and Apres\nvous Capitaine \". J£?\njg? I have no doubt that if the au-\ndience who go to the Grand Guignol\nwere alive the actors would become\nso in a trice; but the audience is a\ndead one, and compares most shame-\nfully with, for example, an Italian\naudience. jgr jg? jg? jg?\njg? An Italian audience would have\nhooted the performers of the Grand\nGuignol into acting. jg?\nParis Is decidedly tired.\n\nH. L."}, {"page_pdf": 101, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.101", "texte": "EDITORIAL\n\nTWO STORIES. The First Story.\nJ. S.\nM essrs Klaw and Erlanger are\ntimid. The following tale will\nshow it. They are also inventive. jZ?\n£? It appears that a certain American\nlady who wished to produce an opera\nin America went to see Messrs Klaw\nand Erlanger and asked them to get\nMr Gordon Craig to produce the work.\nOn hearing Mr Craig's name the\ntwo famous directors exclaimed in\nduet, \"Impossible 1 why we once\nwired to Mr Craig asking him to\nproduce us a spectacular drama here\nand he replied by cable \" wire a\nmillion dollars by return and I will\ncome over and consider proposition\".\nThis is true story for we have it\nfrom the lady herself. But there is one\nerror. Mr Craig never received any\nproposition whatever.\nIt Is true that Mr Craig has re-\nceived about the largest sum ever\ni\npaid a producer, but that should not\nfrighten Messrs Klaw and Erlanger.\nWe think these gentlemen must\nbe labouring under a delusion begot-\nten by a desire to open negotiations\nwith Mr Craig, and a fear lest they\nmight actually be able to pay him\nthe requisite fee. £?\nThe Second Story. &\nleading London actor in all since-\nrity was heard to say that no\nmanager would dream of asking Mr\nCraig to produce a play for him \"as\nMr Craig refuses anything but fifty\nper cent of the gross receipts \". £?\nThis, the poor gentleman could\nhardly know, was a lie, so he could\nhardly but be shocked and surprised.\nThe report was originally spread\nby a well known Actor-Manager\nwho offered Mr Craig ONE per cent,\nand we presume that he was too\nmuch ashamed to own up to such\nmiserly methods and attempted to\ncover the traces by false reports.\nAs a matter of fact we learn that\nMr Craig accepted these absurd terms\nin order to show his sincere desire\nto cooperate with the manager in\nquestion. We are curious to know\nwho that Manager is and what was\nthe result of the contract, and we\nhope that before long we may know\nmore of the Interesting details... for\ninteresting and amusing they cer-\ntainly must be:.... but one per\ncent Oh !. .. ."}, {"page_pdf": 102, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.102", "texte": "ALL RIGHTS RESERVED.\nGerente ResponsabiJe, GIULIOVANZI."}, {"page_pdf": 103, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.103", "texte": "THOROUGHNESS\nIN THE THEATRE.\nBY GORDON CRAIG,\nIN\n& THE ENGLISH REVIEW\nOCTOBERi 9 i i .\n\n-<£> EDWARD HILL BRANDON. &\nFowler Road, Forest Essex,\n* DESfGNS MENU CARDS, ETC. •*>\nPlease send for particulars to above address*"}, {"page_pdf": 104, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.104", "texte": "WALT WHITMAN.\nA \"LEAVES OF GRASS \" REPRINT.\nI propose to publish in facsimile Walt Whitman's personal copy of Leaves of Grass,\nedition of 1860=1861, in which he did much of the work of revision for the edition\nthat followed five years later.\nThis copy of Leaves of Grass is historic. It Is the volume abstracted by Secretary\ntiarlan from Whitman's desk in the Interior Department and made the basis for\nWhitman's discharge from that branch of the service. An account of this incident,\nwritten by Whitman himsif, will be photographically reproduced and\nincluded. The edition will be limited to five hundred copies. The price fixed\nten dollars for each copy. No books will be sent to editors for review and no\nrebates or discounts will be allowed to collectors or booksellers.\nThe text matter of this book will be printed from the original plates, which stil\nexist. The chirographical matter in Whitman's hand will be superimposed. In order to\nmaintain a strict likeness to the original, in which Whitman used black ink and pen =\ncils of several colors, it will be necessary for each sheet to go through the press from\nthree to five times. This is a costly process.\nThe production of this work calls for the finest skill of the photographer, engraver\nand printer. But it will be faithfully supervised to the remotest particulars\nEach volume will be authenticated by a number and my signature. Subs criptions\nwill be filled in the order they are received.\n& To persons who have a special interest in Whitman, as well as to students and\nslibraries (particularly to the libraries of schools and colleges), this remarkable reprint\nmust have unusual significance.\nNo steps will be practically taken in this matter until subscriptions sufficient to\ncover the initial expenses are received & Send for circular. HORACE TRAUBEL\n1613 CHESTNUT STREET, PHILADELPHIA. U. S. A\n\n9\nUk K\nMODERNE\nby JACQUESROUCHE\nprice five francs. _\n\"pROFUS EL Y I \"L\"\"L\nTREATING OF THE WORK OF\nSTANISLAWSKY, APPIA, REINHARDT,\nFRITZ ERLER, FORTUNY &\nGORDON CRAIG\nRduard Cotnely & Cie\n101 Rue de Vaug ira Paris\n\nDINI & CELLAI\nArtistic & Decorative Terra Cotta of\nSigna.\nVia di Foss i N. 1 - FLORENCE\n______________ -\nReproduction of sculptures of Old and\nModern Masters - Statues - Busts - Vases\n= Ba s - Reliefs - Fountains - Doors,\nChimney - pieces « Bases etc. etc. in\nevery style."}, {"page_pdf": 105, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.105", "texte": "j ANNOUNCEMENTS: FROM \" THE MASK PRESS \"\n| ARENA O OL DO NT. FLORE N C E. ITALY.\nI \"I THE MASK, NEW SERIES, VOLUME POUR. &\n1 I the a3W Vosume' beginning with the present number, Three\nI Editioas wiH b9 Published, and the yearly subscriptions, post free,\nI ik^FlWt0 tilese Ed,tions are respectively as follows.\nPopular Edition. . . . Shillings 15. Dollars 4.00\nLarge Paper Edition (60 copies.) „ 20. „ 5.00\n1 \\ Edition de Luxe. (15 copies.) „ 65, \"\n| THE MASK. OLD SERIES. 1908.... 1909.... 1910....\nnbound Sets, Vol. 1. Shillings 30. dollars 7.50\nVo** 2* ** ♦» as* ♦» »» 6.50\nD . . Vol. 3. „ „ 20. ~ „ 5.00\nBound in Vellum. Vol. 1 *= o _ft\n|\\ »» »» OS' 99 99 O«50\n%jg|y Vo,« 3- ». .» 30. „ „ 7.50\nVOL 3. ~ „ 25. ~ „ 6.50\nmmammmxmmm>rt<xKc'r are., w n rmnin—Ml MI IMIMULJIUIUULUI\nG$S _ mit_ A Pos*TPouo 0p ETCHINGS by GORDON CRAIO. &\nwCmTheSC Etc!lings wer® made by the Artist in 1907 at Florence and\nI |V represent his most serious work. Connected with his dream of an\n! Ideal Theatre» they have nothing In common wit h the Modern stage.\n| Only Thirty Portfolios were issued. Of these a few remain.\nir?T¥ Bach contains twelve Designs mounted on grey card, and with\nII I a Preface by the Artist. ;& j&\nSize of Pjrrlalij. 48x30 ctms. Price Sixteen pounds.\nI—3ll—,2^,^(Dollars 80, Marks 320. Francs 400.)\nI*. & & BOOK PLATES. &\nDesigned, Engraved and Printed by the -\nvers of San Leonardo: Arena Qoldoni, Florence, Italy.\nFrom the first design to the last print the work is executed\nand supervised by artists, and therefore Book-lovers may be confi-\nI dent that in sending to us they are ensuring for themselves a\nI wor*c whlcli shall be as careful in its execution as beautiful and\nI distinguished in its design.\nI I\" HERE IS SOMETHING FOR THE CHILDREN!\nPictures from Gordon Craig's \" Book of Penny Toys. \"\n& This book of colour drawings of the most representative\n1 English, Dutch and German wooden toys with accompanying\n/' (YA verses was published in 1899 anl proved so popular that copies\nJa XT' \\\nare rare'y l-0 be found. & & &\nB A FEW SETS OF THE TWENTY LARGE ILLUSTRATIONS\nIW Printed on thick art paper are still to be had, price four\nguineas, (dollars 21. M irks 82.00. Francs 105 00).\n& The Mask Publishers, Arena Goldoni. Florence. Italy.\nggwaaMaaiyn wanr hu .aaagßa—B* Mm Bff.i£gMBg£:.'aM>*a£3MMMMMMMMMww«MMME;jMaMi»i«MaMEa^Mc£ataMM»gMMKiiMMMMMMMMM>MMMHMMMMMMMMaMMMMMMMMMBMMnMiMMMMMM;MM\n- - -I - ■ -■TWfIITIM Tf HIIIIIIB I—l WWI |M"}, {"page_pdf": 106, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191110-01.1.106", "texte": "Printed for the Proprietor by Tipografia R. Lsstrscci, Via tfei Strragli, 104 Florence and published at The Office of \" The Mask \" Arena Qoidoni\n\nA LETTER FROM\nMme BERTHA RALICH NEW •\n1 cannot say enough in praise of\" The\nMask\n7o me it is a journal of rare intel-\nligence, embracing a knowledge of the\naesthetic in Drama, which is much needed\nin this era of commonplaceness and\nmediocrity•\nWith its truthful, instructive criticisms\nand progressive ideas, The Mask is\na school to the actor and to the general\npublic, a unique and interesting journal.\nTRADE AGENTS\nSimkin, Marshall, Hamilton,\nKent & Co. sLondon."}]}