{"numero_id": "bm-bmtnaau-1913-01-01", "volume": "bmtnaau_1913-01_01", "ocr_sha256": "ab578ee6fd00a8640647cd3863483d09a639a8d63cf140554ac2800e98414d37", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1913/01_01/bmtnaau_1913-01_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1913/01_01/bmtnaau_1913-01_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01", "articles": [{"article_id": "bm-bmtnaau-1913-01-01-c002", "article_bluemountain": "bmtnaau_1913-01_01#c002", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.2.2", "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=bmtnaau191301-01.1.2", "debut_caractere": 532, "fin_caractere_exclue": 1556, "texte": "LITERARY CONTENTS.\nPRELUDE. JANUARY 1913 J. S ,83.\nTHE SCHOOL FOR THE ART OF THE THEATRE ....... ,94.\nGOOD BOOKS ABOUT THE THEATRE. A. C i99.\nTHE ARCHITECTURE AND COSTUME OF \" THE\nTAMING OF THE SHREW\" & \"THE TEMPEST\" E. W. Godwin, 1875. . 199.\nTHE SACRED DRAMA OF CAMBODIA. . . . Pierre Loti, translated\nby A. K. Cooma-\nraswamy. . . 206.\nTHE PATH OF GORDON CRAIG George Baltruschaitis. 209.\nTHE GORDON CRAIG SCHOOL FOR THE ART OF\nTHE THEATRE. Laurence Binyon. ; 2I7.\nCLUNN LEWIS AND HIS PUPPETS John Bull . . . 221.\nCONVERSATIONS WITH MY REAL FRIENDS, No. 1\nCHAMPFLEURY Craig# . . 22g<\nLIVERPOOL PUPPETRY Ernest Marriott . . 334.\nTHE PRODUCTION OF A PUPPET PLAY. . . M. H. Bulley. . . 237.\nA HISTORY OF PUPPETS, (Continued) . . . \" Yorick\" (P. Ferrigni). 247.\nA STAGE PARADISO OF THE FIFTEENTH CENTURY. Giorgio Vasari. . . 266.\nAir CECIL SHARP AND THE ENGLISH DANCE Edward Edwardovltch 268.\nBOOK REVIEWS. FOREIGN NOTES. EDITORIAL NOTES. . . . 271.\nShort Extracts from the Words and Writings of Goethe, Victor Hugo. 204, 220."}]}, {"article_id": "bm-bmtnaau-1913-01-01-c003", "article_bluemountain": "bmtnaau_1913-01_01#c003", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.2.3", "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=bmtnaau191301-01.1.2", "debut_caractere": 1558, "fin_caractere_exclue": 1942, "texte": "ILLUSTRATIONS.\nFROSTISPIECE. BEHIND THE SCENES AT A PUPPET\nPLAY W. Phillips. Face. 193.\nTHREE DIAGRAMS FOR \"TAMINC OF THE SHREW\" E. W. Godwin. „ 20*. 202.\nDIAGRAM FOR CONSTRUCTION OF A PUPPET. J. B. 241.\nDIAGRAM FOR A PUPPET STAGE 1 n\nDIAGRAM FOR SUSPENDING PUPPETS. j. B. 245.\nHEAD AND TALE PIECES AND INI1IAL LETTERS by Gordon Craig, John Bull,\nOliver, and from old English Designs."}]}, {"article_id": "bm-bmtnaau-1913-01-01-c004", "article_bluemountain": "bmtnaau_1913-01_01#c004", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[192]", "page_fin": "[192]", "image_debut": 6, "image_fin": 6, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.2.4", "titre_corps": "Behind the Scenes at a Liverpool Puppet Play", "titre_sommaire": "Behind the Scenes at a Liverpool Puppet Play", "signature_source": "W. Phillips", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 6, "page_imprimee": "[192]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 76, "texte": "Behind the Scenes at a Liverpool Puppet Play, by W. Phillips, (see page 240."}]}, {"article_id": "bm-bmtnaau-1913-01-01-c005", "article_bluemountain": "bmtnaau_1913-01_01#c005", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "193", "page_fin": "195", "image_debut": 7, "image_fin": 9, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.2.5", "titre_corps": "PRELUDE. JANUARY 1913", "titre_sommaire": "PRELUDE. JANUARY 1913", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "193", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 1668, "texte": "PRELUDE. JANUARY 1913.\nVery much has of late been said and written about the\nSchool for the Art of the Theatre which Mr Gordon Craio-\nhas long declared to be essential for the Regeneration of\nthe Theatre and its Art. In the present number of The\nMask we print two essays upon this subject, one from\nRussia and one from England, and written by Dr George Baltruschaitis\nand Mr Laurence Blnyon. We also reprint the Preface from the Pros=\npectus lately Issued by the School Committee, as giving a clear Idea of\nthe object of the School and the intention of its originator.\nIn connection with this project a Society has been formed which Is\nknown as u The Society of the Theatre\" and which aims at creating a\ndramatic movement which shall at all times appeal to the theatrical\nrather than to the literary aspects of drama, meaning by \"\nthat form of stage reproduction which makes an appeal through the\nsenses to the imagination rather than to the intellect.\nThe Society looks to the idea of Gordon Craig as the inevitable medium\nfor a vital restoration of the theatre.\nIt will do all in its power to promote discussion of that idea with\nthe definite object of giving it practical expression.\nIt recognises the need of and wiil try to establish a School for the\nArt of the Theatre with Gordon Craig as authoritative director. And it\nwill endeavour by means of productions, exhibitions, demonstrations and\nany other methods afterward to be decided upon, to promote the ac=\nceptance of the idea for which it has been brought into being.\n«<£> The \" Society of the Theatre\" has Its offices at 7 John St: Adelphi\nLondon, and further Information can be obtained about both Society"}, {"page_pdf": 8, "page_imprimee": "194", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.8", "debut_caractere": 30, "fin_caractere_exclue": 2246, "texte": "and School by writing to the Secretary at that address.\nEvery reader of 77re Mask should be a member of the Society. J. S.\nTHE SCHOOL FOR THE ART OF THE THEATRE.\nThe object of this scheme, and the invention of its origi-\nnator, Mr. Gordon Craig, can be stated in a sentence....\nit is The Regeneration of the Art of the Theatre. It will\nnot be an institution for 44 teaching \" any art, nor for\nlearning the crafts of acting, of decorating, or of lighting.\nIt will consist simply of a body of earnest and thorough workers who,\ninspired by Mr. Craig, and building with him upon the foundations of\nhis past great work, will strive by means of experiment and research to\nrediscover and recreate those magic and elemental principles of beauty,\nsimplicity, and grace in a department of the art-world, from which at\npresent they are conspicuously absent.\nThe school will aim at doing, and revealing the means of doing, what\nis left undone by the modern Theatre. It will aim at infusing the life\nof Imagination into every Art and Craft connected with the stage, so\nthat fresh vigour will be given, not only to the creative powers of those\nactively connected with the drama, but also to those others, the spec-\ntators, who go to the theatre for refreshment, for artistic enjoyment,\nand for inspiration.\nThe present realism and vulgarity of the theatre, passively endured\nby thousands who do not know that things could be otherwise, may\nperhaps be said to amuse, to distract, or even to excite these thousands;\nbut the fact that it neither charms nor exalts them Is shown convincingly\nenough by the eagerness with which they leave their old theatrical idols\nand flock to such productions as 44 The Miracle, \"44 (Ed 1 pus Rex \" and\n44 Sumurun, \" whenever they have the chance of doing so. And these\nproductions, be it remembered, by no means embody all that Mr. Craig\nhas to reveal and to give ; they are not even his own personal work\nand invention, but merely a faint afterglow of his ideas, only a more or\nless incomplete emulation of his methods, attempted by admirers or imi-\ntators who still compromise, who are still too ready to make concessions\nto bad taste, and who still hesitate to go the whole length of Mr. Craig's"}, {"page_pdf": 9, "page_imprimee": "195", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.9", "debut_caractere": 30, "fin_caractere_exclue": 2330, "texte": "conceptions.\n£? It was with the serious intention of arriving at a complete realization\nof Mr. Craig's reforms that this plan of \" The School for the Art of the\nTheatre \" was arrived at. But to achieve this, experiment is necessary...\nexperiment, the thorough nature of which is impossible in the actual\nconduct of a Theatre and only possible in such a foundation as is now\nproposed. £? &\nCertain picked men will conduct researches Into every aspect of the\nthree elements Sound, Light and Movement of which the Art of\nthe Theatre is composed. They will publicly and privately produce plays,\nand they will constantly be in touch with certain Theatres, which, by\na system of cooperation, will have the benefit of all that is discovered\nand created in the School in return for their support.\n£/ It is hoped that the School, while being a practical and working\nInstitution, will exercise a living influence on the Art of the present,\nand create in course of time a solid basis upon which the workers of\nthe future will be able to build a vital and supreme Art. The whole of\nthe continent is now interested in the work of this Englishman, Gordon\nCraig. Only England is holding back, not because she does not want,\nbut because she does not know. If this School can become a practical\nreality the eyes of all that Europe which is interested in the theatre,\nwill turn with eager expectancy in our direction; and Paris, Berlin,\nMoscow, Florence, Munich, Budapest and the other great cities of the\ncontinent will experience the novelty of deriving their lessons in Art\nfrom an English institution, conducted and inspired by an Englishman,\non whom every one of them is already casting covetous glances, and\nfrom whom some of them have already derived lasting benefits.\nHear what Dr. Alexander Hevesi, Dramaturg=Regisseur of the State\nTheatre, Budapest, has to say about him: \"He (Mr. Craig) has his\nadmirers and followers in our little Hungary, the whole of the new ge-\nneration being under his influence, and without any disparagement to\nthe great merit and good luck of Prof. Reinhardt, we Hungarians, as\nclose neighbours and good observers dare say, that almost all that has\nbeen done in Berlin or Diisseldorf, in Munich or in Mannheim, for the\nlast ten years, is to be called the success of Mr. Craig.\" & £/"}]}, {"article_id": "bm-bmtnaau-1913-01-01-c009", "article_bluemountain": "bmtnaau_1913-01_01#c009", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "196", "page_fin": "198", "image_debut": 10, "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=bmtnaau191301-01.2.6", "titre_corps": "GOOD BOOKS ABOUT THE THEATRE : A Note upon the Need for them", "titre_sommaire": "GOOD BOOKS ABOUT THE THEATRE : A Note upon the Need for them", "signature_source": "A. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 10, "page_imprimee": "196", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.10", "debut_caractere": 0, "fin_caractere_exclue": 2219, "texte": "(GOOD BOOKS ABOUT THE THEATRE: A\nNote upon the Need for them,\nby A. C.\n'jphe study of the Theatre offers innumerable difficulties to the student.\nMr Huntiy Carter may be truthfully said, judging from his recent\nbook, to have overcome some of these difficulties with considerable\nsuccess,... with sufficient success for praise to be given him. (i)\nThere are a few energetic men Ira England, and very few of them turn\ntheir thoughts in the direction of the stage, and it is highly to Mr Car-\nter's credit that he has turned his energy and thoughts In the direction\nof the young European Theatre which is rebuilding its stage, refashioning\nits methods of stage production and generally making ready for a new\ngeneration,... for the next generation.\n& And because of this I am not going to point out for your edification\nthe holes in the raiment. Mr Carter knows them better than anyone\nelse and will no doubt spend much time in patching and darning.\nThe book would have contained no faults at all had some other Eng-\nlishmen whose names shall not be mentioned here been awake. Mr\nCarter has worked well, but I fear he has had to work too hard,... and\nunaided. That's what you fellows in the Clubs call \" a damned shame.\"\nWell then, iet me make use of the phrase here.\n& 1 once had the pleasure of meeting Mr Carter. We were both playing\ndemons in a kind of pantomime. I remember we threw a paper dart into\nthe air. Carter threw it awfully well, with just the same energy as he\nhas written this book. And we had to dance round a forest of trees and\nblow on huge kind of trumpets. It was a silly play... and we hardly made\nany money. Yet now Mr Carter has written a book on the modern Theatre,\nand I have been so successful that ! am able to spend all my time in\nParis and Peru where I am studying a Drama which... but no one is\ninterested in what I am doing.^\nAnd nobody in England was interested enough to help Mr Carter in\nhis making of this book. Now is their chance. We all want to see a number\nof good books written about the Drama and the Theatres of Italy, Spain,\nRussia, Germany, Hungary and so on. I want to see at least thirty first\nclass books published in the next three years.\n\n(!) See \"Book Reviews\", page 273"}, {"page_pdf": 11, "page_imprimee": "197", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.11", "debut_caractere": 32, "fin_caractere_exclue": 1672, "texte": "£? Now who is to pay for these books that we all of us want? What is\nMr Carnegie doing? JZ? £>\n£/ No, but really, quite seriously, I want to know what Andrew Carnegie\nis doing. ! know what I was told he was doing,.... trying to get rid of\nhis fortune. I could help him get rid of a thousand pounds a year, and\nI'm not thinking of myself. JZ? JZ?\n& I am thinking of the History of the Modern Theatre and Mr Carter\nand one or two other writers who could be of service to their country\nif some of that disastrous money could be let loose into their pockets.\nYou see, Andrew Carnegie, you're a man, and you know what a man\ndoes with money when he has a little, a little of it to spare after\nhis lodging and meals are paid for. He spends it on his work. In fact,\nAndrew Carnegie, if you will believe it, he spends it on his work before\npaying for his bed and food. & & &\n1 wonder if you will believe me ? I wish you would.\n£? And instead of remaining mute after 1 have had the impertinence to\naddress you publicly, and because of that, I wish you would just do as\nI suggest. JZ>JZ?JZ?JZ?JZ/J&J&J&\nDon't be frightened because I speak straight. I'm an Englishman, and\nI'm speaking for others and for a great Art which has yet to prove Itself.\nIf one night you saw in the streets the woman of Hood's great poem,\nif you passed her do you think you would recognise her?\nWhere the lamps quiver\nSo far in the river,\nWith many a light\nProm window and casement,\nFrom garret to basement,\nShe stood, with amazement,\nHouseless by night.\nAlas for the rarity\nOf Christian charity\nUnder the sun 1\nOh 1 it was pitiful!\nNear a whole city full,\nHome she had none."}, {"page_pdf": 12, "page_imprimee": "198", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.12", "debut_caractere": 32, "fin_caractere_exclue": 672, "texte": "Sisterly, brotherly,\nFatherly, motherly\nFeelings had changed :\nLove, by harsh evidence,\nThrown from its eminence ;\nEven God's providence\nSeeming estranged.\nEre her limbs frigidly\nStiffen too rigidly,\nDecently,... kindly...\nSmooth, and compose them ;\nAnd her eyes, close them,\nStaring so blindly 1\nDreadfully staring\nThro' muddy impurity,\nAs when with the daring\nLast look of despairing\nFix'd on futurity.\nPerishing gloomily,\nSpurr'd by contumely,\nCold inhumanity,\nBurning insanity,\nInto her rest.\nThat's the Theatre,... despised by everyone, used by everyone.\nIt will need a great deal of tenderness to make up for all the past\nbrutality. &"}]}, {"article_id": "bm-bmtnaau-1913-01-01-c011", "article_bluemountain": "bmtnaau_1913-01_01#c011", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "199", "page_fin": "204", "image_debut": 13, "image_fin": 18, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.2.7", "titre_corps": "THE ARCHITECTURE AND COSTUME OF SHAKESPEARE'S PLAYS", "titre_sommaire": "THE ARCHITECTURE AND COSTUME OF SHAKESPEARE'S PLAYS", "signature_source": "E. W. Godwin", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 13, "page_imprimee": "199", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 2057, "texte": "THE ARCHITECTURE AND COSTUME OF\nSHAKESPEARE'S PLAYS,\nby E. W.Godwin 1875.\nTHE TAMING OF THE SHREW.\nA play called the \"Tamynge of a Shrowe \" was entered\nat Stationers' Hall May 2, I594, by one Peter Shorte.\nIn Shakspere we have this piav merely remodelled, the\nmany references to costume, furniture, and other\nsurroundings being identical with the older work,\nexcept that Padua has been substituted for Athens.\nThis first \"■ Taming \"is not unreasonably supposed to have been the\nwork of Robert Greene, who died in 1592. We may therefore safely assume\nthe date of the action to be the same as that of the Merchant of Ve=\nnice...i.e., 1590.\nThe induction introduces us to two Warwickshire scenes\nI. Before an alehouse on a heath ; 2. A bedchamber in a lord's house.\nThe first of these is clearly at Wlncot, and the hostess is evidently\nthe fat alewife who has scored Sly fourteen pence for sheer ale. Wlncot\nor Wilmecot, anciently Wylmyncote, is three miles from Stratford-on-Avon,\na straggling, out-of-the-way sort of place, with poor, half-timbered cot-\ntages, any one of which would serve for the exterior of Marian Hacket's\nhome.\n& The second scene is necessarily sumptuous. A bedchamber in a noble-\nman's country house of the sixteenth century Is no difficult matter to\nfind, Compton Winyates, the Warwickshire seat of the Marquis of Nor-\nthampton, is full of them. Charlecote, Warwick Castle, Haddon Hall, or,\nnearer London, Hatfield or Knowle, may be referred to. The text itself\nsupplies us with a sense of the grandeur of the chamber, its size, and\nits luxuries. We have 44 sweet clothes,\" scented sheets, jewellery, a\ndelicious banquet, by his bedside. Modern pictures of classic myth hang\nupon the walls... Aphrodite (Cytherea) and Adonis, lo and Zeus, Daphne\nand Apollo. Musicians are in attendance. Sweetwood burns on the hearth.\nThere is a silver bason full Of rosewater and bestrewed with flowers, a\nsilver ewer, costly dress, numerous servants, and even a private company\nof players. On the floor would be small carpets or 44 tapets of Spayne\","}, {"page_pdf": 14, "page_imprimee": "200", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.14", "debut_caractere": 22, "fin_caractere_exclue": 2298, "texte": "and matting may be stretched beneath them. The furniture would include\ncarved chests, a carved settle, a few chairs with cushions of leather or\ncloth of gold or silk (satin) damask, a couch before the fire (once only\na royal position), a flap*table, some sconces for candles, and towering\nabove all a four-post bedstead blazing with gilded carving, with gold\nembroidery, rich vallances, precious fringes and pictured counterpane.\nWhen we know that the Duke of Exeter's bedstead and appurtenances\ncost 2,800/. (modern value) we can hardly run any danger of excess in\nelaborating this item in the scene.\nThere was no particular costume for the chase in 1590, and the only\nadditions to the ordinary country dress of an Elizabethan lord when\nhunting would be the horn and its belt, with a pouch and dagger. As It\nis winter time throughout the entire action of the induction and the\nplay the page should be dressed in a high gown of cut velvet, open in\nfront, disclosing a kirtle of embroidered silk. A ruff should be worn\nround the neck, a Jewelled chain over his breast, narrow puffings on\nshoulders and lace ruffs on wrists.\nTurning now to the play we find the architectural scenes are laid in\nPadua and in a country house about half-a-day's journey from the town.\nThere are twelve scenes altogether, which may be easily brought into\nthe compass of five. &\n1. A public place. (Act i. Sc. 1 and 2; Act iv. Sc. 2 and 4; Act v. Sc. 1.)\n2. A room in Baptista's house. (Acts ii. and ill.)\n3. A room in Petrucio's country house. (Act iv. Sc. 1 and 3.)\n(4. A country road.) (Act iv. Sc. 5.)\n5. A room In Lucentio's house. (Act v. Sc. 2.)\n1. The public square or open place in the first Act may by a little\nmanagement be made to serve the second scene of Act i., the second and\nfourth of Act iv., and the first of Act. v. The second scene of the third\nAct, which is described as being before Baptista's house, may just as\nwell be in the room as in the street; and 1 can find nothing in the text\nto prevent Lucentio lodging near the residence of Baptista, or to separate\nHortenslo from either. A diagonally-set scene, as suggested in the annexed\ndiagram (No. I.), would give us the open place P; the house of Baptista\nB, with a courtyard; the house of Lucentio, I, with an arcade, A; the"}, {"page_pdf": 15, "page_imprimee": "201", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.15", "debut_caractere": 28, "fin_caractere_exclue": 1591, "texte": "house of Hortensio, H, with an arcade, A; streets, ss, going in two\ndifferent directions: and the proscenium at MN. There may be more\narcades if the stage is a\nlarge one, for Padua was a\ncity of arcades. The style of\narchitecture may be both\nGothic and Renaissance, much\nthe same as already described\nIn my notes on The Two\nGentlemen of Verona, (i)\nAnd yet we should re-\nmember that, without going\nback to Antenor, a certain\nair of antiquity characterised\nthis \" nursery of arts\" in Shakspere's day even more than now; that\nalthough Palladio and other architects of the Revival pulled down, built\nup, and changed pointed for round, the Renaissance never took hold of\nthe university town with that destructive grasp which it laid on so many\nmediaeval towns of fruitful Lombardy. A plain brick building at I, with\npointed arches to the arcade supporting the front of the house, would\nmark one very prevalent type of Padovian construction. A Romanesque\nbuilding at H of brick, with some later addition (such as a Renaissance\ndoorway of marble), and a half Gothic half Renaissance house at B,\nwould give us that sort of historical\nsequence and aristocratic air suggested,\nnot only by the known history of the\ntown, but by the language of the ope-\nning speech in the play.\n2. The room in Baptista's house,\nforming as it does the scene for the\nwhole of the second, and by the slight\nalteration I propose the whole of the\nthird Acts, should not only be a care-\nfully-constructed scene, but should be built out as much as is possible\n\n(lj Sec \" The Mask Vol: II page 168."}, {"page_pdf": 16, "page_imprimee": "202", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.16", "debut_caractere": 15, "fin_caractere_exclue": 1945, "texte": "with the time at the disposal of the scene-setters. In figure 11, 1\ngive a diagram, showing an interior arranged (as indicated by Baptista's\nremarks) with an open loggia, I, with doors leading to the offices, &c.,\nand a door to the private apartments, D. E is a fire-place ; G, garden or\ncourt; M, N, the proscenium. Through the open arches the painter\ncould give a view of the marvellous and singularly distinctive church of\nS. Antonio, with its half-dozen domes and minaret-like towers; a picture\nthat would at once, and with very little labour, give local colour to\nthe scene. For it must be acknowledged that, unless strongly-marked\nfeatures like this are seized whenever the opportunity for doing so\noccurs, it would be more than probable that, in those plays where the\nstory and the action are contemporary with the writing, or nearly so,\nthe interior scenes would become monotonous. In the Scene now before\nus I should accept the Renaissance for the style of the architecture,\ndecoration and furniture. And as to the details of these there can be\nno difficulty. We can find them all, and draw them all in one day, at\nSouth Kensington.\n& 3. Petrucio's country house might have been a half-fortified Gothic\nhouse, or even a castle. The scene is the hall, and the text only demands\na large fireplace with andirons and a sufficient number of entrances.\nPetruclo is a Veronese; and in the neighbourhood of Verona, on the\nroad to Padua through Vi-\ncenza, are still to be seen\nmany mediaeval castles of\nmore or less picturesque\noutline, which must have\nbeen used as residences long\nafter the necessity for such\na style of fortification had\npassed away. This scene\nwould perhaps be best ar-\nranged diagonally, as in fig.\nIII., where M N is the proscenium ; F, the fireplace; w. window recess:\nP, passage, with wood posts and brackets supporting gallery over the\npassage; E, entrances and exits. Let the walls and doors be hung with"}, {"page_pdf": 17, "page_imprimee": "203", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.17", "debut_caractere": 26, "fin_caractere_exclue": 2449, "texte": "tapestry, the mantelpiece made a very important feature and built up\nto the ceiling, and the window carefully arranged, and the effect of such\na scene would be realistic and I think satisfactory. But the furniture, of\ncourse, must be rationally placed and the acting natural. & &\n4. The country road I leave and pass on to Padua. £? £?\n5. The hall or dining room of Lucentio's house should constructively\nharmonise with the exterior shown in fig. I.; that is to say. a Gothic brick\nbuilding would not shelter a Renaissance interior, except so far as such\nfittings as fireplaces contribute to the character of the rooms. &\n& And now if we turn to the text we shall find the style and character\nof much of the fittings and furnishing of the scenes indicated by the\npoet himself, in Gremio's city house there is wealth of plate and gold,\nbasins and ewers, hangings of Tyrian tapestry, ivory coffers where the\nmoney is stored, cypress chests containing his arras, bedding, patchwork\nquilts or counterpanes, costly apparel, tents, and canopies; there too is\nplenty of fine linen; he has Turkey cushions bossed with pearl, valances\nembroidered with Venice gold, and indeed all things that belong to house\nor housekeeping. Of a surety Baptista Mlnola would have no less.\nThe Costumes of the towns of Padua, Verona, Florence, Pisa and\nMantua, at the date of the action (1590), can be learnt in picture galieries\nand in the pages of Cesare Veceliio. (i) Minola's daughters would be dressed\nin high'bodied gowns, ruffs round neck and wrists and generally like\nthat I have described in my last article for the lady of Belmont, (2) the\ndifference here being not one of shape but one of costliness of material.\nOf this however we may be quite sure, that the low square cut dress, so\nmuch a favourite with the Venetians, was quite a rarity on the mainland.\nThe University dresses of the doctors and the scholars or students were\nthe same as those of Venice. And the old gentlemen would wear long\ngowns as in Venice. But the text is so full of references to costume, and\nour libraries, museums, and galleries contain so many illustrations, that\nit is unnecessary for me to dwell longer on the subject. I may however\nadd that the play makes mention of painting the face, of a coloured\nhat and cloak, as the dress of the student Lucentio, as distinguished from\n\n(1) See \" The Mask Vols; I, II, IV.\n(2) See \" The Mask Vol; I poges 75 and 91."}, {"page_pdf": 18, "page_imprimee": "204", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.18", "debut_caractere": 28, "fin_caractere_exclue": 1404, "texte": "the sober or black dress of his servant, and reference is made to scarlet\ncloaks, copatain hats, jerkins, breeches, boots buckled and laced, linen\nstocks or stockings, kersey boot hose, velvet hose, hat=feathers, blue\ncoats, pumps and fustian for servants; carpets, leathern jacks, slippers,\nsilken doublets and coats, caps, cuffs, farthingales, scarfs, fans, amber\nbracelets, beads, a very small velvet cap for ladies, and last of all, poor\nKate Minola's gown made loose bodied, with a small compassed cape and\ntrunk sleeves, curiously cut and snipped all over like to a censer in a\nbarber's shop.\nTHE TEMPEST.\nus with no architectural scenery of any kind. 1 take the period\nof the action to be of the time of Shakspere, but if the introduc-\ntion of the Duke of Milan makes the historical student uneasy, then there\nIs no reason why the costume should not be put back seventy years or\nso. In the latter case we should have dresses similar to those described\nin my notice of The Two Gentlemen of Verona: if we accept the later\ndate, the costume, as described in my notices of The Taming\nof the Shrew and The Merchant of Venice will suffice. One thing is\nespecially worth noting that the shipwrecked princes and nobles have\ntheir doublets and garments as fresh when they put them on first in\nAfrica at the marriage of the King of Naples' daughter Claribel to the\nKing of Tunis."}]}, {"article_id": "bm-bmtnaau-1913-01-01-c017", "article_bluemountain": "bmtnaau_1913-01_01#c017", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "204", "page_fin": "205", "image_debut": 18, "image_fin": 19, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.2.8", "titre_corps": "A WORD ON THEATRE MANAGEMENT", "titre_sommaire": "A WORD ON THEATRE MANAGEMENT", "signature_source": "Goethe", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 18, "page_imprimee": "204", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.18", "debut_caractere": 1406, "fin_caractere_exclue": 1910, "texte": "A WORD ON THEATRE , Goethe.\nsaid 1, *'cannot sufficiently extol the excellencies of\nthe theatre of Weimar at that time.\"\n& \" I cannot deny it, It certainly possessed merit. The principal cause of\nthis success was the absolute liberty left to me by the Grand Duke; I\ncould cut and prune as I wished. I did not seek to have splendid scenery\nand a magnificent wardrobe; no, I only sought to have good plays. From\ntragedy to farce, every kind was good to me; but to find favour a play\nhad to have some worth."}, {"page_pdf": 19, "page_imprimee": "205", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.19", "debut_caractere": 35, "fin_caractere_exclue": 2265, "texte": "That it had grandeur and strength, or grace and gaiety was not\nenough ; it was necessary that it should be a consistent work, a healthy\nwork; tearful sentimentalities, sickly weaknesses were excluded once\nfor all as well as repulsive horrors and all which is opposed to purity of\nmanners ; by all those performances I should have lost actors and public.\nOn the contrary, the good plays elevated the actors. For the study\nand continual practice of perfection must necessarily make something\nof the being whom nature has not wholly deserted. &\n1 also kept myself In perpetual contact with the actors, I directed the\nfirst rehearsals and I explained to each his role as he read it; I was\npresent at the principal rehearsals and sought with them the means of\ndoing better ; I did not miss the performances, and the following day I\nmade my observations upon what had seemed to me to be not good on\nthe previous day. I thus caused them to make progress in their art.\njgr I sought at the same time to raise the actor class in genera! esteem ;\nI received at my own house the best of them and those who gave the\ngreatest promise, and I thus showed to the world that 1 judged them\nworthy of entering with me into full social relations.\nThe rest of the good society of Weimar did not fag.behind me in this\nand actors and actresses soon obtained an honourable entry Into the best\ncircles. All this served to assist in their interior and external develops\nment. My pupil Wolf at Berlin, and our Durand are persons of the most\nexquisite social tact. Madame Oels and Madame Graff are sufficiently\ncultivated to honour the best society.\n*£? Schiller acted like myself. He had many intimacies among the actors\nand actresses. He was present, like myself, at all the rehearsals, and\nafter each successful performance of one of his plays he was in the- habit\nof inviting the actors to spend a day with him in pleasure. They mutually\ncongratulated each other on what had been successful and discussed the\nImprovements to bring to the next performance.\nBut when Schiller arrived he already found actors and public far\nadvanced, and that, it must be said, contributed to the rapid success of\nhis plays.\nFrom the \" Conversations\nwith Eckermann 1822=1832."}]}, {"article_id": "bm-bmtnaau-1913-01-01-c018", "article_bluemountain": "bmtnaau_1913-01_01#c018", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "206", "page_fin": "208", "image_debut": 20, "image_fin": 22, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.2.9", "titre_corps": "THE SACRED DRAMA OF CAMBODIA", "titre_sommaire": "THE SACRED DRAMA OF CAMBODIA", "signature_source": "Ananda K. Coomaraswamy ; Pierre Loti", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 20, "page_imprimee": "206", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.20", "debut_caractere": 0, "fin_caractere_exclue": 2073, "texte": "THE SACRED DRAMA OF CAMBODIA,\nTranslated from the French of Pierre Loti\nby\nAnanda K. Coomaraswamy.\nuddenly the music grows more still and more\nmysterious, as if to announce some supernatural\nappearance. One of the lower doors opens, and\nan adorable fairy-like creature springs into the\nmidst of the hall: an Apsara from the temple of\nAngkor. Impossible to create a more perfect\nillusion ; she has the same features because she\nhas the same pure blood, the same enigmatic\nsmile, the lowered and almost closed eyelids, the same bosom of a quite\nyoung girl, scarcely veiled by a thin silken net. uz?\nHer dress, too, is scrupulously copied from the old bas-reliefs, but\ncopied in real Jewels and splendid stuffs; sheaths of cloth of gold enfold\nher legs and thighs.\n& Her face is whitened with powder, her eyes are artificially lengthened\nand she wears a very high gold crown, set with rubies, its point tapering\nlike a pagoda, and on her shoulders a sort of fins or wings, in gold and\ngems. Of gold and gems, too, are her great belt, and her anklets, and\nthe arm-rings that grace her bare arms, of the colour of amber touched\nwith rose. JZ? js- JS? ss?\nAlone on the stage, at first, this little Apsara of two ages, an ema-\nnation of a sacred bas-relief, makes signs towards the same door... which\nbecomes for us a gateway of fairy visions.... and two of her sisters run\nup to rejoin her, two new Apsaras, equally brilliant, their hips covered\nwith the spine stiff sheaths, wearing the same golden crowns and wings.\nThey hold each others' hands, all three. They are Apsara queens, no\ndoubt, for a throne has been prepared for them to sit upon. But signs\nof dissatisfaction are exchanged between them, and they make again the\nsame gestures of summons, towards the same door. It was already mar-\nvellous to behold three. Can it be that more are coming ? They come In\ngroups, ten, twenty, thirty, dressed as goddesses like the first, with all\nthe treasure of Cambodia on their heads and their beautiful shoulders.\nThey stand before the three queens and perform their ritual dances"}, {"page_pdf": 21, "page_imprimee": "207", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.21", "debut_caractere": 32, "fin_caractere_exclue": 2416, "texte": "...dances in which they hardly move from one place and that are, more\ntruly, rhythmic tremors of their whole being. They twist like snakes,\nthese little slender beings, who are so supple and seem to have no bones.\nSometimes they stretch their arms like a cross, and then the serpentine\nripple begins in the fingers of the right hand, ascends successively by\nthe wrist, the forearm, upper arm and shoulder, passes across the throat,\ncontinues,on the other side, follows the other arm and dies away in the\nfinger-tips of the left hand, covered with rings. &\nIn real life, these exquisite little ballet-dancers are carefully guarded\nchildren, often even princesses of the royal blood, whom none may ap-\nproach or behold. From the beginning of their life they are trained in these\nsupple movements which appear so impossible for human limbs these\nposes so unnatural, and yet in this country immemorially traditional, as\nwitness the stone people of the ruins.\n£7 They have come now to act some scenes from the Ram ay am, just as\nthey were carved on the hard sandstone, the bas=rellefs of the ancestral\ntemple. £/ £7 jS? £? £7\n£7 And here are their beautiful chariots of war brought in, miniature\ncopies of those of Angkor=Vat. But by a na'ive convention, the elephants\nthat should draw them are replaced by men, walking on all fours, naked\nand yellow, wearing great cardboard heads with trunks and moveable\nears. Then we are shown gracious and tragic scenes, fights with monsters,\nand especially victorious processions. £7 £7 £7 £7 £7\n£7 We see a little queen of fourteen or fifteen, perfect In her chariot of\nwar, pursued by the avowals of love of a young soldier, rejecting them\nwith infinite virgin grace ; we see a thousand delicate and charming\nthings, that witness to a most refined art. Whenever a group of Apsaras\nwithdraws by one of the doors, behind, another appears at the other\ndoor, and comes in slowly to fill the hall. There are some of these little\nfairies all in gold, who may be seven or eight, who are painted like idols\nwearing especially high crowns, with jewelled wings on their shoulders,\nwho march past, dignified and grave in hieratic poses.... £7\n£7 Here is the King of Monkeys, with his golden grinning mask... such a\none, of course, as I saw carved on the walls of the old temples. He too\ntakes unnatural, Impossible poses (always those of the bas-reliefs); his"}, {"page_pdf": 22, "page_imprimee": "208", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.22", "debut_caractere": 30, "fin_caractere_exclue": 1453, "texte": "young limbs were very early adapted to these traditional demands. Next\na whole army of monkeys invades the scene: still little girls, little prin-\ncesses, masked like scarecrows, though tiieir young breasts are outlined\nunder light and precious silks. & & &\nAnd this wonderful but not verj' formidable host are going to set free\nthe lovely Sita, held captive by demons in a far away island.... We are\nIn the midst of the Ramayana, and the very same spectacles must have\nbeen presented at Angkor-Thorn, they must have worn the same costume\nthen ; this evening has revealed to us the splendours of that legendary\ncity. Ages that seemed to us for ever past have come to life before our\neyes; but it is no conscious reconstruction that has brought them to\nlife ; no, it is only that nothing has changed there, in the depth of the\nsoul or of the palace, since the heroic ages. Despite its so reduced power\nthis fallen Cambodian people remains the Khmer race that once was the\nwonder of Asia, in its mysticism and its pomp; we know too that it\nhas never lost the hope of recovering its old capital, buried for ages in\nthe forests cf Slam,.... and It is aiways the Ramayana, that old and\nindefinite epic that continues to arouse its imagination and to guide its\nMay France, protectress of this land, understand that the ballet of\nthe kings of Pnom-Penh is a sacred legacy, an ancient marvel that must\nnot be destroyed. & & & & & ."}]}, {"article_id": "bm-bmtnaau-1913-01-01-c021", "article_bluemountain": "bmtnaau_1913-01_01#c021", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "209", "page_fin": "216", "image_debut": 23, "image_fin": 30, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.2.10", "titre_corps": "THE PATH OF GORDON CRAIG", "titre_sommaire": "THE PATH OF GORDON CRAIG", "signature_source": "George Baltruschaitis", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "209", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 1993, "texte": "THE PATH OF GORDON CRAIG,\nby George\nBaltruschaitis.\n(0\n& \" Epur si mu o e.\" Galileo.\n(2)\nhe most unjust burden which can be inflicted by\nDestiny upon the soul of an Artist Is that of finding\nhimself constrained, instead of creating and crea-\nting, to demonstrate to men the vitality of his\ncreative work, to persuade people of the truth of his\nprophetic vision.\nBecause successfully to demonstrate, especially in\nmatters of art, it is too often necessary to make the blind to see, while\nto persuade it Is almost always necessary to make the deaf to hear.\n£/ But such a burden becomes supremely unjust if the artist, instead of\ncreating and only creating, is compelled to seek among men the instru-\nment and all the material of his &\nThis is the case with Gordon Craig. And until such time as his dream\nshall be realised he can find some consolation in the fact that very many\namong the great have travelled this same way. The door of humanity is\nclosely barred even though there should knock upon it the very hand\nwhich carries truth and life. But in the Eternal Book it is written,\n\" knock and it shall be opened \".\nWhen Craig began his great campaign of reform the very life of the\nEuropean theatre was in extreme confusion, and, as an art, it had lost\nall sense of direction and all intrinsic value. While Poetry, Painting,\nSculpture, and even the most permanent among the arts, Architecture,\nhave now long since discovered the oniy way for their true development,\nand while in them youth, and the enormous power of the new elements\nand the new forms, of the new purposes and the new means, have re*\nblossomed to the full, the theatre has continued in its glorious way to\nbe ever the last, a safe refuge for the senseless, as aesthetic system ;\nfor the false and dead realism. & &\nSuch fidelity on the part of the theatre to the \" good old days \",\nsuch blind persistence in its error and decrepitude seems the more\n\n(1) English translation by D. Nevile Lees.\n(2) 44 All the same it moves. \""}, {"page_pdf": 24, "page_imprimee": "210", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.24", "debut_caractere": 30, "fin_caractere_exclue": 2353, "texte": "strange and ridiculous in that the general Renaissance through the spirit\nof the new life was no haphazard thing, was not based upon the will or\ncaprice of individuals, but resulted as the direct consequence from the\nother, more profound and more mysterious, transfiguration in the human\nsoul. &\n\\\nAll the manifold activity and the age-long development of the forces\nof culture and all the subjective experience of men have contributed to\nthis end;.... that our mind has its character, and our senses\nhave become more acute, more subtle and complex, and our very soul is\nchanged past recognition. &\nAnd today we ail, even the most careless, see things differently: our\nthoughts are of other things; our way of life is changed. Nay, more, all\nthe secret activities of our human will have entered into a new and\nmore fruitful relationship with the Universe, and our faith, our prayer,\nour conception of God are no longer those of heretofore. & &\nThis, and this only, has produced all the changes in the mind of man\nand in his Art, and from this wave in the universal awakening and the\nuniversal revolt of the spirit has come forth Gordon Craig. & &\n& His uncompromising attitude is immoveable because the reformer In\nhim takes Its stand upon the facts of life Itself as executor of its irre-\nsistable will, as creative instrument of its eternal movement. And the\nenemies of Craig should bear in mind that It is not he, Gordon Craig,\nbut Nature itself, the liberated soul, that Is in conflict with them.\nHe alone has first, and more clearly than any other, heard the im-\nperious voice of life: he alone, first, and more solemnly and courageously\nthan any other, has proclaimed the divine message of Beauty and of the\nnew aesthetic truth in the Theatre, indicating at the same time the\nprecise and practical way in which to give it form. The sure triumph\nof his idea! can, naturally, be retarded by opposition ; the precision of\nhis ideas can be obscured by sophistries; but life is life, and those things\ndestined to die.... will die.\n& By this time the very patrons and defenders of the existing Theatre\nhave evidently themselves some sense of its decrepitude and its imminent\ndeath. Indeed, only the fear of death can explain all the efforts to return\nto the conditions of the ancient stage, to the Greek tragedy, to the my-"}, {"page_pdf": 25, "page_imprimee": "211", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.25", "debut_caractere": 29, "fin_caractere_exclue": 2242, "texte": "stories of the Middle Ages and so on, and only as fumblings towards a\ndoor which shall lead to life can one explain the recourse to the ma-\nrionette theatre, to the open air theatre, and so on. £? & &\nBut neither the string of the marionette virtuoso nor yet the real\nrustling of the woods can restore the old invalid, just as its days have\n%\nnot been much prolonged by those well-known theatres of Stanislawsky\nat Moscow, of George Fuchs at Munich and by all the activity of Pro-\nfessor Max Reinhardt, who has annexed some of Gordon Craig's ideas,\nonly externally and one-sidedly understood them, and, with great fame\nand profit to himself has carried them almost all over Europe.\nAll these things are but the twigs upon the ancient trunk, the flowers\nupon the old soil. Each improvement and renewal, where it has really\nbeen effected, remaining within the false circle of the past, has touched\nbut the exterior part of the theatre while the essence has always remained\nthe same.\n& Not being a true and independent art and not exerting any power or\nany talent towards becoming a fine art, the present theatre continues to\nusurp the place of the true theatre, and retards its renaissance. And\nmore than that; debasing the drama and following the caprices of the\nPlaywright whom it has itself corrupted, it bars the way to the true\ndramatic poet. And yet more that that; it depraves the taste of the\nspectators, weakens the value of the theatre as an instrument of culture,\nand stifles in the public the true conception of the theatre as an art. In\nfact, were spiritual values as severely scrutinized by men as are moral\nand material values, the modern theatre would have been long since\nproclaimed a great public calamity.\nII.\nhe construction of his idea! theatre Gordon Craig has commenced\nby experiments upon the problem of space in the theatre, by\nmeans of which he has arrived at the admirable Invention of\nthe new Scene in screens, which has been exhibited in London and\napplied < with great success last year (i) in W. B. Yeats's theatre in\nDublin, and with yet greater results this year in Moscow. & &\n& Whoever has seen the etchings and scenic designs of Craig cannot\n(I) This was written in January 1912."}, {"page_pdf": 26, "page_imprimee": "212", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.26", "debut_caractere": 31, "fin_caractere_exclue": 2433, "texte": "but marvel at the vast expression and the amazing effects which he\nknows how to create by his original and wholly characteristic treatment\nof line. Now treating of any random subject, now seeking to express a\nmental state through the human figure, Gordon Craig's line finds an\nideal curve, a contour of extraordinary aesthetic value.\nThe happy and most rare combination in him of a fine pictorial artist\nand a great psychologist... and Craig is indeed a psychologist in the most\nsubtle sense of the word... has converted geometry in his hands into a\npowerful means for the expression of life; an expression always and equally\nprecise in both its beauty and its inward truth.\n£? In the scenes of Craig the line becomes a kind of living emblem of a\nmotion of the human souf. It is to him what sound is to a Composer.\n£/ Craig seems to know an ideal line for joy, a line of anguish, of\nstrength, of hope, of despair, and so on. AH those flights of steps of\nCraig's, those square blocks, th'e folds, the bands of light and shade, are\nas living beings assailed by the silence of their tragic life. <£?\nContemplating the lines of Craig is like hearing a Mass by Palestrina,\nand ever within them there is something musical, a cadence, a rhythm.\nThe least angle in these contours is a movement, a gesture, and each\ngesture is always in itself Beauty, always a noble attitude in its supreme\nprecision, and one always feels that, before combining and expressing\nanything, be it what it may, Gordon Craig seeks, by an infallible method,\nalways successfully to determine to what measure of expressive material\nhe must limit himself on behalf of the most ideal visual perception.\nAnd this problem is so importnnt, so fundamental that, in solving it, he\n«(K\nachieves one of the supreme miracles in the 'creation of the ideal theatre\nand in the liberation of the theatre as art.\nFor the supreme weakness and the supreme error of the stage before\nCraig's time, ...especially of the so-called \" realistic stage \"... lay in the\nvery fact that it was over-charged with spectacular material, with the\nmassiveness of properties, with the carnevalesque confusion and riot of\ncolours, thus becoming a chaos, which abolished all the laws of theatrical\noptics, the most elemental rules of &\nThe inner consciousness of the spectator was compelled to make for\nitself some deduction from this chaos, to carry out individually that"}, {"page_pdf": 27, "page_imprimee": "213", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.27", "debut_caractere": 34, "fin_caractere_exclue": 2407, "texte": "creative work which is a fundamental duty of every true art. The imagi-\nnative faculty of the spectators, that inner freedom which can never be\nabolished, was too much oppressed and bound down; attention always\nwandered, always fixed itself on useless things; and, since that which\nwe see with our eyes in the theatre constitutes the greater part of the\ntheatre, all that useless effort wellnigh exhausted the sensitive faculty\nof the soul to the detriment of the emotions which come through the\nenjoyment of art although these latter are the things which, like the\nmiracle of internal light and freedom, we seek in the theatre.\nGordon Craig, on the contrary, by his treatment of scenes, at last,...\nand for the first time In the history of the theatre... sets the stage free,\nand lifts every weight and chain from the spectator, opening the spirit\nwide to the miraculous communion with art and to its divine joy.\nWhen Craig applied his new and entirely right ideas to the treatment\nof space in the theatre and when he invented his screens, the Stage\nreceived its definite form, which derives from its very essence, just as\nthe severe and particular form of every crystal is derived from its\nown nature. He has set free all the potentiality of space as a creative\nelement, all its plasticity, all its infinite mobility. In Craig's hands,\nSpace, ceasing to be a dead thing, has become expressive as a living human\nface, perhaps even more expressive than the human face. And more than\nthat, it has become a true and lnportant dramatis persona, revealing to\nthe theatre and to the dramatic poet unexpected and inexhaustible vistas\nand possibilities.\n& This conquest, which, like everything which Gordon Craig creates, is\nthe outcome of experiments and proved by being put into practise, is so\n9\nfertile in its consequences and so wonderful and important, that of Itself\nalone it suffices to give us full confidence in him both as true reformer\nand as the only supreme judge of our day in the realm of Theatrical Art.\n£/ Yet even this is not all. £? J&\n& According to Craig's plan it is necessary, for the rendering possible\nof a true theatre as Art, that the problems of light, of movement and\nvoice should also be solved in the same radical manner. £>\nHere also, as In the old scenery, all is chance: very often clumsy,\nalmost always void of sense and of any inward value. 42"}, {"page_pdf": 28, "page_imprimee": "214", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.28", "debut_caractere": 33, "fin_caractere_exclue": 2329, "texte": "Strange though it may be, the movements of the human face and\nbody, its mimicry, express so little and so badly the infinite variety of\nthe movements and states of our soul that our face can be compared,\nwithout much exaggeration, to the glove, which hides all the most deli-\ncate and most expressive lines and curves of the hand. And between\nthe human face as it can be and certainly one day will be the difference\nis as profound as is profound the difference between the face of a black\nsavage and the face of Dante, of Shelley or of Carlyle.\n& And our voice too, in spite of all the art of theatrical declamation, is\nperhaps even less flexible, lacking in all expression. In the human voice\nwe distinguish by now the note of determination and of hesitation, that\nof caress, of love, of strength, of consternation and so on. But continually\nin our own life there are moments no less important, things no less\nsubtle before which we are almost mute. And the simple flute of a shep->\nherd, or the dead string beneath the bow of Paganini perhaps possesses\nthe gift of human speech in a greater degree than the majority of Eu-\nropean actors.\n& The movements of the face, of the body, our gestures, our voice, are\nthe only means by which we can express ourselves, our will, our soul.\nAnd we have no others, and what we have is but too imperfect. And\nonly when those means and methods of expression shall be developed....\n*\nand Gordon Craig knows how this may be attained... and only when all\nthe faculties and forces latent in them shall be revealed, will the theatre\nbecome a perfect art in all its visible Beauty and in all its internal unity.\nIII.\nII that Gordon Craig has achieved, all that he has proclaimed\nand never wearies of proclaiming, has long since won for him\nmany friends and supporters, and even imitators such as\nProfessor Max Reinhardt. Both upon the Continent and in\nEngland his works have been supremely valued by the leading men in\nthe realm, of Art and of Thought. And it seems in truth a strange and\nmost unjust thing that his ideal theatre has not yet become an establi-\nshed fact, but still encounters many enemies and much indifference.\nThe enemies of Craig are undoubtedly ,either persons who are not\nwell acquainted with his ideas and aims and thus do not succeed in well"}, {"page_pdf": 29, "page_imprimee": "215", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.29", "debut_caractere": 29, "fin_caractere_exclue": 2310, "texte": "understanding them, or they are people who are afraid. Certain writers\nand actors fear that Craig's work may ruin their art. But the art of a\ntrue poet as that of a true actor cannot, in Craig's theatre, but become\nmore beautiful, more profound and more active. It Is dangerous only to\nfalse art and to all that is neither a creative gift nor poetry. And Craig's\nenemies are therefore themselves the best judges as to how far their\nfear is just. & &\nAs for the indifference, It is an indifference, not to the work of Craig\nbut rather to the theatre in general,... that sad human indifference to\nevery .kind ef art. And it must be explained as a general negligence\nregarding the theatre as instrument of culture and a false understanding\nof its true essence.\n& For what, after all, is the Theatre ?\n£* 44 You devote your service to the most useless thing in the world \"\nsaid the wife of a great artist to her husband.^\nAn -enormous majority of the men of today argue like that poor\nwoman. Some look upon the theatre as a fine kind of place to amuse\noneself; others hold the theatre as one of the many heirlooms of Greek\nculture and thus no essential item in the round of our ordinary daily life.\nBut the theatre is not merely a house in which to digest sumptuous\ndinners and to have a good laugh, just as the art of the dramatic poet\nand of the actor did not spring up for the first time in Greece. For the\nart of the playwright and the art of stage delivery are, in the same or-\nganic way, profoundly inherent in the nature of Man, just as are the\nfaculty of speech, the divine gift of thought, of memory and of imagi-\nnation ; just as is all that Nature has bestowed on men for communion\none with another. The theatre is useful or useless to man in the same\ndegree as is useful or useless to us the whole miracle of our art, the\nwhole creative activity of man. And a time will come when the theatre\nwill have the same lofty and noble rank in life as by the\nChurch, the School, and so on.' JS?\nGordon Craig seeks to hasten the coming of such a time. But we must\nall bear well in mind that the foundation of the true theatre does not\nrest with and is not the mission of Craig, alone. The construction of the\ntrue theatre is the duty of all men as it is a duty of all to cooperate in"}, {"page_pdf": 30, "page_imprimee": "216", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.30", "debut_caractere": 28, "fin_caractere_exclue": 1341, "texte": "the bettering and development of all life, and as we are all In equal\ndegree responsible for the greatness, the beauty and the perfection of\nMan in ourselves. 0000\n0 Even though men will not lend their aid Gordon Craig will find in\nhimself the strength and means to carry out his work alone. Of this we\nare convinced by the long years which he has passed in [solitary work,\nalmost in exile (and exile is never voluntary); in this we are compelled\nto believe by the force of his will which may be described as truly\nBritish. 0 0 0 0 0\n0 But there is a good omen. The Swedish Academy of Science not long\nsince awarded to the Belgian poet Maurice Maeterlinck the Nobel prize.\nMaeterlinck has somewhat widened the limits of dramatic poetry and\ndivined for himself a new path, while Gordon Craig has erected the\nwhole idea of the theatre as a true art [and has opened alike to the\ntheatre and to the dramatic poet the most fertile promise. 0\n0 Perhaps England also, the Fatherland of progress, will give to its\ngreat Son, not a prize, perhaps, but simply the possibility of working\nand attaining his Ideal ...that experimental School of the Art of the\nTheatre, without which he cannot, to the full degree, fulfil the com-\nmandment of God to man and the supremely sacred duty of the Artist\n\\\ntowards LIFE. 0 0 0 0 0 0 0"}]}, {"article_id": "bm-bmtnaau-1913-01-01-c026", "article_bluemountain": "bmtnaau_1913-01_01#c026", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "217", "page_fin": "220", "image_debut": 31, "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=bmtnaau191301-01.2.11", "titre_corps": "THE GORDON CRAIG SCHOOL FOR THE ART OF THE THEATRE : A Recognition of the Need for it", "titre_sommaire": "THE GORDON CRAIG SCHOOL FOR THE ART OF THE THEATRE : A Recognition of the Need for it", "signature_source": "Laurence Binyon", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 31, "page_imprimee": "217", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 2236, "texte": "THE GORDON CRAIG SCHOOL FOR THE\nART OF THE THEATREA Recognition of\nthe Need for it,\nby Laurence Binyon.\nife, however much we overlay and protect it with refined so-\nlicitudes, remains primitive at the core. We may subtilize our\nemotions and enlarge the sphere of them, but the causes of\nthose emotions which shake us and stir us to the depths,\nwhich make us realize what we are and what life means to us,... these\nremain the same. &\nSo it Is with the Theatre. Developing now on this side, now on that,\npassing through countless phases, It never wholly loses, so long as it is\na living thing, its primitive character of a festival religious in Its origin\nand essence. Yes, religious: for in the theatre men and women gather\ntogether to see, what ? Life itself; Life, not as fact, but as idea; life in\nits wonders, Its pregnancy of meaning, its immense horizons. &\nAnd not only to see, but ideally to participate in it: to feel, think,\nact, suffer, laugh, rage, rejoice beyond the capacities of our own work-a-\nday, habit-bounded selves, and so to participate, be it never in so small\nand obscure a measure, in the divine energy streaming thorough the\nworld of things it has created. Art is here no choice affair for the con-\nnoisseur, a secret from the crowd ; it is like religion, for the ignorant\nand the common no less than for the intellectual and the chosen, it\nmust make Its highest thought felt, it must strike to the primitive\nheart; it is universal or nothing; it unites, not divides.\nI feel, 1 confess, something of this undercurrent of religion (in its\nfestal aspect) whenever I go to a theatre, however mundane,.... at least\ntill the curtain goes up. Let the curtain go up on an empty stage, and\nhow swiftly should we all, we who are gathered together in concentrated\nexpectancy, people it with our imaginations. No drama that we have\nseen quite fulfils all the wonder that we feel might be done upon that\nempty space which invites and invokes with its mere height and depth\nand breadth, its light and its darkness.\n& The Ideal Theatre would focus all the arts in a magnificent, over-\npowering unity of impression. Unity, that is what our actual theatre\nlacks, that is what Mr Gordon Craig is striving to recover. The theatre"}, {"page_pdf": 32, "page_imprimee": "218", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.32", "debut_caractere": 27, "fin_caractere_exclue": 2399, "texte": "of today is split up into departments; it has imprisoned all the arts each\nin its own cell. The lighting Is one business, the scenery another, the\ndresses another, the stage-management another: and how often the nott\npossumus of the man of specialized experience, and no Ideas but what\nhe has learnt from others, blocks the way to bold experiment! To vital-\nize the Art of the Theatre we need to realize the proud, sufficient sen-\ntence of Alfred Stevens, \" I know of but one art\nBut when we have unified the production of a piece in the control\nof a single artist, there still remain the actors and the playwright.\nThose who have read Mr Craig's book know that he has not only the\nfertilizing ideas and gifts of design but the manifold experience requisite\nfor this unifying task: perhaps no one living combines the necessary\nqualifications as he does. How does he deal with the actor and the\nplaywright ? &\n&Mr Craig is embarassed by this intractable human material; it is not\nductile enough, it is too self-assertive. With admirable daring he pursues\nhis ideal to its logical end and effaces.... in his dream of the future....\nboth the actor and the writer of plays. I can imagine wonder and beauty\nin this theatre of Mr Craig's ideal; I hope I may live to see it. And\nthough in this matter I do not agree with Mr Craig, still his criticism\nof the dramatic poet.... I use the term In its large and liberal sense,....\nis in the main a true one. £?\nThe drama is too much a written thing. Certainly our poets who have\nattempted drama since Elizabethan times have been far too much writers\nand far too little makers of plays. They have built in the air conceiving\ntheir work as little more than a succession of speeches and even the\nspeeches have too much the character of writing, too little that of speech.\nI am far from thinking with Mr Craig that Shakespeare's tragedies\ndo not gain on the stage, much as they may also lose. But probably in\nall plays there is a tendency to rely too much on the word. A dramatist's\nmaterial is not only language; it is even more the action, gesture, movement\nwhich the stage alone gives him; not to speak of the emotional equiva-\nlents of light and darkness, of large spaces and of dominant colours.\nAll these are his to work with and to fuse in the unity of his art.\nTo my daughter, aged seven, bent on seeing a certain play of Shakes-"}, {"page_pdf": 33, "page_imprimee": "219", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.33", "debut_caractere": 25, "fin_caractere_exclue": 2361, "texte": "peare's, it was hinted that she might be bored by not understanding so\nmuch of the language. She replied with conviction, \" Oh, what they\nIs mostly nonsense, it Is what they do that is so interesting\". Mr Craig\nwould approve so sound an instinct. He insists that the child's view is\nthe right view. And indeed I fancy that it might be a good end for a\ndramatist to set before him that his play should be in its essentials\nunderstandable In dumb-show from the movements of the characters. To\nthink in terms of action and movement, as a poet thinks in images ;\nthat is the healthy condition.\n& But how is the dramatic poet to learn his business in these days,\nwhen the opportunities of experiment are so circumscribed as scarcely\nto exist? To write play after unproduced play is much like painting\nin the dark. Well, here is Mr Craig come to our help with his idea of a\nSchool, a School devoted to the whole art of the theatre. Admirable\nIdea! and most admirable in this, that the school is one where no fixed\nroutine or rigid pattern are to be taught, but all are to learn and coope-\nrate in learning.\n& Had William Morris undertaken the drama as he undertook so many\narts and crafts, this would have been his way. How splendid for the dra-\nmatic poet to learn his art not from abstract principles or from reading\nplays in the study, but by handling the actual material of it, by becoming\nmaster of all the subsidiary crafts of the theatre himself!\n£f\\xi such a school theory would be put to the test. We may not all of\nus be with Mr Craig in his desire some day to attenuate the written\nplay and to substitute for the actor the ueber-marionette. But we should\nall, 1 think, like to see experiments in this direction made.\n& Meanwhile experiment would go on with the old material; endlessly\nfruitful experiment; who can doubt it ? & j&\nTo one approaching the problems of the art of the theatre in such a\nschool, the accepted methods of today, whereby separate energies produce\nby conscientious labour results as absurdly Incongruous as figures by\nMichelangelo set in landscapes by Leader, would be smply unthinkable.\nNone of us, 1 suppose, will ever see his own Ideal Theatre absolutely\nrealised. But the Inspiring, hopeful thing about this projected School is that\nit would make so much possible, it would open out so many vistas. Above"}, {"page_pdf": 34, "page_imprimee": "220", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.34", "debut_caractere": 29, "fin_caractere_exclue": 247, "texte": "all It would set the life-blood of the art healthily circulating, as In a\nsingle organism, its principle would be, not mechanism, but growth. 0\n0 Will not England, then, will not Englishmen, make this School a reality?"}]}, {"article_id": "bm-bmtnaau-1913-01-01-c029", "article_bluemountain": "bmtnaau_1913-01_01#c029", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "220", "page_fin": "220", "image_debut": 34, "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=bmtnaau191301-01.2.12", "titre_corps": "A WORD ABOUT IMAGINATION", "titre_sommaire": "A WORD ABOUT IMAGINATION", "signature_source": "Victor Hugo", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 34, "page_imprimee": "220", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.34", "debut_caractere": 249, "fin_caractere_exclue": 1063, "texte": "A WORD ABOUT IMAGINATION\nby Victor Hugo.\nJmagination is depth. No faculty of the mind goes and sinks deeper than\nimagination; it is the great diver. Science, reaching the lowest depths,\nmeets imagination. In conic sections, in logarithms, in the differential\nand integral calculus, in the calculation of probabilities, in the infinites-\nmal calculus, in the calculations of sonorous waves, in the application\nof algebra to geometry, the imagination is the co-efficient of calculation,\nand mathematics becomes poetry.\n'T'he profound word Number is at the base of man's thought; it is, to\nour intelligence, elemental; it has an harmonious as well as a ma-\nthematical signification. Number reveals itself to art by rhythm, which\nis the beating of the heart of the infinite, in rhythm, law of order,\nGod is felt. & & &"}]}, {"article_id": "bm-bmtnaau-1913-01-01-c031", "article_bluemountain": "bmtnaau_1913-01_01#c031", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "221", "page_fin": "225", "image_debut": 35, "image_fin": 39, "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=bmtnaau191301-01.2.13", "titre_corps": "CLUNN LEWIS AND HIS PUPPETS", "titre_sommaire": "CLUNN LEWIS AND HIS PUPPETS", "signature_source": "John Bull", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 35, "page_imprimee": "221", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.35", "debut_caractere": 0, "fin_caractere_exclue": 1479, "texte": "CLUNN LEWIS AND HIS PUPPETS\nby John Bull.\n44 In England the Puppet Shows were much in vogue In such\n44 places as Bartholemew Fair, where they became serious rivals\n44 of the living actors. \" JS> &\nE. K. Chambers. 44 Mediaeval Stage. \" Vol: II. p. 158.\nMr Clunn Lewis is the remaining link in England with\nBartholemew Fair, and he now wanders through England,\nsupported at times by the Church and at times by the\npublic, tie Is an old man, or we should hear more of Lewis\nthan we do. His adventures would fill a fair sized book,\nand I wish that Joseph Conrad would follow him round for a month or\nso, and tell us the tale. On a scrap of paper that I have, we get a taste\nof his quality and of that of his show. This is how it runs:... & £?\nA few Items of the Show.\nwas a Leading Attraction at St Bartholomew's\nFair, where it stood next to Richardson's\nBarnstorming in my time.\nPlayed 44 The Red Barn \" In a veritable barn.\nReal rats and plenty of them behind the stage.\nSeating Accommodation.\nFront Seats. From the Parish Church.\nBack Seats. Sacks of potatoes.\nSteps leading to platform\nmade of Linseed Cakes.\nBut full Houses.\nHere he mentions 44 The Red Barn \", and, as old playgoers know, the\nfull title of this play is 44 MARIA MARTIN, OR THE MURDER IN THE\nRED BARN \".&&&&&&&&\nLast year Mr Clunn Lewis came to London with his puppets, and\nperformed at the Camera Club, and Mr Bernard Shaw and others made\nspeeches about him and the papers were full of him and pictures of him '"}, {"page_pdf": 36, "page_imprimee": "222", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.36", "debut_caractere": 32, "fin_caractere_exclue": 2317, "texte": "and yet somehow he still has to wander on along the high-roads, sometimes\nplaying on his harp, when there are not enough people to be found to\nmake up an audience and at other times giving a show which probably\nbrings in two pounds ten if as much. And if the clergy, the men of letters\nand the way-side folk support him to the extent that they are able,\nstill, the English public has done practically nothing for him.\nWhen I say that the English have done nothing for him, I mean that\nthey have done nothing for themselves, for, in serving the man who\npreserves old traditions of this kind, they would be serving themselves\nmore than anyone else. jg?\nHere is the case of a man who has been giving performances for the\nlast fifty years wherever he can find an audience of forty to sixty, and\nyet the English public do not support him. It is so often said of an artist\nthat he has only to show people what he can do, and how he does it,\nfor them to support him. This is untrue.\n& Of course people would say that this case of Mr Lewis is not a good\nexample, and that puppets are out of date, and all the rest of It.\nAgain this is not true. There is hardly a word in the English excuses\nthat is true ; it is only their particular weak way of getting out of exer-\nting themselves.\nAs I write this I am feeling a little more seriously than those do who\nwrite of Mr Clunn Lewis's \"merry heart\" with which he trudges from\nvillage to village. I see a little further under the skin than that, and\nalthough the papers were so full of the honour that he had received in\nbeing introduced to Mr Bernard Shaw, I am sure Mr Bernard Shaw\nmust have felt that the honour was equally on his side.\n& All this talk about \"the merry Mr Lewis\" and the *' honour he has\nreceived \", is a very easy way of getting out of doing anything further.\nI say that Mr Clunn Lewis is, in spite of appearances... and he pretends\nto be cheerful enough... a broken down man, broken down while he at-\ntempts single-handed to preserve one of England's traditions. &\n& It Is Just a man like this to whom the State should give a pension.\nA poet, and many another man, deserves his pension, but I am sure\nthat a poet doesn't live on the hundred odd pounds he receives from\nthe State, whereas I believe that Mr Clunn Lewis could. &"}, {"page_pdf": 37, "page_imprimee": "223", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.37", "debut_caractere": 32, "fin_caractere_exclue": 2314, "texte": "And then, whereas there are many poets, several of whom receive\npensions, there is but one Clunn Lewis, one Marionette Showman (i) And\nthe State can easily find a way of helping this old showman to preserve\nthe marionettes, by putting up a tiny wooden booth for him in Hyde\nPark.\nThere would be nothing very difficult in this. If a precedent is wanted\nthey have only to go over to Paris and find at least three such places,\ntwo of them in the Champs Elysees, and one in the Tuilerles Gardens.\nThese theatres are kept up by the State, and children and grown up\npeople of all classes stop there daily to witness the performances. They\nbelong to the few exciting things to be seen in Paris.\nIn the Tuileries Gardens the theatre is a covered-in theatre, so that,\nshould it rain, the performance can still go on; but it is only covered\nin so far as the top and part of the sides are concerned ; the rest is open\nto the air, and there can be no uncomfortable feeling of stuffiness: it is\nsurrounded by trees, creepers and flowers, and the whole thing looks very\npretty and the children are fascinated by it. J£? &\n& The two others, in the Champs Elysees, are probably well known to\nmany people, for this is on the high road : you can see them as you pass\nby in a cab, and you will certainly stop to look at them if you pass by\non foot. They are in among the trees, and they perform in the spring,\nsummer and autumn. They make no fixed change for these two performan-\nces unless you wish to go in and sit down on a tiny seat, but those who\nstand can see for nothing. J(? JS? JZ?\nI want to see two such theatres in Hyde Park soon, and I believe\nthere are thousands of children who want to see them too. You may\nsay that there is a Punch and Judy at all the street corners. There are\na few, and the wonder is that people do not get killed in watching them.\nThese shows should be in the Parks and in the Gardens. &\n0 What is against having half a dozen such shows in the Park and two\nMarionette theatres as well ? Old Clunn Lewis has a Marionette Re-\npertory Theatre, and, like all other Repertory Theatres in England, it\nhas a future before it.\n*\n0 He sometimes thinks that the good days are over. 1 think that he is\n\n(1) If this is incorrect The Mask will he glad to hear oi any others. Ed:"}, {"page_pdf": 38, "page_imprimee": "224", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.38", "debut_caractere": 17, "fin_caractere_exclue": 2379, "texte": "mistaken ; they are all before him; The old showman is now sixty-three\nyears of age, and says that if he had his life to choose once more, he\nwould risk it ail again for the open life of the road. &\nHere is a passage from his recollections44 I married at nineteen,\n44 and my wife, who was a clever singer and actress, stuck to it with\n44 me, and we saved money. So I was able to buy this famous old show,\n\" which was originally known as 44 Middleton's \". Those were the days\n44 before the 44 bikes \" and cheap trips to town. At Canterbury Fair we\n44 always looked to clear a hundred pounds and expenses. You wouldn't\n44 take a hundred shillings now.\nJP 44 To my mind, what began the mischief.were the London Exhibitions\n44 ....the Fisheries and the rest. They took the villagers up to \"Lunnon\",\n44 and they came back to find our simple little shows dull and slow.\n44 Anyhow, it was about that time that my savings of seven hundred\n44 pounds began to melt away. Now, of course, with the 44 Picture Pa-\n44 laces \" in every country town, it is harder than ever to make people\n44 come to see our puppet plays. They say the craze will 44 die out in\n44 time, \" but that is small comfort when we are not only 44 dying out \"\n44 but likely to be dead before long. There was a time when I and my\n44 wife used to have a repertoire of no fewer than seventy plays ray\n44 wife making all the dresses for the marionettes, and I painting the\n44 scenery. Many a time I have extemporised a play, reading up a new\n44 plot in the afternoon, and trusting to my mother-wit with the puppets\n44 in the evening. But those days are over now, and I keep for the most\n44 part to the old scenes, while my niece and her little son and a young\n44 44 serlo \" who has joined us, help with 44 varieties \".\nThat is what he has to say for himself, and this is what other people\nhave to say: JS> SP & & JP\nG. K. Chesterton. 44 I have seen within recent months two plays\n44 that were passionately applauded by all the children in the house, as\n44 distinct from the adults. One was a performance of old battered dan-\n44 cing dolls by an old English showman. His name is Clunu Lewis, and\n44 he takes a wooden puppet show through all the roads and villages of\n44 England exactly in the style of a Dickens showman...... It is a good\n44 entertainment, and like Mrs Jarley's in this especially.... that the"}, {"page_pdf": 39, "page_imprimee": "225", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.39", "debut_caractere": 32, "fin_caractere_exclue": 665, "texte": "\" showman is even more amusing than the show. \"\nBernard Shaw wrote something about Clunn Lewis and it was far\nmore complimentary than what he wrote about Sir Henry Irving, but\nthe exact passage I have lost. & ' JS? £?\n& Other celebrated men have said polite things about him, and amongst\nthese are Cardinal Vaughan, Cardinal Manning, the Rev. Father Fletcher,\nand Archdeacon Wright. & & & & &\nI would like to draw the attention of more active and less loqua-\ncious persons to Mr Lewis's existence, and would especially like to see\nsuch cities as Manchester and' Sheffield and Liverpool doing something\nto encourage this old stager. &"}]}, {"article_id": "bm-bmtnaau-1913-01-01-c034", "article_bluemountain": "bmtnaau_1913-01_01#c034", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "226", "page_fin": "226", "image_debut": 40, "image_fin": 40, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.2.14", "titre_corps": "CONVERSATIONS WITH MY REAL FRIENDS", "titre_sommaire": "CONVERSATIONS WITH MY REAL FRIENDS", "signature_source": "Gordon Craig ; J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 40, "page_imprimee": "226", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.40", "debut_caractere": 0, "fin_caractere_exclue": 1682, "texte": "CONVERSATIONS WITH MY REAL FRIENDS,\nby Gordon Craig,\nJ. S.\nT These 44 Conversations \" which Mr Craig intends to hold\nIn The Mask with men long since dead who have deli-\nvered themselves or committed themselves on the theme\nwhich he has made practically his own will have a parti-\ncularly vivid Interest. We have had 44 Imaginary Con-\nversations\",..those of Landor and others; and we have had \"Real Conver-\nsations \"by William Archer and others; but the \" Real\" Conversations\nhave had to be, perforce, with living men, and consequently their value\nIs perhaps a little transitory, while with the \"Imaginary\" Conversations\nthe whole thing is too much of a fabrication to have any very vital\nsignificance for us. <0? &\nThe plan of the present series is different. Here the author speaks for\nhimself and defends the opinions which he himself set forth once for all\nin his writings, thereby challenging the reader to argument, or enlisting\nhim as a partisan. &\nIn Gordon Craig's collection there is hardly a book which touches on\nthe theatre which is not scored with annotations, queries, arguments:\nand it was in looking over these books that the idea suggested itself to\nhim that, with a little arrangement, and without altering a line of the\nauthor, he could produce veritable Conversations in which each would\nspeak in his own words.\nThe series planned will Include, among others, Conversations with\nRlccoboni and Gherardi, those prominent figures of the Commedla del-\nV Arte; with Schlegel, Theophlie Gautier, and Champfleury, and\nMask has secured the serial rights of some of these Duologues, of which\nthe first, that between Gordon Craig and Jules Champfleury, is here\ngiven. jg? &"}]}, {"article_id": "bm-bmtnaau-1913-01-01-c036", "article_bluemountain": "bmtnaau_1913-01_01#c036", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "226", "page_fin": "228", "image_debut": 40, "image_fin": 42, "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=bmtnaau191301-01.2.15", "titre_corps": "A BIOGRAPHICAL NOTE ON JULES CHAMPFLEURY", "titre_sommaire": "A BIOGRAPHICAL NOTE ON JULES CHAMPFLEURY", "signature_source": "P. R", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 40, "page_imprimee": "226", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.40", "debut_caractere": 1684, "fin_caractere_exclue": 1940, "texte": "A BIOGRAPHICAL NOTE ON JULES\n\nIules Husson Fleury or Champfleury, with whom the first of these\nConversations is held, was a French writer who was born at Laon In\n182s and died at Paris in 1889.\nDrawn by his awakening literary instincts from his native town"}, {"page_pdf": 41, "page_imprimee": "227", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.41", "debut_caractere": 39, "fin_caractere_exclue": 2255, "texte": "towards Paris, he there became one of a coterie which Included Pierre\nDnpont, Baudelaire, Henri Murger, Theodore de Banville, Courbet, Bonvin,\nNadar and Jean Journet. He wrote many novels and pantomimes, some\nbiographical and critical studies, (including monographs on Balzac and\nHenri Murger,) and several learned treatises on ceramics,...a subject with\nwhich he was well acquainted, since in later life he was successively\nkeeper of the Mus£e Sbvres and administrator of that important ma-\nnufacture. 0\nThat which chiefly interests us, however, is his close association with\nthe \"Th&itre des Funambules\" for which he composed many pantomimes.\n£? The Theatre des Funambules was situated on the ancient Boulevard\ndu Temple. A showman named Bertrand had first set up there a large\nbooth in which he exhibited various acrobats, the French word \" Funam-\nbules \" meaning a tight-rope dancer and being also the name of a kind\nof squirrel.\nAbout 1816 Bertrand obtained the right to replace his booth by a\nreal little theatre and to have pantomimes and vaudevilles performed\nthere. J£? &\nThis new theatre, which contained places for some five hundred, led\na modest enough existence until the manager had the good fortune,\nabout 1820, to engage Gaspard Debureau, who became the most famous\nPierrot of his time. Even so, however, it was not until after the Revo-\nlution of 1830, when the \" Funambules \" broke altogether with rope\ndancing and acrobatics and devoted itself wholly to vaudeville and above\nall to pantomime, that the celebrity of Debureau, and consequently of\nthe theatre where he appeared, really began.\nFairy pieces were given there, and as Debureau's fame\" grew poets\nand novelists vied with one another in preparing pantomimes to be in-\nterpreted by this popular favourite. Picard, Theophile Gautier, Charles\nNodier, (who, however, though he wrote for Pierrot, reserved his\nwarmest love for Polichinelie), and Gerard de Nerval, (who was so great\nan enthusiast that he visited Italy, England and Germany solely to study\nthe Pantomime of those countries), helped to increase the fame of this\nPierrot; while Jules Janin put the crowning stroke to his success by\nwriting his \" Histoire du Theatre a quatre sous\"."}, {"page_pdf": 42, "page_imprimee": "228", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.42", "debut_caractere": 37, "fin_caractere_exclue": 1019, "texte": "After Debureau's death the fine tradition was carried on by his son\nand other Pierrots, including Paul Legrand, Kalpestri, and Alexandre\nGuyon, and the little theatre, 44 grand com me la maison de Socrate \",\ncontinued, Chanipfieury tells us, to take as much money as the \"Cirque-\nOlympe \" itself, retaining its popularity until the year 1862, when\nHuassmann, prefect of the Seine, destroyed the classic Boulevard du\nTemple, causing the des Funambuies to disappear.\n&It was in the years subsequent to the death of the elder Debureau\nthat Champfleury prepared his pantomimes; and his experiences during\nthose years and the conclusions to which he had come upon the various\nschools of Pantomime are embodied in a book called 44 Souvenirs des\nFunambules \" which he published in 1859. £?\nIt is upon a chapter In this book, 44 Les Decors \", that the following\nConversation is based, Champfleury's own opinions being actual passages\ntaken In order and always given in his own words.\n\nP. R."}]}, {"article_id": "bm-bmtnaau-1913-01-01-c037", "article_bluemountain": "bmtnaau_1913-01_01#c037", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "228", "page_fin": "233", "image_debut": 42, "image_fin": 47, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.2.16", "titre_corps": "CONVERSATION BETWEEN JULES CHAMPFLEURY AND GORDON CRAIG. 1859-1912", "titre_sommaire": "CONVERSATION BETWEEN JULES CHAMPFLEURY AND GORDON CRAIG. 1859-1912", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 42, "page_imprimee": "228", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.42", "debut_caractere": 1021, "fin_caractere_exclue": 2112, "texte": "CONVERSATION BETWEEN JULES CHAMPFLEURY AND\nGORDON CRAIG. 1859-1912.\n& G. C. Come, my dear Champileury, let us take our coffee here at\nthe Cafe Procope. Now tell me, what was it you began to say about\nPantomime and the Mask ? &\nChampfleuryJS/ Why, a vaudeviHist, full of experience, was speaking\nto me one day of pantomime, and he said to me, \" Where do your pieces\ntake place?\" Not understanding him, 1 begged him to explain himself,\nand he said that he meant to ask me in what town or capital were Pierrot,\nColumbine and Harlequin supposed to be living their adventurous life.\n& G. C. JZ? We!!, of course you told him ? &\n& Champfleury Yes, I told htm that the question which was appa-\nrently so simple was a very fount of folly. I told this old vaudeviHist who\nwas taking an interest in pantomime, that the adventurous life of these\npeople has no home. And he then told me that he thought that there\nwas some traditional country, and that he guessed it to be Bergamo.\nQ. C. *£? And was he very wrong ?\n£? Champfleury Well, I told him that I cared no more for Venice\nthan for Bergamo. & & &"}, {"page_pdf": 43, "page_imprimee": "229", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.43", "debut_caractere": 37, "fin_caractere_exclue": 2449, "texte": "jZ? G. C. Well but, because you care no more for Venice than for\nBergamo, is that any reason that the old vaudevillist should not be rather\npleased at the idea of being able to find Arlecchino's native town ? Am\n1 not right in believing that Arlecchino was an Italian, and that Arlequin\nis a Frenchman, and that Harlequin is an Englishman? And don't you\nthink it is rather amusing, and perhaps much more than that, to think\nof old Arlecchino the Italian of the old town of Bergamo visiting other\ncities of Italy, but under no circumstances crossing the Alps ? &\nChampfleuryJG? What is the use of this limitation to any one\ntown ? You seem to agree with the old vaudevillist that pantomime has\na particular geography, just as you shall be pleased to invent for it.\nG. C. jG? Wait. I was not speaking about pantomime for pantomime\nis universal. I was speaking about what you are speaking about; that is\nto say, certain types, certain masks, which belong to the Commedia del-\n1'Arte. You mentioned Pierrot, Columbine and Harlequin, and I answered\nyou about Harlequin, and 1 led Harlequin back to himself, ....to Arlec-\nchino ; and taking him there, I also took him back to Bergamo. But now;\nwith a disregard for that logic for which your whole nation is so famous,\nyou switch off from one pantomlmlst, from one Mask, from Arlecchino,\nand connect up with all the wires of the realm of pantomime. 1 think\nthat Arlecchino distinctly has a land of his own, and that is, as I have\nsaid, Italy, and his particular place is Bergamo. JG?\n£? Champfleury JG> Very well. Let us confine ourselves to the types,\nto the masks themselves, and then let me assure you that the country\nof Pierrot is no actual country. &\nj& G. C. Oh you wonderful acrobat,..,, how unfair you are to me 1\nYou juggle with Pierrot now that 1 have disposed of Arlecchino; Pierrot,\nwho is essentially a Frenchman, and with whom you have a right to do\nas you like. You offer him up on the altar of nature In hopes of propi-\ntiating the gods. He is the creation of the poetic spirit, he has no land,\naccording to you. But you know perfectly well that he is of Paris, he\nis essentially Parisian ; and as 1 am not an Italian, you won't mind if I\ntell you that I think him a trivial sort of person by the side of the other\ngreat figures of the Comedy. A sentimental insignificant sort of person.\nChampfleury JG/ But I repeat, Pierrot has no country, and I will"}, {"page_pdf": 44, "page_imprimee": "230", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.44", "debut_caractere": 41, "fin_caractere_exclue": 2412, "texte": "tell you why. The scenery at Les Punambules.... & & &\n& G. C. Les Punambules ? But what the Dickens has Les Punambules\nto do with it ? You almost suggest that Les Punambules Is Pierrot's own\ncountry, and that Pierrot's special town is one particular theatre.\n& Champfleury & One moment, let me explain! The country of\nPierrot, the real Pierrot, Punambules or no Punambules, Is not a real\ncountry. The actual scenery in the theatre is too full of illusion. My\nforests there are too like forests ; my houses too like real houses. All\nthe scenery is so bourgeois that the Theatre de I'Odeon might not some\nday be sorry to buy it all up. Why, there are little yellow rooms which\nwould do well for the works of M. Oalioppe d'Onquaire, and one of the\ndramas at the Ambigu would go well in Pierrot's Forest Scene at the\nFunambules, and the hut of Cassandre would suit one of Bouffe's per-\nformances like a glove. The Theatre of the Punambules is very illogical.\nBe false, be false, from one end to the other, and you will be true.\nQ. C. Acrobat! You may be true to yourself there, but not to\nnature. You will be true to your deception, for you are deceived about\npantomime in general, as well as Pierrot. I have been in a country\ntheatre myself, and Hamlet and Othello have walked on to a stage that\nwas decorated to look rather like a modern lodging house front room.\nBut it was because we were obliged to put up with such a scene, not\nbecause we chose it. Although I can tolerate Hamlet and Othello, the\nchildren of the poetic fancy, in any surroundings, 1 can not say that they\nare well placed in every chance place. In the same way I could also to-\nlerate Arlecchino under such conditions, but it is quite another thing to\nsay that he has no country and is best placed everywhere.\n& As well might you say that a butterfly has no special surroundings.\nYou will find this natural Arlecchino, this butterfly, is surrounded by\ncertain special flowers, and certain special seasons, certain special lights.\nYou very seldom find him in a cow-house, but you will certainly find\nhim in the garden. You will not find him flying in Waterloo Place or\nthe Rue de la Palx. But there is no doubt about it you will find him in\nthe Bois de Boulogne; and yet he doesn't suit the Bois de Boulogne so\nwell as he will suit some old garden of some old French chateau or some\nEnglish farm-house. &"}, {"page_pdf": 45, "page_imprimee": "231", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.45", "debut_caractere": 37, "fin_caractere_exclue": 2340, "texte": "It seems to me quite wrong to say that living things have not their\ndefinite habitation, their distinct background, their particular environ-\nment. The briar rose is not that of England, particularly England ?\nThe palm tree,... Js not that of Egypt? Particularly Egypt? And as for\npeople, take an English type, (not quite Harlequin but as good a type}...\nthe coster, and put him in any surroundings, something fantastic; for\nexample, a room covered with pearleys, and painted the colour of his\ndonkey's skin ; it is perhaps pretty, but wrong for the coster, for he\nbelongs to London more than to his donkey, more than to his pearleys.\nChampfleury But that is realism, whereas realism doesn't oc-\ncupy a thumb's breadth on a canvass by Watteau. His trees are the same\nas his people, his sky has been painted to make these trees grow. How\ncan you expect my soul not to be troubled when I see Arlequin in a real\nhouse? There should be spangles on the wall, and Polichlnelle's apart-\nment must be full of humps and the pretty little attic that I shall build\nfor Columbine must be coquettish, with flowers, a charming bed, etc :\nThere is alwavs an intimate co-relation between the individual and his\nfurniture.\n& G. C. All that is just what I was saying#\nChampfleury Yes, but my personages are fantastic. All that is\nof theni becomes fantastic. If in real life the individual moulds himself\nupon nature, in pantomime nature moulds itself upon the individual.\nG. C. You would be perfectly right if these personages were to\nbegin with.... may I say it?... your personages, and if they were fan=\ntastlc; but they are not your personages, they are the personages of\nVenice and Bergamo and of Naples, and only Pierrot and Columbine\nbelong to you. Do with these what you will; make them if you like\nfantastic, artificial, but do not destroy the force of these greater older\nfellows whose land is Italy, and who out of Italy become Insipid and\ntherefore a bore. &\nI see no objection to having spangles on the wai! for a man who\ndresses in spangles, and who thinks in spangles, and who talks in a\nspangle dway. But who puts spangles on Arlecchino ? You in Paris did it\nand we did it in England. The Italians never did it. The Italians could\nnever do so silly a thing. We, so poor in imagination, so rich in spangles,"}, {"page_pdf": 46, "page_imprimee": "232", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.46", "debut_caractere": 32, "fin_caractere_exclue": 2393, "texte": "did this damnable deed ourselves. We are both to blame, so we need\nhave no disagreement, but let us own up to the wretched business and\nnot attempt by illogical logic to smooth the matter out.\n& And supposing Pulcinello has a hump. Lots of the other \" Gobbos \"\nin Italy were the same. Many personages in the Commedia dell'Arte had\nhumps, just as many of them had long noses. Then what would be pe-\nculiar in Pulcinello's having humps all over the room 'i\n& To begin with, it is distracting, and helps to explain nothing, helps\nus to feel nothing, merely prevents us from feeling the emotion which\nthe entrance of Pulcinello will create when he comes on the scene. How\ncan it really trouble your soul.... your soul, my good soul,... when you\nsee Harlequin in a real house ?... real stage house you mean, for neither\n1 nor you ever yet saw a real house on the stage and you never saw\nHarlequin anywhere except in a stage house. & & &\nIf you are talking about reality, then set him in the open air, that\nis where Arlecchino lived in Italy,... at the corner of some street, against\nsome palace; he leaned there In the sun, and delivered his monologues.\nDoes that reality offend you ? That is the real reality. Why speak about\nWatteau, telling me that Watteau is not concerned with reality and that\nhis trees are of the same family as his figures 'r\n& You are wrong to try and convince yourself of a falsity by bringing\nin these Frenchmen, great artists though they may be, to prove some-\nthing about the Italians. Watteau never understood what Arlecchino was ;\nhe never even understood your French Arlequin, and he invented another\nbeing altogether, just as we later on invented Harlequin.\nChampfleury & Well, we French are undoubtedly anti-nature, but\nwith it all we are amusing, gay, nimble and subtle; we hardly worry\nourselves about entrances or exits ; some one cuts off Pulcinello's leg\nin the first tableau, In the second tableau he dances better than ever\nand one has not even heard a whisper of the doctor.\nQ. C. & I agree with you, my dear Champfleury. You are anti-na-\nture, as you say, and delightful, but 1 think you do wrong to cause what\nife really natural, that is to say what is really beautiful, to be merely\namusing, gay and subtle. And why should it only be a light jest to cut\noff Pulcinello's leg in a First Tableau and then to see him dancing"}, {"page_pdf": 47, "page_imprimee": "233", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.47", "debut_caractere": 42, "fin_caractere_exclue": 1086, "texte": "better than ever in a second ? Why should not that be something with\na little more passion In it? Why should your French shrug of the\nshoulders try to take the place of all the great Italian gestures ? In both\nlands it is the same shrug, but what a vast difference in the meaning!\nHow differently we all feel about it! The Italian shrug exhibits heroic\nstrength in face of disaster. You, you Frenchman, put your finger to\nyour nose when you shrug your shoulders in the face of disaster.\nIt Is a contempt for disaster that possesses you. The Italian links his\narm with the great figure of Fate, and in gay and earnest conversation\nwith him strolls down the Lung'Arno,... and is found later floating a long\nway out of the town in the rushes, his face in a mask. & &\n& ....Well, we have talked enough,... we who should never talk, who\nshould make a gesture or two and listen to the learned.... Shall we go\ndown to the river and watch things move ? It was nice to have met\neach other, and defied the years, the grave, and the coffee at the Procope."}]}, {"article_id": "bm-bmtnaau-1913-01-01-c039", "article_bluemountain": "bmtnaau_1913-01_01#c039", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "234", "page_fin": "236", "image_debut": 48, "image_fin": 50, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.2.17", "titre_corps": "LIVERPOOL PUPPETRY", "titre_sommaire": "LIVERPOOL PUPPETRY", "signature_source": "Ernest Marriott", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "234", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 2338, "texte": "LIVERPOOL PUPPETRY\nby Ernest Marriott\nHp he Sandon Studios Club is a rather unique institution. I do not suppose\nthere is anything quite like it in any other big town in England, for\none does not expect every large commercial city to foster unusual and\nsecret virtues.\nIf you ask the ordinary Liverpool man what the Sandon Studios Club\nrepresents, he will be unable to tell you. Probably he has never heard\nof it. He might perhaps know of the existence of the old Biuecoat School\nand he may actually have seen its ancient facade of warm mellow brick.\nBut it is the odds of a bale of cotton to a wooden shuttle that he does\nnot know that this quaint old building is the lair and stronghold of the\nmost quick and aiive people in ail the port of Liverpool,... the members\nof the Sandon Studios Club.\n& This club casts a wide net and its haul includes everything from Post\nImpressionist Exhibitions in the new style, to Marionette performances\nin the old style. It encourages all sorts of artistic enterprise, and seems to\nhave no prejudices and plenty of predispositions of the right sort. Prom\nthe point of view of The Mask \" perhaps the happiest sign of the Club's\nactivities was the puppet-play (of which there Is an account elsewhere in\nthis journal) organised and carried out by certain of its members, for it\nwrought exceedingly well when it endeavoured to establish a dwelling\nplace in the cold north for The Marionette, who was born in the East so\nmany centuries ago... who has lived and still iives as vigorous and knowing\nas ever in countries more favoured by the sun.\nApparently Miss Dora Nussey is to be thanked in the first instance,\nfor it was after seeing a performance by her in London that Miss Margaret\nBulley conceived the idea of inaugurating a \" true proper and authentic\"\npresentation to the public of Liverpool of His Highness Prince Puppet.\nThere was a distinguished gathering at his baptism, and two of the mem-\nbers, Professor Elton, and Mr Arthur Watts, read learned disquisitions\nupon his attributes and lineage.\n& Miss Bulley and her sisters designed the puppets' dresses, and Mrs\nPat Abercrombie helped to make them. Some of the dresses were copied\nfrom old German engravings. Helen of Troy, for instance, was dressed\nin satin and pearls, as would have been the case in a seventeenth cen-\ntury production. & & &"}, {"page_pdf": 49, "page_imprimee": "235", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.49", "debut_caractere": 22, "fin_caractere_exclue": 1066, "texte": "There were three performances of the play, the first being given\nprivately to Club members, and the second and third to the public, in\nthe afternoon and evening. JZ?\nAll honour to the enthusiasts who gave their loyal support in helping\nto make the performance a success. For the benefit of those who sub-\nsequently will collect matter for the history of Liverpool, here is put on\nrecord the names of those associated with this most excellent and\npraise worthy endeavour. JZ? JZ?\n\nList of\nCharacters, Readers & Workers.\nPuppet.\nReader.\nWorker.\nFaust.\nMr Lascelles Abercrombie\n(First Performance)\nMr Hickinbottom,\n(second & third performances)\nMiss M. Bulley.\nMephistopheles.\nMr Arthur Watts.\nMiss E. Bulley.\nCaspar.\n#\nMr K. Forbes.\nMiss L. Bulley.\nWagner.\nQretel.\nMr Patrick Abercrombie.\nMr Patrick Abercrombie.\nMr H. Wood.\n(1st performance.)\nMiss H. Lindsay.\n(and & 3rd perfor-\nmances.)\nMiss M. Bulley.\nHelen of Troy.\nMiss L. Bulley.\nThe Angel.\nThe Dragon.\nSix Devils.\nThe Raven.\nRead and worked by those\nwho were free at the mo-\nment required."}, {"page_pdf": 50, "page_imprimee": "236", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.50", "debut_caractere": 22, "fin_caractere_exclue": 944, "texte": "Mr J. Brockie made the puppets, the stage furniture, and the stage.\n& Miss Winifred Philips painted the scenery and the drop curtain, and\n& Mrs Primston painted the faces of the puppets. &\nIt Is unnecessary to go into details of the troubles incurred by the\nworkers in \" getting up \" the production, as no good work of this sort\ncan be done without taking great pains and experiencing tribulation and\ndoubt. The effort, whether successful or not, is worth making, and the\nreward is that the effort is brought to an issue. &\nIt is a laudable aim of the members of the Sandon Studios Club pe-\nriodically to surprise the city with something fresh and vital In the way\nof Exhibitions. Nevertheless, it Is to be hoped that they will not scorn\nto repeat themselves now and again, and that the production of Paust\nwill not be The Marionette's first and last appearance.... the sole and\nonly avatar of the Little God in Liverpool."}]}, {"article_id": "bm-bmtnaau-1913-01-01-c041", "article_bluemountain": "bmtnaau_1913-01_01#c041", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "235", "page_fin": "235", "image_debut": 49, "image_fin": 49, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.2.17.2", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 49, "page_imprimee": "235", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.49", "debut_caractere": 502, "fin_caractere_exclue": 1066, "texte": "List of\nCharacters, Readers & Workers.\nPuppet.\nReader.\nWorker.\nFaust.\nMr Lascelles Abercrombie\n(First Performance)\nMr Hickinbottom,\n(second & third performances)\nMiss M. Bulley.\nMephistopheles.\nMr Arthur Watts.\nMiss E. Bulley.\nCaspar.\n#\nMr K. Forbes.\nMiss L. Bulley.\nWagner.\nQretel.\nMr Patrick Abercrombie.\nMr Patrick Abercrombie.\nMr H. Wood.\n(1st performance.)\nMiss H. Lindsay.\n(and & 3rd perfor-\nmances.)\nMiss M. Bulley.\nHelen of Troy.\nMiss L. Bulley.\nThe Angel.\nThe Dragon.\nSix Devils.\nThe Raven.\nRead and worked by those\nwho were free at the mo-\nment required."}]}, {"article_id": "bm-bmtnaau-1913-01-01-c042", "article_bluemountain": "bmtnaau_1913-01_01#c042", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "237", "page_fin": "247", "image_debut": 51, "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=bmtnaau191301-01.2.18", "titre_corps": "THE PRODUCTION OF A PUPPET PLAY", "titre_sommaire": "THE PRODUCTION OF A PUPPET PLAY", "signature_source": "M. H. Bulley", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 51, "page_imprimee": "237", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 2044, "texte": "THE PRODUCTION\nOF A PUPPET PLAY,\nby M. H. Bulley.\nA\" who have had practical experience of puppet plays will sympathize\nwith the rash and dauntless folk who attempt to produce one. There\nis no accounting for the strange and inexplicable gyrations to which even\nthe most severely trained puppet will suddenly succumb.* JS?\nThis we found out to our cost after we had cheerfully offered a per-\nformance to the members and friends of that popular Liverpool Club, the\nSandon Studios Society, (i) However, having pledged ourselves, there\nwas no escape from the difficulties that lay before us, and every morning\nsaw us hard at work exercising Or. Faustus, Mephistopheles, Helen of\nTroy, six red devils, a dragon, a guardian angel and various other\nequally important personages. The play we had chosen was \" The Pro-\ndigious and Lamentable History of Dr. Johannes Faust\", which had been\ntranslated from the German by Miss Dora Nussey and produced by her\nin London. She most kindly lent us her text, and furnished us with a\npuppet as a model. £? JZ? JZ?\nThis puppet had been bought from a Russian in London, but on en-\nquiry we found that he had recently made a night flitting, leaving only\ndebts behind him. Countless enquiries then followed, but no shop would\ncopy the delicately balanced- mechanism of the puppet for less than\nthirty shillings and even then without clothes or modelled face.\nAt last, however, we were fortunate in discovering one of those clever\ncraftsmen whose fingers seem equal to any task, and we were shortly\nthe proud possessors of six puppets with moulded papier - mache heads,\nhands and feet, hollow wooden bodies, and arms and legs made of tin,\nwood and wire at the cost of seven shillings each, (diagram A.)\nThe feet were weighted with lead...an absolute necessity...and flaxen\nhair adorned their respective heads. When their faces had been skillfully\npainted and they were dressed in German costume of the XVI 1th century,\nwe then threaded them. •£? •£? JZ?\n\n(j) A Note about this Society will be found oa page. 234. J. S."}, {"page_pdf": 52, "page_imprimee": "238", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.52", "debut_caractere": 35, "fin_caractere_exclue": 2366, "texte": "Each puppet had seven strings made of black linen thread. Two were\nfastened to the chest...well to each side...; one to the middle of the back\nand two rather longer ones to the arms.\nThese strings...about 3 feet long each...were attached to a small piece\nof wood to be held in one hand. To a second piece of wood were faste-\nned the two leg-strings, attached Just above the puppet's knee Joints, and\nthese were worked by the other band. A hook and a string on each\nrespective piece of wood enabled the two to be fastened together when\nthe legs were not In motion, and a hand was needed for working the\narms. (With these puppets arms and legs cannot be worked simultaneously\nas one hand Is always needed to keep the doll in position). &\n& The six evil spirits that the play required were made out of black\ncomposition nigger dolls, deprived of their fur trimming, painted scarlet\nwith red sealing-wax horns and beards, and black wool fails. They were\nfastened \"to a curved piece of wood In the shape of a bow and could be\nworked together by one person. A dragon that had to put in an appearance\nwas home-made and was as imposing as the *' Wurm \" at Bayreuth:\nthe guardian angel had once graced a Christmas tree. &\n& The stage and Its framework were constructed somewhat on the model\nof a Punch and Judy show but on a larger scale. It stood a good height\nfrom the ground in order that no obstruction hid the puppets from the\naudience. The back cloths forming the scenery for the two acts were\nstretched on a wooden frame fastened to the stage from below. The\nwings were painted on canvas fastened on two sides of a triangular\nwooden framework and in this way stood by themselves, and only re-\nquired turning for the change of scene. This arrangement of the back\ncloth left every available space free for the working of the puppets\nfrom above, and their exits and entrances from either side (diagrams\nB & C).\nTo the right and left of the stage in easy reach were placed small\nbrass rods on which to hang the puppets when not in use. These proved\ninvaluable, as puppet strings are apt to become entangled on the slightest\nprovocation in which case a performance would be brought to an abrupt\nclose. The lighting was very simple; an electric light was attached to the\nfront of each wing just behind the drop curtain, and in this way the"}, {"page_pdf": 53, "page_imprimee": "239", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.53", "debut_caractere": 19, "fin_caractere_exclue": 2329, "texte": "strings were practically invisible against the dark backgrounds.\nAs the date of the performance drew near, rehearsals began in grim\nearnest. Weeks had been given to practising with the dolls, and slowly\ntheir reeling staggers were replaced by a more natural, if a somewhat\nwaddling, type of walk. Now both readers and-workers met together and\nthe puppets began to follow their lines, suiting their actions to the\nwords, which were read from the wings, where a full view of the stage\ncould be obtained in case any unforeseen contretemps should arise.\nThe story of Faust lends itself admirably to a puppet production,\nwhich can hardly be successful unless it contains a fairylike or super-\nnatural element. The opening scene shows the learned doctor sitting in\nhis study deep in the science of magic. The voices of heaven and hell\nplead with him but the former are repulsed by Faust, whose\nis answered by six evil spirits. He refuses their services in favour of\nthose of Mephistopheles who produces a bond. Faust signs it and departs\nwith his tempter in search of youth and joy. Amusing scenes then take\nplace between Wagner, Faust's pupil and servant, and Caspar, a country\nbumpkin, recently taken into the service of the house. The latter finds\nout the magic word that summons the spirits and to his amazement is\nsurrounded by them. A most entertaining scene follows where, sitting\non a table and swinging his legs, he proceeds to make friends with\nthem, and eventually goes off in their company borne on the back of a\nlarge dragon. The second act shows Faust after an interval of twelve\nyears. His time of pleasures is over and eternal torments await him. In\nhis despair he Is moved to repentance, but is again tempted by Mephis-\ntopheles who reveals to him the vision of Helen of Troy. His fate closes\nin upon him. The hour strikes and he is borne by the devils to his ine.\nvltable doom.\nThese are the outlines of the play that at last reached its final\nrehearsal and was now as ready as we could make it for its production\ni n public.\nThe night arrived, and in the long darkened room, curtained off at\none end, a goodly audience faced a little drop curtain on which was\npainted the figure of Faust being rapidly whirled to his fate by some\nvery beautiful black and red devils. The assembled company included"}, {"page_pdf": 54, "page_imprimee": "240", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.54", "debut_caractere": 34, "fin_caractere_exclue": 2460, "texte": "artists, learned professors, archeologists, a Lord Mayor in mufti, the\nChairman of a Repertory theatre* a controller of education, and many\nmore of the wise and great.\nA Professor of Literature read a short account of the history of puppet\nplays; and behind the curtain the little group of workers waited In\nsilence. The puppet workers were positively gibbering with fright.,We knew\nthe difficulties of our calling and remembered with painful clearness how\nbooks say it is the work of a lifetime to master it successfully. We tried\nto cheer ourselves by thoughts of the ancient Greeks and Romans who,\nas we heard through the curtain, were much addicted to puppet plays,\nand who, no doubt, never turned a hair in producing them. We remem-\nbered too how we had invaded a puppet theatre In Palermo, and how the\naudience had been most appreciative and had chewed melon seeds inces-\nsantly and thrown the remains on the floor. But then our audience was\nnot the kind that chews melon seeds and nothing would have induced\nthem to throw the remains about. There was small consolation there.\nThe professor's dissertation drew to a close. The readers grouped them-\nselves standing on either side of the stage (which was about on a level\nwith their eyes) and the workers of Faust and the angel clambered up\nto their perilous position on high. Then the bell rang and the play began.\nIt was a curious scene behind the curtains ; so much so that a Slade\nstudent had secreted herself in a corner and was rapidly making a sketch\nof it. The rough structure of the stage was half in [light, half in deep\nshadow. The workers, In blue painting pinafores, hung [over the back\nscene, perched precariously on a form lashed to a kitchen table. The\nreaders, warming to their work, stood in their shirt sleeves, and all\nunconsciously swayed and gesticulated as they read. There were some\nagonising moments to be lived through ; for example, when the raven\nflew down with the bond. This was fastened round its neck by a loop of\nblack cotton, and had to be deposited on the table for Faust to sign. At\neach of the last rehearsals the bird had made a bad shot, and the paper\nhad fluttered to the floor Imagine the tension behind the scene\nwhen the flight commenced 1 every eye was rivetted on the bird, and an\naudible gasp of relief, and the dancing of a silent breakdown, heralded\nit's successful flight. The carrying away of the bond was an easy matter,"}, {"page_pdf": 61, "page_imprimee": "247", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.61", "debut_caractere": 36, "fin_caractere_exclue": 1477, "texte": "for the raven returned to fetch it with a large and sticky bead of sec-\ncotine upon its inky bosom.\nOf course the audience was unaware of the anxiety behind the curtain.\nIt was as sympathetic and interested as could be, and followed each\nscene with rounds of applause. As Caspar's part was originally written\nin German dialect, it was now read in broad Lancashire, and his really\namusing antics were received with continual laughter. The lighting was\nso successful that the threads were almost invisible, and the action of\nthe puppets, exactly following the words, made the illusion complete.\nTowards the end of the play it was astonishing to see how the tra-\ngedy gripped the audience. There was dead silence in the room when\n\\\nthe clock was heard striking eleven and Paust was left alone in the\nmoonlight, listening in misery and despair to the voices, intoning in\nLatin and Gregorian cadences the eternal damnation that awaited him.\nThe truly comic apparition of Helen of Troy which came at this point\nwas a welcome relief. Then the pall of gloom again enveloped the scene.\nThe clock struck twelve. Suddenly all was plunged in darkness and with\na flare of green and crimson light, Paust, attended by the devils, was\nswept out of sight. A quick curtain and the unmistakable smell of Bengal\nlights were followed by a short scene where Caspar as night watchman\nand his wife Gretel danced a breakdown together and bid the audience\ngood night."}]}, {"article_id": "bm-bmtnaau-1913-01-01-c049", "article_bluemountain": "bmtnaau_1913-01_01#c049", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "248", "page_fin": "266", "image_debut": 62, "image_fin": 80, "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=bmtnaau191301-01.2.19", "titre_corps": "A HISTORY OF PUPPETS", "titre_sommaire": "A HISTORY OF PUPPETS", "signature_source": "Yorick", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 62, "page_imprimee": "248", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.62", "debut_caractere": 0, "fin_caractere_exclue": 1924, "texte": "A HISTORY OF PUPPETS\nPUPPETS IN ITALY.\nby \" Yorick \".\nn this chapter we begin to narrate, always, be it\nunderstood, in the most concise and abbreviated form\npossible... the vicissitudes of the puppets in modern times;\nand more especially those of the ** fantoccini \" destined\nfor public performances; those gathered together, so to\nspeak, in dramatic companies, under the direction of an\nimpresario, who manages on his own account a small\ntheatre, a booth, a \" casteilo \", or, to use the vocabulary\nof the profession, an ** edifizio in which he carries\nout, with his little figures, a course of dramatic, and\nsometimes also melodramatic, performances, which have a character of\ntheir own, a pbysionomy peculiar to themselves; which delight in a\nspecial literature, which exert a most remarkable influence over a part\nof the public, and which in many directions ally themselves to the ge-\nneral history of the dramatic art in Italy and abroad. & &\nWe run no risk in carrying out these researches of wasting our time\nin a tedious and monotonous study, nor of squandering our energy in\nreading a cock-and-bull story of insignificant, and at times painful,\nor vulgar or stupid, episodes such as might be found in the tale of the\nold strolling players. Not at all! the theatrical puppets are sober people,\nsolid, tranquil folk, content with [their position and attached to] the\ntheatre by many ties. Among them there are no rivalries, no tempers\nnor| jealousies nor theatrical conventions, and they dwell in love and\nharmony, like so many branches of one trunk, upon that stage where:\nLes acteurs sont de niveau, (i)\nAucun d'eux ne s'en fait accroire t\nLes males au porte-manteau,\n\nTRANSLATIONS.\n(i) The actors are all equal; none of them is stuck-up: the males In the\nportmanteau, the females In the wardrobe. Isabelle, behind the bolts,\nleaves Colomblne in peace, and PoIIchinelle upon his nail does*not cabal\nagainst Gllie. £?"}, {"page_pdf": 63, "page_imprimee": "249", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.63", "debut_caractere": 25, "fin_caractere_exclue": 2064, "texte": "Fit les femelles dans 1'armoire.\nIsabelle, sous les verrous,\nLaisse Colombine tranquille;\nEt Polichinelle a son clou\nNe cabale pas contre Qllle.\n& Thus, two centuries ago, a vaudeville by an anonymous author cele-\nbrated the virtues of the Italian puppets domiciled at Paris; and it did\nso doubtless with the honest Intention of censuring, by implication, the\nvices and grievous habits of the actors of that time, who were then,....\nas, generally speaking, they are today,... disorderly, light-minded, always\nquarrelsome and at discord among themselves, jealous of the applause\nlavished on their companions, and wild to acquire for themselves by\nmeans of every artifice a celebrity as ephemeral as it is false. &\n& Before, however, proceeding with the story which I have undertaken\nto narrate, it is necessary that I should give a short explanation. Pro-\npriety in language has always seemed to me a most desirable thing in\nevery kind of writing and I therefore feel myself bound to explain what\nis the precise meaning of the different names which I have at times to\napply to the \" heroes \" of my historical tale.\n& In Tuscany we call \"fantocci\" all the little figures fashioned like the\nhuman body, (of whatever material they may be composed and to what-\never use they may be destined) so long as they be executed with a cer-\ntain rough imitation and without too much attention to elegance. Thus\namong us, one uses the expression \" pittor da fantocci \" for a worthless\nartist, unworthy to rise to the representation of truth ; and Lorenzo Lippi\nin the first canto of the \"Malmantile riacquistato\", wishing to imply the\nartistic value of his three scholars, veiled under the anagramatical names\nof Fra Ciro Serbatondi, Egeno dei Brodetti and Sardonello, sings of them :\nDi foglio per impresa un bel cartone (i)\nInsieme colla pasta egli hanno messo\n\nTRANSLATIONS.\n(i) They, have taken as ensign a fine cardboard together with the paste\nfor their fantocci, which, like dunces, they are in the habit of copying\nor drawing from the plaster. 4?"}, {"page_pdf": 64, "page_imprimee": "250", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.64", "debut_caractere": 29, "fin_caractere_exclue": 1947, "texte": "Dei lor fantocci, i quali da Perlone\nSoglion copiare o disegnar dal gesso.\n& With the diminutive, then, of this generical title, changed to \" fan-\ntoccini \", we indicate those \" fantocci \" destined for the amusement of\nthe common people and described by Girolamo Cardano in his treatise\n\" De varietate rerum published at Nuremburg in 1550. \" I have seen\"\nsays he, \" two Sicilians who worked wonders by means of two little fi-\ngures threaded through the breast by one single string which traversed\nboth of them. The string was fastened at one end to a heavy block of\nwood and at the other tied to the leg of the showman, who, making\ncertain movements with his knee, caused the little figures to dance\".\n£? Of this particular species we also find testimony in that treasure of\nour language,.... the mock heroic poem of Lorenzo Lippi, where he de-\nscribes the becoming greetings offered by Baldone to the beautiful\nCelidora :\nS'ell'd, dic'ei, cos), noi siam cugini :\nE subito si fan cento accoglienze ;\nEd ella a lui ne rende mille inchini,\nEgli altrettante a lei fa riverenze.\nCosi fan no talor due fantoccini\nAl suon di cornamusa per Firenze ;\nChe i'uno incontro a I'altro andar si vede,\nMosso da un fil che tien chi suona al piede. (1)\nAs for the word \"burattini\", we use it to indicate those little figures\nwhich are intended for stage plays, and which are composed of a head\nand two hands, without body, and held together by a kind of large cloak,\nwithin which is hidden the hand of the \" burattinaio \" who makes them\n\nTRANSLA T I O N S.\n(i) \"If you\" said he, \"are so, we are cousins\" : and immediately they\nextend to each other a hundred greetings, and she makes a thousand\ncourtesies to him, and he as many reverences to her, just as two fantoc-\ncini sometimes do to the sound of the bagpipes in Florence, when one\nis seen to advance towards the other moved by a string, which he who\nplays holds with his foot. & &"}, {"page_pdf": 65, "page_imprimee": "251", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.65", "debut_caractere": 23, "fin_caractere_exclue": 2065, "texte": "act from beneath,\nL'andar !1 glorno in piazza a' burattini\nAd agli Zanni furon le lor gite ..... (1)\none reads in the 44 Malmantile riacqulstato \" ; and the poetic description\nof the \" castello dei burattini \" is also found to the life in Giuseppe\nBerneri's \" Meo Patacca \" illustrated by Plnelli, exactly as it is seen in\nthe celebrated Fair pictures by Callot. & us? u£> £/\n& The etymology of this curious word is certainly of the simplest and\nmost natural description, nor, for its discovery, is it necessary to rack\none's brains nor to run through the lexicons of the dead languages. The\nloose gown, which was at first used to clothe the 44 figurine \" of the\n\" castello \",... or rather to hold together and render more manageable\ntheir principal pieces,... was made of a certain native woollen stuff,\nsomewhat coarse but durable, rather loosely woven and dyed in bright\ncolours, to which, in our provinces, was given the name of 44 buratto \"\nperhaps owing to its resemblance to the weave of the made for the\nframes used in sifting flour. (2) 44 Buratto \" was chosen for this use be=\ncause it is stuff which costs little, is showy, slow in wearing out, does\nnot crease, rarely fades and does not mould or rot with the damp.\nThe puppets dressed in 44 buratto \" were soon christened \"burattini\",\nas might be expected. £/\n£/ In our days the 44 buratto \", too humble to serve any longer in the\ncostuming of the grand ballets and pantomimes, has remained more\nespecially in use in the sea ports for the making of flags and signals for\nVessels. £/\nThe 44 burattini \" were then also called 44 magatelli \", or 44 fraccur-\nradi \": the first form in allusion to the magic art which caused them\nto work so many wonders, and the second referring to the likeness which\nexisted between the movements of the head of such puppets and those\nperformed by a green bean pod, cut slanting-wise at one extremity and\n\nT R A N S L A T I O N S.\n(1) Going by day into the square to the burattini and to the Zanni were\ntheir outings.\n(2) \"To sift\" is \" abburattare\"."}, {"page_pdf": 66, "page_imprimee": "252", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.66", "debut_caractere": 16, "fin_caractere_exclue": 2323, "texte": "set in motion by the string of the suture which was slit all along its\nlength. This child's plaything is called \" fraccurrado \" in some parts of\nTuscany, and \" frate baseo\" elsewhere. & & &\n\" Pupi \" and \" Pupazzi \" were the names given to the burattini in\nthe provinces of Rome and Naples, these being derived from the ancient\nLatin vocabulary. jS? jz?\n& There remains the word \"Marionette \" destined to designate the little\narticulated figures (or \" mastitiettate \" as Paolo Minucci calls them),\nwhich are supported by a wire from the top of the head and made to\nmove by means of strings. And in regard to these Marionettes 1 have\nhad this very day a real vexation. Seeking in the \" Nuova Enciclopedia\npopolare italiana\" for some information in reference to this word\nwhich should be of service to me I ran straight into this abominable\nstatement: \" Marionette: In Italy they are called burattini, fantoccl,\n\" fantoccini; and the word Marionette is an ugly Gallicism derived from\n\" a certain Marion, a charletan, who first introduced them into Prance\n\" under Charles IX\".\njZ? Powers of heaven and earth I how is it possible to cram into so few\nlines such an amazing number of blunders! The marionettes were not\nintroduced into Prance under Charles IX:.... a charletan (ciurmatore) is\nnot a burattinaio; ....the name of Marion has never belonged to a man\nbut always to a woman, as a caressing form of Marie; ....and finally,\nMarionette is not by any means a Gallicism, but an Italian word like\n\" me \" and ** vol \", with a clear etymology backed by documents which\nit is a read delight to read. It is a word in common use, and if it is not\nin the dictionaries, ...J mean to say in that of the old bachelors of the\nCrusca, for it is not lacking in the excellent dictionary of Fanfani) ....so\nmuch the worse for the dictionaries; and let those whose business it Is\nto put it in, put it. jz?\nOpen the book of Giustina Renier Michel, \" Origine delle feste vene-\nziane \" (Milan, 1829) and read what is written about the famous \" festa\ndelle Marie \", the festival of the Maries, to which I already referred in\nthe preceding chapter, and with which it was customary in Venice, from\nthe tenth century onwards, to commemorate, by the celebration each\nyear of a sumptuous ceremony, the rape of twelve affianced maidens"}, {"page_pdf": 67, "page_imprimee": "253", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.67", "debut_caractere": 23, "fin_caractere_exclue": 2223, "texte": "which was accomplished by Saracen pirates. set\n*\n£? I beg you to recall to mind what I wrote a few pages back about the\nvery singular ceremonies of this solemn commemoration and compare it\nwith that which Qiustina Renier Michel says about it in her book. (1)\nFor eight days twelve young girls, richly dressed and covered with\ngold and jewels, were led in procession about the city. The choice of\nthese girls was a munus publicum of the Doge; but, as time went on,\nthis custom giving rise to endless quarrels in the state, there arose the\nusage of substituting for the women an equal number of sculptured fi-\ngures, elaborately decked out and called by the people the \"Marie di\nlegno \",.... the \" wooden Maries; or the \" Marione \", the \" big Maries,\"\nto indicate that they were larger than life-size. In the week of the\n\" Marione \" the Venetian toy-venders offered for sale certain small re-\nproductions of the large figures which sold in thousands; and these,\nbeing diminutives -of the \" Marione \" or \" big Maries \" were called \"Ma-\nrionette \" or \" little Maries \". The whole thing is as clear and simple as\nfresh water and befell in Venice and not in Japan, and all took place a\nmere bagatelle of five hundred and fifty years before the birth of that\nrascal, king Charles IX\nI ask pardon of my courteous readers for this long but indispensable\nphilological disgres'sion and return straightway to the marionettes of the\ntheatre and to the story of the burattini in Italy.\nAnd this I could not embark upon at once and follow out swiftly\nand clearly did I not commence, as though to attack the subject with\nthe greater vigour, from a more distant and higher point, in a contrary\ndirection, going over, in the narrower field of our own peninsular, a\nportion of that ground which we have already covered, treating the ar-\ngument under a more comprehensive and more general aspect.\nThe use, or rather, the abuse, of introducing burattini into the ec-\nclesiastical ceremonies and of making the marionettes perform in the\nvery interior of the temple on the occasion of the most stately and\nsolemn church services was almost universal in Italy in the first cen-\n\nNOTES.\n(i) The Mask, October 1912 page 138 4&"}, {"page_pdf": 68, "page_imprimee": "254", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.68", "debut_caractere": 22, "fin_caractere_exclue": 2228, "texte": "turies of the middle ages ; so much so that a Pope, addressing his words\nto the venerable prelates from the height of St Peter's Chair, deemed It\nnecessary to stir up their zeal toward the repression of a custom so\nprejudicial to the decorum and dignity of the holy places:\n\" Interdum ludi fiunt in ecclesiis theatrales; et non solum ad ludi-\n44 briorum spectacula introducuntur In eis monstra larvarum ; verum\n44 etiam in aiiquibus festivitatibus Diaconi, Praesbyterl et Subdiaconi\n44 insaniae suae ludibria exercere praesumunt \" said Innocent III. (i)\nPope Innocent pronounced these words in the yeur 1210, but it does\nnot seem that they bore much fruit, for in the special records there\nabound evidences of the stubborn and mulish obstinacy with which Italian\npriests and friars, monks, abbesses, religious bodies, devout congregations\nand confraternities multiplied the puppet performances in the churches ;\nwhether innocently, out of desire to stir the devotion and contrition of\nsinners by these performances, or in frivolous rivalry of magnificence\nbetween church and church, or through the base calculations of greed,\neach one striving to draw, by means of such pastimes, a greater number\nof spectators and a more abundant flow of alms Into the treasury of\nthe & jg?jg?\nIn those days, in the resounding naves, and beneath the cupolas veiled\nin kindly obscurity, one saw set up on high the 44 castello \" of the <4bu-\nrattinaio \", shaped and adorned in the style of a chapel or a tabernacle,\nin which were gathered large articulated figures of Jesus, of Mary, of\nSt Joseph, of the Magi Kings, of Herod, of Rachel weeping for the death\nof her children, and of all the saints of Paradise, gesticulating in various\nattitudes according to the particular events of their lives or of their\nmartyrdoms. &\n£? We may believe that such puppets remained mute for some time and\n\nTRANSLA T I O N S.\n(i) Meantime, now, they act plays, theatrical performances, in the\nchurches, and not only do they introduce masks in the comic pieces, but\neven, in some festivals, the very deacons, priests and subdeacons them-\nselves presume and are eager, in their madness, to act the parts of the\nmaskers themselves. & & & & & &"}, {"page_pdf": 69, "page_imprimee": "255", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.69", "debut_caractere": 22, "fin_caractere_exclue": 2318, "texte": "did not execute any other movements than those indispensable for the\nproduction of a slight illusion of truth in the mind of the on-lookers or\nfor the establishment of a stronger faith in miracles, on account of\nwhich in later days certain images of Christ and the Madonna were held\ncelebrated. But the words with which, in 1439, the Council assembled to\ntreat of matters of ecclesiastical discipline reproved anew the inveterate\ncustom, would lead us the rather to suppose that little by little the\npuppets of the churches carried their boldness to the pitch of making\ntheir voices resound through the ample vaults of the holy fanes and of\nperpetrating some audacious attempts at scenic representation. In fact\nthe Fathers gathered at the Council note that: \"tarn in metropolitanis,\n44 quam in cathedralis et aliis ecclesiis, consuetudo inolevit ut dum\n\" divina aguntur, LUDI THEATRALES. LARVAE, monstra.... spectacula\n44 introducuntur \". (1) uz?\nHere, evidently, reference is made to a complete scenic play, with its\nmasks, its allegorical personages, and its machinery, such as were used\nin the primitive farces, pantomimes and dances.\njg? Sant'Antonino, bishop of Florence, refers also at that same time to\nthe performances and spectacles which were got up in special style by\nthe clerics in the Florentine churches, so that it is impossible to imagine\nthat the whole evil reduced itself to a simple display of articulated, but\nmotionless and silent, figures, or, as we say today, 44 plastic pictures\nThere was the spectacle, there was the movement, there was the word,\nthere were all the elements from the union of which results the theatrical\nplay in the special and restricted meaning of the word. &\nNaturally one understands that the subject, the story, the argument\nof these performances were drawn from the pages of holy books or from\nthe legends of the holy Martyrs; one recognises perfectly that the cho=\nruses, the monologues and the dialogues of these productions in dramatic\nform were nothing else than the reproduction of Bible texts, of fragments\n\nTRANSLA T I O N S.\n(i) It has become the custom that both in the metropolitan churches,\nand in the cathedrals, while the religious rites are being celebrated they\nintroduce theatrical plays, masks, fantastic figures,... spectacles."}, {"page_pdf": 70, "page_imprimee": "256", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.70", "debut_caractere": 25, "fin_caractere_exclue": 2179, "texte": "of the Gospels, of the solemn canticles, antiphons, and responses most\nfrequently interposed in the liturgical ceremonies, and were almost\nalways given in the Latin tongue. The theatrical performance was, in\nfact, one of those \" Sacre rappresentazioni \" (i) about which my friend\nAlessandro D'Ancona has written and published so many learned volumes\nfrom which, with long study and much affection, 1 glean and epitomize\nthe information most interesting for my thesis.\nBut it is none the less true that, even at that remote period, the\nreligious puppets of Italy began to assume the physionomy and the man-\nners of the puppets of the theatre, and it is not less certain that in\nItaly, much earlier and much better than elsewhere, the \" Sacra Rap-\npresentazione \" assumed the colour and flavour of drama through the\nmarionettes.\nWhen his Holiness had emptied his sack of anathemas, and the Bi-\nshops had exhausted their stock of reproofs without the puppets having\ngiven any indication of resipiscence or any sign of bending,.... or rather\nof folding up,., beneath the thunderbolts of the Authorities, there suc-\nceeded to the violence of the struggle a long period of calm and tole-\nrance, during which the Marionettes did pretty much as they liked in\nthe churches, the cloisters, the squares surrounding the cathedrals, the\ncemetaries, and the refectories,.... in all the places, in fact, where the\nwanderers and pilgrims assembled in greatest numbers.\nAnd the first effect of such tolerance and of this more unrestrained\n# \\\nliberty was, in my modest and humble opinion, the association of the\nPuppets in the great performances given, in church and out, by the\nreal living actors of the new liturgical JZ?\n& Reading the descriptions of the scenes in which the most complicated\nprogramme of those sacred plays had to spread, unfold and develop, re-\nquiring as they did, an enormous space, cut up into twenty or thirty\ndistinct compartments, divided off by partitions and communicating one\nwith another by meanS of doors and passages, and rendering necessary\n\nNO T E S.\n(i) '* Orlglni del Teatro in Italia\" Florence, 1887. See also\nJanuary 1912.^&&&&£><£?"}, {"page_pdf": 71, "page_imprimee": "257", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.71", "debut_caractere": 24, "fin_caractere_exclue": 2427, "texte": "the intervention of heavy machinery and scaffolding, and of cranes,\nwheels, and counterpoises to raise and lower so many people, to cause\nthe appearance and disappearance of so many monsters, to produce so\nmany and such varied wonders, there naturally comes into one's mind\nthe calculation of the proportion between the dimensions of the church\nor square and that of a stage upon which five or six hundred people had\nto move continually and frequently pass from one compartment to\nanother, and ascend In troops to the higher tiers.\nPermit me to insert at this point a somewhat lengthy extract from\nthe book of Alessandro D'Ancona, taken from chapter XXVII, in which\nhe discusses the scenic setting of the Sacra Rappresentazione.\n\" As to the scenic setting of the Ancient Religious Theatre there are\n\" diversities of opinion among the learned. The Brothers Parfaict, In\n\" fact, hold that the scene of the Mystery was a large edifice or scaf-\n\" folding, at the top of which was the Paradiso, in the lowest and sub-\n44 terranean part the Inferno, and between these were raised as many\nstories as there were principal regions in which the action of the\n44 play took place; each of these stories being subdivided into compart-\n44 ments according to the particular place in each region. To form an\n44 idea of this peculiar construction of the stage.... which one would say\n44 was imitated from bee-hives one should take as example a box\n44 divided into many little compartments and set up on its side, or else\n44 a house of which the principal outer walls had been demolished; or\n44 else the present day theatre, save that the actors occupied the galleries\n44 and boxes and the public the stage.\n44 A more careful examination has been made by the celebrated Paulin\n\" Paris to expound a different opinion.... that the theatre extended for\n44 a length of about a hundred feet, rising exactly like the auditorium\n44 of the theatre of today. The front part of the stage concealed beneath\n44 it, in the form of a dreadful mouth which from time to time opened\n44 to afford passage to the devils, the infernal region, in which much\n44 noise was made ; flames and smoke also issued from it, and the demons\n44 precipitated therein the souls of the sinners and their bodies. -<s>\n44 Upon the platform took place the greater part of the action, and from\n44 thence the actors spoke when the subject did not detain them in"}, {"page_pdf": 72, "page_imprimee": "258", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.72", "debut_caractere": 25, "fin_caractere_exclue": 2425, "texte": "44 those compartments situated further back, which represented the\n\" countries, cities, woods, seas, buildings, palaces, temples and rooms in\n44 which some episode of the drama took place, and from which they\n44 issued forth when it was their turn to speak, and whither they re-\n44 turned when they had nothing else to do or to say and the action\n44 could proceed without jg? jg? J&\n•£? 44 There the spectator saw them, each at his post, when the play began,\n44 and In a single glance knew the number of the regions, the quality\n44 of the personages, Ira short, the subject of the performance, being often\n44 assisted in this by the placards fastened upon each compartment and\n44 the explanations given verbally by the director of the performance,\n\" To go from one to' another of these 44 mansion! \" the actors passed\nround behind, or across the space destined for the general stage.\njg? 44 But higher than all the little houses, almost like a great gallery,\n44 richly decorated, rose at the back of the stage the Paradiso, which\n44 opened and closed as occasion required, like the infernal mouth, and\n'' wherein was enthroned the Triune God, seated upon a resplendent *\n4' throne, surrounded by the symbolical attributes of his divinity and by\n44 the choirs of Angels, his ministers and messengers, \"\n& Royer also, in his 44 Storia del Teatro \", is of the opinion that all\nthe compartments were not constructed one upon another but simply\none beside the other. & jg? & &> jg? &\nAnd in this last judgement, which does not differ much from that of\nPaulin Paris, the most learned Alessandro D'Ancona also concurs, (at\nleast in the main thesis,) asserting that this minute description of the\nFrench stages conforms perfectly with the Italian stages of that period.\nThe worst of it is that this description is now shown to be, by more\nrecent and irrefutable documents, absolutely Inexact; and the 44 ma*\nquettes \" of ancient theatrical scenery, reconstructed according to\nthe indications of the valuable manuscripts of the French Biblloth&que\nNationale, and exhibited at the great Paris Exhibition in the year 1878,\nhave convinced the most incredulous -that the compartments of the\nscenery adopted in the Mysteries were not seldom built one upon another;\na fact which, after all, is not denied, except for special cases, by D'An-\ncona himself, who, in a foot-note to page 399, Vol. I. of ills work, cites"}, {"page_pdf": 73, "page_imprimee": "259", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.73", "debut_caractere": 25, "fin_caractere_exclue": 2332, "texte": "as an example of scenery raised in stories that of the Mystery of the\nResurrection, where the ** maison du Cenacle doit estre dessoubg Pa«\nradis \" because the tongues of fire had to descend from above.\n& Now, how would it have been possible in a theatre, even of the most\nvast proportions, to construct a scene with various stories and numerous\ncompartments, so solid and so strongly fitted together as to sustain\nwithout danger in the upper ceils and stories many persons, obliged to\nmove, to walk, to run all together upon that shaky foundation ?\nSee, for example, how the Paradiso appeared in the Mystery of the\nIncarnation. \" And first Paradise was opened, made in the guise of a\n\" Throne, and a pavilion of gold all round, in the midst of which is God\n\" in a decorated seat, and on his right Peace, and beneath her Mercy,\n\" on the left Justice and below her Truth, and all around nine orders\n\" of angels the one above the other\n■£? Even counting only ten angels for each order they make in ail the baga-\ntelle of ninety-five persons roosting in a kind of cock-loft, beneath which\nthe actors of the Mystery had to recite and move about, ....in great fear\nof seeing everything come down !\n1 therefore believe,... and believe that I am right... that many of those\npersonages gathered in the higher compartments, and especially those\nelevated up there as visions and having no part whatever In the action,\nwere only figures of people, puppets constructed with much skill in\nsome less heavy material, and grouped and arranged in such a way as to\nproduce the most perfect illusion.\n£?Apd I am strengthened in this opinion by the careful examination\nof all the other parts of the Mystery, according to the witness of con-\ntemporary chronicles and according to the most ingenious comments of\nmy friend D'Ancona, JZ? js\nIt may be right enough that, during the development of the Sacred\nDrama the various exigencies of the action should require the real actors\nto issue from their compartments to recite their parts in the spazio\ncomune,the common ground, and that it should then lead them to\nreenter, to remain almost quiescent, once their part was finished and the\naction transported to another region. But it is not equally all right that\na dense crowd of performers, necessarily allied with the events of the"}, {"page_pdf": 74, "page_imprimee": "260", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.74", "debut_caractere": 25, "fin_caractere_exclue": 2399, "texte": "story, should remain for whole days, and sometimes for whole weeks,\nconfined, motionless, mute, inert, in these narrow little boxes, until\nthe termination of so long and so fatiguing a performance. -2?\nThe inconveniences deducible from a similar hypothesis are so nu-\nmerous, so serious and so obvious that 1 do not pause even for a moment\nto review them. And I think that all those soldiers, all those citizens,\nthose scribes, those pharasees, those neophites, those little virgins were\nin part puppets artistically modelled and proportioned according to the\nlaws of theatrical prospective, those nearer larger, those further off smaller\nand all put together with suitable articulations to simulate a certain\nmovement, a certain activity which deceived the eye and furnished an\nagreabfe pastime and augmented the appearance of real life in that\nvast and ample scene, whilst the principle characters moved and spoke\non the stage.\n£/ I also believe,,., and I base my opinion on the descriptions cited of\nmany sacred Italian plays,... that another class of large marionettes was\nlittle by little substituted for the real living actors; when they had either\nto rest or to be silent for a long time during scenic episodes in which\nthey did not take part, or when, withdrawn into their cells, they had,\nwithout words, to simulate some action which was either painful or im*\nmodest or dangerous or simply decorative. &\nThus in the Representation of Santa Uliva, while a combat is going\non upon the stage, a puppet, dressed and painted in likeness of the Saint,\n\" will give birth to a child in her houseand a little later another\npuppet must certainly take the place of the principal figure when \" with\nmerciful deception another woman that seemed to be Uliva is burnt with\na child in her arms and thrown into the sea \".\nAnd the animals, the wild beasts, the giants which appear in the\nepisodes of the liturgical Drama must also have been often articulated\npuppets:... those lions which in the \" Daniel \" devoured the satraps of the\ntyrant, sparing the young man who was protected by the Lord ; that\nterrible \" dragon \" of which St Michael the Archangel \" cut off the head \"\nwith a blow of the sword ; those serpents which hissed from the open\njaws of hell, and those devils that fell violently down, in precipitous\nconfusion, from the lofty summets of the mountain into the gloomy"}, {"page_pdf": 75, "page_imprimee": "261", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.75", "debut_caractere": 25, "fin_caractere_exclue": 2260, "texte": "abyss of eternal perdition.\nJZ? Again, not infrequently a puppet was adopted to represent the\nomnipotent Creator, hovering upon the ciouds, or seated beneath the\nstarry vault of sky. In 44 Adam \",a sacred drama of the twelfth cen-\ntury, the programme of which was recently discovered, (Ordo rapresen-\ntacione Ade), the person of the Omnipotent is designated with the title\nof 44 Figure of Qod the Father and often called simply the 44 Figure\n44 Cum fuerint (Adam and Eve) extra Paradisum, quasi tristes et con-\n44 fusi, incurvati erunt solo tenus super talos suos; et Figura manu eos\n44 demostrans, versa facie contra Paradisum, Chorus inclplet; Ecce Adam\n44 quasi unus... quo flnito, et Figura regredietur ad ecclesiam (i)\n&In a 44 New Inventory \" of the goods owned in 1339 by the Perugian\nConfraternity of San Domenico was found the enumeration of the dresses\nand properties necessary for the performance of the 44 Spiritual Lauds \"\nand of the 44 Liturgical Dramas \", and among these properties or acces-\nsories are also described 44 dole ladrone \", that is, the two thieves to set\non either side of the Crucified Christ, which were without doubt of wood\nor wax, conveniently articulated to serve on the stage ; and also the\n44 palomba per lo Spirito Sancto \", the dove for the Holy Ghost, which\nmust evidently have flown by means of strings and mechanism. JS?\nJS? In the April of I427, at the Court of Amedeo VIII, duke of Savoy, the\nsacred play of St George was performed with great magnificence; and\nfrom the account book of the treasurer Michele De Ferro it appears that\nthere were purchased : five ulne of white iinen \" pour une ydole tout\nentiere de trois pyes de long \"; eleven measures of the same linen \"pour\nies quatre martyes que Dacien faict decoler \" ; three \"pour\nune autre ydole ou se met une personne qui parle \" ; four pounds of\n\nTRANSLA T / O N S .\nv\n(i) When Adam and Eve shall be outside the earthly Paradise, they shall,\nsad and ashamed, bow themselves, humiliate themselves even to the\nground; and, the Figure, standing with his face towards Paradise, and\npointing at them with his hand, the chorus shall begin to sing: Ecce\nAdam quasi unus and the chant being ended the Figure shall\nreturn to the holy place J"}, {"page_pdf": 76, "page_imprimee": "262", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.76", "debut_caractere": 28, "fin_caractere_exclue": 2324, "texte": "44 blanc de puillie pour faire I'encarnacJon de ceulx qui seront ou sem-\nbleront 6tre nus, et pareillement pour les visages des tgtes et pour les\ncouronnes de Dleu, du Pape, etc\" ; and finally \"quatre peaux de rnouton...\npour faire le corps de Saint-Georges tout du long pour sembler nu ; \"\nbesides the expenditure \"pour la faczon du dit corps \". (1)\n& Nor, with all deference to the many learned scholars who have fully\ndiscussed this subject, can 1 bring myself to believe that those charac-\nters in the sacred plays which, in the presence of the audience, sub-\nmitted themselves to ill-treatments, to scourgings, to burnings, to\namputations and to all the other tortures of martyrdom, were anything\nbut puppets and marionettes, admirably constructed and painted to look\nas if they were living beings. & &\nJSf We are not speaking, be it understood, of .the final execution, for\nwhich frequently the written programmes which have come down to us\ncontain precise indications and the clearest injunctions for the substitu-\ntion of a dummy for the real actor. In 44 Santa Cristina for instance,\nafter the executioner has seized his victim and ordered her to lay her\nhead on the block the programme says that 44 one must exchange for\nthe counterfeit In 44 Santa Apollonia in a similar stage crisis, it is\nwritten, 44 a few women weep over Santa Apollonia, and one of them\ntakes her under her mantle, and another lays down a counterfeit which\nresembles her,.... and the executioner cuts off its head \". sS &\n& But also in the minor pains inflicted, even if those be not to be\nconsidered as yet more cruel and unbearable,... the same thing must be\n\nNOTES AND TRANSLATIONS.\n(i) Five ulneof white stuff for a whole Idol three feet in length ; eleven\nmeasures of the same stuff for the four martyrs that Dacien causes to\nbe decapitated ; three for another idol where one puts a person who\nspeaks; four lihbre of whitening, (blanc de pull lie) to make the flesh\ntints of those who shall be or shall simulate to be nude, and likewise\nfor the faces of the heads and for the crowns of God, of the Pope, etc;\nand four sheep skins... to make the whole body of St George, appear\nas naked; also the expenditure for the making of the said body. (Ci-\nbrario : Econom. polit. del Medio Evo. Torino, 2854. page 237.)"}, {"page_pdf": 77, "page_imprimee": "263", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.77", "debut_caractere": 23, "fin_caractere_exclue": 2264, "texte": "said, in spite of the ardour of devotion and enthusiasm of faith which\nsometimes led some one among the actors of these sacred Mysteries to\nsuffer some sharp blow and wound for the greater glory of God.\n& When the executioner, having said to St Agatha with fierce eyes,\n44 Now stretch forward thy breast quickly \" cuts off her breasts \" with\na knife ; when St Cristina is torn with sharp hooks and the hangman\n1 cuts off her breasts and tears out her tosigue\"; when, in the case of\nSt IppoIIto, the executioner \" crushes his flesh even to the bone and\ndrags him to the scaffold by the rope when St Laurence Is beaten\nwith leaded balls when St Romolo Is dragged along 44 by the hair\nwhen St Rossore and his companions are 44 pinched with red hot pincers \",\nand a soldier 44 tears out the heart\" of St Ignazio, reading thereon with\ngreat amazement 44 written for all the name of Jesus (i) and everything\nis done upon the stage before the audience, i believe it is perrnissable to\nconclude that St Agatha, St Cristina, St Ippoiito, Si Laurence and the\nother glorious Martyrs and Confessors were stupendous puppets and\nmarionettes, substituted in that moment for the actors ; and thus, by\nsimulating human figures, arousing universal terror and emotion.\nThe same thing, undoubtedly took place when the development of\nthe sacred Drama rendered necessary the exhibition upon the stage of\nabsolutely naked bodies, to be tormented or wounded or violated as\nthe case might be.\nSt Dorothea and St Giuliana were tied naked to the column and\n44 torn with hooks St Barbara and St Margaret had their naked shoul-\nders and brea$ts burned with lighted torches; the Child Jesus was cir-\ncumcised naked on the stage ; and the virgins of the Lord fell naked into\nthe clutches of the ferocious and lustful satellites of the pagan Emperors,\non whom, ...we leave out the incentives to sensuality,... the same ano-\ntations of the stage directions imposed the obligation of pushing to the\nextreme limit the actions proper to ravishers and executioners.\n& Certainly very often nude figures were tolerated on those stages*\neven to the point of letting it be written in the 44 Mystery of the Old\n\nNO T E S .\n(i) D'Ancona. \" Sacra Rappresentazioni Vol. II. page 29. j£?"}, {"page_pdf": 78, "page_imprimee": "264", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.78", "debut_caractere": 14, "fin_caractere_exclue": 2131, "texte": "Testament \" Here it shall be legitimate to have some persons entirely\nnaked for penitents\". But it is reasonable to suppose, ...as all the students\nof this subject, from the Brothers Parfaict to our own D' Ancona are\nagreed In supposing,... that in the greater number of cases large wooden\npuppets were introduced upon the stage, wrapped in flesh coloured stuff\nand Sightly veiled, so as to produce the effect of life without putting to\ntoo severe a test, I will not say the modesty, but the courage, of the\nactors,\n& And upon this subject, and as a'more efficacious demonstration of the\nnecessity of adopting puppets in the Representation of the Sacred Dramas\nin Italy, let me be permitted to quote, in the words of Pittre (I) the\ndescription of a scenic spectacle celebrated at Mazara in I728, (the date,\nas you see, Is very near to our own and proves clearly the continuity\nand the constancy of the tradition) in honour of the holy martyrs Vito,\nModesto and Crescenzio. &\n& 44 Few \" writes Pittre, 44 are the abstract personages, very many the\n44 excutioners armed with various instruments. Four hundred martyrs\n44 cruelly tortured ; some disembowelled ; others thrown into a cauldron\n44 of boiling sulpher and lead, others lacerated with iron hooks and combs,\n44 others crushed with cudgels, others shot through with arrows or\n44 crucified, and torn in pieces by wild beasts, and bitten by vipers,\n44 and scourged till the blood ran, and their tongues torn out, and their\n44 fingers, hands and arms cut off; and wounded with hatchets, and run\n44 through with swords and knives, and excoriations and lacerations\n44 and decapitations of every kind\".\nIf there was not need of puppets for all this may I be lacerated and\nflayed like St Modesto himself!\njg? Poor marionettes! And to think that not a single one of them Is to\nbe found In the martyrology!\nAnd it may be perhaps on account of this ingratitude that from the\nfirst half of the fifteenth century the Italian puppets, and especially\nthose of Florence, on the occasion of the solemn festivities and the popular\n\nNO T E S.\n(1) D'Ancona: Op : cit: page 376. & &"}, {"page_pdf": 79, "page_imprimee": "265", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.79", "debut_caractere": 23, "fin_caractere_exclue": 2373, "texte": "performances which it was usual to celebrate for the feast of St John\nthe Baptist, abandoned the churches, cloisters, cenietaries, and convents\nand issued forth, wandering freely about the city, mounted upon great\ncars superbly adorned and furnished with mechanisms and \" engines \"\nsimilar to those which Fillppo Brunelleschi and Cecca had invented and\nperfected for the \" Sacre Rappresentazloniand devoted themselves to\nworking on their own account, whether one by one or united in companies,\nmaking a display of plastic pictures, jumping, dancing, reciting dialogues\nand farces, and emigrating from the cities into the country and villages,\nto the fairs, the markets, the entertainments of Princes and illustrious\nmen. ug?\n& And it was indubitably in Italy, in fact in Florence, and in the fif-\nteenth century, that after the long lethargy of the middle ages there awoke,\nand arose once more, the ancient dramatic form, renewed, grown young\nagain, and animated by the breath of the new times; thus in Italy and\nat Florence, and about that time, there took place the resurrection of\nthe ancient marionette theatre, the delight of the Greeks of the time of\nEuripides and of the Romans converted to the doctrine of Christ.\nshall now see little by little how from Italy the theatrical puppets were\nlater on to move.... one might rather say in a triumphal progress than\nmerely on their travels.... and to go to be the delight of the most cul-\ntured nations of Europe. The modern world, which is our debtor for so\nmany beautiful things, owes us a little gratitude for the marionettes also,\nand is shamefully ungrateful when it pretends no longer to remember\nthis. JZ?\nIn fact I am obliged at this point to call attention to the fact of how\nin the most active, most lively and most glorious period of the history\nof modern marionettes, the documents relative to the puppets of Italy\nare much scarcer and more incomplete than those relative to the pup-\npets of all other nations of Europe. &\nAnd this comes about, partly because with us the ugly vice of making\nno account of, and letting slowly fall into oblivion, our treasures, is an-\ncient and inveterate ; partly because it perhaps seemed to our historians\nthat so poor a subject was not worthy of their Investigations and of the\nattention of students; to a great extent also because the history of the"}, {"page_pdf": 80, "page_imprimee": "266", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.80", "debut_caractere": 25, "fin_caractere_exclue": 756, "texte": "puppets and the puppet showmen of the whole world is neither more nor\nless than the history of the Italian marionettes.\nItalian were the first jugglers and directors of puppet plays which\nappeared on the street-corners and in the little theatres of France, of\nSpain, of Germany, of England ; Italian were the first characters of the\nfarces acted on those diminutive stages ; Italian the \" masks \" of the new\ncomedy, Italian the scenarios and the programme which served for the\nfirst improvisations. & & &\nAnd we, albeit recording the glories of the foreign puppets, shall in\nreality do no other than revive the laurels whose immortal leaves gar-\nland the pleasant slopes and smiling plains of our own beloved land.\nTo be continued."}]}, {"article_id": "bm-bmtnaau-1913-01-01-c052", "article_bluemountain": "bmtnaau_1913-01_01#c052", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "266", "page_fin": "267", "image_debut": 80, "image_fin": 81, "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=bmtnaau191301-01.2.20", "titre_corps": "A STAGE \"PARADISO\" OF THE FIFTEENTH CENTURY : An Extract from the Life of Il Cecca", "titre_sommaire": "A STAGE \"PARADISO\" OF THE FIFTEENTH CENTURY : An Extract from the Life of Il Cecca", "signature_source": "Giorgio Vasari", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 80, "page_imprimee": "266", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.80", "debut_caractere": 758, "fin_caractere_exclue": 1822, "texte": "A STAGE\" PARADISO\" OF An\nExtract from the Life of II Cecca,\nby Giorgio Vasari.\nTPhe church of tSie Carmine, wherein this representation took place, is\nconsiderably broader and more lofty than that of San Felice, and in\naddition to that part which represented the Heaven into which the Saviour\nwas received, there was sometimes a second erected, when it seemed\ngood to the rulers, over the principal Tribune,^\nThis, then, presented another Heaven, in which certain vast wheels,\nin the manner of a windlass, were so arranged, that from the centre to\nthe circumference, they moved ten circles, beautifully ordered to represent\nthe ten heavens.\nThese circles glittered with innumerable lights representing the stars,\nand arranged in small lamps, suspended in such a manner that they\nmaintained their equilibrium as the wheels turned round, as is now done\nby lanterns of a.certain kind, which are used commonly by all the world,\njp From this Heaven, or Paradise which was certainly very beautiful,\nthere proceded two strong ropes ; these were fastened to the rood-loft,"}, {"page_pdf": 81, "page_imprimee": "267", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.81", "debut_caractere": 27, "fin_caractere_exclue": 1581, "texte": "or gallery, of which there is one in that church, and over which the\nrepresentation was made. & & & &\nTo the end of these ropes two small bronze rollers were fastened\nwith cords, and these supported an iron stake fixed to a level platform,\non which stood two angels bound firmly by their girdles. They were\n\\\nkept upright by a counterpoise of lead which they had beneath their\nfeet, and by a second bracket, on which they supported themselves, and\nwhich assisted to maintain them on the same level. & &\nThe whole apparatus was covered with a large quantity of well prepa-\nred cotton wool, and this gave the appeareance of clouds, amidst which\nwere seen numberless cherubim, seraphim, and other angels, clothed in\nvarious colours, and all very well distributed and arranged. <£?\nThese, when a cord was loosened from the paradise wherein were the\nlights, came down the two strong ropes above named, and being arrived\non the rood-loft where the spectacle was to proceed, they announced to\nthe Saviour that he was then to ascend into Heaven, or did or recited\nwhatever else was set down for them to perform or speak. &\nAnd as the iron to which the angels were bound by the girdle was\nsecurely fixed into the base or platform on which they stood, they could\nturn themselves round, could make due obeisance when they came and\nwhen they returned, or move themselves about as might be required,\nso that in returning they set their faces towards heaven, and when the\nproper time came were drawn up, by means similar to those which had\neffectuated their descent. &"}]}, {"article_id": "bm-bmtnaau-1913-01-01-c054", "article_bluemountain": "bmtnaau_1913-01_01#c054", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "268", "page_fin": "270", "image_debut": 82, "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=bmtnaau191301-01.2.21", "titre_corps": "Mr CECIL SHARP AND ENGLISH FOLK DANCE", "titre_sommaire": "Mr CECIL SHARP AND ENGLISH FOLK DANCE", "signature_source": "Edward Edwardovitch", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 82, "page_imprimee": "268", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.82", "debut_caractere": 0, "fin_caractere_exclue": 2132, "texte": "Mr CECIL SHARP AND ENGLISH FOLK\nDANCE\nby Edward Edwardovitch.\nQnce walking with my little boy in Genoa on a warm summer night I\nwas attracted towards a dark archway by the sounds of rhythmical\nnoises. Under the arch we witnessed a jolly sight.\nA ring of dark niggers, their biack arms and heads glistening in the\n4\nsparkles of light which came from a bad lamp; all of them clapping\nrhythmically with their huge hands. ...Such an easy charming sound, and\none of them in the centre of the ring dancing like only a biack man\ncan dance,... dancing like the very dickens. J£?\n& We both of us drew nearer and watched.\n& The dancer leaps and glides,... and glides again and falls; boils up\nagain and bounds round the ring; then simmers; finally falls only to\nrise instantaneously; then tumbles into his place in the ring and starts\nhis rhythmic hand music. Almost before he has left the centre a second\nhas filled his place,... a poorer dancer, but good for all that.\nThe excitement is not so great, so the first dancer returns to the\ncharge, capering round his fellow in the centre, aiding and abbetting\nhim. ...What a noise, what an experience, what inspiration !\nThe feet of these dancers pound and shuffle for me to far subtler\nrhythms than ever any other dancers have yet done,.... and I have seen\nand listened to many.\n£> Their stage was the most profound 1 have ever seen, their choice of\nplace and time subtler than that of even the greatest of Russian or Greek\ndancers. & &\n& Oh, how they laughed, and how we laughed, and how wild the dance\ngrew. Immoderate and yet masterly. ...What faces too,... quite unforget-\ntable. And ever since having witnessed this ecstatic demonstration we\nask ourselves and each other, on seeing each new dance or dancer, 44 is\nit as good as the black men that night?\", and then we grin at each\nother and shake our heads. JS? *£?\n& And Mr Sharp's dances and dancers ? We both saw them, and we\nboth liked some of them. We liked two men who gave us something\nstrong and strange,... something really exciting : and another men's dance\nmade us feel something like swing. But we were left to think too much."}, {"page_pdf": 83, "page_imprimee": "269", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.83", "debut_caractere": 22, "fin_caractere_exclue": 2318, "texte": "And we thought if only our black fellows would come in and swing along\nin that irresistable gliding shuffle how all the senses in England would\nopen and how the Imagination would call aloud for liberty.\nMr Sharp's dancers are not free. Perhaps It is part of their charm.\nI am sure those who from conceit have revolted from Sharp are not a\nscrap freer, and i don't even suggest that any of those picked men who\nare now under Sharp should break loose from him. But from themselves,\nyes I From fogs and swamps, oh yes. One can't dance In a fog or on a\nswamp, nor with the blinds down, nor in a brown study. &\n& Up with the blinds.... up with the sash of the window,... out on to\nthe green,... away over the hills.... mad If you like, but not sane. A sane\ndancer is a like a sane donkey ride; a ridiculous affair. To assemble in\nevening dress and white kid gloves and go on like the Rabbit in \"Alice\nIn Wonderland\" is sane. That's what men do at most dances. It's a\npretty way to pass the time, and quite sane. JZ?\nWhat then are Mr Sharp's dancers doing in even approaching the\nconditions of those party-dancers ? &\nThey dress up, bells and white suits and bows. They have a look in\nthe glass,... \" Am I quite tidy?\" Then with a determined air they go\nt\nto their self-inflicted doom, conscious to the last.\nJZ? Now I don't want to be unfair, but I do want to speak to some pur-\npose. And no amount of flattery has any purpose in it but gain.\n£? I'd rather lose than gain in this instance, so long as I don't lose the\nrespect and good feeling of those men who danced the morris so well\nthe other day. zz?sZrjZ7jZ?JZ?jZ?<Z?-£?\nI don't compare these dancers to those of the Russian Ballet. There\nis no comparison. These Englishmen beat the Russians hollow,.... the\nRussians being hollow to begin with. JZ? ./Z? JZ? JZ*\nBut I compare them,... am forced to.... with my black men that night\nin Genoa, and then the cat Is out of the bag. The Englishmen lose.\n& I don't want them to lose. Bend them, ....loosen the latches, take\nall the doors off their hinges.... down with the barriers; they are false\nand futile. Loosen yourselves, loosen....! You have the strength,.... hide\nit lest we are led to believe you are merely stiff. JZ? JZ?\nBend ! ....it is not so unbecoming. Risk falling at each bound ; fling"}, {"page_pdf": 84, "page_imprimee": "270", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.84", "debut_caractere": 22, "fin_caractere_exclue": 699, "texte": "yourselves upon the shadows and strike them into lire. Wing yourselves\nwith the truths you have absorbed through your master. You will not fall.\nThis you can do if you will not deny life, if you will play with life\nas you dance. Take it for your partner.\nThat is what the Black men did. They dared a figure into the ring\nwith them. They allowed it to trip them up; recovered themselves, and\ntripped it up,.... raced it, confused it, coquetted with it, parodied it,\ncaught it in their arms and threw it up to eternity, as one tosses a coin.\n& If you would dance you must fake Life as your partner. ug?\nHonour Cecil Sharp your master,.... but for all that take Life as a\npartner."}]}, {"article_id": "bm-bmtnaau-1913-01-01-c056", "article_bluemountain": "bmtnaau_1913-01_01#c056", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "271", "page_fin": "273", "image_debut": 85, "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=bmtnaau191301-01.2.22", "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": 85, "page_imprimee": "271", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.85", "debut_caractere": 0, "fin_caractere_exclue": 1464, "texte": "BOOK REVIEWS.\n\nTHE BOOK OF BURIED TREA-\nSURE by Ralph D. Paine, Heine-\nmatin. Price ten shillings net,\n/V most fascinating book, well\nillustrated, and dangerous for any\nadventurous mind to get hold of. In\nfact the longing soon conies to the\nreader to be off in search of the\nmillions which were buried in Cocas\nIsland and which to this day no one\nhas unearthed.\n\n0 PLAYS AND PLAYERS IN\nMODERN ITALY, by Addison\nMcleod. Smith Elder. Price\nshillings net.\nIt is difficult for any but an Italian\nproperly to understand the Italian\nstage.\n•0 Mr, (or is it Miss ?) Mc Leod, is\nan enthusiast and understands what\nshe likes.\nShe likes Mr Ainley.... he is her\nideal stage-lover, and she therefore\nfails to discover any ideal Italian\nstage =Iover. Yet Grasso seenis to\nsuggest the love of a man. Mr Ainley\nloves rather more like a curate. It\nseems a holy business with him. ug?\nWell then, what is to be said of\nan author who attempts to tell us\nof Italy and its Plays and Players\nand who turns away from its essen=>\ntials ? jg?\n\nA CENTURY OF GREAT AC-\nTORS by Cecil F. Armstrong.\nMills and Boon. Price ten shil-\nlings and sixpence net.x? &\nTHE COMMEDIA DELL'ARTE\nby Winifred Smith. Ph. D. Co-\nlumbia University Press.\n|)erhaps the Stage Historian will\nsome day do better. At present\nhe does well, but he wastes his time\ntoo much with Garrick, Kemble,\nMacready, Kean and the other \"great\nactors \" whose sayings and doings\nare known already. & &\n& There were other men besides"}, {"page_pdf": 86, "page_imprimee": "272", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.86", "debut_caractere": 14, "fin_caractere_exclue": 2247, "texte": "these whose work we want to hear\nabout; other actors: and for this\nreason Mr C. F. Armstrong is not so\nhelpful to us as Miss Smith, who\ntreats of the older and far ** greater\"\nactors of the sixteenth and seven-\nteenth centuries. &\n£> She sketches out the great story\nof the great comedians. Some day\nperhaps she will give us the separate\nand detailed lives of Andreini, of\nCostantini and Gherardl.... Or will\nMr Armstrong do it for us ?\nWhoever does it we shall be\ngrateful. &\n\n& THE CENSOR\nTHEATRES, by John Palmer.\nFisher Unwin. Price five shil-\nlings net. ugr\nTPhose who hate the Censor and his\npower over dull shows such as the\none Mr Hamilton Fyfe very rightly\nattacked in the Daily Mail last No-\nvember will be glad to read this book.\nThe writer sums up the matter\nby saying that the Censor onlj' lives\nthrough the support of the Actor\nJS? JS?\nGood for the Actor Managers S\n\nDIVERSIONS IN SICIL V, by\nHenry Festing Jones. Alston\nRivers. Price five shillings net.\nnphere are three splendid chapters\nin this book about the Sicilian\nMarionettes, and also some chapters\nabout Giovanni Grasso. The mario-\nnette chapters are particularly inte-\nresting because they give a suggestion\nof the Nothing that happens on the\nItalian stage, whether it be a stage\nfor marionettes or actors, suggesting\nat the same time how it is the au-\ndience that makes the Italian Thea-\ntre what it is. & JG?\nJS? Italian acting is doing nothing\nand doing it well; English acting\nis doing a tremendous lot and doing\nit badly. Now if you do nothing and\ndo it well, your audience is left to\ndo the rest; if you do a lot and do\nit badly, the audience is anxious all\nthe time because there is nothing\nleft for it to do. & &\nYou cannot clip passages from\nthis book for the whole thing is so\nwoven together out of nothing, that\nit Is impossible to take a piece of it\naway without spoiling the whole, but\nanybody who is interested In the\nTheatre will read this book in order\nto find out how rich the Nothings\nof the Italians can be.\n\nCASTELLINARIA AND OTHER\nSICILIAN DIVER\nHenry Eesting1 Jones. Fifield.\nPrice five shillings net.\nHPhe same may be said of this se-\ncond book by Mr Festing Jones\nas of the proceding one. It tells us\na great deal that is charming and"}, {"page_pdf": 87, "page_imprimee": "273", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.87", "debut_caractere": 17, "fin_caractere_exclue": 2211, "texte": "interesting about the Sicilian mario-\nnettes, and tells It in a charming way.\n\nTHE NEW SPIRIT IN DRAMA\nAND ART, byHuntly Carter. &\nFrank Palmer. Price twelve shil-\nlings and sixpence net. (i)\nIt cannot be denied tiiat the thea-\ntre and drama In England are in\na transitory state\nThese are the first words of a\nbook which should interest the En-\nglish people. The author in this\nparagraph finds reason to separate\nDrama and Theatre. A very right\nway to begin. And so an interesting\nbook follows. s\nThe illustrations, some in colour,\nmake it doubly interesting. &\nHere we have well reproduced\ndesigns of scenes and costumes by\nBakst, Dresa, Czeschka, Orlitz, Lefler\nRoeriek, Egorof. Architectural de-\nsigns by Professor M. Littmann, by\nTesserow, Zeh. Pictures showing the\nFortuny system of Lighting and\npictures giving away what is called\nthe System of Dalcroze.\nBesides this excellent collection\nwe have a number of reproductions\nof the works of some of the modern\npainters, Peploe, Fergusson, Frlesz,\nLegouzac, Derain, Chaband, Severini,\nPicasso and Wyspianski. There are\nalso numerous plans of theatres.\nJ& These illustrations are for the\nmost part new to Englishmen, and\nthey make the book a very generous\npresent from Mr Carter and Mr\nPalmer to the people who will buy\nit... and every reader of Mask\nshould buy it.\nJ\n(1) See also page I96\n\nALL MANNER OF FOLK by\nHolbrook Jackson. & Grant Ri-\nchards. Price three shillings\nand sixpence net.\nMir Holbrook Jackson's volumes of\nEssays are always welcome: an\nhour or two in his company ever\npleasant, as he discourses of ail kinds\nof grave and merry and important\nand unimportant matters.\nIn the present volume he talks\nto us about many very varied sub-\njects ; about Vagabonds, and\nMasters of Nonsense and Supermen\nand Potters and the Self Sufficient;\nand the Ideas of George Meredith ;\nabout Walt Whitman and Richard\nJeffries and Herry David Thoreau\nand J. M. Synge and William Morris\nand Edward Carpenter and Edgar\nAllan Poe.\nThere are alse five illustrations,\nincluding portraits of Whistler by\nMr Joseph Simpson and of J. M.\nSynge by Mr Jack B. Yeats :\nand a reproduction from The Mask\nof the engraving of Walt Whitman\nby Mr Gordon Craig. X?"}]}, {"article_id": "bm-bmtnaau-1913-01-01-c058", "article_bluemountain": "bmtnaau_1913-01_01#c058", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "271", "page_fin": "271", "image_debut": 85, "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=bmtnaau191301-01.2.22.2", "titre_corps": "THE BOOK OF BURIED TREASURE by Ralph D. Paine", "titre_sommaire": "THE BOOK OF BURIED TREASURE by Ralph D. Paine", "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": "271", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.85", "debut_caractere": 15, "fin_caractere_exclue": 361, "texte": "THE BOOK OF BURIED TREA-\nSURE by Ralph D. Paine, Heine-\nmatin. Price ten shillings net,\n/V most fascinating book, well\nillustrated, and dangerous for any\nadventurous mind to get hold of. In\nfact the longing soon conies to the\nreader to be off in search of the\nmillions which were buried in Cocas\nIsland and which to this day no one\nhas unearthed."}]}, {"article_id": "bm-bmtnaau-1913-01-01-c059", "article_bluemountain": "bmtnaau_1913-01_01#c059", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "271", "page_fin": "271", "image_debut": 85, "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=bmtnaau191301-01.2.22.3", "titre_corps": "PLAYS AND PLAYERS IN MODERN ITALY by Addison Mcleod", "titre_sommaire": "PLAYS AND PLAYERS IN MODERN ITALY by Addison Mcleod", "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": "271", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.85", "debut_caractere": 363, "fin_caractere_exclue": 1017, "texte": "0 PLAYS AND PLAYERS IN\nMODERN ITALY, by Addison\nMcleod. Smith Elder. Price\nshillings net.\nIt is difficult for any but an Italian\nproperly to understand the Italian\nstage.\n•0 Mr, (or is it Miss ?) Mc Leod, is\nan enthusiast and understands what\nshe likes.\nShe likes Mr Ainley.... he is her\nideal stage-lover, and she therefore\nfails to discover any ideal Italian\nstage =Iover. Yet Grasso seenis to\nsuggest the love of a man. Mr Ainley\nloves rather more like a curate. It\nseems a holy business with him. ug?\nWell then, what is to be said of\nan author who attempts to tell us\nof Italy and its Plays and Players\nand who turns away from its essen=>\ntials ? jg?"}]}, {"article_id": "bm-bmtnaau-1913-01-01-c060", "article_bluemountain": "bmtnaau_1913-01_01#c060", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "271", "page_fin": "272", "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=bmtnaau191301-01.2.22.4", "titre_corps": "A CENTURY OF GREAT ACTORS by Cecil F. Armstrong", "titre_sommaire": "A CENTURY OF GREAT ACTORS by Cecil F. Armstrong", "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": "271", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.85", "debut_caractere": 1019, "fin_caractere_exclue": 1464, "texte": "A CENTURY OF GREAT AC-\nTORS by Cecil F. Armstrong.\nMills and Boon. Price ten shil-\nlings and sixpence net.x? &\nTHE COMMEDIA DELL'ARTE\nby Winifred Smith. Ph. D. Co-\nlumbia University Press.\n|)erhaps the Stage Historian will\nsome day do better. At present\nhe does well, but he wastes his time\ntoo much with Garrick, Kemble,\nMacready, Kean and the other \"great\nactors \" whose sayings and doings\nare known already. & &\n& There were other men besides"}, {"page_pdf": 86, "page_imprimee": "272", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.86", "debut_caractere": 14, "fin_caractere_exclue": 490, "texte": "these whose work we want to hear\nabout; other actors: and for this\nreason Mr C. F. Armstrong is not so\nhelpful to us as Miss Smith, who\ntreats of the older and far ** greater\"\nactors of the sixteenth and seven-\nteenth centuries. &\n£> She sketches out the great story\nof the great comedians. Some day\nperhaps she will give us the separate\nand detailed lives of Andreini, of\nCostantini and Gherardl.... Or will\nMr Armstrong do it for us ?\nWhoever does it we shall be\ngrateful. &"}]}, {"article_id": "bm-bmtnaau-1913-01-01-c061", "article_bluemountain": "bmtnaau_1913-01_01#c061", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "272", "page_fin": "272", "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=bmtnaau191301-01.2.22.5", "titre_corps": "& THE CENSOR AND THE THEATRES by John Palmer", "titre_sommaire": "& THE CENSOR AND THE THEATRES by John Palmer", "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": "272", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.86", "debut_caractere": 492, "fin_caractere_exclue": 893, "texte": "& THE CENSOR\nTHEATRES, by John Palmer.\nFisher Unwin. Price five shil-\nlings net. ugr\nTPhose who hate the Censor and his\npower over dull shows such as the\none Mr Hamilton Fyfe very rightly\nattacked in the Daily Mail last No-\nvember will be glad to read this book.\nThe writer sums up the matter\nby saying that the Censor onlj' lives\nthrough the support of the Actor\nJS? JS?\nGood for the Actor Managers S"}]}, {"article_id": "bm-bmtnaau-1913-01-01-c062", "article_bluemountain": "bmtnaau_1913-01_01#c062", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "272", "page_fin": "272", "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=bmtnaau191301-01.2.22.6", "titre_corps": "DIVERSIONS IN SICILY by Henry Festing Jones", "titre_sommaire": "DIVERSIONS IN SICILY by Henry Festing Jones", "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": "272", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.86", "debut_caractere": 895, "fin_caractere_exclue": 2015, "texte": "DIVERSIONS IN SICIL V, by\nHenry Festing Jones. Alston\nRivers. Price five shillings net.\nnphere are three splendid chapters\nin this book about the Sicilian\nMarionettes, and also some chapters\nabout Giovanni Grasso. The mario-\nnette chapters are particularly inte-\nresting because they give a suggestion\nof the Nothing that happens on the\nItalian stage, whether it be a stage\nfor marionettes or actors, suggesting\nat the same time how it is the au-\ndience that makes the Italian Thea-\ntre what it is. & JG?\nJS? Italian acting is doing nothing\nand doing it well; English acting\nis doing a tremendous lot and doing\nit badly. Now if you do nothing and\ndo it well, your audience is left to\ndo the rest; if you do a lot and do\nit badly, the audience is anxious all\nthe time because there is nothing\nleft for it to do. & &\nYou cannot clip passages from\nthis book for the whole thing is so\nwoven together out of nothing, that\nit Is impossible to take a piece of it\naway without spoiling the whole, but\nanybody who is interested In the\nTheatre will read this book in order\nto find out how rich the Nothings\nof the Italians can be."}]}, {"article_id": "bm-bmtnaau-1913-01-01-c063", "article_bluemountain": "bmtnaau_1913-01_01#c063", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "272", "page_fin": "273", "image_debut": 86, "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=bmtnaau191301-01.2.22.7", "titre_corps": "CASTELLINARIA AND OTHER SICILIAN DIVERSIONS by Henry Festing Jones", "titre_sommaire": "CASTELLINARIA AND OTHER SICILIAN DIVERSIONS by Henry Festing Jones", "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": "272", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.86", "debut_caractere": 2017, "fin_caractere_exclue": 2247, "texte": "CASTELLINARIA AND OTHER\nSICILIAN DIVER\nHenry Eesting1 Jones. Fifield.\nPrice five shillings net.\nHPhe same may be said of this se-\ncond book by Mr Festing Jones\nas of the proceding one. It tells us\na great deal that is charming and"}, {"page_pdf": 87, "page_imprimee": "273", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.87", "debut_caractere": 17, "fin_caractere_exclue": 94, "texte": "interesting about the Sicilian mario-\nnettes, and tells It in a charming way."}]}, {"article_id": "bm-bmtnaau-1913-01-01-c064", "article_bluemountain": "bmtnaau_1913-01_01#c064", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "273", "page_fin": "273", "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=bmtnaau191301-01.2.22.8", "titre_corps": "THE NEW SPIRIT IN DRAMA AND ART by Huntly Carter", "titre_sommaire": "THE NEW SPIRIT IN DRAMA AND ART by Huntly Carter", "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": "273", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.87", "debut_caractere": 96, "fin_caractere_exclue": 1358, "texte": "THE NEW SPIRIT IN DRAMA\nAND ART, byHuntly Carter. &\nFrank Palmer. Price twelve shil-\nlings and sixpence net. (i)\nIt cannot be denied tiiat the thea-\ntre and drama In England are in\na transitory state\nThese are the first words of a\nbook which should interest the En-\nglish people. The author in this\nparagraph finds reason to separate\nDrama and Theatre. A very right\nway to begin. And so an interesting\nbook follows. s\nThe illustrations, some in colour,\nmake it doubly interesting. &\nHere we have well reproduced\ndesigns of scenes and costumes by\nBakst, Dresa, Czeschka, Orlitz, Lefler\nRoeriek, Egorof. Architectural de-\nsigns by Professor M. Littmann, by\nTesserow, Zeh. Pictures showing the\nFortuny system of Lighting and\npictures giving away what is called\nthe System of Dalcroze.\nBesides this excellent collection\nwe have a number of reproductions\nof the works of some of the modern\npainters, Peploe, Fergusson, Frlesz,\nLegouzac, Derain, Chaband, Severini,\nPicasso and Wyspianski. There are\nalso numerous plans of theatres.\nJ& These illustrations are for the\nmost part new to Englishmen, and\nthey make the book a very generous\npresent from Mr Carter and Mr\nPalmer to the people who will buy\nit... and every reader of Mask\nshould buy it.\nJ\n(1) See also page I96"}]}, {"article_id": "bm-bmtnaau-1913-01-01-c065", "article_bluemountain": "bmtnaau_1913-01_01#c065", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "273", "page_fin": "273", "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=bmtnaau191301-01.2.22.9", "titre_corps": "ALL MANNER OF FOLK by Holbrook Johnson", "titre_sommaire": "ALL MANNER OF FOLK by Holbrook Johnson", "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": "273", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.87", "debut_caractere": 1360, "fin_caractere_exclue": 2211, "texte": "ALL MANNER OF FOLK by\nHolbrook Jackson. & Grant Ri-\nchards. Price three shillings\nand sixpence net.\nMir Holbrook Jackson's volumes of\nEssays are always welcome: an\nhour or two in his company ever\npleasant, as he discourses of ail kinds\nof grave and merry and important\nand unimportant matters.\nIn the present volume he talks\nto us about many very varied sub-\njects ; about Vagabonds, and\nMasters of Nonsense and Supermen\nand Potters and the Self Sufficient;\nand the Ideas of George Meredith ;\nabout Walt Whitman and Richard\nJeffries and Herry David Thoreau\nand J. M. Synge and William Morris\nand Edward Carpenter and Edgar\nAllan Poe.\nThere are alse five illustrations,\nincluding portraits of Whistler by\nMr Joseph Simpson and of J. M.\nSynge by Mr Jack B. Yeats :\nand a reproduction from The Mask\nof the engraving of Walt Whitman\nby Mr Gordon Craig. X?"}]}, {"article_id": "bm-bmtnaau-1913-01-01-c066", "article_bluemountain": "bmtnaau_1913-01_01#c066", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "274", "page_fin": "280", "image_debut": 88, "image_fin": 94, "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=bmtnaau191301-01.2.23", "titre_corps": "FOREIGN NOTES", "titre_sommaire": "FOREIGN NOTES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 88, "page_imprimee": "274", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.88", "debut_caractere": 0, "fin_caractere_exclue": 1748, "texte": "FOREIGN NOTES.\n\nLONDON.\n\nThe Arts and Crafts Exhibition.\nFree Gifts to London. &\n'Jphe Grosvenor Gallery has come\nonce more to Bond Street, and it\nopened with the tenth Exhibition of\nthe Arts and Crafts Society. Coni-\nmendatore Walter Crane, as Presi-\ndent of the Society, tells us in his\nPreface to the catalogue that nearly\na quarter of a century has elapsed\nsince the Society opened its first\nexhibition.\n& This being the case it Is all the\nmore shameful that on the opening\nday so few sales were effected.\nFor after all it is the sales which\ncount. Jtz? J£?\nThere were some perfect pieces\nof work shown, and the amazing\nthing is that these things were not\nsnapped up by a sensible and evi-\ndently not-too-rich town. London\ncan't be very well off, for there were\nno expensive exhibits.\nAnd this is the only fault 1 can\nfind with the Society: it cheapens.\nThere were Caskets [of shagreen,\nand silver and ivory caskets; Gold\nrings; Painted leather curtains; Pain-\nted bowls : Salt cellars ; Necklaces ;\nFans; Table centres; Tables; Woven\ndresses; Buckles; Books;... and ail\nof them for practically nothing.\nI think this is a great and serious\nmistake, jgr /0 ,0-\n& Perhaps the world once wanted\nin a real way; now people want\ndifferently. They want what they\ncannot get.\nIt has been the popular way since\nthe Lord said Eve shouldn't have\nthe apples from a certain tree. The\nArtist should have learned this lesson\nfrom his master long ago. He should\nmake It hard,... almost impossible...\nfor anyone to possess certain works\nOf his. & J0\nThese he should plant in the\nExhibition,.... under the noses of\nmankind.... saying, \" Do not desire\nth is that I have made... for its pos-\nsession may bring happiness but it\nalso may bring bitterness ; Beware!',"}, {"page_pdf": 89, "page_imprimee": "275", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.89", "debut_caractere": 16, "fin_caractere_exclue": 2432, "texte": "■£? Anyhow the works shown at the\nGrosvenor Galleries are not prohibi-\ntive and so I sincerely hope they\nwill not be bought, for they would\nbe practically a free gift to each buyer.\n& The Catalogue is a rather badly\narranged one. search too long\nto find whatever we want in it. And\nthe system on which the exhibits\nare arranged is bad ; In fact it is a\nkind of go-as-you-please system. For\nthis reason one misses things which\none would like to see.\nMr Paul Cooper's numberless\nworks in gold, in silver, in shagreen\nand silver, in brass are each and\nall exquisite. These are practically\ngiven away. His sister has a fine\npiece of embroidery, (No, 434,) the\ndesign being by Mr Cooper. Miss\nMinnie Brown's hand-woven dresses\nand stuffs, (No. 488 A and B) are\ndelicious,... and thrown out of the\nwindow for a few shillings. Alfred\nH. Powell's Leather curtain (No. 397)\npainted just as though the whole of\nLondon had begged him to paint it\nfor them,... is given away for a few\npounds. Mrs Christie, (No. 149) shows\namazing skill in some Embroidery.\nThe Stained Glass designs by C. W.\nWhall are fine. I wanted,., expected...\none wall of the Exhibition to be\ngiven to him and all other objects\nhidden and the glass windows to be\nlit from behind so that the full value\nof the things should touch us. &\n■£? There is some illuminating work\nby Mac Donald Gill which is better\nthan anything of its kind that I\nknow. Gill is stronger than most of\nthe illuminators, .... and gayer. He\nenjoys himself with rather more\ngusto than the others ; they are more\nsolemn ;.... and in England,.... but\nthere's no more room to say what\n1 had in mind to say. JZ?\nP. S. & When all has been said\nEngland is first, far and away first,\nin her production of the perfect\nBook. The other Exhibits at the Arts\nand Crafts are all fine,... very fine\nsome of them, but the Printing and\nLettering stands alone. A great man\nhas been at work, and very silently\nat work, to bring it to its present\nperfection. He is little known and\npossibly cares not at all to be men-\ntioned. They * say he is a Socialist.\nBut that won't do... Kings are not\nSocialists.\n\nR. S.\n\nLIVERPOOL & MANCHESTER.\n\nTheir Repertory Theatres. &\n¥ iverpool has 767, 000 Inhabitants,\nand Manchester 716,000 inhabit\ntants. At least I50, 000 pounds should\nhave been found in Liverpool to\nbuild Liverpool its town Theatre.\nIt need not have been a Municipal\nTheatre, it could have belonged to"}, {"page_pdf": 90, "page_imprimee": "276", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.90", "debut_caractere": 20, "fin_caractere_exclue": 2341, "texte": "the town quite well without being\ngoverned by the town, but I repeat,\nat least 150,000 pounds should have\nbeen found for building this Thea-\ntre, and It is not too late now to\nset about finding that sum, and the\nLiverpool people ought to subscribe\nit.\n& In Lubeck, a German town, there\nare only IIo, 000 people and yet\nthe Municipality called upon the\ntown to find 150,000 pounds to build\ntheir new theatre. This has been\nopened in I9I2.\n£? Compare this energy and sense\nof responsability with the English\napathy. us?\nIt doe.sn't matter how you look\nat it, the theatrical situation of Eng-\nland is not a little amusing. Were\nthere no other country in the world\nwhere they saw the need of bull-\nding up a strong theatre so as to\nhelp in building up a strong nation,\nthen there would be no need\nto find fault with Liverpool and\nManchester, for after all, they have\ngood little theatres of their own, a\nlittle Repertory Theatre apiece.\n& I think the Liverpool Repertory\nTheatre better than the Manchester.\nThere is something stronger about it.\nIt seems to have taken trouble over\nbuilding itself, and, with very little\nmoney, Professor Adzhead has ma-\nnaged to knock an old and ugly\ntheatre Into a new and handsome\none. Not that it Is handsome enough\nfor Liverpool, but Professor Adzhead\nwould be the last person to think\nso, and considering the small sum\nat the disposal of the architect, the\nwork is extremely good.\nIn the front of the house all Is\nsimple and the curtain is simple.\nThis is not exactly the case in Man-\nchester. &\njS? The curtain in Liverpool is a\npiece of quiet brocade, not a painted\naffair at all, and it is not raised\nwhen the audience applaud for the\nactors to appear, and so these actors\nin Liverpool, like the actors in Mos-\ncow, stand a chance of not being\nspoiled. There is strength in the\nidea, and that it should have been\ncarried through also shows strength.\nThe seats are comfortable, and the\nprices very reasonable, i found the\nseats less comfortable in Manchester.\nThen too, the Orchestra is hidden\nunder the stage, a very good\nthing, and there is a foyer that has\na dignity we often look for in a\ntheatre and find rarely. JS/\nIt is different in Manchester.\nBehind the curtain they have\nbuilt a very reasonably sized stage\nwell equipped, and are blessed with\nhaving a painting room of their"}, {"page_pdf": 91, "page_imprimee": "277", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.91", "debut_caractere": 20, "fin_caractere_exclue": 2391, "texte": "own which contains a large frame.\nThey have a large scene-painting\nroom in the Manchester Theatre. In\nboth cases are to be found one or\ntwo good actors, but as I said before,\nI think the Liverpool is the stronger\nCompany. & &\n& But in neither case is It strong\nenough. Where is the money to\nmake it stronger ? Neither of those\ntowns need flatter themselves that,\nbecause they have what is called a\nRepertory Theatre, they have a really\nfirst class Theatre or anything ap-\nproaching a first class Theatre; This\nis not the fault of the actors, nor\nof the stage managers, nor of the\nother workers on the stage; it is\nsolely the fault of the two cities and\nthis is nothing they can be proud of.\nThey don't seem to realise that\nit is their DUTY to whip out that\nmoney, and whip it out at once.\nThey don't seem to realise the enor-\nmity of their behaviour. It is nothing\nthat London has no Repertory Thea-\ntre for London has dozens of thea-\ntres, and it is almost too big for a\nsingle Repertory. Besides, what has\nLondon to do with Liverpool and\nManchester, except to be an example\nto these two towns as to what they\nshould, not do ? Miss Horniman has\nbeen very generous with her money,\nbut Miss Horniman frankly admits\nthat she runs her theatre to make\nit pay.\nNow you can't run a theatre on\nthe finest principles and make it\npay unless it is first of all supported\nhandsomely by the town. It then\nstands a good chance of paying.\nSuppose a theatre starts off with\nloo, ooo pounds capital, there is no\nreal reason why it should not pay\nhandsomely in the end, but if it\nstarts off with 10, ooo pounds how\non earth can It pay and do good\nwork at [the same time ? I don't\nthink anybody is against a theatre\nbeing made to pay, but if you are\nsensible business people, you do not\nstart off by crippling it, and then\nbeing surprised that there are no\ndividends.\nLet Liverpool and Manchester\nrealise that a well established tliea°»\ntre with a large financial backing\nand plenty of go in It Is going to\nImprove every scrap of the business\nof those towns ; that it is going to\nimprove the very existence of each\nof the inhabitants, and then perhaps\nthings will be done in the right way.\nFor a good theatre assists very\nconsiderably In waking people up,\nin bringing people together on a\ncommon ground. It warms one's\nnature ; one becomes more friendly,\nand at the same time less critical"}, {"page_pdf": 92, "page_imprimee": "278", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.92", "debut_caractere": 22, "fin_caractere_exclue": 2202, "texte": "of life and of one's neighbour.\n£? A good theatre helps to unite\nthose of a city, and many good\ntheatres help to unite all the cities.\n..... Now then, Liverpool and\nManchester, make the effort!\n\nR. D,\n\nPARIS.\nJ. de S.\nThe Price of Theatre Seats. &\nCir Herbert Beerbohm Tree has\nbeen here. JS?\n& My Confrere \" Percival \" suggests\nin his report to the Referee that\nhe behaved like any dashing student\nof the Quartier Latin. One fancies\nthat he took a furnished room in\nMontparnasse at six francs a week,\nwas to be seen amongst his friends\nin the little corner cafe of the Rue\ndu Bac, borrowed four francs from\nthe painter Fergusson; out of it\ngave Huntly Carter and M. Radjinsky\nthe American a square meal, went\nto a little theatre near the Gare\nMontparnasse, got a good treat for\nfifty centimes, and, in fact, tho-\nroughly enjoyed himself.\nThe Daily Telegraph, on the\nother hand, flatly contradicts ail of\nthis* JS? j£?\n& It states that Sir Herbert went\nabout purchasing stalls for fifty\nfrancs and twenty five francs apiece.\nThe largeness of the price is attri-\nbuted to the evil system which\nobtains abroad of disposing of seats\nto speculators,... a system which Sir\nHerbert Tree was glad to say we\nhave little or no experience of in\nEngland.\nBut possibly Sir Herbert Tree\nasked late in the day for his tickets ;\nand possibly he hadn't to go\nand buy them for himself at the\nBox Office ? Well then,... surely one\nshould be made to pay for privileges.\nOr possibly Sir Herbert Tree wanted\nthe best seat in the theatre ? Again\none must pay for the best. Or per-\nhaps Sir Herbert ordered his sump-\ntuous Hotel porter to get him a\nticket ?... why then, all is explained.\n1 have lived in Paris close upon\neight years and I have always been\nable to procure cheap seats at any\ntheatre worth visiting, provided 1\nordered them in good time.\n\nNEW YORK.\n\nCannibalism, Costume and a\nCoat of Paint.\nHTlte Germans and Professor Rein-\nhardt practically exhausted the\nTurkish theme in \" Sutnurun \" and\nin their other assumptions,... (for\nCEdipus,\" \"A Venetian Night,\" \"The\nMiracle \" and the rest are Turkish\nin temperature in spite of their\nGreek and German source).\nOwing to this the Russians and"}, {"page_pdf": 93, "page_imprimee": "279", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.93", "debut_caractere": 21, "fin_caractere_exclue": 2308, "texte": "Leon Bakst have been driven to\nCannibalism, which after all is a\nkind of off-shoot of Post Impressio-\nnism.\nThe Cannibalist paints on flesh.\nTo M. Bakst the credit of being the\nfirst of this new school must be\ngiven, tie has been painting the legs\nof the ballet dancers of New York.\nThis is a practical as well as a\nmost distinguished idea. Why buy\ntights when a coat of paint will do,\nwith here and there a stripe or a\nstar ? jgr &\n& There are some people who will\ncry out at this revolutiou which a\nParisian Dancer has declared is Sa-\ncrilege. \" Paint my beautiful legs I\"\nshe cried; \" Never 1\". JZ?\nWe agree with herbut the\nIdea is very distinguished ; we are\nall bound to admit that much,....\nwhat ?\nSo \" Cannibalism \" has arrived,\nand M. Bakst has said farewell to\nhis last bead. It was a versatile bead ;\nit served every purpose of costume.\nBut its possibilities were limited by\nthe side of this coat of paint. JZ?\n& The Russian Ballet has solved the\nproblem of costume and manage-\nments need send no longer to Damas-\ncus for silks, but only to Aspinalls\nfor a few pots of their sixpenny\nenamal. JZ?\n\nP. G,\n\nSTRATFORD ON AVON.\n\nStreets as Memorials. & &\npassing through Milan a little\ntime ago I was surprised and\npleased to find that half thp streets\nthere were called after some mu-\nsician, architect, painter, or writer.\nThus I passed in a short time\nthrough the following streets, which\nI will name here although there\nmust be a great number more :\nVia Bramanti, Via Qoldoni, Via Ar-\nchimedi, Via Donizetti, Via Bellini,\nVia Rossini, Via Tenaglia, Via Pe-\ntrarca, Via Boccaccio, Via Tasso and\nVia Vitruvio. As you see that list\ndoes not include the more obvious\nnames of Michel Angelo, Raphael,\nLeonardo da Vinci and Dante, but I\nhave no doubt had 1 searched I\nshould have come across them.\nIt strikes me, and must have\nstruck many others, that it would\nbe no bad thing at all if the autho-\nrities in England would make a little\nuse of the names of artists when\nchristening their streets. After all\nit is quite true we have a John\nStreet, but 1 cannot think that the\nauthorities anticipated the advent\nof our great painter. I feel sure it\nmust have been the name of the\nowner of that plot of ground. Any-\nhow it is quite certain that there\nare very few squares, places, streets"}, {"page_pdf": 94, "page_imprimee": "280", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.94", "debut_caractere": 24, "fin_caractere_exclue": 2309, "texte": "or roads named after artists.\nWe have some very good names it\nis true, the nobles' names, Pembroke,\nEton, Belgrave and so forth and\nthe saints show up well in London;\nSt. James and St Pancras and many\nbesides. King's Road and Queen's\nRoad sound fine; there is the unique\nPiccadilly which after all can never\nbe beaten. But such names as Smith\nSquare, Baker Street, Jones' Corner\nand so on do not suit England in\nthe least. JZ? & jg?\nIt is very curious that though\nwe do not name our streets after\ngreat artists, and although for cen-\nturies we have looked down upon\nthe actor, there really does hap=\npen to be a Garrick Street. You\nwill not find abroad many streets\nnamed after actors. jg? &\nIf London should leave matters\nas they are, what is there against\nthe Garden Cities having their fling?\nIt would be an inexpensive way\nof erecting a little memorial to\nour bakers and our smiths.\nSir George Alexander has, I\nbelieve, already had this idea and\nI in no way claim any originality for\nit but I trust Sir George will follow\nup this admirable thought of his and\nat an early date put the idea before\nthe Council of which he is a distin-\nguished member. £? zz?\n\nL. C.\n\nBERLIN.\nR.D.\nAn Over sight. J£? &\nI met a wonderful creature the other\nday in one of the capitals of Europe.\nMe recalled one of the great and\nterrible figures in the Balzac novels.\nHe was about fifty six years of age,\nof powerful build, perfectly dressed,.,\nand dead.\n£? A powerful corpse was before me.\nHis eye glittered,... not with Life\nbut with eternal death. There was\na suggestion as if he had powdered\nhis whole soul with the fine dust\nfrom the cemetaries. I admired him\nwhile I wondered at him. He was\nterrible enough for that.\nHe spoke to me saying that he\nwould like to be able to build and\nimprove his house, and he waved\nhis hand imperiously towards a\nmonstrous affair which is called a\nhouse and which was then in process\nof being pulled down and rebuilt.\nBuilders, not architects, were being\n&\nj0 I suppose he has at least 150,000\npounds a year to spend 011 his life.\n\" Only three things are needed \"\nsaid he, \"The place, the Wish and\nthe Money. We have the first two,...\nbut little of the third\njg? I added that there was a fourth\nthing necessary, the Talent. Poor fel-\nlow, he had forgotten that item."}]}, {"article_id": "bm-bmtnaau-1913-01-01-c068", "article_bluemountain": "bmtnaau_1913-01_01#c068", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "274", "page_fin": "275", "image_debut": 88, "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=bmtnaau191301-01.2.23.2", "titre_corps": "LONDON", "titre_sommaire": "LONDON", "signature_source": "R. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 88, "page_imprimee": "274", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.88", "debut_caractere": 16, "fin_caractere_exclue": 1748, "texte": "LONDON.\n\nThe Arts and Crafts Exhibition.\nFree Gifts to London. &\n'Jphe Grosvenor Gallery has come\nonce more to Bond Street, and it\nopened with the tenth Exhibition of\nthe Arts and Crafts Society. Coni-\nmendatore Walter Crane, as Presi-\ndent of the Society, tells us in his\nPreface to the catalogue that nearly\na quarter of a century has elapsed\nsince the Society opened its first\nexhibition.\n& This being the case it Is all the\nmore shameful that on the opening\nday so few sales were effected.\nFor after all it is the sales which\ncount. Jtz? J£?\nThere were some perfect pieces\nof work shown, and the amazing\nthing is that these things were not\nsnapped up by a sensible and evi-\ndently not-too-rich town. London\ncan't be very well off, for there were\nno expensive exhibits.\nAnd this is the only fault 1 can\nfind with the Society: it cheapens.\nThere were Caskets [of shagreen,\nand silver and ivory caskets; Gold\nrings; Painted leather curtains; Pain-\nted bowls : Salt cellars ; Necklaces ;\nFans; Table centres; Tables; Woven\ndresses; Buckles; Books;... and ail\nof them for practically nothing.\nI think this is a great and serious\nmistake, jgr /0 ,0-\n& Perhaps the world once wanted\nin a real way; now people want\ndifferently. They want what they\ncannot get.\nIt has been the popular way since\nthe Lord said Eve shouldn't have\nthe apples from a certain tree. The\nArtist should have learned this lesson\nfrom his master long ago. He should\nmake It hard,... almost impossible...\nfor anyone to possess certain works\nOf his. & J0\nThese he should plant in the\nExhibition,.... under the noses of\nmankind.... saying, \" Do not desire\nth is that I have made... for its pos-\nsession may bring happiness but it\nalso may bring bitterness ; Beware!',"}, {"page_pdf": 89, "page_imprimee": "275", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.89", "debut_caractere": 16, "fin_caractere_exclue": 2136, "texte": "■£? Anyhow the works shown at the\nGrosvenor Galleries are not prohibi-\ntive and so I sincerely hope they\nwill not be bought, for they would\nbe practically a free gift to each buyer.\n& The Catalogue is a rather badly\narranged one. search too long\nto find whatever we want in it. And\nthe system on which the exhibits\nare arranged is bad ; In fact it is a\nkind of go-as-you-please system. For\nthis reason one misses things which\none would like to see.\nMr Paul Cooper's numberless\nworks in gold, in silver, in shagreen\nand silver, in brass are each and\nall exquisite. These are practically\ngiven away. His sister has a fine\npiece of embroidery, (No, 434,) the\ndesign being by Mr Cooper. Miss\nMinnie Brown's hand-woven dresses\nand stuffs, (No. 488 A and B) are\ndelicious,... and thrown out of the\nwindow for a few shillings. Alfred\nH. Powell's Leather curtain (No. 397)\npainted just as though the whole of\nLondon had begged him to paint it\nfor them,... is given away for a few\npounds. Mrs Christie, (No. 149) shows\namazing skill in some Embroidery.\nThe Stained Glass designs by C. W.\nWhall are fine. I wanted,., expected...\none wall of the Exhibition to be\ngiven to him and all other objects\nhidden and the glass windows to be\nlit from behind so that the full value\nof the things should touch us. &\n■£? There is some illuminating work\nby Mac Donald Gill which is better\nthan anything of its kind that I\nknow. Gill is stronger than most of\nthe illuminators, .... and gayer. He\nenjoys himself with rather more\ngusto than the others ; they are more\nsolemn ;.... and in England,.... but\nthere's no more room to say what\n1 had in mind to say. JZ?\nP. S. & When all has been said\nEngland is first, far and away first,\nin her production of the perfect\nBook. The other Exhibits at the Arts\nand Crafts are all fine,... very fine\nsome of them, but the Printing and\nLettering stands alone. A great man\nhas been at work, and very silently\nat work, to bring it to its present\nperfection. He is little known and\npossibly cares not at all to be men-\ntioned. They * say he is a Socialist.\nBut that won't do... Kings are not\nSocialists.\n\nR. S."}]}, {"article_id": "bm-bmtnaau-1913-01-01-c069", "article_bluemountain": "bmtnaau_1913-01_01#c069", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "275", "page_fin": "278", "image_debut": 89, "image_fin": 92, "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=bmtnaau191301-01.2.23.3", "titre_corps": "LIVERPOOL & MANCHESTER", "titre_sommaire": "LIVERPOOL & MANCHESTER", "signature_source": "R. D", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 89, "page_imprimee": "275", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.89", "debut_caractere": 2138, "fin_caractere_exclue": 2432, "texte": "LIVERPOOL & MANCHESTER.\n\nTheir Repertory Theatres. &\n¥ iverpool has 767, 000 Inhabitants,\nand Manchester 716,000 inhabit\ntants. At least I50, 000 pounds should\nhave been found in Liverpool to\nbuild Liverpool its town Theatre.\nIt need not have been a Municipal\nTheatre, it could have belonged to"}, {"page_pdf": 90, "page_imprimee": "276", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.90", "debut_caractere": 20, "fin_caractere_exclue": 2341, "texte": "the town quite well without being\ngoverned by the town, but I repeat,\nat least 150,000 pounds should have\nbeen found for building this Thea-\ntre, and It is not too late now to\nset about finding that sum, and the\nLiverpool people ought to subscribe\nit.\n& In Lubeck, a German town, there\nare only IIo, 000 people and yet\nthe Municipality called upon the\ntown to find 150,000 pounds to build\ntheir new theatre. This has been\nopened in I9I2.\n£? Compare this energy and sense\nof responsability with the English\napathy. us?\nIt doe.sn't matter how you look\nat it, the theatrical situation of Eng-\nland is not a little amusing. Were\nthere no other country in the world\nwhere they saw the need of bull-\nding up a strong theatre so as to\nhelp in building up a strong nation,\nthen there would be no need\nto find fault with Liverpool and\nManchester, for after all, they have\ngood little theatres of their own, a\nlittle Repertory Theatre apiece.\n& I think the Liverpool Repertory\nTheatre better than the Manchester.\nThere is something stronger about it.\nIt seems to have taken trouble over\nbuilding itself, and, with very little\nmoney, Professor Adzhead has ma-\nnaged to knock an old and ugly\ntheatre Into a new and handsome\none. Not that it Is handsome enough\nfor Liverpool, but Professor Adzhead\nwould be the last person to think\nso, and considering the small sum\nat the disposal of the architect, the\nwork is extremely good.\nIn the front of the house all Is\nsimple and the curtain is simple.\nThis is not exactly the case in Man-\nchester. &\njS? The curtain in Liverpool is a\npiece of quiet brocade, not a painted\naffair at all, and it is not raised\nwhen the audience applaud for the\nactors to appear, and so these actors\nin Liverpool, like the actors in Mos-\ncow, stand a chance of not being\nspoiled. There is strength in the\nidea, and that it should have been\ncarried through also shows strength.\nThe seats are comfortable, and the\nprices very reasonable, i found the\nseats less comfortable in Manchester.\nThen too, the Orchestra is hidden\nunder the stage, a very good\nthing, and there is a foyer that has\na dignity we often look for in a\ntheatre and find rarely. JS/\nIt is different in Manchester.\nBehind the curtain they have\nbuilt a very reasonably sized stage\nwell equipped, and are blessed with\nhaving a painting room of their"}, {"page_pdf": 91, "page_imprimee": "277", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.91", "debut_caractere": 20, "fin_caractere_exclue": 2391, "texte": "own which contains a large frame.\nThey have a large scene-painting\nroom in the Manchester Theatre. In\nboth cases are to be found one or\ntwo good actors, but as I said before,\nI think the Liverpool is the stronger\nCompany. & &\n& But in neither case is It strong\nenough. Where is the money to\nmake it stronger ? Neither of those\ntowns need flatter themselves that,\nbecause they have what is called a\nRepertory Theatre, they have a really\nfirst class Theatre or anything ap-\nproaching a first class Theatre; This\nis not the fault of the actors, nor\nof the stage managers, nor of the\nother workers on the stage; it is\nsolely the fault of the two cities and\nthis is nothing they can be proud of.\nThey don't seem to realise that\nit is their DUTY to whip out that\nmoney, and whip it out at once.\nThey don't seem to realise the enor-\nmity of their behaviour. It is nothing\nthat London has no Repertory Thea-\ntre for London has dozens of thea-\ntres, and it is almost too big for a\nsingle Repertory. Besides, what has\nLondon to do with Liverpool and\nManchester, except to be an example\nto these two towns as to what they\nshould, not do ? Miss Horniman has\nbeen very generous with her money,\nbut Miss Horniman frankly admits\nthat she runs her theatre to make\nit pay.\nNow you can't run a theatre on\nthe finest principles and make it\npay unless it is first of all supported\nhandsomely by the town. It then\nstands a good chance of paying.\nSuppose a theatre starts off with\nloo, ooo pounds capital, there is no\nreal reason why it should not pay\nhandsomely in the end, but if it\nstarts off with 10, ooo pounds how\non earth can It pay and do good\nwork at [the same time ? I don't\nthink anybody is against a theatre\nbeing made to pay, but if you are\nsensible business people, you do not\nstart off by crippling it, and then\nbeing surprised that there are no\ndividends.\nLet Liverpool and Manchester\nrealise that a well established tliea°»\ntre with a large financial backing\nand plenty of go in It Is going to\nImprove every scrap of the business\nof those towns ; that it is going to\nimprove the very existence of each\nof the inhabitants, and then perhaps\nthings will be done in the right way.\nFor a good theatre assists very\nconsiderably In waking people up,\nin bringing people together on a\ncommon ground. It warms one's\nnature ; one becomes more friendly,\nand at the same time less critical"}, {"page_pdf": 92, "page_imprimee": "278", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.92", "debut_caractere": 22, "fin_caractere_exclue": 222, "texte": "of life and of one's neighbour.\n£? A good theatre helps to unite\nthose of a city, and many good\ntheatres help to unite all the cities.\n..... Now then, Liverpool and\nManchester, make the effort!\n\nR. D,"}]}, {"article_id": "bm-bmtnaau-1913-01-01-c070", "article_bluemountain": "bmtnaau_1913-01_01#c070", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "278", "page_fin": "278", "image_debut": 92, "image_fin": 92, "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=bmtnaau191301-01.2.23.4", "titre_corps": "PARIS", "titre_sommaire": "PARIS", "signature_source": "J. de S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 92, "page_imprimee": "278", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.92", "debut_caractere": 224, "fin_caractere_exclue": 1852, "texte": "PARIS.\nJ. de S.\nThe Price of Theatre Seats. &\nCir Herbert Beerbohm Tree has\nbeen here. JS?\n& My Confrere \" Percival \" suggests\nin his report to the Referee that\nhe behaved like any dashing student\nof the Quartier Latin. One fancies\nthat he took a furnished room in\nMontparnasse at six francs a week,\nwas to be seen amongst his friends\nin the little corner cafe of the Rue\ndu Bac, borrowed four francs from\nthe painter Fergusson; out of it\ngave Huntly Carter and M. Radjinsky\nthe American a square meal, went\nto a little theatre near the Gare\nMontparnasse, got a good treat for\nfifty centimes, and, in fact, tho-\nroughly enjoyed himself.\nThe Daily Telegraph, on the\nother hand, flatly contradicts ail of\nthis* JS? j£?\n& It states that Sir Herbert went\nabout purchasing stalls for fifty\nfrancs and twenty five francs apiece.\nThe largeness of the price is attri-\nbuted to the evil system which\nobtains abroad of disposing of seats\nto speculators,... a system which Sir\nHerbert Tree was glad to say we\nhave little or no experience of in\nEngland.\nBut possibly Sir Herbert Tree\nasked late in the day for his tickets ;\nand possibly he hadn't to go\nand buy them for himself at the\nBox Office ? Well then,... surely one\nshould be made to pay for privileges.\nOr possibly Sir Herbert Tree wanted\nthe best seat in the theatre ? Again\none must pay for the best. Or per-\nhaps Sir Herbert ordered his sump-\ntuous Hotel porter to get him a\nticket ?... why then, all is explained.\n1 have lived in Paris close upon\neight years and I have always been\nable to procure cheap seats at any\ntheatre worth visiting, provided 1\nordered them in good time."}]}, {"article_id": "bm-bmtnaau-1913-01-01-c071", "article_bluemountain": "bmtnaau_1913-01_01#c071", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "278", "page_fin": "279", "image_debut": 92, "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=bmtnaau191301-01.2.23.5", "titre_corps": "NEW YORK", "titre_sommaire": "NEW YORK", "signature_source": "P. G", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 92, "page_imprimee": "278", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.92", "debut_caractere": 1854, "fin_caractere_exclue": 2202, "texte": "NEW YORK.\n\nCannibalism, Costume and a\nCoat of Paint.\nHTlte Germans and Professor Rein-\nhardt practically exhausted the\nTurkish theme in \" Sutnurun \" and\nin their other assumptions,... (for\nCEdipus,\" \"A Venetian Night,\" \"The\nMiracle \" and the rest are Turkish\nin temperature in spite of their\nGreek and German source).\nOwing to this the Russians and"}, {"page_pdf": 93, "page_imprimee": "279", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.93", "debut_caractere": 21, "fin_caractere_exclue": 1133, "texte": "Leon Bakst have been driven to\nCannibalism, which after all is a\nkind of off-shoot of Post Impressio-\nnism.\nThe Cannibalist paints on flesh.\nTo M. Bakst the credit of being the\nfirst of this new school must be\ngiven, tie has been painting the legs\nof the ballet dancers of New York.\nThis is a practical as well as a\nmost distinguished idea. Why buy\ntights when a coat of paint will do,\nwith here and there a stripe or a\nstar ? jgr &\n& There are some people who will\ncry out at this revolutiou which a\nParisian Dancer has declared is Sa-\ncrilege. \" Paint my beautiful legs I\"\nshe cried; \" Never 1\". JZ?\nWe agree with herbut the\nIdea is very distinguished ; we are\nall bound to admit that much,....\nwhat ?\nSo \" Cannibalism \" has arrived,\nand M. Bakst has said farewell to\nhis last bead. It was a versatile bead ;\nit served every purpose of costume.\nBut its possibilities were limited by\nthe side of this coat of paint. JZ?\n& The Russian Ballet has solved the\nproblem of costume and manage-\nments need send no longer to Damas-\ncus for silks, but only to Aspinalls\nfor a few pots of their sixpenny\nenamal. JZ?\n\nP. G,"}]}, {"article_id": "bm-bmtnaau-1913-01-01-c072", "article_bluemountain": "bmtnaau_1913-01_01#c072", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "279", "page_fin": "280", "image_debut": 93, "image_fin": 94, "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=bmtnaau191301-01.2.23.6", "titre_corps": "STRATFORD ON AVON", "titre_sommaire": "STRATFORD ON AVON", "signature_source": "L. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 93, "page_imprimee": "279", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.93", "debut_caractere": 1135, "fin_caractere_exclue": 2308, "texte": "STRATFORD ON AVON.\n\nStreets as Memorials. & &\npassing through Milan a little\ntime ago I was surprised and\npleased to find that half thp streets\nthere were called after some mu-\nsician, architect, painter, or writer.\nThus I passed in a short time\nthrough the following streets, which\nI will name here although there\nmust be a great number more :\nVia Bramanti, Via Qoldoni, Via Ar-\nchimedi, Via Donizetti, Via Bellini,\nVia Rossini, Via Tenaglia, Via Pe-\ntrarca, Via Boccaccio, Via Tasso and\nVia Vitruvio. As you see that list\ndoes not include the more obvious\nnames of Michel Angelo, Raphael,\nLeonardo da Vinci and Dante, but I\nhave no doubt had 1 searched I\nshould have come across them.\nIt strikes me, and must have\nstruck many others, that it would\nbe no bad thing at all if the autho-\nrities in England would make a little\nuse of the names of artists when\nchristening their streets. After all\nit is quite true we have a John\nStreet, but 1 cannot think that the\nauthorities anticipated the advent\nof our great painter. I feel sure it\nmust have been the name of the\nowner of that plot of ground. Any-\nhow it is quite certain that there\nare very few squares, places, streets"}, {"page_pdf": 94, "page_imprimee": "280", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.94", "debut_caractere": 24, "fin_caractere_exclue": 1190, "texte": "or roads named after artists.\nWe have some very good names it\nis true, the nobles' names, Pembroke,\nEton, Belgrave and so forth and\nthe saints show up well in London;\nSt. James and St Pancras and many\nbesides. King's Road and Queen's\nRoad sound fine; there is the unique\nPiccadilly which after all can never\nbe beaten. But such names as Smith\nSquare, Baker Street, Jones' Corner\nand so on do not suit England in\nthe least. JZ? & jg?\nIt is very curious that though\nwe do not name our streets after\ngreat artists, and although for cen-\nturies we have looked down upon\nthe actor, there really does hap=\npen to be a Garrick Street. You\nwill not find abroad many streets\nnamed after actors. jg? &\nIf London should leave matters\nas they are, what is there against\nthe Garden Cities having their fling?\nIt would be an inexpensive way\nof erecting a little memorial to\nour bakers and our smiths.\nSir George Alexander has, I\nbelieve, already had this idea and\nI in no way claim any originality for\nit but I trust Sir George will follow\nup this admirable thought of his and\nat an early date put the idea before\nthe Council of which he is a distin-\nguished member. £? zz?\n\nL. C."}]}, {"article_id": "bm-bmtnaau-1913-01-01-c073", "article_bluemountain": "bmtnaau_1913-01_01#c073", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "280", "page_fin": "280", "image_debut": 94, "image_fin": 94, "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=bmtnaau191301-01.2.23.7", "titre_corps": "BERLIN", "titre_sommaire": "BERLIN", "signature_source": "R. D", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 94, "page_imprimee": "280", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.94", "debut_caractere": 1192, "fin_caractere_exclue": 2309, "texte": "BERLIN.\nR.D.\nAn Over sight. J£? &\nI met a wonderful creature the other\nday in one of the capitals of Europe.\nMe recalled one of the great and\nterrible figures in the Balzac novels.\nHe was about fifty six years of age,\nof powerful build, perfectly dressed,.,\nand dead.\n£? A powerful corpse was before me.\nHis eye glittered,... not with Life\nbut with eternal death. There was\na suggestion as if he had powdered\nhis whole soul with the fine dust\nfrom the cemetaries. I admired him\nwhile I wondered at him. He was\nterrible enough for that.\nHe spoke to me saying that he\nwould like to be able to build and\nimprove his house, and he waved\nhis hand imperiously towards a\nmonstrous affair which is called a\nhouse and which was then in process\nof being pulled down and rebuilt.\nBuilders, not architects, were being\n&\nj0 I suppose he has at least 150,000\npounds a year to spend 011 his life.\n\" Only three things are needed \"\nsaid he, \"The place, the Wish and\nthe Money. We have the first two,...\nbut little of the third\njg? I added that there was a fourth\nthing necessary, the Talent. Poor fel-\nlow, he had forgotten that item."}]}, {"article_id": "bm-bmtnaau-1913-01-01-c074", "article_bluemountain": "bmtnaau_1913-01_01#c074", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "281", "page_fin": "286", "image_debut": 95, "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=bmtnaau191301-01.2.24", "titre_corps": "EDITORIAL NOTES", "titre_sommaire": "EDITORIAL NOTES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 95, "page_imprimee": "281", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.95", "debut_caractere": 0, "fin_caractere_exclue": 1930, "texte": "EDITORIAL NOTES.\n\nDRAMA TIC CRITICISM. &\ncriticism In London seems\nto be improving. Criticism cannot\nbe an easy thing at any time, and\ncriticism of the Theatre is particu-\nlarly difficult with so few artists of\nconscience and in the Theatrical\nworld to set the standard. j®\nJ® So much can be said in defence\nof much of the loose London Thea-\ntrical criticism of today, J® J®\nJ® But while we defend we must\nalso admit that while there is even\nbut one artist to set the standard\ncriticism has nothing to complain of\nso far as a lead is concerned. . J®\nJ® Mr Gordon Craig has given the\ntheatrical critics just such a lead.\nHe has acted as an artist ever since\nhe began to develop his theories by\npractise In 1900. He is stern with\nhimself. What higher standard could\ncriticism look for TJ® J® J®\nUnfortunately criticism,... even\nthe most level-headed... is apt while\ndemanding the ideal to be easily\nsatisfied by the sloppiest imitation\nof that ideal,... and imitation is a\npaltry principle, J® J® J®\nJ® London loves nothing so much as\nan imitation article. Witness its\necstacy on the appearance of Miss\nMaud Allen, who was an imitation\nof Miss Isadora Duncan. J®\n& London is now pondering lear-\nnedly about Dalcroze and his method\nwhich is again an imitation,... an\nimitation of the school of Miss Eli-\nzabeth Duncan.\nj® And Del Sarte is forgotten* Was\nhe ever troubled about by the cri-\ntics 1 J® J® J® J®\nj® In the same manner London critics\n(even the level-headed J. M. Bulloch)\nare found to glow over the imitations\nat the Savoy theatre In scene and\ndance. J®\nj® Mr Bulloch uses the word \"novel\"\nin speaking of Mr Barker's produc-\ntion. Here It is as well to remark\nthat the production is not Mr\nBarker's but is the product of several\nmen. These have been told to attempt\nthe William Poel method But\nwhereas Poel was always serious\nthese producers are giddy. j®\nj® Mr Barker's talent for teaching\nactors how to act in the modern"}, {"page_pdf": 96, "page_imprimee": "282", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.96", "debut_caractere": 20, "fin_caractere_exclue": 2375, "texte": "way is his own and should receive\nall the praise such a talent deserves.\nBut when he borrows Mr Poel's\nmethod of scenic arrangement he\nborrows if, we suppose, only to put\nIt down: it is no conviction with\nhim. Mr Barker tries different me-\nthods,... and he tries his experiments\non the dog,... that is to say, on the\npublic. We do not believe In vivisec-\ntion methods in the Theatre.\nWe want to see as stage directors\nmen of conviction,... men with\nmethods of their own. We ask for\noriginal work, original thought: we\ncall for men of the stamp of Cezanne,\nGauguin and Van Gogh; we have\nhad enough of the placid imitators,\nthe timid opportunists too eager to\nsuit the public with something rather\nunusual. That is bad art, very bad\nart, and can but breed worse art.\nWe want to see Barker wash his\nhands and become himself. His pa-\nrodies of other men's ideas are out\nof place, worthless and feminine. ■£?\njg? We would rather watch him\nblunder over his own expression\nthan hear him lisp out sentences\nframed better by other lips.\nMr Barker has lately called Mr\nHamilton Fyfe's attack on Professor\nReinhardt a cowardly attack. Mr\nBarker's \" productions \" are not\nexactly manly: a man knows his own\nmind ; Mr Barker seems not to. He\nechoes. He has no principles to guide\nhis 44 production he just borrows\na different method with every new\nproduction.\nNo epoch is marked by these Savoy\nproductions, and Mr Bulloch is wrong\nto assert that an epoch has been\nmarked by them. Originality may or\nmay not mark an epoch. £?\n& Genius marks it. Mr Barker is a\nresourceful man full of the best\nintentions,... and some weak ones.\nWhen he gets rid of these and\nstrikes out for himself he may mark\nan epoch, but he will find that it is\nvery difficult to get out of the habit\nhe has let himself slip into. It will\nneed a lot of repentance. &\nAnd the 44 great public \" which\nMr Bulloch says has welcomed these\nimitation goods ? Is it the 200,000\nthat Sir Herbert Beerbohm Tree\nonce spoke of as having gone to see\n44A Midsummer Night's Dream \" at\nHis Majesty's ? Or is it more ? At\nany rate, considerable public though\nit may be, it is not the \"great public.\"\nThe great public comes to a man's\nwork if he be a genius about a\nhundred years after he is dead.\nPerhaps 44 The Voysey Inheritance\"\nwill win the great public in a hun-\ndred years' time even as 44 Hamlet\"\nwon it once."}, {"page_pdf": 97, "page_imprimee": "283", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.97", "debut_caractere": 20, "fin_caractere_exclue": 2284, "texte": "A large public is always a fascia\nnating thing: everyone would be\npopular. Everyone tries to be. But\nsome few there are who will not be\npopular by compromise, and who will\nonly take popularity on their own\nterms and if it comes to them of\nits own free will. &\nCezanne, Gauguin and Van Gogh\nwere such men. They lived yester=\nday. Blake was such a man. He lived\nthe day before. Let the public if it\nwishes to be great honour none but\nthe great men. And let the critics\nbe the friends to the public by telling\nthem a little more of the truth. &\n\nPRIVATE THEATRES.\nHPhesis \" wrote a letter lately to\nthe Pall Mall Gazette asking\nhow many strictly private Theatres\nwere to be found in and about Lon-\ndon. His query was prompted by a\nnotice of the sale of Hampton Court\nHouse \" with a fine theatre \". .2?\n\" Thesis\" calls to mind quite a\nnumber of private theatres:.... the\nShelley Theatre on the Chelsea\nEmbankment; Sir Thomas Freake's\nTheatre in Cromwell Road, and one\njust off Eaton Square and one in\nNorman hurst.\nThis question Is an interesting\none, and we wish \" Thesis \" would\nset out to enquire all about the\nprivate theatres of England and re-\ncord in words and In pictures and\nplans all he finds out. We need such\na record.\nAnd when he has finished England\nthere is a fine rich field awaiting\nhim in Italy.\n& Some one tells us of an old\ncinque cento theatre in Siena... is\nit possible such a place exists ? it\nwould have been a private theatre\nanyhow. Then there are the other old\nPalace theatres: have not some\nrecords been preserved about these?\nAt Fontainbleati there is a great\ngallery which was once upon a time\nthe King's Theatre. Who can tell us\nabout this private theatre ?\n-S\" Then there is the delightful little\ntheatre of Marie Antoinette at the\nPetit Trianon. The public is not as\na rule admitted; the place is not\nused and mustyness is in the air:\nthe wood of the stage is rotting:\nthe least thing breaks it. And so\nfar as we know no thorough record\nof the place exists. Yet what a fasci=\nnating subject,...\" The Private Thea=\ntre of Queen Marie Antoinette\".\nWe hope \"Thesis\" will write the\nbook. jc?\n\nFRILLS AND FO.\ndoes so false a sense of\nvalues appear to prevail as in the\ntheatre. The price set upon pretty\nladles, willing to show an unlimited"}, {"page_pdf": 98, "page_imprimee": "284", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.98", "debut_caractere": 21, "fin_caractere_exclue": 2335, "texte": "amount of 44 lingerie\" and an'almost\nunlimited amount of their own char-\nming persons seems to be perpetually\non the increase.\nMile. Gaby Delys, after some\nweeks of laborious dressing and\nundressing on the London stage,\nof being extensively photographed\nfor the illustrated papers in the act\nof powdering her ankles, kicking\nher heels while perched 011 her\ntoilet table, and in various other\npiquant attitudes, enhanced by an\nelaborate deshabille, has now arrived\nin America with a long train of\nchauffeurs, maids, secretaries, pet\ndogs and ropes of pearls like a second\nQueen of Sheba, to renew her acti-\nvities at a salary of about five\nthousand dollars per week.\nAnother vaudeville lady, Miss\nEva Tanguay, has been receiving\ntwo thousand five hundred dollars\na week from Lew Fields the Ame-\nrican manager for an 44 excursion\nfrom vaudeville\" into the 44 legi-\ntimate field\" in a piece called \"The\nSun Dodgers \". &\nSuccess does not seem, however,\nto have attended the excursion.\n\"According to newspaper reports \",\nrelates the New York Dramatic\nMirror. 44 Eva's bare legs created\n44 something of a sensation, but the\n44 box office receipts were not in\n\" proportion to Eva's salary\", the\nFields Management considering that\n\" her drawing power for them was\n\" less than 250 dollars\"..i.e. less than\none tenth of her pay, a fact which\nseems to argue some little inteili-\ngence and discrimination on the\npart of the public to whom this\nattraction was offered.\nAdded to this Miss Tanguay cost\nthe management something in ner-\nvous exhaustion owing to her displays\nof \" artistic temperament \", and\nthe opinion of the said management\nwas summed up in the one word\n\" Impossible\".\n& Here is a brief paragraph which\ngives an Indication of what long\nsuffering managers have to stand\nfrom the \" artistic temperament\"\nof the ladies who grace their stages.\n\"As the week went by business\n\" failed to pick up, and when Eva\n\" walked out one day, Mr Fields\n\" took her at her word and Eva's\n** term as star of the Sun Dodgers\n\" came to an end. Friday morning\n\" he received a telegram in the New\n\" York office, a message of repen-\n\\\n\" tance in a thousand words. Eva\n\" said that her heart was in the\n\" right place, and she wanted to\n\" stay, but Mr Fields did not change\n\" his mind. On that opening night\n\" in Pittsburgh she had dropped"}, {"page_pdf": 99, "page_imprimee": "285", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.99", "debut_caractere": 18, "fin_caractere_exclue": 2416, "texte": "44 three numbers from her part, and\n44 she left such a hole in the pro-\n44 gramme that the chorus did not\n\" know where they were at. It is\n44 said that this was only one per-\n44 formance of the kind, for Eva,\n44 says Dame Rumor, put on her hat\n44 before the end of almost every\n44 rehearsal and she threatened to\n•' do the same at performances.\"\n£? Of course the managers have no\none but themselves to blame for\nputting these ladies into positions\n•\nof prominence which they have not\nthe intelligence to be able to hold\nwithout losing their heads, and for\nencouraging them to set a wholly\nabsurd and fictitious value upon\nthemselves.\nIt is absurd first of all to encou-\nrage these young women to think\nthat because they have well-shaped\nlimbs, or less reticence than others\nin publicly displaying them, or pos-\nsess a more enticing outfit of petti-\ncoats and drawers than their sisters\nthey are worth their weight in gold\nand are to travel like empresses and\nbe obeyed as if they were goddesses.\nFor the ladies possessed of these\nphysical attributes are,unfortunately,\nsadly lacking in brains. They deve-\nlop, under flattery, into incarnations\nof hysterical conceit, and the mana-\ngers who have bred them can hardly\ncomplain if they have then to suffer\nby them. In fact they shape these\nfemale Frankinsteins, these so-called\n\"artists\", to pursue them and har-\nrass them at every turn.\nEvery day it becomes more evident\nthat women are impossible upon the\nstage as it is today. Whether a new\nrace of women will arise to work\nunder a new race of artists for the\nArt of the Theatre remains to be\nseen,.., but if they do so, and do so\nsuccessfully, it will only be when\nsomething of that spirit which quick-\nens and controls the women of the\nEast has found its wav into the\nwomen of the West. &\n\n\" ARTISTIC TEMPERAMENT. \"\npropos of the \"Artistic tempe-\nrament,\" ...that graceful synonym\nfor the tempers and nervous disorders\nof so many of the ladies of the stage,\nMr John Lund the operatic conductor,\nwho has surely had no small oppor-\ntunity for making his observations,\nis reported as having nalevely ex-\npressed himself as follows: (i)\n\" I classify in three sections; when\n\" an ordinary chorus girl makes a\n\" fuss I call it impudence; when a\n\" young lady drawing a hundred\n\" dollars a week makes a fuss, I\n\" call it imprudence: but when a\n\" star defies me, I have to admit\n\n(I) N. Y. Dramatic Mirror."}, {"page_pdf": 100, "page_imprimee": "286", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.100", "debut_caractere": 130, "fin_caractere_exclue": 2075, "texte": "\" that it is the artistic temperament\"\nIn fact the privilege of possessing\nand enjoying an \" artistic tempera-\nment the indulgence, that is, of\na general capacity for ruining fine\nenterprises and raising Cain ail\nround, is reduced to a matter\nof L. s, d. JZ?\nIt is the old story of the klepto-\nmania of the rich, and the \"stealing\"\nof the poor. JZ?\n\nCUI BONO?\nJ. S.\nrjphe 44 New York Sun \" of October\n44 27th states that, \" More than\n44 5»ooo,ooo dollars... a conservative,\n44 very conservative, estimate that...\n\" is being spent in the construction\n\" of theatres, or has been spent on\n\" those already opened in Greater\n44New York this year. And that does\nnot take into account the cost of\n44 the ground \".\nJZ? 44 After easy sailing along the\n44 Broadway frontier \" continues the\nwriter, 44 and after delving in the\n44 Jungles of theatrical side streets\n9\n44 it can be learned that no less than\n44 twenty theatres of a good size\n44 have been opened or have actually\n44 been building in this year of our\n14 Lord.\"\nAnd what is the value of It all ?\nwhat good may be hoped for from\nall this enterprise and expenditure?..\nNothing! twenty brand new buildings\n... and nothing better to put in them\nthan the contents of the old dusty\nfusty jingling tawdry box of tricks:\nfive million dollars laid out,,;, and\nnothing to be gained for the theatre\nfrom it all. zs?\n■£? It is really a pity to see so much\ngood money being wasted, and to\nsee it being wasted by some fairly\nintelligent men who should know\nbetter by now. jZ?\nzz? Mr William Brady is one of them :\nhis new theatre is already open ;Mr\nJohn Cort is another who is soon to\nopen, and then there is Mr Ames,...\n(none the wiser, we fear, for his\nrecent experiences,) joining in with\nthe Shubert Brothers in the prepa-\nration of a double theatre of which\nthey are to manage the one, he the\nother. <£? sZ? jZ?\njZ? Altogether it seems that a lot\nof labour is being wasted just now\nin New York. jZ? jZ?"}]}, {"article_id": "bm-bmtnaau-1913-01-01-c076", "article_bluemountain": "bmtnaau_1913-01_01#c076", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "281", "page_fin": "283", "image_debut": 95, "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=bmtnaau191301-01.2.24.2", "titre_corps": "DRAMATIC CRITICISM", "titre_sommaire": "DRAMATIC CRITICISM", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 95, "page_imprimee": "281", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.95", "debut_caractere": 18, "fin_caractere_exclue": 1930, "texte": "DRAMA TIC CRITICISM. &\ncriticism In London seems\nto be improving. Criticism cannot\nbe an easy thing at any time, and\ncriticism of the Theatre is particu-\nlarly difficult with so few artists of\nconscience and in the Theatrical\nworld to set the standard. j®\nJ® So much can be said in defence\nof much of the loose London Thea-\ntrical criticism of today, J® J®\nJ® But while we defend we must\nalso admit that while there is even\nbut one artist to set the standard\ncriticism has nothing to complain of\nso far as a lead is concerned. . J®\nJ® Mr Gordon Craig has given the\ntheatrical critics just such a lead.\nHe has acted as an artist ever since\nhe began to develop his theories by\npractise In 1900. He is stern with\nhimself. What higher standard could\ncriticism look for TJ® J® J®\nUnfortunately criticism,... even\nthe most level-headed... is apt while\ndemanding the ideal to be easily\nsatisfied by the sloppiest imitation\nof that ideal,... and imitation is a\npaltry principle, J® J® J®\nJ® London loves nothing so much as\nan imitation article. Witness its\necstacy on the appearance of Miss\nMaud Allen, who was an imitation\nof Miss Isadora Duncan. J®\n& London is now pondering lear-\nnedly about Dalcroze and his method\nwhich is again an imitation,... an\nimitation of the school of Miss Eli-\nzabeth Duncan.\nj® And Del Sarte is forgotten* Was\nhe ever troubled about by the cri-\ntics 1 J® J® J® J®\nj® In the same manner London critics\n(even the level-headed J. M. Bulloch)\nare found to glow over the imitations\nat the Savoy theatre In scene and\ndance. J®\nj® Mr Bulloch uses the word \"novel\"\nin speaking of Mr Barker's produc-\ntion. Here It is as well to remark\nthat the production is not Mr\nBarker's but is the product of several\nmen. These have been told to attempt\nthe William Poel method But\nwhereas Poel was always serious\nthese producers are giddy. j®\nj® Mr Barker's talent for teaching\nactors how to act in the modern"}, {"page_pdf": 96, "page_imprimee": "282", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.96", "debut_caractere": 20, "fin_caractere_exclue": 2375, "texte": "way is his own and should receive\nall the praise such a talent deserves.\nBut when he borrows Mr Poel's\nmethod of scenic arrangement he\nborrows if, we suppose, only to put\nIt down: it is no conviction with\nhim. Mr Barker tries different me-\nthods,... and he tries his experiments\non the dog,... that is to say, on the\npublic. We do not believe In vivisec-\ntion methods in the Theatre.\nWe want to see as stage directors\nmen of conviction,... men with\nmethods of their own. We ask for\noriginal work, original thought: we\ncall for men of the stamp of Cezanne,\nGauguin and Van Gogh; we have\nhad enough of the placid imitators,\nthe timid opportunists too eager to\nsuit the public with something rather\nunusual. That is bad art, very bad\nart, and can but breed worse art.\nWe want to see Barker wash his\nhands and become himself. His pa-\nrodies of other men's ideas are out\nof place, worthless and feminine. ■£?\njg? We would rather watch him\nblunder over his own expression\nthan hear him lisp out sentences\nframed better by other lips.\nMr Barker has lately called Mr\nHamilton Fyfe's attack on Professor\nReinhardt a cowardly attack. Mr\nBarker's \" productions \" are not\nexactly manly: a man knows his own\nmind ; Mr Barker seems not to. He\nechoes. He has no principles to guide\nhis 44 production he just borrows\na different method with every new\nproduction.\nNo epoch is marked by these Savoy\nproductions, and Mr Bulloch is wrong\nto assert that an epoch has been\nmarked by them. Originality may or\nmay not mark an epoch. £?\n& Genius marks it. Mr Barker is a\nresourceful man full of the best\nintentions,... and some weak ones.\nWhen he gets rid of these and\nstrikes out for himself he may mark\nan epoch, but he will find that it is\nvery difficult to get out of the habit\nhe has let himself slip into. It will\nneed a lot of repentance. &\nAnd the 44 great public \" which\nMr Bulloch says has welcomed these\nimitation goods ? Is it the 200,000\nthat Sir Herbert Beerbohm Tree\nonce spoke of as having gone to see\n44A Midsummer Night's Dream \" at\nHis Majesty's ? Or is it more ? At\nany rate, considerable public though\nit may be, it is not the \"great public.\"\nThe great public comes to a man's\nwork if he be a genius about a\nhundred years after he is dead.\nPerhaps 44 The Voysey Inheritance\"\nwill win the great public in a hun-\ndred years' time even as 44 Hamlet\"\nwon it once."}, {"page_pdf": 97, "page_imprimee": "283", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.97", "debut_caractere": 20, "fin_caractere_exclue": 561, "texte": "A large public is always a fascia\nnating thing: everyone would be\npopular. Everyone tries to be. But\nsome few there are who will not be\npopular by compromise, and who will\nonly take popularity on their own\nterms and if it comes to them of\nits own free will. &\nCezanne, Gauguin and Van Gogh\nwere such men. They lived yester=\nday. Blake was such a man. He lived\nthe day before. Let the public if it\nwishes to be great honour none but\nthe great men. And let the critics\nbe the friends to the public by telling\nthem a little more of the truth. &"}]}, {"article_id": "bm-bmtnaau-1913-01-01-c077", "article_bluemountain": "bmtnaau_1913-01_01#c077", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "283", "page_fin": "283", "image_debut": 97, "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=bmtnaau191301-01.2.24.3", "titre_corps": "PRIVATE THEATRES", "titre_sommaire": "PRIVATE THEATRES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 97, "page_imprimee": "283", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.97", "debut_caractere": 563, "fin_caractere_exclue": 2136, "texte": "PRIVATE THEATRES.\nHPhesis \" wrote a letter lately to\nthe Pall Mall Gazette asking\nhow many strictly private Theatres\nwere to be found in and about Lon-\ndon. His query was prompted by a\nnotice of the sale of Hampton Court\nHouse \" with a fine theatre \". .2?\n\" Thesis\" calls to mind quite a\nnumber of private theatres:.... the\nShelley Theatre on the Chelsea\nEmbankment; Sir Thomas Freake's\nTheatre in Cromwell Road, and one\njust off Eaton Square and one in\nNorman hurst.\nThis question Is an interesting\none, and we wish \" Thesis \" would\nset out to enquire all about the\nprivate theatres of England and re-\ncord in words and In pictures and\nplans all he finds out. We need such\na record.\nAnd when he has finished England\nthere is a fine rich field awaiting\nhim in Italy.\n& Some one tells us of an old\ncinque cento theatre in Siena... is\nit possible such a place exists ? it\nwould have been a private theatre\nanyhow. Then there are the other old\nPalace theatres: have not some\nrecords been preserved about these?\nAt Fontainbleati there is a great\ngallery which was once upon a time\nthe King's Theatre. Who can tell us\nabout this private theatre ?\n-S\" Then there is the delightful little\ntheatre of Marie Antoinette at the\nPetit Trianon. The public is not as\na rule admitted; the place is not\nused and mustyness is in the air:\nthe wood of the stage is rotting:\nthe least thing breaks it. And so\nfar as we know no thorough record\nof the place exists. Yet what a fasci=\nnating subject,...\" The Private Thea=\ntre of Queen Marie Antoinette\".\nWe hope \"Thesis\" will write the\nbook. jc?"}]}, {"article_id": "bm-bmtnaau-1913-01-01-c078", "article_bluemountain": "bmtnaau_1913-01_01#c078", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "283", "page_fin": "285", "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=bmtnaau191301-01.2.24.4", "titre_corps": "FRILLS AND FOLLIES", "titre_sommaire": "FRILLS AND FOLLIES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 97, "page_imprimee": "283", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.97", "debut_caractere": 2138, "fin_caractere_exclue": 2284, "texte": "FRILLS AND FO.\ndoes so false a sense of\nvalues appear to prevail as in the\ntheatre. The price set upon pretty\nladles, willing to show an unlimited"}, {"page_pdf": 98, "page_imprimee": "284", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.98", "debut_caractere": 21, "fin_caractere_exclue": 2335, "texte": "amount of 44 lingerie\" and an'almost\nunlimited amount of their own char-\nming persons seems to be perpetually\non the increase.\nMile. Gaby Delys, after some\nweeks of laborious dressing and\nundressing on the London stage,\nof being extensively photographed\nfor the illustrated papers in the act\nof powdering her ankles, kicking\nher heels while perched 011 her\ntoilet table, and in various other\npiquant attitudes, enhanced by an\nelaborate deshabille, has now arrived\nin America with a long train of\nchauffeurs, maids, secretaries, pet\ndogs and ropes of pearls like a second\nQueen of Sheba, to renew her acti-\nvities at a salary of about five\nthousand dollars per week.\nAnother vaudeville lady, Miss\nEva Tanguay, has been receiving\ntwo thousand five hundred dollars\na week from Lew Fields the Ame-\nrican manager for an 44 excursion\nfrom vaudeville\" into the 44 legi-\ntimate field\" in a piece called \"The\nSun Dodgers \". &\nSuccess does not seem, however,\nto have attended the excursion.\n\"According to newspaper reports \",\nrelates the New York Dramatic\nMirror. 44 Eva's bare legs created\n44 something of a sensation, but the\n44 box office receipts were not in\n\" proportion to Eva's salary\", the\nFields Management considering that\n\" her drawing power for them was\n\" less than 250 dollars\"..i.e. less than\none tenth of her pay, a fact which\nseems to argue some little inteili-\ngence and discrimination on the\npart of the public to whom this\nattraction was offered.\nAdded to this Miss Tanguay cost\nthe management something in ner-\nvous exhaustion owing to her displays\nof \" artistic temperament \", and\nthe opinion of the said management\nwas summed up in the one word\n\" Impossible\".\n& Here is a brief paragraph which\ngives an Indication of what long\nsuffering managers have to stand\nfrom the \" artistic temperament\"\nof the ladies who grace their stages.\n\"As the week went by business\n\" failed to pick up, and when Eva\n\" walked out one day, Mr Fields\n\" took her at her word and Eva's\n** term as star of the Sun Dodgers\n\" came to an end. Friday morning\n\" he received a telegram in the New\n\" York office, a message of repen-\n\\\n\" tance in a thousand words. Eva\n\" said that her heart was in the\n\" right place, and she wanted to\n\" stay, but Mr Fields did not change\n\" his mind. On that opening night\n\" in Pittsburgh she had dropped"}, {"page_pdf": 99, "page_imprimee": "285", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.99", "debut_caractere": 18, "fin_caractere_exclue": 1807, "texte": "44 three numbers from her part, and\n44 she left such a hole in the pro-\n44 gramme that the chorus did not\n\" know where they were at. It is\n44 said that this was only one per-\n44 formance of the kind, for Eva,\n44 says Dame Rumor, put on her hat\n44 before the end of almost every\n44 rehearsal and she threatened to\n•' do the same at performances.\"\n£? Of course the managers have no\none but themselves to blame for\nputting these ladies into positions\n•\nof prominence which they have not\nthe intelligence to be able to hold\nwithout losing their heads, and for\nencouraging them to set a wholly\nabsurd and fictitious value upon\nthemselves.\nIt is absurd first of all to encou-\nrage these young women to think\nthat because they have well-shaped\nlimbs, or less reticence than others\nin publicly displaying them, or pos-\nsess a more enticing outfit of petti-\ncoats and drawers than their sisters\nthey are worth their weight in gold\nand are to travel like empresses and\nbe obeyed as if they were goddesses.\nFor the ladies possessed of these\nphysical attributes are,unfortunately,\nsadly lacking in brains. They deve-\nlop, under flattery, into incarnations\nof hysterical conceit, and the mana-\ngers who have bred them can hardly\ncomplain if they have then to suffer\nby them. In fact they shape these\nfemale Frankinsteins, these so-called\n\"artists\", to pursue them and har-\nrass them at every turn.\nEvery day it becomes more evident\nthat women are impossible upon the\nstage as it is today. Whether a new\nrace of women will arise to work\nunder a new race of artists for the\nArt of the Theatre remains to be\nseen,.., but if they do so, and do so\nsuccessfully, it will only be when\nsomething of that spirit which quick-\nens and controls the women of the\nEast has found its wav into the\nwomen of the West. &"}]}, {"article_id": "bm-bmtnaau-1913-01-01-c079", "article_bluemountain": "bmtnaau_1913-01_01#c079", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "285", "page_fin": "286", "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=bmtnaau191301-01.2.24.5", "titre_corps": "\"ARTISTIC TEMPERAMENT.\"", "titre_sommaire": "\"ARTISTIC TEMPERAMENT.\"", "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": "285", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.99", "debut_caractere": 1809, "fin_caractere_exclue": 2416, "texte": "\" ARTISTIC TEMPERAMENT. \"\npropos of the \"Artistic tempe-\nrament,\" ...that graceful synonym\nfor the tempers and nervous disorders\nof so many of the ladies of the stage,\nMr John Lund the operatic conductor,\nwho has surely had no small oppor-\ntunity for making his observations,\nis reported as having nalevely ex-\npressed himself as follows: (i)\n\" I classify in three sections; when\n\" an ordinary chorus girl makes a\n\" fuss I call it impudence; when a\n\" young lady drawing a hundred\n\" dollars a week makes a fuss, I\n\" call it imprudence: but when a\n\" star defies me, I have to admit\n\n(I) N. Y. Dramatic Mirror."}, {"page_pdf": 100, "page_imprimee": "286", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.100", "debut_caractere": 130, "fin_caractere_exclue": 478, "texte": "\" that it is the artistic temperament\"\nIn fact the privilege of possessing\nand enjoying an \" artistic tempera-\nment the indulgence, that is, of\na general capacity for ruining fine\nenterprises and raising Cain ail\nround, is reduced to a matter\nof L. s, d. JZ?\nIt is the old story of the klepto-\nmania of the rich, and the \"stealing\"\nof the poor. JZ?"}]}, {"article_id": "bm-bmtnaau-1913-01-01-c080", "article_bluemountain": "bmtnaau_1913-01_01#c080", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "286", "page_fin": "286", "image_debut": 100, "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=bmtnaau191301-01.2.24.6", "titre_corps": "CUI BONO?", "titre_sommaire": "CUI BONO?", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 100, "page_imprimee": "286", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.100", "debut_caractere": 480, "fin_caractere_exclue": 2075, "texte": "CUI BONO?\nJ. S.\nrjphe 44 New York Sun \" of October\n44 27th states that, \" More than\n44 5»ooo,ooo dollars... a conservative,\n44 very conservative, estimate that...\n\" is being spent in the construction\n\" of theatres, or has been spent on\n\" those already opened in Greater\n44New York this year. And that does\nnot take into account the cost of\n44 the ground \".\nJZ? 44 After easy sailing along the\n44 Broadway frontier \" continues the\nwriter, 44 and after delving in the\n44 Jungles of theatrical side streets\n9\n44 it can be learned that no less than\n44 twenty theatres of a good size\n44 have been opened or have actually\n44 been building in this year of our\n14 Lord.\"\nAnd what is the value of It all ?\nwhat good may be hoped for from\nall this enterprise and expenditure?..\nNothing! twenty brand new buildings\n... and nothing better to put in them\nthan the contents of the old dusty\nfusty jingling tawdry box of tricks:\nfive million dollars laid out,,;, and\nnothing to be gained for the theatre\nfrom it all. zs?\n■£? It is really a pity to see so much\ngood money being wasted, and to\nsee it being wasted by some fairly\nintelligent men who should know\nbetter by now. jZ?\nzz? Mr William Brady is one of them :\nhis new theatre is already open ;Mr\nJohn Cort is another who is soon to\nopen, and then there is Mr Ames,...\n(none the wiser, we fear, for his\nrecent experiences,) joining in with\nthe Shubert Brothers in the prepa-\nration of a double theatre of which\nthey are to manage the one, he the\nother. <£? sZ? jZ?\njZ? Altogether it seems that a lot\nof labour is being wasted just now\nin New York. jZ? jZ?"}]}, {"article_id": "bm-bmtnaau-1913-01-01-c082", "article_bluemountain": "bmtnaau_1913-01_01#c082", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "291", "page_fin": "291", "image_debut": 105, "image_fin": 105, "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=bmtnaau191301-01.2.25", "titre_corps": "THE RUSSIAN BALLET : NIJINSKI'S ACKNOWLEDGMENT", "titre_sommaire": "THE RUSSIAN BALLET : NIJINSKI'S ACKNOWLEDGMENT", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 105, "page_imprimee": "291", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.105", "debut_caractere": 0, "fin_caractere_exclue": 3208, "texte": "THE RUSSIAN BALLET.\nNIJINSKI'S ACKNOWLEDGMENT\nJ. S.\n| ast year, when London went mad over the Russian Ballet, and every\ncritic in London, professional or«otherwise, was losing his head and\nutterly failing to discern what the Russian Ballet was composed\nof, when all these people were writing and speaking of the Russians as\nif they had created a new form of dancing, Mr John Balance pointed out in\nThe Mask, that Miss Isadora Duncan had lent her aid, to its creation.\nWhat Mr Balance wrote, readers of The Mask will remember, but\ncritics seem to be ignorant of the fact; Critics, unfortunately for England,\nseem always ignorant of tacts, and think that every new production in\nart, whether it be an opera, a ballet, a painting or a drama, is the happy\ninspiration of the particular person who at that moment is seen to pro-\nduce It. He always forgets, he never fails to forget, he would die sooiier\nthan not forget, that art is the creation of a very few individuals on\nearth and that all the others are more or less imitators. He fails to note\nthat even certain natiQns are purely imitative and never produce crea-\ntive artists and that there are some few nations that do produce creative\nartists, and he forgets a lot of other things as well. But in this parti-\ncular case, he forgot completely that which was so obvious,.... the debt\nwhich Mr Pokine and Russians owed to Miss Duncan. ■<£>■\nWhen it was pointed out in The Mask fhat she had influenced St\nPetersburg, one or two people exclaimed against this, among others,\nMr George Calderon. He grew very cross with Mr John Balance, and\nlaughed the idea to scorn that Nijinsky, Pavlova and the others had\nlearnt anything from the great American.\nIt is very agreable to us that we are able to publish a signed article\nby Nijinski* the first dancer in Russia, and the head of the Russian\nBailet. This is what he says:....\n44 Isadora Duncan is a great artist. Her influence in modern chore-\n44 graphy has been very important. Before being produced with the\n44 success that one knows, choregraphy was to a certain extent restrained\n44 by an exacting technique. Isadora dared to give liberty to movement,\n41 enlarged the boundaries in which the artist may evolve, and abolished\n44 the frontiers established by custom. She has opened the door of their\n44 cell to the prisoners. Fokine, the great Fokine, has followed in her\n44 footsteps, and attained the summit. Before then, in one word, the\n44 fantasy and temperament of the dancer were limited./' Nijinsky.\n& It is not often that the right thing and we little dreamed\nthat Nijinsky would come forward so soon and speak like a true disciple.\nWould it be too much to ask London to awaken its discernment and\nrouse its perception so that it too shall understand the difference of THIS\nand THAT, and realise that the north is precisely the opposite to the\nsouth, and the right hand different from the left, and sucli-like simple\nthings; for by discernment, instead of a kind of fat contentedness to\nmuddle, the whole nation would regain its youth again. As it is, En-\ngland praises Tom, Dick and Harry and Salvini and praises all alike as\nthough all were of equal value....\n& We ask for better informed critics, &"}]}, {"article_id": "bm-bmtnaau-1913-01-01-c083", "article_bluemountain": "bmtnaau_1913-01_01#c083", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 3, "image_fin": 3, "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=bmtnaau191301-01.2.26", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.3", "debut_caractere": 0, "fin_caractere_exclue": 397, "texte": "T H\nE BLUE BO\nThe Undergraduate Review\n0 K\nNUMBER ONE APPEARED MAY 1912\n& lis contents were as follows. &\nThe Ideas of Mr Gordon Craig C est a Eamour du Vieux\nThe Tavern of Children Monde\nHome Chat: A Play in one Past and Present of Futurism\nAct Henry James\n£> Poems Essays Reviews &\nCONDUCTED BY OXFORD UNDERGRADUATES & PUBLISHED\nEVERY TWO MONTHS AT 6 & 7 CORNMARKET ST, OXFORD\nONE SHILLING NET\n»"}]}, {"article_id": "bm-bmtnaau-1913-01-01-c084", "article_bluemountain": "bmtnaau_1913-01_01#c084", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 3, "image_fin": 3, "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=bmtnaau191301-01.2.27", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.3", "debut_caractere": 399, "fin_caractere_exclue": 691, "texte": "THE POETRY REVIEW\nWill Open on January i, 1913, at\n35 Devonshire St, Theobald's Road\n(5 minutes from the British Mu-\nseum).\nA BOOKSHOP FOR THE\nSALE OF POETRY\nI N 1913 THE POETRY REVIEW &\nwill be considerably enlarged and published quarterly at 2j6 net.\nAnnual subscription 1016 post free. & &"}]}, {"article_id": "bm-bmtnaau-1913-01-01-c085", "article_bluemountain": "bmtnaau_1913-01_01#c085", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau191301-01.2.28", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 282, "texte": "F\nO R U M .\nT\nE\nH\nis printing the most brilliant and\nenduring work of the men\nand women who will\nbe the classics of\nto-morrow.'\nSTORIES : ESSAYS : CRITICISM .• PHILO-\nSOPHY : POLITICS ; POETRY : DRAMA.\nMITCHELL R\n& New York & London ■*>\nThree months trial subscription two shillings"}]}, {"article_id": "bm-bmtnaau-1913-01-01-c086", "article_bluemountain": "bmtnaau_1913-01_01#c086", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 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=bmtnaau191301-01.2.29", "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": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.4", "debut_caractere": 284, "fin_caractere_exclue": 933, "texte": "kJ\nT H E MOSHER BOOKS\n'yHE special literary value of my general Catalogue has given it a unique position\nin the world of book-making for book-lovers.\nFrom year to year these Catalogues have been issued with the view of making\nknown, as no other form of advertising could make known, The Mosher Books and\nwhat they represent in up-to-date bookcraft. All possible value has been put into\nthese books by their publisher; so that to-day they are the only style of genuine\nhand-made paper editions at popular prices in America.\nSent without charge to all who are interested in choice editions at moderate\nprices. j£t jG jG jg?\nTHOMAS 13. MOSHER, , MAINE."}]}, {"article_id": "bm-bmtnaau-1913-01-01-c087", "article_bluemountain": "bmtnaau_1913-01_01#c087", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "287", "page_fin": "287", "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=bmtnaau191301-01.2.30", "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": 101, "page_imprimee": "287", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.101", "debut_caractere": 0, "fin_caractere_exclue": 1423, "texte": "YE OLDE PARIS BOOKE=SHOPPE\nII Rue de Chateaudun, Paris, France.\nI •\nBuys and Sells All Sorts [of French, English,\nSpanish and Italian Books. Also Engravings,\nAncient and Modern.\nCatalogues issued monthly. Correspondance in\nFrench or English invited. Books. sent on Ap-\nproval to any part of the World. Lists of Desi-\nderata receive careful consideration. £? ■£?\nEnglish Translations of French, Latin and Greek Classical Works, such\nas Brantdme : \" Lives of Fair Ladies \", (with coloured illustrations) ; \" One\nHundred Merrie & Delightsome Stories \", translation of \" Ies Cent Nou-\nvelles nouvelles\"; Anatole France : \" Thais (the Repentant Courtlsan of\nAlexandria). \"The Well of Santa Clara \" with 21 Copper Plate Etchings ;\nPierre Louys \"Aphrodite\", illustrated by Ed. Zier; Petronius: \"The\nSatyrlcon\" (translated by Oscar Wilde, with long Preface and many\nNotes;) \"The Golden Ass \"(of Apuleius) fine English version, with Notes\nand copper plate Etchings ; \"Corporal Punishment in France\", historic and\nanecdotic; Aristophanes \"The Eleven Comedies\", literally and fully\nrendered into English for the first time.\nCirculars sent on application, (with stamps to cover postage)\nPlease note we buy French books for cash and\njgr can supply all Parisian publications.\nFine Catalogue of French Books, Contes, Romans, Etudes curieuses\n(free for 20 cs.) & &\nYE OLDE PARIS BOOK E-S ti O P P E\n& 11 Rue de Chateaudun, Paris, France. &"}]}, {"article_id": "bm-bmtnaau-1913-01-01-c088", "article_bluemountain": "bmtnaau_1913-01_01#c088", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "288", "page_fin": "288", "image_debut": 102, "image_fin": 102, "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=bmtnaau191301-01.2.31", "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": 102, "page_imprimee": "288", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.102", "debut_caractere": 0, "fin_caractere_exclue": 1032, "texte": "A\nTHE DRAMA\nQuarterly Review of\nDramatic Literature\nEDITOR : CHARLES HUBBARD SERGEL\nADVISORY AND CONTRIBUTING EDITORS\nBRANDER MATTHEWS\nColumbia University\nTHOMAS H. DICKINSON\nUniversity of Wisconsin\nROBERT HERRICK\nUniversity of Chicago\nGEORGE P. BAKER\nHarvard University\nRICHARD BURTON\nUniversity of Minnesota\nSTARK YOUNG\nUniversity of Texas\nBENEDICT PAPOT\nChautauqua Institution\nTHE DRAMA is alone in its field. It presents a\nplea for the drama as literature. & &\nEach number contains a complete play, carefully\nchosen from ancient and modern classics, and a\n4\nnumber of articles upon the significant features\nof current drama, contributed by prominent\nscholars and critics at home and abroad. To the\nlover and student of dramatic literature THE\nDRAMA renders a unique and indispensible service.\nSubscription in the United States, dollars 3.00\nSubscription from other countries, dollars 3.25\n& A sample copy will be sent on receipt of 75 cents. &\nPublished by\nTHE DRAMATIC PUBLISHING CO.\nt\n& 542 South Dearborn Street, Chicago. & &"}]}, {"article_id": "bm-bmtnaau-1913-01-01-c089", "article_bluemountain": "bmtnaau_1913-01_01#c089", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "289", "page_fin": "289", "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=bmtnaau191301-01.2.32", "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": 103, "page_imprimee": "289", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.103", "debut_caractere": 0, "fin_caractere_exclue": 408, "texte": "LEO S. OLSCHKI.\nu n g' A r n o A c c i a i o 1 i, Florence,\nLarge Stock of Italian Theatrical Books from the XVth Cen-\ntury up to date JZ? JZ? &\nIncunabula, Manuscripts with and without Illuminations.\nOld Bindings, Prints, etc. , & & &\nI\nBooks not in stock sought for and reported free of any charge\nMonthly Lists of latest purchases supplied on Applicatioi\nRichly illustrated Catalogues on special subjects."}]}, {"article_id": "bm-bmtnaau-1913-01-01-c090", "article_bluemountain": "bmtnaau_1913-01_01#c090", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "290", "page_fin": "290", "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=bmtnaau191301-01.2.33", "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": "290", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.104", "debut_caractere": 0, "fin_caractere_exclue": 1068, "texte": "TO BE PUBLISHED SHORTLY\nTOWARDS THE NEW THEATRE.\nBeing 40 Designs For Stage Scenes\nWith Critical Notes By The Inventor.\nSquare Royal 4to, 21 shillings net.\nBy\nEDWARD GORDON CRAIG.\n\"P<> every design the author adds a page of critical notes. The work\narrests attention not only because of the completeness of its author's\nbreak with all the weak theatrical traditions of the artificial ages, but\nbecause the author breaks away from himself, pointing out to us how\nloose is the \" tradition \" which is all too rapidly being formed upon\nhis earliest experiments, and the danger this rapidity is to his school.\n& The book brings together many of his most representative designs\nmade between the years 1901 and 1911 and which were made for Tragedy,\nComedy, Melodrama for Opera and Mimo-drama.\n& The book will be on sale in Florence, and enquiries may be made\nfor it at the office of \" The Mask \", Arena Goldoni. Florence js>\nSend to the Publishers for Prospectus and General Catalogue.\nJ. M. DENT AND SONS. L TD, &\n151, A1 dine House, Bedford Street, Strand, London, England."}]}, {"article_id": "bm-bmtnaau-1913-01-01-c091", "article_bluemountain": "bmtnaau_1913-01_01#c091", "volume": "bmtnaau_1913-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "293", "page_fin": "293", "image_debut": 107, "image_fin": 107, "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=bmtnaau191301-01.2.34", "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": 107, "page_imprimee": "293", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.107", "debut_caractere": 999, "fin_caractere_exclue": 1504, "texte": "THE SOCIETY OF THE THEATRE\nmMlWHIimBM HIH lWil,ilWliWIIIMIiM<i|inn »n» «wt tmmmmmstumnm—mmmmmMmsmmm\nAffiliated to the Gordon Craig School for\nthe Art of the Theatre.\nOBJECT\nTHE PROMOTION OF THE\nART OF THE THEATRE.\nSUBSCRIPTION.\nOrdinary Membership 5S. od per annum.\nAssociate Members ios. 6d ,, ,,\nFellows, L. 10, ios. od life memberspip\nEvery Reader of \" The Mask \" should join the Society.\nWrite for all particulars to The Secretary, Offices of the Society of the Theatre\n•£? 7 John St, Adelphi, London."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.1", "texte": "THE MASK\nA QUARTERLY JOURNAL OF\nTHE ART OF THE THEATRE\nVolume Five. Number Three\nJANUARY\ni 9 i 3\nARENA GOLDONI\nFLORENCE\nITALY\nYEARLY SUBSCRIPTION FIFTEEN SHILLINGS.\nSINGLE COPY PRICE FOUR SHILLINGS NET.\nTRADE AGENTS.\nS /MPK I N, MARSHALL, HAMILTON, KENT & CO. LONDON."}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.2", "texte": "THE MASK. JANUARY 1913.\nrp',e Editor will be glad to consider MSS relative to the Art and History of the\nTheatre, but would point out tnat he can only make use of articles written by\nsuch as have a real knowledge of the subjects treated.\n& AH posiibI-3 care wis! be taken, but ha cannot hold himself responsible for the\naccidental loss of MSS. These must In every case be accompanied by a stamped and\naddressed envelope as otherwise they cannot be returned.\nCommunications should be addressed to the Arena Goldoni. Florence. Italy\n\nLITERARY CONTENTS.\nPRELUDE. JANUARY 1913 J. S ,83.\nTHE SCHOOL FOR THE ART OF THE THEATRE ....... ,94.\nGOOD BOOKS ABOUT THE THEATRE. A. C i99.\nTHE ARCHITECTURE AND COSTUME OF \" THE\nTAMING OF THE SHREW\" & \"THE TEMPEST\" E. W. Godwin, 1875. . 199.\nTHE SACRED DRAMA OF CAMBODIA. . . . Pierre Loti, translated\nby A. K. Cooma-\nraswamy. . . 206.\nTHE PATH OF GORDON CRAIG George Baltruschaitis. 209.\nTHE GORDON CRAIG SCHOOL FOR THE ART OF\nTHE THEATRE. Laurence Binyon. ; 2I7.\nCLUNN LEWIS AND HIS PUPPETS John Bull . . . 221.\nCONVERSATIONS WITH MY REAL FRIENDS, No. 1\nCHAMPFLEURY Craig# . . 22g<\nLIVERPOOL PUPPETRY Ernest Marriott . . 334.\nTHE PRODUCTION OF A PUPPET PLAY. . . M. H. Bulley. . . 237.\nA HISTORY OF PUPPETS, (Continued) . . . \" Yorick\" (P. Ferrigni). 247.\nA STAGE PARADISO OF THE FIFTEENTH CENTURY. Giorgio Vasari. . . 266.\nAir CECIL SHARP AND THE ENGLISH DANCE Edward Edwardovltch 268.\nBOOK REVIEWS. FOREIGN NOTES. EDITORIAL NOTES. . . . 271.\nShort Extracts from the Words and Writings of Goethe, Victor Hugo. 204, 220.\n\nILLUSTRATIONS.\nFROSTISPIECE. BEHIND THE SCENES AT A PUPPET\nPLAY W. Phillips. Face. 193.\nTHREE DIAGRAMS FOR \"TAMINC OF THE SHREW\" E. W. Godwin. „ 20*. 202.\nDIAGRAM FOR CONSTRUCTION OF A PUPPET. J. B. 241.\nDIAGRAM FOR A PUPPET STAGE 1 n\nDIAGRAM FOR SUSPENDING PUPPETS. j. B. 245.\nHEAD AND TALE PIECES AND INI1IAL LETTERS by Gordon Craig, John Bull,\nOliver, and from old English Designs."}, {"page_pdf": 3, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.3", "texte": "T H\nE BLUE BO\nThe Undergraduate Review\n0 K\nNUMBER ONE APPEARED MAY 1912\n& lis contents were as follows. &\nThe Ideas of Mr Gordon Craig C est a Eamour du Vieux\nThe Tavern of Children Monde\nHome Chat: A Play in one Past and Present of Futurism\nAct Henry James\n£> Poems Essays Reviews &\nCONDUCTED BY OXFORD UNDERGRADUATES & PUBLISHED\nEVERY TWO MONTHS AT 6 & 7 CORNMARKET ST, OXFORD\nONE SHILLING NET\n»\n\nTHE POETRY REVIEW\nWill Open on January i, 1913, at\n35 Devonshire St, Theobald's Road\n(5 minutes from the British Mu-\nseum).\nA BOOKSHOP FOR THE\nSALE OF POETRY\nI N 1913 THE POETRY REVIEW &\nwill be considerably enlarged and published quarterly at 2j6 net.\nAnnual subscription 1016 post free. & &"}, {"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.4", "texte": "F\nO R U M .\nT\nE\nH\nis printing the most brilliant and\nenduring work of the men\nand women who will\nbe the classics of\nto-morrow.'\nSTORIES : ESSAYS : CRITICISM .• PHILO-\nSOPHY : POLITICS ; POETRY : DRAMA.\nMITCHELL R\n& New York & London ■*>\nThree months trial subscription two shillings\n\nkJ\nT H E MOSHER BOOKS\n'yHE special literary value of my general Catalogue has given it a unique position\nin the world of book-making for book-lovers.\nFrom year to year these Catalogues have been issued with the view of making\nknown, as no other form of advertising could make known, The Mosher Books and\nwhat they represent in up-to-date bookcraft. All possible value has been put into\nthese books by their publisher; so that to-day they are the only style of genuine\nhand-made paper editions at popular prices in America.\nSent without charge to all who are interested in choice editions at moderate\nprices. j£t jG jG jg?\nTHOMAS 13. MOSHER, , MAINE."}, {"page_pdf": 6, "page_imprimee": "[192]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.6", "texte": "Behind the Scenes at a Liverpool Puppet Play, by W. Phillips, (see page 240."}, {"page_pdf": 7, "page_imprimee": "193", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.7", "texte": "PRELUDE. JANUARY 1913.\nVery much has of late been said and written about the\nSchool for the Art of the Theatre which Mr Gordon Craio-\nhas long declared to be essential for the Regeneration of\nthe Theatre and its Art. In the present number of The\nMask we print two essays upon this subject, one from\nRussia and one from England, and written by Dr George Baltruschaitis\nand Mr Laurence Blnyon. We also reprint the Preface from the Pros=\npectus lately Issued by the School Committee, as giving a clear Idea of\nthe object of the School and the intention of its originator.\nIn connection with this project a Society has been formed which Is\nknown as u The Society of the Theatre\" and which aims at creating a\ndramatic movement which shall at all times appeal to the theatrical\nrather than to the literary aspects of drama, meaning by \"\nthat form of stage reproduction which makes an appeal through the\nsenses to the imagination rather than to the intellect.\nThe Society looks to the idea of Gordon Craig as the inevitable medium\nfor a vital restoration of the theatre.\nIt will do all in its power to promote discussion of that idea with\nthe definite object of giving it practical expression.\nIt recognises the need of and wiil try to establish a School for the\nArt of the Theatre with Gordon Craig as authoritative director. And it\nwill endeavour by means of productions, exhibitions, demonstrations and\nany other methods afterward to be decided upon, to promote the ac=\nceptance of the idea for which it has been brought into being.\n«<£> The \" Society of the Theatre\" has Its offices at 7 John St: Adelphi\nLondon, and further Information can be obtained about both Society"}, {"page_pdf": 8, "page_imprimee": "194", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.8", "texte": "& PRELUDE. JANUARY 1913. jE>\n\nand School by writing to the Secretary at that address.\nEvery reader of 77re Mask should be a member of the Society. J. S.\nTHE SCHOOL FOR THE ART OF THE THEATRE.\nThe object of this scheme, and the invention of its origi-\nnator, Mr. Gordon Craig, can be stated in a sentence....\nit is The Regeneration of the Art of the Theatre. It will\nnot be an institution for 44 teaching \" any art, nor for\nlearning the crafts of acting, of decorating, or of lighting.\nIt will consist simply of a body of earnest and thorough workers who,\ninspired by Mr. Craig, and building with him upon the foundations of\nhis past great work, will strive by means of experiment and research to\nrediscover and recreate those magic and elemental principles of beauty,\nsimplicity, and grace in a department of the art-world, from which at\npresent they are conspicuously absent.\nThe school will aim at doing, and revealing the means of doing, what\nis left undone by the modern Theatre. It will aim at infusing the life\nof Imagination into every Art and Craft connected with the stage, so\nthat fresh vigour will be given, not only to the creative powers of those\nactively connected with the drama, but also to those others, the spec-\ntators, who go to the theatre for refreshment, for artistic enjoyment,\nand for inspiration.\nThe present realism and vulgarity of the theatre, passively endured\nby thousands who do not know that things could be otherwise, may\nperhaps be said to amuse, to distract, or even to excite these thousands;\nbut the fact that it neither charms nor exalts them Is shown convincingly\nenough by the eagerness with which they leave their old theatrical idols\nand flock to such productions as 44 The Miracle, \"44 (Ed 1 pus Rex \" and\n44 Sumurun, \" whenever they have the chance of doing so. And these\nproductions, be it remembered, by no means embody all that Mr. Craig\nhas to reveal and to give ; they are not even his own personal work\nand invention, but merely a faint afterglow of his ideas, only a more or\nless incomplete emulation of his methods, attempted by admirers or imi-\ntators who still compromise, who are still too ready to make concessions\nto bad taste, and who still hesitate to go the whole length of Mr. Craig's"}, {"page_pdf": 9, "page_imprimee": "195", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.9", "texte": "jSf PRELUDE. JANUARY 1913. &\n\nconceptions.\n£? It was with the serious intention of arriving at a complete realization\nof Mr. Craig's reforms that this plan of \" The School for the Art of the\nTheatre \" was arrived at. But to achieve this, experiment is necessary...\nexperiment, the thorough nature of which is impossible in the actual\nconduct of a Theatre and only possible in such a foundation as is now\nproposed. £? &\nCertain picked men will conduct researches Into every aspect of the\nthree elements Sound, Light and Movement of which the Art of\nthe Theatre is composed. They will publicly and privately produce plays,\nand they will constantly be in touch with certain Theatres, which, by\na system of cooperation, will have the benefit of all that is discovered\nand created in the School in return for their support.\n£/ It is hoped that the School, while being a practical and working\nInstitution, will exercise a living influence on the Art of the present,\nand create in course of time a solid basis upon which the workers of\nthe future will be able to build a vital and supreme Art. The whole of\nthe continent is now interested in the work of this Englishman, Gordon\nCraig. Only England is holding back, not because she does not want,\nbut because she does not know. If this School can become a practical\nreality the eyes of all that Europe which is interested in the theatre,\nwill turn with eager expectancy in our direction; and Paris, Berlin,\nMoscow, Florence, Munich, Budapest and the other great cities of the\ncontinent will experience the novelty of deriving their lessons in Art\nfrom an English institution, conducted and inspired by an Englishman,\non whom every one of them is already casting covetous glances, and\nfrom whom some of them have already derived lasting benefits.\nHear what Dr. Alexander Hevesi, Dramaturg=Regisseur of the State\nTheatre, Budapest, has to say about him: \"He (Mr. Craig) has his\nadmirers and followers in our little Hungary, the whole of the new ge-\nneration being under his influence, and without any disparagement to\nthe great merit and good luck of Prof. Reinhardt, we Hungarians, as\nclose neighbours and good observers dare say, that almost all that has\nbeen done in Berlin or Diisseldorf, in Munich or in Mannheim, for the\nlast ten years, is to be called the success of Mr. Craig.\" & £/"}, {"page_pdf": 10, "page_imprimee": "196", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.10", "texte": "(GOOD BOOKS ABOUT THE THEATRE: A\nNote upon the Need for them,\nby A. C.\n'jphe study of the Theatre offers innumerable difficulties to the student.\nMr Huntiy Carter may be truthfully said, judging from his recent\nbook, to have overcome some of these difficulties with considerable\nsuccess,... with sufficient success for praise to be given him. (i)\nThere are a few energetic men Ira England, and very few of them turn\ntheir thoughts in the direction of the stage, and it is highly to Mr Car-\nter's credit that he has turned his energy and thoughts In the direction\nof the young European Theatre which is rebuilding its stage, refashioning\nits methods of stage production and generally making ready for a new\ngeneration,... for the next generation.\n& And because of this I am not going to point out for your edification\nthe holes in the raiment. Mr Carter knows them better than anyone\nelse and will no doubt spend much time in patching and darning.\nThe book would have contained no faults at all had some other Eng-\nlishmen whose names shall not be mentioned here been awake. Mr\nCarter has worked well, but I fear he has had to work too hard,... and\nunaided. That's what you fellows in the Clubs call \" a damned shame.\"\nWell then, iet me make use of the phrase here.\n& 1 once had the pleasure of meeting Mr Carter. We were both playing\ndemons in a kind of pantomime. I remember we threw a paper dart into\nthe air. Carter threw it awfully well, with just the same energy as he\nhas written this book. And we had to dance round a forest of trees and\nblow on huge kind of trumpets. It was a silly play... and we hardly made\nany money. Yet now Mr Carter has written a book on the modern Theatre,\nand I have been so successful that ! am able to spend all my time in\nParis and Peru where I am studying a Drama which... but no one is\ninterested in what I am doing.^\nAnd nobody in England was interested enough to help Mr Carter in\nhis making of this book. Now is their chance. We all want to see a number\nof good books written about the Drama and the Theatres of Italy, Spain,\nRussia, Germany, Hungary and so on. I want to see at least thirty first\nclass books published in the next three years.\n\n(!) See \"Book Reviews\", page 273"}, {"page_pdf": 11, "page_imprimee": "197", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.11", "texte": "GOOD BOOKS ABOUT THE THEATRE &\n\n£? Now who is to pay for these books that we all of us want? What is\nMr Carnegie doing? JZ? £>\n£/ No, but really, quite seriously, I want to know what Andrew Carnegie\nis doing. ! know what I was told he was doing,.... trying to get rid of\nhis fortune. I could help him get rid of a thousand pounds a year, and\nI'm not thinking of myself. JZ? JZ?\n& I am thinking of the History of the Modern Theatre and Mr Carter\nand one or two other writers who could be of service to their country\nif some of that disastrous money could be let loose into their pockets.\nYou see, Andrew Carnegie, you're a man, and you know what a man\ndoes with money when he has a little, a little of it to spare after\nhis lodging and meals are paid for. He spends it on his work. In fact,\nAndrew Carnegie, if you will believe it, he spends it on his work before\npaying for his bed and food. & & &\n1 wonder if you will believe me ? I wish you would.\n£? And instead of remaining mute after 1 have had the impertinence to\naddress you publicly, and because of that, I wish you would just do as\nI suggest. JZ>JZ?JZ?JZ?JZ/J&J&J&\nDon't be frightened because I speak straight. I'm an Englishman, and\nI'm speaking for others and for a great Art which has yet to prove Itself.\nIf one night you saw in the streets the woman of Hood's great poem,\nif you passed her do you think you would recognise her?\nWhere the lamps quiver\nSo far in the river,\nWith many a light\nProm window and casement,\nFrom garret to basement,\nShe stood, with amazement,\nHouseless by night.\nAlas for the rarity\nOf Christian charity\nUnder the sun 1\nOh 1 it was pitiful!\nNear a whole city full,\nHome she had none."}, {"page_pdf": 12, "page_imprimee": "198", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.12", "texte": "GOOD BOOKS ABOUT THE THEATRE &\n\nSisterly, brotherly,\nFatherly, motherly\nFeelings had changed :\nLove, by harsh evidence,\nThrown from its eminence ;\nEven God's providence\nSeeming estranged.\nEre her limbs frigidly\nStiffen too rigidly,\nDecently,... kindly...\nSmooth, and compose them ;\nAnd her eyes, close them,\nStaring so blindly 1\nDreadfully staring\nThro' muddy impurity,\nAs when with the daring\nLast look of despairing\nFix'd on futurity.\nPerishing gloomily,\nSpurr'd by contumely,\nCold inhumanity,\nBurning insanity,\nInto her rest.\nThat's the Theatre,... despised by everyone, used by everyone.\nIt will need a great deal of tenderness to make up for all the past\nbrutality. &"}, {"page_pdf": 13, "page_imprimee": "199", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.13", "texte": "THE ARCHITECTURE AND COSTUME OF\nSHAKESPEARE'S PLAYS,\nby E. W.Godwin 1875.\nTHE TAMING OF THE SHREW.\nA play called the \"Tamynge of a Shrowe \" was entered\nat Stationers' Hall May 2, I594, by one Peter Shorte.\nIn Shakspere we have this piav merely remodelled, the\nmany references to costume, furniture, and other\nsurroundings being identical with the older work,\nexcept that Padua has been substituted for Athens.\nThis first \"■ Taming \"is not unreasonably supposed to have been the\nwork of Robert Greene, who died in 1592. We may therefore safely assume\nthe date of the action to be the same as that of the Merchant of Ve=\nnice...i.e., 1590.\nThe induction introduces us to two Warwickshire scenes\nI. Before an alehouse on a heath ; 2. A bedchamber in a lord's house.\nThe first of these is clearly at Wlncot, and the hostess is evidently\nthe fat alewife who has scored Sly fourteen pence for sheer ale. Wlncot\nor Wilmecot, anciently Wylmyncote, is three miles from Stratford-on-Avon,\na straggling, out-of-the-way sort of place, with poor, half-timbered cot-\ntages, any one of which would serve for the exterior of Marian Hacket's\nhome.\n& The second scene is necessarily sumptuous. A bedchamber in a noble-\nman's country house of the sixteenth century Is no difficult matter to\nfind, Compton Winyates, the Warwickshire seat of the Marquis of Nor-\nthampton, is full of them. Charlecote, Warwick Castle, Haddon Hall, or,\nnearer London, Hatfield or Knowle, may be referred to. The text itself\nsupplies us with a sense of the grandeur of the chamber, its size, and\nits luxuries. We have 44 sweet clothes,\" scented sheets, jewellery, a\ndelicious banquet, by his bedside. Modern pictures of classic myth hang\nupon the walls... Aphrodite (Cytherea) and Adonis, lo and Zeus, Daphne\nand Apollo. Musicians are in attendance. Sweetwood burns on the hearth.\nThere is a silver bason full Of rosewater and bestrewed with flowers, a\nsilver ewer, costly dress, numerous servants, and even a private company\nof players. On the floor would be small carpets or 44 tapets of Spayne\","}, {"page_pdf": 14, "page_imprimee": "200", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.14", "texte": "THE TAMING OF SHREW.\n\nand matting may be stretched beneath them. The furniture would include\ncarved chests, a carved settle, a few chairs with cushions of leather or\ncloth of gold or silk (satin) damask, a couch before the fire (once only\na royal position), a flap*table, some sconces for candles, and towering\nabove all a four-post bedstead blazing with gilded carving, with gold\nembroidery, rich vallances, precious fringes and pictured counterpane.\nWhen we know that the Duke of Exeter's bedstead and appurtenances\ncost 2,800/. (modern value) we can hardly run any danger of excess in\nelaborating this item in the scene.\nThere was no particular costume for the chase in 1590, and the only\nadditions to the ordinary country dress of an Elizabethan lord when\nhunting would be the horn and its belt, with a pouch and dagger. As It\nis winter time throughout the entire action of the induction and the\nplay the page should be dressed in a high gown of cut velvet, open in\nfront, disclosing a kirtle of embroidered silk. A ruff should be worn\nround the neck, a Jewelled chain over his breast, narrow puffings on\nshoulders and lace ruffs on wrists.\nTurning now to the play we find the architectural scenes are laid in\nPadua and in a country house about half-a-day's journey from the town.\nThere are twelve scenes altogether, which may be easily brought into\nthe compass of five. &\n1. A public place. (Act i. Sc. 1 and 2; Act iv. Sc. 2 and 4; Act v. Sc. 1.)\n2. A room in Baptista's house. (Acts ii. and ill.)\n3. A room in Petrucio's country house. (Act iv. Sc. 1 and 3.)\n(4. A country road.) (Act iv. Sc. 5.)\n5. A room In Lucentio's house. (Act v. Sc. 2.)\n1. The public square or open place in the first Act may by a little\nmanagement be made to serve the second scene of Act i., the second and\nfourth of Act iv., and the first of Act. v. The second scene of the third\nAct, which is described as being before Baptista's house, may just as\nwell be in the room as in the street; and 1 can find nothing in the text\nto prevent Lucentio lodging near the residence of Baptista, or to separate\nHortenslo from either. A diagonally-set scene, as suggested in the annexed\ndiagram (No. I.), would give us the open place P; the house of Baptista\nB, with a courtyard; the house of Lucentio, I, with an arcade, A; the"}, {"page_pdf": 15, "page_imprimee": "201", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.15", "texte": "THE TAMING OF THE SHREW. &\n\nhouse of Hortensio, H, with an arcade, A; streets, ss, going in two\ndifferent directions: and the proscenium at MN. There may be more\narcades if the stage is a\nlarge one, for Padua was a\ncity of arcades. The style of\narchitecture may be both\nGothic and Renaissance, much\nthe same as already described\nIn my notes on The Two\nGentlemen of Verona, (i)\nAnd yet we should re-\nmember that, without going\nback to Antenor, a certain\nair of antiquity characterised\nthis \" nursery of arts\" in Shakspere's day even more than now; that\nalthough Palladio and other architects of the Revival pulled down, built\nup, and changed pointed for round, the Renaissance never took hold of\nthe university town with that destructive grasp which it laid on so many\nmediaeval towns of fruitful Lombardy. A plain brick building at I, with\npointed arches to the arcade supporting the front of the house, would\nmark one very prevalent type of Padovian construction. A Romanesque\nbuilding at H of brick, with some later addition (such as a Renaissance\ndoorway of marble), and a half Gothic half Renaissance house at B,\nwould give us that sort of historical\nsequence and aristocratic air suggested,\nnot only by the known history of the\ntown, but by the language of the ope-\nning speech in the play.\n2. The room in Baptista's house,\nforming as it does the scene for the\nwhole of the second, and by the slight\nalteration I propose the whole of the\nthird Acts, should not only be a care-\nfully-constructed scene, but should be built out as much as is possible\n\n(lj Sec \" The Mask Vol: II page 168."}, {"page_pdf": 16, "page_imprimee": "202", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.16", "texte": "THE TAMING OF\n\nwith the time at the disposal of the scene-setters. In figure 11, 1\ngive a diagram, showing an interior arranged (as indicated by Baptista's\nremarks) with an open loggia, I, with doors leading to the offices, &c.,\nand a door to the private apartments, D. E is a fire-place ; G, garden or\ncourt; M, N, the proscenium. Through the open arches the painter\ncould give a view of the marvellous and singularly distinctive church of\nS. Antonio, with its half-dozen domes and minaret-like towers; a picture\nthat would at once, and with very little labour, give local colour to\nthe scene. For it must be acknowledged that, unless strongly-marked\nfeatures like this are seized whenever the opportunity for doing so\noccurs, it would be more than probable that, in those plays where the\nstory and the action are contemporary with the writing, or nearly so,\nthe interior scenes would become monotonous. In the Scene now before\nus I should accept the Renaissance for the style of the architecture,\ndecoration and furniture. And as to the details of these there can be\nno difficulty. We can find them all, and draw them all in one day, at\nSouth Kensington.\n& 3. Petrucio's country house might have been a half-fortified Gothic\nhouse, or even a castle. The scene is the hall, and the text only demands\na large fireplace with andirons and a sufficient number of entrances.\nPetruclo is a Veronese; and in the neighbourhood of Verona, on the\nroad to Padua through Vi-\ncenza, are still to be seen\nmany mediaeval castles of\nmore or less picturesque\noutline, which must have\nbeen used as residences long\nafter the necessity for such\na style of fortification had\npassed away. This scene\nwould perhaps be best ar-\nranged diagonally, as in fig.\nIII., where M N is the proscenium ; F, the fireplace; w. window recess:\nP, passage, with wood posts and brackets supporting gallery over the\npassage; E, entrances and exits. Let the walls and doors be hung with"}, {"page_pdf": 17, "page_imprimee": "203", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.17", "texte": "THE TAMING OF THE SHREW.\n\ntapestry, the mantelpiece made a very important feature and built up\nto the ceiling, and the window carefully arranged, and the effect of such\na scene would be realistic and I think satisfactory. But the furniture, of\ncourse, must be rationally placed and the acting natural. & &\n4. The country road I leave and pass on to Padua. £? £?\n5. The hall or dining room of Lucentio's house should constructively\nharmonise with the exterior shown in fig. I.; that is to say. a Gothic brick\nbuilding would not shelter a Renaissance interior, except so far as such\nfittings as fireplaces contribute to the character of the rooms. &\n& And now if we turn to the text we shall find the style and character\nof much of the fittings and furnishing of the scenes indicated by the\npoet himself, in Gremio's city house there is wealth of plate and gold,\nbasins and ewers, hangings of Tyrian tapestry, ivory coffers where the\nmoney is stored, cypress chests containing his arras, bedding, patchwork\nquilts or counterpanes, costly apparel, tents, and canopies; there too is\nplenty of fine linen; he has Turkey cushions bossed with pearl, valances\nembroidered with Venice gold, and indeed all things that belong to house\nor housekeeping. Of a surety Baptista Mlnola would have no less.\nThe Costumes of the towns of Padua, Verona, Florence, Pisa and\nMantua, at the date of the action (1590), can be learnt in picture galieries\nand in the pages of Cesare Veceliio. (i) Minola's daughters would be dressed\nin high'bodied gowns, ruffs round neck and wrists and generally like\nthat I have described in my last article for the lady of Belmont, (2) the\ndifference here being not one of shape but one of costliness of material.\nOf this however we may be quite sure, that the low square cut dress, so\nmuch a favourite with the Venetians, was quite a rarity on the mainland.\nThe University dresses of the doctors and the scholars or students were\nthe same as those of Venice. And the old gentlemen would wear long\ngowns as in Venice. But the text is so full of references to costume, and\nour libraries, museums, and galleries contain so many illustrations, that\nit is unnecessary for me to dwell longer on the subject. I may however\nadd that the play makes mention of painting the face, of a coloured\nhat and cloak, as the dress of the student Lucentio, as distinguished from\n\n(1) See \" The Mask Vols; I, II, IV.\n(2) See \" The Mask Vol; I poges 75 and 91."}, {"page_pdf": 18, "page_imprimee": "204", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.18", "texte": "& THE TAMING OF THE SHREW.\n\nthe sober or black dress of his servant, and reference is made to scarlet\ncloaks, copatain hats, jerkins, breeches, boots buckled and laced, linen\nstocks or stockings, kersey boot hose, velvet hose, hat=feathers, blue\ncoats, pumps and fustian for servants; carpets, leathern jacks, slippers,\nsilken doublets and coats, caps, cuffs, farthingales, scarfs, fans, amber\nbracelets, beads, a very small velvet cap for ladies, and last of all, poor\nKate Minola's gown made loose bodied, with a small compassed cape and\ntrunk sleeves, curiously cut and snipped all over like to a censer in a\nbarber's shop.\nTHE TEMPEST.\nus with no architectural scenery of any kind. 1 take the period\nof the action to be of the time of Shakspere, but if the introduc-\ntion of the Duke of Milan makes the historical student uneasy, then there\nIs no reason why the costume should not be put back seventy years or\nso. In the latter case we should have dresses similar to those described\nin my notice of The Two Gentlemen of Verona: if we accept the later\ndate, the costume, as described in my notices of The Taming\nof the Shrew and The Merchant of Venice will suffice. One thing is\nespecially worth noting that the shipwrecked princes and nobles have\ntheir doublets and garments as fresh when they put them on first in\nAfrica at the marriage of the King of Naples' daughter Claribel to the\nKing of Tunis.\n\nA WORD ON THEATRE , Goethe.\nsaid 1, *'cannot sufficiently extol the excellencies of\nthe theatre of Weimar at that time.\"\n& \" I cannot deny it, It certainly possessed merit. The principal cause of\nthis success was the absolute liberty left to me by the Grand Duke; I\ncould cut and prune as I wished. I did not seek to have splendid scenery\nand a magnificent wardrobe; no, I only sought to have good plays. From\ntragedy to farce, every kind was good to me; but to find favour a play\nhad to have some worth."}, {"page_pdf": 19, "page_imprimee": "205", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.19", "texte": "jz? A WORD ON THEATRE MANAGEMENT.\n\nThat it had grandeur and strength, or grace and gaiety was not\nenough ; it was necessary that it should be a consistent work, a healthy\nwork; tearful sentimentalities, sickly weaknesses were excluded once\nfor all as well as repulsive horrors and all which is opposed to purity of\nmanners ; by all those performances I should have lost actors and public.\nOn the contrary, the good plays elevated the actors. For the study\nand continual practice of perfection must necessarily make something\nof the being whom nature has not wholly deserted. &\n1 also kept myself In perpetual contact with the actors, I directed the\nfirst rehearsals and I explained to each his role as he read it; I was\npresent at the principal rehearsals and sought with them the means of\ndoing better ; I did not miss the performances, and the following day I\nmade my observations upon what had seemed to me to be not good on\nthe previous day. I thus caused them to make progress in their art.\njgr I sought at the same time to raise the actor class in genera! esteem ;\nI received at my own house the best of them and those who gave the\ngreatest promise, and I thus showed to the world that 1 judged them\nworthy of entering with me into full social relations.\nThe rest of the good society of Weimar did not fag.behind me in this\nand actors and actresses soon obtained an honourable entry Into the best\ncircles. All this served to assist in their interior and external develops\nment. My pupil Wolf at Berlin, and our Durand are persons of the most\nexquisite social tact. Madame Oels and Madame Graff are sufficiently\ncultivated to honour the best society.\n*£? Schiller acted like myself. He had many intimacies among the actors\nand actresses. He was present, like myself, at all the rehearsals, and\nafter each successful performance of one of his plays he was in the- habit\nof inviting the actors to spend a day with him in pleasure. They mutually\ncongratulated each other on what had been successful and discussed the\nImprovements to bring to the next performance.\nBut when Schiller arrived he already found actors and public far\nadvanced, and that, it must be said, contributed to the rapid success of\nhis plays.\nFrom the \" Conversations\nwith Eckermann 1822=1832."}, {"page_pdf": 20, "page_imprimee": "206", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.20", "texte": "THE SACRED DRAMA OF CAMBODIA,\nTranslated from the French of Pierre Loti\nby\nAnanda K. Coomaraswamy.\nuddenly the music grows more still and more\nmysterious, as if to announce some supernatural\nappearance. One of the lower doors opens, and\nan adorable fairy-like creature springs into the\nmidst of the hall: an Apsara from the temple of\nAngkor. Impossible to create a more perfect\nillusion ; she has the same features because she\nhas the same pure blood, the same enigmatic\nsmile, the lowered and almost closed eyelids, the same bosom of a quite\nyoung girl, scarcely veiled by a thin silken net. uz?\nHer dress, too, is scrupulously copied from the old bas-reliefs, but\ncopied in real Jewels and splendid stuffs; sheaths of cloth of gold enfold\nher legs and thighs.\n& Her face is whitened with powder, her eyes are artificially lengthened\nand she wears a very high gold crown, set with rubies, its point tapering\nlike a pagoda, and on her shoulders a sort of fins or wings, in gold and\ngems. Of gold and gems, too, are her great belt, and her anklets, and\nthe arm-rings that grace her bare arms, of the colour of amber touched\nwith rose. JZ? js- JS? ss?\nAlone on the stage, at first, this little Apsara of two ages, an ema-\nnation of a sacred bas-relief, makes signs towards the same door... which\nbecomes for us a gateway of fairy visions.... and two of her sisters run\nup to rejoin her, two new Apsaras, equally brilliant, their hips covered\nwith the spine stiff sheaths, wearing the same golden crowns and wings.\nThey hold each others' hands, all three. They are Apsara queens, no\ndoubt, for a throne has been prepared for them to sit upon. But signs\nof dissatisfaction are exchanged between them, and they make again the\nsame gestures of summons, towards the same door. It was already mar-\nvellous to behold three. Can it be that more are coming ? They come In\ngroups, ten, twenty, thirty, dressed as goddesses like the first, with all\nthe treasure of Cambodia on their heads and their beautiful shoulders.\nThey stand before the three queens and perform their ritual dances"}, {"page_pdf": 21, "page_imprimee": "207", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.21", "texte": "THE SACRED DRAMA OF CAMBODIA &\n\n...dances in which they hardly move from one place and that are, more\ntruly, rhythmic tremors of their whole being. They twist like snakes,\nthese little slender beings, who are so supple and seem to have no bones.\nSometimes they stretch their arms like a cross, and then the serpentine\nripple begins in the fingers of the right hand, ascends successively by\nthe wrist, the forearm, upper arm and shoulder, passes across the throat,\ncontinues,on the other side, follows the other arm and dies away in the\nfinger-tips of the left hand, covered with rings. &\nIn real life, these exquisite little ballet-dancers are carefully guarded\nchildren, often even princesses of the royal blood, whom none may ap-\nproach or behold. From the beginning of their life they are trained in these\nsupple movements which appear so impossible for human limbs these\nposes so unnatural, and yet in this country immemorially traditional, as\nwitness the stone people of the ruins.\n£7 They have come now to act some scenes from the Ram ay am, just as\nthey were carved on the hard sandstone, the bas=rellefs of the ancestral\ntemple. £/ £7 jS? £? £7\n£7 And here are their beautiful chariots of war brought in, miniature\ncopies of those of Angkor=Vat. But by a na'ive convention, the elephants\nthat should draw them are replaced by men, walking on all fours, naked\nand yellow, wearing great cardboard heads with trunks and moveable\nears. Then we are shown gracious and tragic scenes, fights with monsters,\nand especially victorious processions. £7 £7 £7 £7 £7\n£7 We see a little queen of fourteen or fifteen, perfect In her chariot of\nwar, pursued by the avowals of love of a young soldier, rejecting them\nwith infinite virgin grace ; we see a thousand delicate and charming\nthings, that witness to a most refined art. Whenever a group of Apsaras\nwithdraws by one of the doors, behind, another appears at the other\ndoor, and comes in slowly to fill the hall. There are some of these little\nfairies all in gold, who may be seven or eight, who are painted like idols\nwearing especially high crowns, with jewelled wings on their shoulders,\nwho march past, dignified and grave in hieratic poses.... £7\n£7 Here is the King of Monkeys, with his golden grinning mask... such a\none, of course, as I saw carved on the walls of the old temples. He too\ntakes unnatural, Impossible poses (always those of the bas-reliefs); his"}, {"page_pdf": 22, "page_imprimee": "208", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.22", "texte": "THE SACRED DRAMA OF CAMBODIA\n\nyoung limbs were very early adapted to these traditional demands. Next\na whole army of monkeys invades the scene: still little girls, little prin-\ncesses, masked like scarecrows, though tiieir young breasts are outlined\nunder light and precious silks. & & &\nAnd this wonderful but not verj' formidable host are going to set free\nthe lovely Sita, held captive by demons in a far away island.... We are\nIn the midst of the Ramayana, and the very same spectacles must have\nbeen presented at Angkor-Thorn, they must have worn the same costume\nthen ; this evening has revealed to us the splendours of that legendary\ncity. Ages that seemed to us for ever past have come to life before our\neyes; but it is no conscious reconstruction that has brought them to\nlife ; no, it is only that nothing has changed there, in the depth of the\nsoul or of the palace, since the heroic ages. Despite its so reduced power\nthis fallen Cambodian people remains the Khmer race that once was the\nwonder of Asia, in its mysticism and its pomp; we know too that it\nhas never lost the hope of recovering its old capital, buried for ages in\nthe forests cf Slam,.... and It is aiways the Ramayana, that old and\nindefinite epic that continues to arouse its imagination and to guide its\nMay France, protectress of this land, understand that the ballet of\nthe kings of Pnom-Penh is a sacred legacy, an ancient marvel that must\nnot be destroyed. & & & & & ."}, {"page_pdf": 23, "page_imprimee": "209", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.23", "texte": "THE PATH OF GORDON CRAIG,\nby George\nBaltruschaitis.\n(0\n& \" Epur si mu o e.\" Galileo.\n(2)\nhe most unjust burden which can be inflicted by\nDestiny upon the soul of an Artist Is that of finding\nhimself constrained, instead of creating and crea-\nting, to demonstrate to men the vitality of his\ncreative work, to persuade people of the truth of his\nprophetic vision.\nBecause successfully to demonstrate, especially in\nmatters of art, it is too often necessary to make the blind to see, while\nto persuade it Is almost always necessary to make the deaf to hear.\n£/ But such a burden becomes supremely unjust if the artist, instead of\ncreating and only creating, is compelled to seek among men the instru-\nment and all the material of his &\nThis is the case with Gordon Craig. And until such time as his dream\nshall be realised he can find some consolation in the fact that very many\namong the great have travelled this same way. The door of humanity is\nclosely barred even though there should knock upon it the very hand\nwhich carries truth and life. But in the Eternal Book it is written,\n\" knock and it shall be opened \".\nWhen Craig began his great campaign of reform the very life of the\nEuropean theatre was in extreme confusion, and, as an art, it had lost\nall sense of direction and all intrinsic value. While Poetry, Painting,\nSculpture, and even the most permanent among the arts, Architecture,\nhave now long since discovered the oniy way for their true development,\nand while in them youth, and the enormous power of the new elements\nand the new forms, of the new purposes and the new means, have re*\nblossomed to the full, the theatre has continued in its glorious way to\nbe ever the last, a safe refuge for the senseless, as aesthetic system ;\nfor the false and dead realism. & &\nSuch fidelity on the part of the theatre to the \" good old days \",\nsuch blind persistence in its error and decrepitude seems the more\n\n(1) English translation by D. Nevile Lees.\n(2) 44 All the same it moves. \""}, {"page_pdf": 24, "page_imprimee": "210", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.24", "texte": "THE PATH OF GORDON CRAIG. jb\n\nstrange and ridiculous in that the general Renaissance through the spirit\nof the new life was no haphazard thing, was not based upon the will or\ncaprice of individuals, but resulted as the direct consequence from the\nother, more profound and more mysterious, transfiguration in the human\nsoul. &\n\\\nAll the manifold activity and the age-long development of the forces\nof culture and all the subjective experience of men have contributed to\nthis end;.... that our mind has its character, and our senses\nhave become more acute, more subtle and complex, and our very soul is\nchanged past recognition. &\nAnd today we ail, even the most careless, see things differently: our\nthoughts are of other things; our way of life is changed. Nay, more, all\nthe secret activities of our human will have entered into a new and\nmore fruitful relationship with the Universe, and our faith, our prayer,\nour conception of God are no longer those of heretofore. & &\nThis, and this only, has produced all the changes in the mind of man\nand in his Art, and from this wave in the universal awakening and the\nuniversal revolt of the spirit has come forth Gordon Craig. & &\n& His uncompromising attitude is immoveable because the reformer In\nhim takes Its stand upon the facts of life Itself as executor of its irre-\nsistable will, as creative instrument of its eternal movement. And the\nenemies of Craig should bear in mind that It is not he, Gordon Craig,\nbut Nature itself, the liberated soul, that Is in conflict with them.\nHe alone has first, and more clearly than any other, heard the im-\nperious voice of life: he alone, first, and more solemnly and courageously\nthan any other, has proclaimed the divine message of Beauty and of the\nnew aesthetic truth in the Theatre, indicating at the same time the\nprecise and practical way in which to give it form. The sure triumph\nof his idea! can, naturally, be retarded by opposition ; the precision of\nhis ideas can be obscured by sophistries; but life is life, and those things\ndestined to die.... will die.\n& By this time the very patrons and defenders of the existing Theatre\nhave evidently themselves some sense of its decrepitude and its imminent\ndeath. Indeed, only the fear of death can explain all the efforts to return\nto the conditions of the ancient stage, to the Greek tragedy, to the my-"}, {"page_pdf": 25, "page_imprimee": "211", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.25", "texte": "THE PATH OF GORDON CRAIG. .\n\nstories of the Middle Ages and so on, and only as fumblings towards a\ndoor which shall lead to life can one explain the recourse to the ma-\nrionette theatre, to the open air theatre, and so on. £? & &\nBut neither the string of the marionette virtuoso nor yet the real\nrustling of the woods can restore the old invalid, just as its days have\n%\nnot been much prolonged by those well-known theatres of Stanislawsky\nat Moscow, of George Fuchs at Munich and by all the activity of Pro-\nfessor Max Reinhardt, who has annexed some of Gordon Craig's ideas,\nonly externally and one-sidedly understood them, and, with great fame\nand profit to himself has carried them almost all over Europe.\nAll these things are but the twigs upon the ancient trunk, the flowers\nupon the old soil. Each improvement and renewal, where it has really\nbeen effected, remaining within the false circle of the past, has touched\nbut the exterior part of the theatre while the essence has always remained\nthe same.\n& Not being a true and independent art and not exerting any power or\nany talent towards becoming a fine art, the present theatre continues to\nusurp the place of the true theatre, and retards its renaissance. And\nmore than that; debasing the drama and following the caprices of the\nPlaywright whom it has itself corrupted, it bars the way to the true\ndramatic poet. And yet more that that; it depraves the taste of the\nspectators, weakens the value of the theatre as an instrument of culture,\nand stifles in the public the true conception of the theatre as an art. In\nfact, were spiritual values as severely scrutinized by men as are moral\nand material values, the modern theatre would have been long since\nproclaimed a great public calamity.\nII.\nhe construction of his idea! theatre Gordon Craig has commenced\nby experiments upon the problem of space in the theatre, by\nmeans of which he has arrived at the admirable Invention of\nthe new Scene in screens, which has been exhibited in London and\napplied < with great success last year (i) in W. B. Yeats's theatre in\nDublin, and with yet greater results this year in Moscow. & &\n& Whoever has seen the etchings and scenic designs of Craig cannot\n(I) This was written in January 1912."}, {"page_pdf": 26, "page_imprimee": "212", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.26", "texte": "& THE PATH OF GORDON CRAIG. &\n\nbut marvel at the vast expression and the amazing effects which he\nknows how to create by his original and wholly characteristic treatment\nof line. Now treating of any random subject, now seeking to express a\nmental state through the human figure, Gordon Craig's line finds an\nideal curve, a contour of extraordinary aesthetic value.\nThe happy and most rare combination in him of a fine pictorial artist\nand a great psychologist... and Craig is indeed a psychologist in the most\nsubtle sense of the word... has converted geometry in his hands into a\npowerful means for the expression of life; an expression always and equally\nprecise in both its beauty and its inward truth.\n£? In the scenes of Craig the line becomes a kind of living emblem of a\nmotion of the human souf. It is to him what sound is to a Composer.\n£/ Craig seems to know an ideal line for joy, a line of anguish, of\nstrength, of hope, of despair, and so on. AH those flights of steps of\nCraig's, those square blocks, th'e folds, the bands of light and shade, are\nas living beings assailed by the silence of their tragic life. <£?\nContemplating the lines of Craig is like hearing a Mass by Palestrina,\nand ever within them there is something musical, a cadence, a rhythm.\nThe least angle in these contours is a movement, a gesture, and each\ngesture is always in itself Beauty, always a noble attitude in its supreme\nprecision, and one always feels that, before combining and expressing\nanything, be it what it may, Gordon Craig seeks, by an infallible method,\nalways successfully to determine to what measure of expressive material\nhe must limit himself on behalf of the most ideal visual perception.\nAnd this problem is so importnnt, so fundamental that, in solving it, he\n«(K\nachieves one of the supreme miracles in the 'creation of the ideal theatre\nand in the liberation of the theatre as art.\nFor the supreme weakness and the supreme error of the stage before\nCraig's time, ...especially of the so-called \" realistic stage \"... lay in the\nvery fact that it was over-charged with spectacular material, with the\nmassiveness of properties, with the carnevalesque confusion and riot of\ncolours, thus becoming a chaos, which abolished all the laws of theatrical\noptics, the most elemental rules of &\nThe inner consciousness of the spectator was compelled to make for\nitself some deduction from this chaos, to carry out individually that"}, {"page_pdf": 27, "page_imprimee": "213", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.27", "texte": "US? THE PATH OF GORDON CRAIG. £>\n\ncreative work which is a fundamental duty of every true art. The imagi-\nnative faculty of the spectators, that inner freedom which can never be\nabolished, was too much oppressed and bound down; attention always\nwandered, always fixed itself on useless things; and, since that which\nwe see with our eyes in the theatre constitutes the greater part of the\ntheatre, all that useless effort wellnigh exhausted the sensitive faculty\nof the soul to the detriment of the emotions which come through the\nenjoyment of art although these latter are the things which, like the\nmiracle of internal light and freedom, we seek in the theatre.\nGordon Craig, on the contrary, by his treatment of scenes, at last,...\nand for the first time In the history of the theatre... sets the stage free,\nand lifts every weight and chain from the spectator, opening the spirit\nwide to the miraculous communion with art and to its divine joy.\nWhen Craig applied his new and entirely right ideas to the treatment\nof space in the theatre and when he invented his screens, the Stage\nreceived its definite form, which derives from its very essence, just as\nthe severe and particular form of every crystal is derived from its\nown nature. He has set free all the potentiality of space as a creative\nelement, all its plasticity, all its infinite mobility. In Craig's hands,\nSpace, ceasing to be a dead thing, has become expressive as a living human\nface, perhaps even more expressive than the human face. And more than\nthat, it has become a true and lnportant dramatis persona, revealing to\nthe theatre and to the dramatic poet unexpected and inexhaustible vistas\nand possibilities.\n& This conquest, which, like everything which Gordon Craig creates, is\nthe outcome of experiments and proved by being put into practise, is so\n9\nfertile in its consequences and so wonderful and important, that of Itself\nalone it suffices to give us full confidence in him both as true reformer\nand as the only supreme judge of our day in the realm of Theatrical Art.\n£/ Yet even this is not all. £? J&\n& According to Craig's plan it is necessary, for the rendering possible\nof a true theatre as Art, that the problems of light, of movement and\nvoice should also be solved in the same radical manner. £>\nHere also, as In the old scenery, all is chance: very often clumsy,\nalmost always void of sense and of any inward value. 42"}, {"page_pdf": 28, "page_imprimee": "214", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.28", "texte": "> THE PATH OF GORDON CRAIG. <e>\n\nStrange though it may be, the movements of the human face and\nbody, its mimicry, express so little and so badly the infinite variety of\nthe movements and states of our soul that our face can be compared,\nwithout much exaggeration, to the glove, which hides all the most deli-\ncate and most expressive lines and curves of the hand. And between\nthe human face as it can be and certainly one day will be the difference\nis as profound as is profound the difference between the face of a black\nsavage and the face of Dante, of Shelley or of Carlyle.\n& And our voice too, in spite of all the art of theatrical declamation, is\nperhaps even less flexible, lacking in all expression. In the human voice\nwe distinguish by now the note of determination and of hesitation, that\nof caress, of love, of strength, of consternation and so on. But continually\nin our own life there are moments no less important, things no less\nsubtle before which we are almost mute. And the simple flute of a shep->\nherd, or the dead string beneath the bow of Paganini perhaps possesses\nthe gift of human speech in a greater degree than the majority of Eu-\nropean actors.\n& The movements of the face, of the body, our gestures, our voice, are\nthe only means by which we can express ourselves, our will, our soul.\nAnd we have no others, and what we have is but too imperfect. And\nonly when those means and methods of expression shall be developed....\n*\nand Gordon Craig knows how this may be attained... and only when all\nthe faculties and forces latent in them shall be revealed, will the theatre\nbecome a perfect art in all its visible Beauty and in all its internal unity.\nIII.\nII that Gordon Craig has achieved, all that he has proclaimed\nand never wearies of proclaiming, has long since won for him\nmany friends and supporters, and even imitators such as\nProfessor Max Reinhardt. Both upon the Continent and in\nEngland his works have been supremely valued by the leading men in\nthe realm, of Art and of Thought. And it seems in truth a strange and\nmost unjust thing that his ideal theatre has not yet become an establi-\nshed fact, but still encounters many enemies and much indifference.\nThe enemies of Craig are undoubtedly ,either persons who are not\nwell acquainted with his ideas and aims and thus do not succeed in well"}, {"page_pdf": 29, "page_imprimee": "215", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.29", "texte": "& THE PATH OF GORDON CRAIG.\n\nunderstanding them, or they are people who are afraid. Certain writers\nand actors fear that Craig's work may ruin their art. But the art of a\ntrue poet as that of a true actor cannot, in Craig's theatre, but become\nmore beautiful, more profound and more active. It Is dangerous only to\nfalse art and to all that is neither a creative gift nor poetry. And Craig's\nenemies are therefore themselves the best judges as to how far their\nfear is just. & &\nAs for the indifference, It is an indifference, not to the work of Craig\nbut rather to the theatre in general,... that sad human indifference to\nevery .kind ef art. And it must be explained as a general negligence\nregarding the theatre as instrument of culture and a false understanding\nof its true essence.\n& For what, after all, is the Theatre ?\n£* 44 You devote your service to the most useless thing in the world \"\nsaid the wife of a great artist to her husband.^\nAn -enormous majority of the men of today argue like that poor\nwoman. Some look upon the theatre as a fine kind of place to amuse\noneself; others hold the theatre as one of the many heirlooms of Greek\nculture and thus no essential item in the round of our ordinary daily life.\nBut the theatre is not merely a house in which to digest sumptuous\ndinners and to have a good laugh, just as the art of the dramatic poet\nand of the actor did not spring up for the first time in Greece. For the\nart of the playwright and the art of stage delivery are, in the same or-\nganic way, profoundly inherent in the nature of Man, just as are the\nfaculty of speech, the divine gift of thought, of memory and of imagi-\nnation ; just as is all that Nature has bestowed on men for communion\none with another. The theatre is useful or useless to man in the same\ndegree as is useful or useless to us the whole miracle of our art, the\nwhole creative activity of man. And a time will come when the theatre\nwill have the same lofty and noble rank in life as by the\nChurch, the School, and so on.' JS?\nGordon Craig seeks to hasten the coming of such a time. But we must\nall bear well in mind that the foundation of the true theatre does not\nrest with and is not the mission of Craig, alone. The construction of the\ntrue theatre is the duty of all men as it is a duty of all to cooperate in"}, {"page_pdf": 30, "page_imprimee": "216", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.30", "texte": "THE PA TH OF GORDON CRAIG.\n\nthe bettering and development of all life, and as we are all In equal\ndegree responsible for the greatness, the beauty and the perfection of\nMan in ourselves. 0000\n0 Even though men will not lend their aid Gordon Craig will find in\nhimself the strength and means to carry out his work alone. Of this we\nare convinced by the long years which he has passed in [solitary work,\nalmost in exile (and exile is never voluntary); in this we are compelled\nto believe by the force of his will which may be described as truly\nBritish. 0 0 0 0 0\n0 But there is a good omen. The Swedish Academy of Science not long\nsince awarded to the Belgian poet Maurice Maeterlinck the Nobel prize.\nMaeterlinck has somewhat widened the limits of dramatic poetry and\ndivined for himself a new path, while Gordon Craig has erected the\nwhole idea of the theatre as a true art [and has opened alike to the\ntheatre and to the dramatic poet the most fertile promise. 0\n0 Perhaps England also, the Fatherland of progress, will give to its\ngreat Son, not a prize, perhaps, but simply the possibility of working\nand attaining his Ideal ...that experimental School of the Art of the\nTheatre, without which he cannot, to the full degree, fulfil the com-\nmandment of God to man and the supremely sacred duty of the Artist\n\\\ntowards LIFE. 0 0 0 0 0 0 0"}, {"page_pdf": 31, "page_imprimee": "217", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.31", "texte": "THE GORDON CRAIG SCHOOL FOR THE\nART OF THE THEATREA Recognition of\nthe Need for it,\nby Laurence Binyon.\nife, however much we overlay and protect it with refined so-\nlicitudes, remains primitive at the core. We may subtilize our\nemotions and enlarge the sphere of them, but the causes of\nthose emotions which shake us and stir us to the depths,\nwhich make us realize what we are and what life means to us,... these\nremain the same. &\nSo it Is with the Theatre. Developing now on this side, now on that,\npassing through countless phases, It never wholly loses, so long as it is\na living thing, its primitive character of a festival religious in Its origin\nand essence. Yes, religious: for in the theatre men and women gather\ntogether to see, what ? Life itself; Life, not as fact, but as idea; life in\nits wonders, Its pregnancy of meaning, its immense horizons. &\nAnd not only to see, but ideally to participate in it: to feel, think,\nact, suffer, laugh, rage, rejoice beyond the capacities of our own work-a-\nday, habit-bounded selves, and so to participate, be it never in so small\nand obscure a measure, in the divine energy streaming thorough the\nworld of things it has created. Art is here no choice affair for the con-\nnoisseur, a secret from the crowd ; it is like religion, for the ignorant\nand the common no less than for the intellectual and the chosen, it\nmust make Its highest thought felt, it must strike to the primitive\nheart; it is universal or nothing; it unites, not divides.\nI feel, 1 confess, something of this undercurrent of religion (in its\nfestal aspect) whenever I go to a theatre, however mundane,.... at least\ntill the curtain goes up. Let the curtain go up on an empty stage, and\nhow swiftly should we all, we who are gathered together in concentrated\nexpectancy, people it with our imaginations. No drama that we have\nseen quite fulfils all the wonder that we feel might be done upon that\nempty space which invites and invokes with its mere height and depth\nand breadth, its light and its darkness.\n& The Ideal Theatre would focus all the arts in a magnificent, over-\npowering unity of impression. Unity, that is what our actual theatre\nlacks, that is what Mr Gordon Craig is striving to recover. The theatre"}, {"page_pdf": 32, "page_imprimee": "218", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.32", "texte": "THE GORDON CRAIG SCHOOL &\n\nof today is split up into departments; it has imprisoned all the arts each\nin its own cell. The lighting Is one business, the scenery another, the\ndresses another, the stage-management another: and how often the nott\npossumus of the man of specialized experience, and no Ideas but what\nhe has learnt from others, blocks the way to bold experiment! To vital-\nize the Art of the Theatre we need to realize the proud, sufficient sen-\ntence of Alfred Stevens, \" I know of but one art\nBut when we have unified the production of a piece in the control\nof a single artist, there still remain the actors and the playwright.\nThose who have read Mr Craig's book know that he has not only the\nfertilizing ideas and gifts of design but the manifold experience requisite\nfor this unifying task: perhaps no one living combines the necessary\nqualifications as he does. How does he deal with the actor and the\nplaywright ? &\n&Mr Craig is embarassed by this intractable human material; it is not\nductile enough, it is too self-assertive. With admirable daring he pursues\nhis ideal to its logical end and effaces.... in his dream of the future....\nboth the actor and the writer of plays. I can imagine wonder and beauty\nin this theatre of Mr Craig's ideal; I hope I may live to see it. And\nthough in this matter I do not agree with Mr Craig, still his criticism\nof the dramatic poet.... I use the term In its large and liberal sense,....\nis in the main a true one. £?\nThe drama is too much a written thing. Certainly our poets who have\nattempted drama since Elizabethan times have been far too much writers\nand far too little makers of plays. They have built in the air conceiving\ntheir work as little more than a succession of speeches and even the\nspeeches have too much the character of writing, too little that of speech.\nI am far from thinking with Mr Craig that Shakespeare's tragedies\ndo not gain on the stage, much as they may also lose. But probably in\nall plays there is a tendency to rely too much on the word. A dramatist's\nmaterial is not only language; it is even more the action, gesture, movement\nwhich the stage alone gives him; not to speak of the emotional equiva-\nlents of light and darkness, of large spaces and of dominant colours.\nAll these are his to work with and to fuse in the unity of his art.\nTo my daughter, aged seven, bent on seeing a certain play of Shakes-"}, {"page_pdf": 33, "page_imprimee": "219", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.33", "texte": "THE GORDON CRAIG SCHOOL\n\npeare's, it was hinted that she might be bored by not understanding so\nmuch of the language. She replied with conviction, \" Oh, what they\nIs mostly nonsense, it Is what they do that is so interesting\". Mr Craig\nwould approve so sound an instinct. He insists that the child's view is\nthe right view. And indeed I fancy that it might be a good end for a\ndramatist to set before him that his play should be in its essentials\nunderstandable In dumb-show from the movements of the characters. To\nthink in terms of action and movement, as a poet thinks in images ;\nthat is the healthy condition.\n& But how is the dramatic poet to learn his business in these days,\nwhen the opportunities of experiment are so circumscribed as scarcely\nto exist? To write play after unproduced play is much like painting\nin the dark. Well, here is Mr Craig come to our help with his idea of a\nSchool, a School devoted to the whole art of the theatre. Admirable\nIdea! and most admirable in this, that the school is one where no fixed\nroutine or rigid pattern are to be taught, but all are to learn and coope-\nrate in learning.\n& Had William Morris undertaken the drama as he undertook so many\narts and crafts, this would have been his way. How splendid for the dra-\nmatic poet to learn his art not from abstract principles or from reading\nplays in the study, but by handling the actual material of it, by becoming\nmaster of all the subsidiary crafts of the theatre himself!\n£f\\xi such a school theory would be put to the test. We may not all of\nus be with Mr Craig in his desire some day to attenuate the written\nplay and to substitute for the actor the ueber-marionette. But we should\nall, 1 think, like to see experiments in this direction made.\n& Meanwhile experiment would go on with the old material; endlessly\nfruitful experiment; who can doubt it ? & j&\nTo one approaching the problems of the art of the theatre in such a\nschool, the accepted methods of today, whereby separate energies produce\nby conscientious labour results as absurdly Incongruous as figures by\nMichelangelo set in landscapes by Leader, would be smply unthinkable.\nNone of us, 1 suppose, will ever see his own Ideal Theatre absolutely\nrealised. But the Inspiring, hopeful thing about this projected School is that\nit would make so much possible, it would open out so many vistas. Above"}, {"page_pdf": 34, "page_imprimee": "220", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.34", "texte": "0 THE GORDON CRAIG SCHOOL 0\n\nall It would set the life-blood of the art healthily circulating, as In a\nsingle organism, its principle would be, not mechanism, but growth. 0\n0 Will not England, then, will not Englishmen, make this School a reality?\n\nA WORD ABOUT IMAGINATION\nby Victor Hugo.\nJmagination is depth. No faculty of the mind goes and sinks deeper than\nimagination; it is the great diver. Science, reaching the lowest depths,\nmeets imagination. In conic sections, in logarithms, in the differential\nand integral calculus, in the calculation of probabilities, in the infinites-\nmal calculus, in the calculations of sonorous waves, in the application\nof algebra to geometry, the imagination is the co-efficient of calculation,\nand mathematics becomes poetry.\n'T'he profound word Number is at the base of man's thought; it is, to\nour intelligence, elemental; it has an harmonious as well as a ma-\nthematical signification. Number reveals itself to art by rhythm, which\nis the beating of the heart of the infinite, in rhythm, law of order,\nGod is felt. & & &"}, {"page_pdf": 35, "page_imprimee": "221", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.35", "texte": "CLUNN LEWIS AND HIS PUPPETS\nby John Bull.\n44 In England the Puppet Shows were much in vogue In such\n44 places as Bartholemew Fair, where they became serious rivals\n44 of the living actors. \" JS> &\nE. K. Chambers. 44 Mediaeval Stage. \" Vol: II. p. 158.\nMr Clunn Lewis is the remaining link in England with\nBartholemew Fair, and he now wanders through England,\nsupported at times by the Church and at times by the\npublic, tie Is an old man, or we should hear more of Lewis\nthan we do. His adventures would fill a fair sized book,\nand I wish that Joseph Conrad would follow him round for a month or\nso, and tell us the tale. On a scrap of paper that I have, we get a taste\nof his quality and of that of his show. This is how it runs:... & £?\nA few Items of the Show.\nwas a Leading Attraction at St Bartholomew's\nFair, where it stood next to Richardson's\nBarnstorming in my time.\nPlayed 44 The Red Barn \" In a veritable barn.\nReal rats and plenty of them behind the stage.\nSeating Accommodation.\nFront Seats. From the Parish Church.\nBack Seats. Sacks of potatoes.\nSteps leading to platform\nmade of Linseed Cakes.\nBut full Houses.\nHere he mentions 44 The Red Barn \", and, as old playgoers know, the\nfull title of this play is 44 MARIA MARTIN, OR THE MURDER IN THE\nRED BARN \".&&&&&&&&\nLast year Mr Clunn Lewis came to London with his puppets, and\nperformed at the Camera Club, and Mr Bernard Shaw and others made\nspeeches about him and the papers were full of him and pictures of him '"}, {"page_pdf": 36, "page_imprimee": "222", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.36", "texte": ";&CLUNN LEWIS AND HIS PUPPETS.\n\nand yet somehow he still has to wander on along the high-roads, sometimes\nplaying on his harp, when there are not enough people to be found to\nmake up an audience and at other times giving a show which probably\nbrings in two pounds ten if as much. And if the clergy, the men of letters\nand the way-side folk support him to the extent that they are able,\nstill, the English public has done practically nothing for him.\nWhen I say that the English have done nothing for him, I mean that\nthey have done nothing for themselves, for, in serving the man who\npreserves old traditions of this kind, they would be serving themselves\nmore than anyone else. jg?\nHere is the case of a man who has been giving performances for the\nlast fifty years wherever he can find an audience of forty to sixty, and\nyet the English public do not support him. It is so often said of an artist\nthat he has only to show people what he can do, and how he does it,\nfor them to support him. This is untrue.\n& Of course people would say that this case of Mr Lewis is not a good\nexample, and that puppets are out of date, and all the rest of It.\nAgain this is not true. There is hardly a word in the English excuses\nthat is true ; it is only their particular weak way of getting out of exer-\nting themselves.\nAs I write this I am feeling a little more seriously than those do who\nwrite of Mr Clunn Lewis's \"merry heart\" with which he trudges from\nvillage to village. I see a little further under the skin than that, and\nalthough the papers were so full of the honour that he had received in\nbeing introduced to Mr Bernard Shaw, I am sure Mr Bernard Shaw\nmust have felt that the honour was equally on his side.\n& All this talk about \"the merry Mr Lewis\" and the *' honour he has\nreceived \", is a very easy way of getting out of doing anything further.\nI say that Mr Clunn Lewis is, in spite of appearances... and he pretends\nto be cheerful enough... a broken down man, broken down while he at-\ntempts single-handed to preserve one of England's traditions. &\n& It Is Just a man like this to whom the State should give a pension.\nA poet, and many another man, deserves his pension, but I am sure\nthat a poet doesn't live on the hundred odd pounds he receives from\nthe State, whereas I believe that Mr Clunn Lewis could. &"}, {"page_pdf": 37, "page_imprimee": "223", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.37", "texte": "CLUNN LEWIS AND HIS PUPPETS. &\n\nAnd then, whereas there are many poets, several of whom receive\npensions, there is but one Clunn Lewis, one Marionette Showman (i) And\nthe State can easily find a way of helping this old showman to preserve\nthe marionettes, by putting up a tiny wooden booth for him in Hyde\nPark.\nThere would be nothing very difficult in this. If a precedent is wanted\nthey have only to go over to Paris and find at least three such places,\ntwo of them in the Champs Elysees, and one in the Tuilerles Gardens.\nThese theatres are kept up by the State, and children and grown up\npeople of all classes stop there daily to witness the performances. They\nbelong to the few exciting things to be seen in Paris.\nIn the Tuileries Gardens the theatre is a covered-in theatre, so that,\nshould it rain, the performance can still go on; but it is only covered\nin so far as the top and part of the sides are concerned ; the rest is open\nto the air, and there can be no uncomfortable feeling of stuffiness: it is\nsurrounded by trees, creepers and flowers, and the whole thing looks very\npretty and the children are fascinated by it. J£? &\n& The two others, in the Champs Elysees, are probably well known to\nmany people, for this is on the high road : you can see them as you pass\nby in a cab, and you will certainly stop to look at them if you pass by\non foot. They are in among the trees, and they perform in the spring,\nsummer and autumn. They make no fixed change for these two performan-\nces unless you wish to go in and sit down on a tiny seat, but those who\nstand can see for nothing. J(? JS? JZ?\nI want to see two such theatres in Hyde Park soon, and I believe\nthere are thousands of children who want to see them too. You may\nsay that there is a Punch and Judy at all the street corners. There are\na few, and the wonder is that people do not get killed in watching them.\nThese shows should be in the Parks and in the Gardens. &\n0 What is against having half a dozen such shows in the Park and two\nMarionette theatres as well ? Old Clunn Lewis has a Marionette Re-\npertory Theatre, and, like all other Repertory Theatres in England, it\nhas a future before it.\n*\n0 He sometimes thinks that the good days are over. 1 think that he is\n\n(1) If this is incorrect The Mask will he glad to hear oi any others. Ed:"}, {"page_pdf": 38, "page_imprimee": "224", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.38", "texte": "CLUNN LEWIS AND\n\nmistaken ; they are all before him; The old showman is now sixty-three\nyears of age, and says that if he had his life to choose once more, he\nwould risk it ail again for the open life of the road. &\nHere is a passage from his recollections44 I married at nineteen,\n44 and my wife, who was a clever singer and actress, stuck to it with\n44 me, and we saved money. So I was able to buy this famous old show,\n\" which was originally known as 44 Middleton's \". Those were the days\n44 before the 44 bikes \" and cheap trips to town. At Canterbury Fair we\n44 always looked to clear a hundred pounds and expenses. You wouldn't\n44 take a hundred shillings now.\nJP 44 To my mind, what began the mischief.were the London Exhibitions\n44 ....the Fisheries and the rest. They took the villagers up to \"Lunnon\",\n44 and they came back to find our simple little shows dull and slow.\n44 Anyhow, it was about that time that my savings of seven hundred\n44 pounds began to melt away. Now, of course, with the 44 Picture Pa-\n44 laces \" in every country town, it is harder than ever to make people\n44 come to see our puppet plays. They say the craze will 44 die out in\n44 time, \" but that is small comfort when we are not only 44 dying out \"\n44 but likely to be dead before long. There was a time when I and my\n44 wife used to have a repertoire of no fewer than seventy plays ray\n44 wife making all the dresses for the marionettes, and I painting the\n44 scenery. Many a time I have extemporised a play, reading up a new\n44 plot in the afternoon, and trusting to my mother-wit with the puppets\n44 in the evening. But those days are over now, and I keep for the most\n44 part to the old scenes, while my niece and her little son and a young\n44 44 serlo \" who has joined us, help with 44 varieties \".\nThat is what he has to say for himself, and this is what other people\nhave to say: JS> SP & & JP\nG. K. Chesterton. 44 I have seen within recent months two plays\n44 that were passionately applauded by all the children in the house, as\n44 distinct from the adults. One was a performance of old battered dan-\n44 cing dolls by an old English showman. His name is Clunu Lewis, and\n44 he takes a wooden puppet show through all the roads and villages of\n44 England exactly in the style of a Dickens showman...... It is a good\n44 entertainment, and like Mrs Jarley's in this especially.... that the"}, {"page_pdf": 39, "page_imprimee": "225", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.39", "texte": "CLUNN LEWIS AND MIS PUPPETS. &\n\n\" showman is even more amusing than the show. \"\nBernard Shaw wrote something about Clunn Lewis and it was far\nmore complimentary than what he wrote about Sir Henry Irving, but\nthe exact passage I have lost. & ' JS? £?\n& Other celebrated men have said polite things about him, and amongst\nthese are Cardinal Vaughan, Cardinal Manning, the Rev. Father Fletcher,\nand Archdeacon Wright. & & & & &\nI would like to draw the attention of more active and less loqua-\ncious persons to Mr Lewis's existence, and would especially like to see\nsuch cities as Manchester and' Sheffield and Liverpool doing something\nto encourage this old stager. &"}, {"page_pdf": 40, "page_imprimee": "226", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.40", "texte": "CONVERSATIONS WITH MY REAL FRIENDS,\nby Gordon Craig,\nJ. S.\nT These 44 Conversations \" which Mr Craig intends to hold\nIn The Mask with men long since dead who have deli-\nvered themselves or committed themselves on the theme\nwhich he has made practically his own will have a parti-\ncularly vivid Interest. We have had 44 Imaginary Con-\nversations\",..those of Landor and others; and we have had \"Real Conver-\nsations \"by William Archer and others; but the \" Real\" Conversations\nhave had to be, perforce, with living men, and consequently their value\nIs perhaps a little transitory, while with the \"Imaginary\" Conversations\nthe whole thing is too much of a fabrication to have any very vital\nsignificance for us. <0? &\nThe plan of the present series is different. Here the author speaks for\nhimself and defends the opinions which he himself set forth once for all\nin his writings, thereby challenging the reader to argument, or enlisting\nhim as a partisan. &\nIn Gordon Craig's collection there is hardly a book which touches on\nthe theatre which is not scored with annotations, queries, arguments:\nand it was in looking over these books that the idea suggested itself to\nhim that, with a little arrangement, and without altering a line of the\nauthor, he could produce veritable Conversations in which each would\nspeak in his own words.\nThe series planned will Include, among others, Conversations with\nRlccoboni and Gherardi, those prominent figures of the Commedla del-\nV Arte; with Schlegel, Theophlie Gautier, and Champfleury, and\nMask has secured the serial rights of some of these Duologues, of which\nthe first, that between Gordon Craig and Jules Champfleury, is here\ngiven. jg? &\n\nA BIOGRAPHICAL NOTE ON JULES\n\nIules Husson Fleury or Champfleury, with whom the first of these\nConversations is held, was a French writer who was born at Laon In\n182s and died at Paris in 1889.\nDrawn by his awakening literary instincts from his native town"}, {"page_pdf": 41, "page_imprimee": "227", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.41", "texte": "CONVERSATIONS WITH MY REAL FRIENDS. &\n\ntowards Paris, he there became one of a coterie which Included Pierre\nDnpont, Baudelaire, Henri Murger, Theodore de Banville, Courbet, Bonvin,\nNadar and Jean Journet. He wrote many novels and pantomimes, some\nbiographical and critical studies, (including monographs on Balzac and\nHenri Murger,) and several learned treatises on ceramics,...a subject with\nwhich he was well acquainted, since in later life he was successively\nkeeper of the Mus£e Sbvres and administrator of that important ma-\nnufacture. 0\nThat which chiefly interests us, however, is his close association with\nthe \"Th&itre des Funambules\" for which he composed many pantomimes.\n£? The Theatre des Funambules was situated on the ancient Boulevard\ndu Temple. A showman named Bertrand had first set up there a large\nbooth in which he exhibited various acrobats, the French word \" Funam-\nbules \" meaning a tight-rope dancer and being also the name of a kind\nof squirrel.\nAbout 1816 Bertrand obtained the right to replace his booth by a\nreal little theatre and to have pantomimes and vaudevilles performed\nthere. J£? &\nThis new theatre, which contained places for some five hundred, led\na modest enough existence until the manager had the good fortune,\nabout 1820, to engage Gaspard Debureau, who became the most famous\nPierrot of his time. Even so, however, it was not until after the Revo-\nlution of 1830, when the \" Funambules \" broke altogether with rope\ndancing and acrobatics and devoted itself wholly to vaudeville and above\nall to pantomime, that the celebrity of Debureau, and consequently of\nthe theatre where he appeared, really began.\nFairy pieces were given there, and as Debureau's fame\" grew poets\nand novelists vied with one another in preparing pantomimes to be in-\nterpreted by this popular favourite. Picard, Theophile Gautier, Charles\nNodier, (who, however, though he wrote for Pierrot, reserved his\nwarmest love for Polichinelie), and Gerard de Nerval, (who was so great\nan enthusiast that he visited Italy, England and Germany solely to study\nthe Pantomime of those countries), helped to increase the fame of this\nPierrot; while Jules Janin put the crowning stroke to his success by\nwriting his \" Histoire du Theatre a quatre sous\"."}, {"page_pdf": 42, "page_imprimee": "228", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.42", "texte": "CONVERSATIONS WITH MY REAL FRIENDS.\n\nAfter Debureau's death the fine tradition was carried on by his son\nand other Pierrots, including Paul Legrand, Kalpestri, and Alexandre\nGuyon, and the little theatre, 44 grand com me la maison de Socrate \",\ncontinued, Chanipfieury tells us, to take as much money as the \"Cirque-\nOlympe \" itself, retaining its popularity until the year 1862, when\nHuassmann, prefect of the Seine, destroyed the classic Boulevard du\nTemple, causing the des Funambuies to disappear.\n&It was in the years subsequent to the death of the elder Debureau\nthat Champfleury prepared his pantomimes; and his experiences during\nthose years and the conclusions to which he had come upon the various\nschools of Pantomime are embodied in a book called 44 Souvenirs des\nFunambules \" which he published in 1859. £?\nIt is upon a chapter In this book, 44 Les Decors \", that the following\nConversation is based, Champfleury's own opinions being actual passages\ntaken In order and always given in his own words.\n\nP. R.\n\nCONVERSATION BETWEEN JULES CHAMPFLEURY AND\nGORDON CRAIG. 1859-1912.\n& G. C. Come, my dear Champileury, let us take our coffee here at\nthe Cafe Procope. Now tell me, what was it you began to say about\nPantomime and the Mask ? &\nChampfleuryJS/ Why, a vaudeviHist, full of experience, was speaking\nto me one day of pantomime, and he said to me, \" Where do your pieces\ntake place?\" Not understanding him, 1 begged him to explain himself,\nand he said that he meant to ask me in what town or capital were Pierrot,\nColumbine and Harlequin supposed to be living their adventurous life.\n& G. C. JZ? We!!, of course you told him ? &\n& Champfleury Yes, I told htm that the question which was appa-\nrently so simple was a very fount of folly. I told this old vaudeviHist who\nwas taking an interest in pantomime, that the adventurous life of these\npeople has no home. And he then told me that he thought that there\nwas some traditional country, and that he guessed it to be Bergamo.\nQ. C. *£? And was he very wrong ?\n£? Champfleury Well, I told him that I cared no more for Venice\nthan for Bergamo. & & &"}, {"page_pdf": 43, "page_imprimee": "229", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.43", "texte": "CONVERSATIONS WITH MY REAL FRIENDS.\n\njZ? G. C. Well but, because you care no more for Venice than for\nBergamo, is that any reason that the old vaudevillist should not be rather\npleased at the idea of being able to find Arlecchino's native town ? Am\n1 not right in believing that Arlecchino was an Italian, and that Arlequin\nis a Frenchman, and that Harlequin is an Englishman? And don't you\nthink it is rather amusing, and perhaps much more than that, to think\nof old Arlecchino the Italian of the old town of Bergamo visiting other\ncities of Italy, but under no circumstances crossing the Alps ? &\nChampfleuryJG? What is the use of this limitation to any one\ntown ? You seem to agree with the old vaudevillist that pantomime has\na particular geography, just as you shall be pleased to invent for it.\nG. C. jG? Wait. I was not speaking about pantomime for pantomime\nis universal. I was speaking about what you are speaking about; that is\nto say, certain types, certain masks, which belong to the Commedia del-\n1'Arte. You mentioned Pierrot, Columbine and Harlequin, and I answered\nyou about Harlequin, and 1 led Harlequin back to himself, ....to Arlec-\nchino ; and taking him there, I also took him back to Bergamo. But now;\nwith a disregard for that logic for which your whole nation is so famous,\nyou switch off from one pantomlmlst, from one Mask, from Arlecchino,\nand connect up with all the wires of the realm of pantomime. 1 think\nthat Arlecchino distinctly has a land of his own, and that is, as I have\nsaid, Italy, and his particular place is Bergamo. JG?\n£? Champfleury JG> Very well. Let us confine ourselves to the types,\nto the masks themselves, and then let me assure you that the country\nof Pierrot is no actual country. &\nj& G. C. Oh you wonderful acrobat,..,, how unfair you are to me 1\nYou juggle with Pierrot now that 1 have disposed of Arlecchino; Pierrot,\nwho is essentially a Frenchman, and with whom you have a right to do\nas you like. You offer him up on the altar of nature In hopes of propi-\ntiating the gods. He is the creation of the poetic spirit, he has no land,\naccording to you. But you know perfectly well that he is of Paris, he\nis essentially Parisian ; and as 1 am not an Italian, you won't mind if I\ntell you that I think him a trivial sort of person by the side of the other\ngreat figures of the Comedy. A sentimental insignificant sort of person.\nChampfleury JG/ But I repeat, Pierrot has no country, and I will"}, {"page_pdf": 44, "page_imprimee": "230", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.44", "texte": "& CONVERSATIONS WITH MY REAL FRIENDS. &\n\ntell you why. The scenery at Les Punambules.... & & &\n& G. C. Les Punambules ? But what the Dickens has Les Punambules\nto do with it ? You almost suggest that Les Punambules Is Pierrot's own\ncountry, and that Pierrot's special town is one particular theatre.\n& Champfleury & One moment, let me explain! The country of\nPierrot, the real Pierrot, Punambules or no Punambules, Is not a real\ncountry. The actual scenery in the theatre is too full of illusion. My\nforests there are too like forests ; my houses too like real houses. All\nthe scenery is so bourgeois that the Theatre de I'Odeon might not some\nday be sorry to buy it all up. Why, there are little yellow rooms which\nwould do well for the works of M. Oalioppe d'Onquaire, and one of the\ndramas at the Ambigu would go well in Pierrot's Forest Scene at the\nFunambules, and the hut of Cassandre would suit one of Bouffe's per-\nformances like a glove. The Theatre of the Punambules is very illogical.\nBe false, be false, from one end to the other, and you will be true.\nQ. C. Acrobat! You may be true to yourself there, but not to\nnature. You will be true to your deception, for you are deceived about\npantomime in general, as well as Pierrot. I have been in a country\ntheatre myself, and Hamlet and Othello have walked on to a stage that\nwas decorated to look rather like a modern lodging house front room.\nBut it was because we were obliged to put up with such a scene, not\nbecause we chose it. Although I can tolerate Hamlet and Othello, the\nchildren of the poetic fancy, in any surroundings, 1 can not say that they\nare well placed in every chance place. In the same way I could also to-\nlerate Arlecchino under such conditions, but it is quite another thing to\nsay that he has no country and is best placed everywhere.\n& As well might you say that a butterfly has no special surroundings.\nYou will find this natural Arlecchino, this butterfly, is surrounded by\ncertain special flowers, and certain special seasons, certain special lights.\nYou very seldom find him in a cow-house, but you will certainly find\nhim in the garden. You will not find him flying in Waterloo Place or\nthe Rue de la Palx. But there is no doubt about it you will find him in\nthe Bois de Boulogne; and yet he doesn't suit the Bois de Boulogne so\nwell as he will suit some old garden of some old French chateau or some\nEnglish farm-house. &"}, {"page_pdf": 45, "page_imprimee": "231", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.45", "texte": "CONVERSATIONS WITH MY REAL FRIENDS.\n\nIt seems to me quite wrong to say that living things have not their\ndefinite habitation, their distinct background, their particular environ-\nment. The briar rose is not that of England, particularly England ?\nThe palm tree,... Js not that of Egypt? Particularly Egypt? And as for\npeople, take an English type, (not quite Harlequin but as good a type}...\nthe coster, and put him in any surroundings, something fantastic; for\nexample, a room covered with pearleys, and painted the colour of his\ndonkey's skin ; it is perhaps pretty, but wrong for the coster, for he\nbelongs to London more than to his donkey, more than to his pearleys.\nChampfleury But that is realism, whereas realism doesn't oc-\ncupy a thumb's breadth on a canvass by Watteau. His trees are the same\nas his people, his sky has been painted to make these trees grow. How\ncan you expect my soul not to be troubled when I see Arlequin in a real\nhouse? There should be spangles on the wall, and Polichlnelle's apart-\nment must be full of humps and the pretty little attic that I shall build\nfor Columbine must be coquettish, with flowers, a charming bed, etc :\nThere is alwavs an intimate co-relation between the individual and his\nfurniture.\n& G. C. All that is just what I was saying#\nChampfleury Yes, but my personages are fantastic. All that is\nof theni becomes fantastic. If in real life the individual moulds himself\nupon nature, in pantomime nature moulds itself upon the individual.\nG. C. You would be perfectly right if these personages were to\nbegin with.... may I say it?... your personages, and if they were fan=\ntastlc; but they are not your personages, they are the personages of\nVenice and Bergamo and of Naples, and only Pierrot and Columbine\nbelong to you. Do with these what you will; make them if you like\nfantastic, artificial, but do not destroy the force of these greater older\nfellows whose land is Italy, and who out of Italy become Insipid and\ntherefore a bore. &\nI see no objection to having spangles on the wai! for a man who\ndresses in spangles, and who thinks in spangles, and who talks in a\nspangle dway. But who puts spangles on Arlecchino ? You in Paris did it\nand we did it in England. The Italians never did it. The Italians could\nnever do so silly a thing. We, so poor in imagination, so rich in spangles,"}, {"page_pdf": 46, "page_imprimee": "232", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.46", "texte": "& CONVERSATIONS WITH MY REAL .\n\ndid this damnable deed ourselves. We are both to blame, so we need\nhave no disagreement, but let us own up to the wretched business and\nnot attempt by illogical logic to smooth the matter out.\n& And supposing Pulcinello has a hump. Lots of the other \" Gobbos \"\nin Italy were the same. Many personages in the Commedia dell'Arte had\nhumps, just as many of them had long noses. Then what would be pe-\nculiar in Pulcinello's having humps all over the room 'i\n& To begin with, it is distracting, and helps to explain nothing, helps\nus to feel nothing, merely prevents us from feeling the emotion which\nthe entrance of Pulcinello will create when he comes on the scene. How\ncan it really trouble your soul.... your soul, my good soul,... when you\nsee Harlequin in a real house ?... real stage house you mean, for neither\n1 nor you ever yet saw a real house on the stage and you never saw\nHarlequin anywhere except in a stage house. & & &\nIf you are talking about reality, then set him in the open air, that\nis where Arlecchino lived in Italy,... at the corner of some street, against\nsome palace; he leaned there In the sun, and delivered his monologues.\nDoes that reality offend you ? That is the real reality. Why speak about\nWatteau, telling me that Watteau is not concerned with reality and that\nhis trees are of the same family as his figures 'r\n& You are wrong to try and convince yourself of a falsity by bringing\nin these Frenchmen, great artists though they may be, to prove some-\nthing about the Italians. Watteau never understood what Arlecchino was ;\nhe never even understood your French Arlequin, and he invented another\nbeing altogether, just as we later on invented Harlequin.\nChampfleury & Well, we French are undoubtedly anti-nature, but\nwith it all we are amusing, gay, nimble and subtle; we hardly worry\nourselves about entrances or exits ; some one cuts off Pulcinello's leg\nin the first tableau, In the second tableau he dances better than ever\nand one has not even heard a whisper of the doctor.\nQ. C. & I agree with you, my dear Champfleury. You are anti-na-\nture, as you say, and delightful, but 1 think you do wrong to cause what\nife really natural, that is to say what is really beautiful, to be merely\namusing, gay and subtle. And why should it only be a light jest to cut\noff Pulcinello's leg in a First Tableau and then to see him dancing"}, {"page_pdf": 47, "page_imprimee": "233", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.47", "texte": "& CONVERSATIONS WITH MY REAL FRIENDS. 4/\n\nbetter than ever in a second ? Why should not that be something with\na little more passion In it? Why should your French shrug of the\nshoulders try to take the place of all the great Italian gestures ? In both\nlands it is the same shrug, but what a vast difference in the meaning!\nHow differently we all feel about it! The Italian shrug exhibits heroic\nstrength in face of disaster. You, you Frenchman, put your finger to\nyour nose when you shrug your shoulders in the face of disaster.\nIt Is a contempt for disaster that possesses you. The Italian links his\narm with the great figure of Fate, and in gay and earnest conversation\nwith him strolls down the Lung'Arno,... and is found later floating a long\nway out of the town in the rushes, his face in a mask. & &\n& ....Well, we have talked enough,... we who should never talk, who\nshould make a gesture or two and listen to the learned.... Shall we go\ndown to the river and watch things move ? It was nice to have met\neach other, and defied the years, the grave, and the coffee at the Procope."}, {"page_pdf": 48, "page_imprimee": "234", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.48", "texte": "LIVERPOOL PUPPETRY\nby Ernest Marriott\nHp he Sandon Studios Club is a rather unique institution. I do not suppose\nthere is anything quite like it in any other big town in England, for\none does not expect every large commercial city to foster unusual and\nsecret virtues.\nIf you ask the ordinary Liverpool man what the Sandon Studios Club\nrepresents, he will be unable to tell you. Probably he has never heard\nof it. He might perhaps know of the existence of the old Biuecoat School\nand he may actually have seen its ancient facade of warm mellow brick.\nBut it is the odds of a bale of cotton to a wooden shuttle that he does\nnot know that this quaint old building is the lair and stronghold of the\nmost quick and aiive people in ail the port of Liverpool,... the members\nof the Sandon Studios Club.\n& This club casts a wide net and its haul includes everything from Post\nImpressionist Exhibitions in the new style, to Marionette performances\nin the old style. It encourages all sorts of artistic enterprise, and seems to\nhave no prejudices and plenty of predispositions of the right sort. Prom\nthe point of view of The Mask \" perhaps the happiest sign of the Club's\nactivities was the puppet-play (of which there Is an account elsewhere in\nthis journal) organised and carried out by certain of its members, for it\nwrought exceedingly well when it endeavoured to establish a dwelling\nplace in the cold north for The Marionette, who was born in the East so\nmany centuries ago... who has lived and still iives as vigorous and knowing\nas ever in countries more favoured by the sun.\nApparently Miss Dora Nussey is to be thanked in the first instance,\nfor it was after seeing a performance by her in London that Miss Margaret\nBulley conceived the idea of inaugurating a \" true proper and authentic\"\npresentation to the public of Liverpool of His Highness Prince Puppet.\nThere was a distinguished gathering at his baptism, and two of the mem-\nbers, Professor Elton, and Mr Arthur Watts, read learned disquisitions\nupon his attributes and lineage.\n& Miss Bulley and her sisters designed the puppets' dresses, and Mrs\nPat Abercrombie helped to make them. Some of the dresses were copied\nfrom old German engravings. Helen of Troy, for instance, was dressed\nin satin and pearls, as would have been the case in a seventeenth cen-\ntury production. & & &"}, {"page_pdf": 49, "page_imprimee": "235", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.49", "texte": "LIVERPOOL PUPPETRY &\n\nThere were three performances of the play, the first being given\nprivately to Club members, and the second and third to the public, in\nthe afternoon and evening. JZ?\nAll honour to the enthusiasts who gave their loyal support in helping\nto make the performance a success. For the benefit of those who sub-\nsequently will collect matter for the history of Liverpool, here is put on\nrecord the names of those associated with this most excellent and\npraise worthy endeavour. JZ? JZ?\n\nList of\nCharacters, Readers & Workers.\nPuppet.\nReader.\nWorker.\nFaust.\nMr Lascelles Abercrombie\n(First Performance)\nMr Hickinbottom,\n(second & third performances)\nMiss M. Bulley.\nMephistopheles.\nMr Arthur Watts.\nMiss E. Bulley.\nCaspar.\n#\nMr K. Forbes.\nMiss L. Bulley.\nWagner.\nQretel.\nMr Patrick Abercrombie.\nMr Patrick Abercrombie.\nMr H. Wood.\n(1st performance.)\nMiss H. Lindsay.\n(and & 3rd perfor-\nmances.)\nMiss M. Bulley.\nHelen of Troy.\nMiss L. Bulley.\nThe Angel.\nThe Dragon.\nSix Devils.\nThe Raven.\nRead and worked by those\nwho were free at the mo-\nment required."}, {"page_pdf": 50, "page_imprimee": "236", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.50", "texte": "LIVERPOOL PUPPETRY &\n\nMr J. Brockie made the puppets, the stage furniture, and the stage.\n& Miss Winifred Philips painted the scenery and the drop curtain, and\n& Mrs Primston painted the faces of the puppets. &\nIt Is unnecessary to go into details of the troubles incurred by the\nworkers in \" getting up \" the production, as no good work of this sort\ncan be done without taking great pains and experiencing tribulation and\ndoubt. The effort, whether successful or not, is worth making, and the\nreward is that the effort is brought to an issue. &\nIt is a laudable aim of the members of the Sandon Studios Club pe-\nriodically to surprise the city with something fresh and vital In the way\nof Exhibitions. Nevertheless, it Is to be hoped that they will not scorn\nto repeat themselves now and again, and that the production of Paust\nwill not be The Marionette's first and last appearance.... the sole and\nonly avatar of the Little God in Liverpool."}, {"page_pdf": 51, "page_imprimee": "237", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.51", "texte": "THE PRODUCTION\nOF A PUPPET PLAY,\nby M. H. Bulley.\nA\" who have had practical experience of puppet plays will sympathize\nwith the rash and dauntless folk who attempt to produce one. There\nis no accounting for the strange and inexplicable gyrations to which even\nthe most severely trained puppet will suddenly succumb.* JS?\nThis we found out to our cost after we had cheerfully offered a per-\nformance to the members and friends of that popular Liverpool Club, the\nSandon Studios Society, (i) However, having pledged ourselves, there\nwas no escape from the difficulties that lay before us, and every morning\nsaw us hard at work exercising Or. Faustus, Mephistopheles, Helen of\nTroy, six red devils, a dragon, a guardian angel and various other\nequally important personages. The play we had chosen was \" The Pro-\ndigious and Lamentable History of Dr. Johannes Faust\", which had been\ntranslated from the German by Miss Dora Nussey and produced by her\nin London. She most kindly lent us her text, and furnished us with a\npuppet as a model. £? JZ? JZ?\nThis puppet had been bought from a Russian in London, but on en-\nquiry we found that he had recently made a night flitting, leaving only\ndebts behind him. Countless enquiries then followed, but no shop would\ncopy the delicately balanced- mechanism of the puppet for less than\nthirty shillings and even then without clothes or modelled face.\nAt last, however, we were fortunate in discovering one of those clever\ncraftsmen whose fingers seem equal to any task, and we were shortly\nthe proud possessors of six puppets with moulded papier - mache heads,\nhands and feet, hollow wooden bodies, and arms and legs made of tin,\nwood and wire at the cost of seven shillings each, (diagram A.)\nThe feet were weighted with lead...an absolute necessity...and flaxen\nhair adorned their respective heads. When their faces had been skillfully\npainted and they were dressed in German costume of the XVI 1th century,\nwe then threaded them. •£? •£? JZ?\n\n(j) A Note about this Society will be found oa page. 234. J. S."}, {"page_pdf": 52, "page_imprimee": "238", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.52", "texte": "THE PRODUCTION OF A PUPPET PLAY &\n\nEach puppet had seven strings made of black linen thread. Two were\nfastened to the chest...well to each side...; one to the middle of the back\nand two rather longer ones to the arms.\nThese strings...about 3 feet long each...were attached to a small piece\nof wood to be held in one hand. To a second piece of wood were faste-\nned the two leg-strings, attached Just above the puppet's knee Joints, and\nthese were worked by the other band. A hook and a string on each\nrespective piece of wood enabled the two to be fastened together when\nthe legs were not In motion, and a hand was needed for working the\narms. (With these puppets arms and legs cannot be worked simultaneously\nas one hand Is always needed to keep the doll in position). &\n& The six evil spirits that the play required were made out of black\ncomposition nigger dolls, deprived of their fur trimming, painted scarlet\nwith red sealing-wax horns and beards, and black wool fails. They were\nfastened \"to a curved piece of wood In the shape of a bow and could be\nworked together by one person. A dragon that had to put in an appearance\nwas home-made and was as imposing as the *' Wurm \" at Bayreuth:\nthe guardian angel had once graced a Christmas tree. &\n& The stage and Its framework were constructed somewhat on the model\nof a Punch and Judy show but on a larger scale. It stood a good height\nfrom the ground in order that no obstruction hid the puppets from the\naudience. The back cloths forming the scenery for the two acts were\nstretched on a wooden frame fastened to the stage from below. The\nwings were painted on canvas fastened on two sides of a triangular\nwooden framework and in this way stood by themselves, and only re-\nquired turning for the change of scene. This arrangement of the back\ncloth left every available space free for the working of the puppets\nfrom above, and their exits and entrances from either side (diagrams\nB & C).\nTo the right and left of the stage in easy reach were placed small\nbrass rods on which to hang the puppets when not in use. These proved\ninvaluable, as puppet strings are apt to become entangled on the slightest\nprovocation in which case a performance would be brought to an abrupt\nclose. The lighting was very simple; an electric light was attached to the\nfront of each wing just behind the drop curtain, and in this way the"}, {"page_pdf": 53, "page_imprimee": "239", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.53", "texte": "THE PRODUCTION OF\n\nstrings were practically invisible against the dark backgrounds.\nAs the date of the performance drew near, rehearsals began in grim\nearnest. Weeks had been given to practising with the dolls, and slowly\ntheir reeling staggers were replaced by a more natural, if a somewhat\nwaddling, type of walk. Now both readers and-workers met together and\nthe puppets began to follow their lines, suiting their actions to the\nwords, which were read from the wings, where a full view of the stage\ncould be obtained in case any unforeseen contretemps should arise.\nThe story of Faust lends itself admirably to a puppet production,\nwhich can hardly be successful unless it contains a fairylike or super-\nnatural element. The opening scene shows the learned doctor sitting in\nhis study deep in the science of magic. The voices of heaven and hell\nplead with him but the former are repulsed by Faust, whose\nis answered by six evil spirits. He refuses their services in favour of\nthose of Mephistopheles who produces a bond. Faust signs it and departs\nwith his tempter in search of youth and joy. Amusing scenes then take\nplace between Wagner, Faust's pupil and servant, and Caspar, a country\nbumpkin, recently taken into the service of the house. The latter finds\nout the magic word that summons the spirits and to his amazement is\nsurrounded by them. A most entertaining scene follows where, sitting\non a table and swinging his legs, he proceeds to make friends with\nthem, and eventually goes off in their company borne on the back of a\nlarge dragon. The second act shows Faust after an interval of twelve\nyears. His time of pleasures is over and eternal torments await him. In\nhis despair he Is moved to repentance, but is again tempted by Mephis-\ntopheles who reveals to him the vision of Helen of Troy. His fate closes\nin upon him. The hour strikes and he is borne by the devils to his ine.\nvltable doom.\nThese are the outlines of the play that at last reached its final\nrehearsal and was now as ready as we could make it for its production\ni n public.\nThe night arrived, and in the long darkened room, curtained off at\none end, a goodly audience faced a little drop curtain on which was\npainted the figure of Faust being rapidly whirled to his fate by some\nvery beautiful black and red devils. The assembled company included"}, {"page_pdf": 54, "page_imprimee": "240", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.54", "texte": "THE PRODUCTION OF A PUPPET PLA Y\n\nartists, learned professors, archeologists, a Lord Mayor in mufti, the\nChairman of a Repertory theatre* a controller of education, and many\nmore of the wise and great.\nA Professor of Literature read a short account of the history of puppet\nplays; and behind the curtain the little group of workers waited In\nsilence. The puppet workers were positively gibbering with fright.,We knew\nthe difficulties of our calling and remembered with painful clearness how\nbooks say it is the work of a lifetime to master it successfully. We tried\nto cheer ourselves by thoughts of the ancient Greeks and Romans who,\nas we heard through the curtain, were much addicted to puppet plays,\nand who, no doubt, never turned a hair in producing them. We remem-\nbered too how we had invaded a puppet theatre In Palermo, and how the\naudience had been most appreciative and had chewed melon seeds inces-\nsantly and thrown the remains on the floor. But then our audience was\nnot the kind that chews melon seeds and nothing would have induced\nthem to throw the remains about. There was small consolation there.\nThe professor's dissertation drew to a close. The readers grouped them-\nselves standing on either side of the stage (which was about on a level\nwith their eyes) and the workers of Faust and the angel clambered up\nto their perilous position on high. Then the bell rang and the play began.\nIt was a curious scene behind the curtains ; so much so that a Slade\nstudent had secreted herself in a corner and was rapidly making a sketch\nof it. The rough structure of the stage was half in [light, half in deep\nshadow. The workers, In blue painting pinafores, hung [over the back\nscene, perched precariously on a form lashed to a kitchen table. The\nreaders, warming to their work, stood in their shirt sleeves, and all\nunconsciously swayed and gesticulated as they read. There were some\nagonising moments to be lived through ; for example, when the raven\nflew down with the bond. This was fastened round its neck by a loop of\nblack cotton, and had to be deposited on the table for Faust to sign. At\neach of the last rehearsals the bird had made a bad shot, and the paper\nhad fluttered to the floor Imagine the tension behind the scene\nwhen the flight commenced 1 every eye was rivetted on the bird, and an\naudible gasp of relief, and the dancing of a silent breakdown, heralded\nit's successful flight. The carrying away of the bond was an easy matter,"}, {"page_pdf": 61, "page_imprimee": "247", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.61", "texte": "THE PRODUCTION OF A PUPPET PLAY j*\n\nfor the raven returned to fetch it with a large and sticky bead of sec-\ncotine upon its inky bosom.\nOf course the audience was unaware of the anxiety behind the curtain.\nIt was as sympathetic and interested as could be, and followed each\nscene with rounds of applause. As Caspar's part was originally written\nin German dialect, it was now read in broad Lancashire, and his really\namusing antics were received with continual laughter. The lighting was\nso successful that the threads were almost invisible, and the action of\nthe puppets, exactly following the words, made the illusion complete.\nTowards the end of the play it was astonishing to see how the tra-\ngedy gripped the audience. There was dead silence in the room when\n\\\nthe clock was heard striking eleven and Paust was left alone in the\nmoonlight, listening in misery and despair to the voices, intoning in\nLatin and Gregorian cadences the eternal damnation that awaited him.\nThe truly comic apparition of Helen of Troy which came at this point\nwas a welcome relief. Then the pall of gloom again enveloped the scene.\nThe clock struck twelve. Suddenly all was plunged in darkness and with\na flare of green and crimson light, Paust, attended by the devils, was\nswept out of sight. A quick curtain and the unmistakable smell of Bengal\nlights were followed by a short scene where Caspar as night watchman\nand his wife Gretel danced a breakdown together and bid the audience\ngood night."}, {"page_pdf": 62, "page_imprimee": "248", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.62", "texte": "A HISTORY OF PUPPETS\nPUPPETS IN ITALY.\nby \" Yorick \".\nn this chapter we begin to narrate, always, be it\nunderstood, in the most concise and abbreviated form\npossible... the vicissitudes of the puppets in modern times;\nand more especially those of the ** fantoccini \" destined\nfor public performances; those gathered together, so to\nspeak, in dramatic companies, under the direction of an\nimpresario, who manages on his own account a small\ntheatre, a booth, a \" casteilo \", or, to use the vocabulary\nof the profession, an ** edifizio in which he carries\nout, with his little figures, a course of dramatic, and\nsometimes also melodramatic, performances, which have a character of\ntheir own, a pbysionomy peculiar to themselves; which delight in a\nspecial literature, which exert a most remarkable influence over a part\nof the public, and which in many directions ally themselves to the ge-\nneral history of the dramatic art in Italy and abroad. & &\nWe run no risk in carrying out these researches of wasting our time\nin a tedious and monotonous study, nor of squandering our energy in\nreading a cock-and-bull story of insignificant, and at times painful,\nor vulgar or stupid, episodes such as might be found in the tale of the\nold strolling players. Not at all! the theatrical puppets are sober people,\nsolid, tranquil folk, content with [their position and attached to] the\ntheatre by many ties. Among them there are no rivalries, no tempers\nnor| jealousies nor theatrical conventions, and they dwell in love and\nharmony, like so many branches of one trunk, upon that stage where:\nLes acteurs sont de niveau, (i)\nAucun d'eux ne s'en fait accroire t\nLes males au porte-manteau,\n\nTRANSLATIONS.\n(i) The actors are all equal; none of them is stuck-up: the males In the\nportmanteau, the females In the wardrobe. Isabelle, behind the bolts,\nleaves Colomblne in peace, and PoIIchinelle upon his nail does*not cabal\nagainst Gllie. £?"}, {"page_pdf": 63, "page_imprimee": "249", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.63", "texte": "A HISTORY OF PUPPETS. &\n\nFit les femelles dans 1'armoire.\nIsabelle, sous les verrous,\nLaisse Colombine tranquille;\nEt Polichinelle a son clou\nNe cabale pas contre Qllle.\n& Thus, two centuries ago, a vaudeville by an anonymous author cele-\nbrated the virtues of the Italian puppets domiciled at Paris; and it did\nso doubtless with the honest Intention of censuring, by implication, the\nvices and grievous habits of the actors of that time, who were then,....\nas, generally speaking, they are today,... disorderly, light-minded, always\nquarrelsome and at discord among themselves, jealous of the applause\nlavished on their companions, and wild to acquire for themselves by\nmeans of every artifice a celebrity as ephemeral as it is false. &\n& Before, however, proceeding with the story which I have undertaken\nto narrate, it is necessary that I should give a short explanation. Pro-\npriety in language has always seemed to me a most desirable thing in\nevery kind of writing and I therefore feel myself bound to explain what\nis the precise meaning of the different names which I have at times to\napply to the \" heroes \" of my historical tale.\n& In Tuscany we call \"fantocci\" all the little figures fashioned like the\nhuman body, (of whatever material they may be composed and to what-\never use they may be destined) so long as they be executed with a cer-\ntain rough imitation and without too much attention to elegance. Thus\namong us, one uses the expression \" pittor da fantocci \" for a worthless\nartist, unworthy to rise to the representation of truth ; and Lorenzo Lippi\nin the first canto of the \"Malmantile riacquistato\", wishing to imply the\nartistic value of his three scholars, veiled under the anagramatical names\nof Fra Ciro Serbatondi, Egeno dei Brodetti and Sardonello, sings of them :\nDi foglio per impresa un bel cartone (i)\nInsieme colla pasta egli hanno messo\n\nTRANSLATIONS.\n(i) They, have taken as ensign a fine cardboard together with the paste\nfor their fantocci, which, like dunces, they are in the habit of copying\nor drawing from the plaster. 4?"}, {"page_pdf": 64, "page_imprimee": "250", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.64", "texte": "& A HISTORY OF PUPPETS, jst\n\nDei lor fantocci, i quali da Perlone\nSoglion copiare o disegnar dal gesso.\n& With the diminutive, then, of this generical title, changed to \" fan-\ntoccini \", we indicate those \" fantocci \" destined for the amusement of\nthe common people and described by Girolamo Cardano in his treatise\n\" De varietate rerum published at Nuremburg in 1550. \" I have seen\"\nsays he, \" two Sicilians who worked wonders by means of two little fi-\ngures threaded through the breast by one single string which traversed\nboth of them. The string was fastened at one end to a heavy block of\nwood and at the other tied to the leg of the showman, who, making\ncertain movements with his knee, caused the little figures to dance\".\n£? Of this particular species we also find testimony in that treasure of\nour language,.... the mock heroic poem of Lorenzo Lippi, where he de-\nscribes the becoming greetings offered by Baldone to the beautiful\nCelidora :\nS'ell'd, dic'ei, cos), noi siam cugini :\nE subito si fan cento accoglienze ;\nEd ella a lui ne rende mille inchini,\nEgli altrettante a lei fa riverenze.\nCosi fan no talor due fantoccini\nAl suon di cornamusa per Firenze ;\nChe i'uno incontro a I'altro andar si vede,\nMosso da un fil che tien chi suona al piede. (1)\nAs for the word \"burattini\", we use it to indicate those little figures\nwhich are intended for stage plays, and which are composed of a head\nand two hands, without body, and held together by a kind of large cloak,\nwithin which is hidden the hand of the \" burattinaio \" who makes them\n\nTRANSLA T I O N S.\n(i) \"If you\" said he, \"are so, we are cousins\" : and immediately they\nextend to each other a hundred greetings, and she makes a thousand\ncourtesies to him, and he as many reverences to her, just as two fantoc-\ncini sometimes do to the sound of the bagpipes in Florence, when one\nis seen to advance towards the other moved by a string, which he who\nplays holds with his foot. & &"}, {"page_pdf": 65, "page_imprimee": "251", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.65", "texte": "A HISTORY OF PUPPETS,\n\nact from beneath,\nL'andar !1 glorno in piazza a' burattini\nAd agli Zanni furon le lor gite ..... (1)\none reads in the 44 Malmantile riacqulstato \" ; and the poetic description\nof the \" castello dei burattini \" is also found to the life in Giuseppe\nBerneri's \" Meo Patacca \" illustrated by Plnelli, exactly as it is seen in\nthe celebrated Fair pictures by Callot. & us? u£> £/\n& The etymology of this curious word is certainly of the simplest and\nmost natural description, nor, for its discovery, is it necessary to rack\none's brains nor to run through the lexicons of the dead languages. The\nloose gown, which was at first used to clothe the 44 figurine \" of the\n\" castello \",... or rather to hold together and render more manageable\ntheir principal pieces,... was made of a certain native woollen stuff,\nsomewhat coarse but durable, rather loosely woven and dyed in bright\ncolours, to which, in our provinces, was given the name of 44 buratto \"\nperhaps owing to its resemblance to the weave of the made for the\nframes used in sifting flour. (2) 44 Buratto \" was chosen for this use be=\ncause it is stuff which costs little, is showy, slow in wearing out, does\nnot crease, rarely fades and does not mould or rot with the damp.\nThe puppets dressed in 44 buratto \" were soon christened \"burattini\",\nas might be expected. £/\n£/ In our days the 44 buratto \", too humble to serve any longer in the\ncostuming of the grand ballets and pantomimes, has remained more\nespecially in use in the sea ports for the making of flags and signals for\nVessels. £/\nThe 44 burattini \" were then also called 44 magatelli \", or 44 fraccur-\nradi \": the first form in allusion to the magic art which caused them\nto work so many wonders, and the second referring to the likeness which\nexisted between the movements of the head of such puppets and those\nperformed by a green bean pod, cut slanting-wise at one extremity and\n\nT R A N S L A T I O N S.\n(1) Going by day into the square to the burattini and to the Zanni were\ntheir outings.\n(2) \"To sift\" is \" abburattare\"."}, {"page_pdf": 66, "page_imprimee": "252", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.66", "texte": "A HISTORY OF .\n\nset in motion by the string of the suture which was slit all along its\nlength. This child's plaything is called \" fraccurrado \" in some parts of\nTuscany, and \" frate baseo\" elsewhere. & & &\n\" Pupi \" and \" Pupazzi \" were the names given to the burattini in\nthe provinces of Rome and Naples, these being derived from the ancient\nLatin vocabulary. jS? jz?\n& There remains the word \"Marionette \" destined to designate the little\narticulated figures (or \" mastitiettate \" as Paolo Minucci calls them),\nwhich are supported by a wire from the top of the head and made to\nmove by means of strings. And in regard to these Marionettes 1 have\nhad this very day a real vexation. Seeking in the \" Nuova Enciclopedia\npopolare italiana\" for some information in reference to this word\nwhich should be of service to me I ran straight into this abominable\nstatement: \" Marionette: In Italy they are called burattini, fantoccl,\n\" fantoccini; and the word Marionette is an ugly Gallicism derived from\n\" a certain Marion, a charletan, who first introduced them into Prance\n\" under Charles IX\".\njZ? Powers of heaven and earth I how is it possible to cram into so few\nlines such an amazing number of blunders! The marionettes were not\nintroduced into Prance under Charles IX:.... a charletan (ciurmatore) is\nnot a burattinaio; ....the name of Marion has never belonged to a man\nbut always to a woman, as a caressing form of Marie; ....and finally,\nMarionette is not by any means a Gallicism, but an Italian word like\n\" me \" and ** vol \", with a clear etymology backed by documents which\nit is a read delight to read. It is a word in common use, and if it is not\nin the dictionaries, ...J mean to say in that of the old bachelors of the\nCrusca, for it is not lacking in the excellent dictionary of Fanfani) ....so\nmuch the worse for the dictionaries; and let those whose business it Is\nto put it in, put it. jz?\nOpen the book of Giustina Renier Michel, \" Origine delle feste vene-\nziane \" (Milan, 1829) and read what is written about the famous \" festa\ndelle Marie \", the festival of the Maries, to which I already referred in\nthe preceding chapter, and with which it was customary in Venice, from\nthe tenth century onwards, to commemorate, by the celebration each\nyear of a sumptuous ceremony, the rape of twelve affianced maidens"}, {"page_pdf": 67, "page_imprimee": "253", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.67", "texte": "A HISTORY OF PUPPETS.\n\nwhich was accomplished by Saracen pirates. set\n*\n£? I beg you to recall to mind what I wrote a few pages back about the\nvery singular ceremonies of this solemn commemoration and compare it\nwith that which Qiustina Renier Michel says about it in her book. (1)\nFor eight days twelve young girls, richly dressed and covered with\ngold and jewels, were led in procession about the city. The choice of\nthese girls was a munus publicum of the Doge; but, as time went on,\nthis custom giving rise to endless quarrels in the state, there arose the\nusage of substituting for the women an equal number of sculptured fi-\ngures, elaborately decked out and called by the people the \"Marie di\nlegno \",.... the \" wooden Maries; or the \" Marione \", the \" big Maries,\"\nto indicate that they were larger than life-size. In the week of the\n\" Marione \" the Venetian toy-venders offered for sale certain small re-\nproductions of the large figures which sold in thousands; and these,\nbeing diminutives -of the \" Marione \" or \" big Maries \" were called \"Ma-\nrionette \" or \" little Maries \". The whole thing is as clear and simple as\nfresh water and befell in Venice and not in Japan, and all took place a\nmere bagatelle of five hundred and fifty years before the birth of that\nrascal, king Charles IX\nI ask pardon of my courteous readers for this long but indispensable\nphilological disgres'sion and return straightway to the marionettes of the\ntheatre and to the story of the burattini in Italy.\nAnd this I could not embark upon at once and follow out swiftly\nand clearly did I not commence, as though to attack the subject with\nthe greater vigour, from a more distant and higher point, in a contrary\ndirection, going over, in the narrower field of our own peninsular, a\nportion of that ground which we have already covered, treating the ar-\ngument under a more comprehensive and more general aspect.\nThe use, or rather, the abuse, of introducing burattini into the ec-\nclesiastical ceremonies and of making the marionettes perform in the\nvery interior of the temple on the occasion of the most stately and\nsolemn church services was almost universal in Italy in the first cen-\n\nNOTES.\n(i) The Mask, October 1912 page 138 4&"}, {"page_pdf": 68, "page_imprimee": "254", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.68", "texte": "A HISTORY OF PUPPETS\n\nturies of the middle ages ; so much so that a Pope, addressing his words\nto the venerable prelates from the height of St Peter's Chair, deemed It\nnecessary to stir up their zeal toward the repression of a custom so\nprejudicial to the decorum and dignity of the holy places:\n\" Interdum ludi fiunt in ecclesiis theatrales; et non solum ad ludi-\n44 briorum spectacula introducuntur In eis monstra larvarum ; verum\n44 etiam in aiiquibus festivitatibus Diaconi, Praesbyterl et Subdiaconi\n44 insaniae suae ludibria exercere praesumunt \" said Innocent III. (i)\nPope Innocent pronounced these words in the yeur 1210, but it does\nnot seem that they bore much fruit, for in the special records there\nabound evidences of the stubborn and mulish obstinacy with which Italian\npriests and friars, monks, abbesses, religious bodies, devout congregations\nand confraternities multiplied the puppet performances in the churches ;\nwhether innocently, out of desire to stir the devotion and contrition of\nsinners by these performances, or in frivolous rivalry of magnificence\nbetween church and church, or through the base calculations of greed,\neach one striving to draw, by means of such pastimes, a greater number\nof spectators and a more abundant flow of alms Into the treasury of\nthe & jg?jg?\nIn those days, in the resounding naves, and beneath the cupolas veiled\nin kindly obscurity, one saw set up on high the 44 castello \" of the <4bu-\nrattinaio \", shaped and adorned in the style of a chapel or a tabernacle,\nin which were gathered large articulated figures of Jesus, of Mary, of\nSt Joseph, of the Magi Kings, of Herod, of Rachel weeping for the death\nof her children, and of all the saints of Paradise, gesticulating in various\nattitudes according to the particular events of their lives or of their\nmartyrdoms. &\n£? We may believe that such puppets remained mute for some time and\n\nTRANSLA T I O N S.\n(i) Meantime, now, they act plays, theatrical performances, in the\nchurches, and not only do they introduce masks in the comic pieces, but\neven, in some festivals, the very deacons, priests and subdeacons them-\nselves presume and are eager, in their madness, to act the parts of the\nmaskers themselves. & & & & & &"}, {"page_pdf": 69, "page_imprimee": "255", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.69", "texte": "A HISTORY OF PUPPETS\n\ndid not execute any other movements than those indispensable for the\nproduction of a slight illusion of truth in the mind of the on-lookers or\nfor the establishment of a stronger faith in miracles, on account of\nwhich in later days certain images of Christ and the Madonna were held\ncelebrated. But the words with which, in 1439, the Council assembled to\ntreat of matters of ecclesiastical discipline reproved anew the inveterate\ncustom, would lead us the rather to suppose that little by little the\npuppets of the churches carried their boldness to the pitch of making\ntheir voices resound through the ample vaults of the holy fanes and of\nperpetrating some audacious attempts at scenic representation. In fact\nthe Fathers gathered at the Council note that: \"tarn in metropolitanis,\n44 quam in cathedralis et aliis ecclesiis, consuetudo inolevit ut dum\n\" divina aguntur, LUDI THEATRALES. LARVAE, monstra.... spectacula\n44 introducuntur \". (1) uz?\nHere, evidently, reference is made to a complete scenic play, with its\nmasks, its allegorical personages, and its machinery, such as were used\nin the primitive farces, pantomimes and dances.\njg? Sant'Antonino, bishop of Florence, refers also at that same time to\nthe performances and spectacles which were got up in special style by\nthe clerics in the Florentine churches, so that it is impossible to imagine\nthat the whole evil reduced itself to a simple display of articulated, but\nmotionless and silent, figures, or, as we say today, 44 plastic pictures\nThere was the spectacle, there was the movement, there was the word,\nthere were all the elements from the union of which results the theatrical\nplay in the special and restricted meaning of the word. &\nNaturally one understands that the subject, the story, the argument\nof these performances were drawn from the pages of holy books or from\nthe legends of the holy Martyrs; one recognises perfectly that the cho=\nruses, the monologues and the dialogues of these productions in dramatic\nform were nothing else than the reproduction of Bible texts, of fragments\n\nTRANSLA T I O N S.\n(i) It has become the custom that both in the metropolitan churches,\nand in the cathedrals, while the religious rites are being celebrated they\nintroduce theatrical plays, masks, fantastic figures,... spectacles."}, {"page_pdf": 70, "page_imprimee": "256", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.70", "texte": "& A HISTORY OF PUPPETS.\n\nof the Gospels, of the solemn canticles, antiphons, and responses most\nfrequently interposed in the liturgical ceremonies, and were almost\nalways given in the Latin tongue. The theatrical performance was, in\nfact, one of those \" Sacre rappresentazioni \" (i) about which my friend\nAlessandro D'Ancona has written and published so many learned volumes\nfrom which, with long study and much affection, 1 glean and epitomize\nthe information most interesting for my thesis.\nBut it is none the less true that, even at that remote period, the\nreligious puppets of Italy began to assume the physionomy and the man-\nners of the puppets of the theatre, and it is not less certain that in\nItaly, much earlier and much better than elsewhere, the \" Sacra Rap-\npresentazione \" assumed the colour and flavour of drama through the\nmarionettes.\nWhen his Holiness had emptied his sack of anathemas, and the Bi-\nshops had exhausted their stock of reproofs without the puppets having\ngiven any indication of resipiscence or any sign of bending,.... or rather\nof folding up,., beneath the thunderbolts of the Authorities, there suc-\nceeded to the violence of the struggle a long period of calm and tole-\nrance, during which the Marionettes did pretty much as they liked in\nthe churches, the cloisters, the squares surrounding the cathedrals, the\ncemetaries, and the refectories,.... in all the places, in fact, where the\nwanderers and pilgrims assembled in greatest numbers.\nAnd the first effect of such tolerance and of this more unrestrained\n# \\\nliberty was, in my modest and humble opinion, the association of the\nPuppets in the great performances given, in church and out, by the\nreal living actors of the new liturgical JZ?\n& Reading the descriptions of the scenes in which the most complicated\nprogramme of those sacred plays had to spread, unfold and develop, re-\nquiring as they did, an enormous space, cut up into twenty or thirty\ndistinct compartments, divided off by partitions and communicating one\nwith another by meanS of doors and passages, and rendering necessary\n\nNO T E S.\n(i) '* Orlglni del Teatro in Italia\" Florence, 1887. See also\nJanuary 1912.^&&&&£><£?"}, {"page_pdf": 71, "page_imprimee": "257", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.71", "texte": "& A HISTORY OF PUPPETS\n\nthe intervention of heavy machinery and scaffolding, and of cranes,\nwheels, and counterpoises to raise and lower so many people, to cause\nthe appearance and disappearance of so many monsters, to produce so\nmany and such varied wonders, there naturally comes into one's mind\nthe calculation of the proportion between the dimensions of the church\nor square and that of a stage upon which five or six hundred people had\nto move continually and frequently pass from one compartment to\nanother, and ascend In troops to the higher tiers.\nPermit me to insert at this point a somewhat lengthy extract from\nthe book of Alessandro D'Ancona, taken from chapter XXVII, in which\nhe discusses the scenic setting of the Sacra Rappresentazione.\n\" As to the scenic setting of the Ancient Religious Theatre there are\n\" diversities of opinion among the learned. The Brothers Parfaict, In\n\" fact, hold that the scene of the Mystery was a large edifice or scaf-\n\" folding, at the top of which was the Paradiso, in the lowest and sub-\n44 terranean part the Inferno, and between these were raised as many\nstories as there were principal regions in which the action of the\n44 play took place; each of these stories being subdivided into compart-\n44 ments according to the particular place in each region. To form an\n44 idea of this peculiar construction of the stage.... which one would say\n44 was imitated from bee-hives one should take as example a box\n44 divided into many little compartments and set up on its side, or else\n44 a house of which the principal outer walls had been demolished; or\n44 else the present day theatre, save that the actors occupied the galleries\n44 and boxes and the public the stage.\n44 A more careful examination has been made by the celebrated Paulin\n\" Paris to expound a different opinion.... that the theatre extended for\n44 a length of about a hundred feet, rising exactly like the auditorium\n44 of the theatre of today. The front part of the stage concealed beneath\n44 it, in the form of a dreadful mouth which from time to time opened\n44 to afford passage to the devils, the infernal region, in which much\n44 noise was made ; flames and smoke also issued from it, and the demons\n44 precipitated therein the souls of the sinners and their bodies. -<s>\n44 Upon the platform took place the greater part of the action, and from\n44 thence the actors spoke when the subject did not detain them in"}, {"page_pdf": 72, "page_imprimee": "258", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.72", "texte": "A HISTORY OF PUPPETS. &\n\n44 those compartments situated further back, which represented the\n\" countries, cities, woods, seas, buildings, palaces, temples and rooms in\n44 which some episode of the drama took place, and from which they\n44 issued forth when it was their turn to speak, and whither they re-\n44 turned when they had nothing else to do or to say and the action\n44 could proceed without jg? jg? J&\n•£? 44 There the spectator saw them, each at his post, when the play began,\n44 and In a single glance knew the number of the regions, the quality\n44 of the personages, Ira short, the subject of the performance, being often\n44 assisted in this by the placards fastened upon each compartment and\n44 the explanations given verbally by the director of the performance,\n\" To go from one to' another of these 44 mansion! \" the actors passed\nround behind, or across the space destined for the general stage.\njg? 44 But higher than all the little houses, almost like a great gallery,\n44 richly decorated, rose at the back of the stage the Paradiso, which\n44 opened and closed as occasion required, like the infernal mouth, and\n'' wherein was enthroned the Triune God, seated upon a resplendent *\n4' throne, surrounded by the symbolical attributes of his divinity and by\n44 the choirs of Angels, his ministers and messengers, \"\n& Royer also, in his 44 Storia del Teatro \", is of the opinion that all\nthe compartments were not constructed one upon another but simply\none beside the other. & jg? & &> jg? &\nAnd in this last judgement, which does not differ much from that of\nPaulin Paris, the most learned Alessandro D'Ancona also concurs, (at\nleast in the main thesis,) asserting that this minute description of the\nFrench stages conforms perfectly with the Italian stages of that period.\nThe worst of it is that this description is now shown to be, by more\nrecent and irrefutable documents, absolutely Inexact; and the 44 ma*\nquettes \" of ancient theatrical scenery, reconstructed according to\nthe indications of the valuable manuscripts of the French Biblloth&que\nNationale, and exhibited at the great Paris Exhibition in the year 1878,\nhave convinced the most incredulous -that the compartments of the\nscenery adopted in the Mysteries were not seldom built one upon another;\na fact which, after all, is not denied, except for special cases, by D'An-\ncona himself, who, in a foot-note to page 399, Vol. I. of ills work, cites"}, {"page_pdf": 73, "page_imprimee": "259", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.73", "texte": "A HISTORY OF PUPPETS. &\n\nas an example of scenery raised in stories that of the Mystery of the\nResurrection, where the ** maison du Cenacle doit estre dessoubg Pa«\nradis \" because the tongues of fire had to descend from above.\n& Now, how would it have been possible in a theatre, even of the most\nvast proportions, to construct a scene with various stories and numerous\ncompartments, so solid and so strongly fitted together as to sustain\nwithout danger in the upper ceils and stories many persons, obliged to\nmove, to walk, to run all together upon that shaky foundation ?\nSee, for example, how the Paradiso appeared in the Mystery of the\nIncarnation. \" And first Paradise was opened, made in the guise of a\n\" Throne, and a pavilion of gold all round, in the midst of which is God\n\" in a decorated seat, and on his right Peace, and beneath her Mercy,\n\" on the left Justice and below her Truth, and all around nine orders\n\" of angels the one above the other\n■£? Even counting only ten angels for each order they make in ail the baga-\ntelle of ninety-five persons roosting in a kind of cock-loft, beneath which\nthe actors of the Mystery had to recite and move about, ....in great fear\nof seeing everything come down !\n1 therefore believe,... and believe that I am right... that many of those\npersonages gathered in the higher compartments, and especially those\nelevated up there as visions and having no part whatever In the action,\nwere only figures of people, puppets constructed with much skill in\nsome less heavy material, and grouped and arranged in such a way as to\nproduce the most perfect illusion.\n£?Apd I am strengthened in this opinion by the careful examination\nof all the other parts of the Mystery, according to the witness of con-\ntemporary chronicles and according to the most ingenious comments of\nmy friend D'Ancona, JZ? js\nIt may be right enough that, during the development of the Sacred\nDrama the various exigencies of the action should require the real actors\nto issue from their compartments to recite their parts in the spazio\ncomune,the common ground, and that it should then lead them to\nreenter, to remain almost quiescent, once their part was finished and the\naction transported to another region. But it is not equally all right that\na dense crowd of performers, necessarily allied with the events of the"}, {"page_pdf": 74, "page_imprimee": "260", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.74", "texte": "A HISTORY OF PUPPETS. &\n\nstory, should remain for whole days, and sometimes for whole weeks,\nconfined, motionless, mute, inert, in these narrow little boxes, until\nthe termination of so long and so fatiguing a performance. -2?\nThe inconveniences deducible from a similar hypothesis are so nu-\nmerous, so serious and so obvious that 1 do not pause even for a moment\nto review them. And I think that all those soldiers, all those citizens,\nthose scribes, those pharasees, those neophites, those little virgins were\nin part puppets artistically modelled and proportioned according to the\nlaws of theatrical prospective, those nearer larger, those further off smaller\nand all put together with suitable articulations to simulate a certain\nmovement, a certain activity which deceived the eye and furnished an\nagreabfe pastime and augmented the appearance of real life in that\nvast and ample scene, whilst the principle characters moved and spoke\non the stage.\n£/ I also believe,,., and I base my opinion on the descriptions cited of\nmany sacred Italian plays,... that another class of large marionettes was\nlittle by little substituted for the real living actors; when they had either\nto rest or to be silent for a long time during scenic episodes in which\nthey did not take part, or when, withdrawn into their cells, they had,\nwithout words, to simulate some action which was either painful or im*\nmodest or dangerous or simply decorative. &\nThus in the Representation of Santa Uliva, while a combat is going\non upon the stage, a puppet, dressed and painted in likeness of the Saint,\n\" will give birth to a child in her houseand a little later another\npuppet must certainly take the place of the principal figure when \" with\nmerciful deception another woman that seemed to be Uliva is burnt with\na child in her arms and thrown into the sea \".\nAnd the animals, the wild beasts, the giants which appear in the\nepisodes of the liturgical Drama must also have been often articulated\npuppets:... those lions which in the \" Daniel \" devoured the satraps of the\ntyrant, sparing the young man who was protected by the Lord ; that\nterrible \" dragon \" of which St Michael the Archangel \" cut off the head \"\nwith a blow of the sword ; those serpents which hissed from the open\njaws of hell, and those devils that fell violently down, in precipitous\nconfusion, from the lofty summets of the mountain into the gloomy"}, {"page_pdf": 75, "page_imprimee": "261", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.75", "texte": "A HISTORY OF PUPPETS. &\n\nabyss of eternal perdition.\nJZ? Again, not infrequently a puppet was adopted to represent the\nomnipotent Creator, hovering upon the ciouds, or seated beneath the\nstarry vault of sky. In 44 Adam \",a sacred drama of the twelfth cen-\ntury, the programme of which was recently discovered, (Ordo rapresen-\ntacione Ade), the person of the Omnipotent is designated with the title\nof 44 Figure of Qod the Father and often called simply the 44 Figure\n44 Cum fuerint (Adam and Eve) extra Paradisum, quasi tristes et con-\n44 fusi, incurvati erunt solo tenus super talos suos; et Figura manu eos\n44 demostrans, versa facie contra Paradisum, Chorus inclplet; Ecce Adam\n44 quasi unus... quo flnito, et Figura regredietur ad ecclesiam (i)\n&In a 44 New Inventory \" of the goods owned in 1339 by the Perugian\nConfraternity of San Domenico was found the enumeration of the dresses\nand properties necessary for the performance of the 44 Spiritual Lauds \"\nand of the 44 Liturgical Dramas \", and among these properties or acces-\nsories are also described 44 dole ladrone \", that is, the two thieves to set\non either side of the Crucified Christ, which were without doubt of wood\nor wax, conveniently articulated to serve on the stage ; and also the\n44 palomba per lo Spirito Sancto \", the dove for the Holy Ghost, which\nmust evidently have flown by means of strings and mechanism. JS?\nJS? In the April of I427, at the Court of Amedeo VIII, duke of Savoy, the\nsacred play of St George was performed with great magnificence; and\nfrom the account book of the treasurer Michele De Ferro it appears that\nthere were purchased : five ulne of white iinen \" pour une ydole tout\nentiere de trois pyes de long \"; eleven measures of the same linen \"pour\nies quatre martyes que Dacien faict decoler \" ; three \"pour\nune autre ydole ou se met une personne qui parle \" ; four pounds of\n\nTRANSLA T / O N S .\nv\n(i) When Adam and Eve shall be outside the earthly Paradise, they shall,\nsad and ashamed, bow themselves, humiliate themselves even to the\nground; and, the Figure, standing with his face towards Paradise, and\npointing at them with his hand, the chorus shall begin to sing: Ecce\nAdam quasi unus and the chant being ended the Figure shall\nreturn to the holy place J"}, {"page_pdf": 76, "page_imprimee": "262", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.76", "texte": "J? A HISTORY OF PUPPETS. &\n\n44 blanc de puillie pour faire I'encarnacJon de ceulx qui seront ou sem-\nbleront 6tre nus, et pareillement pour les visages des tgtes et pour les\ncouronnes de Dleu, du Pape, etc\" ; and finally \"quatre peaux de rnouton...\npour faire le corps de Saint-Georges tout du long pour sembler nu ; \"\nbesides the expenditure \"pour la faczon du dit corps \". (1)\n& Nor, with all deference to the many learned scholars who have fully\ndiscussed this subject, can 1 bring myself to believe that those charac-\nters in the sacred plays which, in the presence of the audience, sub-\nmitted themselves to ill-treatments, to scourgings, to burnings, to\namputations and to all the other tortures of martyrdom, were anything\nbut puppets and marionettes, admirably constructed and painted to look\nas if they were living beings. & &\nJSf We are not speaking, be it understood, of .the final execution, for\nwhich frequently the written programmes which have come down to us\ncontain precise indications and the clearest injunctions for the substitu-\ntion of a dummy for the real actor. In 44 Santa Cristina for instance,\nafter the executioner has seized his victim and ordered her to lay her\nhead on the block the programme says that 44 one must exchange for\nthe counterfeit In 44 Santa Apollonia in a similar stage crisis, it is\nwritten, 44 a few women weep over Santa Apollonia, and one of them\ntakes her under her mantle, and another lays down a counterfeit which\nresembles her,.... and the executioner cuts off its head \". sS &\n& But also in the minor pains inflicted, even if those be not to be\nconsidered as yet more cruel and unbearable,... the same thing must be\n\nNOTES AND TRANSLATIONS.\n(i) Five ulneof white stuff for a whole Idol three feet in length ; eleven\nmeasures of the same stuff for the four martyrs that Dacien causes to\nbe decapitated ; three for another idol where one puts a person who\nspeaks; four lihbre of whitening, (blanc de pull lie) to make the flesh\ntints of those who shall be or shall simulate to be nude, and likewise\nfor the faces of the heads and for the crowns of God, of the Pope, etc;\nand four sheep skins... to make the whole body of St George, appear\nas naked; also the expenditure for the making of the said body. (Ci-\nbrario : Econom. polit. del Medio Evo. Torino, 2854. page 237.)"}, {"page_pdf": 77, "page_imprimee": "263", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.77", "texte": "A HISTORY OF PUPPETS.\n\nsaid, in spite of the ardour of devotion and enthusiasm of faith which\nsometimes led some one among the actors of these sacred Mysteries to\nsuffer some sharp blow and wound for the greater glory of God.\n& When the executioner, having said to St Agatha with fierce eyes,\n44 Now stretch forward thy breast quickly \" cuts off her breasts \" with\na knife ; when St Cristina is torn with sharp hooks and the hangman\n1 cuts off her breasts and tears out her tosigue\"; when, in the case of\nSt IppoIIto, the executioner \" crushes his flesh even to the bone and\ndrags him to the scaffold by the rope when St Laurence Is beaten\nwith leaded balls when St Romolo Is dragged along 44 by the hair\nwhen St Rossore and his companions are 44 pinched with red hot pincers \",\nand a soldier 44 tears out the heart\" of St Ignazio, reading thereon with\ngreat amazement 44 written for all the name of Jesus (i) and everything\nis done upon the stage before the audience, i believe it is perrnissable to\nconclude that St Agatha, St Cristina, St Ippoiito, Si Laurence and the\nother glorious Martyrs and Confessors were stupendous puppets and\nmarionettes, substituted in that moment for the actors ; and thus, by\nsimulating human figures, arousing universal terror and emotion.\nThe same thing, undoubtedly took place when the development of\nthe sacred Drama rendered necessary the exhibition upon the stage of\nabsolutely naked bodies, to be tormented or wounded or violated as\nthe case might be.\nSt Dorothea and St Giuliana were tied naked to the column and\n44 torn with hooks St Barbara and St Margaret had their naked shoul-\nders and brea$ts burned with lighted torches; the Child Jesus was cir-\ncumcised naked on the stage ; and the virgins of the Lord fell naked into\nthe clutches of the ferocious and lustful satellites of the pagan Emperors,\non whom, ...we leave out the incentives to sensuality,... the same ano-\ntations of the stage directions imposed the obligation of pushing to the\nextreme limit the actions proper to ravishers and executioners.\n& Certainly very often nude figures were tolerated on those stages*\neven to the point of letting it be written in the 44 Mystery of the Old\n\nNO T E S .\n(i) D'Ancona. \" Sacra Rappresentazioni Vol. II. page 29. j£?"}, {"page_pdf": 78, "page_imprimee": "264", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.78", "texte": "A HISTORY OF\n\nTestament \" Here it shall be legitimate to have some persons entirely\nnaked for penitents\". But it is reasonable to suppose, ...as all the students\nof this subject, from the Brothers Parfaict to our own D' Ancona are\nagreed In supposing,... that in the greater number of cases large wooden\npuppets were introduced upon the stage, wrapped in flesh coloured stuff\nand Sightly veiled, so as to produce the effect of life without putting to\ntoo severe a test, I will not say the modesty, but the courage, of the\nactors,\n& And upon this subject, and as a'more efficacious demonstration of the\nnecessity of adopting puppets in the Representation of the Sacred Dramas\nin Italy, let me be permitted to quote, in the words of Pittre (I) the\ndescription of a scenic spectacle celebrated at Mazara in I728, (the date,\nas you see, Is very near to our own and proves clearly the continuity\nand the constancy of the tradition) in honour of the holy martyrs Vito,\nModesto and Crescenzio. &\n& 44 Few \" writes Pittre, 44 are the abstract personages, very many the\n44 excutioners armed with various instruments. Four hundred martyrs\n44 cruelly tortured ; some disembowelled ; others thrown into a cauldron\n44 of boiling sulpher and lead, others lacerated with iron hooks and combs,\n44 others crushed with cudgels, others shot through with arrows or\n44 crucified, and torn in pieces by wild beasts, and bitten by vipers,\n44 and scourged till the blood ran, and their tongues torn out, and their\n44 fingers, hands and arms cut off; and wounded with hatchets, and run\n44 through with swords and knives, and excoriations and lacerations\n44 and decapitations of every kind\".\nIf there was not need of puppets for all this may I be lacerated and\nflayed like St Modesto himself!\njg? Poor marionettes! And to think that not a single one of them Is to\nbe found In the martyrology!\nAnd it may be perhaps on account of this ingratitude that from the\nfirst half of the fifteenth century the Italian puppets, and especially\nthose of Florence, on the occasion of the solemn festivities and the popular\n\nNO T E S.\n(1) D'Ancona: Op : cit: page 376. & &"}, {"page_pdf": 79, "page_imprimee": "265", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.79", "texte": "A HISTORY OF PUPPETS.\n\nperformances which it was usual to celebrate for the feast of St John\nthe Baptist, abandoned the churches, cloisters, cenietaries, and convents\nand issued forth, wandering freely about the city, mounted upon great\ncars superbly adorned and furnished with mechanisms and \" engines \"\nsimilar to those which Fillppo Brunelleschi and Cecca had invented and\nperfected for the \" Sacre Rappresentazloniand devoted themselves to\nworking on their own account, whether one by one or united in companies,\nmaking a display of plastic pictures, jumping, dancing, reciting dialogues\nand farces, and emigrating from the cities into the country and villages,\nto the fairs, the markets, the entertainments of Princes and illustrious\nmen. ug?\n& And it was indubitably in Italy, in fact in Florence, and in the fif-\nteenth century, that after the long lethargy of the middle ages there awoke,\nand arose once more, the ancient dramatic form, renewed, grown young\nagain, and animated by the breath of the new times; thus in Italy and\nat Florence, and about that time, there took place the resurrection of\nthe ancient marionette theatre, the delight of the Greeks of the time of\nEuripides and of the Romans converted to the doctrine of Christ.\nshall now see little by little how from Italy the theatrical puppets were\nlater on to move.... one might rather say in a triumphal progress than\nmerely on their travels.... and to go to be the delight of the most cul-\ntured nations of Europe. The modern world, which is our debtor for so\nmany beautiful things, owes us a little gratitude for the marionettes also,\nand is shamefully ungrateful when it pretends no longer to remember\nthis. JZ?\nIn fact I am obliged at this point to call attention to the fact of how\nin the most active, most lively and most glorious period of the history\nof modern marionettes, the documents relative to the puppets of Italy\nare much scarcer and more incomplete than those relative to the pup-\npets of all other nations of Europe. &\nAnd this comes about, partly because with us the ugly vice of making\nno account of, and letting slowly fall into oblivion, our treasures, is an-\ncient and inveterate ; partly because it perhaps seemed to our historians\nthat so poor a subject was not worthy of their Investigations and of the\nattention of students; to a great extent also because the history of the"}, {"page_pdf": 80, "page_imprimee": "266", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.80", "texte": "& A HISTORY OF PUPPETS.\n\npuppets and the puppet showmen of the whole world is neither more nor\nless than the history of the Italian marionettes.\nItalian were the first jugglers and directors of puppet plays which\nappeared on the street-corners and in the little theatres of France, of\nSpain, of Germany, of England ; Italian were the first characters of the\nfarces acted on those diminutive stages ; Italian the \" masks \" of the new\ncomedy, Italian the scenarios and the programme which served for the\nfirst improvisations. & & &\nAnd we, albeit recording the glories of the foreign puppets, shall in\nreality do no other than revive the laurels whose immortal leaves gar-\nland the pleasant slopes and smiling plains of our own beloved land.\nTo be continued.\n\nA STAGE\" PARADISO\" OF An\nExtract from the Life of II Cecca,\nby Giorgio Vasari.\nTPhe church of tSie Carmine, wherein this representation took place, is\nconsiderably broader and more lofty than that of San Felice, and in\naddition to that part which represented the Heaven into which the Saviour\nwas received, there was sometimes a second erected, when it seemed\ngood to the rulers, over the principal Tribune,^\nThis, then, presented another Heaven, in which certain vast wheels,\nin the manner of a windlass, were so arranged, that from the centre to\nthe circumference, they moved ten circles, beautifully ordered to represent\nthe ten heavens.\nThese circles glittered with innumerable lights representing the stars,\nand arranged in small lamps, suspended in such a manner that they\nmaintained their equilibrium as the wheels turned round, as is now done\nby lanterns of a.certain kind, which are used commonly by all the world,\njp From this Heaven, or Paradise which was certainly very beautiful,\nthere proceded two strong ropes ; these were fastened to the rood-loft,"}, {"page_pdf": 81, "page_imprimee": "267", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.81", "texte": "& A STAGE 44 PARADISO \" &\n\nor gallery, of which there is one in that church, and over which the\nrepresentation was made. & & & &\nTo the end of these ropes two small bronze rollers were fastened\nwith cords, and these supported an iron stake fixed to a level platform,\non which stood two angels bound firmly by their girdles. They were\n\\\nkept upright by a counterpoise of lead which they had beneath their\nfeet, and by a second bracket, on which they supported themselves, and\nwhich assisted to maintain them on the same level. & &\nThe whole apparatus was covered with a large quantity of well prepa-\nred cotton wool, and this gave the appeareance of clouds, amidst which\nwere seen numberless cherubim, seraphim, and other angels, clothed in\nvarious colours, and all very well distributed and arranged. <£?\nThese, when a cord was loosened from the paradise wherein were the\nlights, came down the two strong ropes above named, and being arrived\non the rood-loft where the spectacle was to proceed, they announced to\nthe Saviour that he was then to ascend into Heaven, or did or recited\nwhatever else was set down for them to perform or speak. &\nAnd as the iron to which the angels were bound by the girdle was\nsecurely fixed into the base or platform on which they stood, they could\nturn themselves round, could make due obeisance when they came and\nwhen they returned, or move themselves about as might be required,\nso that in returning they set their faces towards heaven, and when the\nproper time came were drawn up, by means similar to those which had\neffectuated their descent. &"}, {"page_pdf": 82, "page_imprimee": "268", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.82", "texte": "Mr CECIL SHARP AND ENGLISH FOLK\nDANCE\nby Edward Edwardovitch.\nQnce walking with my little boy in Genoa on a warm summer night I\nwas attracted towards a dark archway by the sounds of rhythmical\nnoises. Under the arch we witnessed a jolly sight.\nA ring of dark niggers, their biack arms and heads glistening in the\n4\nsparkles of light which came from a bad lamp; all of them clapping\nrhythmically with their huge hands. ...Such an easy charming sound, and\none of them in the centre of the ring dancing like only a biack man\ncan dance,... dancing like the very dickens. J£?\n& We both of us drew nearer and watched.\n& The dancer leaps and glides,... and glides again and falls; boils up\nagain and bounds round the ring; then simmers; finally falls only to\nrise instantaneously; then tumbles into his place in the ring and starts\nhis rhythmic hand music. Almost before he has left the centre a second\nhas filled his place,... a poorer dancer, but good for all that.\nThe excitement is not so great, so the first dancer returns to the\ncharge, capering round his fellow in the centre, aiding and abbetting\nhim. ...What a noise, what an experience, what inspiration !\nThe feet of these dancers pound and shuffle for me to far subtler\nrhythms than ever any other dancers have yet done,.... and I have seen\nand listened to many.\n£> Their stage was the most profound 1 have ever seen, their choice of\nplace and time subtler than that of even the greatest of Russian or Greek\ndancers. & &\n& Oh, how they laughed, and how we laughed, and how wild the dance\ngrew. Immoderate and yet masterly. ...What faces too,... quite unforget-\ntable. And ever since having witnessed this ecstatic demonstration we\nask ourselves and each other, on seeing each new dance or dancer, 44 is\nit as good as the black men that night?\", and then we grin at each\nother and shake our heads. JS? *£?\n& And Mr Sharp's dances and dancers ? We both saw them, and we\nboth liked some of them. We liked two men who gave us something\nstrong and strange,... something really exciting : and another men's dance\nmade us feel something like swing. But we were left to think too much."}, {"page_pdf": 83, "page_imprimee": "269", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.83", "texte": "ENGLISH FOLK DANCE &\n\nAnd we thought if only our black fellows would come in and swing along\nin that irresistable gliding shuffle how all the senses in England would\nopen and how the Imagination would call aloud for liberty.\nMr Sharp's dancers are not free. Perhaps It is part of their charm.\nI am sure those who from conceit have revolted from Sharp are not a\nscrap freer, and i don't even suggest that any of those picked men who\nare now under Sharp should break loose from him. But from themselves,\nyes I From fogs and swamps, oh yes. One can't dance In a fog or on a\nswamp, nor with the blinds down, nor in a brown study. &\n& Up with the blinds.... up with the sash of the window,... out on to\nthe green,... away over the hills.... mad If you like, but not sane. A sane\ndancer is a like a sane donkey ride; a ridiculous affair. To assemble in\nevening dress and white kid gloves and go on like the Rabbit in \"Alice\nIn Wonderland\" is sane. That's what men do at most dances. It's a\npretty way to pass the time, and quite sane. JZ?\nWhat then are Mr Sharp's dancers doing in even approaching the\nconditions of those party-dancers ? &\nThey dress up, bells and white suits and bows. They have a look in\nthe glass,... \" Am I quite tidy?\" Then with a determined air they go\nt\nto their self-inflicted doom, conscious to the last.\nJZ? Now I don't want to be unfair, but I do want to speak to some pur-\npose. And no amount of flattery has any purpose in it but gain.\n£? I'd rather lose than gain in this instance, so long as I don't lose the\nrespect and good feeling of those men who danced the morris so well\nthe other day. zz?sZrjZ7jZ?JZ?jZ?<Z?-£?\nI don't compare these dancers to those of the Russian Ballet. There\nis no comparison. These Englishmen beat the Russians hollow,.... the\nRussians being hollow to begin with. JZ? ./Z? JZ? JZ*\nBut I compare them,... am forced to.... with my black men that night\nin Genoa, and then the cat Is out of the bag. The Englishmen lose.\n& I don't want them to lose. Bend them, ....loosen the latches, take\nall the doors off their hinges.... down with the barriers; they are false\nand futile. Loosen yourselves, loosen....! You have the strength,.... hide\nit lest we are led to believe you are merely stiff. JZ? JZ?\nBend ! ....it is not so unbecoming. Risk falling at each bound ; fling"}, {"page_pdf": 84, "page_imprimee": "270", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.84", "texte": "ENGLISH FOLK DANCE &\n\nyourselves upon the shadows and strike them into lire. Wing yourselves\nwith the truths you have absorbed through your master. You will not fall.\nThis you can do if you will not deny life, if you will play with life\nas you dance. Take it for your partner.\nThat is what the Black men did. They dared a figure into the ring\nwith them. They allowed it to trip them up; recovered themselves, and\ntripped it up,.... raced it, confused it, coquetted with it, parodied it,\ncaught it in their arms and threw it up to eternity, as one tosses a coin.\n& If you would dance you must fake Life as your partner. ug?\nHonour Cecil Sharp your master,.... but for all that take Life as a\npartner."}, {"page_pdf": 85, "page_imprimee": "271", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.85", "texte": "BOOK REVIEWS.\n\nTHE BOOK OF BURIED TREA-\nSURE by Ralph D. Paine, Heine-\nmatin. Price ten shillings net,\n/V most fascinating book, well\nillustrated, and dangerous for any\nadventurous mind to get hold of. In\nfact the longing soon conies to the\nreader to be off in search of the\nmillions which were buried in Cocas\nIsland and which to this day no one\nhas unearthed.\n\n0 PLAYS AND PLAYERS IN\nMODERN ITALY, by Addison\nMcleod. Smith Elder. Price\nshillings net.\nIt is difficult for any but an Italian\nproperly to understand the Italian\nstage.\n•0 Mr, (or is it Miss ?) Mc Leod, is\nan enthusiast and understands what\nshe likes.\nShe likes Mr Ainley.... he is her\nideal stage-lover, and she therefore\nfails to discover any ideal Italian\nstage =Iover. Yet Grasso seenis to\nsuggest the love of a man. Mr Ainley\nloves rather more like a curate. It\nseems a holy business with him. ug?\nWell then, what is to be said of\nan author who attempts to tell us\nof Italy and its Plays and Players\nand who turns away from its essen=>\ntials ? jg?\n\nA CENTURY OF GREAT AC-\nTORS by Cecil F. Armstrong.\nMills and Boon. Price ten shil-\nlings and sixpence net.x? &\nTHE COMMEDIA DELL'ARTE\nby Winifred Smith. Ph. D. Co-\nlumbia University Press.\n|)erhaps the Stage Historian will\nsome day do better. At present\nhe does well, but he wastes his time\ntoo much with Garrick, Kemble,\nMacready, Kean and the other \"great\nactors \" whose sayings and doings\nare known already. & &\n& There were other men besides"}, {"page_pdf": 86, "page_imprimee": "272", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.86", "texte": "BOOK REVIEWS\n\nthese whose work we want to hear\nabout; other actors: and for this\nreason Mr C. F. Armstrong is not so\nhelpful to us as Miss Smith, who\ntreats of the older and far ** greater\"\nactors of the sixteenth and seven-\nteenth centuries. &\n£> She sketches out the great story\nof the great comedians. Some day\nperhaps she will give us the separate\nand detailed lives of Andreini, of\nCostantini and Gherardl.... Or will\nMr Armstrong do it for us ?\nWhoever does it we shall be\ngrateful. &\n\n& THE CENSOR\nTHEATRES, by John Palmer.\nFisher Unwin. Price five shil-\nlings net. ugr\nTPhose who hate the Censor and his\npower over dull shows such as the\none Mr Hamilton Fyfe very rightly\nattacked in the Daily Mail last No-\nvember will be glad to read this book.\nThe writer sums up the matter\nby saying that the Censor onlj' lives\nthrough the support of the Actor\nJS? JS?\nGood for the Actor Managers S\n\nDIVERSIONS IN SICIL V, by\nHenry Festing Jones. Alston\nRivers. Price five shillings net.\nnphere are three splendid chapters\nin this book about the Sicilian\nMarionettes, and also some chapters\nabout Giovanni Grasso. The mario-\nnette chapters are particularly inte-\nresting because they give a suggestion\nof the Nothing that happens on the\nItalian stage, whether it be a stage\nfor marionettes or actors, suggesting\nat the same time how it is the au-\ndience that makes the Italian Thea-\ntre what it is. & JG?\nJS? Italian acting is doing nothing\nand doing it well; English acting\nis doing a tremendous lot and doing\nit badly. Now if you do nothing and\ndo it well, your audience is left to\ndo the rest; if you do a lot and do\nit badly, the audience is anxious all\nthe time because there is nothing\nleft for it to do. & &\nYou cannot clip passages from\nthis book for the whole thing is so\nwoven together out of nothing, that\nit Is impossible to take a piece of it\naway without spoiling the whole, but\nanybody who is interested In the\nTheatre will read this book in order\nto find out how rich the Nothings\nof the Italians can be.\n\nCASTELLINARIA AND OTHER\nSICILIAN DIVER\nHenry Eesting1 Jones. Fifield.\nPrice five shillings net.\nHPhe same may be said of this se-\ncond book by Mr Festing Jones\nas of the proceding one. It tells us\na great deal that is charming and"}, {"page_pdf": 87, "page_imprimee": "273", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.87", "texte": "BOOK REVIEWS. &\n\ninteresting about the Sicilian mario-\nnettes, and tells It in a charming way.\n\nTHE NEW SPIRIT IN DRAMA\nAND ART, byHuntly Carter. &\nFrank Palmer. Price twelve shil-\nlings and sixpence net. (i)\nIt cannot be denied tiiat the thea-\ntre and drama In England are in\na transitory state\nThese are the first words of a\nbook which should interest the En-\nglish people. The author in this\nparagraph finds reason to separate\nDrama and Theatre. A very right\nway to begin. And so an interesting\nbook follows. s\nThe illustrations, some in colour,\nmake it doubly interesting. &\nHere we have well reproduced\ndesigns of scenes and costumes by\nBakst, Dresa, Czeschka, Orlitz, Lefler\nRoeriek, Egorof. Architectural de-\nsigns by Professor M. Littmann, by\nTesserow, Zeh. Pictures showing the\nFortuny system of Lighting and\npictures giving away what is called\nthe System of Dalcroze.\nBesides this excellent collection\nwe have a number of reproductions\nof the works of some of the modern\npainters, Peploe, Fergusson, Frlesz,\nLegouzac, Derain, Chaband, Severini,\nPicasso and Wyspianski. There are\nalso numerous plans of theatres.\nJ& These illustrations are for the\nmost part new to Englishmen, and\nthey make the book a very generous\npresent from Mr Carter and Mr\nPalmer to the people who will buy\nit... and every reader of Mask\nshould buy it.\nJ\n(1) See also page I96\n\nALL MANNER OF FOLK by\nHolbrook Jackson. & Grant Ri-\nchards. Price three shillings\nand sixpence net.\nMir Holbrook Jackson's volumes of\nEssays are always welcome: an\nhour or two in his company ever\npleasant, as he discourses of ail kinds\nof grave and merry and important\nand unimportant matters.\nIn the present volume he talks\nto us about many very varied sub-\njects ; about Vagabonds, and\nMasters of Nonsense and Supermen\nand Potters and the Self Sufficient;\nand the Ideas of George Meredith ;\nabout Walt Whitman and Richard\nJeffries and Herry David Thoreau\nand J. M. Synge and William Morris\nand Edward Carpenter and Edgar\nAllan Poe.\nThere are alse five illustrations,\nincluding portraits of Whistler by\nMr Joseph Simpson and of J. M.\nSynge by Mr Jack B. Yeats :\nand a reproduction from The Mask\nof the engraving of Walt Whitman\nby Mr Gordon Craig. X?"}, {"page_pdf": 88, "page_imprimee": "274", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.88", "texte": "FOREIGN NOTES.\n\nLONDON.\n\nThe Arts and Crafts Exhibition.\nFree Gifts to London. &\n'Jphe Grosvenor Gallery has come\nonce more to Bond Street, and it\nopened with the tenth Exhibition of\nthe Arts and Crafts Society. Coni-\nmendatore Walter Crane, as Presi-\ndent of the Society, tells us in his\nPreface to the catalogue that nearly\na quarter of a century has elapsed\nsince the Society opened its first\nexhibition.\n& This being the case it Is all the\nmore shameful that on the opening\nday so few sales were effected.\nFor after all it is the sales which\ncount. Jtz? J£?\nThere were some perfect pieces\nof work shown, and the amazing\nthing is that these things were not\nsnapped up by a sensible and evi-\ndently not-too-rich town. London\ncan't be very well off, for there were\nno expensive exhibits.\nAnd this is the only fault 1 can\nfind with the Society: it cheapens.\nThere were Caskets [of shagreen,\nand silver and ivory caskets; Gold\nrings; Painted leather curtains; Pain-\nted bowls : Salt cellars ; Necklaces ;\nFans; Table centres; Tables; Woven\ndresses; Buckles; Books;... and ail\nof them for practically nothing.\nI think this is a great and serious\nmistake, jgr /0 ,0-\n& Perhaps the world once wanted\nin a real way; now people want\ndifferently. They want what they\ncannot get.\nIt has been the popular way since\nthe Lord said Eve shouldn't have\nthe apples from a certain tree. The\nArtist should have learned this lesson\nfrom his master long ago. He should\nmake It hard,... almost impossible...\nfor anyone to possess certain works\nOf his. & J0\nThese he should plant in the\nExhibition,.... under the noses of\nmankind.... saying, \" Do not desire\nth is that I have made... for its pos-\nsession may bring happiness but it\nalso may bring bitterness ; Beware!',"}, {"page_pdf": 89, "page_imprimee": "275", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.89", "texte": "FOREIGN NOTES.\n\n■£? Anyhow the works shown at the\nGrosvenor Galleries are not prohibi-\ntive and so I sincerely hope they\nwill not be bought, for they would\nbe practically a free gift to each buyer.\n& The Catalogue is a rather badly\narranged one. search too long\nto find whatever we want in it. And\nthe system on which the exhibits\nare arranged is bad ; In fact it is a\nkind of go-as-you-please system. For\nthis reason one misses things which\none would like to see.\nMr Paul Cooper's numberless\nworks in gold, in silver, in shagreen\nand silver, in brass are each and\nall exquisite. These are practically\ngiven away. His sister has a fine\npiece of embroidery, (No, 434,) the\ndesign being by Mr Cooper. Miss\nMinnie Brown's hand-woven dresses\nand stuffs, (No. 488 A and B) are\ndelicious,... and thrown out of the\nwindow for a few shillings. Alfred\nH. Powell's Leather curtain (No. 397)\npainted just as though the whole of\nLondon had begged him to paint it\nfor them,... is given away for a few\npounds. Mrs Christie, (No. 149) shows\namazing skill in some Embroidery.\nThe Stained Glass designs by C. W.\nWhall are fine. I wanted,., expected...\none wall of the Exhibition to be\ngiven to him and all other objects\nhidden and the glass windows to be\nlit from behind so that the full value\nof the things should touch us. &\n■£? There is some illuminating work\nby Mac Donald Gill which is better\nthan anything of its kind that I\nknow. Gill is stronger than most of\nthe illuminators, .... and gayer. He\nenjoys himself with rather more\ngusto than the others ; they are more\nsolemn ;.... and in England,.... but\nthere's no more room to say what\n1 had in mind to say. JZ?\nP. S. & When all has been said\nEngland is first, far and away first,\nin her production of the perfect\nBook. The other Exhibits at the Arts\nand Crafts are all fine,... very fine\nsome of them, but the Printing and\nLettering stands alone. A great man\nhas been at work, and very silently\nat work, to bring it to its present\nperfection. He is little known and\npossibly cares not at all to be men-\ntioned. They * say he is a Socialist.\nBut that won't do... Kings are not\nSocialists.\n\nR. S.\n\nLIVERPOOL & MANCHESTER.\n\nTheir Repertory Theatres. &\n¥ iverpool has 767, 000 Inhabitants,\nand Manchester 716,000 inhabit\ntants. At least I50, 000 pounds should\nhave been found in Liverpool to\nbuild Liverpool its town Theatre.\nIt need not have been a Municipal\nTheatre, it could have belonged to"}, {"page_pdf": 90, "page_imprimee": "276", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.90", "texte": "► FOREIGN NOTES. &\n\nthe town quite well without being\ngoverned by the town, but I repeat,\nat least 150,000 pounds should have\nbeen found for building this Thea-\ntre, and It is not too late now to\nset about finding that sum, and the\nLiverpool people ought to subscribe\nit.\n& In Lubeck, a German town, there\nare only IIo, 000 people and yet\nthe Municipality called upon the\ntown to find 150,000 pounds to build\ntheir new theatre. This has been\nopened in I9I2.\n£? Compare this energy and sense\nof responsability with the English\napathy. us?\nIt doe.sn't matter how you look\nat it, the theatrical situation of Eng-\nland is not a little amusing. Were\nthere no other country in the world\nwhere they saw the need of bull-\nding up a strong theatre so as to\nhelp in building up a strong nation,\nthen there would be no need\nto find fault with Liverpool and\nManchester, for after all, they have\ngood little theatres of their own, a\nlittle Repertory Theatre apiece.\n& I think the Liverpool Repertory\nTheatre better than the Manchester.\nThere is something stronger about it.\nIt seems to have taken trouble over\nbuilding itself, and, with very little\nmoney, Professor Adzhead has ma-\nnaged to knock an old and ugly\ntheatre Into a new and handsome\none. Not that it Is handsome enough\nfor Liverpool, but Professor Adzhead\nwould be the last person to think\nso, and considering the small sum\nat the disposal of the architect, the\nwork is extremely good.\nIn the front of the house all Is\nsimple and the curtain is simple.\nThis is not exactly the case in Man-\nchester. &\njS? The curtain in Liverpool is a\npiece of quiet brocade, not a painted\naffair at all, and it is not raised\nwhen the audience applaud for the\nactors to appear, and so these actors\nin Liverpool, like the actors in Mos-\ncow, stand a chance of not being\nspoiled. There is strength in the\nidea, and that it should have been\ncarried through also shows strength.\nThe seats are comfortable, and the\nprices very reasonable, i found the\nseats less comfortable in Manchester.\nThen too, the Orchestra is hidden\nunder the stage, a very good\nthing, and there is a foyer that has\na dignity we often look for in a\ntheatre and find rarely. JS/\nIt is different in Manchester.\nBehind the curtain they have\nbuilt a very reasonably sized stage\nwell equipped, and are blessed with\nhaving a painting room of their"}, {"page_pdf": 91, "page_imprimee": "277", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.91", "texte": "& FOREIGN NOTES. &\n\nown which contains a large frame.\nThey have a large scene-painting\nroom in the Manchester Theatre. In\nboth cases are to be found one or\ntwo good actors, but as I said before,\nI think the Liverpool is the stronger\nCompany. & &\n& But in neither case is It strong\nenough. Where is the money to\nmake it stronger ? Neither of those\ntowns need flatter themselves that,\nbecause they have what is called a\nRepertory Theatre, they have a really\nfirst class Theatre or anything ap-\nproaching a first class Theatre; This\nis not the fault of the actors, nor\nof the stage managers, nor of the\nother workers on the stage; it is\nsolely the fault of the two cities and\nthis is nothing they can be proud of.\nThey don't seem to realise that\nit is their DUTY to whip out that\nmoney, and whip it out at once.\nThey don't seem to realise the enor-\nmity of their behaviour. It is nothing\nthat London has no Repertory Thea-\ntre for London has dozens of thea-\ntres, and it is almost too big for a\nsingle Repertory. Besides, what has\nLondon to do with Liverpool and\nManchester, except to be an example\nto these two towns as to what they\nshould, not do ? Miss Horniman has\nbeen very generous with her money,\nbut Miss Horniman frankly admits\nthat she runs her theatre to make\nit pay.\nNow you can't run a theatre on\nthe finest principles and make it\npay unless it is first of all supported\nhandsomely by the town. It then\nstands a good chance of paying.\nSuppose a theatre starts off with\nloo, ooo pounds capital, there is no\nreal reason why it should not pay\nhandsomely in the end, but if it\nstarts off with 10, ooo pounds how\non earth can It pay and do good\nwork at [the same time ? I don't\nthink anybody is against a theatre\nbeing made to pay, but if you are\nsensible business people, you do not\nstart off by crippling it, and then\nbeing surprised that there are no\ndividends.\nLet Liverpool and Manchester\nrealise that a well established tliea°»\ntre with a large financial backing\nand plenty of go in It Is going to\nImprove every scrap of the business\nof those towns ; that it is going to\nimprove the very existence of each\nof the inhabitants, and then perhaps\nthings will be done in the right way.\nFor a good theatre assists very\nconsiderably In waking people up,\nin bringing people together on a\ncommon ground. It warms one's\nnature ; one becomes more friendly,\nand at the same time less critical"}, {"page_pdf": 92, "page_imprimee": "278", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.92", "texte": "<£? FOREIGN NOTES. &\n\nof life and of one's neighbour.\n£? A good theatre helps to unite\nthose of a city, and many good\ntheatres help to unite all the cities.\n..... Now then, Liverpool and\nManchester, make the effort!\n\nR. D,\n\nPARIS.\nJ. de S.\nThe Price of Theatre Seats. &\nCir Herbert Beerbohm Tree has\nbeen here. JS?\n& My Confrere \" Percival \" suggests\nin his report to the Referee that\nhe behaved like any dashing student\nof the Quartier Latin. One fancies\nthat he took a furnished room in\nMontparnasse at six francs a week,\nwas to be seen amongst his friends\nin the little corner cafe of the Rue\ndu Bac, borrowed four francs from\nthe painter Fergusson; out of it\ngave Huntly Carter and M. Radjinsky\nthe American a square meal, went\nto a little theatre near the Gare\nMontparnasse, got a good treat for\nfifty centimes, and, in fact, tho-\nroughly enjoyed himself.\nThe Daily Telegraph, on the\nother hand, flatly contradicts ail of\nthis* JS? j£?\n& It states that Sir Herbert went\nabout purchasing stalls for fifty\nfrancs and twenty five francs apiece.\nThe largeness of the price is attri-\nbuted to the evil system which\nobtains abroad of disposing of seats\nto speculators,... a system which Sir\nHerbert Tree was glad to say we\nhave little or no experience of in\nEngland.\nBut possibly Sir Herbert Tree\nasked late in the day for his tickets ;\nand possibly he hadn't to go\nand buy them for himself at the\nBox Office ? Well then,... surely one\nshould be made to pay for privileges.\nOr possibly Sir Herbert Tree wanted\nthe best seat in the theatre ? Again\none must pay for the best. Or per-\nhaps Sir Herbert ordered his sump-\ntuous Hotel porter to get him a\nticket ?... why then, all is explained.\n1 have lived in Paris close upon\neight years and I have always been\nable to procure cheap seats at any\ntheatre worth visiting, provided 1\nordered them in good time.\n\nNEW YORK.\n\nCannibalism, Costume and a\nCoat of Paint.\nHTlte Germans and Professor Rein-\nhardt practically exhausted the\nTurkish theme in \" Sutnurun \" and\nin their other assumptions,... (for\nCEdipus,\" \"A Venetian Night,\" \"The\nMiracle \" and the rest are Turkish\nin temperature in spite of their\nGreek and German source).\nOwing to this the Russians and"}, {"page_pdf": 93, "page_imprimee": "279", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.93", "texte": "x? FOREIGN NOTES. &\n\nLeon Bakst have been driven to\nCannibalism, which after all is a\nkind of off-shoot of Post Impressio-\nnism.\nThe Cannibalist paints on flesh.\nTo M. Bakst the credit of being the\nfirst of this new school must be\ngiven, tie has been painting the legs\nof the ballet dancers of New York.\nThis is a practical as well as a\nmost distinguished idea. Why buy\ntights when a coat of paint will do,\nwith here and there a stripe or a\nstar ? jgr &\n& There are some people who will\ncry out at this revolutiou which a\nParisian Dancer has declared is Sa-\ncrilege. \" Paint my beautiful legs I\"\nshe cried; \" Never 1\". JZ?\nWe agree with herbut the\nIdea is very distinguished ; we are\nall bound to admit that much,....\nwhat ?\nSo \" Cannibalism \" has arrived,\nand M. Bakst has said farewell to\nhis last bead. It was a versatile bead ;\nit served every purpose of costume.\nBut its possibilities were limited by\nthe side of this coat of paint. JZ?\n& The Russian Ballet has solved the\nproblem of costume and manage-\nments need send no longer to Damas-\ncus for silks, but only to Aspinalls\nfor a few pots of their sixpenny\nenamal. JZ?\n\nP. G,\n\nSTRATFORD ON AVON.\n\nStreets as Memorials. & &\npassing through Milan a little\ntime ago I was surprised and\npleased to find that half thp streets\nthere were called after some mu-\nsician, architect, painter, or writer.\nThus I passed in a short time\nthrough the following streets, which\nI will name here although there\nmust be a great number more :\nVia Bramanti, Via Qoldoni, Via Ar-\nchimedi, Via Donizetti, Via Bellini,\nVia Rossini, Via Tenaglia, Via Pe-\ntrarca, Via Boccaccio, Via Tasso and\nVia Vitruvio. As you see that list\ndoes not include the more obvious\nnames of Michel Angelo, Raphael,\nLeonardo da Vinci and Dante, but I\nhave no doubt had 1 searched I\nshould have come across them.\nIt strikes me, and must have\nstruck many others, that it would\nbe no bad thing at all if the autho-\nrities in England would make a little\nuse of the names of artists when\nchristening their streets. After all\nit is quite true we have a John\nStreet, but 1 cannot think that the\nauthorities anticipated the advent\nof our great painter. I feel sure it\nmust have been the name of the\nowner of that plot of ground. Any-\nhow it is quite certain that there\nare very few squares, places, streets"}, {"page_pdf": 94, "page_imprimee": "280", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.94", "texte": "je> FOREIGN NOTES, xs>\n\nor roads named after artists.\nWe have some very good names it\nis true, the nobles' names, Pembroke,\nEton, Belgrave and so forth and\nthe saints show up well in London;\nSt. James and St Pancras and many\nbesides. King's Road and Queen's\nRoad sound fine; there is the unique\nPiccadilly which after all can never\nbe beaten. But such names as Smith\nSquare, Baker Street, Jones' Corner\nand so on do not suit England in\nthe least. JZ? & jg?\nIt is very curious that though\nwe do not name our streets after\ngreat artists, and although for cen-\nturies we have looked down upon\nthe actor, there really does hap=\npen to be a Garrick Street. You\nwill not find abroad many streets\nnamed after actors. jg? &\nIf London should leave matters\nas they are, what is there against\nthe Garden Cities having their fling?\nIt would be an inexpensive way\nof erecting a little memorial to\nour bakers and our smiths.\nSir George Alexander has, I\nbelieve, already had this idea and\nI in no way claim any originality for\nit but I trust Sir George will follow\nup this admirable thought of his and\nat an early date put the idea before\nthe Council of which he is a distin-\nguished member. £? zz?\n\nL. C.\n\nBERLIN.\nR.D.\nAn Over sight. J£? &\nI met a wonderful creature the other\nday in one of the capitals of Europe.\nMe recalled one of the great and\nterrible figures in the Balzac novels.\nHe was about fifty six years of age,\nof powerful build, perfectly dressed,.,\nand dead.\n£? A powerful corpse was before me.\nHis eye glittered,... not with Life\nbut with eternal death. There was\na suggestion as if he had powdered\nhis whole soul with the fine dust\nfrom the cemetaries. I admired him\nwhile I wondered at him. He was\nterrible enough for that.\nHe spoke to me saying that he\nwould like to be able to build and\nimprove his house, and he waved\nhis hand imperiously towards a\nmonstrous affair which is called a\nhouse and which was then in process\nof being pulled down and rebuilt.\nBuilders, not architects, were being\n&\nj0 I suppose he has at least 150,000\npounds a year to spend 011 his life.\n\" Only three things are needed \"\nsaid he, \"The place, the Wish and\nthe Money. We have the first two,...\nbut little of the third\njg? I added that there was a fourth\nthing necessary, the Talent. Poor fel-\nlow, he had forgotten that item."}, {"page_pdf": 95, "page_imprimee": "281", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.95", "texte": "EDITORIAL NOTES.\n\nDRAMA TIC CRITICISM. &\ncriticism In London seems\nto be improving. Criticism cannot\nbe an easy thing at any time, and\ncriticism of the Theatre is particu-\nlarly difficult with so few artists of\nconscience and in the Theatrical\nworld to set the standard. j®\nJ® So much can be said in defence\nof much of the loose London Thea-\ntrical criticism of today, J® J®\nJ® But while we defend we must\nalso admit that while there is even\nbut one artist to set the standard\ncriticism has nothing to complain of\nso far as a lead is concerned. . J®\nJ® Mr Gordon Craig has given the\ntheatrical critics just such a lead.\nHe has acted as an artist ever since\nhe began to develop his theories by\npractise In 1900. He is stern with\nhimself. What higher standard could\ncriticism look for TJ® J® J®\nUnfortunately criticism,... even\nthe most level-headed... is apt while\ndemanding the ideal to be easily\nsatisfied by the sloppiest imitation\nof that ideal,... and imitation is a\npaltry principle, J® J® J®\nJ® London loves nothing so much as\nan imitation article. Witness its\necstacy on the appearance of Miss\nMaud Allen, who was an imitation\nof Miss Isadora Duncan. J®\n& London is now pondering lear-\nnedly about Dalcroze and his method\nwhich is again an imitation,... an\nimitation of the school of Miss Eli-\nzabeth Duncan.\nj® And Del Sarte is forgotten* Was\nhe ever troubled about by the cri-\ntics 1 J® J® J® J®\nj® In the same manner London critics\n(even the level-headed J. M. Bulloch)\nare found to glow over the imitations\nat the Savoy theatre In scene and\ndance. J®\nj® Mr Bulloch uses the word \"novel\"\nin speaking of Mr Barker's produc-\ntion. Here It is as well to remark\nthat the production is not Mr\nBarker's but is the product of several\nmen. These have been told to attempt\nthe William Poel method But\nwhereas Poel was always serious\nthese producers are giddy. j®\nj® Mr Barker's talent for teaching\nactors how to act in the modern"}, {"page_pdf": 96, "page_imprimee": "282", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.96", "texte": "EDITORIAL NOTES. &\n\nway is his own and should receive\nall the praise such a talent deserves.\nBut when he borrows Mr Poel's\nmethod of scenic arrangement he\nborrows if, we suppose, only to put\nIt down: it is no conviction with\nhim. Mr Barker tries different me-\nthods,... and he tries his experiments\non the dog,... that is to say, on the\npublic. We do not believe In vivisec-\ntion methods in the Theatre.\nWe want to see as stage directors\nmen of conviction,... men with\nmethods of their own. We ask for\noriginal work, original thought: we\ncall for men of the stamp of Cezanne,\nGauguin and Van Gogh; we have\nhad enough of the placid imitators,\nthe timid opportunists too eager to\nsuit the public with something rather\nunusual. That is bad art, very bad\nart, and can but breed worse art.\nWe want to see Barker wash his\nhands and become himself. His pa-\nrodies of other men's ideas are out\nof place, worthless and feminine. ■£?\njg? We would rather watch him\nblunder over his own expression\nthan hear him lisp out sentences\nframed better by other lips.\nMr Barker has lately called Mr\nHamilton Fyfe's attack on Professor\nReinhardt a cowardly attack. Mr\nBarker's \" productions \" are not\nexactly manly: a man knows his own\nmind ; Mr Barker seems not to. He\nechoes. He has no principles to guide\nhis 44 production he just borrows\na different method with every new\nproduction.\nNo epoch is marked by these Savoy\nproductions, and Mr Bulloch is wrong\nto assert that an epoch has been\nmarked by them. Originality may or\nmay not mark an epoch. £?\n& Genius marks it. Mr Barker is a\nresourceful man full of the best\nintentions,... and some weak ones.\nWhen he gets rid of these and\nstrikes out for himself he may mark\nan epoch, but he will find that it is\nvery difficult to get out of the habit\nhe has let himself slip into. It will\nneed a lot of repentance. &\nAnd the 44 great public \" which\nMr Bulloch says has welcomed these\nimitation goods ? Is it the 200,000\nthat Sir Herbert Beerbohm Tree\nonce spoke of as having gone to see\n44A Midsummer Night's Dream \" at\nHis Majesty's ? Or is it more ? At\nany rate, considerable public though\nit may be, it is not the \"great public.\"\nThe great public comes to a man's\nwork if he be a genius about a\nhundred years after he is dead.\nPerhaps 44 The Voysey Inheritance\"\nwill win the great public in a hun-\ndred years' time even as 44 Hamlet\"\nwon it once."}, {"page_pdf": 97, "page_imprimee": "283", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.97", "texte": "EDITORIAL NOTES. &\n\nA large public is always a fascia\nnating thing: everyone would be\npopular. Everyone tries to be. But\nsome few there are who will not be\npopular by compromise, and who will\nonly take popularity on their own\nterms and if it comes to them of\nits own free will. &\nCezanne, Gauguin and Van Gogh\nwere such men. They lived yester=\nday. Blake was such a man. He lived\nthe day before. Let the public if it\nwishes to be great honour none but\nthe great men. And let the critics\nbe the friends to the public by telling\nthem a little more of the truth. &\n\nPRIVATE THEATRES.\nHPhesis \" wrote a letter lately to\nthe Pall Mall Gazette asking\nhow many strictly private Theatres\nwere to be found in and about Lon-\ndon. His query was prompted by a\nnotice of the sale of Hampton Court\nHouse \" with a fine theatre \". .2?\n\" Thesis\" calls to mind quite a\nnumber of private theatres:.... the\nShelley Theatre on the Chelsea\nEmbankment; Sir Thomas Freake's\nTheatre in Cromwell Road, and one\njust off Eaton Square and one in\nNorman hurst.\nThis question Is an interesting\none, and we wish \" Thesis \" would\nset out to enquire all about the\nprivate theatres of England and re-\ncord in words and In pictures and\nplans all he finds out. We need such\na record.\nAnd when he has finished England\nthere is a fine rich field awaiting\nhim in Italy.\n& Some one tells us of an old\ncinque cento theatre in Siena... is\nit possible such a place exists ? it\nwould have been a private theatre\nanyhow. Then there are the other old\nPalace theatres: have not some\nrecords been preserved about these?\nAt Fontainbleati there is a great\ngallery which was once upon a time\nthe King's Theatre. Who can tell us\nabout this private theatre ?\n-S\" Then there is the delightful little\ntheatre of Marie Antoinette at the\nPetit Trianon. The public is not as\na rule admitted; the place is not\nused and mustyness is in the air:\nthe wood of the stage is rotting:\nthe least thing breaks it. And so\nfar as we know no thorough record\nof the place exists. Yet what a fasci=\nnating subject,...\" The Private Thea=\ntre of Queen Marie Antoinette\".\nWe hope \"Thesis\" will write the\nbook. jc?\n\nFRILLS AND FO.\ndoes so false a sense of\nvalues appear to prevail as in the\ntheatre. The price set upon pretty\nladles, willing to show an unlimited"}, {"page_pdf": 98, "page_imprimee": "284", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.98", "texte": "EDITORIAL NOTES. £>\n\namount of 44 lingerie\" and an'almost\nunlimited amount of their own char-\nming persons seems to be perpetually\non the increase.\nMile. Gaby Delys, after some\nweeks of laborious dressing and\nundressing on the London stage,\nof being extensively photographed\nfor the illustrated papers in the act\nof powdering her ankles, kicking\nher heels while perched 011 her\ntoilet table, and in various other\npiquant attitudes, enhanced by an\nelaborate deshabille, has now arrived\nin America with a long train of\nchauffeurs, maids, secretaries, pet\ndogs and ropes of pearls like a second\nQueen of Sheba, to renew her acti-\nvities at a salary of about five\nthousand dollars per week.\nAnother vaudeville lady, Miss\nEva Tanguay, has been receiving\ntwo thousand five hundred dollars\na week from Lew Fields the Ame-\nrican manager for an 44 excursion\nfrom vaudeville\" into the 44 legi-\ntimate field\" in a piece called \"The\nSun Dodgers \". &\nSuccess does not seem, however,\nto have attended the excursion.\n\"According to newspaper reports \",\nrelates the New York Dramatic\nMirror. 44 Eva's bare legs created\n44 something of a sensation, but the\n44 box office receipts were not in\n\" proportion to Eva's salary\", the\nFields Management considering that\n\" her drawing power for them was\n\" less than 250 dollars\"..i.e. less than\none tenth of her pay, a fact which\nseems to argue some little inteili-\ngence and discrimination on the\npart of the public to whom this\nattraction was offered.\nAdded to this Miss Tanguay cost\nthe management something in ner-\nvous exhaustion owing to her displays\nof \" artistic temperament \", and\nthe opinion of the said management\nwas summed up in the one word\n\" Impossible\".\n& Here is a brief paragraph which\ngives an Indication of what long\nsuffering managers have to stand\nfrom the \" artistic temperament\"\nof the ladies who grace their stages.\n\"As the week went by business\n\" failed to pick up, and when Eva\n\" walked out one day, Mr Fields\n\" took her at her word and Eva's\n** term as star of the Sun Dodgers\n\" came to an end. Friday morning\n\" he received a telegram in the New\n\" York office, a message of repen-\n\\\n\" tance in a thousand words. Eva\n\" said that her heart was in the\n\" right place, and she wanted to\n\" stay, but Mr Fields did not change\n\" his mind. On that opening night\n\" in Pittsburgh she had dropped"}, {"page_pdf": 99, "page_imprimee": "285", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.99", "texte": "EDITORIAL NOTES.\n\n44 three numbers from her part, and\n44 she left such a hole in the pro-\n44 gramme that the chorus did not\n\" know where they were at. It is\n44 said that this was only one per-\n44 formance of the kind, for Eva,\n44 says Dame Rumor, put on her hat\n44 before the end of almost every\n44 rehearsal and she threatened to\n•' do the same at performances.\"\n£? Of course the managers have no\none but themselves to blame for\nputting these ladies into positions\n•\nof prominence which they have not\nthe intelligence to be able to hold\nwithout losing their heads, and for\nencouraging them to set a wholly\nabsurd and fictitious value upon\nthemselves.\nIt is absurd first of all to encou-\nrage these young women to think\nthat because they have well-shaped\nlimbs, or less reticence than others\nin publicly displaying them, or pos-\nsess a more enticing outfit of petti-\ncoats and drawers than their sisters\nthey are worth their weight in gold\nand are to travel like empresses and\nbe obeyed as if they were goddesses.\nFor the ladies possessed of these\nphysical attributes are,unfortunately,\nsadly lacking in brains. They deve-\nlop, under flattery, into incarnations\nof hysterical conceit, and the mana-\ngers who have bred them can hardly\ncomplain if they have then to suffer\nby them. In fact they shape these\nfemale Frankinsteins, these so-called\n\"artists\", to pursue them and har-\nrass them at every turn.\nEvery day it becomes more evident\nthat women are impossible upon the\nstage as it is today. Whether a new\nrace of women will arise to work\nunder a new race of artists for the\nArt of the Theatre remains to be\nseen,.., but if they do so, and do so\nsuccessfully, it will only be when\nsomething of that spirit which quick-\nens and controls the women of the\nEast has found its wav into the\nwomen of the West. &\n\n\" ARTISTIC TEMPERAMENT. \"\npropos of the \"Artistic tempe-\nrament,\" ...that graceful synonym\nfor the tempers and nervous disorders\nof so many of the ladies of the stage,\nMr John Lund the operatic conductor,\nwho has surely had no small oppor-\ntunity for making his observations,\nis reported as having nalevely ex-\npressed himself as follows: (i)\n\" I classify in three sections; when\n\" an ordinary chorus girl makes a\n\" fuss I call it impudence; when a\n\" young lady drawing a hundred\n\" dollars a week makes a fuss, I\n\" call it imprudence: but when a\n\" star defies me, I have to admit\n\n(I) N. Y. Dramatic Mirror."}, {"page_pdf": 100, "page_imprimee": "286", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.100", "texte": "EDITORIAL NOTES. &\n■<S> ALL RIGHTS RESERVED ug>\nGerente Responsabile GIULfO VANZ1\n■■■■■■eaBKBMnnnHBaKaBanaHBBaMnBn mmmmmmmmmmmmm\n\n\" that it is the artistic temperament\"\nIn fact the privilege of possessing\nand enjoying an \" artistic tempera-\nment the indulgence, that is, of\na general capacity for ruining fine\nenterprises and raising Cain ail\nround, is reduced to a matter\nof L. s, d. JZ?\nIt is the old story of the klepto-\nmania of the rich, and the \"stealing\"\nof the poor. JZ?\n\nCUI BONO?\nJ. S.\nrjphe 44 New York Sun \" of October\n44 27th states that, \" More than\n44 5»ooo,ooo dollars... a conservative,\n44 very conservative, estimate that...\n\" is being spent in the construction\n\" of theatres, or has been spent on\n\" those already opened in Greater\n44New York this year. And that does\nnot take into account the cost of\n44 the ground \".\nJZ? 44 After easy sailing along the\n44 Broadway frontier \" continues the\nwriter, 44 and after delving in the\n44 Jungles of theatrical side streets\n9\n44 it can be learned that no less than\n44 twenty theatres of a good size\n44 have been opened or have actually\n44 been building in this year of our\n14 Lord.\"\nAnd what is the value of It all ?\nwhat good may be hoped for from\nall this enterprise and expenditure?..\nNothing! twenty brand new buildings\n... and nothing better to put in them\nthan the contents of the old dusty\nfusty jingling tawdry box of tricks:\nfive million dollars laid out,,;, and\nnothing to be gained for the theatre\nfrom it all. zs?\n■£? It is really a pity to see so much\ngood money being wasted, and to\nsee it being wasted by some fairly\nintelligent men who should know\nbetter by now. jZ?\nzz? Mr William Brady is one of them :\nhis new theatre is already open ;Mr\nJohn Cort is another who is soon to\nopen, and then there is Mr Ames,...\n(none the wiser, we fear, for his\nrecent experiences,) joining in with\nthe Shubert Brothers in the prepa-\nration of a double theatre of which\nthey are to manage the one, he the\nother. <£? sZ? jZ?\njZ? Altogether it seems that a lot\nof labour is being wasted just now\nin New York. jZ? jZ?"}, {"page_pdf": 101, "page_imprimee": "287", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.101", "texte": "YE OLDE PARIS BOOKE=SHOPPE\nII Rue de Chateaudun, Paris, France.\nI •\nBuys and Sells All Sorts [of French, English,\nSpanish and Italian Books. Also Engravings,\nAncient and Modern.\nCatalogues issued monthly. Correspondance in\nFrench or English invited. Books. sent on Ap-\nproval to any part of the World. Lists of Desi-\nderata receive careful consideration. £? ■£?\nEnglish Translations of French, Latin and Greek Classical Works, such\nas Brantdme : \" Lives of Fair Ladies \", (with coloured illustrations) ; \" One\nHundred Merrie & Delightsome Stories \", translation of \" Ies Cent Nou-\nvelles nouvelles\"; Anatole France : \" Thais (the Repentant Courtlsan of\nAlexandria). \"The Well of Santa Clara \" with 21 Copper Plate Etchings ;\nPierre Louys \"Aphrodite\", illustrated by Ed. Zier; Petronius: \"The\nSatyrlcon\" (translated by Oscar Wilde, with long Preface and many\nNotes;) \"The Golden Ass \"(of Apuleius) fine English version, with Notes\nand copper plate Etchings ; \"Corporal Punishment in France\", historic and\nanecdotic; Aristophanes \"The Eleven Comedies\", literally and fully\nrendered into English for the first time.\nCirculars sent on application, (with stamps to cover postage)\nPlease note we buy French books for cash and\njgr can supply all Parisian publications.\nFine Catalogue of French Books, Contes, Romans, Etudes curieuses\n(free for 20 cs.) & &\nYE OLDE PARIS BOOK E-S ti O P P E\n& 11 Rue de Chateaudun, Paris, France. &"}, {"page_pdf": 102, "page_imprimee": "288", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.102", "texte": "A\nTHE DRAMA\nQuarterly Review of\nDramatic Literature\nEDITOR : CHARLES HUBBARD SERGEL\nADVISORY AND CONTRIBUTING EDITORS\nBRANDER MATTHEWS\nColumbia University\nTHOMAS H. DICKINSON\nUniversity of Wisconsin\nROBERT HERRICK\nUniversity of Chicago\nGEORGE P. BAKER\nHarvard University\nRICHARD BURTON\nUniversity of Minnesota\nSTARK YOUNG\nUniversity of Texas\nBENEDICT PAPOT\nChautauqua Institution\nTHE DRAMA is alone in its field. It presents a\nplea for the drama as literature. & &\nEach number contains a complete play, carefully\nchosen from ancient and modern classics, and a\n4\nnumber of articles upon the significant features\nof current drama, contributed by prominent\nscholars and critics at home and abroad. To the\nlover and student of dramatic literature THE\nDRAMA renders a unique and indispensible service.\nSubscription in the United States, dollars 3.00\nSubscription from other countries, dollars 3.25\n& A sample copy will be sent on receipt of 75 cents. &\nPublished by\nTHE DRAMATIC PUBLISHING CO.\nt\n& 542 South Dearborn Street, Chicago. & &"}, {"page_pdf": 103, "page_imprimee": "289", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.103", "texte": "LEO S. OLSCHKI.\nu n g' A r n o A c c i a i o 1 i, Florence,\nLarge Stock of Italian Theatrical Books from the XVth Cen-\ntury up to date JZ? JZ? &\nIncunabula, Manuscripts with and without Illuminations.\nOld Bindings, Prints, etc. , & & &\nI\nBooks not in stock sought for and reported free of any charge\nMonthly Lists of latest purchases supplied on Applicatioi\nRichly illustrated Catalogues on special subjects."}, {"page_pdf": 104, "page_imprimee": "290", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.104", "texte": "TO BE PUBLISHED SHORTLY\nTOWARDS THE NEW THEATRE.\nBeing 40 Designs For Stage Scenes\nWith Critical Notes By The Inventor.\nSquare Royal 4to, 21 shillings net.\nBy\nEDWARD GORDON CRAIG.\n\"P<> every design the author adds a page of critical notes. The work\narrests attention not only because of the completeness of its author's\nbreak with all the weak theatrical traditions of the artificial ages, but\nbecause the author breaks away from himself, pointing out to us how\nloose is the \" tradition \" which is all too rapidly being formed upon\nhis earliest experiments, and the danger this rapidity is to his school.\n& The book brings together many of his most representative designs\nmade between the years 1901 and 1911 and which were made for Tragedy,\nComedy, Melodrama for Opera and Mimo-drama.\n& The book will be on sale in Florence, and enquiries may be made\nfor it at the office of \" The Mask \", Arena Goldoni. Florence js>\nSend to the Publishers for Prospectus and General Catalogue.\nJ. M. DENT AND SONS. L TD, &\n151, A1 dine House, Bedford Street, Strand, London, England."}, {"page_pdf": 105, "page_imprimee": "291", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.105", "texte": "THE RUSSIAN BALLET.\nNIJINSKI'S ACKNOWLEDGMENT\nJ. S.\n| ast year, when London went mad over the Russian Ballet, and every\ncritic in London, professional or«otherwise, was losing his head and\nutterly failing to discern what the Russian Ballet was composed\nof, when all these people were writing and speaking of the Russians as\nif they had created a new form of dancing, Mr John Balance pointed out in\nThe Mask, that Miss Isadora Duncan had lent her aid, to its creation.\nWhat Mr Balance wrote, readers of The Mask will remember, but\ncritics seem to be ignorant of the fact; Critics, unfortunately for England,\nseem always ignorant of tacts, and think that every new production in\nart, whether it be an opera, a ballet, a painting or a drama, is the happy\ninspiration of the particular person who at that moment is seen to pro-\nduce It. He always forgets, he never fails to forget, he would die sooiier\nthan not forget, that art is the creation of a very few individuals on\nearth and that all the others are more or less imitators. He fails to note\nthat even certain natiQns are purely imitative and never produce crea-\ntive artists and that there are some few nations that do produce creative\nartists, and he forgets a lot of other things as well. But in this parti-\ncular case, he forgot completely that which was so obvious,.... the debt\nwhich Mr Pokine and Russians owed to Miss Duncan. ■<£>■\nWhen it was pointed out in The Mask fhat she had influenced St\nPetersburg, one or two people exclaimed against this, among others,\nMr George Calderon. He grew very cross with Mr John Balance, and\nlaughed the idea to scorn that Nijinsky, Pavlova and the others had\nlearnt anything from the great American.\nIt is very agreable to us that we are able to publish a signed article\nby Nijinski* the first dancer in Russia, and the head of the Russian\nBailet. This is what he says:....\n44 Isadora Duncan is a great artist. Her influence in modern chore-\n44 graphy has been very important. Before being produced with the\n44 success that one knows, choregraphy was to a certain extent restrained\n44 by an exacting technique. Isadora dared to give liberty to movement,\n41 enlarged the boundaries in which the artist may evolve, and abolished\n44 the frontiers established by custom. She has opened the door of their\n44 cell to the prisoners. Fokine, the great Fokine, has followed in her\n44 footsteps, and attained the summit. Before then, in one word, the\n44 fantasy and temperament of the dancer were limited./' Nijinsky.\n& It is not often that the right thing and we little dreamed\nthat Nijinsky would come forward so soon and speak like a true disciple.\nWould it be too much to ask London to awaken its discernment and\nrouse its perception so that it too shall understand the difference of THIS\nand THAT, and realise that the north is precisely the opposite to the\nsouth, and the right hand different from the left, and sucli-like simple\nthings; for by discernment, instead of a kind of fat contentedness to\nmuddle, the whole nation would regain its youth again. As it is, En-\ngland praises Tom, Dick and Harry and Salvini and praises all alike as\nthough all were of equal value....\n& We ask for better informed critics, &\n\nTHE MASK\nJanuary 1913"}, {"page_pdf": 107, "page_imprimee": "293", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.107", "texte": "ANNOUNCEMENTS; FROM \" THE MASK PRESS \" {]\nAREN A Q OLD O NI. FLORENCE, ITALY. II\n* THE MASK. NEW SERIES. VOLUME FIVE, jsr j:\nfifth Volume, which began with the July number, Three 1\nEditions are published, and the yearly subscriptions, post free, |\n1 to these Editions are respectively as follows.\nI Popular Edition-. . . . Shillings 15. Dollars I\n1 Large Paper Edition (100 copies.) „ 20. „ 5.00 pi\nI Edition de Luxe. (15 copies.) „ 65, „ 16.OC\nMBB—an—wiwiM ■ ■■■■mi ii IM ■mm ■■ 11 ,T fp-, M—\n1 THE MASK. OLD SERIES. 1908... 1909... 1910... 1911... 8\nUnbound Sets, Vol. 1. Shillings 30. dollars 7.50 1^.\nfVoI. 2. ,, ,, 23. .. tt 6.50\nVol. 3. it 1 20. tt t> 5»oo ||\nVol. 4* tt 11 15. it it ||\nBound in Vellum. Vol. 1. „ „ 35. „ „ 8.50\nVol. 2. „,, 30. „ „ 7.50 |1\nVol. 3. 11 tt 25. t< tt 6.50 ||\nV0l. 4* It It ,. ,, 5.50 I\nOrders and Subscriptions may be sent direct to\nTHE MASK O ffi ce s , Arena Go1d o n i, Florence, Italy. I\nor to \" The Society of the Theatre. \" 7, John St, Adelphi, London, jl\n\nTHE SOCIETY OF THE THEATRE\nmMlWHIimBM HIH lWil,ilWliWIIIMIiM<i|inn »n» «wt tmmmmmstumnm—mmmmmMmsmmm\nAffiliated to the Gordon Craig School for\nthe Art of the Theatre.\nOBJECT\nTHE PROMOTION OF THE\nART OF THE THEATRE.\nSUBSCRIPTION.\nOrdinary Membership 5S. od per annum.\nAssociate Members ios. 6d ,, ,,\nFellows, L. 10, ios. od life memberspip\nEvery Reader of \" The Mask \" should join the Society.\nWrite for all particulars to The Secretary, Offices of the Society of the Theatre\n•£? 7 John St, Adelphi, London."}, {"page_pdf": 108, "page_imprimee": "294", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191301-01.1.108", "texte": "|| FOUR OPINIONS ON \" THE MASK\" |\n11 \" There is noi a page in ii which is 11\nI not interesting and stimulating in a fine 11\nj way\". I\n| \" The Mask\" always contains something 1\nj! \" worth reading, and often something\n\"worth keeping \". |\nPall Mall j\n\"A quite remarkable magazine, rich I\nI in intelligence\" j\nI Westminster Gazette.\n|| \"A very amusing and stimulating, as I\nj well as a most beautiful, magazine.\" \\\n|| The Daily Telegraph. 11\nj 'i I may say without any hesitation that I I\nI •* have received more pleasure from its\nij ** pages, both intellectual and aesthetic,\nII ltthan I have received from any other pe-\n1 \" riodical now being published. It is ama-\ni \" zing to find that in a paper devoted to\n* a special object there should be so S\n\" wide an intellectual appeal. I\nT. PSs Weekly. |j\nTRADE AGENTS\nSimpkin, Marshall, Hamilton,\nKent& Co. London. H\nPrinted for the Proprietor by Tipografia R» Lastrucci, Via de Serragli, 104 Florence and published at The Office of \" The Mask \" Arena Gold*"}]}