{"numero_id": "bm-bmtnaau-1913-10-01", "volume": "bmtnaau_1913-10_01", "ocr_sha256": "f60c3ad49d6822b21c065bfd49fc5fb5e6288cecdb42b2ade08cb63e309b189e", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1913/10_01/bmtnaau_1913-10_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1913/10_01/bmtnaau_1913-10_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01", "articles": [{"article_id": "bm-bmtnaau-1913-10-01-c002", "article_bluemountain": "bmtnaau_1913-10_01#c002", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.2.2", "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=bmtnaau191310-01.1.2", "debut_caractere": 535, "fin_caractere_exclue": 1079, "texte": "LITERARY CONTENTS.\nTO THE BEGGARS AND DESPISED PERSONS . Gordon Craig John Semar. 93\nCUBISM AS OLD AS THE PYRAMIDS. A note by . J. S. . . . . -97\nA FIFTEENTH CENTURY THEATRE . . . Felix Urban . . . .101\nNOTES ON INDIAN DRAMATIC TECHIQUE . . Dr A. Coomaraswamy . . 109\nA HISTORY OF PUPPETS, (Continued) . . \" Yorick \". (P. Ferrigni) . 129\nTHE PRE-SHAKESPEAREAN STAGE . . . John Semar . . . .135\nSIENA, THE CITY OF DRAMA .... Ernest Marriott . . .159\nSHAKESPEARE'S PLAYS Gordon Craig . . . .163\nBOOK REVIEWS. jZ> FOREIGN NOTES. & EDITORIAL NOTES."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c003", "article_bluemountain": "bmtnaau_1913-10_01#c003", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.2.3", "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=bmtnaau191310-01.1.2", "debut_caractere": 1081, "fin_caractere_exclue": 1812, "texte": "ILLUSTRATIONS.\nFRANCESCO ANDREINI, (Frontispiece)\nCUBISM AS OLD AS THE PYRAMIDS. . . . Fritz Endell . . . 98,99\nAN EARLY THEATRE, 1493. From the ...\" Terence *' of Trechsel . 103\nEX LIBRIS OF WILLIAM GABLE Gordon Craig ... 108\nINDIAN STENCIL FIGURES Anon .... 116, 118\nTHE DANCING LESSON. Drawn from a photo-\ngraph by G. Nelson .... 121\nSYMBOLS OF THE HILLS AND THE SEAS. . Old Buddhist Design . .125\nA VENETIAN MARIONETTE. Drawn from a\nphotograph by B. Meninsky ... 133\nMASKED ACTORS, 1600 F. Bertelli. . . Face 156\nTRISTANO MARTINELLI, 1600 Anon . . . . . 157\nTHE CITY OF SIENA Old Italian Design . . 161\nHEAD AND TALE PIECES AND INITIAL LETTERS by Gordon Craig, George Borrow,\nand from old English, Italian and Buddhist Designs."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c004", "article_bluemountain": "bmtnaau_1913-10_01#c004", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[92]", "page_fin": "[92]", "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=bmtnaau191310-01.2.4", "titre_corps": "FRANCESCO ANDREINI", "titre_sommaire": "FRANCESCO ANDREINI", "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": "[92]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 19, "texte": "FRANCESCO ANDREINI."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c005", "article_bluemountain": "bmtnaau_1913-10_01#c005", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "93", "page_fin": "96", "image_debut": 5, "image_fin": 8, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.2.5", "titre_corps": "TO THE BEGGARS AND DESPISED PERSONS", "titre_sommaire": "TO THE BEGGARS AND DESPISED PERSONS", "signature_source": "Gordon Craig ; John Semar", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.5", "debut_caractere": 0, "fin_caractere_exclue": 1660, "texte": "TO THE BEGGARS AND DESPISED PERSONS.\n\nQightly or wrongly people count very greatly upon first appearances*\n& The first night of a play seems to be the great night; a first\nedition of a book is a valuable thing; just as first teeth are the delight\nof parents and so forth. •&\n1 believe it is of value that one should be first in the field, and to\nthose who feel this perhaps it Is not immodest for me to point out that\nthe articles and designs in this number have for the most part never\nbeen seen before in any English book or publication,\njg? How many times have we been bored to death by seeing the complacent\nface of David Garrick smiling at us as a frontispiece ; but never before\nhave we seen the virile face of the great Italian actor\nFRANCESCO ANDREINI.\nHow many times have we seen pictures of some eighth=rate Harlequin\nwho never learned his business, but who has been depicted gloriously\n.skipping across the stage like a piece of thistledown. But here for the\nfirst time is shown almost the first, and certainly the greatest Harlequin;\nand you will not notice much sweet grace about him, ...which gives\nfood for thought. £?\nHow many times have we seen pictures of the Globe Theatre, Bankside,\ntill we have fallen to sleep imagining our heads upon the soft thatch ;\nbut not till now have we seen in any English publication the engraving:\nof the fifteenth century theatre on page 103; neither will you have seen\nthe two examples of the earliest Cubism known upon pages 98 and 99:\nNor the masked actors facing page 156; no, nor the stencilled figures on\npages lis and H7 which go to illustrate Dr Coomaraswamy's Notes on\nIndian Dramatic Technique. £? £?"}, {"page_pdf": 6, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.6", "debut_caractere": 38, "fin_caractere_exclue": 2336, "texte": "And why have you not seen these before ? These things have been\nwaiting for centuries before. They are not new, cheap and up=>to°date\nsketches but old and priceless things which should have been brought to\nthe English public long ago. That we cannot put two to three hundred of\nthem into this single number of The Mask is only owing to the APATHY\nof those English who, while saying they are eager for the advance of\ntheir country even in matters of knowledge and taste, and while quite\ncapable of helping the English people to become acquainted with these\nthings, owing to the amount of spare money which they possess, and\nwhiie regretting that there is not more interest shown in such matters;\ncontinue perversely to refuse encouragement to those few groups of wide\nawake men in all branches of endeavour, who are willing to do their part\nif only these rich Englishmen wiii do theirs. JZ?\nI repeat, the only reason that you do not get in this number two\nhundred engravings of enormous interest and value to you as students\nis because these men who might pay for the cliches to be made and\nfor ink to print the blocks with and the paper on which to print them,\n(for we do not ask them to pay for more than that,) are lounging about in\nLondon with their hands in their pockets and moaning out, ** Nobody is\ninterested in these things nowadays \". Institutions already established\nthey will support (I am told, grudgingly), but Individuals and Individual\nIdeas they mistrust. &\nAgain, the reason why The Mask is obliged to use the type that is\nused in this number is because out of all those rich men whose interest\nhas been stimulated by the great advance that printing has made in the\nlast twenty or thirty years in England, there is not one to be found who\nwill put his hand in his pocket in order to give us sufficient type of a\nfine English character with which to print our journal.\n& When we commenced our work this was the only type we could\nfind, and, having bought our bed we are obliged to lie on it. JZ?\nA grand lot of practical enthusiasm one finds in London nowadays,...\neh, what?\n& Would you believe it, gentlemen, would you believe it, beggars and\ndespised persons, (who, beside our few noble subscribers, I take to be\nth~ ones with sufficient money to buy The Mask), would you believe"}, {"page_pdf": 7, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.7", "debut_caractere": 38, "fin_caractere_exclue": 1989, "texte": "it, gentlemen, that I have for the sake of my School and this journal\ngone with begging hands and stood in front of these people and begged,\nand begged and BEGGED, not for bread or for clothing, but for type,\npaper, masks for my actors, tools for my workmen... for theatres and\nthose other things which we need so as to go on with our work, and\nthey have actually refused me all of these time after time. JZ?\nOf course you and I are supposed by the outsiders to be loafers,\nand forgetful of the practical side of life, whereas, bless their boots.,\nyou and I are running all over the place looking for the materials of\nour trade. jZ? jz? gg? jg?\n\" Por Begghars \" !\nMr. Craig leaves off, let me as Editor proceed. &\nAnd for whose sake do these workers work ?.... jgr\nFor their king's and their country's. &\n■& It is said that a prophet is not without honour save in his own\ncountry. jSf jg?\nI do not know if this be true... but certainly many good workers\nwho know what they are about... whether like Dunne who makes the\nbest aeroplanes, or like Henry Wilson who builds the best churches and\nhouses, or like Cooper who makes the best silver=ware, or like Mason\nthe Printer, QUI the Sculptor, Pryde the Painter, Epstein, Rothenstein,\n*\nPoel, Martin Shaw, Clunn Lewis, Ferguson, Waiter Crane, Ellen Terry,\nBatsford the Publisher, and a host of other first=class \\vork=men and\nwomen whose work is an honour to England... are without the one\nhonour they ask for and should receive.,, the honour of being permitted\ncontinually to work for their country.\n& Let me take the case of Walter Crane by itself. &\n& Here is a man who has given us as children the most perfect examples\nof children's books imaginable... who has taught every one of us, and\nwhose work is today seldom seen sS? jg?\n& This is scandalous. &\nAgain, take the case of Ellen Terry. She has helped to make the\nEngland of the 19th Century. Where is her Theatre ? Why have you not\n\nGordon Craig."}, {"page_pdf": 8, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.8", "debut_caractere": 38, "fin_caractere_exclue": 704, "texte": "seen to It that you provided yourselves with a Theatre for her most\nprecious gifts ?\nhow many first=class publishers do you support, so that when we\nwant first=class books printed we can call on...say Batsford, or Heinemann,\nto print them ! Do you endow these Individuals ?... for it is preposterous\nto call such men \" Firms You practically kill Cody, and smirk over\nhis poor remains. You \" support \" Scott so badly that he falls. You\ndecorate Roberts, and refuse to do as he with his ripe wisdom advises.\njg, And all this seems to be so that you may have lots of time to\nsquabble over Party Politics and play with Crystal Palaces. & &\n** Por Begghars 1\n\nJohn Semar."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c008", "article_bluemountain": "bmtnaau_1913-10_01#c008", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "97", "page_fin": "99", "image_debut": 9, "image_fin": 11, "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=bmtnaau191310-01.2.6", "titre_corps": "CUBISM AS OLD AS THE PYRAMIDS : A Note", "titre_sommaire": "CUBISM AS OLD AS THE PYRAMIDS : A Note", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 9, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 2025, "texte": "CUBISM AS OLD AS THE PYRAMIDS.\nA Note by J. S.\n\nJn our last number we gave a series of illustrations as proof that the\nCubists, who claim to be the newest of the new, the \" dernier cr! \"\nin sculpture and painting, are not really new at all; that they are merely\nthe conceited and disorderly followers of a great master who, four hun-\ndred years ago, knew all the secrets which they profess to have discovered.\n& This master was the German, Albert Durer, and was himself following\nin the steps of an Italian. ■£?\nNow a German, Mr Fritz Endell, comes forward to point out that\nDurer was but a follower, long long after, of a method infinitely ancient,\nand sends us the two accompanying drawings to demonstrate that Cubism\nis \" as old as the pyramids \".\n& This is very interesting, although not at all surprising, since we are\nall the time receiving fresh proofs that the new discoveries, over which\nwe become so excited today, were no secrets to the civilizations of the\nearly w0r1d,... those civilizations which the spade of the excavator and\nthe study of the archeologist reveal year by year as ever more scientific\nand more superb. &\n& Therefore it is, as we say, not surprising that we should find that\nthis principle of Cubism, over which a certain group has cackled as\nexcitedly as a hen over a new-laid egg, was very well known to artists,\nnot merely some hundreds, but some thousands of years ago. &\n£? But let us not forget that it was known with this supreme difference:\n...that as Durer used his method only as a means to an end, doing his\nbest, as Mr Urban wrote in July, \" to hide all art by being too much of an\nartist to show how he was doing the thing \", so did the artists of those\nremote times allow no evidence of effort, no desire to show how \"clever\"\nthey were, to detract from the superb calm of their finished works. &\nThe modern Cubists would do well to remember a little verse by\nMr William Watson :\n\" No record art keeps\nOf its struggles and throes\nThere is toll on the steeps,\nOn the summit repose. \""}, {"page_pdf": 10, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.10", "debut_caractere": 32, "fin_caractere_exclue": 860, "texte": "JS? But then the modern Cubist is\nnever seen in repose on the sum=\nmit: he prefers to invite us to\nbehold him sweating and struggling\non the steeps; to show us just\nwhere and how he sets each foot in\nhis progress. He and his companions\nchatter like pies of their system and\ntheir science; they are the children\nof pretention and conceitand\nthey think that no one ever knew\nsuch things as they know since the\nworld began. JS?\nWhile all the time the great\nmasters, who knew It all and used\nall of It which was worth using,\nrepose sublimely on the summit;\nthey ask no one to watch their ef-\nforts, but only to share the hap-\npiness of their finished work. It is,\nin fact, only the modern faddist who\ngoes struggling up before our eyes,\nlike a second Sisyphus,... bearing,\ninstead of the \" shameless stone \",\na cube upon his back. &"}]}, {"article_id": "bm-bmtnaau-1913-10-01-c009", "article_bluemountain": "bmtnaau_1913-10_01#c009", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "98", "page_fin": "98", "image_debut": 10, "image_fin": 10, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.2.6.1", "titre_corps": "No 33301 from C. C. Edgar's, Sculptor's Studies and unfinished works", "titre_sommaire": "No 33301 from C. C. Edgar's, Sculptor's Studies and unfinished works", "signature_source": "Fritz Endell", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 10, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.10", "debut_caractere": 862, "fin_caractere_exclue": 1017, "texte": "CUBISM OLD AS THE PYRAMIDS.\nNo 3330! from C. C. Edgar's, Sculptor's Studies and unfinished\nworks. Catalogue generals du Musèe de Caire.\nFritz Endell, 1913."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c010", "article_bluemountain": "bmtnaau_1913-10_01#c010", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "99", "page_fin": "99", "image_debut": 11, "image_fin": 11, "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=bmtnaau191310-01.2.6.2", "titre_corps": "No 3412 from C. C. Edgar's. Sculptor's Studies and unfinished works", "titre_sommaire": "No 3412 from C. C. Edgar's. Sculptor's Studies and unfinished works", "signature_source": "Fritz Endell", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 11, "page_imprimee": "99", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 125, "texte": "No 3412 from C. C. Edgar's. Sculptor's Studies Fritz Endell.\nand unfinished works. Catalogue gènérale du 1913\nMusèe de Caire."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c011", "article_bluemountain": "bmtnaau_1913-10_01#c011", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "101", "page_fin": "107", "image_debut": 13, "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=bmtnaau191310-01.2.7", "titre_corps": "A FIFTEENTH CENTURY THEATRE : A Note upon its Architecture", "titre_sommaire": "A FIFTEENTH CENTURY THEATRE : A Note upon its Architecture", "signature_source": "Felix Urban", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 13, "page_imprimee": "101", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 2148, "texte": "A FIFTEENTH CENTURY THEATRE. A Note\nupon its Architecture\nby Felix Urban.\n\nIthough to change the bliss of ignorance for\nknowledge may not be folly, it is certainly apt to\nbe disconcerting, for a little knowledge has so\ndrastic away of dwarfing, if not destroying, one's\nprevious pleasant little standards and beliefs, and\nit is rather sad to have to realize that after all\nthe great Globe, that theatre of the Century about\nwhich such innumerable books have been written,\nwas, in reality, nothing but a makeshift,...was but the English excuse\nfor not being able to afford a real theatre,...a theatre worthy of the name.\nJZ/ Yet when we come to look outside of England, to see what other\ncountries at that period were doing in the way of theatre building, we\nhave to realize, unpalatable as the fact may be, that, compared with the\ntheatres of other nations, a makeshift is all that it was, and that, exactly\na hundred years previous to the building of the Globe, we have a record\nof a most sumptuous theatre, probably in France or Italy, compared with\nwhich the Globe must take a very minor place.\nM. Bapst in his essay \" Sur J'Histoire du Theatre \" shows us a fine\nengraving of this theatre printed in the year 1493, which reveals quite\na number of interesting facts. The engraving is taken from the ''Terence\"\nof Trechsel, and this is what M. Bapst has to say about it:\n\" The custom of reserving a place for the Municipality was general\nat the period of the Mystery Plays, that is to say, at the end of the\nfifteenth and the beginning of the sixteenth century.\n& ** We find the proof of this in the frontispiece of the \" Terence \" of\nTrechsel, representing a theatre. The stage is there, as in our days,\nflanked by boxes between columns, and above the box which we should\ntoday call the \" avant=sc6ne \" is to be read the Inscription \" Edlles \":\nTo the side are the stages or galleries for the rich spectators; they are\ncontinued all round the circumference of the theatre; below is the\ngeneral public.\n\" The custom of placing near the stage, at the side of the auditorium,\nthe box for the sovereign or for the authorities presiding at the pertor-"}, {"page_pdf": 14, "page_imprimee": "102", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.14", "debut_caractere": 30, "fin_caractere_exclue": 2389, "texte": "tnance, already existed in the middle ages, at all events in the east of\nFrance and in Germany. In the interior of France the custom must have\nbeen different; we shall see later on that the personage who presided\nat the performance of the Mysteries in these parts was installed in the\nmiddle of the amphitheatre, that is to say, in the position in which the\nroyal box is today placed in the Italian theatres. JZ> JZ/ &\n\" The \"Terence\" engraving also shows that in 1493 the most important\nMysteries were performed in a real theatre with a real auditorium, con=\nstructed in timber for the occasion. \" & & & &\nM. Bapst then quotes a note in this same engraving by M. Edmond\nLe Blanc, a member of the Institute, who states that \" On the ground\nfloor of the theatre represented in the \" Terence\" engraving <of 1493 is\nseen a series of chambers above which Is Inscribed the word \"Fornices\".\nThese chambers were nothing else than the- haunts of the courtesans,\nwho gave themselves up, in the neighbourhood of the ancient theatres,\nto prostitution. The couples represented in the engraving with which\nwe are occupied do not, moreover, leave in their attitude any doubt as\nto the nature of the converse which they are carrying on. \" JZ? J&\nJZ? And now let us have a look at the print. It may even tell us more\nthan M. Bapst tells u5,... I mean that perhaps it will bear looking into\na little more thoroughly. *zt jZ? jzs jZ? &\nLet us for the moment consider the shape of the \"front of the house\",\nas it is called, the auditorium, and after that let us go on to the stage.\n■£? The Auditorium. This curious and very interesting woodcut from\nthe \" Terence \" shows us the outside of the Theatre and the inside. To\njudge from the picture we are to believe it was a vast building of two\nstoreys, the first storey being at least 30 feet high, and the second storey\nabout 35 to 40 feet. That would make the whole building 70 feet. £?\nNow this is an enormous building, and although we need not entirely\ngive up hope that in the 15th century they took the trouble to erect\nlarge sized houses for the drama, still, we need not exaggerate the size\ninto 70 feet. JZ? JZ?\nlooking at the woodcut again, I think we shall have to arrive at\nthis conclusion:... that the building had outside walls of about 30 feet\nhigh, and that it had some kind of dome which raised it another 10 feet."}, {"page_pdf": 17, "page_imprimee": "105", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.17", "debut_caractere": 30, "fin_caractere_exclue": 2310, "texte": "I think the woodcut shows us both the outside and the inside and that\nthe upper part of the picture is a repetition of the lower part with\nthe walls taken away.\n£> These wails, of course, are removed by the wood engraver in order\nto show us what a part of the building looked like inside and when full\nof people, and, here again, we must not imagine that the people sat only\non one side of the Theatre, or that they were arranged as here shown,\nlike silver plate on a side-board. The artist had the impertinence to re-\nmove two or three walls in order that we might get just a glimpse of\nthe remaining wall with its crowded audience, of a couple of boxes and\na portion of the stage. JZ?\n& But whilst removing these two walls* he has left sufficient to show\nus the construction of the building, lie has left the pillars, though not\nail the pillars. He has left one but shifted the two.\nLet us in our imagination put back the one and replace the two. To\ndo that we must replace the central pillar in the picture further to the\nright, until it is in the position indicated by the arrow No. 2. Now insert\nthe missing pillar in the place Indicated by the arrow N. 1... You will find\nthat the artist has left the remnants of a capital for each pillar. I be-\nlieve that to be intentional, and that it Is to indicate the spaces where\nthe pillars actually supported the roof. &\nDoing this, you get nearer the actual construction of the building so\nfar as its pillars are concerned, but had the artist done so, he would\nhave blocked out and made difficult of comprehension two important\nfacts which he wanted to record,... that is to say, the relationship of\nthe two side boxes which are called \" proscenium boxes \" to the stage,\nand we should have been uncertain as to whether the galleries, in which\nthe better people sat, were straight or curved. &\nWe now find that they are straight, and I believe that the picture\nindicates quite clearly that there are five sides, each side with as many\npeople as we see in the one side shown by the engraver. I should have\nbeen inclined to think that the building was a square one if the artist\nIn the lower part of his engraving had shown us only two sides of the\ntheatre, but he shows us three sides, which seems to contradict such\na supposition. &"}, {"page_pdf": 18, "page_imprimee": "106", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.18", "debut_caractere": 33, "fin_caractere_exclue": 2287, "texte": "in the engraving the artist shows us the position where the boxes\nare placed, each having a smaller box above it. These, as you see, are\nnearest to the stage: he also shows us the positions of the galleries,\nand the place where the President of the representation of the Mysteries\nsat, who was something like the Chairman of the old English Music halis\nof the Sixties.\njZ? It is quite obvious that you entered the galleries by means of stair-\ncases even as you do nowadays, and that you went into the pit without\nhaving to go up or down any stairs.\n£> Whether the last gallery of the three shown in the illustration was\nheld up by pillars, it is difficult to say, but it is quite probable that this\nis the case. M. Bapst tells us that these galleries were for the wealthy\nspectators. I think in all probability the last gallery was for the wealthy\nones, the second gallery for the middle classes, and the top \"gallery for\nthe populace. 0? 0 0 0 0? 0? 0 0\nIn \" Designs and Plans for a Theatre in 1560 \" Sebastian Serlio ex-\nplains that this was the order of rank:... the better class lower down,\nthe lower class higher up, and, Judging from the modern building, we\ncan very safely suppose that as the worst point of view is from above,\nand the cheapest places above, the same will apply to this theatre of\n1493. (See Mask, Vol. I. P. 14.) 0? 0? & 0\n(\n0 It looks as if from six to seven hundred people could be seated in\nthe galleries alone, and probably another hundred could be seated on\nthe floor, leaving room for about two hundred to stand in what is known\nas the Pit. 0 0? 0? 0? 0? 0? 0? 0\nThe one obvious thing that this picture shows us is that the specta-\ntors are well dressed ; there are no peasants in the picture* though pro-\nbably a dead=head or two. 0? 0? 0/ 0? 0? 0\n0 What a pity that such a theatre is never come across nowadays! But,\nbecause there are no splendid old theatres left of those earlier times,\nthere is no reason for us to jump to the conclusion that everything was\npoor and uncomfortable, as De Witt would seem to indicate in his sketch,\n\" The Interior of the Swan Theatre in England. \" 0 0\n0 The Swan Theatre was built a year after the Globe, so they say, and\nthat is 101 years after this engraving of the Terence Theatre. &"}, {"page_pdf": 19, "page_imprimee": "107", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.19", "debut_caractere": 31, "fin_caractere_exclue": 1026, "texte": "Such a theatre as is shown in our engraving may have seen the earliest\nperformances of Machiavelli's dramas. In such a theatre the first come-\ndies by Beolco may have been heard. But, whatever was acted in\nthem, there seems to be no doubt at all that the places were extreme-\nly handsome, comfortable, more like palaces than barns. j2>\nThe Globe Theatre and the Swan are too much like barns. The whole\nthing Is too suggestive of a cheap way of getting out of responsibility-\n\" Any old thing will do for the Drama,\" is what the Englishman seems\nto have said in those days even as lie says now. Then the Theatre\nhad the atmosphere of a barn,...nowadays It has the atmosphere a gin-\npalace. And, you English merchants, perhaps a visit to Germany would\nnot even now be too late to be useful; for they try to build fairly sincere\ntheatres over there. £?\nOr, better still, why not consult your own English School for the Art\nof the Theatre, established in Florence, before building your next\nPlayhouse"}]}, {"article_id": "bm-bmtnaau-1913-10-01-c013", "article_bluemountain": "bmtnaau_1913-10_01#c013", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "103", "page_fin": "103", "image_debut": 15, "image_fin": 15, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.2.7.2", "titre_corps": "Illustration of a Theatre reproduced from the \"Terence\" of Trechsel. 1493", "titre_sommaire": "Illustration of a Theatre reproduced from the \"Terence\" of Trechsel. 1493", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 15, "page_imprimee": "103", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 74, "texte": "Illustration of a Theatre reproduced from the \"Terence\" of Trechsel. 1493."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c015", "article_bluemountain": "bmtnaau_1913-10_01#c015", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "108", "page_fin": "108", "image_debut": 20, "image_fin": 20, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.2.8", "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": 20, "page_imprimee": "108", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.20", "debut_caractere": 0, "fin_caractere_exclue": 448, "texte": "Perhaps the engraving underneath needs a little\nexplanation. It is for use as a Bookplate, and\nrepresents a Bookworm. An actual Bookworm many\ntimes enlarged. It is seen to be struggling through\nits Earth..., a book, and stretching towards its\nSun.., our sun. Beauty it has not, even when\ncompared with the Ant or the Crab, but\nconsidering its association with the\nliterature of the last two thousand\nyears it makes a brave show.\nPoor little beast !"}]}, {"article_id": "bm-bmtnaau-1913-10-01-c016", "article_bluemountain": "bmtnaau_1913-10_01#c016", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "108", "page_fin": "108", "image_debut": 20, "image_fin": 20, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.2.8.1", "titre_corps": "Bookplate of William Gable Designed and Engraved by Gordon Craig", "titre_sommaire": "Bookplate of William Gable Designed and Engraved by Gordon Craig", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 20, "page_imprimee": "108", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.20", "debut_caractere": 450, "fin_caractere_exclue": 515, "texte": "Bookplate of William Gable Designed\nand Engraved by Gordon Craig."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c017", "article_bluemountain": "bmtnaau_1913-10_01#c017", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "109", "page_fin": "128", "image_debut": 21, "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=bmtnaau191310-01.2.9", "titre_corps": "NOTES ON INDIAN DRAMATIC TECHNIQUE", "titre_sommaire": "NOTES ON INDIAN DRAMATIC TECHNIQUE", "signature_source": "Dr Ananda Coomaraswamy", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "109", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 1417, "texte": "NOTES ON INDIAN DRAMATIC TECHNIQUE\nby Dr Ananda Coomaraswamy.\n\nIt is held that India was the first home of the pup=\npet=play. What the late Professor Pischel elucidated so\nclearly in his address to the Kdnigliche vereinigte\nFrledrichs Universitat at Halle-Wittenberg in 1900,\n(from which address we shall presently quote) has\nbeen summarised also by Gordon Craig, In that best and\nmost moving of all his essays, \" The Actor and the\nUeber^Marionette(i) jz? & j&\n\" In Asia lay his first kingdom. On the hanks of the Ganges they built\n\" him his home, a vast palace springing from column to column into the\n\" air and pouring from column to column down again into the water.. .\n«* Something they were making which should become him, something to\n\" honour the spirit which had given him birth. And then, one day, the\nceremony.\n\"In this ceremony he took part; a celebration once more in praise\n\"of the Creation; the old thanksgiving, the hurrah for existence, and\n\" with it the sterner hurrah for the privilege for the existence to come,\n\" which is veiled by the word Death. And during this ceremony there\n\" appeared before the eyes of the brown worshippers the symbols of all\n*( things on earth and in Nirvana. The symbol of the beautiful tree, the\n\" symbol of the hills, the symbols of those rich ores which the hills con-\n\" tained ; the symbol of the cloud, of the wind, and of all swift-moving\n\n(1) The Mask, April 1908."}, {"page_pdf": 22, "page_imprimee": "110", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.22", "debut_caractere": 27, "fin_caractere_exclue": 2522, "texte": "44 things ; the symbol of the quickest of moving things, of thought, of\n44 remembrance ; the symbol of the animal, the symbol of Buddha and of\n44 man .. . and here he comes, the figure, the puppet at whom you all\n44 laugh so much. You laugh at him today because none but his weaknesses\n44 are left to him. He reflects these from you ; but you would not have\n44 laughed had you seen him in his prime, In that age when he was called\n44 upon to be the symbol of man in that great ceremony, and, stepping\n44 forward, was the beautiful symbol of our heart's delight. \" &\nIt may be helpful for us, then, to enquire about the doings of the\nIndian puppet in his own home, in past and present times.\n4'ln ancient India\", says Professor Pischel, (i) \"puppets were made out\nof wool, wood, buffalo°>horn, and Ivory, and these playthings were quite\nas popular long ago with the girls of that country as they are with our\ngirls at the present day... Puppets might even become dangerous rivals\nto deities. A legend runs that Parvatl, wife of the god Siva, made herself\nsuch a beautiful doll, that she thought It necessary to conceal it from the\neyes of her husband. She carried it far away to the Malaya mountain, but\nvisited it every day, that she might adorn it. Siva, rendered suspicious by\nher long absence, stole after her, saw the doll, fell In love with it, and\ngave it life. There is also an early mention of puppets worked by machinery.\nWe read in the Kathasaritsagara, the great collection of tales by the\nKashmiri Somadeva, that Somaprabha, the daughter of the Asura Maya,\na celebrated mechanician, brought as a present to her friend Princess\nKalingasena a basket of mechanical wooden puppets, constructed by her\nfather. There was a wooden peg in each of the puppets, and when this\nwas touched, one of them flew through the air. fetched a wreath, and\nreturned when ordered; another, when desired, brought water in the same\nway ; a third danced, and a fourth carried on conversation. This delighted\nKalingasena so much that she neglected her meals in order to play with\nthem ... Talking puppets were also introduced on the stage. In this case\nthey were not, as a rule, worked by internal mechanism, but by means\nof a thread (sntra), manipulated by the puppet player... An allusion to\nsuch puppets, moved by threads, is found as far back as the Mahabharata.\nIn this work men are compared to puppets, inasmuch as they have no will\n\n(i) \" The Home of the Puppet Play. (English Translation1. London 1932."}, {"page_pdf": 23, "page_imprimee": "111", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.23", "debut_caractere": 27, "fin_caractere_exclue": 2292, "texte": "of their &&&&&<&■£>\n& In the fifth act of his Baiaramayana, Rajasekhara, who flourished early\nin the tenth century, introduces two jointed puppets constructed by the\nmechanic Visarada, the best pupil of the Asura Maya, of whom mention\nhas already been made. One of the puppets represented Sita, who was\ncarried off by the demon Ravana, the other her foster-sister Sindurika.\nA starling that could speak Prakrit fluently, even in verse, was placed\nin the mouth of the puppet representing Sita; while the puppet-player,\nwho appeared as the demon,spoke in Sanskrit and Prakrit for the other\npuppet, which took the leading part... It is the only passage in the whole\nof Indian literature where puppets appear on the stage In a Sanskrit\ndrama, and what is still more important, we learn from it the name for\npuppet=pla>er in the tenth century. He is called sutradhara, \" thread-\nholder \", which corresponds to the epithet \" attached to\nthreads \", applied to puppets in the Mahabharata. And sutradhar is still\nthe name for a puppet-player in India at the present day... j£f\n\" The stage manager (in fully developed Indian drama) is called, as\nin the puppet-play, sutradhara, \" thread-holder \". From this fact, as early\nas 1879, a native scholar of European education, Shankar Pandurang\nPandit by name, drew the reasonable conclusion that performances by\npuppets and paper figures must have preceded those by human beings\nThere was also a second manager, called sthapaka, the setter up.\nExcept in this connection, this word is applied only to the priest who\nhad to set up the images of the gods, when they were solemnly conse-\ncrated. On the stage the sthaphaka was originally the setter up of the\npuppets.\nThe ancients were accustomed to make life size dolls in precious me-\ntals, especially gold. 1 cannot imagine how grand and beautiful must have\nbeen the golden image of Sita, taking her place in her absence ; without\nit, Rama would not and could not perform any sacred rite, for the Hindus\nhold that such rites were ordained in the Vedas to be performed by the\nhusband together with the wife. & &\nWe shall note a few other references to old Indian puppet plays and\nother mechanical performances. There is an Interesting mention of dan-\ncing puppets in the Katha Kosa:"}, {"page_pdf": 24, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.24", "debut_caractere": 27, "fin_caractere_exclue": 2410, "texte": "& \" In the meanwhile the joyful occasion was being celebrated by King\nSundara with a dance of marionettes; a puppet was dancing there on a\nbamboo. At this moment a wandering hermit came flying through the\nair. He improved the occasion in these words : *♦ King, look at the pup.\npet-show in your Inner self: why do you gaze on an external puppet\nshow? For this continuance of yours is the stage; your name is the\nbamboo ; the four migrations of the soul are the four puppets; the four\nsins are the pegs, being anger, pride, delusion, and avarice ; the eight\nactions are the drums; human forms are the attendants that tire the\npuppets ; this intelligence is the master of the puppet-show : \" (i)\nWe catch a glimpse of a thirteenth century religious puppet show in\nCeylon from the following description of the decoration of a Buddhist\ntemple on the occasion of a great festival:\n& *♦ Afterwards he (the king) ornamented the temple with many painted\narches round the circuit of the temple wall, of great size and beauty,...\narches that regarded contemptuously the beautiful bow of the chief of\nthe gods; with white parasols that looked like the moon in her fullest\nsplendour, and beautiful flags of five colours and divfers shapes, like beau-\ntiful dancers dancing in the firmament of heaven ; with rows of splendid\nhalls glittering with jewels, like rows of beautiful mansions come down\nfrom the world of the gods; with numerous images of Brahma dancing\nin with parasols in their hands, that were moved by instruments; with\nmoving images of gods of divers form that went to and fro with their\njoined hands raised in adoration ; with moving figures of horses prancing\nhither and thither with the beauty of waves rising and falling, one after\nthe other, in the great sea ; with moving likenesses of great elephants,\nclothed in their proper trappings, making men doubt if they were not\nrainy clouds come down to earth :... with these and divers other shows\nof this kind which delight the world, and are used at feasts, did he make\nthe temple exceedingly attractive \". (t And the lord of the land held a feast\nin honour of Buddha, to which ail men were drawn by the sweet songs\nof singers and the dances of many dancers as they danced in divers cha-\nracters on the excellent stages that were raised here and there! \" (Maha-\nwansa, ch. LXXXV). zZ?\n\n(1) Tawney, Kathakosa, London 1895 pg. 40."}, {"page_pdf": 25, "page_imprimee": "113", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.25", "debut_caractere": 27, "fin_caractere_exclue": 2284, "texte": "Another puppet-show, much more modern, has been described for me\nfrom Siam by P. C. Jinavaravamsa Unnanse, a Buddhist priest, who was\nonce a prince of Siam... himself an artist to the tips of his fingers alike\nby temperament and training... & & & 4*\n\" The puppet-shows \" (he says) \" also deserve some mention. The con-\nstruction of moving figures and puppets is carried to a considerable degree\nof perfection. Beautiful figures, 6 to 18 inches high, representing the charac-\nters of the Indian drama of Ramayana are made for exhibition at royal\nentertainments. They are perfect pieces of mechanism ; their very fingers\ncan be moved and made to grasp an object, and they can be made to\nassume postures expressive of any action or emotion described in poetry;\nthis is done by pulling strings which hang down within the clothing, or\nwithin a small tube attached to the lower part of the figure, with a ring\nor loop attached to the end of each, for inserting the fingers of the\nshowman. The movements are perfectly timed to the music and recitation\nor singing.\n\"One cannot help being charmed by these Lilliputs whose dresses are\nso gorgeous and jewelled with the minutest detail. Little embroidered\njackets and other pieces of dress, representing the magnificent robes of\na Deva or Yakha, are complete in the smallest particulars. The minia-\nture jewels are sometimes made of real gold and gems. &\n\" Such a thing as this I believe to be only possible when a man has\nalmost unlimited means, both in time and money to devote to his hobby\nfor months, (as was the case with the late and last so-called \" second\nking\" whose puppet-show was The most famous ever called into existence)\nto complete the work &\n& The same writer describes the Siamese \" shadow pantomime\", as\nEuropeans incorrectly call this art of transparent pictures (i) &\n& \" This is a show of moving transparent pictures over a screen illumi-\nnated by a strong bonfire behind. The scenes represent the favourite\nIndian drama of Ramayana, and are accompanied by music and intoned\nrecitation and sometimes singing.\n& \" The method of preparation of these pictures is very interesting. A\ncowhide is scraped to the required thickness (generally about one sixteenth\n\n(1) Ceylon National Review, II 4. 1907."}, {"page_pdf": 26, "page_imprimee": "114", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.26", "debut_caractere": 27, "fin_caractere_exclue": 2495, "texte": "inch), evenly stretched, and allowed to dry hard. It is then roughly shaped,\noval for a group and long rectangular for a standing figure... the pieces\nmeasuring generally from two and a half to five feet In height or diameter.\nA design is drawn on native made black paper, perforated and transferred\nas already described (i. e. by pouncing), and then outlined in black upon the\nhide... appropriate ornaments, flowers or trees are introduced to connect\ntogether the different figures or projecting parts of a figure, so that when\nthe ground is cut away the hide is held together by these connections and\nwill also hang evenly without buckling. Sky or open space is represented\nby small even patterns of a very open character with inconspicuous con-\nnections. The hide after cutting in this way is appropriately coloured\nwith fast bright dyes which penetrate the leather and are fixed by lime\njuice or native vinegar, which helps also to brighten the colour.\n& «« The greatest difficulty is to estimate how much light will, as they\nsay, \" eat up \" the figure; for the appearance of the figure is altered by\nthe light from behind, some colours being weakened and others intensi-\nfied. If for instance a human figure is drawn (generally dark) In good\nproportion with dress and ornament and the colour of hair and skin cor-\nrectly represented, the picture will appear badly proportioned when\nlit up. JZ?\n\" The artist must be a man of great experience, and the worst of it is\n.that he does not seem able to explain his art nor to set forth in black\nand white the proportion of this or that colour which will absorb or\ntransmit light most. It is amusing to see young artists' attempts at making\nthese apparently simple transparent pictures, with thick white paper beau-\ntifully illuminated, but turning out a complete failure when exhibited.\nThe pictures are held up before the screen by four pieces of split bamboo\njust strong enough for the purpose, and fastened to the picture, two in\nfront and two behind, the lower ends serving as handles. The hide is\nflexible so that it can be rolled up round the two sticks. jZf\n& \" The performer must be himself a trained dramatic artist and dancer\nto music. He acts the scene, as he would on the stage, with every part\nof his body except the two arms engaged in holding up the picture. He\nseems to live in the picture and is absorbed in the representation he is\ntrying to produce. It is most amusing to see the artist's attitude and"}, {"page_pdf": 31, "page_imprimee": "119", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.31", "debut_caractere": 27, "fin_caractere_exclue": 1792, "texte": "observe the very intense expression of his face as he performs and watches\nthe motion of his picture &\n' arn informed that similar shadow pictures illustrating the story of\nKrishna and Radha are exhibited in the district of Masulipatam in India.\nI hope some day to see them.\n\"n this connection it may be of interest to mention the art of making\npaper stencils, closely allied in design to the requirements of simple\nstaging, though not actually adapted directly to an art of movement.\nThey afford at any rate suggestions for the scenery and figures in a toy\ntheatre. They are really used to prepare temporary \" pavement pictures \"\nby sifting coloured powders through the stencil; where two or more co-\nlours are required in one figure, the same number of stencils must be\nmade, and due care taken to secure an accurate register. Examples of\ntwo figure stencils are given in the accompanying illustrations.\n& Before passing to the subject of the human actor, I take the oppor-\ntunity to note two old references to Indian puppet shows. One is in the\nDialogues of the Buddha (Majjhima I. 43) where metaphysical speculations\nare compared to a puppet-show. The other is found in the Psalms of the\nSisteros (trans, by Mrs Rhys Davids, 1909, p. 153) where the doctrine\nof non-soul is inculcated by comparison of the human being with a\npuppet:\nOh I I have seen it... a puppet well painted, with new\nwooden spindles,\nCunningly fastened with strings and with pins, and\ndiversely dancing,\nBut If the strings and the pins be all drawn out and\nloosened and scattered,\nSo that the puppet be made non-existent and broken\nin pieces,\nWhich of the parts wilt thou choose and appoint for\nthy heart's rest and solace ?...\nO thou art blind ! thou chasest a sham, deluded by\npuppet shows"}, {"page_pdf": 32, "page_imprimee": "120", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.32", "debut_caractere": 27, "fin_caractere_exclue": 2044, "texte": "Seen in the midst of the crowd ; thou deemest of value\nand genuine\nConjurers' trlckwork, trees all of gold that we see in\nour dreaming.\nI may also mention that amongst the popular dramatic performances\nof India, are some in which the actors are painted. There is a Musulman\nfestival in which a street procession, including a man dressed as a tiger,\nis part of the programme. 1 say dressed, but should rather say painted.\nMr Farrar has given a good description:\n\" It is the Moormen, the Muhammadans, collecting funds for their mosque.\nThis qugte occurs yearly. The collectors, arrayed in high turbans of pink\n&■\nand many colours, are strangely painted and bedizened. One of them\nnearly naked, is striped and dappled to pass as a tiger. Streaks of mud\nare drawn across his body, and he wears a grinning tiger-mask. In this,\nwith feline grace, he sidles, mopping and mowing, across the road, slink-\ning after this person or that, while the crowd gives way before him with\nlittle gasps of admiring terror and delight. And so cunningly does the\nfellow do it, so truly does he catch the lithe horror of his model, that\nthere, in that baking street, in that crowd; in that ridiculous disguise,\nhe contrives to convey a very real impression of something furtive, devi-\nlish and subtle \". (i) & JS?\nTHE HUMAN ACTORS.\n'T'o consider now the human actors. & 0\nJ& ** The whole nature of man says Gordon Craig, '* tends towards\nfreedom ; he therefore carries the proof in his own person that as mate*\nrial for the Theatre he is useless. In the modern theatre, owing to the\nuse of the bodies of men and women as their material, ail which is\npresented there is of an accidental nature. The actions of the actor's\nbody, the expression of his face, all are at the mercy of the winds of his\nemotions... emotion possesses him; it siezes upon his limbs, moving\nthem whither it wi11... It is useless for him to attempt to reason with\nhimself. Hamlet's calm directions (the dreamer's, not the logician's di-\n(1) Farrar la old Ceyloa pg. 62."}, {"page_pdf": 35, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.35", "debut_caractere": 27, "fin_caractere_exclue": 2457, "texte": "rections, by the way) are thrown to the winds... before the mind has time\nto cry out and protest, the hot passion has mastered the actor's expres*\nsion ... That, then, which the actor gives us, is not a work of art; it is\na series of accidental confessions \".\nIt is true that the nature of man tends towards freedom. But such is\nnot the nature of art; its media of expression are not accidental move-\nments or inarticulate sounds. Vagueness and uncertainty are never poetic.\nWe are then, agreed that the modern theatre is not artistic: or perhaps\nthe modern actors are wrongly trained ?\nHad Mr Craig been enabled to study the Indian actors, and not merely\nthose of the modern theatre, he might not have thought it so necessary\nto reject the bodies of men and women as the material of dramatic art.\nFor those principles which have with great consistency governed all other\nOriental arts until recently, have also governed dramatic technique.\nThe movements of the Indian actor are not accidentally swayed by\nhis personal emotion ; he is too perfectly trained for that. His body, If\n•\nyou will, is an automaton; while he is acting, there is nothing natural...\nthat is to say accidental or inartistic,... in his movements or changes of\nexpression. The movement of a single finger, the elevation of an eyebrow,\nthe direction of a glance., all these are determined in the books of technical\ninstruction, or by a constant tradition handed on in pupillary succession.\nMoreover, nearly the same gestures are employed all over India, to express\nthe same ideas, and many, perhaps all of these, were already in use two\nthousand years ago.\nAnd there is the closest connection between these gestures and those\nof the images and pictures of the gods and angels. Many of these gestures...\ncalled mudra.... have hieratic significance : equally in a painting, an image,\na puppet, or a living dancer or danseuse, or in personal worship, they\nexpress the intentions of the soul in conventional language. For example,\nthe commonest hieratic gestures have such significations as; \"I give all\"\nor \" hold nothing back \"; \"Do not fear \"; \" Contemplation \" ; •* Calling\nthe Earth to witness \" ; \" Discourse \" * others represent specific objects,\nas animals, parts of the body, stage properties, attributes; others are the\nsigns of invoking and welcoming, placing on a seat, restraining and\ndetaining... Ail these gestures are made by the fingers and palms."}, {"page_pdf": 36, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.36", "debut_caractere": 27, "fin_caractere_exclue": 2465, "texte": "By means of these gestures, and others perhaps less rigid, but all\nperfectly familiar to the spectator, and repeated without variation\nby the same dancer on different occasions, or by different dancers,\nit is possible to express the whole range of human emotion, and of action\nresulting from emotion, and likewise to describe the personal appearance\nof a god or hero, and all his deeds, in a language which Is perfectly\nartificial and profoundly touching... a language with which the joy or\nsorroWj the youth or age, the male or female sex of the \" shower has\nnothing to do.\n1 have never seen, nor do 1 hope to see better acting than I saw once\nin Luckncw, when an old man... a poet and dancer and a teacher of many,\nmany dancing-girls.... sang a Herd-Girl's \" Complaint to the mother of\nKrishna. \" This famous dancer, whose name is Binda Deen, is a devout\nBrahman, well enough off, for he used to receive L .500.0.0 or more in a\nsingle night from appreciative rajas ; he will sing, and his nephew will\ndance, at any time at his own house, for any neighbour or townsman,\nfor quite a small fee. He says that it ought not to be difficult for hts\nown friends to hear or see him. Thus, before an audience of pupils and\nneighbours, this old man sat on the ground and sang his poem. Picking\nup a scarf, he used it as a veil... and no one could have remembered that\nhe was anything but a shy and graceful young girl, telling a story with\nevery sort of dramatic gesture of the hands and eyes. She told how Krishna\nhad stolen the butter and curds, what pranks he played, of his love-making\nand every sort of naughtiness. Every feature of the face, every movement\nof the body and hands was intentional, controlled, hieratic; not all his\nown devotion for Krishna spoiled his art to the least degree. &\n& It is true that Binda Deen is a man of genius and great personal cha-\nracter, and so the better able to identify himself with his art, not the\nart with himself. But such an action-song as this did not belong to him,\nor depend on his genius for its being, even though he may have composed\nthe particular words of it; it belonged to the race, and its old vision of\na cow-herd god. Nor would it, or any Indian acting, have had much sign'\nficance for an audience not already familiar with all its episodes and\nideas and all the conventional gestures (dramatic symbols) expressing\nthem. But it is remarkable that once given the key to these gestures,"}, {"page_pdf": 38, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.38", "debut_caractere": 27, "fin_caractere_exclue": 2352, "texte": "they no longer appear conventional at all but 44 natural \", in the sense\nof Inevitable. Yet the fact that all 44 showers \" use similar gestures, and\nthe evidence for their antiquity, prove how conventional, i. e. 44 agreed\nupon \" between artist and audience, they really are. Art, as distinguished\nfrom 44 slices of life \", demands not only a trained artist, but also a trained\naudience, and demands also that artist and audience should share a\ncommon faith. Is not perhaps the audience in a modern theatre a greater\nfailure than the play itself? £? £?\nThis conventional art is not, of course, now to be seen in the pretentious\nproductions of the Parsee theatres; but in all Indian dancing, where there\nare no stage properties, and there is but one, or in some simple dramatic\nperformances only two or three actors... where the whole range of life\nand desire has to to be expressed in a manner clearly intelligible to a\npopular audience, who do not ask that anything in the representation\nbefore them should be unfamilar or strange... there the true art of acting\nor 44 showing \" Is still displayed. jg? &\n% v\nI do not know how much one would not desire to give, having once\nsuffered from the tawdry luxury and pretentious stupidity of the modern\ntheatres of Bombay and Calcutta, to recover the passionate sincerity of\nthis wonderful folk-drama, that 44 without scenery, without the artistic\ndisplay of costumes, could arouse emotions which now-a-days we scarcely\nexperience \". (i) & &\nI have heard a dancing girl lament that her audience now-a-days\ncared more about her looks than her art. Formerly the Indian audience\nmade art a sine qua non, and looks a secondary consideration.\nDancing is also a part of worship. Miss Ruth St Denis was right in\nher representations of India on the English stage. Not in detail, or in the\nexact form of her dance or her dress, but in essential spirit, in perso-\nnating, for example, in a single scene both the worshipped god and the\ndancing worshipper; In the Indian temples, or at least in most 'of the\nSouthern temples, there are Devadasfs, servants of the god, whose duty\nit is to dance before his image, just as the Apsaras dance before him in\nheaven. As there, too, the Apsaras are the courtesans of the gods, so are\nthe Devadasis on earth.\n\n(!) C. Sea. History of Bengali Literature."}, {"page_pdf": 39, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.39", "debut_caractere": 27, "fin_caractere_exclue": 2443, "texte": "JZ? My friend Abanindronath Tagore has painted me a picture of a Deva-\ndasi before the shrine of the Lord of the World at Jagannath. She has\ncast down upon the ground the fallen petals of a lotus, asking, \" O Lord,\nwhy dost thou make us so fair today, if tomorrow thou wilt cast us into\nthe dust like a fallen flower?\" Do such thoughts, I wonder, find their\nway also to those that haunt in Piccadilly?....^\nJZ? From the dance to the sculptured image, and from the image to the\ndance, there was a constant going and coming. The greatest Dancer is\nNataraja, whose cosmic dance is the process of alternate 4 showing forth '\nand withdrawal of this variegated universe. If this art of gesture has\nendured so long in India, it is partly because it has been so perfectly\nformulated, but also partly because it endures in stone and bronze as\nwell as in living memories.\n& The dancer's poses, as Loti says, are 44 always those of the basreliefs\nPaes has described a sixteenth century royal dancing hall.at Vijayanagar,\n44 where the king sends his women to be taught to dance. It is a long\nhall and not very wide, all of stone sculpture on pillars... images seated\non the elephants, as well as those on the panels, are all dancing women\nhaving little drums. The designs of these panels show the positions at\nthe ends of the dances in such away that on each panel there is a dancer\nin the proper position at the end of the dance ; this is to teach the wo=\nmen, so that if they forget the position in which they have to remain\nwhen the dance is done, they may look at one of the panels where is the\nend of that dance ... in the middle of the wall is a golden image of a\nwoman of the size of a girl of the age of twelve years, with her arms in\nthe position she occupies in the end of a dance. (I) & &\nI have only one objection to meet. When I told Mr Craig of this con-\nventional Indian art of acting, he said he thought it was wrong for human\nbeings to submit to such severe discipline. But apart from their acting,\nthese Indian actors are as human as any others. That their acting should\nbe so severely disciplined, is not more painful than the observance of\nForm in any other art. The musician at least requires an equally arduous\ntraining. The truth is that the modern theatre has so accustomed us to\na form of acting that is not an art, that we have begun to think It is\n\n(i) Seweli, A forgotten Empire. Vijayanagar pg. 209."}, {"page_pdf": 40, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.40", "debut_caractere": 27, "fin_caractere_exclue": 288, "texte": "too much to demand of the actor that he should become once more an\nartist.\nI have been able to put together above makes no pretension to\nbe anything more than notes on some aspects of Indian dramatic technique.\n1 hope there may come a time when 1 can tell more."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c020", "article_bluemountain": "bmtnaau_1913-10_01#c020", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "115", "page_fin": "115", "image_debut": 27, "image_fin": 27, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.2.9.3", "titre_corps": "Indian Stencil figure", "titre_sommaire": "Indian Stencil figure", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 27, "page_imprimee": "115", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 36, "texte": "Indian Stencil figure. See page 115."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c021", "article_bluemountain": "bmtnaau_1913-10_01#c021", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "117", "page_fin": "117", "image_debut": 29, "image_fin": 29, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.2.9.4", "titre_corps": "Indian Stencil figure", "titre_sommaire": "Indian Stencil figure", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 29, "page_imprimee": "117", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 36, "texte": "Indian Stencil figure. See page 115."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c022", "article_bluemountain": "bmtnaau_1913-10_01#c022", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "121", "page_fin": "121", "image_debut": 33, "image_fin": 33, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.2.9.5", "titre_corps": "The Dancing Lesson", "titre_sommaire": "The Dancing Lesson", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 33, "page_imprimee": "121", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 19, "texte": "The Dancing Lesson."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c023", "article_bluemountain": "bmtnaau_1913-10_01#c023", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "125", "page_fin": "125", "image_debut": 37, "image_fin": 37, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.2.9.6", "titre_corps": "Symbols of the Hills and of the Seas", "titre_sommaire": "Symbols of the Hills and of the Seas", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 37, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.37", "debut_caractere": 0, "fin_caractere_exclue": 113, "texte": "Symbols of the Hills and of the Seas. The seven mountain ranges and the Seven Rivers. From old Buddhist\ndrawings."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c024", "article_bluemountain": "bmtnaau_1913-10_01#c024", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "128", "page_fin": "128", "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=bmtnaau191310-01.2.9.7", "titre_corps": "This tale piece, as also the heading on page 109 is from an old Buddhist design", "titre_sommaire": "This tale piece, as also the heading on page 109 is from an old Buddhist design", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 40, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.40", "debut_caractere": 290, "fin_caractere_exclue": 370, "texte": "This tale piece, as also the heading on page 109 is from\nan old Buddhist design."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c025", "article_bluemountain": "bmtnaau_1913-10_01#c025", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "129", "page_fin": "133", "image_debut": 41, "image_fin": 45, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.2.10", "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": 41, "page_imprimee": "129", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.41", "debut_caractere": 0, "fin_caractere_exclue": 2039, "texte": "(1)\nlose your eyes for a moment and imagine that\nyou are traversing time and space, as though you\nwere In a dream, and enter with me a gloomy\ncell in a Spanish Convent, about the end of the\nyear 1551. All round the walls, on oaken tables,\nthere are hundreds and hundreds of models of\nhydraulic machines, of instruments of war.... and\nof clocks and watches. On a table, in the middle\nof the room, a multitude of little wooden figures, admirably formed,\nand dressed in armour, are simulating, now a battle, now a council, now\na march, and finally an assembly, gesticulating in a marvellously natural\nway, and, through the voice of the artificer, who designed and works\nthem, disputing among themselves about the most difficult problems of\nphilosophy and mechanics.\n& A man, still young and robust* holds in his hands the strings of the\nmarionettes, and speaks all the parts of that strange comedy, while a\nfine old warrior on the other side of the table Is eagerly watching, that\nhe may not lose a gesture, nor a motion, nor a word of these extraordi-\nnary \" figurini \".\n& The convent is called the monastery of Saint Just, the manager of\nthe figures is Giovanni Torrlani of Cremona; and the old motionless\nman, who is setting opposite to him i 5.... His Majesty, the Emperor\nCharles the fifth. He, who had dreamed of the conquest and dominion\nof the whole world, the rival of Francis the first, the conqueror of Pavia,\nthe conquered of Ceresole, the liberator of the Christians, the victor of\nBarbarossa, is smiling and Interested in the dialogue and actions of ma-\nrionettes ; and the greatest mecanician of his age, Giannello Torrlani,\nwhom Covarruvias in his \" Tesoro della lingua castellana \" describes as\na second Archimedes, does not disdain to apply his talent and skill to\nthe construction and perfection of burattini.\n& Whoever has read, or will take the trouble to read, in the pages of\nhistory, such as that of Tiraboschl, about the erudition and services to\n\nA HISTORY OF PUPPETS\nPUPPETS IN SPAIN.\nby \"Yorick\".\n\n(1) P, Ferrigni."}, {"page_pdf": 42, "page_imprimee": "130", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.42", "debut_caractere": 24, "fin_caractere_exclue": 2432, "texte": "science of Qiannello Torriani, will find It difficult to understand why\nsuch an indefatigable searcher among the highest problems, such a ta-\nlented artificer, such a thinker and philosopher, should have sacrificed\nhimself for a sufficiently long space of time with the toys and trifles of\na pseudo-spectacle of marionettes. But he will cease to wonder if he\nremembers that it was with such things that the illustrious scientist,\nbound by the cords of deep affection and devotion to the great Monarch...\nnow withdrawn from the world... succeeded, in some degree, In resto-\nring his mind, which had been disturbed and saddened by trouble and\nmisfortune, and in gradually recalling him to the study of intricate\nquestions of policy and government, with regard to which he was often\nconsulted by the restless and suspicious Philip, his son and successor.\nIt was only by such means... the miracles of mechanics, the construction\nof watches and the manipulation of puppets, for which he had always\nhad great predilection... that Charles could be roused from a condition\nof torpor and inactivity. &\nAnd for the first two years of that melancholy and voluntary con-\nfinement, the learned and compassionate friend was willing to isolate\n/\nhimself within the walls of a gloomy monastery, and to bend his won-\nderful intellect and ability to the modest business of a simple showman.\nj0 What kind of things the puppets of Torriani were, Flaminio Strada\ntells us in his book on the Flemish war:...\n44 Some beat the drum, others sound the trumpet; others, again, ride\n44 on horses and rush furiously, one against another, with visor lowered\n44 and with lance In rest; some dance, some skip; and there was one\n44 with a cage, which, at a given moment, he opened, liberating birds,\n44 that then flew all about the stage. Fray Piquillo, a monk in the con-\n-44 vent of St. Just, who was present at that, performance was so astonl-\n-44 shed, that he made the sign of the Cross and hurried away, suspecting\n44 that the 44 demonio \" had in some mysterious manner entered into the\n44 construction of those surprising little wooden 44 creaturine\nThe inventions of the Italian Torriani soon got Into the hands of the\n44 titereros \", country showmen, who had come, for the most part, from\nthe provinces of our peninsular; and 44 castelli\" were speedily set up in\nthe open spaces of Madrid, Seville and Valencia ; and stable theatres"}, {"page_pdf": 43, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.43", "debut_caractere": 23, "fin_caractere_exclue": 2342, "texte": "were multiplied in Barcelona, Cordova and Granada. Later on marionettes\ncrossed Into Portugal, and Lisbon had Its opportunity, also, of applaud-\ning the clever little \" figurlni \" on an improvised stage in a '* Tragedia\nfilosofica called '* La morte di Socrate \".\n& The adventures related in the \" Libro de entertenimento de la Picara\nJusiina, compuesto por el licenciado Don Francesco de Übeda, natural\nde Toledo \" disclose some very intimate details of the life of an old Ita-\nlian emigrant, who was the owner of a marionette theatre in Seville\n♦\nabout the beginning of the sixteenth century, and describe the subtle\nmotions and famous doings of that hero of wood, to whom the Sevillian\npublic had conceded the right of citizenship, and baptized by the name\nof \" Don Cristoval Pulichinela&\n\" \"edifizio\" so perfect, that none better supplied with actors, or richer\n\" in appointments and dresses, had ever been seen. My ancestor was\n44 small in stature, almost a dwarf; so that between himself and his ma-\n\" rionettes, the only difference was that of voice, which the old man\n'' spoke without having need of a \" pivetta But to see him and hear\n\" him, and to see and hear his little 44figurini\" was such a pleasure and\n\" delight, that when the hour for his performance arrived, all the\n\" shopkeepers of whatever kind, hurried at the sound of the drum and\n** fife to secure good places, even forgetting to shut up their shops \".\nIt should be said that the repertory of Spanish and Portuguese ma-\nrionettes was always essentially different from that of all other European\nburattini, having rigidly retained all the marks and characteristics of\nthe old relations with the church. The example, Quoted already, of the\nMorte di Seneca \" is sufficient to give an Idea of the class of play, that\nwas most approved by the people of the Iberian peninsular. Moreover,\n44 personaggi \" of the burattinesque theatre in Spain were more distin-\nguished than elsewhere for their preservation of the national physio-\ngnomy. With the single exception of 44 Pulcinella\", who is, of course,\ncosmopolitan, no Italian puppet has ever succeeded in acclimatising\nhimself in the country. Nevertheless, the passion for marionettes was,\nand still is, very marked. We have abundant proof of it in the works of\nsome of the most celebrated writers. **"}, {"page_pdf": 44, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.44", "debut_caractere": 23, "fin_caractere_exclue": 1324, "texte": "But why go searching through books in Spanish Libraries for evidence\nof the popularity of marionettes ? What better testimony could we have\nthan that of the great Cervantes in his 44 Verdadera historia deli inge-\ngnoso hidalgo Don Quijote de la Mancha ? \" Who has forgotten the twenty\nsixth chaper of the second part 44 donde se prosigue la graciosa aventura\ndel titerero who in the presence of the 44 Trista Figura\" and of some\nof his friends, gave a representation of 4< Senor Don Gaiferos y de su\nesposa Melisendra the pathetic parts of which 44 andan en boca de las\ngentes y de los muchachos por esas calles \" ? So well did the marionet-\ntes perform their parts, so perfect was the illusion produced by those\nmovable little figures, so real did the clash of arms and the onslaught\nagainst poor Don Gaiferos appear to be, that the valiant 44 Hidalgo\nforgot altogether that It was merely fiction, and, taking the matter se-\nriously, rose to his feet and rushed to the aid of the oppressed 44 cava-\nliero \", drawing his sword and raining blows upon the crowd of Moorish\nburattini, maiming this, and wounding that one, and finally flourishing\nhis sword in such away, that if master Pedro had not fortunately moved\nhis head in time, he would have split it as though it had been made of\n44 marciapane -U"}]}, {"article_id": "bm-bmtnaau-1913-10-01-c028", "article_bluemountain": "bmtnaau_1913-10_01#c028", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "133", "page_fin": "133", "image_debut": 45, "image_fin": 45, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.2.10.3", "titre_corps": "A VENETIAN MARIONETTE", "titre_sommaire": "A VENETIAN MARIONETTE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "133", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 209, "texte": "A VENETIAN MARIONETTE.\nOne of the figures of the marionette theatre taken to her new home by Loredana Grimani on her marriage\nwith Francesco Morosini, in Venice. 1772. And now in the Museo Correr in that city."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c046", "article_bluemountain": "bmtnaau_1913-10_01#c046", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "147", "page_fin": "153", "image_debut": 59, "image_fin": 65, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.2.16", "titre_corps": "THE MEN BEFORE SHAKESPEARE", "titre_sommaire": "THE MEN BEFORE SHAKESPEARE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 59, "page_imprimee": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.59", "debut_caractere": 0, "fin_caractere_exclue": 2022, "texte": "THE MEN BEFORE SHAKESPEARE.\n44 The Italian tragedians were so sharp of wit\nThat in one hour of meditation\nThey would perform anything in action\nKyd's Spanish Tragedy \".\nn the preceding pages we have given a brief list\nof facts relative to the Theatre, extending over\nthe sixteenth century,.... the century which gave\nShakespeare birth.\nj& And what do these facts show ?\nj& They show that there were men at work In\nthe Theatre long before Shakespeare; they show\nthat that Shakespearean Theatre over which Mr\nWilliam Poel and Mr Allbright and their confreres enthuse as the very\napotheosis of the history of the theatre was, in truth, but the dying\nclose of a glorious day and that It was more in its quality as the \" set*\nting sun and music at Its close \" that it was \" writ in remembrance\nmore than things long past \" than for its own Intrinsic glory: that it\nmarked, in fact, already a period, not of development, but of decline.\n& Now if there were men at work in the theatre long before Shakespeare,\nat what were they at work, please ? To this question we shall endeavour\nto reply in this and future numbers of \" The Mask \"by some account\nof their lives. But at the outset we would make it clear that In doing\nthis we are advocating no new School which should imitate pre=Shakes-\npearean actors; all we wish to point out is that these Pre=Shakes-\npeareans were fine fellows, and finer than those who came after them\nand who depended, not on their own creative powers, but on written plays.\n& But we suspect that these written plays upon which the later actors\ndepended were really at the outset composed by the actors themselves\nand only written down afterwards by scribes,... not the whole but parts\nof them; so that by degrees a play, originally a living thing varying\nfrom night to night with the humour of the players, became stereotyped\ninto one permanent form, and the living tree of the actors' Invention\nslowly petrified into the fossil which future generations could discuss,\nstudy, and pass from hand to hand."}, {"page_pdf": 60, "page_imprimee": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.60", "debut_caractere": 30, "fin_caractere_exclue": 2369, "texte": "It Is because we feel that this earlier greater period has been so\ngrievously neglected by the scholars and historians that we wish to call\nattention to it; and, as a prelude to that which we shall show in the\nnext two or three numbers of The Mask we have here set down most\nbriefly something of what was happening all over Europe at that time\nand, in this list, we would draw the attention of those who are more\ninterested in a man because he can write than because he can act, to\nall sorts of facts which speak for themselves, although we fear that\nthese may, like the proverbial drops of water, roll off their backs. &\n& It is for these, and not only for the authors and actors, that we have\ndecided to approach the fringe of that curtain which hangs over the\nPre=Shakespearean period ; to approach it, and, dare we even hope, be\nable to raise it an inch or two so that some may look beneath ? &\nAfter all, it is only a gauze curtain, and is absolutely transparent to\nanyone who can see even a little, without its being raised at all. a\nWe should not need to be exact about these things, but let us try to\nbe so. Here, we are but laying a few facts before you, and also putting\nshort biographies of the doings of the chief persons whom we call\nPre=Shakespearean actors. & &\n& You will see, for instance, how the great Andreini, whose portrait\nwe give (and of whom you have already doubtless said that he re-\nsembles Shakespeare as brother resembles brother,) was the friend of\nprinces, travelled to Paris, married a most refined and gifted lady,\nwrote a book recording his own work in the theatre, and mixed in that\nsociety which Shakespeare so well described, and with which Heaven\nforbid we should suppose he was not conversant, (i) & a\ny°u will see, too, how there was in 1572 a great Italian, by name\nMartlnelli, one of the greatest of his time,.... no mere buffoon as the\nhistorians have wished to make 0ut.... playing his serious dramas, which\nhe had himself composed, in London, for everyone to see, and to copy\nIf they c0u1d,.... though certainly to say nothing about the copy. You\nwill note how Shakespeare was a boy of eight at that time, and you\ncan guess how everyone in London must have cried, *'you remember\nwhat that Italian did ? you remember how he came on there ? You re-\n\n(I) But with which, as yon see, Andreini was."}, {"page_pdf": 61, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.61", "debut_caractere": 36, "fin_caractere_exclue": 2278, "texte": "member the whole idea of that scene ?\" \"Why yes\", says the other, 44 I\nremember it was such and such a thing:... great success,... packed houses...\nLet's do it again! \" xz?\nAnd they did it. &\n£? And Shakespeare did it himself. &\nNow, don't think that here we are carrying out our promise of me-\nrely relating facts, for of course that is a bounding idea;... still an idea\non the verity of which we would stake our vision ; but let it pass for the\nmoment. It will concern us later on. But let no one dare from this time\nforward, nor let historians fear, to state that a mighty stage preceded\nthe time of Shakespeare. That talk about 44 zannis \" and buffoons and\nstrolling comedians is incorrect in its ,and historians\nshould never be suggestive. What we require of them Is fact and nothing\nbut fact,.... carefully tested and accurately co-ordinated fact.\nBut the historians and students have altogether failed to learn what\nwas going on at the time of the advent of Shakespeare. They have\naltogether belittled the earlier stage of Europe because their noses\nwere glued against the pane which looked into the shop window of\nEngland.\nMr William Poel, for instance, talks much of people after Shakes-\nl\npeare but says nothing of those before. Yet it seems important for the\nscholar to speak rather of what came before than after. Mr J. A. Symonds\nalso, in an older book, forgets the early actors, although he has much\nto say about the earlier playwrights. We, on the contrary, while we\nmake the most of the actors in this list, by no means forget the authors.\n<4 What would you say ?... some ask us. 44 Would you claim everything\nas coming from Italy?\"\nWell, if you had time to go into it you would find more came from\nItaly than you expect. For instance, you would probably be surprised to\nknow that Milton's 44 Paradise Lost \", which you consider so essentially\nEnglish, came from an Italian tragedian. (I) A Dutchman, too, would be\nsurprised on hearing that his 44 Adamo \" by Vondel came from Italy;\nand If these and like truths could only be sufficiently brought home to\nknock the sleepiness out of the Northern nations they might really\n\n(1) Giambattisla Andreini, son of the beautiful Isabella and the great Actor-author Francesco Andreini."}, {"page_pdf": 62, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.62", "debut_caractere": 36, "fin_caractere_exclue": 2277, "texte": "awaken and compete with Ireland, which alone among them Is creative\nand vigilant.\n£/ It is remarkable that, among all the solemn historians and antiqua.\nrians, only 0ne,... and he making no claim to be a historian... should\nhave had some realisation of the debt our theatre owes to Italy, and, a\ncentury before the days of Mr Poel and Mr Symondsj should have written\nof the early Italian actors with appreciation, knowledge and respect. &\n& That man Is Isaac Disraeli, father of the Earl of Beaconsfield, and\nhimself a descendant of an Italian family, who devotes many chapters\nin his \" Curiosities of Literature \" to the Commedia dell'Arte and the\nearly masks.\nAgain and again he points out the high standing and remarkable\ntalent of the Italian actors of that period. Of Constantlni, for instance,\nhe says, 44 Crowds followed him in the streets, and a king of Poland\n44 ennobled him. The wit and Harlequin Dominic sometimes dined at the\n\" table of Louis XIV; Tiberio Fiorillo, who invented the character of\n\" Scaramouch, had been the amusing companion of the boyhood of\n\" Louis XIV Several of these admirable actors were literary men,\n44 who have written on their art, and shown that it was one. The Har-\n-44 lequin Cecchini composed the most ancient treatise on this subject\n44 and was ennobled by the Emperor Matthias, and Nicholas Barbieri for\n44 his excellent acting called the Beltrame, a Milanese simpleton, in his\n'' treatise on comedy, tells us that he was honoured by the conversation\n44 of Louis XIII and rewarded with fortune,\" and, though both Constantini\nand Fiorillo were of a little later date, Cecchini was born in 1563, while\nBarbieri went to Paris in 1600 with Flaminio Scala in the service of\nHenry IV.\nOf course there were no doubt very many low comic fellows, but,\nthat there were also many serious and distinguished actors, a very slight\nstudy of the history of the theatre in that period will show, and it is\nnot necessary to remind our readers that Riccobonl, a later actor of the\nsame school as Andreini, Martinelli and Fiorillo, informed the people\nthat only professional actors and those of thorough training could suc-\ncessfully perform the improvised comedies. (1) & J&\n\n(!) See '• The Mask \" Vol. HI. Page 99."}, {"page_pdf": 63, "page_imprimee": "151", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.63", "debut_caractere": 36, "fin_caractere_exclue": 2337, "texte": "And now, after all this fact, for a little supposition: & &\n& if Rlccoboni thought as he did about the measure of training and\ntalent required for successful acting of improvised comedy what must\nAndrefni, so much earlier than Riccoboni, and at so much finer a period,\nhave thought ? & & & &\n& You may say that you can suppose that. You can; and the supposition\nmust control your judgement as to the quality of the stage work at that\nperiod. And if you bear in mind that, whereas Riccoboni lived a little\nlater and in a period of decay, and Flaminio Scala and Andreini were In\nthe late Renaissance, Beolco was full In the best period of the Re=\nnaissance, you will come nearer forming a just estimate of the greatness\nof these early actors of the Italian stage. & 4? &\nFor can you suppose that when the wave of revival came over\neverything it avoided the theatre ? Nonsense I & & & &\nCan you really suppose that these players, for the enjoyment of whom\nprinces entered into diplomatic negociatlons; who sat at the tables of\nroyalty and were ennobled by emperors and had their children held at\nthe font by kings and queens ; whose arrivals were celebrated by tour-\nnaments, who were banquetted by cardinals and sung by poets, and\naccompanied, as was Isabella Andreini, with civic honours to the grave,\nwere persons of no account ? Or can you suppose that men, so swiftly\nresponsive to outward influences that no incident was too small from\nwhich to snatch an Inspiration, around which to weave a brilliant tissue\nof gaiety and wisdom and wit, could be impervious to the tremendous\ninfluences which were at work in that amazing century in which they\nlived ? •£? &\n& Consider what was the life in those days in Florence, Milano, Venice,\nMantua; consider the great artists who were the familiar figures in\nthose cities, the great works dally coming into being; the creative force\nwhich was everywhere striving upwards and outwards as the sap stirs\nthrough the heart of a forest in spring; and, considering all this, can\nyou suppose that the actors, themselves often, as we have the best of\nproof, men of culture and learning, spending their lives in passing from\none to another of these great Italian courts or journeying to France,\nSpain, Poland, and even to England, remained untouched by the influences"}, {"page_pdf": 64, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.64", "debut_caractere": 29, "fin_caractere_exclue": 2325, "texte": "at work,... drew nothing from them for the stage? Why, the supposition\nis absurd.\nRecall but a few of these players and their quality, and you will see\nit to be so. & & & &\nRemember Francesco Andreini, who knew six languages; and his wife\nIsabella, admitted a member of the Accademia dei Intent!, and celebrated\nby all as much for her mental gifts as for her beauty and goodness. Re«\nmember Andrea Calmo, the fisherman's son, who numbered Michael\nAngelo and Aretino and Tintoretto among his friends, and who, besides\nbeing singer and actor and playwright, was writer of works at once\njoyous and profound. Recall Beolco, that fine gentleman, brilliant\nvisor, and creator of comedies, learned scholar, and friend of the most\nillustrious men of his day ; glance also over such fragments of the plays\nand stage speeches as found their way into manuscript or print, and\nnote how rich they are in allusion ; how myth and legend, ancient hi=\nstory and contemporary fact, all things in past, and present were\ndrawn upon for the purposes of the players, and think how keen must\nhave been the intelligence, how fertile the imagination, how ready the\nwit of the men who could seize on all and give so richly and lnexhau»\nstibly, who could so swiftly and splendidly weave their web of fantasy\nupon the stage before the people's eyes.\nConsidering these things, can you for a moment suppose that men of\nsuch quality, living such a life in such an age, should have felt none of\nthe quickening forces of the renaissance, should not have brought these\nto bear upon the theatre of that day?.... That, at a period when not\nonly were painting, music and the fine arts producing fine fruit, but\nwhen the gardeners were in consultation with one another, the hus=\nbandmen of the theatre were asleep ? The thing is unthinkable. &\n£? Let us hope that before long a very searching enquiry may be made\ninto the European Theatre of this period previous to Shakespeare so\nthat we shall not continue to look back to the Shakespearean as the\none and only standard ; but shall, in fact, deny that the Shakespearean\nstage holds anything more for actors except for those who wish to be\nvirtuosos ; and that if there are some who wish to be creators they shall,\nwithout becoming Shakespearean actors, glance back behind Shakespeare"}, {"page_pdf": 65, "page_imprimee": "153", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.65", "debut_caractere": 36, "fin_caractere_exclue": 290, "texte": "and realise that, before he closed the door of initiative, the theatre was\nalmost a creative art:.... learning, however, at the same time that the\nonly thing to be gained by such glancing back is the awakening of\nfresh initiative in the workers of today."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c049", "article_bluemountain": "bmtnaau_1913-10_01#c049", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "153", "page_fin": "158", "image_debut": 65, "image_fin": 72, "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=bmtnaau191310-01.2.17", "titre_corps": "BIOGRAPHICAL NOTES", "titre_sommaire": "BIOGRAPHICAL NOTES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 65, "page_imprimee": "153", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.65", "debut_caractere": 292, "fin_caractere_exclue": 1946, "texte": "BIOGRAPHICAL NOTES.\n\n£? Angelo Beolco, known as 44 Ruzzantewas born in\nPadua in 1502 of a noble family, and died in 1540 or 1542. £s ■£?\n& He was known, according to Scardeone, as 44 the Plautus and Roscius\nof his age \" a title which proves his position as actor no less than\nas author.\n& He seems early to have devoted himself to keen study, and, during\nthe summers spent in the country with a party of other youths, was\nfond of improvising lively scenes and burlesques, imitating the speech\nof the peasants of the neighbourhood or of travellers from other parts\nwho came that way. zz? JZ?\nHis first efforts as a playwright were in the style of the fashionable\npoets of the day,... Bembo, Speroni and their fellows; but, soon wearying\nof this accademic style of composition, he set himself to invent plots based\non rustic events, in which the vernacular was spoken by characters\ndrawn from popular and familiar types. &\n& In these new comedies he not only recited extempore himself, but\nalso trained his companions in improvisation, and won such fame as to\nbe acknowledged as the reformer, or reviver, of Italian comedy, while,\nhis plays being written in various dialects, besides his native Paduan,\nit is probably to him that the first introduction of dialect into the\n44 Commedia regolare \" is due. &\n& It was in 1528 that he gave his first play, in which each character\nspoke a different dialect, to the great delight of the audience, who thus,\nas Sand points out, saw each one his own type upon the stage and heard\nhis own tongue, and the influence of thits may be traced in the part\nof 44 Falsironeplayed later by Francesco Andreini, this character"}, {"page_pdf": 66, "page_imprimee": "154", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.66", "debut_caractere": 30, "fin_caractere_exclue": 2169, "texte": "being 44 most remarkable for the number of tongues which he spoke,\nsuch as French, Spanish, Slav, Greek, Turkish. (1! &\nIt is also to Beolco that Professor Rasl, in his 44 Comici Italian!\"\n*\nattributes the honour of having revived the ancient Buffoons, and fa-\nthered the masks of Pulclnella and the Captain and the four northern\nmasks, while, not only were his plays welcomed with delight on the\nvarious stages of Italy, but he was himself so popular as an actor that\nwhen he was before them the audience would heed nothing else. &\n& His published plays are 44 La Rhodiana \", 44 L'Anconltana \", 44 La Pio.\nvana \", 44 La Vaccarla \", 44 La Moschetta \" and 44 La Fiorina \", and were\nprinted in a volume bearing his name at Vincenza in 1598, nearly sixty\nyears after his death.\nFRANCESCO ANDREINI.\njpRANCESCO ANDREINI. Born at Pistoia about 1348, he was first\na soldier, and, taken prisoner by Moors, remained a slave eight\nyears,... a fact which may have had its later effects upon the Morris or\n\" Moorish \" dances upon the stage. & 0? & 0\nEscaping, he returned to Italy and became an actor, taking first the\npart of the \" Innamorato \", and afterwards creating that in which he\nbecame so celebrated, the 44 Capltano Spavento della Val d' Inferno. \" 0\nHe also acted the roles of the 44 Dottore Siciliano the wizard\n*' Falsirone \", famous for the many languages he spoke, and the shepherd\n\" Corinto \".\n£? In 1578 he married Isabella, at that time sixteen, the two acting\ntogether in the famous company of the 44 Qelosi \" from then onwards,\nand visiting one after another the courts and cities of northern Italy.(2)\n«<£? He was leader of the company of comedians which went to France\nabout 1600, and was enthusiastically welcomed in Paris by the king and\nthe whole court; but in 1604, as they were returning to Italy, Isabella\ndied at Lyons, and from that time Andreini abandoned the stage, and,\n*\nretiring to Venice, devoted himself to the editing of his wife's and his\nown literary works. &\n& In 1607 he published 44 Le Bravure del Capltano Spavento \" a series\n\n(1) Professor Scherillo, The Mask, Vol. 11l page 120. (2) idem, page 119 to 122-"}, {"page_pdf": 67, "page_imprimee": "155", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.67", "debut_caractere": 35, "fin_caractere_exclue": 2279, "texte": "of the speeches, tirades and soliloquies which he had been wont to\ndeliver in that role upon the stage: in 1611 two pastoral 44 favole \",\n44 L' Ingannata Proserpina \" and 44 L'Altarezza di Narciso \", and in 1618\nthe 44 Ragionamenti fantastici posti in forma di dlaloghi rappresentativi\nFour years afterwards he published the second part of the 44 Bravure\nand died in Mantua on August 20, 1624.\nreferring to his own principal role Andreini writes as follows:\nMost gracious readers, while 1 dwelt In the famous Company of the\n44 Comici Gelosi, (whose fame will never see its last night), it pleased\nme to represent in the plays the part of a proud, ambitious and\n44 bragging soldier, calling myself Capitan Spavento da Vail d' Inferno.\n44 And so much did I delight in this that I left off acting my principal\n44 part which was that of the Innamorato. And because I desired to\n44 maintain my standing, and not lose that fame which I had acquired\n44 in those famous times, I devoted myself with much earnestness to the\n44 study of the part of the aforesaid Captain alone, so as to render it, so\n44 far as lay in my power, rich and well adorned. ~\nAs for the famous company of 44 I Gelosi \", he describes it thus,\nshowing it to have been in truth a 44 star company \" working upon the\nstage with the harmony of a well-trained orchestra.\n44 These united comedians named themselves the 44 Comici Gelosi \",\n44 and had as ensign a two-faced Janus with a motto which said 44 Virtu,\n44 Fama ed Honor ne fer gelosi \".... Such companies are no longer to be\n44 found, though let this be understood as said with all good feeling in\n44 regard to those today alive ; and if so be that such are found, they\n44 are companies which have only three or four fine characters, and the\n44 others are of the smallest value, and do not correspond with the\n44 principals as did ail the parts of that famous company, which were\n44 ail remarkable j in fact it was such that it set the standard for dramatic\n44 art, beyond which no modern company of comedians can pass. \" &\nFLAMINIO SCALA.\npLAMINIO SCALA. Was born about 1559 of a noble family, but\nfew definite facts or dates of his early life are obtainable, save that\nhe was a fine actor in the role of the 44 Innamorato £/"}, {"page_pdf": 68, "page_imprimee": "156", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.68", "debut_caractere": 30, "fin_caractere_exclue": 2164, "texte": "We hear of him in 1577 with the »• Gelosi \", who had been caiied to\nBlois by Henry 111, and also at Paris at the Hall of the Petit Bourbon.\nand in 1579 he was still with the same company and inventing plays for\n■\nIsabella to appear in. & & & &\nMore certain information about him dates from the summer of 1600\nwhen he was with Cecchini at Lyons. In the winter of 1601 he went to\nParis, and afterwards it seems possible tliat, request having been made\nto the Duke of Mantua by Maria di Bossu, lady at the Court of Brussels,\nfor a visit of the Company of the Accesi, that he went with this com.\npany to Flanders and Bfabant. .£> & & £? &\nIn January 1606 he was acting at Mantua and in 1611 his great book\nof scenarios was published at Venice under the title, 44 II Teatro delle\nFavole rappresentative, ovvero la Ricreazione comica, boschereccla, e\ntragica, divlsa in cinquanta giornate ■ JZ? £? &\n& Dr Karl Mantzius claims him to have been the first to make a\ncollection of scenarios, and Riccoboni, writing a little later of the book,\nsays, 44 his theatre is not written in dialogue, but merely set forth in\n44 simple scenarios, whioh are not so concise as those of which we\n. ...\n44 ourselves make use, and which we fasten up to the walls of the\n44 theatre behind the 44 quinte \", but - which are yet not so prolix as\n44 to afford the least idea of the dialogue ; they only explain what the\n44 actor must do on the stage, and the action of the play, and nothing\n44 more JZ? JZ> & JZ? JZ? 0\nThe scenario of 44 The Dentist,, quoted in part in The , Ja-\nnuary 1911 was taken from this collection, and Scala is noted, according\nto his biographer, for being the first to give to.the improvised Commedia\ndell'Arte 44 a definite form with all good rule\nTRISTANO MARTINELLI.\nrf-,RISTANO MARTINELLI JZ? Was a Mantuan, and, according to Rasi,\n44 if not the most ancient, certainly the greatest, of the old Ar«\nlecchinos JZ? J£? J0 &\nWe hear of him In 1588 acting with his brother Drusiano in Spain.\nIn 1595 he was in the Company of 44 Pedrolino \", (Pellesini), but, leaving\non account of dissensions, passed to the 44 Desiosi \" or the campany of"}, {"page_pdf": 71, "page_imprimee": "157", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.71", "debut_caractere": 30, "fin_caractere_exclue": 1453, "texte": "*' Diana \" in which he acted in 1596 at Mantua and Bologna. In 1597 he\nwas at Piacenza, and in 1599 In France.\n& In 1600 he was called with a Company to France for the marriage of\nHenry IV with Marie del Medici,\non which occasion he issued a\nlittle book of seventy pages en-\ntitled \" Composition de Rheto-\nrique \", to remind the king and\nqueen of their promise to present\nhim with a gold chain and me-\ndal. (I) A portrait of Arlecchino\ntaken from this appeared in The\nMask April 1911, and another is\nprinted on this page.\nIn 1611, a year after the death\nof Henry IV, the queen made\nvigorous efforts to have Martinelli\nagain at the French court, and\nin October stood godmother to\nhis son ; but it was not until 1613\nthat the company arrived in Paris,\nstopping on the way to give some\nperformances at Lyons. J£? &\nThey performed in Paris until\nthe end of July 1614, now at the\nHotel de Bourgogne for the pub-\nlie, now at the Louvre for the court, and in January Martinelli was\nagain honoured by the King and Queen Regent acting in person as\nsponsors to another of his children.\n& After this visit Martinelli does not seem to have returned to France\nuntil 1621, although negociations were many times entered upon in the\nintervening years.\nwhen, during this visit, the king announced his departure for the\nsouth of France to join his army he left orders for the comedians to\n\n(I) The book is now in the National Library, Paris."}, {"page_pdf": 72, "page_imprimee": "158", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.72", "debut_caractere": 34, "fin_caractere_exclue": 1091, "texte": "remain in Paris till his return, but Martinelli on account of his advanced\nage, asked to be allowed to retire. As he was refused he dispensed with\npermission and returned to Italy, after much opposition from his Com-\npany, taking up his residence at Mantua. But in carnival 1623 he was\nonce more acting at Venice with the \" Pedeli, \" and in July expressed a\nwish to reappear in France. &\nHe died in 1630 aged about seventy five, 0\nDRUSIANO MARTINELLI.\nMARTINELLI. Who also acted as Arlecchlno, was\nbrother of Tristano, and was \" capocomico \" In England in 1572; in\n1568 the two were together In Spain, while, if not director, Druslano\nwas at all events conductor and manager of the company which went\nto Paris in 1600. jS? &\nHe was perhaps more distinguished as a manager than as an actor,\nfor he is often referred to as \" brother of Arlecchino \", which implies\nthat Tristano took precedence ; he is also spoken of as \" husband of\nMad am a Angelica.\nFurther Biographical Notes of the Pre-Shakespeareao actors will appear in future numbers of \"The Mask.\" Ed."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c050", "article_bluemountain": "bmtnaau_1913-10_01#c050", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 69, "image_fin": 69, "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=bmtnaau191310-01.2.17.1", "titre_corps": "Masked Actors, Coviello and a Sicilian, from \"Il Carnevale Italiano mascherato\" of Francesco Bertelli, Venice, about 1600", "titre_sommaire": "Masked Actors, Coviello and a Sicilian, from \"Il Carnevale Italiano mascherato\" of Francesco Bertelli, Venice, about 1600", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 69, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.69", "debut_caractere": 0, "fin_caractere_exclue": 131, "texte": "Masked Actors, Coviello and a Sicilian, from \"[Illegible] Carnevale Italiano mascherato\"\nof Francesco Bertelli, Venice, about 1600."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c053", "article_bluemountain": "bmtnaau_1913-10_01#c053", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "159", "page_fin": "161", "image_debut": 73, "image_fin": 75, "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=bmtnaau191310-01.2.18", "titre_corps": "SIENA, THE CITY OF DRAMA", "titre_sommaire": "SIENA, THE CITY OF DRAMA", "signature_source": "Ernest Marriott", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 73, "page_imprimee": "159", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.73", "debut_caractere": 0, "fin_caractere_exclue": 1937, "texte": "SIENA, THE CITY OF DRAMA\nby\nErnest Marriott.\n\niena has been called by a writer dead long ago\nand forgotten \" The City of a hundred towers\nNot many remain of its ancient soaring structures,.,\nthose beautiful towers built for the aggrandisement\nof feudal 10rd5.,., but there are still standing in\nthe yellow sunlight of today a sufficient number\nto set the imagination glowing brightly enough\nalmost to light you back to the days when Siena\nwas a proud and independent state. It has been called by others \" The\nCity of the Contrade for the Palio, ....a blending of the \" Pugna \",\nthe tournament and horse-race glorified by pageantry and masquerade\nIs a spectacle or contest at which the many \" contrade \" or wards of\nthe city compete and which draws crowds within the walls of the city\ntwice a year.\nNo wonder; for this Sienese festival is not a mere revival. It is a\nsurvival of the mediaeval games which were played in all the Communes\nof central Italy. & &\nHow the races are run in the Piazza, how the horses are taken be=\nforehand to be blessed at the altars of the churches of the different\n\"contrade,\" how the jockeys are allowed to strike each other and use any\nmeans, fair or foul, to win the race, how the victor is deified and how\nthe winning horse is painted with golden stars has been described many\ntimes. So has the wonderful performance of the men who manipulate\nthe swirling banners in the gorgeous procession. But what does not\nseem to have been spoken of is the spirit with which the Sienese do\nthese things.\nTheir sense of drama is so extraordinary that they believe absolutely\nin what they are doing. Anyone who has compared pageantry in Italy\nwith pageantry out of Italy will understand what I mean when 1 say\nthat only Italians can do these things properly. & & &\nOutside Italy all \" mummers'' seem self-conscious of their fancy-dress\nor their wig or weapons or whatever they wear in place of their custo-\nmary habit."}, {"page_pdf": 74, "page_imprimee": "160", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.74", "debut_caractere": 25, "fin_caractere_exclue": 1814, "texte": "& In England the audiences look upon the actors In pageants as they\nwould look at performing animals or monkeys In a cage they feei\nconscious of their own correctness and have a half»defined feeling that\nthe actors are playing the fool. And why is this! Simply because the\nactors do not take themselves seriously, they have not sufficent pride\nor interest or belief in what they are doing. &\nin Italy, and at Siena in particular, the order is reversed. They wear\ntheir mediaeval costumes proudly and with heads carried high. They act\ntheir parts with such belief in the verity and actuality of what they are\nrepresenting that they make the audience feel uncomfortable.\nObserve the experts with the banners revolving them round their\nnecks or whirling them around their bodies in hundreds of curious pat°\nterns: sending them twisting, uncoiling, flashing up into, the air and\ndeftly catching them by the haft. While they are doing this they give\ncasual glances at the spectators and they look proud almost to the point\nof insolence.\nIt is as if they were saying, \" what strange animals you are... why do\nyou dress in such extraordinary clothes ? do you realize that you look\nout of place in our Piazza ? ....that your presence in this mediaeval city\nin your insufferably dull clothing is an offence in the sight of Deity and\nMan ? \" And they pass on whirling their joyous banners, proud of their\ncostumes to such an extent that they wear them all day and the next\nday after and are desolated when the time comes for them to don their\nordinary stupid modern garb. &\nj£r It is this spirit that makes Siena so fascinating, that makes the Sienese\nso attractive, and it is because of their real belief in make=believe, a\nbelief which has become a religion, that I call Siena \"The City of Drama\"."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c056", "article_bluemountain": "bmtnaau_1913-10_01#c056", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "161", "page_fin": "161", "image_debut": 75, "image_fin": 75, "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=bmtnaau191310-01.2.18.3", "titre_corps": "THE CITY OF SIENA", "titre_sommaire": "THE CITY OF SIENA", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 75, "page_imprimee": "161", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.75", "debut_caractere": 0, "fin_caractere_exclue": 37, "texte": "THE CITY OF SIENA. From an old Print."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c057", "article_bluemountain": "bmtnaau_1913-10_01#c057", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "163", "page_fin": "168", "image_debut": 77, "image_fin": 82, "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=bmtnaau191310-01.2.19", "titre_corps": "SHAKESPEARE'S PLAYS", "titre_sommaire": "SHAKESPEARE'S PLAYS", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 77, "page_imprimee": "163", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.77", "debut_caractere": 0, "fin_caractere_exclue": 2211, "texte": "SHAKESPEARE'S PLAYS\nby Gordon Craig.\nI-low is it that the manuscript of Shakespeare's Plays... over thirty\nplays... has never been found ? How is it that not a page of his\nmanuscript has been found ? How is it that the manuscript has never\nreached us of a single play out of the thirty odd plays ? It would have\nbeen a fine sight to see... this manuscript of which Ben Jonson tells us\nthat not a line was blotted. & & &\n■£* So curious a document should have been preserved. Who destroyed\nit? Who took care that not a single page of manuscript should be handed\ndown for us to see ? j0 •&&&&&&\nWas it destroyed by Shakespeare ? And if so, why was he so careful\nto destroy the manuscript when the plays were already printed ?\nI believe that it was destroyed by Shakespeare, and for a very natural\nreason which we shall come to later on, and because he was a very\nhuman being, and more of a literary man than an actor. &\nMany people have felt that there is a mystery about the authorship\nof the Shakespearean Dramas, and if some few find satisfaction in\nshifting the authorship from one individual to another individual, the\nmany are not so satisfied ; and, if anything continue to seem mysterious,\nit is the simple fact that the whole series of Dramas is something too\ncolossal for one man to have created. Yet they cannot well see how two\nor three authors could sit year after year together, and affably compose\nthese turbulent, rollicking wonders.\nI hazard a guess which Is as much a guess as all the \" evidence \"\nbrought together in large volumes about Shakespeare. I believe that\nthere is a mystery about the authorship of the plays, but not a very\ndeep one; and that for this reason it has eluded those sappers who have\npassed it while delving. 1 consider the mystery to be a subtle one, but\nnot half so subtle as the Donellys and others would have us suppose.\n& In my opinion the Dramas were created by Shakespeare in close\ncollaboration with the Manager of the Theatre and with the actors ; in\nfact, with practically the whole of the company who invented, produced,\nand acted them ; and I believe that a glimpse at the manuscript of the\nPlays would reveal a mass of corrections, additions , and cuts made in"}, {"page_pdf": 78, "page_imprimee": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.78", "debut_caractere": 22, "fin_caractere_exclue": 2372, "texte": "several handwritings. I believe that the improvisators... and the comedian\nof that day were great improvisators... contributed a great deal to the\nComedies, and not a Sittle to several of the Tragedies. (I) 1 believe tha*\nthe plays grew to their present literary perfection, three distinct periods\nmarking their development.\n& The first period saw them sketched out; the second saw them acted\nand at this period many speeches and even scenes were added from week\nto week, at rehearsal and after performances... and the third period saw\nthem handed over to the poet for revision before being printed. a\n& When first printed In a collection the Plays were in a very different\nstate from that in which they were spoken from the Stage. I do not believe\nthe same words were spoken at the performances in the Theatre as were\nread by those who received them in even their earliest printed form.\nAnyone who has compared the two texts of 44 Hamlet \"... that of 1603\na*!d that of 1604... cannot help being struck by one fact; that Is, that\nthe 1603 version reads like a stage play, and the 1604 version like a\n1 sterary play. It has been polished for the reader. &\n& Every alteration Is the improvement of a literary stylist bent on\nbeiing as faultless as possible... the literary. Shakespeare is uppermost\nfor the time, and he polishes with a vengeance, and even succeeds in\npolishing away some of the life. It is as though a Giovanni Bellini had\nbeen at work polishing a Van Gogh. J£? & &\nThere seems no doubt to me that the polisher was Shakespeare... the\nnon-theatrical Shakespeare. He seems determined to save his work... bent\non clearing away the rubbish. He succeeds too well, and clears away too\nmuch... and the Stage pays for it.\n& Mark the short space of time between the rough and the polished\nversions I In the case of \" Hamlet\" it took him only a year to polish the\ndrama... the year 1603. £f\n& if we believe that Shakespeare was the polisher, can we be equally\nsure that he was the sole creator of these tremendous works ?... I cannot.\nI believe that he was employed at the Theatre to write up any rough\ndraft by professional or non-professional playwrights, and to work\nupon the shapeless dramas of older writers, or even that he filled in\n\n(1) I hope to be able at some later date to show what parts of the Plays were contributed by the actors."}, {"page_pdf": 79, "page_imprimee": "165", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.79", "debut_caractere": 22, "fin_caractere_exclue": 2342, "texte": "scenarios planned for the Theatre by the Directors. &\n& But these vere not the chief collaborators who worked with him\nupon the great series of thirty odd plays the manuscript of which is\nutterly lost. His chief assistants were the actors. & & &\n£> That the poetry and beauty of some of the unique figures in the\nPlays were born of Shakespeare's imagination I do not doubt, but I do\nmost decidedly doubt whether the other part... the huge material side\nof the dramas... came from the poet. We should be less astounded at\nShakespeare's accomplishment were his Dramas less complete... if they\nlacked their grossness... their popular appeal... their naturalness, which,\nadded to the sublimity of their poetic imagery, makes them seem too\ncomplete for one man to have created, alone.\n& The naturalness of the Dramas was, 1 believe, wafted to England from\nItaly. Italy had awakened just previous to the birth of Shakespeare to\na new sense of Drama. It was red hot... spontaneous... natural. It ap-\npealed Instantly, like the repartee of the peasants. There was something\nso apt, so right about the touch of this new Drama that its fitness was\nnot decreased by the fact that hundreds of actors could give it birth. It\nwas not a literary effort... quite the reverse. It was good talk... wonderful\npatter. There was life in every sentence uttered... life in every idea\nwhich poured out with that stream of words. .<£>\n1 claim that Shakespeare's works are the fruit of a poet's collaboration\nwith this newly formed dramatic art. & & &\nLet me take for example the Comedy of \" Much Ado About Nothing\nand especially the scenes between Beatrice and Benedick.\n& These, in my opinion, are all .improvised. The Manager having planned\nout the story... which he pieced together from old tales... puts the\nmaterial into the hands of Shakespeare, with this direction... that he is\nto \" go easy \" with the characters of Benedick, Beatrice, Dogberry and\nVerges, for these four roles are to be played by the four first comedians,\nand these men know something about acting! <£? £? j£>\n& Shakespeare then sets to work. Hero and her story he elaborates\nlovingly, but leaves spaces when he comes to the comic scenes, and\nmerely writes... \" In this scene Benedick and Beatrice meet and speak\ntogether \"... Or, \" Here Dogberry and the Watch \". jg? &"}, {"page_pdf": 80, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.80", "debut_caractere": 17, "fin_caractere_exclue": 2323, "texte": "& Next the play passes into rehearsal... two or three rehearsals at most,\nduring which the four principal comedians arrange together a little\nwhat they shall talk about.\nThen comes the performance, when, stimulated by the close and eager\npresence of the spectators, they carry out their' plans and improvise\nfurther... brilliantly... usurping more than the share allotted to them by\nthe playwright of the action and interest. The framework of the play\nexpands to fit them... the focus Is altered. You will see that this has\nhappened again and again. &\nPerhaps you are aghast at what I suggest, and ask me heatedly If 1\nmean really and seriously that during this first performance the two\nactors who played Benedick and Beatrice were capable of inventing on\nthe spur of the moment... by the by, what a spur the spontaneous moment\nis!... that brilliant passage commencing...\nBEATRICE. \" I wonder you will still be talking, Signor Benedick:\nnobody marks you \". &\n& BENEDICK. \"What, my dear Lady Disdain! are you yet living?\"\nI have the greatest pride in replying on behalf of the actors of the\nsixteenth century... Yes, they were equal to inventing that passage and\nvery many others, such as the Benedick and Beatrice scenes, Act 2,\nScene 1., and Act 4, Scene 1; besides the Dogberry scenes in Acts 3, 4\nand 5. All these, 1 consider, must in great part be attributed to the actors,\njg? Indeed, much of the Elizabethan Comedy is the work of the actors,\nproduced in that spontaneous manner; many of those brilliant flashes\nof genius which have helped to give Shakespeare the position he holds\ntoday were first struck out in the sharp encounter of wits on the boards\nof the stage. But although we may quite easily believe this... as everyone\nwho has studied the history of the Commedia dell'Arte will believe it...\nwe may also be sure that the repartee was not exactly the same on the\nfirst performance as on the fiftieth. In fact, we may be positive that it\nvaried much at every performance ; but during those fifty representations\nthe best part of the actors' improvisations were recorded by some scribe...\nperhaps even by Shakespeare... and written into the manuscript.\n«<£> Later on, Shakespeare, knowing that the Plays were to be published,\ntook the whole play and polished it; and if he removed some of its"}, {"page_pdf": 81, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.81", "debut_caractere": 23, "fin_caractere_exclue": 2377, "texte": "spontaneity and doubtless some of its grossness, he left in the richest,\ncleverest part of the decoration which those actors of genius had con-\ntributed to the structure.\n& 1 feel certain that, placed as he was as Playmaker=in=Chief to the\nTheatre, he determined to be revenged on all those secondary characters\nwhich were never able to hold the audience, being played by inferior\nactors while the chief players were doing things \" on their own \" ; that\nhe waited his time, gathered together the strings of suggestion, and\ncleaned, tightened and made them beautiful by threading on them pearl\nafter pearl of his poetry, each one more precious than another. But the\nI\nstrings,... I claim them for those masters of improvisation, the actors ; for\nthe actors 1 claim part authorship of the world's masterpieces.\n& The two scenes where* Benedick overhears his friends talking about\nBeatrice, and she overhears her friends talking about Benedick, are\npartly the creative work of the actors, partly that of the poet. In the\nsecond of these two scenes the poet has gathered together the gist of\nthe speeches of the actors, and has given it to us again in a far more\nlovely form than It could ever have possessed originally. But if you\nremove many of these lovely passages of Beatrice you do not alter the\nshape of the play, in fact, you improve it somewhat if you condense It\ninto the true Drama. Hero and her story is far more important when\nwe are not attracted away from her by the thought that perhaps Beatrice\nIs a more poetic, a purer and a lovelier woman than all the Heros in\nthe world.\nTurning to other plays, who if not the actors invented the roles of\nPistol (the Italian Capitano in an English dress).... Bardolph, Lancelot\nGobbo and old Gobbo, Dr. Gaius (the Italian Dottore in a French dress)...\nSir Hugh Evans, Simple, Slender, Justice Shallow, Grumio, Biondello,\nSir Toby Belch, Sir Andrew Aguecheek, Trinculo... and how many more ?\nNot one actor... no Shakespeare-actor... invented them, but actors.... a\ngroup collaborating, acting in unison, attempting each one to out-do the\nother as it were, to act the other off the stage.\nIf today actors cannot improvise, if wit and repartee have fled from\nthe .Theatre to the Music Ha 11... from Monet Sully and Novelli to Robey,\nLauder and Pelllssier... it was not so In the sixteenth century. It was a"}, {"page_pdf": 82, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.82", "debut_caractere": 22, "fin_caractere_exclue": 1920, "texte": "Pellissier who invented Dogberry, a Lauder who conceived Falstaff, and\na Robey who created Launce... and no one knows how \"vulgar Launce\nwas in 1600, though we may guess. And if anyone doubt how brilliant\nthe lighter comedians could be... those who would have played Benedick,\nTouchstone, and Malvolio, Beatrice and Rosalind, let him compare these\nrecords with the comedies of Moliere, which likewise originated in the\ntraditions of the Commedia dell'Arte, at that day familiar in England\nand France.\njg? Moliere and Shakespeare are the despair of all later playwrights. &\nLet them despair no longer. They can do what Moliere and Shakes*\npeare did again and again ; all they need is to find actors who will do\nhalf the great task for them. And let not the actors be any longer\npuzzled because they cannot get these Shakespearean sentences out of\ntheir mouths without choking ; the Elizabethan polish once removed all\ngoes easily once more. &\nThere can be, of course, no question of \" treating \" Shakespeare's\nworks in such a manner. They are best left as they were. But see how\nthe instinct of every actor and every actor-manager leads him to cut\naway all the very highly polished bits, and to deliver the rest in as\nunpolished a manner as possible. Instinct on the stage counts for some-\nthing, and in this way the actor-managers, like hounds on the scent of\nthe fox, indicate clearly which way Reynard has escaped. £>\n& This is the secret which defies u5.... we wonder at the unity of the\nvast whole of the plays, and at the same time at their pandemonium.lt\ndoes not seem to us possible that the brain of one man, be he Shakes-\npeare, Bacon, or another, can have achieved such an overwhelming con-\ntradiction. The world master=pieces are the product of many minds....\neach sums up an age and humanity. Allow Shakespeare his contemporary\nfellow-workers the actors, and the riddle becomes clear. &"}]}, {"article_id": "bm-bmtnaau-1913-10-01-c059", "article_bluemountain": "bmtnaau_1913-10_01#c059", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "169", "page_fin": "175", "image_debut": 83, "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=bmtnaau191310-01.2.20", "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": 83, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.83", "debut_caractere": 0, "fin_caractere_exclue": 1580, "texte": "BOOK REVIEWS.\n\nTHE NEW TENDENCY IN ART\nby Henry R. Poore. Doubleday,\nPage & Co. New York.\nM. S. C.\nTThis little volume proves nothing\nand proves everything. It proves\nthat no one can judge or criticise\nthe Arts and that any one can judge\nand criticise the Arts.\n& Mainly it is a compilation or\ntabulation of the aims and ideals of\nPost-Impressionism, Cubism and Fu-\nturism. It is interspersed with com-\nments jocular and serene, occasio-\nnally witty and sometimes very lucid\nand penetrating. It is not extremely\nwell written but a lot of it is ex-\ncellently well said.\nOne of the many good things in\nthe dish is: \" The desire of the\n44 'new' artist to express the spirit\n\" of the subject through an inno-\n\" cence of brain, leaves out of ac-\n\" count the fact that the spirit\n44 naturally prefers to take up its\n44 residence in a completed not to\n•4 say a well-made temple\nAltogether in spite of its japes\nand chortles it is a capital little book.\nMr Poore, obviously a 44 merry and\nbright \" writer, will, If no one else\ndoes, appreciate our little joke if we\nsay that the book is richest when it\nis most Poore. -<2?\n\nFORGED EGYPTIAN ANTIQUITIES\nby T. G. Wakeling. A. and\nC. Black. Price five shillings net.\n\nAs evidence of how easy it is to\nhe defrauded this book makes\ndistressing reading; as a catalogue\nof the ingenuity of the modern\nEgyptian it is engrossing and highly\namusing.\nJZ? The plates showing the fraud\nand the original help very little. It\nis impossible for any one not an\nexpert to say which is which.\nWhether fraud or genuine, some\nof the scarabs and heads and Jars"}, {"page_pdf": 84, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.84", "debut_caractere": 15, "fin_caractere_exclue": 2228, "texte": "certainly are very beautiful in ap-\npearance. &\nThe really interesting statement the\nauthor makes is that the modern\nEgyptians, without preliminary tui-\ntion in sculpture or painting, are\ncopying the old work in such away\nthat only the most experienced are\nable to tell the real from the false.\n\nE. W.\n\nEVERY MAN HIS OWN BUIL-\nDER, by George Gordon Samson.\nCrosby Lockwood. Price three\nshillings and sixpence net.\nrjphis is a \" good old book \"but it\nis a pity that its text is not more\ncharming, its designs more beauti-\nfuiiy drawn. &\nCompare it with the old books on\nbuilding,... with Vitruvio, with Sab-\nbatlni and Serlio and the rest of\nthem, and you will see that, no\ndoubt, it is just as practical; but as\nit has an ugly touch about the de-\nsigns and plans it is like a man\nwho, while apparently speaking the\ntruth, lies to one all day long.\nTherein it is like most modern\nwork.\nThis is a great pity. &\nCertainly it is a useful b00k,...\nbut it would have been rendered no\nless useful by being decently drawn;\nthat it is not so is the editor's or\npublisher's fault. £? jO x?\n\nSHAKESPEARE'S \"HAMLET\",\na new commentary by Wilbrahm\nFitz-John Trench. M. A. Smith\nElder. Price six shillings net.\n\nIT ndeterred by the knowledge that\nthere exist 45, 768 books and\narticles dealing with \" Hamlet\" Mr\nFitz-John Trench walks into the\narena full of confidence. &\n& We cannot say that his perfor*\nis either better or worse than that\nof other commentators. &\nYour true authe'ntic commentator,\nan he will, can be as devious as the\ndevil; can throw out tentacles like a\nBaconian, raking all sorts of things\ninto his maw, thus ennabling him,\nas does the sea octopus, to squirt a\ncloud of ink when expedient and\nunder cover of this make an escape.\n& The first chapter deals with first\nprinciples. The author's footnote\nsays, \" The reader who finds it\nuninteresting may neglect it \". One\ncannot help feeling that the author\nmight have considered it to be a\nfirst principle to read up what has\nbeen written by those who have\nactually worked the play out on a\nstage. 0\nFor instance, Mr Trench speaks\nof the staging of Shakespeare's\nghosts, yet seems to be unaware\nthat the subject was fully dealt\nwith in The Mask four years ago"}, {"page_pdf": 85, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.85", "debut_caractere": 15, "fin_caractere_exclue": 2284, "texte": "and that Mr Craig, who knows more\nabout the play 41 Hamlet \" than any\ncommentator, dealt with the subject\nin his book, 4< On the Art of the\nTheatre\n\nJ. N.\n\nYANKEE FANTASIES by Percy\nMackaye. Duffield. New York.\nPrice one dollar and twenty five\ncents net.\n\nIn almost every recent book dealing\nwith the Theatre that I have read\nI find somewhere amongst its pages\na voice crying out that the need of\nthe Theatre is freedom to experi-\nment.\nEven Mr Mackaye mentions it in\nthe preface to his new volume of\nmost excellent little plays. He boldly\nstates the need :\nJZ? 44 The practical Instrument would\n44 be what I may appropriately term\n44 a Studio Theatre... a theatre de-\n-44 dicated in policy wholly to expe-\n-44 riment in dramatic art, being for\n44 the dramatist what his studio is\n44 for the painter, or his laboratory\n44 for the physicist \". JZ?\nJZ? In this book Mr Mackaye shows\nthat the one-act play is not only a\nform of expression fascinating in Its\nmanifold possibilities of dramatic\nsuggestion, but that it Is also a di-\nstinctive form capable of expressing\nwhat the longer plays cannot.\n44 Chuck the first playlet In the\nvolume, is full of charming and\npoetic feeling and the same quality\nof writing runs through the whole\nbook and makes delightful reading\neven of those plays or experiments\nwherein one finds it a little difficult\nto keep pace with Mr Mackaye:\nracy piece of dramatic writing. Lis-\nten to the curious rhythm of this:\n\" It aint so much thinkin o flo=\n\" wers and the young folks, their\n\" faces, and the blue line of old\n\" fellers marchin its the music!\n\" that old brass voice a-callin !\n44 Seems as though, legs or no legs,\n\" I'd have to up and foller to God=\n\" knows=whar, and holler-holler\n44 back to guns roarin in the dark.\n\"No ; durn it, no! I jest can't stan\n\" the music\". J\nAnd this :\n£? \"The Bloody Sundown ! God,\n44 that crazy sun: she set a dozen\n\" times that afternoon red-yeller as\n44 a punkln jackolantern, ravin and\n\" pitchin through the roarin smoke\ntill she clean busted, like the other\n\" bombs, behind the hills \".\n& It seems to me that in this play\nMr Mackaye exhibits a new phase of\nhis extraordinary gift. The old war-\nrior is made to talk in a manner\nnot only martial in spirit -but the\ndialogue itself treads a firm military"}, {"page_pdf": 86, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.86", "debut_caractere": 15, "fin_caractere_exclue": 2334, "texte": "step and seems when reading to be\npunctuated with cannon balls and\nmusket shots; yet it Is all so natural\nand unforced. jz? z? ■£?\nHe has a power of description so\nvivid as to be at times almost pain-\nful In intensity. He can make you\nhear and feel at the same time.\n44 Gettysburg \" has taken hold of\nMr Mackaye. He has transmitted\nits emotion, adding something to it\nwhich in the re-creating process\nfuses into something that would be\ndifficult to define.\n& It Is more than literary grace,...\nthat is there in plenty. It is more\nthan dramatic rectitude. All 1 can\nsay is that it thrills.\n\nE. M.\n\nSHAKESPEARE IN THE THEATRE,\nby William Poel. Sidgwick\nand Jackson. Price three shillings\nand sixpence net.\n\n'phis book is mainly a series of\npapers reprinted from the 44 Na=\ntlonal Review \", the 44 Westminster.\nReview \", the 44 Era \" and the 44 New\nAge and Mr Poel tells us that he\ncollects them in one volume 44 in the\n44 hope that they may be of use to\n44 those who are Interested in the\n44 question of stage reform, more\n44 especially where it concerns the\nproduction of Shakespeare's plays \".\njZ? Of course Mr Poel did great ser-\nvice as an antiquarian in unearthing\nthe \" Everyman This was the play\nthrough which Mr Ben Greet later\non enriched himself in the United\nStates;... it would have done Mr\nGreet credit had he then remem*\nbered Mr Poel. &\nBut Mr Poel is somewhat too\nmuch of an Antiquarian to be closely\nallied with the Living Men of a\nLiving Theatre, and he Is certainly\nnot at his best when he touches upon\nthe ideas and work of Mr Gordon\nCraig. j3 £? £>\nAt the end of a paragraph rela«\ntlve to these he writes as follows:\n44 Mr Gordon Craig seems to think\n44 that Shakespearean representa-\n-44 tion at the present moment is\n44 unsatisfactory because of our mi-\n-44 serable theatres, with their low\n44 proscenium and unimaginative\n44 scenery which cannot suggest im-\n-44 mensity! Shakespeare would tell\n41 us that the fault lies In our big\n44 scenic stages and our voiceless\n44 dreary acting; and two men with\n44 such different ideas about the\nf4 Theatre are not likely to prove\n44 successful in collaboration &\nHere Mr Poel proves himself a\nlittle rash. How does he know so\nwell the mind of Shakespeare ? who\nis he to put words and opinions so\ndefinite in the mouth of a man dead\nthree hundred years ? & •"}, {"page_pdf": 87, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.87", "debut_caractere": 15, "fin_caractere_exclue": 2302, "texte": "He does not know what would\n• P\nbe the mind of Shakespeare as ap-\nplied to the theatre of today; he\nclearly does not understand the\nmind of Mr Craig, and yet on two\nvague assumptions he bases a very\nvalueless conclusion.\nNo, no, Mr Poel, find us another\n\"Everyman\" and we shall be grate-\nful ; talk to us sometimes of your\nfriends the Elizabethans and we\nshall be glad ; but pray, leave the\nyoung Theatre and those who are\ncreating it alone; pray refrain from\ncriticising that which your own words\nprove so clearly that you do not\nunderstand.\n\nL. C.\n\nTHE INDIAN THEATRE by E. P.\nHorrwiiz. Blackie and Son, Ltd.\nPrice two shillings and sixpence.\nP. R.\nnphere is much that is interesting\nin this \" brief survey of the\nSanskrit Drama and perhaps the\nmost interesting pages are those\nfew at the end devoted to Aryan\nRoots and the explanation of such\nwords as \" Veda \" \" which refers to\nthe heavenly vision which pure\nsouled seers 'see' \" and \" shruti\nthe \" revealed truth to which in=\nspired hearers 'listen'\nln a note to this appendix the\nauthor writes, \" In a work on the\n'♦ Greek Theatre, it would be quite\n\"unnecessarj7 to explain the mea=\n44 nings of 'drama', a 'chorus' or\n44 'epic' or rhapsody' because classl*\n44 cal antiquity has bequeathed all\n44 these terms to us \" ; but with this\nview we disagree. It is just those\nwords which have been staled by\nconstant usage whose real meaning\nis most apt to be falsified and over-\nlooked, and if more people would\nbut study the origins of these terms,\nand clear their minds of such beliefs\nas that a 'drama' is something to\nhear or to read, instead of being an\nact, (I) a great deal of misconception\nwhich is at present hindering the\nTheatre's progress would be done\naway with.\nAs for the format of the volume;\nwe have yet to learn how sensible\nand practical publishers like Mr\nBlackie and his Son can put such\npaper at the service of so interesting\na book. England is not witty,... but\nheavy every time.\n(!) See \" The Mask\". Vol. ! page 98.\n\nA CENTURY OF FAMOUS ACTRESSES\nby Harold Simpson and\nMrs Charles Braun. Mills and\nBoon. Price ten shillings and\nsixpence net.\n\nHphe joint authors of this book tell\nus at the outset that they make\nno \" attempt at exhaustive bio-\ngraphy \" nor do they aim at \" a\ncritical analysis of the actress's art"}, {"page_pdf": 88, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.88", "debut_caractere": 15, "fin_caractere_exclue": 2292, "texte": "which last admission is perhaps wise ,\nas, before entering upon such an\nanalysis they would surely need to\nrefute the various arguments which\nhave been put forward,.., and never\nyet disproved.., to the effect that\nacting is not an art at all. &\n& It is also somewhat rash of them\nwhen, upon page I, after quoting\nthe decree by which Charles II re-\nmoved the ban from women ap-\npearing on the stage, they refer to\nthe previous usage of employing boys\nin the female parts as 44 this ridicu-\nlous custom\nEvidently they have never read\nSir Walter Raleigh's 44 Shakespeare \"\nor they would recall the passage by\nthat distinguished scholar in which\nhe ends up a vindication of the\ncustom in these words: 44 With the\ndisappearance of the boy players the\npoetic drama died In England, and\nit has had no second life \". (I) &\nNor can they be acquainted with\nMr John Masefield's remarks on the\nsame subject:44 Women's parts were\n44 played by boys. Some have thought\n44 that this must have taken from\n44 the excellence of the performance.\n44 It is highly likely that it added\n44 much to it. Nearly all boys can\n4* act extremely well. Very few men\n44 and women can. '' £?\nMr Simpson and Mrs Braun would\ndo well to make a more careful study\nof all that concerns their subject\nbefore they write their next book: it\nwiil save them from many blunders\nwhich prejudice their readers. &\nFor the rest, the present volume\ncontains a series of short biogra-\nphical notes on the talents, charms,\ncaprices and love affairs of the\nleading actresses from 1750 to 1850,\nwith a number of portraits, and will\ninterest those who find pleasure\nin the Green-Room gossip of an\nearlier day.\n(1) The Mask, Vol. 11, page 96.\n\nN. L.\n\nPEERESSES OF THE STAGE,\nby Cranstoun Metcalfe. Melrose.\nPrice seven shillings and six-pence\nnet.\n\njyl r Metcalfe, who appears to have\ntaken as his motto Pope's cou=\nplet, JZ7\n44 Whether the charmer sinner\nit or saint it\nIf folly grow romantic I must\npaint it\nseems to find something essentially\nromantic in the union of a chorus\ngirl or a minor actress with a peer,\nbut the romance Is evidently mea=\nsured by the dignity of the title in-\nvolved, since he writes at the outset,\n44 Into this exclusive company no\none beneath the dignity of a Baron's\nwife or daughter-in-law can be ad-"}, {"page_pdf": 89, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.89", "debut_caractere": 15, "fin_caractere_exclue": 2148, "texte": "mitted \"!\nThe whole book is a silly example\nof snobbery in excelsis, a tiresome\nexpression of bad taste.\n£? It merely heaps together a quan-\ntity of trivial chatter about a number\nof ladies whose sole claim to di-\nstinction lies in the fact that they\nmarried sprigs of the British nobility,\nand it seems a pity that a sensible\npublisher like Mr Melrose should\nhave lent his good type, paper, ink\nand printing presses to so poor a\npurpose. JZ? &\n\nN. L.\n\nBURBAGE, AND SHAKESPEARE'S\nSTAGE by Mrs C.\nC. Stopes. De La More Press.\nPrice five shillings net.\nP. R.\n7y|rs Stopes has collected quite a\ngood deal of interesting informa-\ntion about the English stage In the\ndays of Burbage within the pages of\nthis little book. But, while apprecia-\nting what she gives us, we miss much\nwhich we hoped,... expected, to find.\nHow, for Instance, can this book\nbe anything like complete when\nthere Is no reference to the great\nArlecchfno, Martinelli, of the Italian\nCommedia dell' Arte who visited\nLondon at this period ? (i) Mrs Stopes\nquotes from an old play, 44 And for\n44 honours, who of more report, than\n44 Dick Burbage, and Will Kempe,\n44 he is not counted a gentleman that\n44 knows not Dick Burbage and Will\n44 Kemp \", but she does not seem to\nsee the importance of knowing the\n44 honours and report \" of the prede-\ncessors of these men, those who\nprepared the way for them and their\nsuccess. JO & &\n£? She quotes to us on page 36\nfrom Howes, that Thomas Wilson,\n(44 naming Robert Wilson 4Thomas\"')\nwas noted for 44 quick delicate ex-\ntemporall wit and Richard Tarleton\nfor a wondrous pleasant extemporall\nwit \", this latter being further de-\nscribed as 44 the wonder of his time\";\nbut she has nothing to say of the\nforerunners of these Englishmen,\nthose who were the supreme sources\nand exponents of that very 44 ex-\ntemporall wit\" which became the\ndelight of the English stage.\nlt is a pity that in the past just\nas in the present honour is so seldom\ngiven where honour is due ; that the\nmen who have the ideas are passed\nover for the men who profit by\nthem, the masters forgotten in their\npupils' success.\n(1) See page 138 of this number."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c061", "article_bluemountain": "bmtnaau_1913-10_01#c061", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "169", "page_fin": "169", "image_debut": 83, "image_fin": 83, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.2.20.2", "titre_corps": "THE NEW TENDENCY IN ART by Henry R. Poore", "titre_sommaire": "THE NEW TENDENCY IN ART by Henry R. Poore", "signature_source": "M. S. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 83, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.83", "debut_caractere": 15, "fin_caractere_exclue": 1114, "texte": "THE NEW TENDENCY IN ART\nby Henry R. Poore. Doubleday,\nPage & Co. New York.\nM. S. C.\nTThis little volume proves nothing\nand proves everything. It proves\nthat no one can judge or criticise\nthe Arts and that any one can judge\nand criticise the Arts.\n& Mainly it is a compilation or\ntabulation of the aims and ideals of\nPost-Impressionism, Cubism and Fu-\nturism. It is interspersed with com-\nments jocular and serene, occasio-\nnally witty and sometimes very lucid\nand penetrating. It is not extremely\nwell written but a lot of it is ex-\ncellently well said.\nOne of the many good things in\nthe dish is: \" The desire of the\n44 'new' artist to express the spirit\n\" of the subject through an inno-\n\" cence of brain, leaves out of ac-\n\" count the fact that the spirit\n44 naturally prefers to take up its\n44 residence in a completed not to\n•4 say a well-made temple\nAltogether in spite of its japes\nand chortles it is a capital little book.\nMr Poore, obviously a 44 merry and\nbright \" writer, will, If no one else\ndoes, appreciate our little joke if we\nsay that the book is richest when it\nis most Poore. -<2?"}]}, {"article_id": "bm-bmtnaau-1913-10-01-c062", "article_bluemountain": "bmtnaau_1913-10_01#c062", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "169", "page_fin": "170", "image_debut": 83, "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=bmtnaau191310-01.2.20.3", "titre_corps": "FORGED EGYPTIAN ANTIQUITIES by T. G. Wakeling", "titre_sommaire": "FORGED EGYPTIAN ANTIQUITIES by T. G. Wakeling", "signature_source": "E. W", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 83, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.83", "debut_caractere": 1116, "fin_caractere_exclue": 1580, "texte": "FORGED EGYPTIAN ANTIQUITIES\nby T. G. Wakeling. A. and\nC. Black. Price five shillings net.\n\nAs evidence of how easy it is to\nhe defrauded this book makes\ndistressing reading; as a catalogue\nof the ingenuity of the modern\nEgyptian it is engrossing and highly\namusing.\nJZ? The plates showing the fraud\nand the original help very little. It\nis impossible for any one not an\nexpert to say which is which.\nWhether fraud or genuine, some\nof the scarabs and heads and Jars"}, {"page_pdf": 84, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.84", "debut_caractere": 15, "fin_caractere_exclue": 316, "texte": "certainly are very beautiful in ap-\npearance. &\nThe really interesting statement the\nauthor makes is that the modern\nEgyptians, without preliminary tui-\ntion in sculpture or painting, are\ncopying the old work in such away\nthat only the most experienced are\nable to tell the real from the false.\n\nE. W."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c063", "article_bluemountain": "bmtnaau_1913-10_01#c063", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "170", "page_fin": "170", "image_debut": 84, "image_fin": 84, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.2.20.4", "titre_corps": "EVERY MAN HIS OWN BUILDER by George Gordon Samson", "titre_sommaire": "EVERY MAN HIS OWN BUILDER by George Gordon Samson", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 84, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.84", "debut_caractere": 318, "fin_caractere_exclue": 1094, "texte": "EVERY MAN HIS OWN BUIL-\nDER, by George Gordon Samson.\nCrosby Lockwood. Price three\nshillings and sixpence net.\nrjphis is a \" good old book \"but it\nis a pity that its text is not more\ncharming, its designs more beauti-\nfuiiy drawn. &\nCompare it with the old books on\nbuilding,... with Vitruvio, with Sab-\nbatlni and Serlio and the rest of\nthem, and you will see that, no\ndoubt, it is just as practical; but as\nit has an ugly touch about the de-\nsigns and plans it is like a man\nwho, while apparently speaking the\ntruth, lies to one all day long.\nTherein it is like most modern\nwork.\nThis is a great pity. &\nCertainly it is a useful b00k,...\nbut it would have been rendered no\nless useful by being decently drawn;\nthat it is not so is the editor's or\npublisher's fault. £? jO x?"}]}, {"article_id": "bm-bmtnaau-1913-10-01-c064", "article_bluemountain": "bmtnaau_1913-10_01#c064", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "170", "page_fin": "171", "image_debut": 84, "image_fin": 85, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.2.20.5", "titre_corps": "SHAKESPEARE'S \"HAMLET\", a new commentary by Wilbrahm Fitz-John Trench", "titre_sommaire": "SHAKESPEARE'S \"HAMLET\", a new commentary by Wilbrahm Fitz-John Trench", "signature_source": "J. N", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 84, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.84", "debut_caractere": 1096, "fin_caractere_exclue": 2228, "texte": "SHAKESPEARE'S \"HAMLET\",\na new commentary by Wilbrahm\nFitz-John Trench. M. A. Smith\nElder. Price six shillings net.\n\nIT ndeterred by the knowledge that\nthere exist 45, 768 books and\narticles dealing with \" Hamlet\" Mr\nFitz-John Trench walks into the\narena full of confidence. &\n& We cannot say that his perfor*\nis either better or worse than that\nof other commentators. &\nYour true authe'ntic commentator,\nan he will, can be as devious as the\ndevil; can throw out tentacles like a\nBaconian, raking all sorts of things\ninto his maw, thus ennabling him,\nas does the sea octopus, to squirt a\ncloud of ink when expedient and\nunder cover of this make an escape.\n& The first chapter deals with first\nprinciples. The author's footnote\nsays, \" The reader who finds it\nuninteresting may neglect it \". One\ncannot help feeling that the author\nmight have considered it to be a\nfirst principle to read up what has\nbeen written by those who have\nactually worked the play out on a\nstage. 0\nFor instance, Mr Trench speaks\nof the staging of Shakespeare's\nghosts, yet seems to be unaware\nthat the subject was fully dealt\nwith in The Mask four years ago"}, {"page_pdf": 85, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.85", "debut_caractere": 15, "fin_caractere_exclue": 169, "texte": "and that Mr Craig, who knows more\nabout the play 41 Hamlet \" than any\ncommentator, dealt with the subject\nin his book, 4< On the Art of the\nTheatre\n\nJ. N."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c065", "article_bluemountain": "bmtnaau_1913-10_01#c065", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "171", "page_fin": "172", "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=bmtnaau191310-01.2.20.6", "titre_corps": "YANKEE FANTASIES by Percy Mackaye", "titre_sommaire": "YANKEE FANTASIES by Percy Mackaye", "signature_source": "E. M", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 85, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.85", "debut_caractere": 171, "fin_caractere_exclue": 2284, "texte": "YANKEE FANTASIES by Percy\nMackaye. Duffield. New York.\nPrice one dollar and twenty five\ncents net.\n\nIn almost every recent book dealing\nwith the Theatre that I have read\nI find somewhere amongst its pages\na voice crying out that the need of\nthe Theatre is freedom to experi-\nment.\nEven Mr Mackaye mentions it in\nthe preface to his new volume of\nmost excellent little plays. He boldly\nstates the need :\nJZ? 44 The practical Instrument would\n44 be what I may appropriately term\n44 a Studio Theatre... a theatre de-\n-44 dicated in policy wholly to expe-\n-44 riment in dramatic art, being for\n44 the dramatist what his studio is\n44 for the painter, or his laboratory\n44 for the physicist \". JZ?\nJZ? In this book Mr Mackaye shows\nthat the one-act play is not only a\nform of expression fascinating in Its\nmanifold possibilities of dramatic\nsuggestion, but that it Is also a di-\nstinctive form capable of expressing\nwhat the longer plays cannot.\n44 Chuck the first playlet In the\nvolume, is full of charming and\npoetic feeling and the same quality\nof writing runs through the whole\nbook and makes delightful reading\neven of those plays or experiments\nwherein one finds it a little difficult\nto keep pace with Mr Mackaye:\nracy piece of dramatic writing. Lis-\nten to the curious rhythm of this:\n\" It aint so much thinkin o flo=\n\" wers and the young folks, their\n\" faces, and the blue line of old\n\" fellers marchin its the music!\n\" that old brass voice a-callin !\n44 Seems as though, legs or no legs,\n\" I'd have to up and foller to God=\n\" knows=whar, and holler-holler\n44 back to guns roarin in the dark.\n\"No ; durn it, no! I jest can't stan\n\" the music\". J\nAnd this :\n£? \"The Bloody Sundown ! God,\n44 that crazy sun: she set a dozen\n\" times that afternoon red-yeller as\n44 a punkln jackolantern, ravin and\n\" pitchin through the roarin smoke\ntill she clean busted, like the other\n\" bombs, behind the hills \".\n& It seems to me that in this play\nMr Mackaye exhibits a new phase of\nhis extraordinary gift. The old war-\nrior is made to talk in a manner\nnot only martial in spirit -but the\ndialogue itself treads a firm military"}, {"page_pdf": 86, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.86", "debut_caractere": 15, "fin_caractere_exclue": 610, "texte": "step and seems when reading to be\npunctuated with cannon balls and\nmusket shots; yet it Is all so natural\nand unforced. jz? z? ■£?\nHe has a power of description so\nvivid as to be at times almost pain-\nful In intensity. He can make you\nhear and feel at the same time.\n44 Gettysburg \" has taken hold of\nMr Mackaye. He has transmitted\nits emotion, adding something to it\nwhich in the re-creating process\nfuses into something that would be\ndifficult to define.\n& It Is more than literary grace,...\nthat is there in plenty. It is more\nthan dramatic rectitude. All 1 can\nsay is that it thrills.\n\nE. M."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c066", "article_bluemountain": "bmtnaau_1913-10_01#c066", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "172", "page_fin": "173", "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=bmtnaau191310-01.2.20.7", "titre_corps": "SHAKESPEARE IN THE THEATRE, by William Poel", "titre_sommaire": "SHAKESPEARE IN THE THEATRE, by William Poel", "signature_source": "L. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 86, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.86", "debut_caractere": 612, "fin_caractere_exclue": 2334, "texte": "SHAKESPEARE IN THE THEATRE,\nby William Poel. Sidgwick\nand Jackson. Price three shillings\nand sixpence net.\n\n'phis book is mainly a series of\npapers reprinted from the 44 Na=\ntlonal Review \", the 44 Westminster.\nReview \", the 44 Era \" and the 44 New\nAge and Mr Poel tells us that he\ncollects them in one volume 44 in the\n44 hope that they may be of use to\n44 those who are Interested in the\n44 question of stage reform, more\n44 especially where it concerns the\nproduction of Shakespeare's plays \".\njZ? Of course Mr Poel did great ser-\nvice as an antiquarian in unearthing\nthe \" Everyman This was the play\nthrough which Mr Ben Greet later\non enriched himself in the United\nStates;... it would have done Mr\nGreet credit had he then remem*\nbered Mr Poel. &\nBut Mr Poel is somewhat too\nmuch of an Antiquarian to be closely\nallied with the Living Men of a\nLiving Theatre, and he Is certainly\nnot at his best when he touches upon\nthe ideas and work of Mr Gordon\nCraig. j3 £? £>\nAt the end of a paragraph rela«\ntlve to these he writes as follows:\n44 Mr Gordon Craig seems to think\n44 that Shakespearean representa-\n-44 tion at the present moment is\n44 unsatisfactory because of our mi-\n-44 serable theatres, with their low\n44 proscenium and unimaginative\n44 scenery which cannot suggest im-\n-44 mensity! Shakespeare would tell\n41 us that the fault lies In our big\n44 scenic stages and our voiceless\n44 dreary acting; and two men with\n44 such different ideas about the\nf4 Theatre are not likely to prove\n44 successful in collaboration &\nHere Mr Poel proves himself a\nlittle rash. How does he know so\nwell the mind of Shakespeare ? who\nis he to put words and opinions so\ndefinite in the mouth of a man dead\nthree hundred years ? & •"}, {"page_pdf": 87, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.87", "debut_caractere": 15, "fin_caractere_exclue": 564, "texte": "He does not know what would\n• P\nbe the mind of Shakespeare as ap-\nplied to the theatre of today; he\nclearly does not understand the\nmind of Mr Craig, and yet on two\nvague assumptions he bases a very\nvalueless conclusion.\nNo, no, Mr Poel, find us another\n\"Everyman\" and we shall be grate-\nful ; talk to us sometimes of your\nfriends the Elizabethans and we\nshall be glad ; but pray, leave the\nyoung Theatre and those who are\ncreating it alone; pray refrain from\ncriticising that which your own words\nprove so clearly that you do not\nunderstand.\n\nL. C."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c067", "article_bluemountain": "bmtnaau_1913-10_01#c067", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "173", "page_fin": "173", "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=bmtnaau191310-01.2.20.8", "titre_corps": "THE INDIAN THEATRE by E. P. Horrwitz", "titre_sommaire": "THE INDIAN THEATRE by E. P. Horrwitz", "signature_source": "P. R", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 87, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.87", "debut_caractere": 566, "fin_caractere_exclue": 2003, "texte": "THE INDIAN THEATRE by E. P.\nHorrwiiz. Blackie and Son, Ltd.\nPrice two shillings and sixpence.\nP. R.\nnphere is much that is interesting\nin this \" brief survey of the\nSanskrit Drama and perhaps the\nmost interesting pages are those\nfew at the end devoted to Aryan\nRoots and the explanation of such\nwords as \" Veda \" \" which refers to\nthe heavenly vision which pure\nsouled seers 'see' \" and \" shruti\nthe \" revealed truth to which in=\nspired hearers 'listen'\nln a note to this appendix the\nauthor writes, \" In a work on the\n'♦ Greek Theatre, it would be quite\n\"unnecessarj7 to explain the mea=\n44 nings of 'drama', a 'chorus' or\n44 'epic' or rhapsody' because classl*\n44 cal antiquity has bequeathed all\n44 these terms to us \" ; but with this\nview we disagree. It is just those\nwords which have been staled by\nconstant usage whose real meaning\nis most apt to be falsified and over-\nlooked, and if more people would\nbut study the origins of these terms,\nand clear their minds of such beliefs\nas that a 'drama' is something to\nhear or to read, instead of being an\nact, (I) a great deal of misconception\nwhich is at present hindering the\nTheatre's progress would be done\naway with.\nAs for the format of the volume;\nwe have yet to learn how sensible\nand practical publishers like Mr\nBlackie and his Son can put such\npaper at the service of so interesting\na book. England is not witty,... but\nheavy every time.\n(!) See \" The Mask\". Vol. ! page 98."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c068", "article_bluemountain": "bmtnaau_1913-10_01#c068", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "173", "page_fin": "174", "image_debut": 87, "image_fin": 88, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.2.20.9", "titre_corps": "A CENTURY OF FAMOUS ACTRESSES by Harold Simpson and Mrs Charles Braun", "titre_sommaire": "A CENTURY OF FAMOUS ACTRESSES by Harold Simpson and Mrs Charles Braun", "signature_source": "N. L", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 87, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.87", "debut_caractere": 2005, "fin_caractere_exclue": 2302, "texte": "A CENTURY OF FAMOUS ACTRESSES\nby Harold Simpson and\nMrs Charles Braun. Mills and\nBoon. Price ten shillings and\nsixpence net.\n\nHphe joint authors of this book tell\nus at the outset that they make\nno \" attempt at exhaustive bio-\ngraphy \" nor do they aim at \" a\ncritical analysis of the actress's art"}, {"page_pdf": 88, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.88", "debut_caractere": 15, "fin_caractere_exclue": 1708, "texte": "which last admission is perhaps wise ,\nas, before entering upon such an\nanalysis they would surely need to\nrefute the various arguments which\nhave been put forward,.., and never\nyet disproved.., to the effect that\nacting is not an art at all. &\n& It is also somewhat rash of them\nwhen, upon page I, after quoting\nthe decree by which Charles II re-\nmoved the ban from women ap-\npearing on the stage, they refer to\nthe previous usage of employing boys\nin the female parts as 44 this ridicu-\nlous custom\nEvidently they have never read\nSir Walter Raleigh's 44 Shakespeare \"\nor they would recall the passage by\nthat distinguished scholar in which\nhe ends up a vindication of the\ncustom in these words: 44 With the\ndisappearance of the boy players the\npoetic drama died In England, and\nit has had no second life \". (I) &\nNor can they be acquainted with\nMr John Masefield's remarks on the\nsame subject:44 Women's parts were\n44 played by boys. Some have thought\n44 that this must have taken from\n44 the excellence of the performance.\n44 It is highly likely that it added\n44 much to it. Nearly all boys can\n4* act extremely well. Very few men\n44 and women can. '' £?\nMr Simpson and Mrs Braun would\ndo well to make a more careful study\nof all that concerns their subject\nbefore they write their next book: it\nwiil save them from many blunders\nwhich prejudice their readers. &\nFor the rest, the present volume\ncontains a series of short biogra-\nphical notes on the talents, charms,\ncaprices and love affairs of the\nleading actresses from 1750 to 1850,\nwith a number of portraits, and will\ninterest those who find pleasure\nin the Green-Room gossip of an\nearlier day.\n(1) The Mask, Vol. 11, page 96.\n\nN. L."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c069", "article_bluemountain": "bmtnaau_1913-10_01#c069", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "174", "page_fin": "175", "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=bmtnaau191310-01.2.20.10", "titre_corps": "PEERESSES OF THE STAGE by Cranstoun Metcalfe", "titre_sommaire": "PEERESSES OF THE STAGE by Cranstoun Metcalfe", "signature_source": "N. L", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 88, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.88", "debut_caractere": 1710, "fin_caractere_exclue": 2292, "texte": "PEERESSES OF THE STAGE,\nby Cranstoun Metcalfe. Melrose.\nPrice seven shillings and six-pence\nnet.\n\njyl r Metcalfe, who appears to have\ntaken as his motto Pope's cou=\nplet, JZ7\n44 Whether the charmer sinner\nit or saint it\nIf folly grow romantic I must\npaint it\nseems to find something essentially\nromantic in the union of a chorus\ngirl or a minor actress with a peer,\nbut the romance Is evidently mea=\nsured by the dignity of the title in-\nvolved, since he writes at the outset,\n44 Into this exclusive company no\none beneath the dignity of a Baron's\nwife or daughter-in-law can be ad-"}, {"page_pdf": 89, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.89", "debut_caractere": 15, "fin_caractere_exclue": 466, "texte": "mitted \"!\nThe whole book is a silly example\nof snobbery in excelsis, a tiresome\nexpression of bad taste.\n£? It merely heaps together a quan-\ntity of trivial chatter about a number\nof ladies whose sole claim to di-\nstinction lies in the fact that they\nmarried sprigs of the British nobility,\nand it seems a pity that a sensible\npublisher like Mr Melrose should\nhave lent his good type, paper, ink\nand printing presses to so poor a\npurpose. JZ? &\n\nN. L."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c070", "article_bluemountain": "bmtnaau_1913-10_01#c070", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "175", "page_fin": "175", "image_debut": 89, "image_fin": 89, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.2.20.11", "titre_corps": "BURBAGE, AND SHAKESPEARE'S STAGE by Mrs C. C. Stopes", "titre_sommaire": "BURBAGE, AND SHAKESPEARE'S STAGE by Mrs C. C. Stopes", "signature_source": "P. R", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 89, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.89", "debut_caractere": 468, "fin_caractere_exclue": 2148, "texte": "BURBAGE, AND SHAKESPEARE'S\nSTAGE by Mrs C.\nC. Stopes. De La More Press.\nPrice five shillings net.\nP. R.\n7y|rs Stopes has collected quite a\ngood deal of interesting informa-\ntion about the English stage In the\ndays of Burbage within the pages of\nthis little book. But, while apprecia-\nting what she gives us, we miss much\nwhich we hoped,... expected, to find.\nHow, for Instance, can this book\nbe anything like complete when\nthere Is no reference to the great\nArlecchfno, Martinelli, of the Italian\nCommedia dell' Arte who visited\nLondon at this period ? (i) Mrs Stopes\nquotes from an old play, 44 And for\n44 honours, who of more report, than\n44 Dick Burbage, and Will Kempe,\n44 he is not counted a gentleman that\n44 knows not Dick Burbage and Will\n44 Kemp \", but she does not seem to\nsee the importance of knowing the\n44 honours and report \" of the prede-\ncessors of these men, those who\nprepared the way for them and their\nsuccess. JO & &\n£? She quotes to us on page 36\nfrom Howes, that Thomas Wilson,\n(44 naming Robert Wilson 4Thomas\"')\nwas noted for 44 quick delicate ex-\ntemporall wit and Richard Tarleton\nfor a wondrous pleasant extemporall\nwit \", this latter being further de-\nscribed as 44 the wonder of his time\";\nbut she has nothing to say of the\nforerunners of these Englishmen,\nthose who were the supreme sources\nand exponents of that very 44 ex-\ntemporall wit\" which became the\ndelight of the English stage.\nlt is a pity that in the past just\nas in the present honour is so seldom\ngiven where honour is due ; that the\nmen who have the ideas are passed\nover for the men who profit by\nthem, the masters forgotten in their\npupils' success.\n(1) See page 138 of this number."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c072", "article_bluemountain": "bmtnaau_1913-10_01#c072", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "176", "page_fin": "179", "image_debut": 90, "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=bmtnaau191310-01.2.21", "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": 90, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.90", "debut_caractere": 0, "fin_caractere_exclue": 25, "texte": "FOREIGN NOTES.\n\nFLORENCE."}, {"page_pdf": 91, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.91", "debut_caractere": 1308, "fin_caractere_exclue": 1315, "texte": "MOSCOW."}, {"page_pdf": 92, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.92", "debut_caractere": 1741, "fin_caractere_exclue": 1748, "texte": "WARSAW."}, {"page_pdf": 93, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.93", "debut_caractere": 608, "fin_caractere_exclue": 617, "texte": "BUDAPEST."}, {"page_pdf": 93, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.93", "debut_caractere": 1396, "fin_caractere_exclue": 1403, "texte": "ZURICH."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c074", "article_bluemountain": "bmtnaau_1913-10_01#c074", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "176", "page_fin": "177", "image_debut": 90, "image_fin": 91, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.2.21.2", "titre_corps": "FLORENCE", "titre_sommaire": "FLORENCE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 90, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.90", "debut_caractere": 16, "fin_caractere_exclue": 25, "texte": "FLORENCE."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c075", "article_bluemountain": "bmtnaau_1913-10_01#c075", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "176", "page_fin": "176", "image_debut": 90, "image_fin": 90, "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=bmtnaau191310-01.2.21.2.1", "titre_corps": "The Gordon Craig School", "titre_sommaire": "The Gordon Craig School", "signature_source": "J. B", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 90, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.90", "debut_caractere": 27, "fin_caractere_exclue": 697, "texte": "The Gordon Craig School.\nJ. B.\nTThe first term of the School for\nthe Art of the Theatre came to\na close on July 31st, when the Di-\nrector expressed himself satisfied\nwith the progress made, although\nthat had mainly consisted in getting\nthings straight for future work.\n& Par be It from me to contradict\nthis or to divulge anything further.\nOn the last evening the Director\nInvited us to supper and the sight\nwould have encouraged even a so-\ncialist, although up to the time of\ngoing to print the Director has not\ndeclared for that specialism, being\ncontent with being a downright\nanarchist.\nA performance took place after\nsupper, to which the public were\nnot admitted. &"}]}, {"article_id": "bm-bmtnaau-1913-10-01-c076", "article_bluemountain": "bmtnaau_1913-10_01#c076", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "176", "page_fin": "176", "image_debut": 90, "image_fin": 90, "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=bmtnaau191310-01.2.21.2.2", "titre_corps": "An Enlargement of the School", "titre_sommaire": "An Enlargement of the School", "signature_source": "J. B", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 90, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.90", "debut_caractere": 699, "fin_caractere_exclue": 913, "texte": "An Enlargement of the School.\nJ. B.\nTPhe School has been enlarged for\nthe next term, a small church\nhaving been secured which was\noriginally part of the old convent,\non the site of which the Arena Gol-\ndoni stands."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c077", "article_bluemountain": "bmtnaau_1913-10_01#c077", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "176", "page_fin": "177", "image_debut": 90, "image_fin": 91, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.2.21.2.3", "titre_corps": "The Cinematograph", "titre_sommaire": "The Cinematograph", "signature_source": "E. E", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 90, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.90", "debut_caractere": 915, "fin_caractere_exclue": 1682, "texte": "The Cinematograph.\n\n'\"Jphe Qaumont firm has always\nseemed to me to work to a very\nhigh standard. It is lamentable then\nto find this firm descending to the\nrevolting exhibition of unnecessary\nsnake torturing. & & &\nAt the end of a performance of\n\" Pantomes one of the longest\nfilms 1 have seen here, a very hand-\nsome snake at least eight, and\npossibly ten feet In length, with a\nvery beautiful marked skin, was\nsmoked out of some of its senses\nand then had its neck hacked by a\nsword.\nThis revolting sight was then\nshown to the audience in an en-\nlargement...,\nFirst we saw the room In which\nfive or six men did the snake out\nof its senses, and then, after the\nhacking, the portions of the snake,\nwith head off and still violently\nmoving, were enlarged on the screen."}, {"page_pdf": 91, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.91", "debut_caractere": 11, "fin_caractere_exclue": 1306, "texte": "A bull fight shown some years\nago was brutal enough, but this\npurchase of a fine specimen ot snake,\nits purposeless introduction into a\nlurid drama, and its massacre before\nour eyes, Is disgraceful, and a danger\nto the shareholders of the Gaumont\nbusiness. & & & &\nThe massacre of animals, birds\nand reptiles in this cold-blooded way\nshould be put a stop to by everyone\nwho has a voice to speak with or\nan arm to move.\nJET We suppose there are societies\nwho protect these fine creatures\nwhe cannot protect themselves:....\nif so one wonders how it is that the\nGaumont firm has been allowed to\n/\nshow, or even produce, this film. &\nBut there is not one side only\nto this business; there are tw0,...\nperhaps even three.\nThe first concerns the animals,\nthe second concerns the public, the\nthird concerns those who are the\nghastly \" go betweens \" of animals\nand public. £/\nIf it is cruel to the animals it is\npoisonous to the public, and it is\nthe vilest of all possible ways ever\ndevised by even a vile commercial\nage of making money.\n£> The weakness of the brain of the\ncinematograph inventor who cannot\ndevise an exciting drama without\nwallowing in an orgy of cruelty and\nbloodiness of the kind shown in\n\" Fantomes \" is too serious a matter\nto be overlooked. J&\n& ...: If you had seen It!!!\n\nE. E."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c078", "article_bluemountain": "bmtnaau_1913-10_01#c078", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "177", "page_fin": "178", "image_debut": 91, "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=bmtnaau191310-01.2.21.3", "titre_corps": "MOSCOW", "titre_sommaire": "MOSCOW", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 91, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.91", "debut_caractere": 1308, "fin_caractere_exclue": 1315, "texte": "MOSCOW."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c079", "article_bluemountain": "bmtnaau_1913-10_01#c079", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "177", "page_fin": "178", "image_debut": 91, "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=bmtnaau191310-01.2.21.3.1", "titre_corps": "The New \"Théâtre Libre.\"", "titre_sommaire": "The New \"Théâtre Libre.\"", "signature_source": "V. N", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 91, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.91", "debut_caractere": 1317, "fin_caractere_exclue": 2199, "texte": "The New \"Théâtre Libre.\"\n\nhas a new Theatre. J0\nJS> This theatre, which originates\nwith M. Mardjanoff, is called the\n\" Th&itre Libre\nThe name has been chosen for\ntwo different reasons.\nThe first of these is that the\ntheatre will open its doors to all\ntypes of dramatic art. During the\npresent season the programme will\ninclude an opera by Moussorgsky\nadapted to words by Gogol; a me-\nlodrama with text by Daudet and\nmusic by Bizet, a pantomime by\nSchnitzler, with music by Dohnany,\nand an operetta, \"La Belle Hel&ne\",\nwhile towards the end of the season\nIt is intended to give a tragedy; so\nthat during its first season the\n\" Thd&tre Libre \" of Moscow will\nhave already given sufficient evi-\ndence of the catholicity of its sym-\npathies and aims.\nThe title of \" Libre \" has been\nchosen in the second place because\nM. Mardjanoff purposes to leave\ngreat freedom of individual develop-"}, {"page_pdf": 92, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.92", "debut_caractere": 16, "fin_caractere_exclue": 1739, "texte": "ment to each artist, working with\nhim, so that those who at the outset\nhold the humblest positions may\nhope one day to find themselves in\nthe first rank. Xef &\n*» The direct coiweqtfence of this\n\" last principle, said a representative\n44 of M. Mardjanoff to me, is that,\n44 all the members finding themselves\n44 placed on equal ground, the opi-\n-44 nion of each is precious. Our best\n44 singers make part of the whole;\n44 the gulf between the individual\n44 and the mass no longer exists \".\n\" Our orchestra he continued,\n44 is composed of fifty members,\n44 the great majority of whom come\n44 from the conservatoire of Prague\n44 which, as you know, furnishes the\n44 best orchestral musicians. It is\n44 useless to tell you that in all which\n•4 regards the technique of the sce=\n44 nery, the setting for the orchestra,\n44 the acoustics, the lighting, etc,\n44 our theatre has profitted by all the\n44 modern improvements afforded\n44 in these matters. \"\n& Everyone will wish M. Mardjanoff\nwell in his new venture, Moscow has\nalready done much in the service of\nthe Theatre. Now, if good intentions\navail anything, It is going to do yet\nmore and there is a good augury\nthat it will do so ; for even if the\norchestra be reduced from its fifty\nto two members, and those two be\nbut wandering musicians of Russia?\nand if the technique of the scenery\nfail entirely and the lights go out\nall but a halfpenny dip, still there\nwill be great light in the building,\nand music sufficient to satisfy all\nthose who know what music is, for\nM. Mardjanoff, with a touch of genius,\nhas chosen Dr George Baltruschaitis\nto bring his magic into the theatre.\n& If this theatre fails with a man\nlike that in it theatres can throw\nup the sponge. &\n\nV. N."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c080", "article_bluemountain": "bmtnaau_1913-10_01#c080", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "178", "page_fin": "179", "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=bmtnaau191310-01.2.21.4", "titre_corps": "WARSAW", "titre_sommaire": "WARSAW", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 92, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.92", "debut_caractere": 1741, "fin_caractere_exclue": 1748, "texte": "WARSAW."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c081", "article_bluemountain": "bmtnaau_1913-10_01#c081", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "178", "page_fin": "179", "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=bmtnaau191310-01.2.21.4.1", "titre_corps": "A Theatre Art Exhibition", "titre_sommaire": "A Theatre Art Exhibition", "signature_source": "E. M", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 92, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.92", "debut_caractere": 1750, "fin_caractere_exclue": 2413, "texte": "A Theatre Art Exhibition.\n\nA Theatre Art Exhibition of unusual\ninterest will open this month in\nWarsaw.\nIt will be held in the Galleries of\nthe Societe des Beaux Arts under the\npresidency of Monsieur J. Herman,\nand, as it has been organized by\ntwo young and enthusiastic artists,\nMonsieur F. Siediecki and Monsieur\nL. Schiller, it should draw very\nmany people and stimulate much\ncomment. For it will be a revelation\nof the modern spirit that is stir=\nring,... the under current of idealism\nwhich shall \"eventually become an\nirresistible wave sweeping the decks\nof the old realistic theatres and\nsending many of them to wreck. 0\n& The theatre circles In Poland and"}, {"page_pdf": 93, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.93", "debut_caractere": 16, "fin_caractere_exclue": 606, "texte": "the theatres themselves are, on the\nsurface, little better than those of\nother countries, but the \"new spirit\"\namong them is, in proportion, very\nmuch stronger than is to be found\nelsewhere and there is great pro-\nmise of something good and some-\nthing \"living\" in theatre art co-\nming out of Poland.\n1 shall send news of the exhibits\nlater. It is sufficient to show that\nthe organisers have started rightly\nwhen I state that Mr Gordon Craig\nwas the first to be invited to ex-\nhibit and that his designs and scenic\nmodels will constitute the most\nimportant section of the exhibition.\n\nE. M."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c082", "article_bluemountain": "bmtnaau_1913-10_01#c082", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "179", "page_fin": "179", "image_debut": 93, "image_fin": 93, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.2.21.5", "titre_corps": "BUDAPEST", "titre_sommaire": "BUDAPEST", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 93, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.93", "debut_caractere": 608, "fin_caractere_exclue": 617, "texte": "BUDAPEST."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c083", "article_bluemountain": "bmtnaau_1913-10_01#c083", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "179", "page_fin": "179", "image_debut": 93, "image_fin": 93, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.2.21.5.1", "titre_corps": "Another Exhibition", "titre_sommaire": "Another Exhibition", "signature_source": "M. S. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 93, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.93", "debut_caractere": 619, "fin_caractere_exclue": 1394, "texte": "Another Exhibition.\nM. S. C.\nJZJxhibitions of the art which is\nprogressing 44 Towards a new\nTheatre \" are cropping up every-\nwhere. jS? ■£? &\n£/ At the Muveszhaz, the beautiful\nand palatial clubhouse of the artists\nof Budapest, there will be opened\nin February an exhibition of Theatre\nArt. &\nThree salons will be devoted to\nthe work of Mr Gordon Craig, two\nfor designs and drawings and one\nfor an elaborate show of illuminated\nscene models. *2?\n& It is owing to the initiative of\nthe distinguished director of the\nRoyal State Opera House, Dr Alex-\nander Hevesi, that this exhibition\nwill take place in Budapest. j2)\n& I am informed that Dr Hevesi\nand other celebrated Hungarians\nwill, during the course of the ex-\nhibition, deliver lectures on the\nwork and aims of Mr Craig."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c084", "article_bluemountain": "bmtnaau_1913-10_01#c084", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "179", "page_fin": "179", "image_debut": 93, "image_fin": 93, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.2.21.6", "titre_corps": "ZURICH", "titre_sommaire": "ZURICH", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 93, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.93", "debut_caractere": 1396, "fin_caractere_exclue": 1403, "texte": "ZURICH."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c085", "article_bluemountain": "bmtnaau_1913-10_01#c085", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "179", "page_fin": "179", "image_debut": 93, "image_fin": 93, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.2.21.6.1", "titre_corps": "Yet Another Exhibition", "titre_sommaire": "Yet Another Exhibition", "signature_source": "M. S. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 93, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.93", "debut_caractere": 1405, "fin_caractere_exclue": 2068, "texte": "Yet Another Exhibition.\nM. S. C.\nIt is exciting to think that things\nare moving so quickly in Europe.\nAt Zurich, also in February, there\nwill be a large Exhibition in the\nState Museum to which all the\ncelebrated theatre workers have\npromised to contribute.\nAgain employing the post of\nhonour will be more of Mr Craig's\ndesigns and models.\nThe Exhibition has been orga-\nnised by Herr Alfred Altlierr the\nwell known architect and director\nof the museum who has arranged it\nwith the co-operation of Dr Wichert\nof Mannheim.\nThe wqrks of Appia, the Munich\nSchool, Leon Bakst and others will\nalso be shown, and the exhibition\nwill probably remain open for three\nmonths."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c087", "article_bluemountain": "bmtnaau_1913-10_01#c087", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "180", "page_fin": "184", "image_debut": 94, "image_fin": 98, "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=bmtnaau191310-01.2.22", "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": 94, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.94", "debut_caractere": 0, "fin_caractere_exclue": 1947, "texte": "EDITORIAL NOTES.\n\nMr POEL, PAST AND PRESENT.\nis Mr William Poel going\nto be presented with that re-\nplica of the Globe Theatre which\nsince time immemorial has been his\nby rights, and which should be put up\nin some park in London, and the old\nplays done in the old ways therein ?\n0 William Poel for years advocated\nthe return to the Elizabethan tra-\ndition. Of course younger men today\nseeing his later work will think that\nhe preceded this new movement to\nwhich Craig,Stanislawsky, Reinhardt\nand several others have given birth,\nand that he in his youth was doing\njust as he is now, whereas this is\na slight mistake ; William Poel the\narcheologist of the stage was until\nquite recently nothing but an ar-\ncheologist, and a very good one too.\n0 He revived the Shakespearean\ndrama, one might almost say he\nreproduced it, as it was at the time\nof Shakespeare. 000\n0 Sticklers for accuracy in archeo-\nlogy might blame him for omitting\none of the nost important items,\nnamely, the acting of the female\nroles by men, but this, for some\nreason which Mr Poel has a perfect\nright to decide, he did not think\nfit to revive. Still, he restored the\nold picture very well, and he was\nmaking considerable progress in this\nespecial line of his when all of a\n4\nsudden and without any warning he\nbecomes one of the followers of the\nnew movement, bringing to that\nnew movement the fine old Eliza-\nbethan touch. 000\n0 Who will deny that there was\nsack and canary in the \" Taming of\nthe Shrew \" as produced by..., but\nhere we come to a broken sentence.\nWho was it produced by? Was it\nproduced by Mr Harvey and Mr Poel,\nor was It produced by Mr Poel alone?\nNever have we seen anything like\nthat from Mr Pod's hand before and\nvery little of that character from\nMr Harvey's. 0 0 0\n0 It seemed to us to be all Barker.\n0 Now everyone knows what Barker\nis. Then why not announce \" produ-\nced in the manner of Mr Barker\"?\nEverything would have then been\nquite clear. 0 ' 0 0"}, {"page_pdf": 95, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.95", "debut_caractere": 18, "fin_caractere_exclue": 2311, "texte": "Instead of that, the critics and\neveryone conspired to rouge Mr\nPoel's kindly face while adding Mr\nBarker's wrinkles; It produced a\nfeeling of sadness In us to see this\nplay. & &\nPantaloon seemed to be playing\nthe part of Innamorato; that is, the\nsixteenth century seemed to be play-\ning the twentieth. &\nThe high priest of the sixteenth\ncentury,... and Mr Poel is most cer-\ntainly that.... seemed to be decking\nthat ancient vision with pink paper\nroses.... and then he tossed some\nconfetti at it.\nAnd we believe that this parody\nof both the ancient days and the\nnew days is to be attributed to the\nfact that we failed to give Mr Poel\nthe theatre for which he was\nborn,., the replica of the Globe at\nBankside.\n\nTHE\"IMPRINT\" &44 \"\nHP/re Imprintis a beautifully printed\njournal. It gives one the impres-\nsion that those who produce it think\nof little else than printing and that\nto them printing is an end in itself.\nThe Instruments of peace and\nwar are all the better for a little\nfinish, and to go to one's work armed\nwith perfect hammers, chisels, print-\ning presses, type and guns is no\ndoubt desirable. &\n& But one must never forget, ...(and\nEngland might sometimes remem=\nber), that It is not the polish on the\nguns nor the buttons on the uniforms\nnor the colour of the flags that wins\na battle. Order is fine, but not at the\nexpense of vitality. &\n& Given great vitality, and we are\nall in favour of the strictest order,\nthe most iron reserve being added\nto it. But the thing most needed by\nflat and monotonous competence is\na pin to prick it into life. &\nWe don't say that the Imprint\nis dull, but it is a little flat. All its\ncommand of the types of Europe,\n(and it uses a type come from Hoi-\nland and not one created by an\nEnglishman), somehow or other falls\nto help it to rise from its neatly\nlald-out death-bed. There it lies,\norderly, laid out; not a fold of its\ndrapery wrong, not a curl loose, not\na wrinkle to be seen... expression-\nless... dead. JO\nAnd it finds fault with Mask,\nwhich it says is the work \" of ama-\nteur printers \". & &\nJz/ In fact the Imprint looks first\nat the polish on the gun and after-\nwards tests Its firing capacity. &\nThe producers of The Mask have\nbeen unable to take their pick from\namong the types of Europe or they\nwould most certainly have selected"}, {"page_pdf": 96, "page_imprimee": "182", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.96", "debut_caractere": 18, "fin_caractere_exclue": 2271, "texte": "the type known, we believe, as\n44 Caslon old Face \". ■&\nThis is the polish necessary to\ngive the finishing touch to our gun.\nAnd we hope that some day a man\nwho cares about finish will send us\nenough to turn over a new leaf: for\nsince reading the Imprint's thun-\ndersome words we very much wish\nto go to our next dance dressed in\nevening dress, white tie and all. It\nis an outrage against manners to\nhave gone on all former occasions\n44 just as we were \". £?\nAnd not this alone. It is a blemish\nupon the good form which England\nhas said must and shall be. We know\nit, and shall try to do better next\ntime.\nBut perhaps, were the conditions\nunder which we have forced our\nway into existence known, the Im-\nprint would be less particular about\nhow we looked and would, we swear,\nmarvel that we were visible at all.\nIf the Imprint had started Its\nlife upon L. 8.0.0. would it be alive\ntoday ?... if it had battled two years\non an occasional five pound note or\nso would it have lived as long as\nwe have ?\nThose who work in the Imprint\nhave things made easy for them.\nBy easy we mean that we suppose\nthe Proprietors, Editors, Engravers\nand Writers could collect in all the\nsum of L. 200.0.0. a year.\nThis Is more than the Proprietors\nEditors, Engravers and Writers of\nThe Mask had in 1908,... and they\nhad to live on it and yet produce\nthe journal. 0/ „\n\nTHE DEATH OF PEL/SSIER.\nhave no doubt that Pellssier\nwill be remembered as a very\nfunny man who made people die of\nlaughter ; but we daresay there are\nvery few who will put him down\non the record as having been in-\nstrumental In reforming the modern\nstage of England; yet he was essen-\ntially a reformer, and a reformer\nof a remarkable kind.\n0? Other comedians hit off the idio-\nsyncrasies of the man in the street\nor the masher in the drawingroom;\nbut Pelissier was at his best when\nhe was giving a sharp rap on the\nknuckles to those so=called actors\nand actresses who, taking large\nsalaries, give the public nothing but\ntheir own peculiarities.\nSo far as we know he never hit off\na man of great Individuality ; It was\nonly when they were weak through\nand through that he \" doubled them\nup for ever \".... And now the poor\nman is himself doubled up. &\nIt is a very great loss to the\nEnglish theatre. £> &"}, {"page_pdf": 97, "page_imprimee": "183", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.97", "debut_caractere": 18, "fin_caractere_exclue": 2284, "texte": "BRAVO, \"REFEREE\"!\nThe following is from a recent\nnumber of the Referee and was\ncontained in a notice of a farewell\nluncheon lately given to Mr P. R.\nBenson previous to his setting off\non a Canadian and American tour:\n& 44 1 must confess that one thing\n44 surprised me at the Benson lun-\n-44 cheon.... surprised me even more\n44 than the silence of Sir Herbert\n44 Tree. There was\nNo Mention of Sir Henry Irving\nA ....\n\" in any of the speeches... not even\n44 In Mr. Benson's. Nor have I met\n44 with any allusion to that great\n44pioneer and reviver of the Higher\n44 Drama in any of the numerous\n44 references to Mr. Benson and his\n44 departure for the States. Yet it\n44 was with (and from) Irving at the\n44 Lyceum that Mr. Benson first\n44 learned how to produce Shakes-\n-44 peare plays and how to train actors\n\" for that noble work. And if there\n\" was ever a greater tutor in this\n44 regard than Henry Irving I would\n44 like to have his name sent in, in\n44 order that the Referee may pub-\n-44 lish it and hand it down to pos-\n-44 terity. \"\nIt needs a little more of this\nspirit in the theatre nowadays. £?\n& The worst of Stratford-on-Avon\njs that it will be so local.\n\n£> A NEW SCENIC ART.&\n'Tyhe New York Dramatic Mirror\nthrills with this news about our\nold friend Hugo Rumbold.... Do you\nknow, we had almost said our young\nfriend ?\nApd do you know that the Dra=\nmatic Mirror writes that here is\na 44 new scenic artist who, it is said,\n44 will revolutionize stage settings\n44 and mechanics \". 44 His idea in\n44 painting scenery is to do away\n44 with the use of wings and other\n44 cumbersome and expensive stage\n44 paraphernalia. The new art is\n44 described as strikingly realistic \".\nAnd all this without having gone\nto school anywhere! Oh, you\nnaughty boy !! & &\n\nTWO MORE NEW GERMAN\nTHE A TRES: DRESDEN AND\nBREMEN. & & &\nJanuary we published a note\nfrom one of our correspondents\npointing out that, whiie two great\nrich cities like Liverpool and Man-\nchester were so tardy and apathetic\nin raising money for the building\nand maintenance of theatres, the\ntown of Lubeck in Germany,... a\ntown with a population scarcely more\nthat one-seventh that of Liverpool,\nhad responded without difficulty to a\ncall from its Municipality for 150,000\npounds to build its new theatre"}, {"page_pdf": 98, "page_imprimee": "184", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.98", "debut_caractere": 72, "fin_caractere_exclue": 1916, "texte": "which was opened in 1912.\n& Now news reaches us of two more\nfine theatres just built in Germany,\nthe one at Dresden, the other at\nBremen. &\n& It is worth notice that Dresden\nis a city with, roughly speaking,\nabout 530,800 inhabitants, while\nBremen has only about 225,000 ; yet\neach of these places has been able\nand willing to contribute sufficient\nfunds for the erection and mainte-\nnance of a fine new play house in\ntheir midst.\n£? The German towns seem to have\nno difficulty in realising that, as\nwe said before, \" a well-established\ntheatre with a large financial backing\nand plenty of go In It is going to\nimprove every scrap of the business\nof those towns, is going to improve\nthe existence of each of the inhabi-\ntants \". They also seem to find no\ndifficulty in understanding that for\na theatre to be run on the finest\nprinciples and at the same time made\nto pay it must be first handsomely\nsupported by the town.... And un-\nderstanding this they support their\ntheatres handsomely.\n& The English towns, on the other\nhand, seem to have great difficulty\nIn realising the same simple, and, we\nshould have thought, obvious, fact.\n& Liverpool and Manchester, Bristol\nand Birmingham, Newcastle and\nLeeds, when will you wake up to\nyour responsibilities, and yOUr\nopportunities ? _\n\nERRATA.\nJ. S.\nwe announced on page 146, We\ngive here corrections of several\ntypographical mistakes which eluded\nthe proof-readers on pages 135 to\n440 in the List of Facts relative to\nthe Pre-Shakespearean Stage. 0\nHere are the corrections:\nOn page 136, line 20, instead of\n\" Pedrolino or Pelisini \" read, 1526.\n\" Pedrolino or Pellesinl &\nOn page 139, Instead of, 1572,\n*' A Map by Hocfuagel shows two\nTheatres or Bearpits \" read \"A Plan\nby Hocfuagel shows two Theatres or\nBearpitsJ&\nOn page 140, (erroneously prin-\nted 401) read also \" Pelleslni \" for\n\" Pelisini"}]}, {"article_id": "bm-bmtnaau-1913-10-01-c089", "article_bluemountain": "bmtnaau_1913-10_01#c089", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "180", "page_fin": "181", "image_debut": 94, "image_fin": 95, "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=bmtnaau191310-01.2.22.2", "titre_corps": "Mr POEL, PAST AND PRESENT", "titre_sommaire": "Mr POEL, PAST AND PRESENT", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 94, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.94", "debut_caractere": 18, "fin_caractere_exclue": 1947, "texte": "Mr POEL, PAST AND PRESENT.\nis Mr William Poel going\nto be presented with that re-\nplica of the Globe Theatre which\nsince time immemorial has been his\nby rights, and which should be put up\nin some park in London, and the old\nplays done in the old ways therein ?\n0 William Poel for years advocated\nthe return to the Elizabethan tra-\ndition. Of course younger men today\nseeing his later work will think that\nhe preceded this new movement to\nwhich Craig,Stanislawsky, Reinhardt\nand several others have given birth,\nand that he in his youth was doing\njust as he is now, whereas this is\na slight mistake ; William Poel the\narcheologist of the stage was until\nquite recently nothing but an ar-\ncheologist, and a very good one too.\n0 He revived the Shakespearean\ndrama, one might almost say he\nreproduced it, as it was at the time\nof Shakespeare. 000\n0 Sticklers for accuracy in archeo-\nlogy might blame him for omitting\none of the nost important items,\nnamely, the acting of the female\nroles by men, but this, for some\nreason which Mr Poel has a perfect\nright to decide, he did not think\nfit to revive. Still, he restored the\nold picture very well, and he was\nmaking considerable progress in this\nespecial line of his when all of a\n4\nsudden and without any warning he\nbecomes one of the followers of the\nnew movement, bringing to that\nnew movement the fine old Eliza-\nbethan touch. 000\n0 Who will deny that there was\nsack and canary in the \" Taming of\nthe Shrew \" as produced by..., but\nhere we come to a broken sentence.\nWho was it produced by? Was it\nproduced by Mr Harvey and Mr Poel,\nor was It produced by Mr Poel alone?\nNever have we seen anything like\nthat from Mr Pod's hand before and\nvery little of that character from\nMr Harvey's. 0 0 0\n0 It seemed to us to be all Barker.\n0 Now everyone knows what Barker\nis. Then why not announce \" produ-\nced in the manner of Mr Barker\"?\nEverything would have then been\nquite clear. 0 ' 0 0"}, {"page_pdf": 95, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.95", "debut_caractere": 18, "fin_caractere_exclue": 727, "texte": "Instead of that, the critics and\neveryone conspired to rouge Mr\nPoel's kindly face while adding Mr\nBarker's wrinkles; It produced a\nfeeling of sadness In us to see this\nplay. & &\nPantaloon seemed to be playing\nthe part of Innamorato; that is, the\nsixteenth century seemed to be play-\ning the twentieth. &\nThe high priest of the sixteenth\ncentury,... and Mr Poel is most cer-\ntainly that.... seemed to be decking\nthat ancient vision with pink paper\nroses.... and then he tossed some\nconfetti at it.\nAnd we believe that this parody\nof both the ancient days and the\nnew days is to be attributed to the\nfact that we failed to give Mr Poel\nthe theatre for which he was\nborn,., the replica of the Globe at\nBankside."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c090", "article_bluemountain": "bmtnaau_1913-10_01#c090", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "181", "page_fin": "182", "image_debut": 95, "image_fin": 96, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.2.22.3", "titre_corps": "THE \"IMPRINT\" & \"THE MASK\"", "titre_sommaire": "THE \"IMPRINT\" & \"THE MASK\"", "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": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.95", "debut_caractere": 729, "fin_caractere_exclue": 2311, "texte": "THE\"IMPRINT\" &44 \"\nHP/re Imprintis a beautifully printed\njournal. It gives one the impres-\nsion that those who produce it think\nof little else than printing and that\nto them printing is an end in itself.\nThe Instruments of peace and\nwar are all the better for a little\nfinish, and to go to one's work armed\nwith perfect hammers, chisels, print-\ning presses, type and guns is no\ndoubt desirable. &\n& But one must never forget, ...(and\nEngland might sometimes remem=\nber), that It is not the polish on the\nguns nor the buttons on the uniforms\nnor the colour of the flags that wins\na battle. Order is fine, but not at the\nexpense of vitality. &\n& Given great vitality, and we are\nall in favour of the strictest order,\nthe most iron reserve being added\nto it. But the thing most needed by\nflat and monotonous competence is\na pin to prick it into life. &\nWe don't say that the Imprint\nis dull, but it is a little flat. All its\ncommand of the types of Europe,\n(and it uses a type come from Hoi-\nland and not one created by an\nEnglishman), somehow or other falls\nto help it to rise from its neatly\nlald-out death-bed. There it lies,\norderly, laid out; not a fold of its\ndrapery wrong, not a curl loose, not\na wrinkle to be seen... expression-\nless... dead. JO\nAnd it finds fault with Mask,\nwhich it says is the work \" of ama-\nteur printers \". & &\nJz/ In fact the Imprint looks first\nat the polish on the gun and after-\nwards tests Its firing capacity. &\nThe producers of The Mask have\nbeen unable to take their pick from\namong the types of Europe or they\nwould most certainly have selected"}, {"page_pdf": 96, "page_imprimee": "182", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.96", "debut_caractere": 18, "fin_caractere_exclue": 1365, "texte": "the type known, we believe, as\n44 Caslon old Face \". ■&\nThis is the polish necessary to\ngive the finishing touch to our gun.\nAnd we hope that some day a man\nwho cares about finish will send us\nenough to turn over a new leaf: for\nsince reading the Imprint's thun-\ndersome words we very much wish\nto go to our next dance dressed in\nevening dress, white tie and all. It\nis an outrage against manners to\nhave gone on all former occasions\n44 just as we were \". £?\nAnd not this alone. It is a blemish\nupon the good form which England\nhas said must and shall be. We know\nit, and shall try to do better next\ntime.\nBut perhaps, were the conditions\nunder which we have forced our\nway into existence known, the Im-\nprint would be less particular about\nhow we looked and would, we swear,\nmarvel that we were visible at all.\nIf the Imprint had started Its\nlife upon L. 8.0.0. would it be alive\ntoday ?... if it had battled two years\non an occasional five pound note or\nso would it have lived as long as\nwe have ?\nThose who work in the Imprint\nhave things made easy for them.\nBy easy we mean that we suppose\nthe Proprietors, Editors, Engravers\nand Writers could collect in all the\nsum of L. 200.0.0. a year.\nThis Is more than the Proprietors\nEditors, Engravers and Writers of\nThe Mask had in 1908,... and they\nhad to live on it and yet produce\nthe journal. 0/ „"}]}, {"article_id": "bm-bmtnaau-1913-10-01-c091", "article_bluemountain": "bmtnaau_1913-10_01#c091", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "182", "page_fin": "182", "image_debut": 96, "image_fin": 96, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.2.22.4", "titre_corps": "THE DEATH OF PELISSIER", "titre_sommaire": "THE DEATH OF PELISSIER", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 96, "page_imprimee": "182", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.96", "debut_caractere": 1367, "fin_caractere_exclue": 2271, "texte": "THE DEATH OF PEL/SSIER.\nhave no doubt that Pellssier\nwill be remembered as a very\nfunny man who made people die of\nlaughter ; but we daresay there are\nvery few who will put him down\non the record as having been in-\nstrumental In reforming the modern\nstage of England; yet he was essen-\ntially a reformer, and a reformer\nof a remarkable kind.\n0? Other comedians hit off the idio-\nsyncrasies of the man in the street\nor the masher in the drawingroom;\nbut Pelissier was at his best when\nhe was giving a sharp rap on the\nknuckles to those so=called actors\nand actresses who, taking large\nsalaries, give the public nothing but\ntheir own peculiarities.\nSo far as we know he never hit off\na man of great Individuality ; It was\nonly when they were weak through\nand through that he \" doubled them\nup for ever \".... And now the poor\nman is himself doubled up. &\nIt is a very great loss to the\nEnglish theatre. £> &"}]}, {"article_id": "bm-bmtnaau-1913-10-01-c092", "article_bluemountain": "bmtnaau_1913-10_01#c092", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "183", "page_fin": "183", "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=bmtnaau191310-01.2.22.5", "titre_corps": "BRAVO, \"REFEREE\"!", "titre_sommaire": "BRAVO, \"REFEREE\"!", "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": "183", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.97", "debut_caractere": 18, "fin_caractere_exclue": 1181, "texte": "BRAVO, \"REFEREE\"!\nThe following is from a recent\nnumber of the Referee and was\ncontained in a notice of a farewell\nluncheon lately given to Mr P. R.\nBenson previous to his setting off\non a Canadian and American tour:\n& 44 1 must confess that one thing\n44 surprised me at the Benson lun-\n-44 cheon.... surprised me even more\n44 than the silence of Sir Herbert\n44 Tree. There was\nNo Mention of Sir Henry Irving\nA ....\n\" in any of the speeches... not even\n44 In Mr. Benson's. Nor have I met\n44 with any allusion to that great\n44pioneer and reviver of the Higher\n44 Drama in any of the numerous\n44 references to Mr. Benson and his\n44 departure for the States. Yet it\n44 was with (and from) Irving at the\n44 Lyceum that Mr. Benson first\n44 learned how to produce Shakes-\n-44 peare plays and how to train actors\n\" for that noble work. And if there\n\" was ever a greater tutor in this\n44 regard than Henry Irving I would\n44 like to have his name sent in, in\n44 order that the Referee may pub-\n-44 lish it and hand it down to pos-\n-44 terity. \"\nIt needs a little more of this\nspirit in the theatre nowadays. £?\n& The worst of Stratford-on-Avon\njs that it will be so local."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c093", "article_bluemountain": "bmtnaau_1913-10_01#c093", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "183", "page_fin": "183", "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=bmtnaau191310-01.2.22.6", "titre_corps": "A NEW SCENIC ART", "titre_sommaire": "A NEW SCENIC ART", "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": "183", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.97", "debut_caractere": 1183, "fin_caractere_exclue": 1778, "texte": "£> A NEW SCENIC ART.&\n'Tyhe New York Dramatic Mirror\nthrills with this news about our\nold friend Hugo Rumbold.... Do you\nknow, we had almost said our young\nfriend ?\nApd do you know that the Dra=\nmatic Mirror writes that here is\na 44 new scenic artist who, it is said,\n44 will revolutionize stage settings\n44 and mechanics \". 44 His idea in\n44 painting scenery is to do away\n44 with the use of wings and other\n44 cumbersome and expensive stage\n44 paraphernalia. The new art is\n44 described as strikingly realistic \".\nAnd all this without having gone\nto school anywhere! Oh, you\nnaughty boy !! & &"}]}, {"article_id": "bm-bmtnaau-1913-10-01-c094", "article_bluemountain": "bmtnaau_1913-10_01#c094", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "183", "page_fin": "184", "image_debut": 97, "image_fin": 98, "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=bmtnaau191310-01.2.22.7", "titre_corps": "TWO MORE NEW GERMAN THEATRES : Dresden and Bremen", "titre_sommaire": "TWO MORE NEW GERMAN THEATRES : Dresden and Bremen", "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": "183", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.97", "debut_caractere": 1780, "fin_caractere_exclue": 2284, "texte": "TWO MORE NEW GERMAN\nTHE A TRES: DRESDEN AND\nBREMEN. & & &\nJanuary we published a note\nfrom one of our correspondents\npointing out that, whiie two great\nrich cities like Liverpool and Man-\nchester were so tardy and apathetic\nin raising money for the building\nand maintenance of theatres, the\ntown of Lubeck in Germany,... a\ntown with a population scarcely more\nthat one-seventh that of Liverpool,\nhad responded without difficulty to a\ncall from its Municipality for 150,000\npounds to build its new theatre"}, {"page_pdf": 98, "page_imprimee": "184", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.98", "debut_caractere": 72, "fin_caractere_exclue": 1352, "texte": "which was opened in 1912.\n& Now news reaches us of two more\nfine theatres just built in Germany,\nthe one at Dresden, the other at\nBremen. &\n& It is worth notice that Dresden\nis a city with, roughly speaking,\nabout 530,800 inhabitants, while\nBremen has only about 225,000 ; yet\neach of these places has been able\nand willing to contribute sufficient\nfunds for the erection and mainte-\nnance of a fine new play house in\ntheir midst.\n£? The German towns seem to have\nno difficulty in realising that, as\nwe said before, \" a well-established\ntheatre with a large financial backing\nand plenty of go In It is going to\nimprove every scrap of the business\nof those towns, is going to improve\nthe existence of each of the inhabi-\ntants \". They also seem to find no\ndifficulty in understanding that for\na theatre to be run on the finest\nprinciples and at the same time made\nto pay it must be first handsomely\nsupported by the town.... And un-\nderstanding this they support their\ntheatres handsomely.\n& The English towns, on the other\nhand, seem to have great difficulty\nIn realising the same simple, and, we\nshould have thought, obvious, fact.\n& Liverpool and Manchester, Bristol\nand Birmingham, Newcastle and\nLeeds, when will you wake up to\nyour responsibilities, and yOUr\nopportunities ? _"}]}, {"article_id": "bm-bmtnaau-1913-10-01-c095", "article_bluemountain": "bmtnaau_1913-10_01#c095", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "184", "page_fin": "184", "image_debut": 98, "image_fin": 98, "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=bmtnaau191310-01.2.22.8", "titre_corps": "ERRATA", "titre_sommaire": "ERRATA", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 98, "page_imprimee": "184", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.98", "debut_caractere": 1354, "fin_caractere_exclue": 1916, "texte": "ERRATA.\nJ. S.\nwe announced on page 146, We\ngive here corrections of several\ntypographical mistakes which eluded\nthe proof-readers on pages 135 to\n440 in the List of Facts relative to\nthe Pre-Shakespearean Stage. 0\nHere are the corrections:\nOn page 136, line 20, instead of\n\" Pedrolino or Pelisini \" read, 1526.\n\" Pedrolino or Pellesinl &\nOn page 139, Instead of, 1572,\n*' A Map by Hocfuagel shows two\nTheatres or Bearpits \" read \"A Plan\nby Hocfuagel shows two Theatres or\nBearpitsJ&\nOn page 140, (erroneously prin-\nted 401) read also \" Pelleslni \" for\n\" Pelisini"}]}, {"article_id": "bm-bmtnaau-1913-10-01-c097", "article_bluemountain": "bmtnaau_1913-10_01#c097", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "185", "page_fin": "185", "image_debut": 99, "image_fin": 99, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.2.23", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 99, "page_imprimee": "185", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.99", "debut_caractere": 0, "fin_caractere_exclue": 651, "texte": "THE MOSHER BOOKS.\nrJ\",HE special literary value of my general Catalogue has given it a unique\nposition In the world of book-making for book-lovers. &\n& From year to year these Catalogues have been issued with the view •\nof making known, as no other form of advertising could make known,\nThe Mosher Books and what they represent in up-to-date bookcraft. All\npossible value has been put into these books by their publisher; so that\nto-day they are the only style of genuine hand-made paper editions at\npopular prices in America. & &\n& Sent without charge to all who are interested in choice editions at\nmoderate prices.\nTHOMAS B. MOSHER, PORTLAND, MAINE"}]}, {"article_id": "bm-bmtnaau-1913-10-01-c098", "article_bluemountain": "bmtnaau_1913-10_01#c098", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "185", "page_fin": "185", "image_debut": 99, "image_fin": 99, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.2.24", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 99, "page_imprimee": "185", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.99", "debut_caractere": 653, "fin_caractere_exclue": 1428, "texte": "POETRY AND DRAMA\n*~pHE founder and first editor of The Poetry Review begs to\ngive notice that he is now issuing a quarterly periodical,\nunder the title POETRY AND DRAMA, on the same lines as\nThe Poetry Review during 1912, and with many of the same\ncontributors, & & & &\n& The first and second numbers of Poetry and Drama are at\npresent in circulation, &\n& Poetry and Drama is the representative organ of the youn-\nger movement in English &\nIt is published at 35 Devonshire Street, Theobalds Road,\nLondon, W. C., on March 15th, June 15th, September 15th and\nDecember 15th. The price of a single copy is 2s. 6d. net- The\nannual subscription Is 10s. 6d. post free to all countries. Copies\nare procurable and subscriptions may be purchased through all\nBooksellers and Newsagents."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c099", "article_bluemountain": "bmtnaau_1913-10_01#c099", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "186", "page_fin": "186", "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=bmtnaau191310-01.2.25", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 100, "page_imprimee": "186", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.100", "debut_caractere": 0, "fin_caractere_exclue": 1404, "texte": "YE OLDE PARIS BOOKE=SHOPPE\nii Rue de Chateaudun, Paris, France.\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.\n*\nEnglish Translations of French, Latin and Greek Classical Works, such\nas Bran to me : \" Lives of Fair Ladies \", (with coloured illustrations) ; \" One\nHundred Merrie & Delightsome Stories translation of \" les Cent Nou=\nvelles nouvelles\"; Anatole France : \" Thai's (the Repentant Courtisan of\nAlexandria). \"The Well of Santa Clara\" with 21 Copper Plate Etchings;\nPierre Louys \" Aphrodite illustrated by Ed. Zier; Petronius : \"The\nSatyricon\" (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\n•\ncan supply all Parisian publications.\nFine Catalogue of French Books, Contes, Romans, Etudes curie uses\n(free for 20 cs.) £/\nYE OLDE PARIS BOOR E-S H O P P E\n& 11 Rue de ChkteaudunParis, France."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c100", "article_bluemountain": "bmtnaau_1913-10_01#c100", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "187", "page_fin": "187", "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=bmtnaau191310-01.2.26", "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": 101, "page_imprimee": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.101", "debut_caractere": 0, "fin_caractere_exclue": 583, "texte": "THE QOLDONI BOOKS.\nSKETCH BOOKS, DRA WING BOOKS, PAINTING BOOKS AND\n¥\nWRITING BOOKS, FOR ARTISTS, WRITERS AND LADIES.\nThese Books, are made of fine Italian Papers, and bound In vellum or\nin boards covered with papers upon which designs, floral or conventional,\nare hand-printed in colours. &\nThe beauty and charm of these books must be seen to be realized,\n\" These are pages to turn and finger with delight: \" covers bright and\nvaried with colour and fresh design ; sizes uncumbersome to the nicest\nhand.\"\nWrite for particulars to The Mask Publishers,\nARANA GOLDONI, FLORENCE, ITALY."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c101", "article_bluemountain": "bmtnaau_1913-10_01#c101", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "187", "page_fin": "187", "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=bmtnaau191310-01.2.27", "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": 101, "page_imprimee": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.101", "debut_caractere": 585, "fin_caractere_exclue": 869, "texte": "& THE FORUM.\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 KLNNERLEY\n& New Yo r k & London &\nThree months trial subscription two shillings"}]}, {"article_id": "bm-bmtnaau-1913-10-01-c102", "article_bluemountain": "bmtnaau_1913-10_01#c102", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "188", "page_fin": "188", "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=bmtnaau191310-01.2.28", "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": 102, "page_imprimee": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.102", "debut_caractere": 0, "fin_caractere_exclue": 250, "texte": "■anMBBMHnHHMnannMBMaMBaanMaMMHHa\nSOUVENIR.\nA CIS & GALA TEA.\nMASQUE OF LOVE\nby Gordon Craig.\nA few copies of this \" Souvenir\nissued in 1902. and now extremely\nrare, may be procured from\nTHE MASK PUBLISHERS\nArena Goldoni. Italy.\nWRITE FOR PARTICULARS."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c104", "article_bluemountain": "bmtnaau_1913-10_01#c104", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "188", "page_fin": "188", "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=bmtnaau191310-01.2.30", "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": 102, "page_imprimee": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.102", "debut_caractere": 252, "fin_caractere_exclue": 543, "texte": "AN ILLUSTRATED BOOKLET ABOUT\nTHE GORDON CRAIG SCHOOL\nAND ITS JOURNAL\nTHE MASK\nRecently\nPublished.\nSecond Edition Now Ready.\n«£? Pr i c e One Shilling Net.\nOrder through any Bookseller, or from\nThe Society of The Thea tr e .\n7, John St A del p h London.\nor direct from\nARENA GOLDONI, , ITALY."}]}, {"article_id": "bm-bmtnaau-1913-10-01-c105", "article_bluemountain": "bmtnaau_1913-10_01#c105", "volume": "bmtnaau_1913-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "188", "page_fin": "188", "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=bmtnaau191310-01.2.31", "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": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.102", "debut_caractere": 545, "fin_caractere_exclue": 705, "texte": "SCHOOL FOR THE ART OF THE THEATRE\nDirector: E. Gordon\nOCTOBER TERM J UST COMMEN C / NG\nSEND POST CARD FOR PARTICULARS.\nTO THE SECRETARY.\nARENA GOLDONI FLORENCE."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.1", "texte": "jjjfil &W. t tgk t TuXj £ .jf\n-iv m VT tw A.\ni\nVolume Six. Number Two\nOCTOBER\n» 9 i 3\nARENA QOLDONI\nFLORENCE\nITALY\nYEARLY SUBSCRIPTION FIFTEEN SHILLINGS.\n& SINGLE COPY PRICE FOUR SHILLINGS NET. &\nTRADE AGENTS.\nSIMP K I N, MARSHALL, HAMILTON, KENT & CO. LO NOON."}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.2", "texte": "THE MASK. OCTOBER 1913-\n\"jphe Editor will be glad to consider MSS relative to the Art and History of the\nTheatre, but would point out that he can only make use of articles written by\nsuch as have a real knowledge of the subjects treated. £? &\nAH possible care will be taken, but he cannot hold himself responsible for the\naccidental loss of MSS. These must in every case be accompanied by a stamped and\naddressed envelope as otherwise they cannot be returned.\nCommunications should be addressed to the Arena Goldoni. Florence. Italy.\n\nLITERARY CONTENTS.\nTO THE BEGGARS AND DESPISED PERSONS . Gordon Craig John Semar. 93\nCUBISM AS OLD AS THE PYRAMIDS. A note by . J. S. . . . . -97\nA FIFTEENTH CENTURY THEATRE . . . Felix Urban . . . .101\nNOTES ON INDIAN DRAMATIC TECHIQUE . . Dr A. Coomaraswamy . . 109\nA HISTORY OF PUPPETS, (Continued) . . \" Yorick \". (P. Ferrigni) . 129\nTHE PRE-SHAKESPEAREAN STAGE . . . John Semar . . . .135\nSIENA, THE CITY OF DRAMA .... Ernest Marriott . . .159\nSHAKESPEARE'S PLAYS Gordon Craig . . . .163\nBOOK REVIEWS. jZ> FOREIGN NOTES. & EDITORIAL NOTES.\n\nILLUSTRATIONS.\nFRANCESCO ANDREINI, (Frontispiece)\nCUBISM AS OLD AS THE PYRAMIDS. . . . Fritz Endell . . . 98,99\nAN EARLY THEATRE, 1493. From the ...\" Terence *' of Trechsel . 103\nEX LIBRIS OF WILLIAM GABLE Gordon Craig ... 108\nINDIAN STENCIL FIGURES Anon .... 116, 118\nTHE DANCING LESSON. Drawn from a photo-\ngraph by G. Nelson .... 121\nSYMBOLS OF THE HILLS AND THE SEAS. . Old Buddhist Design . .125\nA VENETIAN MARIONETTE. Drawn from a\nphotograph by B. Meninsky ... 133\nMASKED ACTORS, 1600 F. Bertelli. . . Face 156\nTRISTANO MARTINELLI, 1600 Anon . . . . . 157\nTHE CITY OF SIENA Old Italian Design . . 161\nHEAD AND TALE PIECES AND INITIAL LETTERS by Gordon Craig, George Borrow,\nand from old English, Italian and Buddhist Designs."}, {"page_pdf": 4, "page_imprimee": "[92]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.4", "texte": "FRANCESCO ANDREINI.\n\nTHE MASK.\nOctober 1913."}, {"page_pdf": 5, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.5", "texte": "TO THE BEGGARS AND DESPISED PERSONS.\n\nQightly or wrongly people count very greatly upon first appearances*\n& The first night of a play seems to be the great night; a first\nedition of a book is a valuable thing; just as first teeth are the delight\nof parents and so forth. •&\n1 believe it is of value that one should be first in the field, and to\nthose who feel this perhaps it Is not immodest for me to point out that\nthe articles and designs in this number have for the most part never\nbeen seen before in any English book or publication,\njg? How many times have we been bored to death by seeing the complacent\nface of David Garrick smiling at us as a frontispiece ; but never before\nhave we seen the virile face of the great Italian actor\nFRANCESCO ANDREINI.\nHow many times have we seen pictures of some eighth=rate Harlequin\nwho never learned his business, but who has been depicted gloriously\n.skipping across the stage like a piece of thistledown. But here for the\nfirst time is shown almost the first, and certainly the greatest Harlequin;\nand you will not notice much sweet grace about him, ...which gives\nfood for thought. £?\nHow many times have we seen pictures of the Globe Theatre, Bankside,\ntill we have fallen to sleep imagining our heads upon the soft thatch ;\nbut not till now have we seen in any English publication the engraving:\nof the fifteenth century theatre on page 103; neither will you have seen\nthe two examples of the earliest Cubism known upon pages 98 and 99:\nNor the masked actors facing page 156; no, nor the stencilled figures on\npages lis and H7 which go to illustrate Dr Coomaraswamy's Notes on\nIndian Dramatic Technique. £? £?"}, {"page_pdf": 6, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.6", "texte": "TO THE BEGGARS AND DESPISED PERSONS.\n\nAnd why have you not seen these before ? These things have been\nwaiting for centuries before. They are not new, cheap and up=>to°date\nsketches but old and priceless things which should have been brought to\nthe English public long ago. That we cannot put two to three hundred of\nthem into this single number of The Mask is only owing to the APATHY\nof those English who, while saying they are eager for the advance of\ntheir country even in matters of knowledge and taste, and while quite\ncapable of helping the English people to become acquainted with these\nthings, owing to the amount of spare money which they possess, and\nwhiie regretting that there is not more interest shown in such matters;\ncontinue perversely to refuse encouragement to those few groups of wide\nawake men in all branches of endeavour, who are willing to do their part\nif only these rich Englishmen wiii do theirs. JZ?\nI repeat, the only reason that you do not get in this number two\nhundred engravings of enormous interest and value to you as students\nis because these men who might pay for the cliches to be made and\nfor ink to print the blocks with and the paper on which to print them,\n(for we do not ask them to pay for more than that,) are lounging about in\nLondon with their hands in their pockets and moaning out, ** Nobody is\ninterested in these things nowadays \". Institutions already established\nthey will support (I am told, grudgingly), but Individuals and Individual\nIdeas they mistrust. &\nAgain, the reason why The Mask is obliged to use the type that is\nused in this number is because out of all those rich men whose interest\nhas been stimulated by the great advance that printing has made in the\nlast twenty or thirty years in England, there is not one to be found who\nwill put his hand in his pocket in order to give us sufficient type of a\nfine English character with which to print our journal.\n& When we commenced our work this was the only type we could\nfind, and, having bought our bed we are obliged to lie on it. JZ?\nA grand lot of practical enthusiasm one finds in London nowadays,...\neh, what?\n& Would you believe it, gentlemen, would you believe it, beggars and\ndespised persons, (who, beside our few noble subscribers, I take to be\nth~ ones with sufficient money to buy The Mask), would you believe"}, {"page_pdf": 7, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.7", "texte": "TO THE BEGGARS AND DESPISED PERSONS.\n\nit, gentlemen, that I have for the sake of my School and this journal\ngone with begging hands and stood in front of these people and begged,\nand begged and BEGGED, not for bread or for clothing, but for type,\npaper, masks for my actors, tools for my workmen... for theatres and\nthose other things which we need so as to go on with our work, and\nthey have actually refused me all of these time after time. JZ?\nOf course you and I are supposed by the outsiders to be loafers,\nand forgetful of the practical side of life, whereas, bless their boots.,\nyou and I are running all over the place looking for the materials of\nour trade. jZ? jz? gg? jg?\n\" Por Begghars \" !\nMr. Craig leaves off, let me as Editor proceed. &\nAnd for whose sake do these workers work ?.... jgr\nFor their king's and their country's. &\n■& It is said that a prophet is not without honour save in his own\ncountry. jSf jg?\nI do not know if this be true... but certainly many good workers\nwho know what they are about... whether like Dunne who makes the\nbest aeroplanes, or like Henry Wilson who builds the best churches and\nhouses, or like Cooper who makes the best silver=ware, or like Mason\nthe Printer, QUI the Sculptor, Pryde the Painter, Epstein, Rothenstein,\n*\nPoel, Martin Shaw, Clunn Lewis, Ferguson, Waiter Crane, Ellen Terry,\nBatsford the Publisher, and a host of other first=class \\vork=men and\nwomen whose work is an honour to England... are without the one\nhonour they ask for and should receive.,, the honour of being permitted\ncontinually to work for their country.\n& Let me take the case of Walter Crane by itself. &\n& Here is a man who has given us as children the most perfect examples\nof children's books imaginable... who has taught every one of us, and\nwhose work is today seldom seen sS? jg?\n& This is scandalous. &\nAgain, take the case of Ellen Terry. She has helped to make the\nEngland of the 19th Century. Where is her Theatre ? Why have you not\n\nGordon Craig."}, {"page_pdf": 8, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.8", "texte": "TO THE BEGGARS AND DESPISED PERSONS.\n\nseen to It that you provided yourselves with a Theatre for her most\nprecious gifts ?\nhow many first=class publishers do you support, so that when we\nwant first=class books printed we can call on...say Batsford, or Heinemann,\nto print them ! Do you endow these Individuals ?... for it is preposterous\nto call such men \" Firms You practically kill Cody, and smirk over\nhis poor remains. You \" support \" Scott so badly that he falls. You\ndecorate Roberts, and refuse to do as he with his ripe wisdom advises.\njg, And all this seems to be so that you may have lots of time to\nsquabble over Party Politics and play with Crystal Palaces. & &\n** Por Begghars 1\n\nJohn Semar."}, {"page_pdf": 9, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.9", "texte": "CUBISM AS OLD AS THE PYRAMIDS.\nA Note by J. S.\n\nJn our last number we gave a series of illustrations as proof that the\nCubists, who claim to be the newest of the new, the \" dernier cr! \"\nin sculpture and painting, are not really new at all; that they are merely\nthe conceited and disorderly followers of a great master who, four hun-\ndred years ago, knew all the secrets which they profess to have discovered.\n& This master was the German, Albert Durer, and was himself following\nin the steps of an Italian. ■£?\nNow a German, Mr Fritz Endell, comes forward to point out that\nDurer was but a follower, long long after, of a method infinitely ancient,\nand sends us the two accompanying drawings to demonstrate that Cubism\nis \" as old as the pyramids \".\n& This is very interesting, although not at all surprising, since we are\nall the time receiving fresh proofs that the new discoveries, over which\nwe become so excited today, were no secrets to the civilizations of the\nearly w0r1d,... those civilizations which the spade of the excavator and\nthe study of the archeologist reveal year by year as ever more scientific\nand more superb. &\n& Therefore it is, as we say, not surprising that we should find that\nthis principle of Cubism, over which a certain group has cackled as\nexcitedly as a hen over a new-laid egg, was very well known to artists,\nnot merely some hundreds, but some thousands of years ago. &\n£? But let us not forget that it was known with this supreme difference:\n...that as Durer used his method only as a means to an end, doing his\nbest, as Mr Urban wrote in July, \" to hide all art by being too much of an\nartist to show how he was doing the thing \", so did the artists of those\nremote times allow no evidence of effort, no desire to show how \"clever\"\nthey were, to detract from the superb calm of their finished works. &\nThe modern Cubists would do well to remember a little verse by\nMr William Watson :\n\" No record art keeps\nOf its struggles and throes\nThere is toll on the steeps,\nOn the summit repose. \""}, {"page_pdf": 10, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.10", "texte": "CUBISM AS OLD AS THE PYRAMIDS.\n\nJS? But then the modern Cubist is\nnever seen in repose on the sum=\nmit: he prefers to invite us to\nbehold him sweating and struggling\non the steeps; to show us just\nwhere and how he sets each foot in\nhis progress. He and his companions\nchatter like pies of their system and\ntheir science; they are the children\nof pretention and conceitand\nthey think that no one ever knew\nsuch things as they know since the\nworld began. JS?\nWhile all the time the great\nmasters, who knew It all and used\nall of It which was worth using,\nrepose sublimely on the summit;\nthey ask no one to watch their ef-\nforts, but only to share the hap-\npiness of their finished work. It is,\nin fact, only the modern faddist who\ngoes struggling up before our eyes,\nlike a second Sisyphus,... bearing,\ninstead of the \" shameless stone \",\na cube upon his back. &\n\nCUBISM OLD AS THE PYRAMIDS.\nNo 3330! from C. C. Edgar's, Sculptor's Studies and unfinished\nworks. Catalogue generals du Musèe de Caire.\nFritz Endell, 1913."}, {"page_pdf": 11, "page_imprimee": "99", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.11", "texte": "No 3412 from C. C. Edgar's. Sculptor's Studies Fritz Endell.\nand unfinished works. Catalogue gènérale du 1913\nMusèe de Caire."}, {"page_pdf": 13, "page_imprimee": "101", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.13", "texte": "A FIFTEENTH CENTURY THEATRE. A Note\nupon its Architecture\nby Felix Urban.\n\nIthough to change the bliss of ignorance for\nknowledge may not be folly, it is certainly apt to\nbe disconcerting, for a little knowledge has so\ndrastic away of dwarfing, if not destroying, one's\nprevious pleasant little standards and beliefs, and\nit is rather sad to have to realize that after all\nthe great Globe, that theatre of the Century about\nwhich such innumerable books have been written,\nwas, in reality, nothing but a makeshift,...was but the English excuse\nfor not being able to afford a real theatre,...a theatre worthy of the name.\nJZ/ Yet when we come to look outside of England, to see what other\ncountries at that period were doing in the way of theatre building, we\nhave to realize, unpalatable as the fact may be, that, compared with the\ntheatres of other nations, a makeshift is all that it was, and that, exactly\na hundred years previous to the building of the Globe, we have a record\nof a most sumptuous theatre, probably in France or Italy, compared with\nwhich the Globe must take a very minor place.\nM. Bapst in his essay \" Sur J'Histoire du Theatre \" shows us a fine\nengraving of this theatre printed in the year 1493, which reveals quite\na number of interesting facts. The engraving is taken from the ''Terence\"\nof Trechsel, and this is what M. Bapst has to say about it:\n\" The custom of reserving a place for the Municipality was general\nat the period of the Mystery Plays, that is to say, at the end of the\nfifteenth and the beginning of the sixteenth century.\n& ** We find the proof of this in the frontispiece of the \" Terence \" of\nTrechsel, representing a theatre. The stage is there, as in our days,\nflanked by boxes between columns, and above the box which we should\ntoday call the \" avant=sc6ne \" is to be read the Inscription \" Edlles \":\nTo the side are the stages or galleries for the rich spectators; they are\ncontinued all round the circumference of the theatre; below is the\ngeneral public.\n\" The custom of placing near the stage, at the side of the auditorium,\nthe box for the sovereign or for the authorities presiding at the pertor-"}, {"page_pdf": 14, "page_imprimee": "102", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.14", "texte": "A FIFTEENTH CENTURY THEATRE.\n\ntnance, already existed in the middle ages, at all events in the east of\nFrance and in Germany. In the interior of France the custom must have\nbeen different; we shall see later on that the personage who presided\nat the performance of the Mysteries in these parts was installed in the\nmiddle of the amphitheatre, that is to say, in the position in which the\nroyal box is today placed in the Italian theatres. JZ> JZ/ &\n\" The \"Terence\" engraving also shows that in 1493 the most important\nMysteries were performed in a real theatre with a real auditorium, con=\nstructed in timber for the occasion. \" & & & &\nM. Bapst then quotes a note in this same engraving by M. Edmond\nLe Blanc, a member of the Institute, who states that \" On the ground\nfloor of the theatre represented in the \" Terence\" engraving <of 1493 is\nseen a series of chambers above which Is Inscribed the word \"Fornices\".\nThese chambers were nothing else than the- haunts of the courtesans,\nwho gave themselves up, in the neighbourhood of the ancient theatres,\nto prostitution. The couples represented in the engraving with which\nwe are occupied do not, moreover, leave in their attitude any doubt as\nto the nature of the converse which they are carrying on. \" JZ? J&\nJZ? And now let us have a look at the print. It may even tell us more\nthan M. Bapst tells u5,... I mean that perhaps it will bear looking into\na little more thoroughly. *zt jZ? jzs jZ? &\nLet us for the moment consider the shape of the \"front of the house\",\nas it is called, the auditorium, and after that let us go on to the stage.\n■£? The Auditorium. This curious and very interesting woodcut from\nthe \" Terence \" shows us the outside of the Theatre and the inside. To\njudge from the picture we are to believe it was a vast building of two\nstoreys, the first storey being at least 30 feet high, and the second storey\nabout 35 to 40 feet. That would make the whole building 70 feet. £?\nNow this is an enormous building, and although we need not entirely\ngive up hope that in the 15th century they took the trouble to erect\nlarge sized houses for the drama, still, we need not exaggerate the size\ninto 70 feet. JZ? JZ?\nlooking at the woodcut again, I think we shall have to arrive at\nthis conclusion:... that the building had outside walls of about 30 feet\nhigh, and that it had some kind of dome which raised it another 10 feet."}, {"page_pdf": 15, "page_imprimee": "103", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.15", "texte": "Illustration of a Theatre reproduced from the \"Terence\" of Trechsel. 1493."}, {"page_pdf": 17, "page_imprimee": "105", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.17", "texte": "A FIFTEENTH CENTURY THEATRE.\n\nI think the woodcut shows us both the outside and the inside and that\nthe upper part of the picture is a repetition of the lower part with\nthe walls taken away.\n£> These wails, of course, are removed by the wood engraver in order\nto show us what a part of the building looked like inside and when full\nof people, and, here again, we must not imagine that the people sat only\non one side of the Theatre, or that they were arranged as here shown,\nlike silver plate on a side-board. The artist had the impertinence to re-\nmove two or three walls in order that we might get just a glimpse of\nthe remaining wall with its crowded audience, of a couple of boxes and\na portion of the stage. JZ?\n& But whilst removing these two walls* he has left sufficient to show\nus the construction of the building, lie has left the pillars, though not\nail the pillars. He has left one but shifted the two.\nLet us in our imagination put back the one and replace the two. To\ndo that we must replace the central pillar in the picture further to the\nright, until it is in the position indicated by the arrow No. 2. Now insert\nthe missing pillar in the place Indicated by the arrow N. 1... You will find\nthat the artist has left the remnants of a capital for each pillar. I be-\nlieve that to be intentional, and that it Is to indicate the spaces where\nthe pillars actually supported the roof. &\nDoing this, you get nearer the actual construction of the building so\nfar as its pillars are concerned, but had the artist done so, he would\nhave blocked out and made difficult of comprehension two important\nfacts which he wanted to record,... that is to say, the relationship of\nthe two side boxes which are called \" proscenium boxes \" to the stage,\nand we should have been uncertain as to whether the galleries, in which\nthe better people sat, were straight or curved. &\nWe now find that they are straight, and I believe that the picture\nindicates quite clearly that there are five sides, each side with as many\npeople as we see in the one side shown by the engraver. I should have\nbeen inclined to think that the building was a square one if the artist\nIn the lower part of his engraving had shown us only two sides of the\ntheatre, but he shows us three sides, which seems to contradict such\na supposition. &"}, {"page_pdf": 18, "page_imprimee": "106", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.18", "texte": "A FIFTEENTH CENTUR V THE A TRE.\n\nin the engraving the artist shows us the position where the boxes\nare placed, each having a smaller box above it. These, as you see, are\nnearest to the stage: he also shows us the positions of the galleries,\nand the place where the President of the representation of the Mysteries\nsat, who was something like the Chairman of the old English Music halis\nof the Sixties.\njZ? It is quite obvious that you entered the galleries by means of stair-\ncases even as you do nowadays, and that you went into the pit without\nhaving to go up or down any stairs.\n£> Whether the last gallery of the three shown in the illustration was\nheld up by pillars, it is difficult to say, but it is quite probable that this\nis the case. M. Bapst tells us that these galleries were for the wealthy\nspectators. I think in all probability the last gallery was for the wealthy\nones, the second gallery for the middle classes, and the top \"gallery for\nthe populace. 0? 0 0 0 0? 0? 0 0\nIn \" Designs and Plans for a Theatre in 1560 \" Sebastian Serlio ex-\nplains that this was the order of rank:... the better class lower down,\nthe lower class higher up, and, Judging from the modern building, we\ncan very safely suppose that as the worst point of view is from above,\nand the cheapest places above, the same will apply to this theatre of\n1493. (See Mask, Vol. I. P. 14.) 0? 0? & 0\n(\n0 It looks as if from six to seven hundred people could be seated in\nthe galleries alone, and probably another hundred could be seated on\nthe floor, leaving room for about two hundred to stand in what is known\nas the Pit. 0 0? 0? 0? 0? 0? 0? 0\nThe one obvious thing that this picture shows us is that the specta-\ntors are well dressed ; there are no peasants in the picture* though pro-\nbably a dead=head or two. 0? 0? 0/ 0? 0? 0\n0 What a pity that such a theatre is never come across nowadays! But,\nbecause there are no splendid old theatres left of those earlier times,\nthere is no reason for us to jump to the conclusion that everything was\npoor and uncomfortable, as De Witt would seem to indicate in his sketch,\n\" The Interior of the Swan Theatre in England. \" 0 0\n0 The Swan Theatre was built a year after the Globe, so they say, and\nthat is 101 years after this engraving of the Terence Theatre. &"}, {"page_pdf": 19, "page_imprimee": "107", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.19", "texte": "A FIFTEENTH CENTUR THE A TRE.\n\nSuch a theatre as is shown in our engraving may have seen the earliest\nperformances of Machiavelli's dramas. In such a theatre the first come-\ndies by Beolco may have been heard. But, whatever was acted in\nthem, there seems to be no doubt at all that the places were extreme-\nly handsome, comfortable, more like palaces than barns. j2>\nThe Globe Theatre and the Swan are too much like barns. The whole\nthing Is too suggestive of a cheap way of getting out of responsibility-\n\" Any old thing will do for the Drama,\" is what the Englishman seems\nto have said in those days even as lie says now. Then the Theatre\nhad the atmosphere of a barn,...nowadays It has the atmosphere a gin-\npalace. And, you English merchants, perhaps a visit to Germany would\nnot even now be too late to be useful; for they try to build fairly sincere\ntheatres over there. £?\nOr, better still, why not consult your own English School for the Art\nof the Theatre, established in Florence, before building your next\nPlayhouse"}, {"page_pdf": 20, "page_imprimee": "108", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.20", "texte": "Perhaps the engraving underneath needs a little\nexplanation. It is for use as a Bookplate, and\nrepresents a Bookworm. An actual Bookworm many\ntimes enlarged. It is seen to be struggling through\nits Earth..., a book, and stretching towards its\nSun.., our sun. Beauty it has not, even when\ncompared with the Ant or the Crab, but\nconsidering its association with the\nliterature of the last two thousand\nyears it makes a brave show.\nPoor little beast !\n\nBookplate of William Gable Designed\nand Engraved by Gordon Craig."}, {"page_pdf": 21, "page_imprimee": "109", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.21", "texte": "NOTES ON INDIAN DRAMATIC TECHNIQUE\nby Dr Ananda Coomaraswamy.\n\nIt is held that India was the first home of the pup=\npet=play. What the late Professor Pischel elucidated so\nclearly in his address to the Kdnigliche vereinigte\nFrledrichs Universitat at Halle-Wittenberg in 1900,\n(from which address we shall presently quote) has\nbeen summarised also by Gordon Craig, In that best and\nmost moving of all his essays, \" The Actor and the\nUeber^Marionette(i) jz? & j&\n\" In Asia lay his first kingdom. On the hanks of the Ganges they built\n\" him his home, a vast palace springing from column to column into the\n\" air and pouring from column to column down again into the water.. .\n«* Something they were making which should become him, something to\n\" honour the spirit which had given him birth. And then, one day, the\nceremony.\n\"In this ceremony he took part; a celebration once more in praise\n\"of the Creation; the old thanksgiving, the hurrah for existence, and\n\" with it the sterner hurrah for the privilege for the existence to come,\n\" which is veiled by the word Death. And during this ceremony there\n\" appeared before the eyes of the brown worshippers the symbols of all\n*( things on earth and in Nirvana. The symbol of the beautiful tree, the\n\" symbol of the hills, the symbols of those rich ores which the hills con-\n\" tained ; the symbol of the cloud, of the wind, and of all swift-moving\n\n(1) The Mask, April 1908."}, {"page_pdf": 22, "page_imprimee": "110", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.22", "texte": "INDIAN DRAMATIC TECHNIQUE\n\n44 things ; the symbol of the quickest of moving things, of thought, of\n44 remembrance ; the symbol of the animal, the symbol of Buddha and of\n44 man .. . and here he comes, the figure, the puppet at whom you all\n44 laugh so much. You laugh at him today because none but his weaknesses\n44 are left to him. He reflects these from you ; but you would not have\n44 laughed had you seen him in his prime, In that age when he was called\n44 upon to be the symbol of man in that great ceremony, and, stepping\n44 forward, was the beautiful symbol of our heart's delight. \" &\nIt may be helpful for us, then, to enquire about the doings of the\nIndian puppet in his own home, in past and present times.\n4'ln ancient India\", says Professor Pischel, (i) \"puppets were made out\nof wool, wood, buffalo°>horn, and Ivory, and these playthings were quite\nas popular long ago with the girls of that country as they are with our\ngirls at the present day... Puppets might even become dangerous rivals\nto deities. A legend runs that Parvatl, wife of the god Siva, made herself\nsuch a beautiful doll, that she thought It necessary to conceal it from the\neyes of her husband. She carried it far away to the Malaya mountain, but\nvisited it every day, that she might adorn it. Siva, rendered suspicious by\nher long absence, stole after her, saw the doll, fell In love with it, and\ngave it life. There is also an early mention of puppets worked by machinery.\nWe read in the Kathasaritsagara, the great collection of tales by the\nKashmiri Somadeva, that Somaprabha, the daughter of the Asura Maya,\na celebrated mechanician, brought as a present to her friend Princess\nKalingasena a basket of mechanical wooden puppets, constructed by her\nfather. There was a wooden peg in each of the puppets, and when this\nwas touched, one of them flew through the air. fetched a wreath, and\nreturned when ordered; another, when desired, brought water in the same\nway ; a third danced, and a fourth carried on conversation. This delighted\nKalingasena so much that she neglected her meals in order to play with\nthem ... Talking puppets were also introduced on the stage. In this case\nthey were not, as a rule, worked by internal mechanism, but by means\nof a thread (sntra), manipulated by the puppet player... An allusion to\nsuch puppets, moved by threads, is found as far back as the Mahabharata.\nIn this work men are compared to puppets, inasmuch as they have no will\n\n(i) \" The Home of the Puppet Play. (English Translation1. London 1932."}, {"page_pdf": 23, "page_imprimee": "111", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.23", "texte": "INDIAN DRAMATIC TECHNIQUE\n\nof their &&&&&<&■£>\n& In the fifth act of his Baiaramayana, Rajasekhara, who flourished early\nin the tenth century, introduces two jointed puppets constructed by the\nmechanic Visarada, the best pupil of the Asura Maya, of whom mention\nhas already been made. One of the puppets represented Sita, who was\ncarried off by the demon Ravana, the other her foster-sister Sindurika.\nA starling that could speak Prakrit fluently, even in verse, was placed\nin the mouth of the puppet representing Sita; while the puppet-player,\nwho appeared as the demon,spoke in Sanskrit and Prakrit for the other\npuppet, which took the leading part... It is the only passage in the whole\nof Indian literature where puppets appear on the stage In a Sanskrit\ndrama, and what is still more important, we learn from it the name for\npuppet=pla>er in the tenth century. He is called sutradhara, \" thread-\nholder \", which corresponds to the epithet \" attached to\nthreads \", applied to puppets in the Mahabharata. And sutradhar is still\nthe name for a puppet-player in India at the present day... j£f\n\" The stage manager (in fully developed Indian drama) is called, as\nin the puppet-play, sutradhara, \" thread-holder \". From this fact, as early\nas 1879, a native scholar of European education, Shankar Pandurang\nPandit by name, drew the reasonable conclusion that performances by\npuppets and paper figures must have preceded those by human beings\nThere was also a second manager, called sthapaka, the setter up.\nExcept in this connection, this word is applied only to the priest who\nhad to set up the images of the gods, when they were solemnly conse-\ncrated. On the stage the sthaphaka was originally the setter up of the\npuppets.\nThe ancients were accustomed to make life size dolls in precious me-\ntals, especially gold. 1 cannot imagine how grand and beautiful must have\nbeen the golden image of Sita, taking her place in her absence ; without\nit, Rama would not and could not perform any sacred rite, for the Hindus\nhold that such rites were ordained in the Vedas to be performed by the\nhusband together with the wife. & &\nWe shall note a few other references to old Indian puppet plays and\nother mechanical performances. There is an Interesting mention of dan-\ncing puppets in the Katha Kosa:"}, {"page_pdf": 24, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.24", "texte": "INDIAN DRAMATIC TECHNIQUE\n\n& \" In the meanwhile the joyful occasion was being celebrated by King\nSundara with a dance of marionettes; a puppet was dancing there on a\nbamboo. At this moment a wandering hermit came flying through the\nair. He improved the occasion in these words : *♦ King, look at the pup.\npet-show in your Inner self: why do you gaze on an external puppet\nshow? For this continuance of yours is the stage; your name is the\nbamboo ; the four migrations of the soul are the four puppets; the four\nsins are the pegs, being anger, pride, delusion, and avarice ; the eight\nactions are the drums; human forms are the attendants that tire the\npuppets ; this intelligence is the master of the puppet-show : \" (i)\nWe catch a glimpse of a thirteenth century religious puppet show in\nCeylon from the following description of the decoration of a Buddhist\ntemple on the occasion of a great festival:\n& *♦ Afterwards he (the king) ornamented the temple with many painted\narches round the circuit of the temple wall, of great size and beauty,...\narches that regarded contemptuously the beautiful bow of the chief of\nthe gods; with white parasols that looked like the moon in her fullest\nsplendour, and beautiful flags of five colours and divfers shapes, like beau-\ntiful dancers dancing in the firmament of heaven ; with rows of splendid\nhalls glittering with jewels, like rows of beautiful mansions come down\nfrom the world of the gods; with numerous images of Brahma dancing\nin with parasols in their hands, that were moved by instruments; with\nmoving images of gods of divers form that went to and fro with their\njoined hands raised in adoration ; with moving figures of horses prancing\nhither and thither with the beauty of waves rising and falling, one after\nthe other, in the great sea ; with moving likenesses of great elephants,\nclothed in their proper trappings, making men doubt if they were not\nrainy clouds come down to earth :... with these and divers other shows\nof this kind which delight the world, and are used at feasts, did he make\nthe temple exceedingly attractive \". (t And the lord of the land held a feast\nin honour of Buddha, to which ail men were drawn by the sweet songs\nof singers and the dances of many dancers as they danced in divers cha-\nracters on the excellent stages that were raised here and there! \" (Maha-\nwansa, ch. LXXXV). zZ?\n\n(1) Tawney, Kathakosa, London 1895 pg. 40."}, {"page_pdf": 25, "page_imprimee": "113", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.25", "texte": "INDIAN DRAMATIC TECHNIQUE\n\nAnother puppet-show, much more modern, has been described for me\nfrom Siam by P. C. Jinavaravamsa Unnanse, a Buddhist priest, who was\nonce a prince of Siam... himself an artist to the tips of his fingers alike\nby temperament and training... & & & 4*\n\" The puppet-shows \" (he says) \" also deserve some mention. The con-\nstruction of moving figures and puppets is carried to a considerable degree\nof perfection. Beautiful figures, 6 to 18 inches high, representing the charac-\nters of the Indian drama of Ramayana are made for exhibition at royal\nentertainments. They are perfect pieces of mechanism ; their very fingers\ncan be moved and made to grasp an object, and they can be made to\nassume postures expressive of any action or emotion described in poetry;\nthis is done by pulling strings which hang down within the clothing, or\nwithin a small tube attached to the lower part of the figure, with a ring\nor loop attached to the end of each, for inserting the fingers of the\nshowman. The movements are perfectly timed to the music and recitation\nor singing.\n\"One cannot help being charmed by these Lilliputs whose dresses are\nso gorgeous and jewelled with the minutest detail. Little embroidered\njackets and other pieces of dress, representing the magnificent robes of\na Deva or Yakha, are complete in the smallest particulars. The minia-\nture jewels are sometimes made of real gold and gems. &\n\" Such a thing as this I believe to be only possible when a man has\nalmost unlimited means, both in time and money to devote to his hobby\nfor months, (as was the case with the late and last so-called \" second\nking\" whose puppet-show was The most famous ever called into existence)\nto complete the work &\n& The same writer describes the Siamese \" shadow pantomime\", as\nEuropeans incorrectly call this art of transparent pictures (i) &\n& \" This is a show of moving transparent pictures over a screen illumi-\nnated by a strong bonfire behind. The scenes represent the favourite\nIndian drama of Ramayana, and are accompanied by music and intoned\nrecitation and sometimes singing.\n& \" The method of preparation of these pictures is very interesting. A\ncowhide is scraped to the required thickness (generally about one sixteenth\n\n(1) Ceylon National Review, II 4. 1907."}, {"page_pdf": 26, "page_imprimee": "114", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.26", "texte": "INDIAN DRAMATIC TECHNIQUE\n\ninch), evenly stretched, and allowed to dry hard. It is then roughly shaped,\noval for a group and long rectangular for a standing figure... the pieces\nmeasuring generally from two and a half to five feet In height or diameter.\nA design is drawn on native made black paper, perforated and transferred\nas already described (i. e. by pouncing), and then outlined in black upon the\nhide... appropriate ornaments, flowers or trees are introduced to connect\ntogether the different figures or projecting parts of a figure, so that when\nthe ground is cut away the hide is held together by these connections and\nwill also hang evenly without buckling. Sky or open space is represented\nby small even patterns of a very open character with inconspicuous con-\nnections. The hide after cutting in this way is appropriately coloured\nwith fast bright dyes which penetrate the leather and are fixed by lime\njuice or native vinegar, which helps also to brighten the colour.\n& «« The greatest difficulty is to estimate how much light will, as they\nsay, \" eat up \" the figure; for the appearance of the figure is altered by\nthe light from behind, some colours being weakened and others intensi-\nfied. If for instance a human figure is drawn (generally dark) In good\nproportion with dress and ornament and the colour of hair and skin cor-\nrectly represented, the picture will appear badly proportioned when\nlit up. JZ?\n\" The artist must be a man of great experience, and the worst of it is\n.that he does not seem able to explain his art nor to set forth in black\nand white the proportion of this or that colour which will absorb or\ntransmit light most. It is amusing to see young artists' attempts at making\nthese apparently simple transparent pictures, with thick white paper beau-\ntifully illuminated, but turning out a complete failure when exhibited.\nThe pictures are held up before the screen by four pieces of split bamboo\njust strong enough for the purpose, and fastened to the picture, two in\nfront and two behind, the lower ends serving as handles. The hide is\nflexible so that it can be rolled up round the two sticks. jZf\n& \" The performer must be himself a trained dramatic artist and dancer\nto music. He acts the scene, as he would on the stage, with every part\nof his body except the two arms engaged in holding up the picture. He\nseems to live in the picture and is absorbed in the representation he is\ntrying to produce. It is most amusing to see the artist's attitude and"}, {"page_pdf": 27, "page_imprimee": "115", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.27", "texte": "Indian Stencil figure. See page 115."}, {"page_pdf": 29, "page_imprimee": "117", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.29", "texte": "Indian Stencil figure. See page 115."}, {"page_pdf": 31, "page_imprimee": "119", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.31", "texte": "INDIAN DRAMATIC TECHNIQUE\n\nobserve the very intense expression of his face as he performs and watches\nthe motion of his picture &\n' arn informed that similar shadow pictures illustrating the story of\nKrishna and Radha are exhibited in the district of Masulipatam in India.\nI hope some day to see them.\n\"n this connection it may be of interest to mention the art of making\npaper stencils, closely allied in design to the requirements of simple\nstaging, though not actually adapted directly to an art of movement.\nThey afford at any rate suggestions for the scenery and figures in a toy\ntheatre. They are really used to prepare temporary \" pavement pictures \"\nby sifting coloured powders through the stencil; where two or more co-\nlours are required in one figure, the same number of stencils must be\nmade, and due care taken to secure an accurate register. Examples of\ntwo figure stencils are given in the accompanying illustrations.\n& Before passing to the subject of the human actor, I take the oppor-\ntunity to note two old references to Indian puppet shows. One is in the\nDialogues of the Buddha (Majjhima I. 43) where metaphysical speculations\nare compared to a puppet-show. The other is found in the Psalms of the\nSisteros (trans, by Mrs Rhys Davids, 1909, p. 153) where the doctrine\nof non-soul is inculcated by comparison of the human being with a\npuppet:\nOh I I have seen it... a puppet well painted, with new\nwooden spindles,\nCunningly fastened with strings and with pins, and\ndiversely dancing,\nBut If the strings and the pins be all drawn out and\nloosened and scattered,\nSo that the puppet be made non-existent and broken\nin pieces,\nWhich of the parts wilt thou choose and appoint for\nthy heart's rest and solace ?...\nO thou art blind ! thou chasest a sham, deluded by\npuppet shows"}, {"page_pdf": 32, "page_imprimee": "120", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.32", "texte": "INDIAN DRAMATIC TECHNIQUE\n\nSeen in the midst of the crowd ; thou deemest of value\nand genuine\nConjurers' trlckwork, trees all of gold that we see in\nour dreaming.\nI may also mention that amongst the popular dramatic performances\nof India, are some in which the actors are painted. There is a Musulman\nfestival in which a street procession, including a man dressed as a tiger,\nis part of the programme. 1 say dressed, but should rather say painted.\nMr Farrar has given a good description:\n\" It is the Moormen, the Muhammadans, collecting funds for their mosque.\nThis qugte occurs yearly. The collectors, arrayed in high turbans of pink\n&■\nand many colours, are strangely painted and bedizened. One of them\nnearly naked, is striped and dappled to pass as a tiger. Streaks of mud\nare drawn across his body, and he wears a grinning tiger-mask. In this,\nwith feline grace, he sidles, mopping and mowing, across the road, slink-\ning after this person or that, while the crowd gives way before him with\nlittle gasps of admiring terror and delight. And so cunningly does the\nfellow do it, so truly does he catch the lithe horror of his model, that\nthere, in that baking street, in that crowd; in that ridiculous disguise,\nhe contrives to convey a very real impression of something furtive, devi-\nlish and subtle \". (i) & JS?\nTHE HUMAN ACTORS.\n'T'o consider now the human actors. & 0\nJ& ** The whole nature of man says Gordon Craig, '* tends towards\nfreedom ; he therefore carries the proof in his own person that as mate*\nrial for the Theatre he is useless. In the modern theatre, owing to the\nuse of the bodies of men and women as their material, ail which is\npresented there is of an accidental nature. The actions of the actor's\nbody, the expression of his face, all are at the mercy of the winds of his\nemotions... emotion possesses him; it siezes upon his limbs, moving\nthem whither it wi11... It is useless for him to attempt to reason with\nhimself. Hamlet's calm directions (the dreamer's, not the logician's di-\n(1) Farrar la old Ceyloa pg. 62."}, {"page_pdf": 33, "page_imprimee": "121", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.33", "texte": "The Dancing Lesson."}, {"page_pdf": 35, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.35", "texte": "INDIAN DRAMATIC TECHNIQUE\n\nrections, by the way) are thrown to the winds... before the mind has time\nto cry out and protest, the hot passion has mastered the actor's expres*\nsion ... That, then, which the actor gives us, is not a work of art; it is\na series of accidental confessions \".\nIt is true that the nature of man tends towards freedom. But such is\nnot the nature of art; its media of expression are not accidental move-\nments or inarticulate sounds. Vagueness and uncertainty are never poetic.\nWe are then, agreed that the modern theatre is not artistic: or perhaps\nthe modern actors are wrongly trained ?\nHad Mr Craig been enabled to study the Indian actors, and not merely\nthose of the modern theatre, he might not have thought it so necessary\nto reject the bodies of men and women as the material of dramatic art.\nFor those principles which have with great consistency governed all other\nOriental arts until recently, have also governed dramatic technique.\nThe movements of the Indian actor are not accidentally swayed by\nhis personal emotion ; he is too perfectly trained for that. His body, If\n•\nyou will, is an automaton; while he is acting, there is nothing natural...\nthat is to say accidental or inartistic,... in his movements or changes of\nexpression. The movement of a single finger, the elevation of an eyebrow,\nthe direction of a glance., all these are determined in the books of technical\ninstruction, or by a constant tradition handed on in pupillary succession.\nMoreover, nearly the same gestures are employed all over India, to express\nthe same ideas, and many, perhaps all of these, were already in use two\nthousand years ago.\nAnd there is the closest connection between these gestures and those\nof the images and pictures of the gods and angels. Many of these gestures...\ncalled mudra.... have hieratic significance : equally in a painting, an image,\na puppet, or a living dancer or danseuse, or in personal worship, they\nexpress the intentions of the soul in conventional language. For example,\nthe commonest hieratic gestures have such significations as; \"I give all\"\nor \" hold nothing back \"; \"Do not fear \"; \" Contemplation \" ; •* Calling\nthe Earth to witness \" ; \" Discourse \" * others represent specific objects,\nas animals, parts of the body, stage properties, attributes; others are the\nsigns of invoking and welcoming, placing on a seat, restraining and\ndetaining... Ail these gestures are made by the fingers and palms."}, {"page_pdf": 36, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.36", "texte": "INDIAN DRAMATIC TECHNIQUE\n\nBy means of these gestures, and others perhaps less rigid, but all\nperfectly familiar to the spectator, and repeated without variation\nby the same dancer on different occasions, or by different dancers,\nit is possible to express the whole range of human emotion, and of action\nresulting from emotion, and likewise to describe the personal appearance\nof a god or hero, and all his deeds, in a language which Is perfectly\nartificial and profoundly touching... a language with which the joy or\nsorroWj the youth or age, the male or female sex of the \" shower has\nnothing to do.\n1 have never seen, nor do 1 hope to see better acting than I saw once\nin Luckncw, when an old man... a poet and dancer and a teacher of many,\nmany dancing-girls.... sang a Herd-Girl's \" Complaint to the mother of\nKrishna. \" This famous dancer, whose name is Binda Deen, is a devout\nBrahman, well enough off, for he used to receive L .500.0.0 or more in a\nsingle night from appreciative rajas ; he will sing, and his nephew will\ndance, at any time at his own house, for any neighbour or townsman,\nfor quite a small fee. He says that it ought not to be difficult for hts\nown friends to hear or see him. Thus, before an audience of pupils and\nneighbours, this old man sat on the ground and sang his poem. Picking\nup a scarf, he used it as a veil... and no one could have remembered that\nhe was anything but a shy and graceful young girl, telling a story with\nevery sort of dramatic gesture of the hands and eyes. She told how Krishna\nhad stolen the butter and curds, what pranks he played, of his love-making\nand every sort of naughtiness. Every feature of the face, every movement\nof the body and hands was intentional, controlled, hieratic; not all his\nown devotion for Krishna spoiled his art to the least degree. &\n& It is true that Binda Deen is a man of genius and great personal cha-\nracter, and so the better able to identify himself with his art, not the\nart with himself. But such an action-song as this did not belong to him,\nor depend on his genius for its being, even though he may have composed\nthe particular words of it; it belonged to the race, and its old vision of\na cow-herd god. Nor would it, or any Indian acting, have had much sign'\nficance for an audience not already familiar with all its episodes and\nideas and all the conventional gestures (dramatic symbols) expressing\nthem. But it is remarkable that once given the key to these gestures,"}, {"page_pdf": 37, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.37", "texte": "Symbols of the Hills and of the Seas. The seven mountain ranges and the Seven Rivers. From old Buddhist\ndrawings."}, {"page_pdf": 38, "page_imprimee": "126", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.38", "texte": "INDIAN DRAMATIC TECHNIQUE\n\nthey no longer appear conventional at all but 44 natural \", in the sense\nof Inevitable. Yet the fact that all 44 showers \" use similar gestures, and\nthe evidence for their antiquity, prove how conventional, i. e. 44 agreed\nupon \" between artist and audience, they really are. Art, as distinguished\nfrom 44 slices of life \", demands not only a trained artist, but also a trained\naudience, and demands also that artist and audience should share a\ncommon faith. Is not perhaps the audience in a modern theatre a greater\nfailure than the play itself? £? £?\nThis conventional art is not, of course, now to be seen in the pretentious\nproductions of the Parsee theatres; but in all Indian dancing, where there\nare no stage properties, and there is but one, or in some simple dramatic\nperformances only two or three actors... where the whole range of life\nand desire has to to be expressed in a manner clearly intelligible to a\npopular audience, who do not ask that anything in the representation\nbefore them should be unfamilar or strange... there the true art of acting\nor 44 showing \" Is still displayed. jg? &\n% v\nI do not know how much one would not desire to give, having once\nsuffered from the tawdry luxury and pretentious stupidity of the modern\ntheatres of Bombay and Calcutta, to recover the passionate sincerity of\nthis wonderful folk-drama, that 44 without scenery, without the artistic\ndisplay of costumes, could arouse emotions which now-a-days we scarcely\nexperience \". (i) & &\nI have heard a dancing girl lament that her audience now-a-days\ncared more about her looks than her art. Formerly the Indian audience\nmade art a sine qua non, and looks a secondary consideration.\nDancing is also a part of worship. Miss Ruth St Denis was right in\nher representations of India on the English stage. Not in detail, or in the\nexact form of her dance or her dress, but in essential spirit, in perso-\nnating, for example, in a single scene both the worshipped god and the\ndancing worshipper; In the Indian temples, or at least in most 'of the\nSouthern temples, there are Devadasfs, servants of the god, whose duty\nit is to dance before his image, just as the Apsaras dance before him in\nheaven. As there, too, the Apsaras are the courtesans of the gods, so are\nthe Devadasis on earth.\n\n(!) C. Sea. History of Bengali Literature."}, {"page_pdf": 39, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.39", "texte": "INDIAN DRAMATIC TECHNIQUE\n\nJZ? My friend Abanindronath Tagore has painted me a picture of a Deva-\ndasi before the shrine of the Lord of the World at Jagannath. She has\ncast down upon the ground the fallen petals of a lotus, asking, \" O Lord,\nwhy dost thou make us so fair today, if tomorrow thou wilt cast us into\nthe dust like a fallen flower?\" Do such thoughts, I wonder, find their\nway also to those that haunt in Piccadilly?....^\nJZ? From the dance to the sculptured image, and from the image to the\ndance, there was a constant going and coming. The greatest Dancer is\nNataraja, whose cosmic dance is the process of alternate 4 showing forth '\nand withdrawal of this variegated universe. If this art of gesture has\nendured so long in India, it is partly because it has been so perfectly\nformulated, but also partly because it endures in stone and bronze as\nwell as in living memories.\n& The dancer's poses, as Loti says, are 44 always those of the basreliefs\nPaes has described a sixteenth century royal dancing hall.at Vijayanagar,\n44 where the king sends his women to be taught to dance. It is a long\nhall and not very wide, all of stone sculpture on pillars... images seated\non the elephants, as well as those on the panels, are all dancing women\nhaving little drums. The designs of these panels show the positions at\nthe ends of the dances in such away that on each panel there is a dancer\nin the proper position at the end of the dance ; this is to teach the wo=\nmen, so that if they forget the position in which they have to remain\nwhen the dance is done, they may look at one of the panels where is the\nend of that dance ... in the middle of the wall is a golden image of a\nwoman of the size of a girl of the age of twelve years, with her arms in\nthe position she occupies in the end of a dance. (I) & &\nI have only one objection to meet. When I told Mr Craig of this con-\nventional Indian art of acting, he said he thought it was wrong for human\nbeings to submit to such severe discipline. But apart from their acting,\nthese Indian actors are as human as any others. That their acting should\nbe so severely disciplined, is not more painful than the observance of\nForm in any other art. The musician at least requires an equally arduous\ntraining. The truth is that the modern theatre has so accustomed us to\na form of acting that is not an art, that we have begun to think It is\n\n(i) Seweli, A forgotten Empire. Vijayanagar pg. 209."}, {"page_pdf": 40, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.40", "texte": "INDIAN DRAMATIC TECHNIQUE\n\ntoo much to demand of the actor that he should become once more an\nartist.\nI have been able to put together above makes no pretension to\nbe anything more than notes on some aspects of Indian dramatic technique.\n1 hope there may come a time when 1 can tell more.\n\nThis tale piece, as also the heading on page 109 is from\nan old Buddhist design."}, {"page_pdf": 41, "page_imprimee": "129", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.41", "texte": "(1)\nlose your eyes for a moment and imagine that\nyou are traversing time and space, as though you\nwere In a dream, and enter with me a gloomy\ncell in a Spanish Convent, about the end of the\nyear 1551. All round the walls, on oaken tables,\nthere are hundreds and hundreds of models of\nhydraulic machines, of instruments of war.... and\nof clocks and watches. On a table, in the middle\nof the room, a multitude of little wooden figures, admirably formed,\nand dressed in armour, are simulating, now a battle, now a council, now\na march, and finally an assembly, gesticulating in a marvellously natural\nway, and, through the voice of the artificer, who designed and works\nthem, disputing among themselves about the most difficult problems of\nphilosophy and mechanics.\n& A man, still young and robust* holds in his hands the strings of the\nmarionettes, and speaks all the parts of that strange comedy, while a\nfine old warrior on the other side of the table Is eagerly watching, that\nhe may not lose a gesture, nor a motion, nor a word of these extraordi-\nnary \" figurini \".\n& The convent is called the monastery of Saint Just, the manager of\nthe figures is Giovanni Torrlani of Cremona; and the old motionless\nman, who is setting opposite to him i 5.... His Majesty, the Emperor\nCharles the fifth. He, who had dreamed of the conquest and dominion\nof the whole world, the rival of Francis the first, the conqueror of Pavia,\nthe conquered of Ceresole, the liberator of the Christians, the victor of\nBarbarossa, is smiling and Interested in the dialogue and actions of ma-\nrionettes ; and the greatest mecanician of his age, Giannello Torrlani,\nwhom Covarruvias in his \" Tesoro della lingua castellana \" describes as\na second Archimedes, does not disdain to apply his talent and skill to\nthe construction and perfection of burattini.\n& Whoever has read, or will take the trouble to read, in the pages of\nhistory, such as that of Tiraboschl, about the erudition and services to\n\nA HISTORY OF PUPPETS\nPUPPETS IN SPAIN.\nby \"Yorick\".\n\n(1) P, Ferrigni."}, {"page_pdf": 42, "page_imprimee": "130", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.42", "texte": "A fi/STORY OF PUPPETS.\n\nscience of Qiannello Torriani, will find It difficult to understand why\nsuch an indefatigable searcher among the highest problems, such a ta-\nlented artificer, such a thinker and philosopher, should have sacrificed\nhimself for a sufficiently long space of time with the toys and trifles of\na pseudo-spectacle of marionettes. But he will cease to wonder if he\nremembers that it was with such things that the illustrious scientist,\nbound by the cords of deep affection and devotion to the great Monarch...\nnow withdrawn from the world... succeeded, in some degree, In resto-\nring his mind, which had been disturbed and saddened by trouble and\nmisfortune, and in gradually recalling him to the study of intricate\nquestions of policy and government, with regard to which he was often\nconsulted by the restless and suspicious Philip, his son and successor.\nIt was only by such means... the miracles of mechanics, the construction\nof watches and the manipulation of puppets, for which he had always\nhad great predilection... that Charles could be roused from a condition\nof torpor and inactivity. &\nAnd for the first two years of that melancholy and voluntary con-\nfinement, the learned and compassionate friend was willing to isolate\n/\nhimself within the walls of a gloomy monastery, and to bend his won-\nderful intellect and ability to the modest business of a simple showman.\nj0 What kind of things the puppets of Torriani were, Flaminio Strada\ntells us in his book on the Flemish war:...\n44 Some beat the drum, others sound the trumpet; others, again, ride\n44 on horses and rush furiously, one against another, with visor lowered\n44 and with lance In rest; some dance, some skip; and there was one\n44 with a cage, which, at a given moment, he opened, liberating birds,\n44 that then flew all about the stage. Fray Piquillo, a monk in the con-\n-44 vent of St. Just, who was present at that, performance was so astonl-\n-44 shed, that he made the sign of the Cross and hurried away, suspecting\n44 that the 44 demonio \" had in some mysterious manner entered into the\n44 construction of those surprising little wooden 44 creaturine\nThe inventions of the Italian Torriani soon got Into the hands of the\n44 titereros \", country showmen, who had come, for the most part, from\nthe provinces of our peninsular; and 44 castelli\" were speedily set up in\nthe open spaces of Madrid, Seville and Valencia ; and stable theatres"}, {"page_pdf": 43, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.43", "texte": "A HISTORY OF PUPPETS.\n\nwere multiplied in Barcelona, Cordova and Granada. Later on marionettes\ncrossed Into Portugal, and Lisbon had Its opportunity, also, of applaud-\ning the clever little \" figurlni \" on an improvised stage in a '* Tragedia\nfilosofica called '* La morte di Socrate \".\n& The adventures related in the \" Libro de entertenimento de la Picara\nJusiina, compuesto por el licenciado Don Francesco de Übeda, natural\nde Toledo \" disclose some very intimate details of the life of an old Ita-\nlian emigrant, who was the owner of a marionette theatre in Seville\n♦\nabout the beginning of the sixteenth century, and describe the subtle\nmotions and famous doings of that hero of wood, to whom the Sevillian\npublic had conceded the right of citizenship, and baptized by the name\nof \" Don Cristoval Pulichinela&\n\" \"edifizio\" so perfect, that none better supplied with actors, or richer\n\" in appointments and dresses, had ever been seen. My ancestor was\n44 small in stature, almost a dwarf; so that between himself and his ma-\n\" rionettes, the only difference was that of voice, which the old man\n'' spoke without having need of a \" pivetta But to see him and hear\n\" him, and to see and hear his little 44figurini\" was such a pleasure and\n\" delight, that when the hour for his performance arrived, all the\n\" shopkeepers of whatever kind, hurried at the sound of the drum and\n** fife to secure good places, even forgetting to shut up their shops \".\nIt should be said that the repertory of Spanish and Portuguese ma-\nrionettes was always essentially different from that of all other European\nburattini, having rigidly retained all the marks and characteristics of\nthe old relations with the church. The example, Quoted already, of the\nMorte di Seneca \" is sufficient to give an Idea of the class of play, that\nwas most approved by the people of the Iberian peninsular. Moreover,\n44 personaggi \" of the burattinesque theatre in Spain were more distin-\nguished than elsewhere for their preservation of the national physio-\ngnomy. With the single exception of 44 Pulcinella\", who is, of course,\ncosmopolitan, no Italian puppet has ever succeeded in acclimatising\nhimself in the country. Nevertheless, the passion for marionettes was,\nand still is, very marked. We have abundant proof of it in the works of\nsome of the most celebrated writers. **"}, {"page_pdf": 44, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.44", "texte": "A HISTORY OF PUPPETS.\n\nBut why go searching through books in Spanish Libraries for evidence\nof the popularity of marionettes ? What better testimony could we have\nthan that of the great Cervantes in his 44 Verdadera historia deli inge-\ngnoso hidalgo Don Quijote de la Mancha ? \" Who has forgotten the twenty\nsixth chaper of the second part 44 donde se prosigue la graciosa aventura\ndel titerero who in the presence of the 44 Trista Figura\" and of some\nof his friends, gave a representation of 4< Senor Don Gaiferos y de su\nesposa Melisendra the pathetic parts of which 44 andan en boca de las\ngentes y de los muchachos por esas calles \" ? So well did the marionet-\ntes perform their parts, so perfect was the illusion produced by those\nmovable little figures, so real did the clash of arms and the onslaught\nagainst poor Don Gaiferos appear to be, that the valiant 44 Hidalgo\nforgot altogether that It was merely fiction, and, taking the matter se-\nriously, rose to his feet and rushed to the aid of the oppressed 44 cava-\nliero \", drawing his sword and raining blows upon the crowd of Moorish\nburattini, maiming this, and wounding that one, and finally flourishing\nhis sword in such away, that if master Pedro had not fortunately moved\nhis head in time, he would have split it as though it had been made of\n44 marciapane -U"}, {"page_pdf": 45, "page_imprimee": "133", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.45", "texte": "A VENETIAN MARIONETTE.\nOne of the figures of the marionette theatre taken to her new home by Loredana Grimani on her marriage\nwith Francesco Morosini, in Venice. 1772. And now in the Museo Correr in that city."}, {"page_pdf": 47, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.47", "texte": "THE PRE-SHAKESPEAREAN STAGE, SOME\nFACTS ABOUT IT, With Comments and Notes\nby John.\n\nFOREWORD.\ngn the following pages we give a list, very incomplete, It is true, yet,\neven so, sufficiently significant, of some of the events which took place\nin the theatre or relative to the theatre, in the sixteenth century.\nYou will note that this list comprises events and persons not merely\nof England or English, but of all over Europe, and that it therefore\ngives a more comprehensive idea of the contemporary stage of that\nperiod than Is afforded by the majority of books treating of these\nthings.\nWe have not found any such list as this elsewhere. Probably no one\nhas considered it worth while to compile one. We, however, think dif-\nferently, and in subsequent pages we shall give some of our reasons for\nso thinking, and shall explain why we wish to draw the serious\nattention of students of the theatre to that great Pre-Shakeapearean\nperiod which the historians, for the most part, skim lightly over in their\neagerness to arrive at Shakespeare himself, and the Elizabethan stage.\nBut here, to begin with, is the list....\n\nSOME EVENTS OF THE SIXTEENTH CENTURY.\n\n1502.\nAngelo Beolco, (or Beolci) born in Padua. The \" Plautus\nand Roscius \" of his age. Invented Dialect plays.\n1503.\nAnton Francesco Grazzini born. Took name of \" U Lasca \"\nin 1539. Fought for the Italian language. Date of birth pos-\nsibly 1508."}, {"page_pdf": 48, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.48", "texte": "THE P RE-S HA KESPEA RE AN STAGE.\n\n(1) This and the \" Calandra \" represent the \" Commedia Erudita \" or Literary Commedla.\n\nI505.\nNicholas Udall born, was master of Eton. \" The Father 0!\nEnglish Comedy \".\nISo8.\n11 Lasca. (Anton Francesco Grazzini). See above.\nI\nAriosto's \" Cassaria \" Is produced at Ferrara. (1)\nI5I3.\nBibbiena's ** Calandra\", the first national Italian comedy,\nproduced at Urbino.\nI5I5.\nFrancis I. crowned King of France.\nI5I6.\nHans Sachs writes his first play.\nI5I7.\nPope Leo X. invites the Company of I Rozzi \" of Siena to\nvisit him at the Vatican. This Company acted Farces.\nI520.\nA banquetting house \" like a theatre \" is built in Calais and\ndestroyed by fire.\nJohn Heywood begins to write Interludes (Inter, between,\nludus, a play) In France called . Heywood was actor\nand a devout Catholic.\nJohn Skelton writes Interlude '♦ Magnificence \".\nI 53I.\nBefore this date Heywood wrote \" A mery Play between the\nPardoner and the Frere, the Curate and the Neybour Pratte\".\n1525.\nJohn Stow is born.\nI536.\nPedrolino or PellsinI born. One of the greatest Zannis of his\ntime.\nI537.\nPhilip II born. Macchiavelli dies.\nI538.\nAngelo Beolco, \" II Ruzzante \" publishes or invents his first\nComedy, written in dialect which was till then never employed\nby writers of comedies. He wrote \" La Rhodiana \", \" L'Anco-\nnitana \", \" La Pio.vana '* La Vaccaria \", u La Moschetta \" and\n\" La Fiorina \". Rasi attributes to Beolco the honour of having\nrevived the Buffoons and fathered the masks of Pulclnella and\nthe Capitano and the four northern masks.\n1533.\nAriosto dies. Hans Sachs turns his attention to the Scriptu«\nral Drama.\n1537.\nAbout this time Italian actors visit France. None of the actor's\nnames are known.\n1538.\nCarlo Borromeo is born."}, {"page_pdf": 49, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.49", "texte": "THE P RE'S HA KESPEA RE A N STAGE.\n\nIn Yarmouth a theatre or \" game house \" is built \" for Inter-\nludes or plays\nMuzio is in Seville ; takes part in festival of Corpus Cristi. A\ncommedia Company visits Seville then. Lope de Rueda pro-\nbably joins this company.\n1539.\n11 Lasca founds the Accademia degli Umidi.\n1540.\nAbout this time Angelo Beolco(Ruzzante) is writing his\ncomedies.\n\" Ralph Roister Doister \" is produced about this date. \" be-\nfore 1550 \" says J. A. Symonds.\nI540-80.\nH. Liefrinck engraves. (Scene from \" Comedie ou Farce de Six\nPersonnages \" Pantalone, Capitano, etc.\nI542.\nAngelo Beolco dies. (Rasi says two years earlier.)\n1544.\nTasso is born at Sorrento.\n1545.\nMarie Fairet. the first French actress.\nHans Sachs begins to write dramas upon tragic subjects\ndrawn from Boccaccio.\n1548.\nFrancis /. of France dies.\nCervantes born.\nFrancesco Andreini born in Pistoia, Tuscany. Served as sol-\ndier. is made slave by Moors for eight years. (Consider this in\nft\nreference to Morris dance.) Passion Brothers acquire the site of\n%\na castle belonging to the Dukes of Burgundy and build there a\nnew kind of theatre,... the Hotel de Bourgogne... destined for\nMiracle plays.\nI550.\n11 Lasca founds the Accademia della Crusca In Florence.\nFlaminio Scala is born about this time. His [life hidden, few\nfacts being obtainable. He plays lovers' parts. Is the first to\nmake a collection of scenarios.\nI552.\nEtienne Jodelle, who seems to have been the first In the\nFrench Theatre to have a tragedy of his own invention repre-\nsented, gives a play entitled \" Cleopatra \" and himself plays\nthe part of Cleopatra.\n1553.\nMary /. is crowned queen of England. (Roman Catholic).\n1554.\nGros Guillaume. (Robert Gu£rin) born."}, {"page_pdf": 50, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.50", "texte": "THE PRE-SHA RES PEA RE AN STAGE.\n\nRobert Green born about this date, goes to Italy I754. style\nof Improvisation.\nisss.\nVittorla Pisini, (Pasquati or Pellesini); Possible date of her\nbirth.\nI556.\nDe So in mi at Mantua composes Dialogues on acting and the\nstaging of plays.\n1557.\nEarliest record of plays given in Inns. Saracen's Head, Islington.\n1558.\nElizabeth is crowned queen of England.\n1SS9.\n11 Lasca's carnival song, \" Canto di Zanni e Magnifichi \" is\npublished In \" Canti CarnascialeschI \". It was written some\ntime previous to this.\nI560.\nCharles IX of France is crowned ; dies I574.\nI560-80.\nAbout this time a Spanish actor called de\ninvents theatrical posters.\nI562.\nIsabella Andreini is born, Padua.\nI563.\nPier Maria Cecchiniis born, Ferrara, May 14.\nChristopher Marlowe is born at Canterbury. Acts in London\nabout 1584. composes Jew of Malta.\nI564.\nShakespeare born. Stratford on Avon. Aprii 22.\nMichael Angelo dies in Rome.\nI565.\nEarliest mention of an Italian actress, Flaminia, by De Sommi.\n(this is earlier than In Spain or England. She is not to be com\nfounded with Flaminia Riccoboni, I762).\nJohn Heywood dies.\nAt the wedding of Francesco de Medici with Qiovanna of Austria\nthe Prince of Bavaria, Ferdinand, witnesses a performance of\na Zannl at Verona.\n1566.\nEdward Allen born.\nIS67.\nBy this date Hans Sachs has written 208 dramas.\nLetter from De Sommi of Mantua, comic author-actor, to Duke\nFrancesco Gonzaga, April 15.\nThomas Nash born. English dramatic author.\nIs68.\nAlberto Ganassa performs at Modena with Vincenza Arma.nl>\n1598=74.\nTaborino goes to Vienna. While he is there Antonio Soldino\ncomes there from France, and a group of them, Orazio, Guilio,"}, {"page_pdf": 51, "page_imprimee": "139", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.51", "texte": "THE PRE-SHAKESPEAREAN STAGE.\n\nGiovanni of Venice, Giovan Maria of Rome, the two Trevisans,\nSiivestro and Battista; who plays \" PranceschinaLater on\ncomes also Pier Maria Cecchini, poet and essayist, who acts\n\" Fritellino \" and is knighted by the Emperor Matthias.\nI5<>9*\nVincenza Armani, actress and poetess, dies. The date of her\nr„\nbirth (in Venice) is unknown. The Accademia degli Intronati of\nSiena praise her most highly.\n/ Gelosi perform at Milano.\n1570.\nThe Austrian and Hungarian Courts now keep Italian Companies.\nGiovanni Taborini is in Vienna.\nV\nx »\nAlberto Ganassa performs at the wedding of Lucrezia Borgia\nand d'Este at Ferrara. His performances are noted for their\ndelicacy and grace. He is head of the '* Gelosi\".\nI57I.\nHe leaves Paris and performs at Lyons, December 29th. Goes\nto Italy.\nCervantes is with Colonna at the Battle of Lepanto.\nAlberto Ganassa, with Letters patent from the King, has a\nCompany In France in September, but Parliament prevents the\nperformance. The Priests object to this company : in absence of\nthe king they complain to the magistrates so the company is\nft\nbanished, but returns in 1572.\nI572.\nA Map by Hocfuagel shows two Theatres or Bear-pits.\nAugustin de Rojas born in Madrid.\nTaborini has a son, Maximilian Taborini, born Septem-\nber 25th.\n1572-3.\n/ Gelosi are in Milano in the spring I573 ; in Ferrara; (summer)\nGenoa, (autumn), Venice (winter).\n1572.\nAlberto Ganassa returns to Paris and takes part in the\nwedding celebrations of Henry of Navarre and Marguerite of\nValois.\nThe Plague in London.\nD. Martinelli acts in London.\n*573.\nInigo Jones Is born In London.\nThe ballet of the '• Polonais \" is given in the Tuileries for the\nPolish Ambassadors, (see » The Mask, July ,913.)"}, {"page_pdf": 52, "page_imprimee": "140", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.52", "texte": "THE P RE-SHAKESPEARE AN STAGE.\n\n1574.\nJuly 18, I Gelosi go to Venice and Milano, (with Glulio -\nsquat/, called \" Magnlfico \"). At Venice they perform before\nHenry III. of France who is bored by the 44 Signorlna \" ViU\ntor/a V. Pi/sini.\nQueen Elizabeth bestows a royal license on James Burbage,\nRobert Wilson, John Perkin, John Lantram and William\nJonson to perform in a Theatre under the name of 44 Lord\nLeicester's Servants Robert Wilson is described as gifted\nwith \" a quick, delicate, refined, extemporal wit \" by Stow in\nhis 44Chronicles\nAlberto Ganassa visits Madrid for the first time* playing\nmostly In Pantomime. Is called Alberto Naselli alias Ganassa.\n1575.\nTakes part In Corpus Christ! festival at Seville and In 44 Corral\nde Don Juan \" at Theatre. The English Ambassador gives an\naccount of his company in a despatch sent to Queen Elizabeth.\nJohn Marston is born.\nAlberto Ganassa opens a theatre in Corral de la Pacheca.\n/ Gelosi visit Milano, Florence and Vienna, Pasquate \" Ma-\n0\\\ngnifico \" is with them. Rodolfo 11 reigning.\nI575-80.\nCervantes is a slave in Algiers, (consider the bearing of this\non the Morris Dance).\nI576.\n/ Gelosi visit Ferrara at Carnival time.\nGiovanni Pelesini Is in winter at Florence, Pisa, Lucca. Not\nallowed to perform at Pisa because of scandals about the women\nof his company.\nHans Sachs dies, aged 81 years.\n\" The Theatre \" is built. First Theatre opened in England.\nCost L. 700.0.0., equal to about L. 5000.0.0. today. Burbage\npere a joiner by trade. Patron the Earl of Leicester.\nFirst Edition \" Hamlet \" played here, 1576=98. This may be\nregarded as the birth year of the English Drama.\n1577.\n1 Gelosi with Scala go to Blois for Henry 111, January 35th.\nThey are also at Paris in the Hall of Petit Bourbon, (see Moliere).\nRemonstrance from priests and magistrates to the king at every\nperformance. The chief attraction is Magnifico Pasquath"}, {"page_pdf": 53, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.53", "texte": "THE P RES HA RES PEA RE A N STAGE.\n\nAmong the troupe at Blois are Scala, Andreini, Isabella.\nAndreini, \" Pedrolino \" or Giovanni Pellesini, and Simone\nBolognese.\n1577-\n\" The Curtain \" Is built. It is the second English Theatre.\nTarleton, a Shropshire peasant by birth, water-carrier by\ntrade. He studied from the Italian comedians; was at Elizabeth's\ncourt. A veritable \" Chicot\". Created a School of Comedians.\n1577-8.\nMartinelli in London with the Commedia deH'Arte. \" The Dead\nMan's Fortune\", a scenario, discovered, containing Pantaloon, and\nprobably derived from a Scenario of the same name in Italian.\n1578.\nThe Hotel de Bourgogne let by the Passion Brothers to\nthe first French company of actors under Agnan Sarat. This\nactor's career lies in obscurity.\nGanassa again in Madrid. Women acting with him.\nI Gelosi in Florence. The company includes Pasquati, Lo~\ndovico di Bologna, Gabriello da Bologna, Simone da\nBologna, and Salimbeni.\nAndreini, (aged 30) marries Isabella, (aged 16). Seal a is still\nwith \" I Gelosi\" and writes dramas for Isabella. The company\nleaves Florence in 1579.\nGiambattista Andreini is born.\nl579°8o.\nI Gelosi go to Venice, act for Prince Ferdinand of Bavaria.\nVisit Mantua but find an unpleasant reception. Ducal decree,\n(May 5th) orders their departure. (No mention of Andreini or\nhis wife; the others mentioned by name). The company leaves\nVenice and arrives in July in Genoa. Afterwards go to Milano.\n1579.\nCurcio Romano and his company in Toledo. Receives fifty\nthousand maravedis. His real name was Vincenzo Botanelli.\nGanassa is at Madrid, Corral de Puente, in May and June.\nI580.\nI Gelosi leave Milano and visit Bergamo and join forces with\n-\nthe company of the \" Uniti \". Return to Milano again in\nMay and are licenced by the Governor. They are prohibited\nfrom performing in July by Cardinal Borromeo. The Governor\npermits them to open in September.\nThey visit Pisa and Lucca."}, {"page_pdf": 54, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.54", "texte": "THE PRE-SHAKFSPE ARE AN STAGE.\n\n1580.\nGanassa is in Madrid.\nThe Company of 44 Dei Confidenti \" is in Mantua led by Si-\ngnora Viitoria and Pellesini under the direct patronage of\nthe Duke. The Duke acts as Impresario. There Is record of\ntrouble between Signora Vlttoria and another actress. The Duke\nwithdraws favour from Vittoria and Pellesini.\nDomenico Bruni born.\n1581.\n/ Gelosi are in Venice in Carnival time. Pellesini is with\nthem in I583.\nPellesini writes to Alfonso of Ferrara to restore him his\nfavour.\nCurcio Romano becomes the sub-director of Ganassa's\nCompany.\n1581*2.\nGanassa's Company now includes Giovanni\nPietro Pasquarele, Cipion Graselli, Giulio Vlllanti, Carlo\nMasi, Jacopo Portalupi, Curcio Romano and the musicians\nPedro de Salcedo and Antonio Laso.\nI582.\nI Gelosi visit Mantua in April.\nGanassa is put in prison in Madrid.\n4\nMaximiliano Milimino the Italian comedian is killed in] Ma-\ndrid, October 19. His wife was Maria Imperia.\nWetstone publishes his 44 Heptameron \" in which he speaks of\nthe comedians of Ravenna, etc.\nAn attempt by is made the City of London to ban all plays.\nI583.\nGanassa is still in Madrid.\nTarleton becomes one of the twelve who are selected to be\n44 The Queen's Players \". He writes 41 The Famous Victories of\nHenry V. \" It is the fore-runner of Shakespeare's Play. He is\nmade 44 Groom of the Chamber\nRobert Wilson is also chosen as one of 44The Queen's Players'\\\n-\nand Is spoken of as an 44 extemporal wit\n11 Lasca dies, aged seventy five.\nI583.\nVirginia Ramponi is born.\nFirst record of women on the Spanish stage.\n/ Gelosi visit MHano. Pellesini is with them."}, {"page_pdf": 55, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.55", "texte": "THE P RE-SHAKESPEARE AN STAGE.\n\n1584.\nCardinal San Carlo Borromeo dies.\nGanassa is still Madrid.\nI584-5.\nThe Company \" del Confidenti \" visits Paris in these years.\nWith them is Fabrizio di Fornaris.\nIs8s.\nShakespeare comes to London.\nI Gelosi visit Florence.\nI586.\nI Gelosi visit Bologna and Mantua. In this latter place Prince\nVincenzo shows Isabel la Andreini marked favour, acting as\ngodfather to her daughter Lavinia\nEdward Alleyn is an actor now with the Earl of Worcester's\nplayers.\nKcmpe and other actors visit Elsinore (June I7). The names\nof these actors are in the folio (I623) of Shakespeare's plays.\nKempe is highly paid.\nI586-93.\nShakespeare adapts old plays.\nI587.\nFirst licence given to women on Spanish stage. (See under.)\nTurlupin (Henri le Grand) Is born.\n/ Gelosi go to Florence in January. Isabella asks the Grand\nDuke to act as godfather to another daughter.\n1587-8.\n\" I Confidenti\", a newly formed company of Italian players,\nwhose patron is the Duke of Mantua, visit Madrid, under the\nmanagement of Tristano and Drusiano Martinelli. Ma-\ndams. Angelica, the wife of the latter, is a lady of very easy\nvirtue. With them are two other young actresses called Angela\nSalomona and Silvia Roncagli, the latter known as \" La\nFrancesquina \". These women were licenced in I587.\nI588.\nI Gelosi are now in Mantua. They receive good characters\n•\nfrom the Duke and go to Milano.\n-\nTarleton dies.\nGiovanni Gabrielli is born.\nKyd's \" Spanish Tragedy \" is heard previous to this.\n1589.\nHenry IV is gowned king of France.\nAt Florence Pellesini, Vittoria and Isabella act together\nbefore the Grand Duke on the occasion of the marriage of\nFerdinand dei Medici with Crlstlna di Lorena. On May I3 they"}, {"page_pdf": 56, "page_imprimee": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.56", "texte": "THE PRE-SHARESPEAREAN STAGE.\n\n(1) See the \"Diary of Pavoni Bologna. 1589.\n\nact 44 La Pazzia \" invented by Isabella. Andreini imitates\nall his actors. (1)\nThey divide up into two companies. \"I Confidenti\" and 44Uniti\"\ngo one way, f41 Gelosi\" another. 44 I Geiosi \" are at Milano in\nSeptember.\n1590.\nTarleton's 44 novels \" are published under the title u News out\nof Purgatory \" Shakespeare uses this book for his piny 44 The\nMerry Wives of Windsor \" written in ten days time about 1599.\nShakespeare is engaged at 44 The Theatre \" being aged twenty\nsix and playing in the 4* Tamburlaine \" of Marlowe, who is\nabout the same age.\n44 I Gelosi \" visit Milano in November.\nLudovico Albergini visits the palace of the Duke of Mantua\nSeptember 12, with a company which includes Mobile di No-\nbill of Bologna.\nI59l.\n44 I Gelosi \" visit Florence.\nShakespeare begins his original plays with 44 Love's Labour's\nLost\" and 44 Romeo and Juliet.\"\n1592.\n/Ce/npe plays at the Newington Theatre 44 A Knack to know a\nKnave etc, and improvises.\nChettle writes of Shakespeare that he was 44 Exelent in the\nQualitie he professes \" 44 Qualitie \" i. e. 44 acting. \"\nThe Rose Theatre is built.\nI593-\nMarlowe dies.\nThe Globe Theatre is built.\nInigoJones goes to Italy to study, being aged twenty.\nLavinia, (Marina Dorotea Antonazzoni) is born at Venice, Fe-\nbruary 5.\nJacques Callot is born, (Callot is the Gypsy word for strumpet).\nGirolamo Salimbeni is acting in Genoa.\n1594.\n4' / Gelosi\" visit Florence, Girolamo Salimbeni is in the\ncompany; acts the role of Zenobio or Zanobln da\nor Salimbeni detto Piombino.\nThe 44 Swan \" Theatre is built."}, {"page_pdf": 57, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.57", "texte": "THE PRE-SHAKESPEAREAN STAGE.\n\n(1) Karl Mantzius says Built, J, A. Symoads says rebuilt.\n\nShakespeare plays at court before Queen Elizabeth with\nKempe and Burbage, December 27=28.\n*595.\nTasso dies in Rome. He wrote sonnets to Isabella Andreini.\nTtistano Martinelli leaves Giovanni Pellesini's Company,\nP. Maria Cecchini is in Florence, in September.\n1596.\nSpanish women are forbidden the stage. The Prohibition is of\nshort duration.\nBlackfriar's Theatre is built or rebuilt. (1) Johannes de Witt\ndraws a sketch of The Swan Theatre.\nBen Jonson writes \" Every Man in his Humor \", containing\nthe character \" Capitano Bobadill \".\n/ Gelosi visit Genoa and Bologna.\nTristano Martinelli joins 44 De Desiosi \" or 44 della Diana \"\nand visits Mantua and Bologna.\n1597.\n44 Romeo and Juliet \" is printed.\nThe Globe Theatre is built.\n1598.\nShakespeare's 44 Love's Labour's Lost \", is printed.\nShakespeare acts in first performance of Jonson's 44 Every\nMan in his Humor \". Kempe also.\nGualtier Garguille is playing in Paris.\n1599-\nKempe dances the Morris Dance from London to Norwich in\nnine days.\nShakespeare writes 44Much Ado About Nothing\". Kempe acts\n•\nas Dogberry and Cowley as Verges.\n44 The Merry Wives of Windsor \" about this time.\n\\\nThe Fortune Theatre built. Edward Alleyn In November\ndetails the cost.\nThe Red Bull Theatre built.\n44 Henry V \" acted at the Globe or the Curtain.\nTristano Martinelli at Verona.\nAn Italian Company visits Paris in the spring and performs\nbefore Henry IV. Their success at Court and at the Hotel de\nBourgogne obliges a French company to retire. This Italian\nCompany is, according to Rasi, 44 I Gelosi \" Andreini's son"}, {"page_pdf": 58, "page_imprimee": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.58", "texte": "THE F RE-SHAKESPEARE AN STAGE,\n\n(2) See 41 Travels oi the Three English Brothers \" 1607.\n\nOur thanks for assistance in compiling this list are due to the following\nscholars who have written books or articles upon the subject: Mr\nAllbright, Slgnor A. Bartoli, Mr Collier, Mr E. K. Chambers, Mr J. P.\nCooper, Mr Dutton Cook, Mr Sidney Lee, Dr Karl Mantzius, M. A. Pougin.\nSlgnor Luigi Rasi, Mr Hugo Rennert, Dr Scherillo, the late J. A. Symonds,\nand Luigi Riccoboni tbe actor, wbo lived and wrote in the seventeenth\ncentury. <0 <0 <0 .0/ <0 &\nj0 Up to the date 1577 several mistakes have been overlooked in the\ntext by Proof readers, and these are corrected on the last page of this\nnumber of \" The Mask <0\nJ. S.\n\nBattistaplays the parts of the Innamorato either now or *\nlittle later. Niccolo Barbieri (Beitrame) is with the Company.\nI6oo.\nHenry IV of France marries Maria ' Medici. The third\ndaughter of this union is Henrietta Maria of England.\nD. Martinelli is administrator of Scala's Company. His wife\nis Angelica, an actress.\nScala is at Lyons with Fritellino Cecchini in the summer.\nCecchini acts as the director of the Company.\nParis has still but one Theatre,... Hotel de Bourgogne, kept\nopen by the Passion Brothers for letting purposes.\nAbout this time Kempe Is in Italy; visits Venice and acts\nwith \" Harlequin and his Wife \". (I)\nHenslowebegins to pay dramatists more for their plays. Till\nnow he has paid about Eight pounds for a tragedy*\nIsabella Andrelni takes honours in the famous Accademia\ndel Intenti. This Accademia was known as the \" She\nf\ntook first honours after Tasso at the Casa Aldobrandlni."}, {"page_pdf": 59, "page_imprimee": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.59", "texte": "THE MEN BEFORE SHAKESPEARE.\n44 The Italian tragedians were so sharp of wit\nThat in one hour of meditation\nThey would perform anything in action\nKyd's Spanish Tragedy \".\nn the preceding pages we have given a brief list\nof facts relative to the Theatre, extending over\nthe sixteenth century,.... the century which gave\nShakespeare birth.\nj& And what do these facts show ?\nj& They show that there were men at work In\nthe Theatre long before Shakespeare; they show\nthat that Shakespearean Theatre over which Mr\nWilliam Poel and Mr Allbright and their confreres enthuse as the very\napotheosis of the history of the theatre was, in truth, but the dying\nclose of a glorious day and that It was more in its quality as the \" set*\nting sun and music at Its close \" that it was \" writ in remembrance\nmore than things long past \" than for its own Intrinsic glory: that it\nmarked, in fact, already a period, not of development, but of decline.\n& Now if there were men at work in the theatre long before Shakespeare,\nat what were they at work, please ? To this question we shall endeavour\nto reply in this and future numbers of \" The Mask \"by some account\nof their lives. But at the outset we would make it clear that In doing\nthis we are advocating no new School which should imitate pre=Shakes-\npearean actors; all we wish to point out is that these Pre=Shakes-\npeareans were fine fellows, and finer than those who came after them\nand who depended, not on their own creative powers, but on written plays.\n& But we suspect that these written plays upon which the later actors\ndepended were really at the outset composed by the actors themselves\nand only written down afterwards by scribes,... not the whole but parts\nof them; so that by degrees a play, originally a living thing varying\nfrom night to night with the humour of the players, became stereotyped\ninto one permanent form, and the living tree of the actors' Invention\nslowly petrified into the fossil which future generations could discuss,\nstudy, and pass from hand to hand."}, {"page_pdf": 60, "page_imprimee": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.60", "texte": "THE PRE-SHAKESPEAREAN STAGE.\n\nIt Is because we feel that this earlier greater period has been so\ngrievously neglected by the scholars and historians that we wish to call\nattention to it; and, as a prelude to that which we shall show in the\nnext two or three numbers of The Mask we have here set down most\nbriefly something of what was happening all over Europe at that time\nand, in this list, we would draw the attention of those who are more\ninterested in a man because he can write than because he can act, to\nall sorts of facts which speak for themselves, although we fear that\nthese may, like the proverbial drops of water, roll off their backs. &\n& It is for these, and not only for the authors and actors, that we have\ndecided to approach the fringe of that curtain which hangs over the\nPre=Shakespearean period ; to approach it, and, dare we even hope, be\nable to raise it an inch or two so that some may look beneath ? &\nAfter all, it is only a gauze curtain, and is absolutely transparent to\nanyone who can see even a little, without its being raised at all. a\nWe should not need to be exact about these things, but let us try to\nbe so. Here, we are but laying a few facts before you, and also putting\nshort biographies of the doings of the chief persons whom we call\nPre=Shakespearean actors. & &\n& You will see, for instance, how the great Andreini, whose portrait\nwe give (and of whom you have already doubtless said that he re-\nsembles Shakespeare as brother resembles brother,) was the friend of\nprinces, travelled to Paris, married a most refined and gifted lady,\nwrote a book recording his own work in the theatre, and mixed in that\nsociety which Shakespeare so well described, and with which Heaven\nforbid we should suppose he was not conversant, (i) & a\ny°u will see, too, how there was in 1572 a great Italian, by name\nMartlnelli, one of the greatest of his time,.... no mere buffoon as the\nhistorians have wished to make 0ut.... playing his serious dramas, which\nhe had himself composed, in London, for everyone to see, and to copy\nIf they c0u1d,.... though certainly to say nothing about the copy. You\nwill note how Shakespeare was a boy of eight at that time, and you\ncan guess how everyone in London must have cried, *'you remember\nwhat that Italian did ? you remember how he came on there ? You re-\n\n(I) But with which, as yon see, Andreini was."}, {"page_pdf": 61, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.61", "texte": "THE P RES HA RES PEA RE A N STAGE.\n\nmember the whole idea of that scene ?\" \"Why yes\", says the other, 44 I\nremember it was such and such a thing:... great success,... packed houses...\nLet's do it again! \" xz?\nAnd they did it. &\n£? And Shakespeare did it himself. &\nNow, don't think that here we are carrying out our promise of me-\nrely relating facts, for of course that is a bounding idea;... still an idea\non the verity of which we would stake our vision ; but let it pass for the\nmoment. It will concern us later on. But let no one dare from this time\nforward, nor let historians fear, to state that a mighty stage preceded\nthe time of Shakespeare. That talk about 44 zannis \" and buffoons and\nstrolling comedians is incorrect in its ,and historians\nshould never be suggestive. What we require of them Is fact and nothing\nbut fact,.... carefully tested and accurately co-ordinated fact.\nBut the historians and students have altogether failed to learn what\nwas going on at the time of the advent of Shakespeare. They have\naltogether belittled the earlier stage of Europe because their noses\nwere glued against the pane which looked into the shop window of\nEngland.\nMr William Poel, for instance, talks much of people after Shakes-\nl\npeare but says nothing of those before. Yet it seems important for the\nscholar to speak rather of what came before than after. Mr J. A. Symonds\nalso, in an older book, forgets the early actors, although he has much\nto say about the earlier playwrights. We, on the contrary, while we\nmake the most of the actors in this list, by no means forget the authors.\n<4 What would you say ?... some ask us. 44 Would you claim everything\nas coming from Italy?\"\nWell, if you had time to go into it you would find more came from\nItaly than you expect. For instance, you would probably be surprised to\nknow that Milton's 44 Paradise Lost \", which you consider so essentially\nEnglish, came from an Italian tragedian. (I) A Dutchman, too, would be\nsurprised on hearing that his 44 Adamo \" by Vondel came from Italy;\nand If these and like truths could only be sufficiently brought home to\nknock the sleepiness out of the Northern nations they might really\n\n(1) Giambattisla Andreini, son of the beautiful Isabella and the great Actor-author Francesco Andreini."}, {"page_pdf": 62, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.62", "texte": "THE P RE-S HA KESPEA RE A M STAGE.\n\nawaken and compete with Ireland, which alone among them Is creative\nand vigilant.\n£/ It is remarkable that, among all the solemn historians and antiqua.\nrians, only 0ne,... and he making no claim to be a historian... should\nhave had some realisation of the debt our theatre owes to Italy, and, a\ncentury before the days of Mr Poel and Mr Symondsj should have written\nof the early Italian actors with appreciation, knowledge and respect. &\n& That man Is Isaac Disraeli, father of the Earl of Beaconsfield, and\nhimself a descendant of an Italian family, who devotes many chapters\nin his \" Curiosities of Literature \" to the Commedia dell'Arte and the\nearly masks.\nAgain and again he points out the high standing and remarkable\ntalent of the Italian actors of that period. Of Constantlni, for instance,\nhe says, 44 Crowds followed him in the streets, and a king of Poland\n44 ennobled him. The wit and Harlequin Dominic sometimes dined at the\n\" table of Louis XIV; Tiberio Fiorillo, who invented the character of\n\" Scaramouch, had been the amusing companion of the boyhood of\n\" Louis XIV Several of these admirable actors were literary men,\n44 who have written on their art, and shown that it was one. The Har-\n-44 lequin Cecchini composed the most ancient treatise on this subject\n44 and was ennobled by the Emperor Matthias, and Nicholas Barbieri for\n44 his excellent acting called the Beltrame, a Milanese simpleton, in his\n'' treatise on comedy, tells us that he was honoured by the conversation\n44 of Louis XIII and rewarded with fortune,\" and, though both Constantini\nand Fiorillo were of a little later date, Cecchini was born in 1563, while\nBarbieri went to Paris in 1600 with Flaminio Scala in the service of\nHenry IV.\nOf course there were no doubt very many low comic fellows, but,\nthat there were also many serious and distinguished actors, a very slight\nstudy of the history of the theatre in that period will show, and it is\nnot necessary to remind our readers that Riccobonl, a later actor of the\nsame school as Andreini, Martinelli and Fiorillo, informed the people\nthat only professional actors and those of thorough training could suc-\ncessfully perform the improvised comedies. (1) & J&\n\n(!) See '• The Mask \" Vol. HI. Page 99."}, {"page_pdf": 63, "page_imprimee": "151", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.63", "texte": "THE P RE-S HA KESPEA RE A N STAGE.\n\nAnd now, after all this fact, for a little supposition: & &\n& if Rlccoboni thought as he did about the measure of training and\ntalent required for successful acting of improvised comedy what must\nAndrefni, so much earlier than Riccoboni, and at so much finer a period,\nhave thought ? & & & &\n& You may say that you can suppose that. You can; and the supposition\nmust control your judgement as to the quality of the stage work at that\nperiod. And if you bear in mind that, whereas Riccoboni lived a little\nlater and in a period of decay, and Flaminio Scala and Andreini were In\nthe late Renaissance, Beolco was full In the best period of the Re=\nnaissance, you will come nearer forming a just estimate of the greatness\nof these early actors of the Italian stage. & 4? &\nFor can you suppose that when the wave of revival came over\neverything it avoided the theatre ? Nonsense I & & & &\nCan you really suppose that these players, for the enjoyment of whom\nprinces entered into diplomatic negociatlons; who sat at the tables of\nroyalty and were ennobled by emperors and had their children held at\nthe font by kings and queens ; whose arrivals were celebrated by tour-\nnaments, who were banquetted by cardinals and sung by poets, and\naccompanied, as was Isabella Andreini, with civic honours to the grave,\nwere persons of no account ? Or can you suppose that men, so swiftly\nresponsive to outward influences that no incident was too small from\nwhich to snatch an Inspiration, around which to weave a brilliant tissue\nof gaiety and wisdom and wit, could be impervious to the tremendous\ninfluences which were at work in that amazing century in which they\nlived ? •£? &\n& Consider what was the life in those days in Florence, Milano, Venice,\nMantua; consider the great artists who were the familiar figures in\nthose cities, the great works dally coming into being; the creative force\nwhich was everywhere striving upwards and outwards as the sap stirs\nthrough the heart of a forest in spring; and, considering all this, can\nyou suppose that the actors, themselves often, as we have the best of\nproof, men of culture and learning, spending their lives in passing from\none to another of these great Italian courts or journeying to France,\nSpain, Poland, and even to England, remained untouched by the influences"}, {"page_pdf": 64, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.64", "texte": "THE PRE-SHAKESPEAREAN STAGE\n\nat work,... drew nothing from them for the stage? Why, the supposition\nis absurd.\nRecall but a few of these players and their quality, and you will see\nit to be so. & & & &\nRemember Francesco Andreini, who knew six languages; and his wife\nIsabella, admitted a member of the Accademia dei Intent!, and celebrated\nby all as much for her mental gifts as for her beauty and goodness. Re«\nmember Andrea Calmo, the fisherman's son, who numbered Michael\nAngelo and Aretino and Tintoretto among his friends, and who, besides\nbeing singer and actor and playwright, was writer of works at once\njoyous and profound. Recall Beolco, that fine gentleman, brilliant\nvisor, and creator of comedies, learned scholar, and friend of the most\nillustrious men of his day ; glance also over such fragments of the plays\nand stage speeches as found their way into manuscript or print, and\nnote how rich they are in allusion ; how myth and legend, ancient hi=\nstory and contemporary fact, all things in past, and present were\ndrawn upon for the purposes of the players, and think how keen must\nhave been the intelligence, how fertile the imagination, how ready the\nwit of the men who could seize on all and give so richly and lnexhau»\nstibly, who could so swiftly and splendidly weave their web of fantasy\nupon the stage before the people's eyes.\nConsidering these things, can you for a moment suppose that men of\nsuch quality, living such a life in such an age, should have felt none of\nthe quickening forces of the renaissance, should not have brought these\nto bear upon the theatre of that day?.... That, at a period when not\nonly were painting, music and the fine arts producing fine fruit, but\nwhen the gardeners were in consultation with one another, the hus=\nbandmen of the theatre were asleep ? The thing is unthinkable. &\n£? Let us hope that before long a very searching enquiry may be made\ninto the European Theatre of this period previous to Shakespeare so\nthat we shall not continue to look back to the Shakespearean as the\none and only standard ; but shall, in fact, deny that the Shakespearean\nstage holds anything more for actors except for those who wish to be\nvirtuosos ; and that if there are some who wish to be creators they shall,\nwithout becoming Shakespearean actors, glance back behind Shakespeare"}, {"page_pdf": 65, "page_imprimee": "153", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.65", "texte": "THE P RE-S HA RES PEA RE AN STAGE.\n\nand realise that, before he closed the door of initiative, the theatre was\nalmost a creative art:.... learning, however, at the same time that the\nonly thing to be gained by such glancing back is the awakening of\nfresh initiative in the workers of today.\n\nBIOGRAPHICAL NOTES.\n\n£? Angelo Beolco, known as 44 Ruzzantewas born in\nPadua in 1502 of a noble family, and died in 1540 or 1542. £s ■£?\n& He was known, according to Scardeone, as 44 the Plautus and Roscius\nof his age \" a title which proves his position as actor no less than\nas author.\n& He seems early to have devoted himself to keen study, and, during\nthe summers spent in the country with a party of other youths, was\nfond of improvising lively scenes and burlesques, imitating the speech\nof the peasants of the neighbourhood or of travellers from other parts\nwho came that way. zz? JZ?\nHis first efforts as a playwright were in the style of the fashionable\npoets of the day,... Bembo, Speroni and their fellows; but, soon wearying\nof this accademic style of composition, he set himself to invent plots based\non rustic events, in which the vernacular was spoken by characters\ndrawn from popular and familiar types. &\n& In these new comedies he not only recited extempore himself, but\nalso trained his companions in improvisation, and won such fame as to\nbe acknowledged as the reformer, or reviver, of Italian comedy, while,\nhis plays being written in various dialects, besides his native Paduan,\nit is probably to him that the first introduction of dialect into the\n44 Commedia regolare \" is due. &\n& It was in 1528 that he gave his first play, in which each character\nspoke a different dialect, to the great delight of the audience, who thus,\nas Sand points out, saw each one his own type upon the stage and heard\nhis own tongue, and the influence of thits may be traced in the part\nof 44 Falsironeplayed later by Francesco Andreini, this character"}, {"page_pdf": 66, "page_imprimee": "154", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.66", "texte": "THE PRE-SHAKESPEAREAN STAGE.\n\nbeing 44 most remarkable for the number of tongues which he spoke,\nsuch as French, Spanish, Slav, Greek, Turkish. (1! &\nIt is also to Beolco that Professor Rasl, in his 44 Comici Italian!\"\n*\nattributes the honour of having revived the ancient Buffoons, and fa-\nthered the masks of Pulclnella and the Captain and the four northern\nmasks, while, not only were his plays welcomed with delight on the\nvarious stages of Italy, but he was himself so popular as an actor that\nwhen he was before them the audience would heed nothing else. &\n& His published plays are 44 La Rhodiana \", 44 L'Anconltana \", 44 La Pio.\nvana \", 44 La Vaccarla \", 44 La Moschetta \" and 44 La Fiorina \", and were\nprinted in a volume bearing his name at Vincenza in 1598, nearly sixty\nyears after his death.\nFRANCESCO ANDREINI.\njpRANCESCO ANDREINI. Born at Pistoia about 1348, he was first\na soldier, and, taken prisoner by Moors, remained a slave eight\nyears,... a fact which may have had its later effects upon the Morris or\n\" Moorish \" dances upon the stage. & 0? & 0\nEscaping, he returned to Italy and became an actor, taking first the\npart of the \" Innamorato \", and afterwards creating that in which he\nbecame so celebrated, the 44 Capltano Spavento della Val d' Inferno. \" 0\nHe also acted the roles of the 44 Dottore Siciliano the wizard\n*' Falsirone \", famous for the many languages he spoke, and the shepherd\n\" Corinto \".\n£? In 1578 he married Isabella, at that time sixteen, the two acting\ntogether in the famous company of the 44 Qelosi \" from then onwards,\nand visiting one after another the courts and cities of northern Italy.(2)\n«<£? He was leader of the company of comedians which went to France\nabout 1600, and was enthusiastically welcomed in Paris by the king and\nthe whole court; but in 1604, as they were returning to Italy, Isabella\ndied at Lyons, and from that time Andreini abandoned the stage, and,\n*\nretiring to Venice, devoted himself to the editing of his wife's and his\nown literary works. &\n& In 1607 he published 44 Le Bravure del Capltano Spavento \" a series\n\n(1) Professor Scherillo, The Mask, Vol. 11l page 120. (2) idem, page 119 to 122-"}, {"page_pdf": 67, "page_imprimee": "155", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.67", "texte": "THE P RES HA RE PEA RE A N STAGE.\n\nof the speeches, tirades and soliloquies which he had been wont to\ndeliver in that role upon the stage: in 1611 two pastoral 44 favole \",\n44 L' Ingannata Proserpina \" and 44 L'Altarezza di Narciso \", and in 1618\nthe 44 Ragionamenti fantastici posti in forma di dlaloghi rappresentativi\nFour years afterwards he published the second part of the 44 Bravure\nand died in Mantua on August 20, 1624.\nreferring to his own principal role Andreini writes as follows:\nMost gracious readers, while 1 dwelt In the famous Company of the\n44 Comici Gelosi, (whose fame will never see its last night), it pleased\nme to represent in the plays the part of a proud, ambitious and\n44 bragging soldier, calling myself Capitan Spavento da Vail d' Inferno.\n44 And so much did I delight in this that I left off acting my principal\n44 part which was that of the Innamorato. And because I desired to\n44 maintain my standing, and not lose that fame which I had acquired\n44 in those famous times, I devoted myself with much earnestness to the\n44 study of the part of the aforesaid Captain alone, so as to render it, so\n44 far as lay in my power, rich and well adorned. ~\nAs for the famous company of 44 I Gelosi \", he describes it thus,\nshowing it to have been in truth a 44 star company \" working upon the\nstage with the harmony of a well-trained orchestra.\n44 These united comedians named themselves the 44 Comici Gelosi \",\n44 and had as ensign a two-faced Janus with a motto which said 44 Virtu,\n44 Fama ed Honor ne fer gelosi \".... Such companies are no longer to be\n44 found, though let this be understood as said with all good feeling in\n44 regard to those today alive ; and if so be that such are found, they\n44 are companies which have only three or four fine characters, and the\n44 others are of the smallest value, and do not correspond with the\n44 principals as did ail the parts of that famous company, which were\n44 ail remarkable j in fact it was such that it set the standard for dramatic\n44 art, beyond which no modern company of comedians can pass. \" &\nFLAMINIO SCALA.\npLAMINIO SCALA. Was born about 1559 of a noble family, but\nfew definite facts or dates of his early life are obtainable, save that\nhe was a fine actor in the role of the 44 Innamorato £/"}, {"page_pdf": 68, "page_imprimee": "156", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.68", "texte": "THE PRE-SHARESPEAREAN STAGE.\n\nWe hear of him in 1577 with the »• Gelosi \", who had been caiied to\nBlois by Henry 111, and also at Paris at the Hall of the Petit Bourbon.\nand in 1579 he was still with the same company and inventing plays for\n■\nIsabella to appear in. & & & &\nMore certain information about him dates from the summer of 1600\nwhen he was with Cecchini at Lyons. In the winter of 1601 he went to\nParis, and afterwards it seems possible tliat, request having been made\nto the Duke of Mantua by Maria di Bossu, lady at the Court of Brussels,\nfor a visit of the Company of the Accesi, that he went with this com.\npany to Flanders and Bfabant. .£> & & £? &\nIn January 1606 he was acting at Mantua and in 1611 his great book\nof scenarios was published at Venice under the title, 44 II Teatro delle\nFavole rappresentative, ovvero la Ricreazione comica, boschereccla, e\ntragica, divlsa in cinquanta giornate ■ JZ? £? &\n& Dr Karl Mantzius claims him to have been the first to make a\ncollection of scenarios, and Riccoboni, writing a little later of the book,\nsays, 44 his theatre is not written in dialogue, but merely set forth in\n44 simple scenarios, whioh are not so concise as those of which we\n. ...\n44 ourselves make use, and which we fasten up to the walls of the\n44 theatre behind the 44 quinte \", but - which are yet not so prolix as\n44 to afford the least idea of the dialogue ; they only explain what the\n44 actor must do on the stage, and the action of the play, and nothing\n44 more JZ? JZ> & JZ? JZ? 0\nThe scenario of 44 The Dentist,, quoted in part in The , Ja-\nnuary 1911 was taken from this collection, and Scala is noted, according\nto his biographer, for being the first to give to.the improvised Commedia\ndell'Arte 44 a definite form with all good rule\nTRISTANO MARTINELLI.\nrf-,RISTANO MARTINELLI JZ? Was a Mantuan, and, according to Rasi,\n44 if not the most ancient, certainly the greatest, of the old Ar«\nlecchinos JZ? J£? J0 &\nWe hear of him In 1588 acting with his brother Drusiano in Spain.\nIn 1595 he was in the Company of 44 Pedrolino \", (Pellesini), but, leaving\non account of dissensions, passed to the 44 Desiosi \" or the campany of"}, {"page_pdf": 69, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.69", "texte": "Masked Actors, Coviello and a Sicilian, from \"[Illegible] Carnevale Italiano mascherato\"\nof Francesco Bertelli, Venice, about 1600."}, {"page_pdf": 71, "page_imprimee": "157", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.71", "texte": "THE PRE-SHAKESPEAREAN STAGE.\n\n*' Diana \" in which he acted in 1596 at Mantua and Bologna. In 1597 he\nwas at Piacenza, and in 1599 In France.\n& In 1600 he was called with a Company to France for the marriage of\nHenry IV with Marie del Medici,\non which occasion he issued a\nlittle book of seventy pages en-\ntitled \" Composition de Rheto-\nrique \", to remind the king and\nqueen of their promise to present\nhim with a gold chain and me-\ndal. (I) A portrait of Arlecchino\ntaken from this appeared in The\nMask April 1911, and another is\nprinted on this page.\nIn 1611, a year after the death\nof Henry IV, the queen made\nvigorous efforts to have Martinelli\nagain at the French court, and\nin October stood godmother to\nhis son ; but it was not until 1613\nthat the company arrived in Paris,\nstopping on the way to give some\nperformances at Lyons. J£? &\nThey performed in Paris until\nthe end of July 1614, now at the\nHotel de Bourgogne for the pub-\nlie, now at the Louvre for the court, and in January Martinelli was\nagain honoured by the King and Queen Regent acting in person as\nsponsors to another of his children.\n& After this visit Martinelli does not seem to have returned to France\nuntil 1621, although negociations were many times entered upon in the\nintervening years.\nwhen, during this visit, the king announced his departure for the\nsouth of France to join his army he left orders for the comedians to\n\n(I) The book is now in the National Library, Paris."}, {"page_pdf": 72, "page_imprimee": "158", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.72", "texte": "THE PRE-S HA KESPEA RE AN STAGE.\n\nremain in Paris till his return, but Martinelli on account of his advanced\nage, asked to be allowed to retire. As he was refused he dispensed with\npermission and returned to Italy, after much opposition from his Com-\npany, taking up his residence at Mantua. But in carnival 1623 he was\nonce more acting at Venice with the \" Pedeli, \" and in July expressed a\nwish to reappear in France. &\nHe died in 1630 aged about seventy five, 0\nDRUSIANO MARTINELLI.\nMARTINELLI. Who also acted as Arlecchlno, was\nbrother of Tristano, and was \" capocomico \" In England in 1572; in\n1568 the two were together In Spain, while, if not director, Druslano\nwas at all events conductor and manager of the company which went\nto Paris in 1600. jS? &\nHe was perhaps more distinguished as a manager than as an actor,\nfor he is often referred to as \" brother of Arlecchino \", which implies\nthat Tristano took precedence ; he is also spoken of as \" husband of\nMad am a Angelica.\nFurther Biographical Notes of the Pre-Shakespeareao actors will appear in future numbers of \"The Mask.\" Ed."}, {"page_pdf": 73, "page_imprimee": "159", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.73", "texte": "SIENA, THE CITY OF DRAMA\nby\nErnest Marriott.\n\niena has been called by a writer dead long ago\nand forgotten \" The City of a hundred towers\nNot many remain of its ancient soaring structures,.,\nthose beautiful towers built for the aggrandisement\nof feudal 10rd5.,., but there are still standing in\nthe yellow sunlight of today a sufficient number\nto set the imagination glowing brightly enough\nalmost to light you back to the days when Siena\nwas a proud and independent state. It has been called by others \" The\nCity of the Contrade for the Palio, ....a blending of the \" Pugna \",\nthe tournament and horse-race glorified by pageantry and masquerade\nIs a spectacle or contest at which the many \" contrade \" or wards of\nthe city compete and which draws crowds within the walls of the city\ntwice a year.\nNo wonder; for this Sienese festival is not a mere revival. It is a\nsurvival of the mediaeval games which were played in all the Communes\nof central Italy. & &\nHow the races are run in the Piazza, how the horses are taken be=\nforehand to be blessed at the altars of the churches of the different\n\"contrade,\" how the jockeys are allowed to strike each other and use any\nmeans, fair or foul, to win the race, how the victor is deified and how\nthe winning horse is painted with golden stars has been described many\ntimes. So has the wonderful performance of the men who manipulate\nthe swirling banners in the gorgeous procession. But what does not\nseem to have been spoken of is the spirit with which the Sienese do\nthese things.\nTheir sense of drama is so extraordinary that they believe absolutely\nin what they are doing. Anyone who has compared pageantry in Italy\nwith pageantry out of Italy will understand what I mean when 1 say\nthat only Italians can do these things properly. & & &\nOutside Italy all \" mummers'' seem self-conscious of their fancy-dress\nor their wig or weapons or whatever they wear in place of their custo-\nmary habit."}, {"page_pdf": 74, "page_imprimee": "160", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.74", "texte": "SIENA THE CITY OF DRAMA\n\n& In England the audiences look upon the actors In pageants as they\nwould look at performing animals or monkeys In a cage they feei\nconscious of their own correctness and have a half»defined feeling that\nthe actors are playing the fool. And why is this! Simply because the\nactors do not take themselves seriously, they have not sufficent pride\nor interest or belief in what they are doing. &\nin Italy, and at Siena in particular, the order is reversed. They wear\ntheir mediaeval costumes proudly and with heads carried high. They act\ntheir parts with such belief in the verity and actuality of what they are\nrepresenting that they make the audience feel uncomfortable.\nObserve the experts with the banners revolving them round their\nnecks or whirling them around their bodies in hundreds of curious pat°\nterns: sending them twisting, uncoiling, flashing up into, the air and\ndeftly catching them by the haft. While they are doing this they give\ncasual glances at the spectators and they look proud almost to the point\nof insolence.\nIt is as if they were saying, \" what strange animals you are... why do\nyou dress in such extraordinary clothes ? do you realize that you look\nout of place in our Piazza ? ....that your presence in this mediaeval city\nin your insufferably dull clothing is an offence in the sight of Deity and\nMan ? \" And they pass on whirling their joyous banners, proud of their\ncostumes to such an extent that they wear them all day and the next\nday after and are desolated when the time comes for them to don their\nordinary stupid modern garb. &\nj£r It is this spirit that makes Siena so fascinating, that makes the Sienese\nso attractive, and it is because of their real belief in make=believe, a\nbelief which has become a religion, that I call Siena \"The City of Drama\"."}, {"page_pdf": 75, "page_imprimee": "161", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.75", "texte": "THE CITY OF SIENA. From an old Print."}, {"page_pdf": 77, "page_imprimee": "163", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.77", "texte": "SHAKESPEARE'S PLAYS\nby Gordon Craig.\nI-low is it that the manuscript of Shakespeare's Plays... over thirty\nplays... has never been found ? How is it that not a page of his\nmanuscript has been found ? How is it that the manuscript has never\nreached us of a single play out of the thirty odd plays ? It would have\nbeen a fine sight to see... this manuscript of which Ben Jonson tells us\nthat not a line was blotted. & & &\n■£* So curious a document should have been preserved. Who destroyed\nit? Who took care that not a single page of manuscript should be handed\ndown for us to see ? j0 •&&&&&&\nWas it destroyed by Shakespeare ? And if so, why was he so careful\nto destroy the manuscript when the plays were already printed ?\nI believe that it was destroyed by Shakespeare, and for a very natural\nreason which we shall come to later on, and because he was a very\nhuman being, and more of a literary man than an actor. &\nMany people have felt that there is a mystery about the authorship\nof the Shakespearean Dramas, and if some few find satisfaction in\nshifting the authorship from one individual to another individual, the\nmany are not so satisfied ; and, if anything continue to seem mysterious,\nit is the simple fact that the whole series of Dramas is something too\ncolossal for one man to have created. Yet they cannot well see how two\nor three authors could sit year after year together, and affably compose\nthese turbulent, rollicking wonders.\nI hazard a guess which Is as much a guess as all the \" evidence \"\nbrought together in large volumes about Shakespeare. I believe that\nthere is a mystery about the authorship of the plays, but not a very\ndeep one; and that for this reason it has eluded those sappers who have\npassed it while delving. 1 consider the mystery to be a subtle one, but\nnot half so subtle as the Donellys and others would have us suppose.\n& In my opinion the Dramas were created by Shakespeare in close\ncollaboration with the Manager of the Theatre and with the actors ; in\nfact, with practically the whole of the company who invented, produced,\nand acted them ; and I believe that a glimpse at the manuscript of the\nPlays would reveal a mass of corrections, additions , and cuts made in"}, {"page_pdf": 78, "page_imprimee": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.78", "texte": "SHAKESPEARE'S PLAYS.\n\nseveral handwritings. I believe that the improvisators... and the comedian\nof that day were great improvisators... contributed a great deal to the\nComedies, and not a Sittle to several of the Tragedies. (I) 1 believe tha*\nthe plays grew to their present literary perfection, three distinct periods\nmarking their development.\n& The first period saw them sketched out; the second saw them acted\nand at this period many speeches and even scenes were added from week\nto week, at rehearsal and after performances... and the third period saw\nthem handed over to the poet for revision before being printed. a\n& When first printed In a collection the Plays were in a very different\nstate from that in which they were spoken from the Stage. I do not believe\nthe same words were spoken at the performances in the Theatre as were\nread by those who received them in even their earliest printed form.\nAnyone who has compared the two texts of 44 Hamlet \"... that of 1603\na*!d that of 1604... cannot help being struck by one fact; that Is, that\nthe 1603 version reads like a stage play, and the 1604 version like a\n1 sterary play. It has been polished for the reader. &\n& Every alteration Is the improvement of a literary stylist bent on\nbeiing as faultless as possible... the literary. Shakespeare is uppermost\nfor the time, and he polishes with a vengeance, and even succeeds in\npolishing away some of the life. It is as though a Giovanni Bellini had\nbeen at work polishing a Van Gogh. J£? & &\nThere seems no doubt to me that the polisher was Shakespeare... the\nnon-theatrical Shakespeare. He seems determined to save his work... bent\non clearing away the rubbish. He succeeds too well, and clears away too\nmuch... and the Stage pays for it.\n& Mark the short space of time between the rough and the polished\nversions I In the case of \" Hamlet\" it took him only a year to polish the\ndrama... the year 1603. £f\n& if we believe that Shakespeare was the polisher, can we be equally\nsure that he was the sole creator of these tremendous works ?... I cannot.\nI believe that he was employed at the Theatre to write up any rough\ndraft by professional or non-professional playwrights, and to work\nupon the shapeless dramas of older writers, or even that he filled in\n\n(1) I hope to be able at some later date to show what parts of the Plays were contributed by the actors."}, {"page_pdf": 79, "page_imprimee": "165", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.79", "texte": "SHAKESPEARE'S PLAYS.\n\nscenarios planned for the Theatre by the Directors. &\n& But these vere not the chief collaborators who worked with him\nupon the great series of thirty odd plays the manuscript of which is\nutterly lost. His chief assistants were the actors. & & &\n£> That the poetry and beauty of some of the unique figures in the\nPlays were born of Shakespeare's imagination I do not doubt, but I do\nmost decidedly doubt whether the other part... the huge material side\nof the dramas... came from the poet. We should be less astounded at\nShakespeare's accomplishment were his Dramas less complete... if they\nlacked their grossness... their popular appeal... their naturalness, which,\nadded to the sublimity of their poetic imagery, makes them seem too\ncomplete for one man to have created, alone.\n& The naturalness of the Dramas was, 1 believe, wafted to England from\nItaly. Italy had awakened just previous to the birth of Shakespeare to\na new sense of Drama. It was red hot... spontaneous... natural. It ap-\npealed Instantly, like the repartee of the peasants. There was something\nso apt, so right about the touch of this new Drama that its fitness was\nnot decreased by the fact that hundreds of actors could give it birth. It\nwas not a literary effort... quite the reverse. It was good talk... wonderful\npatter. There was life in every sentence uttered... life in every idea\nwhich poured out with that stream of words. .<£>\n1 claim that Shakespeare's works are the fruit of a poet's collaboration\nwith this newly formed dramatic art. & & &\nLet me take for example the Comedy of \" Much Ado About Nothing\nand especially the scenes between Beatrice and Benedick.\n& These, in my opinion, are all .improvised. The Manager having planned\nout the story... which he pieced together from old tales... puts the\nmaterial into the hands of Shakespeare, with this direction... that he is\nto \" go easy \" with the characters of Benedick, Beatrice, Dogberry and\nVerges, for these four roles are to be played by the four first comedians,\nand these men know something about acting! <£? £? j£>\n& Shakespeare then sets to work. Hero and her story he elaborates\nlovingly, but leaves spaces when he comes to the comic scenes, and\nmerely writes... \" In this scene Benedick and Beatrice meet and speak\ntogether \"... Or, \" Here Dogberry and the Watch \". jg? &"}, {"page_pdf": 80, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.80", "texte": "SHAKESPEARE'S .\n\n& Next the play passes into rehearsal... two or three rehearsals at most,\nduring which the four principal comedians arrange together a little\nwhat they shall talk about.\nThen comes the performance, when, stimulated by the close and eager\npresence of the spectators, they carry out their' plans and improvise\nfurther... brilliantly... usurping more than the share allotted to them by\nthe playwright of the action and interest. The framework of the play\nexpands to fit them... the focus Is altered. You will see that this has\nhappened again and again. &\nPerhaps you are aghast at what I suggest, and ask me heatedly If 1\nmean really and seriously that during this first performance the two\nactors who played Benedick and Beatrice were capable of inventing on\nthe spur of the moment... by the by, what a spur the spontaneous moment\nis!... that brilliant passage commencing...\nBEATRICE. \" I wonder you will still be talking, Signor Benedick:\nnobody marks you \". &\n& BENEDICK. \"What, my dear Lady Disdain! are you yet living?\"\nI have the greatest pride in replying on behalf of the actors of the\nsixteenth century... Yes, they were equal to inventing that passage and\nvery many others, such as the Benedick and Beatrice scenes, Act 2,\nScene 1., and Act 4, Scene 1; besides the Dogberry scenes in Acts 3, 4\nand 5. All these, 1 consider, must in great part be attributed to the actors,\njg? Indeed, much of the Elizabethan Comedy is the work of the actors,\nproduced in that spontaneous manner; many of those brilliant flashes\nof genius which have helped to give Shakespeare the position he holds\ntoday were first struck out in the sharp encounter of wits on the boards\nof the stage. But although we may quite easily believe this... as everyone\nwho has studied the history of the Commedia dell'Arte will believe it...\nwe may also be sure that the repartee was not exactly the same on the\nfirst performance as on the fiftieth. In fact, we may be positive that it\nvaried much at every performance ; but during those fifty representations\nthe best part of the actors' improvisations were recorded by some scribe...\nperhaps even by Shakespeare... and written into the manuscript.\n«<£> Later on, Shakespeare, knowing that the Plays were to be published,\ntook the whole play and polished it; and if he removed some of its"}, {"page_pdf": 81, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.81", "texte": "SHAKESPEARE'S PLA VS.\n\nspontaneity and doubtless some of its grossness, he left in the richest,\ncleverest part of the decoration which those actors of genius had con-\ntributed to the structure.\n& 1 feel certain that, placed as he was as Playmaker=in=Chief to the\nTheatre, he determined to be revenged on all those secondary characters\nwhich were never able to hold the audience, being played by inferior\nactors while the chief players were doing things \" on their own \" ; that\nhe waited his time, gathered together the strings of suggestion, and\ncleaned, tightened and made them beautiful by threading on them pearl\nafter pearl of his poetry, each one more precious than another. But the\nI\nstrings,... I claim them for those masters of improvisation, the actors ; for\nthe actors 1 claim part authorship of the world's masterpieces.\n& The two scenes where* Benedick overhears his friends talking about\nBeatrice, and she overhears her friends talking about Benedick, are\npartly the creative work of the actors, partly that of the poet. In the\nsecond of these two scenes the poet has gathered together the gist of\nthe speeches of the actors, and has given it to us again in a far more\nlovely form than It could ever have possessed originally. But if you\nremove many of these lovely passages of Beatrice you do not alter the\nshape of the play, in fact, you improve it somewhat if you condense It\ninto the true Drama. Hero and her story is far more important when\nwe are not attracted away from her by the thought that perhaps Beatrice\nIs a more poetic, a purer and a lovelier woman than all the Heros in\nthe world.\nTurning to other plays, who if not the actors invented the roles of\nPistol (the Italian Capitano in an English dress).... Bardolph, Lancelot\nGobbo and old Gobbo, Dr. Gaius (the Italian Dottore in a French dress)...\nSir Hugh Evans, Simple, Slender, Justice Shallow, Grumio, Biondello,\nSir Toby Belch, Sir Andrew Aguecheek, Trinculo... and how many more ?\nNot one actor... no Shakespeare-actor... invented them, but actors.... a\ngroup collaborating, acting in unison, attempting each one to out-do the\nother as it were, to act the other off the stage.\nIf today actors cannot improvise, if wit and repartee have fled from\nthe .Theatre to the Music Ha 11... from Monet Sully and Novelli to Robey,\nLauder and Pelllssier... it was not so In the sixteenth century. It was a"}, {"page_pdf": 82, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.82", "texte": "SHAKESPEARE'S PLAYS.\n\nPellissier who invented Dogberry, a Lauder who conceived Falstaff, and\na Robey who created Launce... and no one knows how \"vulgar Launce\nwas in 1600, though we may guess. And if anyone doubt how brilliant\nthe lighter comedians could be... those who would have played Benedick,\nTouchstone, and Malvolio, Beatrice and Rosalind, let him compare these\nrecords with the comedies of Moliere, which likewise originated in the\ntraditions of the Commedia dell'Arte, at that day familiar in England\nand France.\njg? Moliere and Shakespeare are the despair of all later playwrights. &\nLet them despair no longer. They can do what Moliere and Shakes*\npeare did again and again ; all they need is to find actors who will do\nhalf the great task for them. And let not the actors be any longer\npuzzled because they cannot get these Shakespearean sentences out of\ntheir mouths without choking ; the Elizabethan polish once removed all\ngoes easily once more. &\nThere can be, of course, no question of \" treating \" Shakespeare's\nworks in such a manner. They are best left as they were. But see how\nthe instinct of every actor and every actor-manager leads him to cut\naway all the very highly polished bits, and to deliver the rest in as\nunpolished a manner as possible. Instinct on the stage counts for some-\nthing, and in this way the actor-managers, like hounds on the scent of\nthe fox, indicate clearly which way Reynard has escaped. £>\n& This is the secret which defies u5.... we wonder at the unity of the\nvast whole of the plays, and at the same time at their pandemonium.lt\ndoes not seem to us possible that the brain of one man, be he Shakes-\npeare, Bacon, or another, can have achieved such an overwhelming con-\ntradiction. The world master=pieces are the product of many minds....\neach sums up an age and humanity. Allow Shakespeare his contemporary\nfellow-workers the actors, and the riddle becomes clear. &"}, {"page_pdf": 83, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.83", "texte": "BOOK REVIEWS.\n\nTHE NEW TENDENCY IN ART\nby Henry R. Poore. Doubleday,\nPage & Co. New York.\nM. S. C.\nTThis little volume proves nothing\nand proves everything. It proves\nthat no one can judge or criticise\nthe Arts and that any one can judge\nand criticise the Arts.\n& Mainly it is a compilation or\ntabulation of the aims and ideals of\nPost-Impressionism, Cubism and Fu-\nturism. It is interspersed with com-\nments jocular and serene, occasio-\nnally witty and sometimes very lucid\nand penetrating. It is not extremely\nwell written but a lot of it is ex-\ncellently well said.\nOne of the many good things in\nthe dish is: \" The desire of the\n44 'new' artist to express the spirit\n\" of the subject through an inno-\n\" cence of brain, leaves out of ac-\n\" count the fact that the spirit\n44 naturally prefers to take up its\n44 residence in a completed not to\n•4 say a well-made temple\nAltogether in spite of its japes\nand chortles it is a capital little book.\nMr Poore, obviously a 44 merry and\nbright \" writer, will, If no one else\ndoes, appreciate our little joke if we\nsay that the book is richest when it\nis most Poore. -<2?\n\nFORGED EGYPTIAN ANTIQUITIES\nby T. G. Wakeling. A. and\nC. Black. Price five shillings net.\n\nAs evidence of how easy it is to\nhe defrauded this book makes\ndistressing reading; as a catalogue\nof the ingenuity of the modern\nEgyptian it is engrossing and highly\namusing.\nJZ? The plates showing the fraud\nand the original help very little. It\nis impossible for any one not an\nexpert to say which is which.\nWhether fraud or genuine, some\nof the scarabs and heads and Jars"}, {"page_pdf": 84, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.84", "texte": "BOOK RE VI EW\n\ncertainly are very beautiful in ap-\npearance. &\nThe really interesting statement the\nauthor makes is that the modern\nEgyptians, without preliminary tui-\ntion in sculpture or painting, are\ncopying the old work in such away\nthat only the most experienced are\nable to tell the real from the false.\n\nE. W.\n\nEVERY MAN HIS OWN BUIL-\nDER, by George Gordon Samson.\nCrosby Lockwood. Price three\nshillings and sixpence net.\nrjphis is a \" good old book \"but it\nis a pity that its text is not more\ncharming, its designs more beauti-\nfuiiy drawn. &\nCompare it with the old books on\nbuilding,... with Vitruvio, with Sab-\nbatlni and Serlio and the rest of\nthem, and you will see that, no\ndoubt, it is just as practical; but as\nit has an ugly touch about the de-\nsigns and plans it is like a man\nwho, while apparently speaking the\ntruth, lies to one all day long.\nTherein it is like most modern\nwork.\nThis is a great pity. &\nCertainly it is a useful b00k,...\nbut it would have been rendered no\nless useful by being decently drawn;\nthat it is not so is the editor's or\npublisher's fault. £? jO x?\n\nSHAKESPEARE'S \"HAMLET\",\na new commentary by Wilbrahm\nFitz-John Trench. M. A. Smith\nElder. Price six shillings net.\n\nIT ndeterred by the knowledge that\nthere exist 45, 768 books and\narticles dealing with \" Hamlet\" Mr\nFitz-John Trench walks into the\narena full of confidence. &\n& We cannot say that his perfor*\nis either better or worse than that\nof other commentators. &\nYour true authe'ntic commentator,\nan he will, can be as devious as the\ndevil; can throw out tentacles like a\nBaconian, raking all sorts of things\ninto his maw, thus ennabling him,\nas does the sea octopus, to squirt a\ncloud of ink when expedient and\nunder cover of this make an escape.\n& The first chapter deals with first\nprinciples. The author's footnote\nsays, \" The reader who finds it\nuninteresting may neglect it \". One\ncannot help feeling that the author\nmight have considered it to be a\nfirst principle to read up what has\nbeen written by those who have\nactually worked the play out on a\nstage. 0\nFor instance, Mr Trench speaks\nof the staging of Shakespeare's\nghosts, yet seems to be unaware\nthat the subject was fully dealt\nwith in The Mask four years ago"}, {"page_pdf": 85, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.85", "texte": "BOOK REVIEWS.\n\nand that Mr Craig, who knows more\nabout the play 41 Hamlet \" than any\ncommentator, dealt with the subject\nin his book, 4< On the Art of the\nTheatre\n\nJ. N.\n\nYANKEE FANTASIES by Percy\nMackaye. Duffield. New York.\nPrice one dollar and twenty five\ncents net.\n\nIn almost every recent book dealing\nwith the Theatre that I have read\nI find somewhere amongst its pages\na voice crying out that the need of\nthe Theatre is freedom to experi-\nment.\nEven Mr Mackaye mentions it in\nthe preface to his new volume of\nmost excellent little plays. He boldly\nstates the need :\nJZ? 44 The practical Instrument would\n44 be what I may appropriately term\n44 a Studio Theatre... a theatre de-\n-44 dicated in policy wholly to expe-\n-44 riment in dramatic art, being for\n44 the dramatist what his studio is\n44 for the painter, or his laboratory\n44 for the physicist \". JZ?\nJZ? In this book Mr Mackaye shows\nthat the one-act play is not only a\nform of expression fascinating in Its\nmanifold possibilities of dramatic\nsuggestion, but that it Is also a di-\nstinctive form capable of expressing\nwhat the longer plays cannot.\n44 Chuck the first playlet In the\nvolume, is full of charming and\npoetic feeling and the same quality\nof writing runs through the whole\nbook and makes delightful reading\neven of those plays or experiments\nwherein one finds it a little difficult\nto keep pace with Mr Mackaye:\nracy piece of dramatic writing. Lis-\nten to the curious rhythm of this:\n\" It aint so much thinkin o flo=\n\" wers and the young folks, their\n\" faces, and the blue line of old\n\" fellers marchin its the music!\n\" that old brass voice a-callin !\n44 Seems as though, legs or no legs,\n\" I'd have to up and foller to God=\n\" knows=whar, and holler-holler\n44 back to guns roarin in the dark.\n\"No ; durn it, no! I jest can't stan\n\" the music\". J\nAnd this :\n£? \"The Bloody Sundown ! God,\n44 that crazy sun: she set a dozen\n\" times that afternoon red-yeller as\n44 a punkln jackolantern, ravin and\n\" pitchin through the roarin smoke\ntill she clean busted, like the other\n\" bombs, behind the hills \".\n& It seems to me that in this play\nMr Mackaye exhibits a new phase of\nhis extraordinary gift. The old war-\nrior is made to talk in a manner\nnot only martial in spirit -but the\ndialogue itself treads a firm military"}, {"page_pdf": 86, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.86", "texte": "BOOK REVIEWS.\n\nstep and seems when reading to be\npunctuated with cannon balls and\nmusket shots; yet it Is all so natural\nand unforced. jz? z? ■£?\nHe has a power of description so\nvivid as to be at times almost pain-\nful In intensity. He can make you\nhear and feel at the same time.\n44 Gettysburg \" has taken hold of\nMr Mackaye. He has transmitted\nits emotion, adding something to it\nwhich in the re-creating process\nfuses into something that would be\ndifficult to define.\n& It Is more than literary grace,...\nthat is there in plenty. It is more\nthan dramatic rectitude. All 1 can\nsay is that it thrills.\n\nE. M.\n\nSHAKESPEARE IN THE THEATRE,\nby William Poel. Sidgwick\nand Jackson. Price three shillings\nand sixpence net.\n\n'phis book is mainly a series of\npapers reprinted from the 44 Na=\ntlonal Review \", the 44 Westminster.\nReview \", the 44 Era \" and the 44 New\nAge and Mr Poel tells us that he\ncollects them in one volume 44 in the\n44 hope that they may be of use to\n44 those who are Interested in the\n44 question of stage reform, more\n44 especially where it concerns the\nproduction of Shakespeare's plays \".\njZ? Of course Mr Poel did great ser-\nvice as an antiquarian in unearthing\nthe \" Everyman This was the play\nthrough which Mr Ben Greet later\non enriched himself in the United\nStates;... it would have done Mr\nGreet credit had he then remem*\nbered Mr Poel. &\nBut Mr Poel is somewhat too\nmuch of an Antiquarian to be closely\nallied with the Living Men of a\nLiving Theatre, and he Is certainly\nnot at his best when he touches upon\nthe ideas and work of Mr Gordon\nCraig. j3 £? £>\nAt the end of a paragraph rela«\ntlve to these he writes as follows:\n44 Mr Gordon Craig seems to think\n44 that Shakespearean representa-\n-44 tion at the present moment is\n44 unsatisfactory because of our mi-\n-44 serable theatres, with their low\n44 proscenium and unimaginative\n44 scenery which cannot suggest im-\n-44 mensity! Shakespeare would tell\n41 us that the fault lies In our big\n44 scenic stages and our voiceless\n44 dreary acting; and two men with\n44 such different ideas about the\nf4 Theatre are not likely to prove\n44 successful in collaboration &\nHere Mr Poel proves himself a\nlittle rash. How does he know so\nwell the mind of Shakespeare ? who\nis he to put words and opinions so\ndefinite in the mouth of a man dead\nthree hundred years ? & •"}, {"page_pdf": 87, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.87", "texte": "BOOK REVIEWS:\n\nHe does not know what would\n• P\nbe the mind of Shakespeare as ap-\nplied to the theatre of today; he\nclearly does not understand the\nmind of Mr Craig, and yet on two\nvague assumptions he bases a very\nvalueless conclusion.\nNo, no, Mr Poel, find us another\n\"Everyman\" and we shall be grate-\nful ; talk to us sometimes of your\nfriends the Elizabethans and we\nshall be glad ; but pray, leave the\nyoung Theatre and those who are\ncreating it alone; pray refrain from\ncriticising that which your own words\nprove so clearly that you do not\nunderstand.\n\nL. C.\n\nTHE INDIAN THEATRE by E. P.\nHorrwiiz. Blackie and Son, Ltd.\nPrice two shillings and sixpence.\nP. R.\nnphere is much that is interesting\nin this \" brief survey of the\nSanskrit Drama and perhaps the\nmost interesting pages are those\nfew at the end devoted to Aryan\nRoots and the explanation of such\nwords as \" Veda \" \" which refers to\nthe heavenly vision which pure\nsouled seers 'see' \" and \" shruti\nthe \" revealed truth to which in=\nspired hearers 'listen'\nln a note to this appendix the\nauthor writes, \" In a work on the\n'♦ Greek Theatre, it would be quite\n\"unnecessarj7 to explain the mea=\n44 nings of 'drama', a 'chorus' or\n44 'epic' or rhapsody' because classl*\n44 cal antiquity has bequeathed all\n44 these terms to us \" ; but with this\nview we disagree. It is just those\nwords which have been staled by\nconstant usage whose real meaning\nis most apt to be falsified and over-\nlooked, and if more people would\nbut study the origins of these terms,\nand clear their minds of such beliefs\nas that a 'drama' is something to\nhear or to read, instead of being an\nact, (I) a great deal of misconception\nwhich is at present hindering the\nTheatre's progress would be done\naway with.\nAs for the format of the volume;\nwe have yet to learn how sensible\nand practical publishers like Mr\nBlackie and his Son can put such\npaper at the service of so interesting\na book. England is not witty,... but\nheavy every time.\n(!) See \" The Mask\". Vol. ! page 98.\n\nA CENTURY OF FAMOUS ACTRESSES\nby Harold Simpson and\nMrs Charles Braun. Mills and\nBoon. Price ten shillings and\nsixpence net.\n\nHphe joint authors of this book tell\nus at the outset that they make\nno \" attempt at exhaustive bio-\ngraphy \" nor do they aim at \" a\ncritical analysis of the actress's art"}, {"page_pdf": 88, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.88", "texte": "BOOK REVIEWS.\n\nwhich last admission is perhaps wise ,\nas, before entering upon such an\nanalysis they would surely need to\nrefute the various arguments which\nhave been put forward,.., and never\nyet disproved.., to the effect that\nacting is not an art at all. &\n& It is also somewhat rash of them\nwhen, upon page I, after quoting\nthe decree by which Charles II re-\nmoved the ban from women ap-\npearing on the stage, they refer to\nthe previous usage of employing boys\nin the female parts as 44 this ridicu-\nlous custom\nEvidently they have never read\nSir Walter Raleigh's 44 Shakespeare \"\nor they would recall the passage by\nthat distinguished scholar in which\nhe ends up a vindication of the\ncustom in these words: 44 With the\ndisappearance of the boy players the\npoetic drama died In England, and\nit has had no second life \". (I) &\nNor can they be acquainted with\nMr John Masefield's remarks on the\nsame subject:44 Women's parts were\n44 played by boys. Some have thought\n44 that this must have taken from\n44 the excellence of the performance.\n44 It is highly likely that it added\n44 much to it. Nearly all boys can\n4* act extremely well. Very few men\n44 and women can. '' £?\nMr Simpson and Mrs Braun would\ndo well to make a more careful study\nof all that concerns their subject\nbefore they write their next book: it\nwiil save them from many blunders\nwhich prejudice their readers. &\nFor the rest, the present volume\ncontains a series of short biogra-\nphical notes on the talents, charms,\ncaprices and love affairs of the\nleading actresses from 1750 to 1850,\nwith a number of portraits, and will\ninterest those who find pleasure\nin the Green-Room gossip of an\nearlier day.\n(1) The Mask, Vol. 11, page 96.\n\nN. L.\n\nPEERESSES OF THE STAGE,\nby Cranstoun Metcalfe. Melrose.\nPrice seven shillings and six-pence\nnet.\n\njyl r Metcalfe, who appears to have\ntaken as his motto Pope's cou=\nplet, JZ7\n44 Whether the charmer sinner\nit or saint it\nIf folly grow romantic I must\npaint it\nseems to find something essentially\nromantic in the union of a chorus\ngirl or a minor actress with a peer,\nbut the romance Is evidently mea=\nsured by the dignity of the title in-\nvolved, since he writes at the outset,\n44 Into this exclusive company no\none beneath the dignity of a Baron's\nwife or daughter-in-law can be ad-"}, {"page_pdf": 89, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.89", "texte": "BOOK REVIEWS.\n\nmitted \"!\nThe whole book is a silly example\nof snobbery in excelsis, a tiresome\nexpression of bad taste.\n£? It merely heaps together a quan-\ntity of trivial chatter about a number\nof ladies whose sole claim to di-\nstinction lies in the fact that they\nmarried sprigs of the British nobility,\nand it seems a pity that a sensible\npublisher like Mr Melrose should\nhave lent his good type, paper, ink\nand printing presses to so poor a\npurpose. JZ? &\n\nN. L.\n\nBURBAGE, AND SHAKESPEARE'S\nSTAGE by Mrs C.\nC. Stopes. De La More Press.\nPrice five shillings net.\nP. R.\n7y|rs Stopes has collected quite a\ngood deal of interesting informa-\ntion about the English stage In the\ndays of Burbage within the pages of\nthis little book. But, while apprecia-\nting what she gives us, we miss much\nwhich we hoped,... expected, to find.\nHow, for Instance, can this book\nbe anything like complete when\nthere Is no reference to the great\nArlecchfno, Martinelli, of the Italian\nCommedia dell' Arte who visited\nLondon at this period ? (i) Mrs Stopes\nquotes from an old play, 44 And for\n44 honours, who of more report, than\n44 Dick Burbage, and Will Kempe,\n44 he is not counted a gentleman that\n44 knows not Dick Burbage and Will\n44 Kemp \", but she does not seem to\nsee the importance of knowing the\n44 honours and report \" of the prede-\ncessors of these men, those who\nprepared the way for them and their\nsuccess. JO & &\n£? She quotes to us on page 36\nfrom Howes, that Thomas Wilson,\n(44 naming Robert Wilson 4Thomas\"')\nwas noted for 44 quick delicate ex-\ntemporall wit and Richard Tarleton\nfor a wondrous pleasant extemporall\nwit \", this latter being further de-\nscribed as 44 the wonder of his time\";\nbut she has nothing to say of the\nforerunners of these Englishmen,\nthose who were the supreme sources\nand exponents of that very 44 ex-\ntemporall wit\" which became the\ndelight of the English stage.\nlt is a pity that in the past just\nas in the present honour is so seldom\ngiven where honour is due ; that the\nmen who have the ideas are passed\nover for the men who profit by\nthem, the masters forgotten in their\npupils' success.\n(1) See page 138 of this number."}, {"page_pdf": 90, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.90", "texte": "FOREIGN NOTES.\n\nFLORENCE.\n\nThe Gordon Craig School.\nJ. B.\nTThe first term of the School for\nthe Art of the Theatre came to\na close on July 31st, when the Di-\nrector expressed himself satisfied\nwith the progress made, although\nthat had mainly consisted in getting\nthings straight for future work.\n& Par be It from me to contradict\nthis or to divulge anything further.\nOn the last evening the Director\nInvited us to supper and the sight\nwould have encouraged even a so-\ncialist, although up to the time of\ngoing to print the Director has not\ndeclared for that specialism, being\ncontent with being a downright\nanarchist.\nA performance took place after\nsupper, to which the public were\nnot admitted. &\n\nAn Enlargement of the School.\nJ. B.\nTPhe School has been enlarged for\nthe next term, a small church\nhaving been secured which was\noriginally part of the old convent,\non the site of which the Arena Gol-\ndoni stands.\n\nThe Cinematograph.\n\n'\"Jphe Qaumont firm has always\nseemed to me to work to a very\nhigh standard. It is lamentable then\nto find this firm descending to the\nrevolting exhibition of unnecessary\nsnake torturing. & & &\nAt the end of a performance of\n\" Pantomes one of the longest\nfilms 1 have seen here, a very hand-\nsome snake at least eight, and\npossibly ten feet In length, with a\nvery beautiful marked skin, was\nsmoked out of some of its senses\nand then had its neck hacked by a\nsword.\nThis revolting sight was then\nshown to the audience in an en-\nlargement...,\nFirst we saw the room In which\nfive or six men did the snake out\nof its senses, and then, after the\nhacking, the portions of the snake,\nwith head off and still violently\nmoving, were enlarged on the screen."}, {"page_pdf": 91, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.91", "texte": "FOREIGN .\n\nA bull fight shown some years\nago was brutal enough, but this\npurchase of a fine specimen ot snake,\nits purposeless introduction into a\nlurid drama, and its massacre before\nour eyes, Is disgraceful, and a danger\nto the shareholders of the Gaumont\nbusiness. & & & &\nThe massacre of animals, birds\nand reptiles in this cold-blooded way\nshould be put a stop to by everyone\nwho has a voice to speak with or\nan arm to move.\nJET We suppose there are societies\nwho protect these fine creatures\nwhe cannot protect themselves:....\nif so one wonders how it is that the\nGaumont firm has been allowed to\n/\nshow, or even produce, this film. &\nBut there is not one side only\nto this business; there are tw0,...\nperhaps even three.\nThe first concerns the animals,\nthe second concerns the public, the\nthird concerns those who are the\nghastly \" go betweens \" of animals\nand public. £/\nIf it is cruel to the animals it is\npoisonous to the public, and it is\nthe vilest of all possible ways ever\ndevised by even a vile commercial\nage of making money.\n£> The weakness of the brain of the\ncinematograph inventor who cannot\ndevise an exciting drama without\nwallowing in an orgy of cruelty and\nbloodiness of the kind shown in\n\" Fantomes \" is too serious a matter\nto be overlooked. J&\n& ...: If you had seen It!!!\n\nE. E.\n\nMOSCOW.\n\nThe New \"Théâtre Libre.\"\n\nhas a new Theatre. J0\nJS> This theatre, which originates\nwith M. Mardjanoff, is called the\n\" Th&itre Libre\nThe name has been chosen for\ntwo different reasons.\nThe first of these is that the\ntheatre will open its doors to all\ntypes of dramatic art. During the\npresent season the programme will\ninclude an opera by Moussorgsky\nadapted to words by Gogol; a me-\nlodrama with text by Daudet and\nmusic by Bizet, a pantomime by\nSchnitzler, with music by Dohnany,\nand an operetta, \"La Belle Hel&ne\",\nwhile towards the end of the season\nIt is intended to give a tragedy; so\nthat during its first season the\n\" Thd&tre Libre \" of Moscow will\nhave already given sufficient evi-\ndence of the catholicity of its sym-\npathies and aims.\nThe title of \" Libre \" has been\nchosen in the second place because\nM. Mardjanoff purposes to leave\ngreat freedom of individual develop-"}, {"page_pdf": 92, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.92", "texte": "FOREIGN NOTES.\n\nment to each artist, working with\nhim, so that those who at the outset\nhold the humblest positions may\nhope one day to find themselves in\nthe first rank. Xef &\n*» The direct coiweqtfence of this\n\" last principle, said a representative\n44 of M. Mardjanoff to me, is that,\n44 all the members finding themselves\n44 placed on equal ground, the opi-\n-44 nion of each is precious. Our best\n44 singers make part of the whole;\n44 the gulf between the individual\n44 and the mass no longer exists \".\n\" Our orchestra he continued,\n44 is composed of fifty members,\n44 the great majority of whom come\n44 from the conservatoire of Prague\n44 which, as you know, furnishes the\n44 best orchestral musicians. It is\n44 useless to tell you that in all which\n•4 regards the technique of the sce=\n44 nery, the setting for the orchestra,\n44 the acoustics, the lighting, etc,\n44 our theatre has profitted by all the\n44 modern improvements afforded\n44 in these matters. \"\n& Everyone will wish M. Mardjanoff\nwell in his new venture, Moscow has\nalready done much in the service of\nthe Theatre. Now, if good intentions\navail anything, It is going to do yet\nmore and there is a good augury\nthat it will do so ; for even if the\norchestra be reduced from its fifty\nto two members, and those two be\nbut wandering musicians of Russia?\nand if the technique of the scenery\nfail entirely and the lights go out\nall but a halfpenny dip, still there\nwill be great light in the building,\nand music sufficient to satisfy all\nthose who know what music is, for\nM. Mardjanoff, with a touch of genius,\nhas chosen Dr George Baltruschaitis\nto bring his magic into the theatre.\n& If this theatre fails with a man\nlike that in it theatres can throw\nup the sponge. &\n\nV. N.\n\nWARSAW.\n\nA Theatre Art Exhibition.\n\nA Theatre Art Exhibition of unusual\ninterest will open this month in\nWarsaw.\nIt will be held in the Galleries of\nthe Societe des Beaux Arts under the\npresidency of Monsieur J. Herman,\nand, as it has been organized by\ntwo young and enthusiastic artists,\nMonsieur F. Siediecki and Monsieur\nL. Schiller, it should draw very\nmany people and stimulate much\ncomment. For it will be a revelation\nof the modern spirit that is stir=\nring,... the under current of idealism\nwhich shall \"eventually become an\nirresistible wave sweeping the decks\nof the old realistic theatres and\nsending many of them to wreck. 0\n& The theatre circles In Poland and"}, {"page_pdf": 93, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.93", "texte": "FOREIGN NOTES.\n\nthe theatres themselves are, on the\nsurface, little better than those of\nother countries, but the \"new spirit\"\namong them is, in proportion, very\nmuch stronger than is to be found\nelsewhere and there is great pro-\nmise of something good and some-\nthing \"living\" in theatre art co-\nming out of Poland.\n1 shall send news of the exhibits\nlater. It is sufficient to show that\nthe organisers have started rightly\nwhen I state that Mr Gordon Craig\nwas the first to be invited to ex-\nhibit and that his designs and scenic\nmodels will constitute the most\nimportant section of the exhibition.\n\nE. M.\n\nBUDAPEST.\n\nAnother Exhibition.\nM. S. C.\nJZJxhibitions of the art which is\nprogressing 44 Towards a new\nTheatre \" are cropping up every-\nwhere. jS? ■£? &\n£/ At the Muveszhaz, the beautiful\nand palatial clubhouse of the artists\nof Budapest, there will be opened\nin February an exhibition of Theatre\nArt. &\nThree salons will be devoted to\nthe work of Mr Gordon Craig, two\nfor designs and drawings and one\nfor an elaborate show of illuminated\nscene models. *2?\n& It is owing to the initiative of\nthe distinguished director of the\nRoyal State Opera House, Dr Alex-\nander Hevesi, that this exhibition\nwill take place in Budapest. j2)\n& I am informed that Dr Hevesi\nand other celebrated Hungarians\nwill, during the course of the ex-\nhibition, deliver lectures on the\nwork and aims of Mr Craig.\n\nZURICH.\n\nYet Another Exhibition.\nM. S. C.\nIt is exciting to think that things\nare moving so quickly in Europe.\nAt Zurich, also in February, there\nwill be a large Exhibition in the\nState Museum to which all the\ncelebrated theatre workers have\npromised to contribute.\nAgain employing the post of\nhonour will be more of Mr Craig's\ndesigns and models.\nThe Exhibition has been orga-\nnised by Herr Alfred Altlierr the\nwell known architect and director\nof the museum who has arranged it\nwith the co-operation of Dr Wichert\nof Mannheim.\nThe wqrks of Appia, the Munich\nSchool, Leon Bakst and others will\nalso be shown, and the exhibition\nwill probably remain open for three\nmonths."}, {"page_pdf": 94, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.94", "texte": "EDITORIAL NOTES.\n\nMr POEL, PAST AND PRESENT.\nis Mr William Poel going\nto be presented with that re-\nplica of the Globe Theatre which\nsince time immemorial has been his\nby rights, and which should be put up\nin some park in London, and the old\nplays done in the old ways therein ?\n0 William Poel for years advocated\nthe return to the Elizabethan tra-\ndition. Of course younger men today\nseeing his later work will think that\nhe preceded this new movement to\nwhich Craig,Stanislawsky, Reinhardt\nand several others have given birth,\nand that he in his youth was doing\njust as he is now, whereas this is\na slight mistake ; William Poel the\narcheologist of the stage was until\nquite recently nothing but an ar-\ncheologist, and a very good one too.\n0 He revived the Shakespearean\ndrama, one might almost say he\nreproduced it, as it was at the time\nof Shakespeare. 000\n0 Sticklers for accuracy in archeo-\nlogy might blame him for omitting\none of the nost important items,\nnamely, the acting of the female\nroles by men, but this, for some\nreason which Mr Poel has a perfect\nright to decide, he did not think\nfit to revive. Still, he restored the\nold picture very well, and he was\nmaking considerable progress in this\nespecial line of his when all of a\n4\nsudden and without any warning he\nbecomes one of the followers of the\nnew movement, bringing to that\nnew movement the fine old Eliza-\nbethan touch. 000\n0 Who will deny that there was\nsack and canary in the \" Taming of\nthe Shrew \" as produced by..., but\nhere we come to a broken sentence.\nWho was it produced by? Was it\nproduced by Mr Harvey and Mr Poel,\nor was It produced by Mr Poel alone?\nNever have we seen anything like\nthat from Mr Pod's hand before and\nvery little of that character from\nMr Harvey's. 0 0 0\n0 It seemed to us to be all Barker.\n0 Now everyone knows what Barker\nis. Then why not announce \" produ-\nced in the manner of Mr Barker\"?\nEverything would have then been\nquite clear. 0 ' 0 0"}, {"page_pdf": 95, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.95", "texte": "EDITORIAL NOTES.\n\nInstead of that, the critics and\neveryone conspired to rouge Mr\nPoel's kindly face while adding Mr\nBarker's wrinkles; It produced a\nfeeling of sadness In us to see this\nplay. & &\nPantaloon seemed to be playing\nthe part of Innamorato; that is, the\nsixteenth century seemed to be play-\ning the twentieth. &\nThe high priest of the sixteenth\ncentury,... and Mr Poel is most cer-\ntainly that.... seemed to be decking\nthat ancient vision with pink paper\nroses.... and then he tossed some\nconfetti at it.\nAnd we believe that this parody\nof both the ancient days and the\nnew days is to be attributed to the\nfact that we failed to give Mr Poel\nthe theatre for which he was\nborn,., the replica of the Globe at\nBankside.\n\nTHE\"IMPRINT\" &44 \"\nHP/re Imprintis a beautifully printed\njournal. It gives one the impres-\nsion that those who produce it think\nof little else than printing and that\nto them printing is an end in itself.\nThe Instruments of peace and\nwar are all the better for a little\nfinish, and to go to one's work armed\nwith perfect hammers, chisels, print-\ning presses, type and guns is no\ndoubt desirable. &\n& But one must never forget, ...(and\nEngland might sometimes remem=\nber), that It is not the polish on the\nguns nor the buttons on the uniforms\nnor the colour of the flags that wins\na battle. Order is fine, but not at the\nexpense of vitality. &\n& Given great vitality, and we are\nall in favour of the strictest order,\nthe most iron reserve being added\nto it. But the thing most needed by\nflat and monotonous competence is\na pin to prick it into life. &\nWe don't say that the Imprint\nis dull, but it is a little flat. All its\ncommand of the types of Europe,\n(and it uses a type come from Hoi-\nland and not one created by an\nEnglishman), somehow or other falls\nto help it to rise from its neatly\nlald-out death-bed. There it lies,\norderly, laid out; not a fold of its\ndrapery wrong, not a curl loose, not\na wrinkle to be seen... expression-\nless... dead. JO\nAnd it finds fault with Mask,\nwhich it says is the work \" of ama-\nteur printers \". & &\nJz/ In fact the Imprint looks first\nat the polish on the gun and after-\nwards tests Its firing capacity. &\nThe producers of The Mask have\nbeen unable to take their pick from\namong the types of Europe or they\nwould most certainly have selected"}, {"page_pdf": 96, "page_imprimee": "182", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.96", "texte": "EDITORIAL NOTES.\n\nthe type known, we believe, as\n44 Caslon old Face \". ■&\nThis is the polish necessary to\ngive the finishing touch to our gun.\nAnd we hope that some day a man\nwho cares about finish will send us\nenough to turn over a new leaf: for\nsince reading the Imprint's thun-\ndersome words we very much wish\nto go to our next dance dressed in\nevening dress, white tie and all. It\nis an outrage against manners to\nhave gone on all former occasions\n44 just as we were \". £?\nAnd not this alone. It is a blemish\nupon the good form which England\nhas said must and shall be. We know\nit, and shall try to do better next\ntime.\nBut perhaps, were the conditions\nunder which we have forced our\nway into existence known, the Im-\nprint would be less particular about\nhow we looked and would, we swear,\nmarvel that we were visible at all.\nIf the Imprint had started Its\nlife upon L. 8.0.0. would it be alive\ntoday ?... if it had battled two years\non an occasional five pound note or\nso would it have lived as long as\nwe have ?\nThose who work in the Imprint\nhave things made easy for them.\nBy easy we mean that we suppose\nthe Proprietors, Editors, Engravers\nand Writers could collect in all the\nsum of L. 200.0.0. a year.\nThis Is more than the Proprietors\nEditors, Engravers and Writers of\nThe Mask had in 1908,... and they\nhad to live on it and yet produce\nthe journal. 0/ „\n\nTHE DEATH OF PEL/SSIER.\nhave no doubt that Pellssier\nwill be remembered as a very\nfunny man who made people die of\nlaughter ; but we daresay there are\nvery few who will put him down\non the record as having been in-\nstrumental In reforming the modern\nstage of England; yet he was essen-\ntially a reformer, and a reformer\nof a remarkable kind.\n0? Other comedians hit off the idio-\nsyncrasies of the man in the street\nor the masher in the drawingroom;\nbut Pelissier was at his best when\nhe was giving a sharp rap on the\nknuckles to those so=called actors\nand actresses who, taking large\nsalaries, give the public nothing but\ntheir own peculiarities.\nSo far as we know he never hit off\na man of great Individuality ; It was\nonly when they were weak through\nand through that he \" doubled them\nup for ever \".... And now the poor\nman is himself doubled up. &\nIt is a very great loss to the\nEnglish theatre. £> &"}, {"page_pdf": 97, "page_imprimee": "183", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.97", "texte": "EDITORIAL NOTES-\n\nBRAVO, \"REFEREE\"!\nThe following is from a recent\nnumber of the Referee and was\ncontained in a notice of a farewell\nluncheon lately given to Mr P. R.\nBenson previous to his setting off\non a Canadian and American tour:\n& 44 1 must confess that one thing\n44 surprised me at the Benson lun-\n-44 cheon.... surprised me even more\n44 than the silence of Sir Herbert\n44 Tree. There was\nNo Mention of Sir Henry Irving\nA ....\n\" in any of the speeches... not even\n44 In Mr. Benson's. Nor have I met\n44 with any allusion to that great\n44pioneer and reviver of the Higher\n44 Drama in any of the numerous\n44 references to Mr. Benson and his\n44 departure for the States. Yet it\n44 was with (and from) Irving at the\n44 Lyceum that Mr. Benson first\n44 learned how to produce Shakes-\n-44 peare plays and how to train actors\n\" for that noble work. And if there\n\" was ever a greater tutor in this\n44 regard than Henry Irving I would\n44 like to have his name sent in, in\n44 order that the Referee may pub-\n-44 lish it and hand it down to pos-\n-44 terity. \"\nIt needs a little more of this\nspirit in the theatre nowadays. £?\n& The worst of Stratford-on-Avon\njs that it will be so local.\n\n£> A NEW SCENIC ART.&\n'Tyhe New York Dramatic Mirror\nthrills with this news about our\nold friend Hugo Rumbold.... Do you\nknow, we had almost said our young\nfriend ?\nApd do you know that the Dra=\nmatic Mirror writes that here is\na 44 new scenic artist who, it is said,\n44 will revolutionize stage settings\n44 and mechanics \". 44 His idea in\n44 painting scenery is to do away\n44 with the use of wings and other\n44 cumbersome and expensive stage\n44 paraphernalia. The new art is\n44 described as strikingly realistic \".\nAnd all this without having gone\nto school anywhere! Oh, you\nnaughty boy !! & &\n\nTWO MORE NEW GERMAN\nTHE A TRES: DRESDEN AND\nBREMEN. & & &\nJanuary we published a note\nfrom one of our correspondents\npointing out that, whiie two great\nrich cities like Liverpool and Man-\nchester were so tardy and apathetic\nin raising money for the building\nand maintenance of theatres, the\ntown of Lubeck in Germany,... a\ntown with a population scarcely more\nthat one-seventh that of Liverpool,\nhad responded without difficulty to a\ncall from its Municipality for 150,000\npounds to build its new theatre"}, {"page_pdf": 98, "page_imprimee": "184", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.98", "texte": "EDITORIAL NOTES.\nALL RIGHTS RESERVED\nGerente Responsabile GIULIO VANZI\n\nwhich was opened in 1912.\n& Now news reaches us of two more\nfine theatres just built in Germany,\nthe one at Dresden, the other at\nBremen. &\n& It is worth notice that Dresden\nis a city with, roughly speaking,\nabout 530,800 inhabitants, while\nBremen has only about 225,000 ; yet\neach of these places has been able\nand willing to contribute sufficient\nfunds for the erection and mainte-\nnance of a fine new play house in\ntheir midst.\n£? The German towns seem to have\nno difficulty in realising that, as\nwe said before, \" a well-established\ntheatre with a large financial backing\nand plenty of go In It is going to\nimprove every scrap of the business\nof those towns, is going to improve\nthe existence of each of the inhabi-\ntants \". They also seem to find no\ndifficulty in understanding that for\na theatre to be run on the finest\nprinciples and at the same time made\nto pay it must be first handsomely\nsupported by the town.... And un-\nderstanding this they support their\ntheatres handsomely.\n& The English towns, on the other\nhand, seem to have great difficulty\nIn realising the same simple, and, we\nshould have thought, obvious, fact.\n& Liverpool and Manchester, Bristol\nand Birmingham, Newcastle and\nLeeds, when will you wake up to\nyour responsibilities, and yOUr\nopportunities ? _\n\nERRATA.\nJ. S.\nwe announced on page 146, We\ngive here corrections of several\ntypographical mistakes which eluded\nthe proof-readers on pages 135 to\n440 in the List of Facts relative to\nthe Pre-Shakespearean Stage. 0\nHere are the corrections:\nOn page 136, line 20, instead of\n\" Pedrolino or Pelisini \" read, 1526.\n\" Pedrolino or Pellesinl &\nOn page 139, Instead of, 1572,\n*' A Map by Hocfuagel shows two\nTheatres or Bearpits \" read \"A Plan\nby Hocfuagel shows two Theatres or\nBearpitsJ&\nOn page 140, (erroneously prin-\nted 401) read also \" Pelleslni \" for\n\" Pelisini"}, {"page_pdf": 99, "page_imprimee": "185", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.99", "texte": "THE MOSHER BOOKS.\nrJ\",HE special literary value of my general Catalogue has given it a unique\nposition In the world of book-making for book-lovers. &\n& From year to year these Catalogues have been issued with the view •\nof making known, as no other form of advertising could make known,\nThe Mosher Books and what they represent in up-to-date bookcraft. All\npossible value has been put into these books by their publisher; so that\nto-day they are the only style of genuine hand-made paper editions at\npopular prices in America. & &\n& Sent without charge to all who are interested in choice editions at\nmoderate prices.\nTHOMAS B. MOSHER, PORTLAND, MAINE\n\nPOETRY AND DRAMA\n*~pHE founder and first editor of The Poetry Review begs to\ngive notice that he is now issuing a quarterly periodical,\nunder the title POETRY AND DRAMA, on the same lines as\nThe Poetry Review during 1912, and with many of the same\ncontributors, & & & &\n& The first and second numbers of Poetry and Drama are at\npresent in circulation, &\n& Poetry and Drama is the representative organ of the youn-\nger movement in English &\nIt is published at 35 Devonshire Street, Theobalds Road,\nLondon, W. C., on March 15th, June 15th, September 15th and\nDecember 15th. The price of a single copy is 2s. 6d. net- The\nannual subscription Is 10s. 6d. post free to all countries. Copies\nare procurable and subscriptions may be purchased through all\nBooksellers and Newsagents."}, {"page_pdf": 100, "page_imprimee": "186", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.100", "texte": "YE OLDE PARIS BOOKE=SHOPPE\nii Rue de Chateaudun, Paris, France.\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.\n*\nEnglish Translations of French, Latin and Greek Classical Works, such\nas Bran to me : \" Lives of Fair Ladies \", (with coloured illustrations) ; \" One\nHundred Merrie & Delightsome Stories translation of \" les Cent Nou=\nvelles nouvelles\"; Anatole France : \" Thai's (the Repentant Courtisan of\nAlexandria). \"The Well of Santa Clara\" with 21 Copper Plate Etchings;\nPierre Louys \" Aphrodite illustrated by Ed. Zier; Petronius : \"The\nSatyricon\" (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\n•\ncan supply all Parisian publications.\nFine Catalogue of French Books, Contes, Romans, Etudes curie uses\n(free for 20 cs.) £/\nYE OLDE PARIS BOOR E-S H O P P E\n& 11 Rue de ChkteaudunParis, France."}, {"page_pdf": 101, "page_imprimee": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.101", "texte": "THE QOLDONI BOOKS.\nSKETCH BOOKS, DRA WING BOOKS, PAINTING BOOKS AND\n¥\nWRITING BOOKS, FOR ARTISTS, WRITERS AND LADIES.\nThese Books, are made of fine Italian Papers, and bound In vellum or\nin boards covered with papers upon which designs, floral or conventional,\nare hand-printed in colours. &\nThe beauty and charm of these books must be seen to be realized,\n\" These are pages to turn and finger with delight: \" covers bright and\nvaried with colour and fresh design ; sizes uncumbersome to the nicest\nhand.\"\nWrite for particulars to The Mask Publishers,\nARANA GOLDONI, FLORENCE, ITALY.\n\n& THE FORUM.\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 KLNNERLEY\n& New Yo r k & London &\nThree months trial subscription two shillings"}, {"page_pdf": 102, "page_imprimee": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.102", "texte": "■anMBBMHnHHMnannMBMaMBaanMaMMHHa\nSOUVENIR.\nA CIS & GALA TEA.\nMASQUE OF LOVE\nby Gordon Craig.\nA few copies of this \" Souvenir\nissued in 1902. and now extremely\nrare, may be procured from\nTHE MASK PUBLISHERS\nArena Goldoni. Italy.\nWRITE FOR PARTICULARS.\n\nAN ILLUSTRATED BOOKLET ABOUT\nTHE GORDON CRAIG SCHOOL\nAND ITS JOURNAL\nTHE MASK\nRecently\nPublished.\nSecond Edition Now Ready.\n«£? Pr i c e One Shilling Net.\nOrder through any Bookseller, or from\nThe Society of The Thea tr e .\n7, John St A del p h London.\nor direct from\nARENA GOLDONI, , ITALY.\n\nSCHOOL FOR THE ART OF THE THEATRE\nDirector: E. Gordon\nOCTOBER TERM J UST COMMEN C / NG\nSEND POST CARD FOR PARTICULARS.\nTO THE SECRETARY.\nARENA GOLDONI FLORENCE."}, {"page_pdf": 103, "page_imprimee": "189", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.103", "texte": "ANNOUNCEMENTS; FROM \" THE MASK PRESS »\nARENA GOL DO NI. FLORENCE, ITALY,\n—,— :\n•& & THE MASK. VOLUME SIX. & &\nfj£\\ the sixth Volume, which began with the July number, Three\nVwft/y Editions are published, and the yearly subscriptions, post free,\nt0 t*iese Editions are respectively as follows.\n||iy&| Popular Edition. . . . Shillings 15. Dollars 4.00\nPaper Edition (200 copies.) ~ 20. „ 5.00\n\" Edition de Luxe. (15 copies.) „ 65, „ 16.0 C\n| THE MASK. 1908... 1909... 1910... 1911... 191a... 1913....\nI & A certain number of complete sets of Volumes 1, 2, 3, 4 & 5.\nIpsslspsf still remain, and,\" bound in vellum, may be obtained from this\nII .\nR office, price eight guineas, (dollars 38) a set. & 0\nA FEW EXTRA Vol. 4. shillings 25 dollars 6.50 each\nSETS OF Vol. 5. „ , j 20 ~ „ 5.50 „\nVolume 5, Large Paper Ed, (vellum bound,) shillings 25,\n- dollars 6.50.\nOrders and Subscriptions way be sent direct to\nTHE MASK O ffi ce s, Arena , Florence, 11 a\nor \"The Society of the Theatre.\" 7, John St, Adelphi, London. Tel: 1601 Regent\nSOME OPINION S\\ ON \"THE MASK\"\nI\nI \" There is not a page in it which is not interesting\nII \"and stimulating in a fine way\".\ni-IKite,oi --\"m :,.ys ; t| f 'v - \\ 'J[\"f: >JL\n\" 7he Mask \" always contains something worth reading,\n\" and often something worth keeping\nPall Mall Gazette.\n\" A quite remarkable rich in intel-\nI ligence. \"IB II I | 111 11 II l|\n|| Westminster Gazette.\n\"A very amusing and stimulating, as well as a most\n\" beautiful, magazine .\"\nThe Daily Telegraph.\n———\n—l^———^—\nyvv _<il Mlii ffjf- |T ■' rW~IjL<W\" l'i^OMrTftWWWlWy,^^>a* SWi -"}, {"page_pdf": 104, "page_imprimee": "190", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191310-01.1.104", "texte": "A N I D E A &\nIS A RARE THING.\n44 THE MASK\" started in FLORENCE, [does not exist\nfor its own sake.\n44 THE MASK \"\nhas already lived for six years for AN IDEA.\nI THE SCHOOL FOR THE ART OF THE THEATRE,\nstarted In FLORENCE, was brought into being for the sake\nof the same IDEA.\nTHE SCHOOL and \" THE MA SK \" work together for\nthis one IDEA\nTOWARDS A NEW THEATRE.\nTHE SOCIETY OF THE THEATR E, started In J II\nLONDON, moves with 4« THE MASK\" and THE SCHOOL\ntowards the same GOAL.\nWE CAN TAKE CARE OF \" THE MASK\" & THE SCHOOL.\nYOUR RESPONSIBILITY IS THE SOCIETY OF THE THEA TRE\n& JOIN IT! &\nWE WANT A MILLION MEMBERS.\nYear!} Subscription One Shilling.\nApply Personally or by Letter to the Secretary of the Society,\nLONDON OFFICES: 7 JOHN STREET, ADELPHI.\nL Office Hours between 10 a. m. and Ip. m.\nTelephone 1601 Regent.\nPrinted for foe Proprietor by Tipografia R. Lastriicei, Via die Serragii, 104 Floreace and published at The Office of 44 The Mask \" Arena Goldoni"}]}