{"numero_id": "bm-bmtnaau-1915-05-01", "volume": "bmtnaau_1915-05_01", "ocr_sha256": "6a5f10da982010e552edaf330a2b5200b011a52657288933320096d80962d082", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1915/05_01/bmtnaau_1915-05_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1915/05_01/bmtnaau_1915-05_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01", "articles": [{"article_id": "bm-bmtnaau-1915-05-01-c002", "article_bluemountain": "bmtnaau_1915-05_01#c002", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 3", "page_fin": "couv. 3", "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=bmtnaau191505-01.2.2", "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. 3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.2", "debut_caractere": 95, "fin_caractere_exclue": 926, "texte": "LITERARY CONTENTS.\nOLD AND NEW John Semar. ... 93\nSOME WORDS AND THEIR MEANING (With an\nIntroductory Note) ...... Skeat. , . 97\nA NOTE ON A PAGEANT STAGE. . . Felix Urban .... 100\nA NOTE ON JAPANESE MARIONETTES. . . Gordon Craig. ... 104\n\" HAMLET \" IN MOSCOW Gordon Craig. ... 109\nA HISTORY OF PUPPETS (Continued). . . \" Yorick\" (P. Ferrigni) . 118\nCHI LO SA ? A Note suggested by a Wood-Cut. A. C 130\nSCREENS. THE THOUSAND SCENES IN ONE\nSCENE. Anon 139\nIMPRESSIONS OF THE \" SCENE. . . W.B.Yeats .... 139\nA LETTER ON THE \"SCENE\" TO GIOVANNI\nGRASSO. , Filiberto Scarpelli- . . >59\nIN DEFENCE OF THE SCENE OF VAST PRO-\nPORTIONS. . I . . . . . Louis Madrid. ... 163\nA DESIGN FOR A SCENE. A Dialogue. I .1 . J. S 165\nTHEATRES OF YESTERDAY AND TODAY A. C 166\nBOOK REVIEWS. EDITORIAL NOTES.\nShort Extracts. John Ruskin. 99. Thoreau. 107."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c003", "article_bluemountain": "bmtnaau_1915-05_01#c003", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 3", "page_fin": "couv. 3", "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=bmtnaau191505-01.2.3", "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. 3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.2", "debut_caractere": 928, "fin_caractere_exclue": 1734, "texte": "ILLUSTRATIONS.\nTHE CELLAR SCENE FROM HEBBEL' S\n\" QENOVEVA.\" (Frontispiece). . . . Adolph Lfnnebach.\nSCENE DESIGN FOR \" SWORD AND SONG,\" 1904. Gordon Craig. 95\nA PAGEANT STAGE From an Old Print. . . 101\nFOUR DIAGRAMS OF A JAPANESE MARIONETTE. From an 18th Century Book. 104,105!\nA MARIONETTE MAKER AT WORK. G. N. . • . . . 135\nAN OLD ITALIAN WOOD-CUT. . . , . Anon\nA BOOK-PLATE, (for G. W. Plank) . . . Gordon Craig. . . . 138\nA BOOK-PLATE. ....... Stanislas Lodochowskowski. 135\nA BOOK-PLATE. . . . . . . Samuel Prim. . . . 137\nTHE ARENA GOLDONI. FLORENCE. Diagram 145\nDESIGN FOR A COSTUME IN \" BETHLEHEM Gordon Craig. ... 161\nAN OLD ITALIAN DESIGN Italian artist. ... 165\nGROUND PLAN. TEATRO FARNESE. PARMA . G. B. Aleotti. ... 166\nSECTIONAL PLAN. NEW COURT THEATRE.\nDRESDEN Lossow & Kuhne Architects. 167"}]}, {"article_id": "bm-bmtnaau-1915-05-01-c004", "article_bluemountain": "bmtnaau_1915-05_01#c004", "volume": "bmtnaau_1915-05_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=bmtnaau191505-01.2.4", "titre_corps": "Cellar Scene from Hebbel's \"Genoveve\" : Dresden Court Theatre", "titre_sommaire": "Cellar Scene from Hebbel's \"Genoveve\" : Dresden Court Theatre", "signature_source": "Adolph Linnebach", "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=bmtnaau191505-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 79, "texte": "Cellar Scene from Hebbel's “Genoveve.\" Dresden Court Theatre. Adolph Linnebach."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c005", "article_bluemountain": "bmtnaau_1915-05_01#c005", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[93]", "page_fin": "94", "image_debut": 5, "image_fin": 6, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.5", "titre_corps": "OLD AND NEW", "titre_sommaire": "OLD AND NEW", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "[93]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.5", "debut_caractere": 0, "fin_caractere_exclue": 1511, "texte": "OLD AND NEW.\n\ngomething old and something new, and not too much of either.\nWe are not Futurists,... alas, that is beyond us; nor can we be\nthe other blessed thing... Archivists.\n£> There is plenty of room for a new Theatre [Journal (or even two),\nwherein nothing but what is to come is mentioned. There has been no\nsuch Journal as yet, but the room for it has always been made obvious by\nits absence.\n& And there is no Journal entirely given up to research work of days\ngone by, more's the pity; but the opportunity is never lacking.\nFor our part we must content ourselves with but touching on both\nthe past and the future, and, as the present calls for a little notice, that\ntoo occupies some of our space.\nThat the two great divisions of time, Past and Future, appeal to\nus as being each dependent on the other in this work of the Theatre\nshould surprise no one. Our wish is not to startle but to go on with\nour work.\n& A success is out of the question.... wishing to succeed.\n& To be \" the latest thing \" is our dread.... wishing to succeed.\nNever did we dream we should be thought to be revolutionary : had\nno thoughts to deride 44 the old school \" nor to laugh at honest failures.\nFrom the first we have praised the most contradictory things, theot ios\nand persons,\nBecause we admire the old Greek we are not advocates of\nmodern Greek Theatres, yet have shown admiration for the modern circus.\nCalling for masked actors, we have, nevertheless, given our enthu-\nsiastic praise to the best non-masked actors."}, {"page_pdf": 6, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.6", "debut_caractere": 16, "fin_caractere_exclue": 1289, "texte": "& The great actor has called forth our applause, but the little actor\nhas asked for and deserved our criticism.\nEach branch of stage art we have been ready to accept.... except the\namateurish.\n& We have found good things to say of foreign artists without forget-\nting that part of our duty is to call English artists to the fore.\nTowards America we have never attempted superior airs. But\n« Towards a New Theatre \" we have ever striven to go.\n& To gather new friends together and to keep our old friends has\nbeen part of our task; but to do so without compromise, without having\nto be a party to any of their little conspiracies enterprises.\nVVe have on foot one plot only: ...to move towards a New Theatre.\nNot to meet with the approval of loiterers or those wanting to take\nshort cuts which lead nowhere, or those who, without madness or method,\nwould waste our time in disparaging both inspiration and calculation.\nWe disapprove so much in ourselves and regret so much our short-\ncomings, that to listen to mild or exaggerated criticism of our mistakes\nwould seem to be only a waste of time.\n& Faults galore we may have, but we move \" Towards a New\nTheatre \",.... a Theatre of the Future but founded on that of the Past.\n& \" On va bien loin depuis qu'on est las.\"\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c008", "article_bluemountain": "bmtnaau_1915-05_01#c008", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "95", "page_fin": "95", "image_debut": 7, "image_fin": 7, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.6", "titre_corps": "Scene Design for Mr Fred Terry's Production of Sword and Song", "titre_sommaire": "Scene Design for Mr Fred Terry's Production of Sword and Song", "signature_source": "E. Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 118, "texte": "Scene Design for Mr Fred Terry's Production of Sword and Song.\" Shaftesbury Theatre,\nLondon, 1904; by E. Gordon Craig."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c009", "article_bluemountain": "bmtnaau_1915-05_01#c009", "volume": "bmtnaau_1915-05_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=bmtnaau191505-01.2.7", "titre_corps": "SOME WORDS AND THEIR MEANING", "titre_sommaire": "SOME WORDS AND THEIR MEANING", "signature_source": "", "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=bmtnaau191505-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 1997, "texte": "SOME WORDS AND THEIR MEANING.\nKATIE'S SERVICE.\nintend to give now and again the exact definitions and derivations\nof some words used very often when writing or speaking of the\nDrama and the Theatre; for we are of the opinion that the real sense\nof these words is too often forgotten, and therefore seldom implied by\nwriters and speakers.\nlt would be no use to go into long essays on these words to say what\nthey mean. One would never come to any end. But as some considerable\nuse has been served by reminding our friends of the derivation of the\nwords \" Theatre \" and \" Drama,\" (1) we hope that similar results will\nobtain by enlarging our list.\nAfter all, in art as in life, the slight services are never without some\nvalue. Valuable, for instance, is the work of the man who cleans our\nwindows for us, or who washes the crockery or sweeps the room! Valuable\nwas Katie's service. (2)\nOne would by no means restrain the theatrical writers. Let them\ndash ahead and try to espress their meanings: but a few moments'\nthought as to what is the meaning of such words as Rhythm, Drama,\nTheatre, and so forth, is advisable ; for we come across such words five\nto fifteen times on a page of a modern critic's book.\nTake the word \" Rhythm \" for example. Its chief concern is with Time\nand Measure. The word Time points to precision ; something clean-cut\ninstead of floppy. Yet the moderrs use the word in a vague sense and\nseem never to trouble to define to themselves its limits.\n«« Measure,\" too; something to do with feet and hands; but only, let\nus hope, with regulation feet and hands, or, for the law-breakers here,\nan elephant's foot or a baboon's hand would be Included In the standard,...\nand the result, anarchy of thought.\n«« Rhythm \" Is used nowadays to imply something to do with everything,\nfrom sex to sandals A pity.\n\n(1) The Mask. Volume I. page 93.\n(2) What?... you do not know who Katie is? ..and yet there is but one Katie cashriaed in perfect words\nin the History of \"Zuleika Dobsoa. \""}, {"page_pdf": 10, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.10", "debut_caractere": 35, "fin_caractere_exclue": 2060, "texte": "The Theatre folk need not be concerned with transforming the world,\nbut merely with doing their own particular little measured and particular\nlimited task to the best of their power.\n& Transform the Theatre by all means; but let the Theatre transform\nLife If it likes. The task is not for you or for me. The Theatre is our\nchild :... attend to its needs, render it ' Katie's service,' and will do\nthe greater work when we are dead and gone.... Avanti!\nSOME WORDS AND THEIR MEANING.\nTRAGEDY. French, derived from Latin derived from Greek.) Old\nFrench, tragedie, derived from Latin tragoedia; derived from Greek\nxpaycpSla a tragedy literally * a goat-song'; probably because the actors\nwere clad in goat-skins to resemble satyrs. Derived from Greek xpayipgog\na tragic singer; literally 'goat-singer', derived from Greek xpay-og a\nhe-goat; (bSog a singer, contracted from aoiSog.\n<£? Derivatives, trag-ic, French tragi que, Latin , Greek xpaytxog\nliterally ' goatish '.\nCOMEDY. (French, derived from Latin, derived from Greek). Old\nFrench, comedie, ' a play'. Cotgrave's Dictionary, derived from Latin,\ncomoedia derived from Greek a comedy, derived from Greek\nxwjjuodog a comic actor, derived from Greek, xa>|xo-g a banquet; revel,\nfestai procession; dotSog a singer, from astSeiv to sing. A comedy was a\nfestive spectacle, with singing, etc.\nRHYTHM. FrencSi, derived from Latin derived from Greek. Middle\nFrench rithme, Cotgrave's Dictionary 1660: derived from the Latin\nrhytmus; derived from the Greek pvOjioc, measured motion, time,\nmeasure; derived from the Greek p&siv to flow.\nVAUDEVILLE. & French. vaudeville, originally, a country ballad;\n•so tearmed of Vaudevire; a Norman town, wherein Olivier Bassel\n(or Basselin), the first inventer of them, lived ;'(1) Cotgrave's Dictionary,\n\n(1) It is amusing to note in view of the amount of money made in England by 14 Vaudeville,\" that the\nMads of Olivier Bassel were \"satiric songs against the English, who wanted to invade the kingdom.\" (see\nPougln's Dictionaire du Theatre)."}, {"page_pdf": 11, "page_imprimee": "99", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.11", "debut_caractere": 24, "fin_caractere_exclue": 751, "texte": "edition of 1660. Basselin was a Norman poet, (died about 1418), whose\nsongs were named after his native valley, the Vire Is in\nNormandy, South of Bayeux.\nDANCE. French; derived from Old High German. Middle English\ndauncen derived from Old French dan, derived from Old High Qerman\ndanson, to drag along (as in a round dance), derived from Old High\nQerman dans, 2nd grade of dinseti, to pull, draw; allied to English\nThin. Compare Gothic ai-thinsan, to draw towards one.\nAMUSE', to divert. £> (French, derived from Latin). French, am user, 'to\namuse, make to muse or think of, to gaze at'; (Cotgrave's Dictionary. 1660.\nderived from the French & (which equals the Latin ad), to, at; Old\nFrench, muser, to gaze at, stare at, muse."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c011", "article_bluemountain": "bmtnaau_1915-05_01#c011", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "99", "page_fin": "100", "image_debut": 11, "image_fin": 12, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.8", "titre_corps": "A NOTE ON WORDS AND THEIR MEANINGS", "titre_sommaire": "A NOTE ON WORDS AND THEIR MEANINGS", "signature_source": "John Ruskin", "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=bmtnaau191505-01.1.11", "debut_caractere": 753, "fin_caractere_exclue": 1771, "texte": "A NOTE ON WORDS AND THEIR MEANINGS.\n\n\" I tell you earnestly and authoritatively, (I 1 ani right In this),\nyou must get into the habit ol looking intensely at words, and\nassuring yourself of their meaning, syllable by syllable ...nay, letter by\nletter....\n«« Let the accent of words be watched; and closely; let their meaning\nbe watched more closely still, and fewer will do the work. A few words\nwell chosen, and distinguished, will do work that a thousand cannot,\nwhen every one is acting, equivocally, in the function of another.\n& \"Yes: and words, if they are not watched, will do deadly work\nsometimes. There are masked words droning and skulking about us 5n\nEurope just now, ....(there never were so many, owing to the spread of\na shallow, blotching, blundering, infectious 'information,5 or rather\ndeformation, everywhere, and to the teaching of catechisms and phrases\nat school instead of human meanings).... there are masked words, abroad,\n1 say, which nobody understands, which everybody uses, and most people"}, {"page_pdf": 12, "page_imprimee": "100", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.12", "debut_caractere": 26, "fin_caractere_exclue": 758, "texte": "will also fight for, live for, or even die for, fancying they mean this or\nthat, or the other; of things dear to them: for such words wear\nchameleon cloaks.... ♦ ground=>!ton' cloaks, of the colour of the ground of\nanj' man's fancy: cn that ground they lie in wait, and rend them with\na spring from it. •\n** There never were creatures of prey so mischievous, never diplomat-\nists so cunning, never poisoners so deadly, as these masked words:\nthey are the unjust stewards of all men's ideas: whatever fancy or\nfavourite instinct a map most cherishes, he gives to his favourite masked\nword to fake care of for him; the word comes to have at last an infinite\npower over him,... you cannot get at him but by its ministry.\"\n\nJohn Ruskin."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c013", "article_bluemountain": "bmtnaau_1915-05_01#c013", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "100", "page_fin": "103", "image_debut": 12, "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=bmtnaau191505-01.2.9", "titre_corps": "A NOTE ON A PAGEANT STAGE", "titre_sommaire": "A NOTE ON A PAGEANT STAGE", "signature_source": "Felix Urban", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 12, "page_imprimee": "100", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.12", "debut_caractere": 760, "fin_caractere_exclue": 1422, "texte": "A NOTE ON A PAGEANT STAGE\nby Felix Urban,\n\nhe picture upon the opposite page shows one of\nthe pageant stages used In olden days in France\nas part of the festivities which celebrated the\nsolemn 'entries' of royalty Into a city.\n£> These 'entrees' took place on the occasion of\nmarriages, of the return from conquests, of coro=\nnations, and other great events in the royal annals,\nand were signalized by splendid decorations and\ngorgeous processions and pageants.\nIn those days the Theatre, formerly shrined in the churches, had\nbeen brought out into the streets for ail the people, nobles and commoners\nalike: it was free to all, and the whole city was its stage."}, {"page_pdf": 15, "page_imprimee": "103", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.15", "debut_caractere": 28, "fin_caractere_exclue": 2314, "texte": "& Paris, as the capitol city, had a lavish share of festivals; but Rheims,\nthe city where the kings of Prance were crowned, was also the scene\nof many splendid 4 entries,' with their accompanying rejQicings and grand\ntheatrical displays.\nOn August 14, 1462, for example, when Louis XI made his 4 entree,'\nsome mysteries were acted \"at the expense of the funds voted for the\ncoronation \"; and twenty one years later, when his'young son, Louis XII,\n44 entered the city on Saturday May 29th, 1484, after dinner; being less\n44 than fourteen years old,\" the chronicles give a detailed account of many\nof the spectacles which greeted him as he passed along the streets.\nIn one place was the Fountain of Youth, in which people were bathing,\nto renew their life, while above was Cupid, blind-fold, with an arrow,\nand Venus 44 dressed as a lady.\" On another raised stage was a group\nrepresenting Romulus and Remus, with the wolf, shepherd, and other\nlegendary characters, while further on was a stage on which appeared\nking Pharamond, first king of the French, surrounded by men dressed\nas Turks and Saracens 44 some armed, others not,.who were In the act\nof crowning him.\"\nAll along the streets, as the procession went forward, 44 there were\n44 burning great torches of the kind that are carried at the Fdte Dleu,\n44 which are very large and massive, some being more than forty feet\n44 high and of quite sixty pounds of wax.\" Such, torches may be seen in\nthe Illustration reproduced here, and in many contemporary prints.\nThe streets, also, were 44 weil apparelled, along the fronts of the\nhouses; some with boughs of trees, others with fine linen, others with\ntapestries, and others with paintings.\"\nAt the Croix Saint Victor 44 on a stage well hung with tapestry was\n44 represented the Mystery of the Baptism and Annointing of King Clovis,\n44 first Christian king of the French\" and so on, through a long list,\ndoes the chronicler record the patriotic or religious pageants which met\nthe procession in every street and square.\n& I suppose that the street stagfe shown in the Illustration represents\n44 Orpheus \" In the enchanted garden of his muse, to which the animals\nhave free entry, but wild men and kings have to remain without,....\nattracted, yes, but not yet quite ready to enter Eden."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c015", "article_bluemountain": "bmtnaau_1915-05_01#c015", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "101", "page_fin": "101", "image_debut": 13, "image_fin": 13, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.9.2", "titre_corps": "A Pageant Stage, showing A Garden of Animals and Birds, as represented in the Royal Entries", "titre_sommaire": "A Pageant Stage, showing A Garden of Animals and Birds, as represented in the Royal Entries", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 13, "page_imprimee": "101", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 92, "texte": "A Pageant Stage, showing A Garden of Animals and Birds, as represented in the Royal Entries."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c016", "article_bluemountain": "bmtnaau_1915-05_01#c016", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "104", "page_fin": "107", "image_debut": 16, "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=bmtnaau191505-01.2.10", "titre_corps": "A NOTE ON JAPANESE MARIONETTES", "titre_sommaire": "A NOTE ON JAPANESE MARIONETTES", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 16, "page_imprimee": "104", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.16", "debut_caractere": 0, "fin_caractere_exclue": 1475, "texte": "A NOTE ON JAPANESE MARIONETTES,\nby Gordon Craig.\n\nPorter Garnett se-\nveral years ago very\nkindly sent me these tra-\ncings of parts of a Japanese\nmarionette from designs\nin an 18th century book\non Marionettes and Stage\ncraft, owned by Dr Arnold\nGenthe of San Francisco.\n& I was at that time\noverwhelmed by a convic-\ntion that the marionette,\neven though but distantly\nrelated to the Idol, held\nsomething vital to the\ndevelopment of the Thea-\ntre : I felt that it was one\nof the few things which\ncounted in all the discoveries in the land of the stage.\nJG? 1 still feel this. My judgement has had time to ripen, and if not\nconvinced of the immediate advent of a world of super-marionettes to\nrescue a special branch of the art of acting from decay, 1 am persuaded\nthat the marionette is the basis for a revival of that particular branch.\nDo not misunderstand me to mean that in reviving the Marionette as\nit was or as It Is, we can revive the branch of acting to which I allude.\nBut by studying the nature of this creation of artists (and marionettes\nhave been made by artists of all nations since the earliest recorded\ntimes), by careful and serious and protracted study of the Idea In the\nIdol, in the Puppet, in the Doll, in Images of all kinds, we shall widen\nand not narrow our vision, and so, maybe, see things we would show to\nothers. This instinct to show others what we have seen is an essential.\nIt keeps the creative instinct young; and, if nowadays this Instinct is"}, {"page_pdf": 18, "page_imprimee": "106", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.18", "debut_caractere": 33, "fin_caractere_exclue": 2420, "texte": "dull, may it not be because we have forgotten our early training to\nshare our joys and our chocolates and our discoveries ? (i)\nAnd this Is one of the things I have been studying a little.... the\nnature of the marionette.\n& And in this study, the tracings sent me by Mr Garnett are useful.\nThe elaboration of the mechanism seems at first a little startling: a\nhand in which each joint of each finger is moveable seems a little unne-\ncessary ;we think of the two conventions followed by the Javanese: of\nthe Turkish convention, and we must admit that this crab-like elaboration\nis aiming rather wide of the mark and hitting only the outer ring. But\non recalling the Italian, German, English and French efforts to hit the\nbullseye we see how short of the mark they are. as well as wide of it.\nThe Japanese have done well in their marionettes because they have\nat least hit the target,... If not in the centre.\n& Their elaborate mechanism shows that they considered that Infinite\ncapacity for taking pains was not unworthy of the object they had in\nview;... a figure that should be comparable to the human figure in that\nit could move anywhere and make a maximum number of movements,\n(if not the maximum), with head and hands, shoulders and legs.\n(There is a full-length design which Is not reproduced here because\nthe tracing Is torn; but it shows that shoulders, neck, head, arms at\nall joints, fingers, trunk, hips, knees and feet are all flexible and moveable\nIn several different ways).\nI cannot say whether we have here the Ideal marionette. I think\nnot: but we have a thorough one.\nThe doll stage of the puppet has been passed. To go back to it should be\nunnecessary, except for the student who would practise In strict privacy.\nTa display a doll is therefore not enough when once we have seen\nthis Japanese figure.\n\n(1) N. B. The experts Browne, Smythe and de Jones, who are bad at finding out anything but what Appia,\nBakst, Fortuny, Brazicolli or L have discovered, will not be in the game or share any of the fun, (except by\nstealth,) because they have not observed the \" rules\" oi the game.\nI bave to mention this, for it is these experts who so often write to the press or chatter at tea-tables in a\nwrythe of fury, that we are forgetting them, are not acknowledging that their art of theft is the art of\ncreation, and are therefore setting it down as valueless to the theatre."}, {"page_pdf": 19, "page_imprimee": "107", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.19", "debut_caractere": 35, "fin_caractere_exclue": 713, "texte": "Neither will it d'o to copy the Japanese and put on it a European or\nRussian Ballet costume. That short cut can be left to Messrs Browne,\nSmythe and de Jones. They will take it, rest assured.\nlmpotence detests creation for obvious reasons....\nBut we must avoid copying this type, and can do so. Let us avoid\ncopying the other types I have mentioned.\n& But after long meditation let some of us venture to exchange notes,\n(even if only with our sub-conscious selves), and record the results of\nour vision, however vague, however \" impossible.\"\n& For there is that in the marionette of all times which arrests the\nattention of sages and children, and this force must not be wasted."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c018", "article_bluemountain": "bmtnaau_1915-05_01#c018", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "105", "page_fin": "105", "image_debut": 17, "image_fin": 17, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.10.2", "titre_corps": "Diagrams of Head and Arm of a Japanese Marionette", "titre_sommaire": "Diagrams of Head and Arm of a Japanese Marionette", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 17, "page_imprimee": "105", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 50, "texte": "Diagrams of Head and Arm\nof a Japanese Marionette."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c020", "article_bluemountain": "bmtnaau_1915-05_01#c020", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "107", "page_fin": "108", "image_debut": 19, "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=bmtnaau191505-01.2.11", "titre_corps": "A PASSAGE FROM AN OLD BOOK : DEDICATED TO ANY STATESMAN OF THE REIGN OF KING GEORGE THE FIFTH", "titre_sommaire": "A PASSAGE FROM AN OLD BOOK : DEDICATED TO ANY STATESMAN OF THE REIGN OF KING GEORGE THE FIFTH", "signature_source": "Thoreau", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 19, "page_imprimee": "107", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.19", "debut_caractere": 715, "fin_caractere_exclue": 1691, "texte": "A PASSAGE FROM AN OLD BOOK.\nDEDICATED TO ANY STATESMAN OF THE\nREIGN OF KING GEORGE THE FIFTH.\n\nThere was an artist in the city of Kouroo who was disposed to strive\nafter perfection. One day It came into his mind to make a staff. Having\nconsidered that in an imperfect work time is an Ingredient, but into a\nperfect work time does not enter, he said to himself, It shall be perfect\nin all respects, though I should do nothing else in my life.\n& He proceeded instantly to the forest for wood, being resolved that it\nshould not be made of unsuitable material ; and as he searched for and\nrejected stick after stick, his friends gradually deserted him, for they\ngrew old in their work and died, but he grew not older by a moment.\nHis singleness of purpose and resolution, and his elevated piety,\nendowed him, without his knowledge, with perennial youth. As he made\nno compromise with Time, Time kept out of his way, and only sighed\nat a distance because he could not overcome him."}, {"page_pdf": 20, "page_imprimee": "108", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.20", "debut_caractere": 29, "fin_caractere_exclue": 1386, "texte": "Before he had found a stock in all respects suitable the city of Kouroo\nwas a hoary ruin, and he sat on one of its mounds to peel the stick.\nBefore he had given it the proper shape the dynasty of the Candahars\nwas at an end, and with the point of the stick he wrote the name of the\nlast of that race In the sand, and then resumed his work. By the time he\nhad smoothed and polished the staff Kalpa was no longer the pole-star;\nand ere he had put on the ferule and the head adorned with precious\nstones, Brahma had awoke and slumbered many times.\nBut why do I stay to mention these things? When the finishing\nstroke was put to his work, it suddenly expanded before the eyes of the\nastonished artist into the fairest of all the creations of Brahma.\ntie had made a new system in making a staff, a world with full and\nfair proportions; in which, though the old cities and dynasties had passed\naway, fairer and more glorious ones had taken their places.\nAnd now he saw by the heap of shavings still fresh at his feet, that,\nfor him and his work, the former lapse of time had been an illusion, and\nthat no more time had elapsed than is required for a single scintillation\nfrom the brain of Brahma to fall on and inflame the tinder of a mortal\nbrain. The material was pure, and his art was pure; how could the\nresult be other than wonderful ?\n\nThoreau, In \"Walden.\""}]}, {"article_id": "bm-bmtnaau-1915-05-01-c022", "article_bluemountain": "bmtnaau_1915-05_01#c022", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "109", "page_fin": "115", "image_debut": 21, "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=bmtnaau191505-01.2.12", "titre_corps": "\"HAMLET\" IN MOSCOW : Notes for a short Address to the Actors of the Moscow Art Theatre", "titre_sommaire": "\"HAMLET\" IN MOSCOW : Notes for a short Address to the Actors of the Moscow Art Theatre", "signature_source": "Gordon Craig", "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=bmtnaau191505-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 1748, "texte": "\"HAMLET\" IN MOSCOW, Notes for a\nshort Address to the Actors of the Moscow\nArt Theatre,\nby Gordon Craig.\n\n(November 19 1909),\ndo not want you, when you come to perform\nthis Drama of Kings and Princes, to create the\nimpression of actors acting, for that nearly always\nmeans something Insincere and which for some\nshameful reason we have been forced to hear\ncalled \" theatrical\nBut you must not go to the other extreme.\nIf you do so you will create an impression of\neveryday people who have never seen a court, much less a king, and\nwho have no idea of Royalty.\n£? The Royal is not yet the Theatrical although sometimes the two\nare confused. You must attempt to move and speak as though you\nwere in an atmosphere which is rare.... for Shakespeare has made\nit rare.\nTo do this you must try to think rarely and see all things as rare\nthings. The stage offers nothing more difficult for your, talents.\n& I am of the opinion that no band of actors will succeed in thoroughly\nrepresenting this sense of Royalty until they become R0ya1.... and to do\nthis it will be necessary to live their lives with the object of culture\nuppermost 5 for only by this means can they absorb that air which, alter\nit has entered a man, lends him at least a manner which is magnificent\nand a tone which is sweet.\np It jg this manner and this tone which we need for the representation\nof Shakespeare's Dramatic Poems.\nI have said culture for I purposely limit our aspirations here to\nculture; if I went further I should say that we must first get into that\nspiritual state of ecstacy which we can better imagine than tell about.\nBut for our purpose... Shakespeare's purpose... a Royal state is enough,...\nnay, is it not half the way to a Religious state ; and If we can acquire"}, {"page_pdf": 22, "page_imprimee": "110", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.22", "debut_caractere": 23, "fin_caractere_exclue": 2068, "texte": "it on e way or another shall we not all be very fortunate, being nearer\nby a step towards the spiritual state ?\nJP And how to acquire it ?\njg? Now here you bring me face to face with a Riddle at once very\ndifficult and quite easy to solve.\nHow to make something which is Rounded at each end stand up on\neither end the Egg of Columbus.\nI can help you but 1 cannot teach you, for this is a thing which no\nman can teach. 1 can tell you some things which, if you will believe\nthem, will unfailingly bring you in time nearer to that state which we\nhave called ecstatic.\n& Remember that the acme of ecstasy is not apparent excitement, but\napparent calm. It is the white heat of emotion ;... that is to say, it is\nalmost trance. This state has a thousand names and takes a myriad\nforms. We call it wisdom.\n4Z? it Is pure emotion with all Its impurity burnt away.\nln order to have the courage to make the attempt to enter such a\nstate, some great promise must be given you that the attempt will not\nbe made in vain.\nI will give you that promise. You must believe me, for what 1 say is\ntrue. I promise you that you can reach any state provided you can see\nbeyond it. 1 know quite well that you have at least ten or twenty\ntimes in your life seen or felt things which seemed mad to you. You\navoided these feelings not because you disliked them but because you\nsaw no use to put them t0,... and so grew frightened. In other words,\nyour Imagination awoke in you and possessed you for a moment or two.\nNow I tell you that you must awaken your Imagination and let It possess\nyou entirely. Be less frightened of those moments when they come.\nGo towards them.... run the risk: leave yourself free with them; let\nthem possess you. Ecstasy is nothing else than a kind of madness.... a\nkind of madness, remember, not any kind of madness.\nIt is all which is Rapid... White... Glowing... Circular... Vast... Steady.\nIt is all that you dare to dream about and fear to go near.\n& It is the great Danger.\nAnd for this very reason I tell you that you must go to meet it."}, {"page_pdf": 23, "page_imprimee": "111", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.23", "debut_caractere": 24, "fin_caractere_exclue": 1828, "texte": "(November 20 1909).\nY'ou want to be able to understand and interpret one of the greatest\nworks of genius which the world possesses and therefore you must\nbring yourselves nearer to the state of that genius.\nYou must become ecstatic. You must lose yourself.\nIt is Impossible to believe that you can interpret so great a work\nwithout making use of your own greatness. You cannot do it by your reason,\nwhich is your littleness. You can only do it by the power of Imagination.\nIf you can loosen the< bonds which imprison your freedom (and your\nimagination is your freedom) you will be in a state to receive the\ncommunications of my imagination.\nj£f We can then advance upon the work and master its secrets.\n£? If you remain tied by your intellect or reason you would never\nunderstand me and so we should be unable to achieve anything. And I\nhave only one thing to communicate to you. The ecstasy of Shakespeare.\nUnder this heading a thousand moments of madness are gathered.\n\n(November 22 1909).\nis something which, when it seems to succeed is called Heroic:\nwhen it seems to fall is called Polly.\n& To attempt what is called the Impossible,... that is Madness, and\nthat is Good.\n& On October 20th 480 B. C. was fought the Battle of Salamis. The\nGreeks had 380 ships, the Persians 2000 ships led by Xerxes.\n& This is the gist of the words spoken by Themistocles the Greek\ngeneral, before the battle.\n\" The argument of it was that in all things that are possible to man's\nnature and situation, there is always a higher and a lower\" and that\nthey must stand for the higher. (1)\nThey did so,... and they won the battle; and the madness of the\nattempt was called Heroic... and justified.\n& You must make this same mad attempt In \" Hamlet and \" if the\nMuses leave us may we die.\" (2)\n(1) Heroditus.\n(2) Euripides."}, {"page_pdf": 24, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.24", "debut_caractere": 26, "fin_caractere_exclue": 2015, "texte": "£? And now that I've told you what I want you to do let me advise you\n• ■\nwhat not to do.\nDo not, I beg of you, do not think too much.\nEverybody has a habit of thinking, but modern actors think much\ntoo much.\njSf No one by thinking can see the sky. He sees it and realises It through\nhis senses.\nTo think when music is playing would be idle... one must merely\nreceive it into the soul through the senses.\n& And it is to be so with our Hamlet. Let your brains rest and absorb\nthe beauty of Hamlet through your eyes and ears and do not forget what\nis called touch, for it has much to do with your movement.\nBy means of the brains... by thinking, one can act cleverly. A clever\nman is he who thinks; and you are acknowledged by Europe to be the\n» ....\ncleverest company of actors in the west.\nBy means of the senses and the soul you may become the most\nprofound... the most beautiful... the most spiritual.\n& So, my dears, do not think too much... and feel more,... much more.\nAnd let me tell you here that 1 love you all very much and will do\nanything I can, and all I can, to be of help to you during this your\ninterpretation of our Hamlet; but that it is you who have the harder\ntask,... that is, to bring yourselves willingly into the simplest state of\nbeing possible; and you can only do this by choosing the higher in place\nof the lower means: the senses and the soul instead of the brain.\n\n(November 30 1909).\nIt has been proved by experience that the Shakespearean Dramatic Poems\ncannot be performed in the same manner as we perform modern Plays.\n& All the colour departs from the Poems when we act them as we act\nIbsen, or Tchekov.\nOne difference between Shakespeare and the modern writers is that\nwhereas they deal in men and women he deals In types. His lover is the\ntype of all lovers, distinguished by nothing but his passion. We know no\ndetails about his life: we do not know his character. Shakespeare only\nshows us his passion. It is the Poet's passion. Romeo sings and floats"}, {"page_pdf": 25, "page_imprimee": "113", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.25", "debut_caractere": 26, "fin_caractere_exclue": 2053, "texte": "before u5,... he does not converse and walk. He loves... loves again...\nsickens... revives... sickens again... meets Fate... and dies.\nAnd Passion, not Character, stamps its mark on the whole tragedy\nof Romeo and Juliet. It is only where something comic has to be revealed\nthat Character is made use of. I learnt this from my friend Yeats, our\ngreat Irish poet.\n& Well then...\nA company of actors who would perform this play must weigh all\nthis very thoroughly.\nIt is because modern stage managers and actors attempt to turn\nShakespeare's Dramatic Poems into Plays of Character that they produce\nso lamentable results.\nHamlet is made up of Passion... Style,,. Music... and Vision: but not\nCharacter.\nCharacter appears incidentally in the figures of the two Grave-diggers,\nand even they have something of that strange mystic appearance, that\nstrange and magic expression of face which arrest our attention in many\nof the Greek portraits and in the Pompetan frescoes.\nOn looking at them we are startled by what they appear to see....\nor what they have seen long ago and is reflected in their eyes and\nmouth. A gravity which lends a rare beauty to the staring eyes\nand slightly opened mouth. (In Greek Tragedy or Comedy masks the\nmouth was indicated as open. It is the passionate state. The closed\nmouth is the intellectual state). Character appears also in Osrlc... and\nin Polonius.\n& And now... how shall a company of actors who have trained themselves\nto represent Plays of Character as you have done, who have based your\nmethods of representation upon actuality instead Poetry and Imagi-\nnation, how shall they wrestle with Hamlet ?\nShall they do better than treat it as a Romance... a thing of fancy,...\nor an actuality? Dare they face the thing as it is?\nTo me the secret of performing the play lies in the capacity of the\nactor to understand Passion,... the white heat of Passion, the cairn of\nPassion, its ecstasy, and in having given his Hfe to the creation of a\ntechnique which shall convey ecstasy to those who look on."}, {"page_pdf": 26, "page_imprimee": "114", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.26", "debut_caractere": 23, "fin_caractere_exclue": 1920, "texte": "Were Grasso, our stunning Giovanni, to interpret Hamlet we should\nexpect and ask for red heat. That is another story.\n.<2? Hamlet is a saint yet loves Ophelia.... in that he is a saint; yet\nkills Polonius... in that a saint....\njSf How so? you ask. Because he is the creation of Imagination, because\na Poet gave birth to iiim. He is no reality.\n& Remember Gioconda's smile which is Leonardo's smile.... Hamlet has\nthat smile.\nYet Hamlet talks much ?\n& Weil, we must not touch on that dread matter, for it is, alas, too\ntrue. Can the actor nowadays understand this state of being created\nthrough the Imagination ?... can he attain to it ?\n& To the point then. This is a question which slowly and unwillingly\nthrusts forwards for an answer....\n& It is as Tragic as the Tragedy of Hamlet.\n&If the reply is \"No then why is it he cannot understand it ?\nBecause\nN0!.... No man but only angels may answer this question,\nwhen Love by luck returns into the Theatre the Theatre will be reborn.\n& When it returns to Earth it will enter the Theatre.\n& Come, Chuang Tzu, come to my help; tell them what 1 mean,.... or\nrather tell them that I am not utterly wrong in that by Passion I mean\nnot the passions:....\n& \" Hui Tzu said to Chuang Tzu : 'Are there, then, men who have no\n\" passions ?' Chuang Tzu replied : 'Certainly'.\n'< 'But if a man has no passions', argued Hui Tzu, 'what is it that\n\" makes him a man ? '\n\" 'Tao', replied Chuang Tzu, 'gives hint his expression, and God gives\n\" him his form. How should he not be a man ?'\n£? \" 'lf, then, he is a man,' said Hui Tzu, 'how can he be without pas-\n\" sions ?' What you mean by passions,' answered Chuang Tzu, 'is not\n\" what I mean. By a man without passions 1 mean one who does not\n\" permit good and evil to disturb his internal economy, but rather falls\n\" in with whatever happens, as a matter of course, and does not add to\n\" the sum of his mortality.\""}, {"page_pdf": 27, "page_imprimee": "115", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.27", "debut_caractere": 25, "fin_caractere_exclue": 1195, "texte": "& 44 The pure men of old slept without dreams, and waked without\n\" anxiety. They ate without discrimination, breathing deep breaths.\n44 For pure men draw breath from their uttermost depths; the vulgar\n44 only from their throats. Out of the crooked, words are retched up\n44 like vomit. If men's passions are deep, their divinity is shallow.\n£/ 44 The pure men of old did not know what it was to iove life nor to\n44 hate death. They did not rejoice in birth, nor strive to put off dis-\n-44 solution. Quickly come and quickly go ;... no more. They did not forget\n44 whence it was they had sprung, neither did they seek to hasten their\n44 return thither. Cheerfully they played their allotted parts, waiting\n44 patiently for the end. This is what is called not to lead the heart\n44 astray from Tao, nor to let the human seek to supplement the divine.\n44 And this is what is meant by a pure man.\"\n\nIPhis is the gist of what 1 wished to say to the actors of the Moscow\nArt Theatre. But on seeing their kind faces and wrinkled brows I had\nnot the heart to add one more wrinkle. 1 had at least the wit to abstain\nonce more:.... and 1 made one more design for an Über-Marionette."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c024", "article_bluemountain": "bmtnaau_1915-05_01#c024", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "109", "page_fin": "110", "image_debut": 21, "image_fin": 22, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.12.2", "titre_corps": "(November 19 1909)", "titre_sommaire": "(November 19 1909)", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "109", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.21", "debut_caractere": 105, "fin_caractere_exclue": 1748, "texte": "(November 19 1909),\ndo not want you, when you come to perform\nthis Drama of Kings and Princes, to create the\nimpression of actors acting, for that nearly always\nmeans something Insincere and which for some\nshameful reason we have been forced to hear\ncalled \" theatrical\nBut you must not go to the other extreme.\nIf you do so you will create an impression of\neveryday people who have never seen a court, much less a king, and\nwho have no idea of Royalty.\n£? The Royal is not yet the Theatrical although sometimes the two\nare confused. You must attempt to move and speak as though you\nwere in an atmosphere which is rare.... for Shakespeare has made\nit rare.\nTo do this you must try to think rarely and see all things as rare\nthings. The stage offers nothing more difficult for your, talents.\n& I am of the opinion that no band of actors will succeed in thoroughly\nrepresenting this sense of Royalty until they become R0ya1.... and to do\nthis it will be necessary to live their lives with the object of culture\nuppermost 5 for only by this means can they absorb that air which, alter\nit has entered a man, lends him at least a manner which is magnificent\nand a tone which is sweet.\np It jg this manner and this tone which we need for the representation\nof Shakespeare's Dramatic Poems.\nI have said culture for I purposely limit our aspirations here to\nculture; if I went further I should say that we must first get into that\nspiritual state of ecstacy which we can better imagine than tell about.\nBut for our purpose... Shakespeare's purpose... a Royal state is enough,...\nnay, is it not half the way to a Religious state ; and If we can acquire"}, {"page_pdf": 22, "page_imprimee": "110", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.22", "debut_caractere": 23, "fin_caractere_exclue": 2068, "texte": "it on e way or another shall we not all be very fortunate, being nearer\nby a step towards the spiritual state ?\nJP And how to acquire it ?\njg? Now here you bring me face to face with a Riddle at once very\ndifficult and quite easy to solve.\nHow to make something which is Rounded at each end stand up on\neither end the Egg of Columbus.\nI can help you but 1 cannot teach you, for this is a thing which no\nman can teach. 1 can tell you some things which, if you will believe\nthem, will unfailingly bring you in time nearer to that state which we\nhave called ecstatic.\n& Remember that the acme of ecstasy is not apparent excitement, but\napparent calm. It is the white heat of emotion ;... that is to say, it is\nalmost trance. This state has a thousand names and takes a myriad\nforms. We call it wisdom.\n4Z? it Is pure emotion with all Its impurity burnt away.\nln order to have the courage to make the attempt to enter such a\nstate, some great promise must be given you that the attempt will not\nbe made in vain.\nI will give you that promise. You must believe me, for what 1 say is\ntrue. I promise you that you can reach any state provided you can see\nbeyond it. 1 know quite well that you have at least ten or twenty\ntimes in your life seen or felt things which seemed mad to you. You\navoided these feelings not because you disliked them but because you\nsaw no use to put them t0,... and so grew frightened. In other words,\nyour Imagination awoke in you and possessed you for a moment or two.\nNow I tell you that you must awaken your Imagination and let It possess\nyou entirely. Be less frightened of those moments when they come.\nGo towards them.... run the risk: leave yourself free with them; let\nthem possess you. Ecstasy is nothing else than a kind of madness.... a\nkind of madness, remember, not any kind of madness.\nIt is all which is Rapid... White... Glowing... Circular... Vast... Steady.\nIt is all that you dare to dream about and fear to go near.\n& It is the great Danger.\nAnd for this very reason I tell you that you must go to meet it."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c025", "article_bluemountain": "bmtnaau_1915-05_01#c025", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "111", "page_fin": "111", "image_debut": 23, "image_fin": 23, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.12.3", "titre_corps": "(November 20 1909)", "titre_sommaire": "(November 20 1909)", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "111", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.23", "debut_caractere": 24, "fin_caractere_exclue": 994, "texte": "(November 20 1909).\nY'ou want to be able to understand and interpret one of the greatest\nworks of genius which the world possesses and therefore you must\nbring yourselves nearer to the state of that genius.\nYou must become ecstatic. You must lose yourself.\nIt is Impossible to believe that you can interpret so great a work\nwithout making use of your own greatness. You cannot do it by your reason,\nwhich is your littleness. You can only do it by the power of Imagination.\nIf you can loosen the< bonds which imprison your freedom (and your\nimagination is your freedom) you will be in a state to receive the\ncommunications of my imagination.\nj£f We can then advance upon the work and master its secrets.\n£? If you remain tied by your intellect or reason you would never\nunderstand me and so we should be unable to achieve anything. And I\nhave only one thing to communicate to you. The ecstasy of Shakespeare.\nUnder this heading a thousand moments of madness are gathered."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c026", "article_bluemountain": "bmtnaau_1915-05_01#c026", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "111", "page_fin": "112", "image_debut": 23, "image_fin": 24, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.12.4", "titre_corps": "(November 22 1909)", "titre_sommaire": "(November 22 1909)", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "111", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.23", "debut_caractere": 996, "fin_caractere_exclue": 1828, "texte": "(November 22 1909).\nis something which, when it seems to succeed is called Heroic:\nwhen it seems to fall is called Polly.\n& To attempt what is called the Impossible,... that is Madness, and\nthat is Good.\n& On October 20th 480 B. C. was fought the Battle of Salamis. The\nGreeks had 380 ships, the Persians 2000 ships led by Xerxes.\n& This is the gist of the words spoken by Themistocles the Greek\ngeneral, before the battle.\n\" The argument of it was that in all things that are possible to man's\nnature and situation, there is always a higher and a lower\" and that\nthey must stand for the higher. (1)\nThey did so,... and they won the battle; and the madness of the\nattempt was called Heroic... and justified.\n& You must make this same mad attempt In \" Hamlet and \" if the\nMuses leave us may we die.\" (2)\n(1) Heroditus.\n(2) Euripides."}, {"page_pdf": 24, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.24", "debut_caractere": 26, "fin_caractere_exclue": 1418, "texte": "£? And now that I've told you what I want you to do let me advise you\n• ■\nwhat not to do.\nDo not, I beg of you, do not think too much.\nEverybody has a habit of thinking, but modern actors think much\ntoo much.\njSf No one by thinking can see the sky. He sees it and realises It through\nhis senses.\nTo think when music is playing would be idle... one must merely\nreceive it into the soul through the senses.\n& And it is to be so with our Hamlet. Let your brains rest and absorb\nthe beauty of Hamlet through your eyes and ears and do not forget what\nis called touch, for it has much to do with your movement.\nBy means of the brains... by thinking, one can act cleverly. A clever\nman is he who thinks; and you are acknowledged by Europe to be the\n» ....\ncleverest company of actors in the west.\nBy means of the senses and the soul you may become the most\nprofound... the most beautiful... the most spiritual.\n& So, my dears, do not think too much... and feel more,... much more.\nAnd let me tell you here that 1 love you all very much and will do\nanything I can, and all I can, to be of help to you during this your\ninterpretation of our Hamlet; but that it is you who have the harder\ntask,... that is, to bring yourselves willingly into the simplest state of\nbeing possible; and you can only do this by choosing the higher in place\nof the lower means: the senses and the soul instead of the brain."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c027", "article_bluemountain": "bmtnaau_1915-05_01#c027", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "112", "page_fin": "115", "image_debut": 24, "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=bmtnaau191505-01.2.12.5", "titre_corps": "(November 30 1909)", "titre_sommaire": "(November 30 1909)", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 24, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.24", "debut_caractere": 1420, "fin_caractere_exclue": 2015, "texte": "(November 30 1909).\nIt has been proved by experience that the Shakespearean Dramatic Poems\ncannot be performed in the same manner as we perform modern Plays.\n& All the colour departs from the Poems when we act them as we act\nIbsen, or Tchekov.\nOne difference between Shakespeare and the modern writers is that\nwhereas they deal in men and women he deals In types. His lover is the\ntype of all lovers, distinguished by nothing but his passion. We know no\ndetails about his life: we do not know his character. Shakespeare only\nshows us his passion. It is the Poet's passion. Romeo sings and floats"}, {"page_pdf": 25, "page_imprimee": "113", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.25", "debut_caractere": 26, "fin_caractere_exclue": 2053, "texte": "before u5,... he does not converse and walk. He loves... loves again...\nsickens... revives... sickens again... meets Fate... and dies.\nAnd Passion, not Character, stamps its mark on the whole tragedy\nof Romeo and Juliet. It is only where something comic has to be revealed\nthat Character is made use of. I learnt this from my friend Yeats, our\ngreat Irish poet.\n& Well then...\nA company of actors who would perform this play must weigh all\nthis very thoroughly.\nIt is because modern stage managers and actors attempt to turn\nShakespeare's Dramatic Poems into Plays of Character that they produce\nso lamentable results.\nHamlet is made up of Passion... Style,,. Music... and Vision: but not\nCharacter.\nCharacter appears incidentally in the figures of the two Grave-diggers,\nand even they have something of that strange mystic appearance, that\nstrange and magic expression of face which arrest our attention in many\nof the Greek portraits and in the Pompetan frescoes.\nOn looking at them we are startled by what they appear to see....\nor what they have seen long ago and is reflected in their eyes and\nmouth. A gravity which lends a rare beauty to the staring eyes\nand slightly opened mouth. (In Greek Tragedy or Comedy masks the\nmouth was indicated as open. It is the passionate state. The closed\nmouth is the intellectual state). Character appears also in Osrlc... and\nin Polonius.\n& And now... how shall a company of actors who have trained themselves\nto represent Plays of Character as you have done, who have based your\nmethods of representation upon actuality instead Poetry and Imagi-\nnation, how shall they wrestle with Hamlet ?\nShall they do better than treat it as a Romance... a thing of fancy,...\nor an actuality? Dare they face the thing as it is?\nTo me the secret of performing the play lies in the capacity of the\nactor to understand Passion,... the white heat of Passion, the cairn of\nPassion, its ecstasy, and in having given his Hfe to the creation of a\ntechnique which shall convey ecstasy to those who look on."}, {"page_pdf": 26, "page_imprimee": "114", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.26", "debut_caractere": 23, "fin_caractere_exclue": 1920, "texte": "Were Grasso, our stunning Giovanni, to interpret Hamlet we should\nexpect and ask for red heat. That is another story.\n.<2? Hamlet is a saint yet loves Ophelia.... in that he is a saint; yet\nkills Polonius... in that a saint....\njSf How so? you ask. Because he is the creation of Imagination, because\na Poet gave birth to iiim. He is no reality.\n& Remember Gioconda's smile which is Leonardo's smile.... Hamlet has\nthat smile.\nYet Hamlet talks much ?\n& Weil, we must not touch on that dread matter, for it is, alas, too\ntrue. Can the actor nowadays understand this state of being created\nthrough the Imagination ?... can he attain to it ?\n& To the point then. This is a question which slowly and unwillingly\nthrusts forwards for an answer....\n& It is as Tragic as the Tragedy of Hamlet.\n&If the reply is \"No then why is it he cannot understand it ?\nBecause\nN0!.... No man but only angels may answer this question,\nwhen Love by luck returns into the Theatre the Theatre will be reborn.\n& When it returns to Earth it will enter the Theatre.\n& Come, Chuang Tzu, come to my help; tell them what 1 mean,.... or\nrather tell them that I am not utterly wrong in that by Passion I mean\nnot the passions:....\n& \" Hui Tzu said to Chuang Tzu : 'Are there, then, men who have no\n\" passions ?' Chuang Tzu replied : 'Certainly'.\n'< 'But if a man has no passions', argued Hui Tzu, 'what is it that\n\" makes him a man ? '\n\" 'Tao', replied Chuang Tzu, 'gives hint his expression, and God gives\n\" him his form. How should he not be a man ?'\n£? \" 'lf, then, he is a man,' said Hui Tzu, 'how can he be without pas-\n\" sions ?' What you mean by passions,' answered Chuang Tzu, 'is not\n\" what I mean. By a man without passions 1 mean one who does not\n\" permit good and evil to disturb his internal economy, but rather falls\n\" in with whatever happens, as a matter of course, and does not add to\n\" the sum of his mortality.\""}, {"page_pdf": 27, "page_imprimee": "115", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.27", "debut_caractere": 25, "fin_caractere_exclue": 916, "texte": "& 44 The pure men of old slept without dreams, and waked without\n\" anxiety. They ate without discrimination, breathing deep breaths.\n44 For pure men draw breath from their uttermost depths; the vulgar\n44 only from their throats. Out of the crooked, words are retched up\n44 like vomit. If men's passions are deep, their divinity is shallow.\n£/ 44 The pure men of old did not know what it was to iove life nor to\n44 hate death. They did not rejoice in birth, nor strive to put off dis-\n-44 solution. Quickly come and quickly go ;... no more. They did not forget\n44 whence it was they had sprung, neither did they seek to hasten their\n44 return thither. Cheerfully they played their allotted parts, waiting\n44 patiently for the end. This is what is called not to lead the heart\n44 astray from Tao, nor to let the human seek to supplement the divine.\n44 And this is what is meant by a pure man.\""}]}, {"article_id": "bm-bmtnaau-1915-05-01-c029", "article_bluemountain": "bmtnaau_1915-05_01#c029", "volume": "bmtnaau_1915-05_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=bmtnaau191505-01.2.12.6", "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": 27, "page_imprimee": "115", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.27", "debut_caractere": 918, "fin_caractere_exclue": 1195, "texte": "IPhis is the gist of what 1 wished to say to the actors of the Moscow\nArt Theatre. But on seeing their kind faces and wrinkled brows I had\nnot the heart to add one more wrinkle. 1 had at least the wit to abstain\nonce more:.... and 1 made one more design for an Über-Marionette."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c031", "article_bluemountain": "bmtnaau_1915-05_01#c031", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "116", "page_fin": "129", "image_debut": 28, "image_fin": 41, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.13", "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": 28, "page_imprimee": "116", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.28", "debut_caractere": 0, "fin_caractere_exclue": 1890, "texte": "A HISTORY OF PUPPETS\nby \"Yorick\".\n\nic <■>\nPUPPETS IN FRANCE.\n(Continued)\n•yhe list of plays represented In France by the burattini during that\nstormy and glorious period Is too interesting, and too useful to the\ngeneral history of the Theatre, to be left out of these pages. It is cer-\ntalnly Incomplete, but it Is the only one that can be proved by documen-\ntary evidence, after long and diligent research, which I, myself, have\nmade through the \" Dlctionnaire des Theatres de Paris \" compiled by the\nBrothers Parfaict. This, then, is the list:...\n«« Alceste \". A parody in three acts of the lyric tragedy of Alessandro\nHardy, which bears the same title. Author anonymous. It is thought to\nbe the work of Dominique and Romagnesi. It was represented at the\nFair of Saint Germain in 1739.\n(Dominique was really Pier Francesco Biancolelli, an Italian, and a\nson of Domenico Biancolelli, an excellent actor, who took part in\nthe company, conducted by the famous \" Scaramuccia \" in 1653. Pier\nFrancesco was born in Paris in 1581; studied in the College of the Jesuits,\nthen followed at Toiosa the Italian comedians of the Pascariello company,\nacting the part of Arlecchino, in which his father had been inimitable.\nGiovanni Antonio Romagnesi, also an Italian, was the son of Gaetano del\nMarc' Antonio and of Brigida Fedeli of Mantua, all comic actors. His\nadventures might serve as the subject of a Song romance).\n*'Arlequin amant desesp£re \". A pantomime performed by the ma-\nrionettes of Bienfait at the Fair of Saint-Germain on Friday the 20th of\nFebruary, 1749.\n\" Arlequin courier \". A piece in one act with vaudeville airs, played\nby the marionettes of Le Vasseur, (called ** Les comediens practiciens \")\nat the Fair of Saint-Germain in 1749* (Practiciens, because whoever spoke\nfor the burattini used a \" strega \" or \" pivetta \", which in French is\ncalled \" pratique \").\n\n(1) P. Ferrigni."}, {"page_pdf": 29, "page_imprimee": "117", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.29", "debut_caractere": 25, "fin_caractere_exclue": 1859, "texte": "& 44L'Assemblee des Polssardes ou Polichinelle Maitre d'hote! Pro-\nduction in one act by Carolet, represented by marionettes at the Fair of\nSaint-Germain in 1737.\n& (Argument. Pulcinella under the name of Rapinet, and having received\na fair patrimony, acts the master of the house to a number of wealthy\nSignori; he is thinking of taking as his wife, Ghita, the daughter of\nFlanchet, a seller of dried cod-fish. The marriage is to take place that\nday, and in honour of it, Pulcinella proposes to take the young lady and\nher mother to the theatre of the Opera comique. This good intention is\ndisturbed by the arrival of Rudepogne, another pretender for the hand\nof the girl. He threatens to murder the \" sposo \". Pulcinella acts the\nbully, but is in mortal fear. Fortunately everything is arranged ; the\n14 sposi\" complete their union and Pulcinella invites all the fishwives of\nthe market to a festa at which a Savoyard exhibits a rfiarmotte. Then\nfollows dancing and general merry-making.\n44 La grande mere amoureuse \". In one act by Fuzelier, a parody of\nthe musical opera 44Atys\" by Qulnault. Played by the marionettes of\nBienfait, 1710.\n44 Les aventures de la Foire Saint-Laurent \". In one act\"; author\nanoymous, represented Friday the 23rd. June, 1736.\n44 Colombine aux enfers ou Arlequin vainqueur de Pluton \". A pan-\ntomime performed by the marionettes of Bienfait at the Fair of S. Lorenzo\nin the year 1748.\n&44 Colombine Nitetis \". A parody In three acts of \" Nitteti a tragedy\nby Danchet. Author Alessio Piron. Acted by the marionettes of Bienfait\non Sunday the 7th. of March 1723.\n44 La course galante ou L'ouvrage d'une minute \". An act in prose by\nCarolet. Represented by the marionettes of La Place at the Fair of\nS. Lorenzo in 1722. Parody of a comedy by Legrand, called 44 Le Galant\ncoureur ou L'ouvrage d'un moment \"."}, {"page_pdf": 30, "page_imprimee": "118", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.30", "debut_caractere": 23, "fin_caractere_exclue": 1510, "texte": "&44 La descente d'Enee aux enters Played at the marionette theatre\nef Bienfait in February 1747-\n& Les Dieux ou Les noces de Venus \". In one act. A comedy by\nLaffichard acted by marionettes at the Fair of Saint-Germain, on Sunday,\nthe 3rd. of February 1743.\n« Les eaux de Passy \". A comedy by Carolet, performed by the ma-\nrionettes of Bienfait at the Fair of Saint-Germain in 1724.\n& ♦< Le femme dlablesse A comedy with music, by the marionettes of\nBienfait at the Fair of S. Lorenzo in the month of August, 1746.\n« La fille \". Parody In three acts of Voltaire's tragedy,\n\" Alzlra\" Author unknown. Played by the marionettes of Bienfait in\nMarch 1736.\n& \" Les fleurs \". Pantomime acted by the marionettes of Le Vasseurat\nthe Fair of Saint-Germain the 18th. February, 1749.\n& 44 L'lle des fees ou Le geant aux marionnettes \". Comedy in one act\nand in vaudeville, author anonymous, played by the marionettes of\nBienfait on Tuesday the 12th. July 1735*\n*' La grenoullllere galante \". Parody in three acts, prose and music,\nof 44 Les Indes galants \". Author Carolet, represented by marionettes at\nthe Fair of S. Lorenzo in the same year.\n1\n** Le ravissement d'Heiene \". Spectacular production of Fuzelier,\nacted in the marionette theatre, called 4< Vittoria \" by the burattini of\nBertrand at the Fair of Saint-Germain in 1705.\n44 Javotte \". A parody in one act of the tragedy of Voltaire 44 Merope \"\n%\nAuthor Valois, Given by the marionettes of Bienfait at the Fair of\nSaint-Germain in 1743."}, {"page_pdf": 31, "page_imprimee": "119", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.31", "debut_caractere": 23, "fin_caractere_exclue": 1647, "texte": "\" L'impromptu de Polichinelle \" in one act, prose and music by Vaiois.\nPlayed by Bienfait's marionettes at the Fair of San Lorenzo 1735.\n<< ines et Marianne aux champs Elysees By Carolet. One act, played\nby Bienfait's marionettes at the Fair of San Lorenzo in 1724. A parody\nof \" Ines de Castro \" by De la Motte, and of \" Marianna \" by Voltaire.\n&\" Le marchand ridicule Performed by the marionettes of Gillot at\nthe Fair of Saint-Germain in 1708. Author anonymous.\n»« L© manage d'ArJequin et de Colomblne par Jupiter \". A pantomime\nacted by the marionettes of Blenfait at the Fair of Saint-Germain, on\nMonday the 17th. February, 1749-\n& 44 Les Metamorphoses de Polichinelle\". Anonymous. An act in prose\nand music, played by Bienfait's marionettes at the Fair of Saint-Germain\nin 1740. A satire on Italian actors in Paris.\n& La Noce interrompue \". by Carolet. Represented by the marionettes\nof Bertrand at the Fair of Saint-Germain in 1717-\n<• Les noces de Polichinelle et de la veuve Barnabas \"• Anonymous.\nActed by Bienfait's marionettes at the Fair of Saint-Germain in 1738.\nj0 44 L'ombre du cocher poete \". Prologue of the \" Arrontino d'amore \"\nand of \" Pierrot Romolo \", by Fuzeller, Le Sage and D'Orneal. Presented\nin February 1722 by marionette strangers who acted under the name of\nLa Place.\nj0 \" Les petites maisons \". In one act by Carolet. Performed by Bienfalt a\nmarionettes at the Fair of San Lorenzo In 1727*\nj0 \" Le cocher maladroit otf Polichinelle Phaeton ' • Parody of Fetonte ,\na lyric tragedy by Quinault. By Carolet's marionettes in l74o»\n«« Pierrot Romulus ou Le ravisseur poli A parody of 44 Romolo \" a"}, {"page_pdf": 32, "page_imprimee": "120", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.32", "debut_caractere": 23, "fin_caractere_exclue": 1578, "texte": "tragedy by La Motte. Authors, Le Sage, Fuzeller and Orneval. Acted by\nthe marionettes of La Place. A much applauded work, full of spirit and\nof comic element.\nI\n& 44 Polichineile a la guinguette de Vaurigard \". One act, prose and\nmusic. Author anonymous. Marionette theatre of Bienfait in August 173 L\n&•' Polichineile Amadis \". A parody on 44 Amadigl di Gaola a lyric\ntragedy by Quinault. Author anonymous. Bienfait's marionette theatre,\nMarch 1733.\n*\n& 44 Polichineile Alcide \". Comedy by Carolet. represented by the ma-\nrionettes of Bienfait, Thursday, February 26th. the following year. A parody\non 44 Omfale \" a lyric tragedy by De la Motte.\n& 44 Polichineile Apollon ou Le Parnasse moderne \". By Carolet. Played\nby Blenfait's marionettes in 1732.\n& 44 Polichineile Atys \". A parody on the lyric tragedy of 44 Atys \" by\nQuinault. Author, Carolet. Bienfait's marionette theatre at the Fair of\nSan Lorenzo in the same year.\n44 Polichineile Colin-Maillard \". Anonymous. By Gillot's marionettes,\nwithout date.\n44 Polichineile Compte de Paonfier \". A parody on 44 Glorieux \", a\ncomedy by Destouches. Author, a beginner, Largitiere junior. March 1733.\n£? 44 Polichineile Cupidon ou L'amour contrefait \". Comedy in one act\nby Carolet. Bienfait's marionettes at the Fair of San Lorenzo 1731.\n& 44 Polichineile distributeur d'esprlt \". One act by Valols d'Orbille for\nBienfait's marionettes at the Fair of Saint-Germain, 1741.\n44 Polichineile maitre macon \". Comedy In one act by anonymous\nauthor for Bienfait's marionettes at the Fair of Saint-Germain, 1744."}, {"page_pdf": 33, "page_imprimee": "121", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.33", "debut_caractere": 23, "fin_caractere_exclue": 1445, "texte": "44Polichlnelle Persde Parody in one act on the Opera 44 Perseo \"\nby Quinault, Author anonymous. Bienfait's marionettes at the Pair of\nSaint-Germain, 1737»\n44 Polichineile Pyrame \". A parody of the lyric tragedy of 44 Piramo e\nTisbe by Quinault. Author anonymous. Bienfait's marionettes at the Pair\nof Saint-Germain, 1740.\n4\n& 44 La princesse de Golconde ou L'heureuse ressemblance \". An operetta\nby Carolet, 1737-\n0 44 Les rejouissances publiques ou Le retour de la Paix \". A production\nin prose and music by an anonymous author, for Levasseur's marion-\nettes, 1749*\nN\n0 44 Le Remouleur d'amour \" in one act by Le Sage, Fuzeller and\nD'Orneval, played by La Place's marionettes In February 172a.\n0 44 Le songe ou Le r£ve de l'amour \". One act, author anony-\nmous, acted by marionettes at the Fair of San Lorenzo in 1735*\n0 44 Le amans peureux \". A parody on the opera 44 Teti e Peleo \" by\nFontenelle the following year.\n044 Tiresias \"• A comedy in three acts by Alessio Piron; piayed at the\ntheatre of Francisque by marionettes of natural size 1722 at the Fair of\nSaint-Laurent.\n0 44 Tiresias aux quinze vlngts \". A comic piece in one act by Carolet.\nA parody on the preceding comedy. Represented by La Place's marionettes\nat the same Fair and in the same year#\n0 44 L'un pour I'autre \". A parody on the comedy 44 Amor per amore \"«\nOne act, by Valois d'Orvilie, 174 L\n0 ** Orphes et Euridyce \". One act. The following year."}, {"page_pdf": 34, "page_imprimee": "122", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.34", "debut_caractere": 25, "fin_caractere_exclue": 1931, "texte": "& 44 Arlequln au Sabbat \". Pantomime executed by Bienfait's marionet-\ntes in February 1752.\n\" La prise de Charleroy \". Played by Bienfait's marionettes August\nnth. 1746, and preceded by the three following productions.\n« Arlequin vainquer de la femme de son maitre.\n«4 Le jeu des bonnes marionnettes \".\n& 44 Les amusements comiques de Polichinelle \".\nAPOGEE AND DECADENCE.\nAs soon as the temporary Fairs were suppressed and permanent Fairs\nwere established In their stead, puppet theatres were transferred\nto the new localities without delay, and were erected in even larger\nnumbers, and in a better and more elegant style# Moreover the managers\nof them called to their aid, not only decorators, machinists, scene-paint®\ners, dressers, lamp lighters and firemen, but inventors of every kind of\nspectacle and of every kind of marvel and surprise.\nOne of those little theatres, constructed according to the designs of\na leading architect, belonged to Fourre, a very clever 44 impresario \" of\nburattini and full of audacity, who was not afraid to put upon the stage\nfor the first time a great mythological 44 ballo,\" of which the title was\n44 Giunone all' inferno.\" The representation of it involved stupendous and\n»\nsurprising mechanism, the most ingeniously formed automata, that moved\nby the action of springs and counterweights, a rich 44 vestlario \" and\ninnumerable characters, together with dances, transformations, fireworks,\nchanges of scenery before the eyes of the public, and fierce combats be-\ntween the people of Olympus and the infernal spirits.\n& The experiment was to meet with favour later on, but it did not at\nfirst bring much gain or advantage to its daring originator. The public\npreferred satirical comedies, lively farces and the caricatures and parodies\nthat formed the greater part of the repertory of marionettes.\nI should have to travel a long way If I desired to follow my charming"}, {"page_pdf": 35, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.35", "debut_caractere": 23, "fin_caractere_exclue": 2323, "texte": "little heroes to the permanent theatres of the Boulevard du Temple,\nunder the direction of the immortal Servandoni;... of the TuiUeries under\nthe active Nicolet, who had taken as his device, the motto 44 de plus fort\nen plus fort \"... of Versailles under Audinot... and of the Palais Royal,\nunder the galleries constructed by the Duke de Chartres in 1784, where\nthe small 44 sala\" became later the theatre that bears even now the\nsame name.\n£> It will be sufficient to remember that the marionettes of Audinot,\nfor whom Giovan Battista Nougaret wrote some of his most charming\n44 vaudevilles,\" Initiated in 1770 those sprightly representations, that\nwere then known under the name of \"Ambigu comique,\" a denomination\nthat is still preserved in one of the theatres of the great Capital.\n& 1 should recall also that the Regent of France offered to receive the\nmarionettes of Bertrand at the Court; that the Duchess de Montpensier\nengaged a company of Neapolitan 44 pupi \" for her paiace, and that the\nburattini of 44 Seraphin \" obtained the title of 44 Spectacle des Enfants\nde France.\"\n& When the terrible revolution broke out, that was destined to change\nthe face of the civil world, marionettes, as was natural, divided into two\nparties, and fought In opposing camps, so that while in the Memoirs of\nthe Marquis de Custine we read an account of the imprisonment of an\naristocratic showman, whose Pulcinella had ridiculed the 44Pere Duchesne;\"\nwe stand horrified at the 44 Vieux Cordeliier \" of Camille Desmouiins \" In\nthe pages of which, overflowing with righteous indignation, he describes\nthe decapitation of Pulcinella in a marionette theatre, at the same place\nand hour, In which, by the executioner's hand, the head of the descendant\nof St. Louis was to roll upon the scaffold.\nBut let us turn our eyes away from those sad sights and console\nourselves by thinking of the times In which our charming little wooden\n44 personaggi \" were received, caressed and acclaimed in the good society\nof the preceding centuries.\n& Tallemant des Reaux, in a little story of the year 1550, relates that\nmarionettes entered the palace of the Duke de Guise one day, to divert\nthe amours of the nephew of 44 Balafre\" with Mademoiselle de Pons, his\nbeautiful favourite. We know from Malezieux that the young prince"}, {"page_pdf": 36, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.36", "debut_caractere": 23, "fin_caractere_exclue": 2277, "texte": "Dombes, in order to induce Mademoiselle d' Enghien to come to bim,\npromised her a Pulcinelia play:...\n\" Pour prix d' une action si belie.\nJe vous proniets Policbinelle.\"\nNow Malezieux was an illustrious poet, one of the forty \"immortals\"\nof the Academy, the friend, confidant and secretary of the Duchess de\nMaine and the organizer of the wonderful ** fStes \" in the park at Sceaux,\nwhere marionettes were always honoured and appreciated. The Apollo of\nSceaux wrote for the burattini of the Duchess an infinity of madrigals,\nodes, stanzas, and epigrams to be recited or sung at intervals, and he\ncomposed every now and then satirical comedies, In the course of which\nhis learned and venerated colleagues of the Academy were not always\ntreated with fraternal benevolence.\nThe marionettes of Sceaux allowed themselves to discharge more than\none envemoned shaft against that exalted school; they ridiculed the\nmajesty of the President De Mesmes, and criticised, always bitterly and\nsometimes maliciously, the books that were published by the members\nof the august assembly. And here we see Pulcinelia as a philologist\nfalling out with the \" Immortal \" and ready to argue about the etymology\nof a word, the nationality of a phrase or the legitimacy of an adjective.\n£> The quarrel, violent as the quarrels of grammarians and masters of\nlanguage usually are, soon became personal, and Malezieux, who had\nassumed the position of \" capocomico \" in the service of the dissenting\nAcademicians, moved his ground from Sceaux to the Hotel de Tresmes,\nand tried to win the Duke de Bourbon to his side.\nBut that was not the first, nor was it to be the last of the disputes\nbetween Pulcinelia and the learned academic Assembly. In a book, by\nMaurepas, dated 1752, I find recorded a \" Requeste du sieur Pollchinelle\na Nosseigneurs de i'Academie francaise etablis au Louvre,\" in which our\nintrepid burattino demands that the right should be conceded to him of\ntaking part in Academical meetings.\nWith the great king, Louis xiv, marionettes were on excellent terms\nfrom the time when they went to the palace of Saint-Germain to divert\nthe melancholy early days of the Dauphin, but that friendship was\nbecoming cooler and the king was beginning to manifest some displeasure"}, {"page_pdf": 39, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.39", "debut_caractere": 23, "fin_caractere_exclue": 1890, "texte": "towards them, until one day, Madame de Maintenon, observing that his\nMajesty was showing signs of weariness, summoned to Versailles \" quel\ncaro pazzo di Pulcinella \" in company with Colombina, Lelio and the\nCapltano Spavento. The monarch laughed heartily over \" Victolre de\nDenaln,\" a bold dialogued \" pamphlet,\" in which Marshal de Villars was\nrepresented under the guise of \" Scarabombardone,\" and bitterly attacked\nfor his fanfaronnades toutes gasconnes.\" If any Courtier, no matter\nhow exalted in rank and importance, had dared to express one half of\nthe criticisms that Pulcinella discharged habitually with such perfect\nfreedom, even the Bastille itself could not have provided a prison dark\nenough, or locks and bolts of sufficient strength and security for his\npunishment and confinement.\n*2? In 1746 Le Comte d' Eu, a great master of artillery, invited the\ni?urattini to his residence in the castle of Sceaux (the same that had\nbelonged to the Duchesse de Maine), and desired to manage the wires of\nthe articulated little \"figurine\" himself, and also to speak for the dumb\n\" personaggi.\" Voltaire, who assisted at that unusual spectacle, became\nso much interested in the performance, that he was reconciled \" Ipso\nfacto \" with the marionettes, who had been guilty of treating his\n\" Merope \" with such scant respect, and, going behind the curtain, took\nhold of the wires and directed them with his own hand and, finally,\ndragged Pulcinella to the front and improvised a gracious compliment\nfor the courteous host:..,\n'* Polichinelle de grand coeur,\nPrince, vous remercie:\n. En me faisant beaucoup d' honneur,\nVous faites mon envie.\nVous possedez tousles talents,\nJe n'al qu'un caract&re:\nJ'amuse pour quelques moments,\nVous savez toujours plaire.\nOn salt que vous faites mouvolr\nDe plus belles machines:\nVous fites sentir leur pouvoir\nA Bruxelles, a Malines.\""}, {"page_pdf": 40, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.40", "debut_caractere": 16, "fin_caractere_exclue": 2387, "texte": "And thus It happened that king Voltaire made peace with king\nPulcinella and soon afterwards the two monarchs were together at the\ncastle of Cirey, where the Sovereign of French literature extended cordial\nand conspicuous hospitality to the Prince of Italian Burattini. After a\nbanquet the author of \" Pucelle \" rubbed his hands together as a sign\nof sincere contentment, embraced \" Madame de Ch&telet,\" made eyes at\n\" Madame de Graffigny,\" invited his fortunate guests by a wave of his\nhand,... and passed into the hall of the theatre, where, now spectator,\nnow director of the play, he listened attentively to the performance of\n\" L'Enfant prodigue,\" and then, in a mischievous vein, produced \" Le\nmariage de Pollchinelle,\" a satire that, as Madame Graffigny writes, was\nfull of fun and frolic, \" avec des propos £ mourir de rire* ou il fourrait la\ncoteri? de M.le Due de Richelieu, 1' hlstoire de I'abbe Des Fontaines et\ntoutes sortes de contes, toujours sur le ton italien.\"\nj2? It should be remembered also that Voltaire did not regard marionettes\nas a frivolous entertainment, infantile, unworthy of him, and only good\nfor the purpose of killing time; on the contrary, he took them quite\nseriously and discussed the merits of piays suited to their limited stage,\nand applied philological theories to the traditional characters of burat-\ntinesque *'personaggi \"precisely as Jean Jacques Rousseau did in the\nfirst part of the first book of \" Confessions,\" in which he left a record\nof his real sympathy with wooden actors; or like Francois de Nantes,\nwho, in the time of the first Napoleon, excused the negligence of an\n\" \" In the Ministry, who confessed that he was in the habit of\nstopping every morning to watch Pulcinella; or like Madame Pdlicier,\na celebrated singer at the Opera, who gave a pension to a certain\nshowman, on condition that he came twice a day to give her a private\nperformance; or like Pont de Veyle and Francesco Nau, who wrote little\ncomedies and \"intermezzi\" for the burattini \"da salotto; \" or like\nHeinrich Heine, who discussed the possibility of composing a new \" Faust\"\nout of the detached parts of the different \" Puppenspielen ;\" or, again,\ntine Beranger, who regarded the world as one vast theatre of marionettes\ngoverned by its \" Dieu des bonnes gens \" and established for the amuse*\nment of women.\n44 Pr&s des femmes que sommes-nous ?"}, {"page_pdf": 41, "page_imprimee": "129", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.41", "debut_caractere": 23, "fin_caractere_exclue": 982, "texte": "Des pantins qu' on ballotte.\nMessieurs, sautez, faites les fous,\nAu gre de letir marotte.\nLe plus lourd et le plus subttl\na\nFont la danse complete,\nEt Dieu pourtant n'a nils qu' un fll\nA chaque marionnette.\"\nBut the brightness of this period for French marionettes began to\ndecline with the decline of the eighteenth century. Francois de Nantes,\nHeine and B6ranger, who belong more to the nineteentli century, were\nalready regarded as fantastic, and it was, precisely, because of their\ntenderness for burattini. By degrees the number of theatres \" di genere \"\nIncreased, a class of theatre in which real dramatic work was becoming\nevery day, more and more, a matter of secondary Importance, and so,\ngradually, the little \" pupazzi \" theatres were closed and disappeared;\nshowmen emigrated to country places, where the repertory was reduced\nto a few little comedies, suitable for the amusement of children, and\nPulcinella, under the Republic, was seen no more."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c032", "article_bluemountain": "bmtnaau_1915-05_01#c032", "volume": "bmtnaau_1915-05_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=bmtnaau191505-01.2.13.1", "titre_corps": "A Marionette Maker at work", "titre_sommaire": "A Marionette Maker at work", "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=bmtnaau191505-01.1.37", "debut_caractere": 0, "fin_caractere_exclue": 59, "texte": "A Marionette Maker at work, at the Arena Goldoni. Florence."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c034", "article_bluemountain": "bmtnaau_1915-05_01#c034", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "130", "page_fin": "131", "image_debut": 42, "image_fin": 43, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.14", "titre_corps": "CHI LO SA? : A Note suggested by A Wood-Cut done in the Dark Days", "titre_sommaire": "CHI LO SA? : A Note suggested by A Wood-Cut done in the Dark Days", "signature_source": "A. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 42, "page_imprimee": "130", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.42", "debut_caractere": 0, "fin_caractere_exclue": 753, "texte": "CHI LO SA? A Note suggested by\nA Wood-Cut done in the Dark Days.\n\niphey say that the two men who designed and cut this design were paid\npractically nothing, those were the good old days: and they say\nthat the people who bought the prints and the bits of text paid very\nlittle for them and enjoyed them and were heard calling them beautiful\nfor one reason or another. Great wars in those times, too; unheard of\nslaughter on battle-fields,... even five hundred, even a thousand at any\ndecisive engagement. Really clever men lived then, but mechanically\ndeficient.... Chi lo sa ?\n& They were obliged to cut this block by hand... did not choose to do\nso; the world, its mind and conditions, its religions and its public, forced\nthe thing to be done by hand."}, {"page_pdf": 43, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.43", "debut_caractere": 12, "fin_caractere_exclue": 456, "texte": "What a barbarous time these good old times were! Think of the poor\nslave of an artist ...forced to cut wood !\n£/ How far forward civilization has brought us.\nln those times we enjoyed our hours and our days. Now if we don't\nenjoy our minutes whose fault is it ?\nTime,... that degenerate old man who, instead of changing with the\ntimes, keeps to the ancient order of things.\n& Order of things ?... order 0f.... order.... or\n£/ Chi lo sa ?\n\nA. C."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c037", "article_bluemountain": "bmtnaau_1915-05_01#c037", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "132", "page_fin": "137", "image_debut": 44, "image_fin": 49, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.15", "titre_corps": "THREE BOOK-PLATES", "titre_sommaire": "THREE BOOK-PLATES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 44, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.44", "debut_caractere": 0, "fin_caractere_exclue": 93, "texte": "THREE BOOK-PLATES\nDesigned and Engraved\nby THE WOOD ENGRAVERS OF\nSAN LEONARDO\nFLORENCE\nITALY."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c039", "article_bluemountain": "bmtnaau_1915-05_01#c039", "volume": "bmtnaau_1915-05_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=bmtnaau191505-01.2.15.2", "titre_corps": "The Book-Plate of George Wolfe Plank. Designed and Cut by E. G. C", "titre_sommaire": "The Book-Plate of George Wolfe Plank. Designed and Cut by E. G. C", "signature_source": "E. G. C.", "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=bmtnaau191505-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 66, "texte": "The Book-Plate of George Wolfe Plank. Designed and Cut by E. G. C."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c040", "article_bluemountain": "bmtnaau_1915-05_01#c040", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "135", "page_fin": "135", "image_debut": 47, "image_fin": 47, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.15.3", "titre_corps": "A Book-Plate Designed and Engraved by Stanislas Lodochowskowski", "titre_sommaire": "A Book-Plate Designed and Engraved by Stanislas Lodochowskowski", "signature_source": "Stanislas Lodochowskowski", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 64, "texte": "A Book-Plate Designed and Engraved by Stanislas Lodochowskowski."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c041", "article_bluemountain": "bmtnaau_1915-05_01#c041", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "137", "page_fin": "137", "image_debut": 49, "image_fin": 49, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.15.4", "titre_corps": "A Book-Plate Designed and Engraved by Samuel Prim", "titre_sommaire": "A Book-Plate Designed and Engraved by Samuel Prim", "signature_source": "Samuel Prim", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 49, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 50, "texte": "A Book-Plate Designed and Engraved by Samuel Prim."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c042", "article_bluemountain": "bmtnaau_1915-05_01#c042", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "139", "page_fin": "141", "image_debut": 51, "image_fin": 53, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.16", "titre_corps": "SCREENS : THE THOUSAND SCENES IN ONE SCENESOME NOTES AND FACTS RELATIVE TO THE \"SCENE\" INVENTED AND PATENTED BY EDWARD GORDON CRAIG", "titre_sommaire": "SCREENS : THE THOUSAND SCENES IN ONE SCENESOME NOTES AND FACTS RELATIVE TO THE \"SCENE\" INVENTED AND PATENTED BY EDWARD GORDON CRAIG", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 51, "page_imprimee": "139", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 1901, "texte": "SCREENS\nTHE THOUSAND SCENES IN ONE SCENE.\nSOME NOTES AND FACTS RELATIVE TO THE \"SCENE\"\nINVENTED AND PATENTED BY EDWARD GORDON CRAIG.\n(0\nThe following Extracts are taken from several sources, and express\nMr IV. B. Yeats' personal experience of the value to the Dramatic\nPoet of this invention, based upon his own use of it.\nFROM THE \" PREFACE \" TO\" PLA YS FOR AN IRISH .\"\n\"A\" summer I have been playing with a little model, where there is a\nscene capable of endless transformation, of the expression of every\nmood that does not require a photographic reality. Mr Craig.... who has\ninvented all this.... has permitted me to set up upon the stage of\nAbbey another scene that corresponds to this, on the scale of a foot for\nan inch, and henceforth I shall be able, by means so simple that one\nlaughs, to lay the events of my plays amid a grandeur like that of\nBabylon; and where there Is neither complexity nor compromise nothing\nneed go wrong, no lamps become suddenly unmasked, no il!-pa!nted corner\ncome suddenly Into sight.\n♦» Henceforth I can all but 44 produce \" my play while 1 write It, moving\nhither and thither little figures of cardboard through gay or solemn\nlight and shade, allowing the scene to give the words and the words the\nscene.\n&44 I am very grateful for he has banished a whole world that wearied\nme and was undignified and given me forms and lights upon which I can\nplay as upon some stringed instrument.\nW. B. Yeats. October 1911.\nFROM THE \" NOTES \" TO \" PLi4FS PO/? IRISH THEATRE\n« like the other plays in this book, has been altered many\ntimes after performance, till at last I had come to think I had put\nall my knowledge into It and could not, apart from the always Incalcu=\n\n(1) These are the oumbers of some of the Patents taken ont for the Invention. Great Britain, No. 1771 United\nStates of America, No. 1022820. France, No. 414871. Italy, No. 109089. Germany, No. 236875."}, {"page_pdf": 52, "page_imprimee": "140", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.52", "debut_caractere": 32, "fin_caractere_exclue": 2132, "texte": "fable pleasure good playing brings, look for greater pleasure than it had\nalready given me. But now because of Mr Craig's scene which is fitted\nto so many moods and actions, and makes possible natural and expressive\nlight and shade, I have begun to alter it again and to find in this a new\nexcitement.\nW. B. Yeats. October 1911.\nFROM AN 44 INTERVIEW\" IN THE 44 EVENING TELEGRAPH.\"\n\" 'T'he scenery differs entirely from the old style of scenery, and consists\nchiefly of portable screens, by means of which beautiful decorative\neffects can be obtained, the working of the screens being based on cer°\ntain mathematical proportions by which the stage manager can make\nwalls, pillars, etc a palace almost in a moment, a palace of great\ncyclopean proportions, and which can be changed again almost in a moment\ninto a room with long corridors, and be changed again into a third and\nvery different scene just as quickly.\n41 The primary value of Mr Craig's invention is that it enables one to\nuse light in a more natural and more beautiful way than ever before.\nWe get rid of all the top hamper of the stage all the hanging ropes\nand scenes which prevent the free play of light. If is now possible to\nsubstitute in the shading of one scene real light and shadow for painted\niight and shadow. Continually, in the contemporary theatre, the painted\nshadow is out of relation to the direction of the light, and what is more\nto the point, one loses the extraordinary beauty of delicate light and\nshade. This means, however, an abolition of realism, for it makes scene-\npainting, which is, of course, a matter of painted light and shade, im°\npossible. One enters into a world of decorative effects which give the\nactor a renewed importance. There is less to compete against him, for\nthere is less detail, though there is more beauty.\nW. B. Yeats. January 1911.\nFROM THE PROGRAMME OF THE ABBEY THEATRE, DUBLIN.\n44 rThe method of decoration in 44 The Deliverer\" and 44 The Hour Glass\"\nwas invented by Mr Gordon Craig and will be used by the Art\nTheatre of Moscow, where it will make possible a performance of the full"}, {"page_pdf": 53, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.53", "debut_caractere": 35, "fin_caractere_exclue": 1239, "texte": "Hamlet, with a different decoration for every little scene, so rapidly can\nthe scenes be changed. Thursday night will, however, be its first public\nuse. It does not aim at effects of realism, but at a decoration of the\nstage almost infinite in the variety of its expression and suggestion, and\nfor the first time makes possible effects of lights and shadows various,\npowerful and delicate. Mr Craig has given us the right to make use of\nhis patent in Ireland, with the generosity of a great artist, and because\nhe respects our work and ambition.\nW. B. Yeats. January 12, 13, 15, 1911.\nFROM AN INTERVIEW GIVEN TO \" HEARTH AND HOME.\"\n\" JL t present we are busy producing \"The Hour-Glass\" at the Abbey\nTheatre, Dublin. I have had great trouble with this play, for In its\noriginal form the treatment it seem platitudinous. A music-hall\nsinger who saw it was converted; that was very distressing. Had it not\nbeen for Gordon Craig's designs, I should not have troubled to rewrite\nit. But they helped me wonderfully, and I think I have banished platitude\nfrom the \" Hour Glass \" in its present form. Gordon Craig is the greatest\nproducer living, greater than Reinhardt, or any other.\nW. B. Yeats. November 1912."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c044", "article_bluemountain": "bmtnaau_1915-05_01#c044", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "142", "page_fin": "158", "image_debut": 54, "image_fin": 70, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.17", "titre_corps": "THE THOUSAND SCENES IN ONE SCENE", "titre_sommaire": "THE THOUSAND SCENES IN ONE SCENE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 54, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.54", "debut_caractere": 0, "fin_caractere_exclue": 2054, "texte": "THE THOUSAND SCENES IN ONE SCENE.\nA NOTE ON ANCIENT AND MODERN SCENERY.\nn the earliest days of the stage,... for we must\naccept the Greek records as being the earliest...\nscenery was not scenery in the usual acceptance\nof the word. 1 should describe it rather as Scene.\nIt was an architectural background ; it could not\nbe moved and was made of marble or stone, and\nit served more or less as scenery for all their plays,\ntragic, comic or satiric.\nNov/ and again we hear of other pieces of scenery being added for some\nspecial occasion when a play demanded something which the architecture\ncould not supply, but it is very rarely that we hear of such additions.\nThis architecture was exposed to the daylight, there being no roof\nto the theatre.\n<£> After several hundred years we come to the second important period\nof dramatic art.\nThis was the mediaeval theatre. Its background was also architectural\nalthough painting, gold and colours, were profusely used. As the perfor=\nma nee took place in a closed building artificial light was to a certain\nextent used in the spectacle, many candles of all sizes as well as oil\nlamps being employed. Daylight was also made use of, and this was done\nwith much knowledge. Everything was on a grand scale, costly in the\nextreme.... superb. Only religious dramas were performed.\nThe third important theatre was not a rich one. Religion had severed\nits connection with the theatre by this time and it Is no doubt owing\nto this fact that its sponsers were unable to find support among the\nricher section of the public. Their income was therefore dependent upon\nthe people, and in order to make sure of that income their prices had\nto be low and everything to be cheaply done.\nThis fact no doubt helped to decide them in many artistic questions\nwhich were to a certain extent dependent upon financial conditions.\nThus v e see that arcnitecture was of necessity dispensed with and an\nordinary wooden theatre was erected with a wooden background draped\nwith the best curtains of which funds could allow. The theatre of the"}, {"page_pdf": 55, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.55", "debut_caractere": 35, "fin_caractere_exclue": 2280, "texte": "Commedia dell'Arte, which flourished about this time, was, when It\ngot Its permanent playhouses, no less restricted In its means owing to\nthe 'same cause, and its scenery was pretty much the same as the\nShakespearean scenery except that it seems to have been a little less dull.\n& Prom 1600 the modern scenery of the theatre has been evolved.\n1 have read many books in which the authors wax indignant about modern\nscenery, at the same time giving great praise to the Shakespearean scenery;\nbut if they find fault with the children they must blame the father, and\nthe Shakespearean scene is the father of the modern scene.\nIf the theatre today were as poor as in the time of Shakespeare we\nshould have scenery as meagre.\n& But since Shakespeare's time the theatre has grown very rich, and\nLondon, Instead of possessing two or three play houses, is able to boast\nabout two hundred theatres. Many of these theatres are several times\nlarger than the theatres of Shakespeare's time; in fact in the last three\ncenturies the theatre has been able to do what we can describe as\n44 beat up \" full houses.\nAs 1 have Indicated, It has had to employ this sporting process of\nbeating the covies because it no longer wished to serve religion, and,\nleaving religion, it no longer wished to be austere,... not even with\nthat austerity which belongs to the Roman Catholic religion: and not\nhaving this check upon its temperament it has become rather more\nflashy than fine.\n£? Each century more money came into the box office and each century\nmore money was spent upon gaudy trappings. Artists would be Invited Into\nthe theatre now and again to assist the manager to invent some new\nvulgarity and would fight the managers and would finally leave the theatre.\nTo invite the cooperation of the painter is no nineteenth century\nidea; the managers have been whistling to him since the sixteenth\ncentury. Very few have accepted the Invitation and those who did so\nhave always burnt their fingers.\nToday the managers are still inviting painters into the theatre In\nthe hope that they may bring with them some scenic invention. But\nthey bring nothing new; they bring a repetition of the old, and it Is\npossibly quite exact to say that nothing quite new in spirit will be"}, {"page_pdf": 56, "page_imprimee": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.56", "debut_caractere": 35, "fin_caractere_exclue": 2172, "texte": "brought to the theatre until the prodigal theatre returns to its father...\nand to the service of the Religious spirit.\nBut there must be some balancing point, some golden mean between\nthis ideal religious theatre which is now so far off, and this anything\nbut ideal modern theatre which is with us at the present moment; and\ntherefore we serve both theatres best when we concentrate our force\nupon something which is neither; something which Is less than impos-\nsible; something practical instead of eccentric.\n& Here we are concerned only with one section of this practical theatre,...\nwith the scenic section; yet what follows is the result of considering the\ntheatre as a whole and not as the result of considering this one section\nby itself.\nTHE \"SCENE\" AND THE POETIC DRAMA.\nTphe highest form of modern theatrical art is the performance of the poetic\ndrama. It neither reaches the altitudes of the old religious drama nor falls\nto the splendid depths of the musical comedy, but is something betwixt\nand between, and It is considerably nearer to the higher than the lower.\nThus everyone must acknowledge that there is much of the modern\nmusical comedy and melodrama in Shakespeare, but that there is more\nspiritual drama. Shakespeare even condescends to.the touch of the music\nhall and is at home in it, but from it he is continually rising to touch\nthose heights called by some... the Impossible.\n& It is for this poetical drama that the Scene which Is the subject of\nthis article was created.\nSince making It its creator has felt that it will be of service not only\nto the theatre, but also to the dramatic poet; and hopes that both to the\nstage and to the poet it will prove of great practical use,... using the\nword \"practical \" in its fullest signification.\n& Its practical use has been already not only demonstrated before poets,\nbut proved in a theatre before an audience, and in the third section of\nmy article I shall set forth this practical value in detail; that is to say,\n1 shall show how it saves time, space, force and money.\nOf its other practical aspect I will treat in the next section and\n\n(1) See page 139 to 141."}, {"page_pdf": 59, "page_imprimee": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.59", "debut_caractere": 35, "fin_caractere_exclue": 1825, "texte": "will there show the practical or technical artistic advantages which it\npossesses over modern scenery.\nA WARNING.\nCirst of all it is necessary to state that this Scene is an Invention\npatented (i) by its Inventor, and that the imitation of some of its\nEXTERNAL and SUPERFICIAL QUALITIES by the trade, and recorded by\npictures In \" The New Movement in the Theatre,\" Mr Sheldon Cheney's\nuseful book, (2) are to be mistrusted. Only genuine works of art have\nany ultimate value commercially or artistically: imitations and spurious\ncopies are for the gull.\nDESCRIPTION OF THE SCENE.\n'X'he Scene is made up usually or four, six, eight, ten or twelve screens,\nand, although sometimes of more than twelve, seldom of less than four.\nEach part or leaf of a screen is alike in every particular except breadth,\nand these parts together form a Screen, composed of two, four, six,\neight or ten leaves. These leaves fold either way and are monochrome\n*\nin tint.\nThe height of all these screens is alike.\n& These screens are self-supporting and are made either of a wooden\nframe covered with canvas, or of solid wood.\n& with screens of narrow dimensions curved forms are produced, for\nlarge rectangular spaces broader leaved screens are used, and for varied\nand broken forms all sizes are employed.\nSometimes a flat roof is used with these screens, at other times\nthe space above the top line Is shown.\nThe Scene being monochrome, the minimum of light is required\nto Illuminate it, as there is much reflection from each leaf. Ordinary\nbattens that are used in the theatre, and also daylight, can be used for\nits Illumination.\nThe screens can be so arranged that by moving three leaves a great\nchange in effect is produced.\n\n(1) See page 159.\n(2) Published by Mr Mitchell Keanerley, New York: January 1915."}, {"page_pdf": 60, "page_imprimee": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.60", "debut_caractere": 35, "fin_caractere_exclue": 1975, "texte": "The Art of using this Scene to the best advantage Is a delicate one\nand acquired only with practise. The aim of the Arranger is to place his\nscreens in such a position that, by moving the minimum number of leaves,\nhe may produce the desired amount of variety. Where the maximum\namount of variety is required the change Is less easy to accomplish, for,\nin art as well as in nature, sudden contrasts cause more trouble because,\nas a rule, undesirable.\nSometimes certain additions may be made to this Scene, such as a\nflight of steps, a window, a bridge, a balcony, and of course the necessary\nfurniture, though great care and reserve must be exercised in making\nthese additions so as to avoid the ridiculous.\nARTISTIC VALUES.\nThis Scene is a ~ving thing. ,\n-sS? In the hands of an Artist it is capable of all varieties of expression,\neven as a living voice and a living face are capable of every expression.\nThe Scene remains always the same, while incessantly changing.\nSome may ask how such a thing can possibly be, and one can only\nask such questioners to study the human face.\nEvery human face is shaped more or less the same, and is made\nup of two eyes, a brow, a nose, a mouth, a chin and so forth;\nmove any one of these parts ever so little, and we note a different\nexpression.\n& This Scene resembles the human face.\nis obvious that the advantage of such a Scene will be best understood\nand felt by those who see it; but its uses can at any rate be recorded\nto some advantage.\n& Through its use we obtain a sense of harmony and a sense of variety\nat the same time. We may be said to have recovered one of the Unities of\nthe Greek Drama without losing any of the varietyjof the Shakespearean\ndrama.\n& We pass from one scene to another without a break of any kind, and\nwhen the change has come we are not conscious of any disharmony\nbetween it and that which Is past.\n1 have sasd *3|ls Scene that It is a living thing, that it is capable"}, {"page_pdf": 61, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.61", "debut_caractere": 35, "fin_caractere_exclue": 2132, "texte": "of expression, and I must here warn you, from personal experience\nin its use, that it is so living that, unless treated as a living thing,\nit is quite likely not to respond to the will of the manipulator or\narranger.\nAccidental effects can be obtained which are beautiful even as a\nbeautiful accidental effect can be produced on the piano, but no one\nwithout knowing this Scene intimately, that is to say, without having\nstudied it more than carefully, can produce harmony from Its planes.\nIt even refuses to obey the artist entirely when the artist is not in\nthe right mood ; and its inventor has worked with a set of screens for\na day or two searching for an especial form for a scene in \" Hamlet \"\nand been totally unable to bring out any expression from its flatness;\nyet in the process of overcoming the difficulty perhaps a more perfect\nharmony has been ultimately produced.\nThe results obtained have found favour with all the poets, a few\nof the actors, all the stage managers and some of the directors of\ntheatres to whom they have been shown, and the Scene has also won\nthe approval of the stage hands, whose praise the Inventor values.\nTo all of these he declares himself beholden for many suggestions\nwhich have improved the instrument.\nADVANTAGES TO ACTOR AND STAGE MANAGER.\none of the advantages of this invention is that, should the actor\nfeel after a few nights that he could play the scenes better in a\ndifferent arrangement, and have a clear idea as to his wishes and how\nto obtain them, he can test his ideas in the morning on the model\nand make his changes that same evening.\n& II after a month or so he wishes to change again, either because\nhe thinks something can be improved by giving himself more liberty\nas actor, or for any other reason, he <h&n Again make any change which\nseems to him desirable. In fact the Scene is as much for the Actor as\nit is for the Stage Manager or the Poet.\nIf the actor feels that he cannot play his part in a certain scene he\nhas only to go to the stage manager, and together, with the model on\nthe table, they can work out a new arrangement."}, {"page_pdf": 62, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.62", "debut_caractere": 30, "fin_caractere_exclue": 2265, "texte": "& The advantages which the use of this Model offers to the Stage\nManager are exceptional.\nTHE MODEL STAGE AND.\nTo begin with, the model with which lie works Is always ready to his\nhand. He keeps it in his study and is thus able continually to test Ideas\nwhich come into his head as to the Poetic Drama which he has to produce.\nHe has not to wait for the scene painter to bring him a model which, if\nhe does not like, he has to have changed and rechanged; but he has at his\ndisposal a model scene which he can be always changing and arranging,\nand from which he can derive ideas for the movement of his figures.\n& Possessing the model, he is not saddled with a cumbersome and\nelaborate \" model stage \" of the usual pattern; he need not fear to\ntouch the thing lest It fall to pieces, or the strings and wires get tangled.\nHe has a workman-like model to use.... no litter, no strings, no paper;\nno longer a toy but clean and solid wood.\nuS He is often at a loss how to fashion scenes for these old plays which\nhave held the boards for so long. In his study he fancies a passage here,\na long wall somewhere there, pillars here; but he is unable to put\nthese down on paper, and if he could do so it would still be unsatisfactory.\nHe could not see the thing, he could not measure his distances, he could not\ntell whether there is enough space for a man to come on there, whether\nthere will be room enough on the stage for this passage to go back in that\ndirection, and in his helplessness he is obliged to tell the scene painter\nto make the design. But with the Scene which is here offered him, and\nwith this small model stage all this preliminary work will be made many\ntimes easier. He can do it himself.\n& He is producing 44 Richard 111 \" for Instance. He wants a vast throne-\nroom for the one scene and he wants to follow It up by a small cell. He\ncan place his screens upon his model stage, (i) and turn them this way\nand that until he has got his throne room. He can then mark the\nresults down upon the ground-plan drawn to scale with which the\nInventer provides him.\n\n(i) A very perfect model of this stage is at the Arena Goldoni with the necessary lighting arrangements, and\nis set up in the room marked 0. on the plan on page 145."}, {"page_pdf": 63, "page_imprimee": "151", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.63", "debut_caractere": 37, "fin_caractere_exclue": 2138, "texte": "& After he lias done this he can move one or two leaves of the screen\nso as to bring all the screens to form a smaller, prison-like place.\nAt the first attempt he will not have much success. He will then\nprobably begin by forming the smaller scene first and he will try if it\nis not possible to work passing from the second to the first\nscene, from the smaller to the larger instead of from the larger to the\nsmaller. He may probably find that this makes his task easier.\nBut he who finds the greatest difficulty at the outset in arranging\nscenes from these screens is more likely than another to produce\nultimately more important results if he persevere; but one should avoid\nif possible the feeling that there is something very difficult about the\nmanipulation of the Scene.\n& Some say that this is the Poet's Scene. To a certain extent in its\nfirst state it is more his Scene than anyone else's, for it represents the\nworld perhaps better than any other Scene has done.... that particular\nworld created by the Poets, the world of Imagination. The Poets them-\nselves have said so. '\n& But let not the casual reader think that this indicates something flimsy\nand floating. Nothing of the kind. It is something sharp-cut, something\nvivid and definite, as firm in its outline as it is flexible in its movement,\nand this, I believe, is what the Poets have always held such a world to be.\nFinally, in connection with this Scene the Inventer has planned several\nadditional inventions by means of which doors, windows, cornices, stair-\ncases, trees, hills, clouds, stars, sun, moon and all can be placed\nbefore the audience, and that without calling in a single extra man to\nassist the usual staff.\nPRACTICAL VALUES OF THIS \"SCENE\".\n'To save unnecessary waste of money and time is the aim In the\norganization of every enterprise. It is more often than not that this\nidea of true economy Is forgotten in the theatre, and is substituted by\nwaste.\nMr Pltzroy Gardner, a keen theatrical manager, writing in the \"Strand\nMagazine \" (i) says, \" I have no hesitation in saying that in the West\n\n(1) September 1911."}, {"page_pdf": 64, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.64", "debut_caractere": 35, "fin_caractere_exclue": 2204, "texte": "\" end theatres of London at least forty thousand pounds a year are\n\" frittered away, apart from what is lost by putting on plays with a\n\" four-to-one chance against their success \".... \" Scenery and dresses are\noften ordered without proper deliberation, or negotiation as to cost. \"\n■£? Much power of all kinds is wasted in the theatre, and in no department\nis there greater waste than in the scenic department.\nThe scenery has always wasted the time of the theatre, of the actors,\nof everyone, more especially in productions of the Popular drama. Scenery\nhas also wasted the receipts of the theatre. Scenery lias always wasted\nthe energies and force of the managerial staff; it has also wasted space.\nLarge warehouses are costly and the space on the stage is valuable.\nSo we see clearly that time, force, space and money are wasted by\nmodern scenery, whereas all four are economised by the use of this Scene.\nUnder these four headings of Time, Force, Space and therefore Money,\nlet us enumerate some of It advantages, and show in what way economy\nis possible through Its use,\nTHE SAVING OF TIME.\n| It saves the Manager's Time, for after he has once mastered its\nsimple mechanism he is able in a short time to produce arrangements\nwith his model which shall give the effect he requires. It also saves\nhim the time which would otherwise be spent in discussing plans and\nmodels with the scene painters, carpenters and workmen.\n& The fact that the Scene is self-supporting saves the time which is\nusually wasted in hanging scenery and in finding spare places for the\naccomodation of the different cloths, cut-cloths, built-out pieces, etc.\n& It saves the manipulator's time as, the screens being easy to move\nfrom one position to another, one full set can change to another full\nset in less than thirty seconds.\nThe maximum wait between the acts need not exceed seven minutes\nat most, and it can even be less if desired. Eighteen men can strike the\nlargest set and leave the stage empty in twenty seconds. A smaller\nchange can be effected in four to ten seconds by fewer men. It Is greatly\nowing to the fact of each screen being self-supporting that this becomes\npossible."}, {"page_pdf": 65, "page_imprimee": "153", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.65", "debut_caractere": 35, "fin_caractere_exclue": 2164, "texte": "It also saves time in all that concerns the lighting,\n& Time is wasted in rehearsing the lights because such rehearsal in\nso many instances means guessing which light is best; here it is saved\nbecause the simplest light is the best; that is to say, the light of the\nbattens.* The inventor tells us that, whereas In former experiments he\nusually did away with the battens, he has found them work perfectly\neasily with this Scene. It has been continually demonstrated, in fact,\nthat no other light is so good.\nAnother saving of time In regard to the lighting is that the manager\ncan calculate with more precision than formerly the necessary strength\nof his limes.\ncome then to the advantages In the matter of storage.\nlt is a great saving of Time iiere also to be able to store this Scene\nin the theatre itself, for as a rule much time is wasted in sending to\nthe warehouse for the heavy scenery of the Popular Drama, and on\nthe continent even more time is lost in this labour than in England\nowing to the nightly changes. But in any theatre where the programme\nis changed a great saving of time is effected through the use of this Scene,\nTHE SAVING OF FORCE AND LABOUR.\nI ABOUR. Under this heading are included both mentai and physical\nlabour. The manager is saved the mental strain of interviewing and\ndiscussing plans with many different persons because he has only to give\nthem the finished plan to carry out when he has worked It out upon\nhis model, and this working out he can do with greater quiet and\nconcentration in his own study by himself than when obliged to do it in the\nusual way with the scene painters, carpenters and others upon the stage.\n&i„ fact, force and labour are saved to the manager and the staff right\nthrough the production of the play, because they know that their model\nis a thing with which they can calculate.\n& If this Scene were like ordinary scenery,... that is to say, not self=\nsupporting, every time it moved its position it would have to be attached\nto ropes or supports of some kind which would necessitate the expenditure\nof energy not required when the thing is self=supporting. The force"}, {"page_pdf": 66, "page_imprimee": "154", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.66", "debut_caractere": 35, "fin_caractere_exclue": 1928, "texte": "necessary to manipulate the modern scenery for a big production is\nenormous, whereas to move these six or ten screens and their ad-\nditional parts which compose the Scene is a very easy matter and a\ngreat saving in physical force.\nworkmen who have already used it.\nTHE SAVING OF SPACE.\n£3PACE. Space is economised because the Scene takes up no room in\nthe flies, since, instead of being slung, it Is self-supporting and when\nfinished is folded up and goes easily into the scene dock, taking up the\nminimum of storage room.\njg/ There is the same economy of space in the transport of scenery from\ntown to town for which, with ordinary scenery, many railway trucks are\nneeded ; but much space is saved in the transport of this Scene owing\nto the fact that the measurements of all its parts are standardized.\n& There are 805 Theatres in England, not counting the Music Halls,\nnor the small platforms or drill halls which are used for play acting and\nfor concerts. The small places cannot afford to buy much scenery; this\nIs often the reason why plays are not produced in the small places.\nThis Screen Scene is elastic. When placed on the stage it can be\ncompressed or enlarged. A small theatre purchases, say, four small\nscreens for Its first productions. Next year It can add to that number\ntwo more, and two more the following year. So at the end of three\nyears it has eight screens. Each addition to it makes a new combination\npossible while the original effects obtained and the original arrangements\ndevised remain as useful as ever they were.\nTHE SAVING OF MONEY.\nlt saves Money because Time, Labour and Space are saved by\nits use and the waste of all these things costs Money.\nThis Scene, as I have already said, goes into one or two trucks.\nThis indicates how much room it takes, and therefore not more than\nthe same amount of room Is needed if It is ever to be stored outside the\ntheatre."}, {"page_pdf": 67, "page_imprimee": "155", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.67", "debut_caractere": 37, "fin_caractere_exclue": 2159, "texte": "j0 Owing to its being monochrome the minimum amount of light is\nsufficient, the leaves of the screens acting as reflectors.\nLastly, the adaptability of these few screens to many plays so that\nan Infinite variety of effects can be obtained,... and those effects more\nartistic in quality than usual.... (i) makes it obvious to everyone that\nthe saving in the expenditure on scenery is considerable.\n& To be able to put the scenery for Hamlet, Faust, the Merchant of\nVenice, the Taming of the Shrew, the Tempest, the Bourgeois Gentilhomme,\nRosmersholm, and When We Dead Awaken, Pelleas and Melisande,\nElektra, the Agamemnon, Salome, Edipus Rex, the Land of Heart s Desire,\nLa Gioconda,... to be able to put all the scenery for these plays in one\nor two railway trucks proves that the cost must be very much less than\nthat of the ordinary scenery which would require ten or fifteen trucks\nat the very least.\n& There is also the initial saving in expenditure in the purchase of scenery,\nsince instead of a complete set for each play one set may be used for all.\nj-? in fact this Scene may from ail points of view be described as\n44 Multum in parvo.\"\nOn the ground of its practicality patents have been obtained in Europe,\nincluding Germany, (2) and in America, and, after having experimented\nwith the full sized models which have been made in Moscow and in\nLondon, it has been found that it answers all expectations and fulfils\nevery requirement of the Popular Drama#\nln fact it has proved economical both artistically and commercially,\n.and the European managers before whom it has been tested confirm\nthis estimate of its value.\n11 will be of interest here to quote the two following extracts from\n« The Times\" (London), the former written after a 44 demonstration\"\nof the use of the 44 Scene \" by its Inventor, at his studio in London\nin 1911; the latter an extract from the account sent by the 44 Times \"\nspecial correspondent in Moscow, after the first production of 44 Hamlet\"\nwith the 44 Screen \" scenery, at the Art Theatre in that city. The\n\n(1) These Artistic Values have been dealt with separately.\n(2) See page 139."}, {"page_pdf": 68, "page_imprimee": "156", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.68", "debut_caractere": 35, "fin_caractere_exclue": 2357, "texte": "\" Hamlet\" production has since then been already given over one\nhundred and fifty times in the same theatre.\nSeptember, 23. 1911.\n*\nJhe device is extremely simple, It consists of folding screens, which\nwill stand of themselves without being fastened either to the stage\nor to ropes, rollers, or beams in the \" flies.\" The screens can be made\nof any size required. They may be 30ft. high or only Bft.; they may\nhave three folds or a dozen, and each fold may be ift. wide or 6ft. Three\nmen in three minutes could move or remove a whole scene and, folded\nflat, each screen would take up very little space. The obvious advantages\nare the ease and quickness with which these things can be handled and\nthe simplicity of the manipulation. To change a scene would no longer\nbe to roll up or roll down great canvases, to screw and unscrew bolts,\nto adjust and fasten ropes, to remove entirely an elaborate built-up set,\nand put another in its place. A complete change of scene can be obtained\nmerely by rearranging a few screens. And when it is necessary (as in\nthe case of touring companies) to take away the complete scenery of a\nplay, the carpenters, Instead of working all night and losing some very\nimportant piece of the outfit, could transport the folded screens to the\n\\an at a reasonable hour. Moreover, that terror of Monday morning in\nprovincial theatres... the \" scene-plot \"... is reduced to a simple plan of\nthe stage marked out in squares with the positions of the screens shown,\nby letters or figures, and a quarter of an hour's work ought to make\nthe whole set of changes clear to the stage-hands.\n& Ease and quickness of manipulation are matters that interest the\npublic no less than the stage-manager and scene-shifters. On the playing\nof Shakespeare, for instance, such a device would have wide and deep\neffects. But the question most likely to occur to the public first of all\nis what kind of scenery these screeus provide. Not, of course, the scenery\nof detail and archaeology, the scenery of crowded fact and \" realization\nof a period. But an hours experimenting with Mr. Craig's model stage\nrevealed a veiy wide variety of suggestions, moods, settings, properly so-\ncalled, for drama. The model screens exhibited were all In monochrome,\nwhich was practically the \" self-colour \" of the material of which the"}, {"page_pdf": 69, "page_imprimee": "157", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.69", "debut_caractere": 35, "fin_caractere_exclue": 2242, "texte": "models were made; but indoor and outdoor scenes alike were made each\nin a few seconds and In two or three movements* and the purport of\neach was unmistakable. Quite extraordinary effects of space and spirit\nwere obtained; and In this the lighting played a very important part.\nFor one advantage of these screens is that the light can be directed\nfrom almost any point, and a change of light makes a change of mood,\nor even of place. Mr. Craig's own desire appears to be to dispense as\nfar as possible with any colouring on the screens themselves, partly\nbecause each screen can thus take on a much wider range of characters,\nso to speak, than if it were coloured. Most of the colouring would be\nobtained by means of coloured lights; and there would be no danger\nthat a scene painted for one light would be robbed of its effect by being\nseen later under another light... an error too often made with scenery\nas we know it. Further definition... In a forest scene, for instance... can\nbe obtained by means of an ingenious device for casting shadows; and\n\" properties \"... chairs, tables, and the like... can be as easily used with\nthese screens as with the curtains of the Elizabethans or with the\nbuilt-up sets of the modern stage .\nA street scene that would have done equally well for London, Florence,\nor Baghdad was made with three screens in three seconds; and there\nseems to be no reason why, with a sparing use of colour and pattern, a\nmodern drawing-room should not be as clearly suggested as a castle or\na magic island. A proscenium that can be easily enlarged or reduced\nforms a subsidiary part of the scheme; and sloping stages could, If\nnecessary, be made flat for the reception of the screens.\nprovided, simply and quickly worked, and adaptable to practically all\nneeds. It is certainly of wonderful effect in the suggestion of place and\nmood; and experiment with the models only whets the appetite to see\na stage equipped with the new scenery on the full scale.\nMoscow. January 9. 1912.\nEvery scene in the Hamlet has for its foundation an arrangement of\nscreens which rise to the full height of the proscenium, and consist\nof plain panels devoid of any decoration. Only two colours are used,., &"}, {"page_pdf": 70, "page_imprimee": "158", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.70", "debut_caractere": 35, "fin_caractere_exclue": 1835, "texte": "neutral cream shade and gold. A complete change of scene is created\nsimply by the rearrangement of these screens, whose value lies, of course,\nnot so much in themselves as in their formation and the lighting.\nMr. Craig has the singular power of carrying the spiritual significance\nof words and dramatic situations beyond the actor to the scene in which\nhe moves. By the simplest of means he is able, in some mysterious way,\nto evoke almost any sensation of time or space, the scenes even in\nthemselves suggesting variations of human emotion.\nTake, for example, the Queen's chamber In the Castle of Elsinore.\nLike all the other scenes, it is simply an arrangement of the screens\nalready mentioned. There is nothing which definitely represents a castle,\nstill less the locality or period; and yet no one would hesitate as to its\nsignificance... and why? Because it is the spiritual symbol of such a\nroom. A symbol, moreover, whose form is wholly dependent upon the\naction which It surrounds; every line, every space of light and shadow\ngoing directly to heighten and amplify the significance .of that action,\nand becoming thereby something more than its mere setting... a vital\nand component part no longer separable Jrom the whole. Whatever\nMr. Craig has done he has obviously done it not only with the touch of\nan artist, but also with all the care and reverence of a true lover of\nShakespeare.\n& To Judge from his work he Is not so much a revolutionary as a\nreformer. Far from being an enemy to theatrical tradition, he seems to\nrealize better than any one how much valuable material for Ills art lies\nburied in that limbo of things forgotten. He has gone back over a field\nwhose fertility so many have ignored, and drawn from it all that Is best\nand most useful to him. (Extract from \" The Times.\")"}]}, {"article_id": "bm-bmtnaau-1915-05-01-c047", "article_bluemountain": "bmtnaau_1915-05_01#c047", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "145", "page_fin": "145", "image_debut": 57, "image_fin": 57, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.18", "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": 57, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 454, "texte": "above plan of the Arena Goidoni shows the additions which have\nbeen made to the original establishment during the last two years.\n& The most important of these is the old church of Santa Chlara, marked\nS. upon the plan. It Is now used as the School Aluseuin and Library. Its\noriginal fittings, and the marble facings of the wa;is and arches ..sound\nthe high altar, may be seen in the South Kensington Museum.\nAnother addition Is the Printing Office, (U)."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c049", "article_bluemountain": "bmtnaau_1915-05_01#c049", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "159", "page_fin": "161", "image_debut": 71, "image_fin": 73, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.19", "titre_corps": "AN IMPRESSION OF THE \"SCENE\" by an Eye-Witness", "titre_sommaire": "AN IMPRESSION OF THE \"SCENE\" by an Eye-Witness", "signature_source": "Filiberto Scarpelli Firenze", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 71, "page_imprimee": "159", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.71", "debut_caractere": 0, "fin_caractere_exclue": 1855, "texte": "AN IMPRESSION OF THE \"SCENE\"\nby an Eye-Witness.\n\nA LETTER TO GIOVANNI GRASSO, THE SICILIAN GENIUS, FROM\nAN ITALIAN FRIEND WHOM HE ENTRUSTED WITH WHAT HE\nDESCRIBES AS \"A MISSION\", TO MR GORDON CRAIG.\nWo have boon allowed to publish this Italian tribute here 9 and do\nso with pleasure» for it conies from Signor Scarpelli9 a Florentine\nartist~architect° writer, of mature judgment, and expresses the\nwarm delight, as well as the keen, sincere and intimate perception,\nwhich seems so much more inherent in the South than in the\nNorth.\nIt was written after an hour's visit, and without having read, or\nreceived, any verbal description of the \" Scene\" or its intention,\nand is thus of the greater interest as proving how directly\nand simply the \"Scene\" expresses itself and how swiftly and\nsimply it wins and convinces by its inherent qualities.\nDecember 4 th 1913.\nlyiy dearest Giovanni,\ni went yesterday to Signor Craig at tlie Arena Goldoni.\nMy impression ? Craig is a prodigious man, if prodigious signifies the\npower of conjuring up from nothing, before your eyes, that which\namazes you.\nAnd the elements of which Craig makes use for his creations are\nnothing or almost nothing: some screens and some electric lights.\nHe sets upon the stage of his little theatre, (no bigger than a child's\nmarionette theatre), his tiny screens, and, while you look on, with a\nrapid movoment of the hands arranges them in a certain way: a ray\nof electric light comes to strike between those simple rectangles of\ncardboard, and the miracle is accomplished: you behold a majestic scene;\nthe sense of the small disappears absolutely; you forget the dimensions\nof the theatre, such is the scrupulous equilibrium of the lights and o?\nthe lines which Craig knows how to give to the scenes. Another slight\nmovement of the screens, (always before your eyes,) and the scene changes"}, {"page_pdf": 72, "page_imprimee": "160", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.72", "debut_caractere": 33, "fin_caractere_exclue": 1608, "texte": "and then changes again without the lines and the light effects ever\nTecalllng to you that which you have already seen. And thus one passes\nfrom the vision of a piazza, a street, an imposing portico to that of a\nsaia, a prison, a subterranean dungeon.\nCraig is a great painter, a great architect, a great poet. He paints\nwith light, he constructs with a few rectangles of cardboard, and with\nthe harmony of his colours and of his lines he creates profound sensations,\nas only the fathers of poetry knew how to create.\n1 do not exaggerate, dear Giovanni.\nThe S|ght of some scenes for 44 Othello \" gave me the thrill which\nonly the reading of Shakespeare had been able to give me 1\nWe are far, very far, from the usual scenographlc resources, be they\neven the best which can be remembered.\n& If one does not see Craig's theatre one cannot imagine wh at this man\nknows how to do, and I am very very sorry that you had not the time\nto go to the Arena Goldoni. You have lost a sight which is among the\nfinest which 1 have witnessed since 1 was born, not excluding the\nmajestic spectacles of Nature itself. When you return to Florence you\nmust not deprive yourself of so great an enjoyment.\n(Here follow further and private reports),\nand then the letter concludes as follows:\n& 441 have related to you my visit to Signor Craig; the mission which\nyou entrusted to me is accomplished. Tell ine if you are pleased with\nwhat 1 have written.\n& Many many big kisses to you and to the children, homage to your\nSignora, affectionate salutations to all friends.\n\nFiliberto Scarpelli\nFirenze."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c051", "article_bluemountain": "bmtnaau_1915-05_01#c051", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "161", "page_fin": "161", "image_debut": 73, "image_fin": 73, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.19.2", "titre_corps": "A Design for a Costume in \"Bethlehem\" produced at the University of London, 1903, by Gordon Craig", "titre_sommaire": "A Design for a Costume in \"Bethlehem\" produced at the University of London, 1903, by Gordon Craig", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 73, "page_imprimee": "161", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.73", "debut_caractere": 0, "fin_caractere_exclue": 98, "texte": "A Design for a Costume in \"Bethlehem\" produced at the University of London, 1903, byJGordon Craig."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c052", "article_bluemountain": "bmtnaau_1915-05_01#c052", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "163", "page_fin": "164", "image_debut": 75, "image_fin": 76, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.20", "titre_corps": "IN DEFENCE OF THE SCENE OF VAST PROPORTIONS", "titre_sommaire": "IN DEFENCE OF THE SCENE OF VAST PROPORTIONS", "signature_source": "Louis Madrid ; Thomas A. Janvier", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 75, "page_imprimee": "163", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.75", "debut_caractere": 0, "fin_caractere_exclue": 2003, "texte": "IN DEFENCE OF THE SCENE OF\nVAST PROPORTIONS\nby Louis Madrid.\n\nhave heard it said, and on good authority, that many\nactors and actresses, Sir Herbert Beerbohm Tree and\nMrs Patrick Campbell among the number, have always\nheld that certain scenes designed by the artists of the\nNew Movement are too overwhelming in their propor-\ntions and that the actors sink to insignificance when\nperforming in them. Their theory is only an excuse.\n£? xhe following is an extract from an article which appeared In an\nAmerican journal (i) in 1895 with some excellent drawings, by Louis Loeb,\nwhich show us the fallacy of this excuse. It concerns the first performance\nheld by the\nbuilt by the Romans In the reign of Marcus Aurelius (121 A. D. 180).\n& xhe Dimensions of the theatre are as follows:\nWidth 338 feet, depth 254 feet.\nHeight of facade and of rear wall of stage 120 feet.\nRadius of auditorium 182 feet.\n& And here Is what M. Janvier, the writer of the article, and who was\npresent at the performance, has to say:\n\" The theory has been advanced that the great size of the Greek\nstage, and of the palace in its rear which was its permanent set of\nscenery, so dwarfed the figures of the actors that buskins and padding\nwere used in order to make the persons of the players more in keeping\nwith their surroundings. With submission, I hold that this would have\nbeen, in one way, out of proportion with the background. If used at all\nin tragedy, buskins and pads probably were used to make the heroic\ncharacters of the drama literally greater than the other characters.\n«« In point of fact, the majestic height of the scene did not dwarf the\nhuman figures sustaining serious parts. The effect was precisely ihe\ncontrary. Mademoiselle standing solitary in that great open space,\nwith the play of golden light upon her, became also heroic. With the\ncharacters in \" (Edlpus \" and \" Antigone \" the result was the same: the\nsomber grandeur of the tragedies was enlarged by the majesty of the\n\n(1) \" The Century.\" June 1895."}, {"page_pdf": 76, "page_imprimee": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.76", "debut_caractere": 46, "fin_caractere_exclue": 2352, "texte": "background, and play and players alike were upraised to a lofty plane of\nsolemn stateliness by the stately reality of those noble walls which them-\nselves were tragedies because of the ruin that had come to them with age.\n& **Upon the corned}7 that so Injudiciously was Interpolated into the\nprogram the effect of the heroic environment was hopelessly belittling.\nM. Arene's 44 Helot \" and M. Ferrier's 44 Revanche D' Iris \" are charming\nof their kind, and to see them in an ordinary theater, with those intimate\naccessories of house life which such sparkling trifles require, would be only\na delight. But at Orange their sparkle vanished, and they were jarringly\nout of place. Even the perfect excellence of the players,... and no Grecian\nactress, I am confident, ever surpassed Mademoiselle Rachel-Boyer In\nexquisitely finished handling of Grecian draperies could not save them.\nQuite as distinctly as each of the tragedies was a success, the little\ncomedies were failures, being overwhelmed utterly by the stately sur-\nroundings, and lost In the melancholy bareness of that great stage. It\nwas all the more, therefore, an Interesting study in the psychology of\nthe drama to perceive how the comparatively few actors In the casts of\nthe tragedies.... how even, at times, only one or two figures.... seemed\nentirely to fill the stage; and how at all times these plays and their\nsetting absolutely harmonized. \"\nperhaps the truth is that some actors and actresses know they are\nmore successful in the 44 little comedies \" which M. Janvier says were\nfailures at Orange.\nBut if Sir Herbert Beerbohm Tree feels so forcibly about such scenes,\nhow is it that only a short time ago he was announcing, with his native\nenthusiasm, that in order to adequately celebrate the Tercentenary of the\nDeath of Shakespeare he had invited Professor Reinhardt the German,.., is\nit German ?... producer to share the task and the expense in Sir Herbert's\nEnglish Theatre? It was remarked at the time by some one that nothing\ncould be more fitting than to choose this way of celebrating the DEATH\nof Shakespeare.\nWhat a misfortune that Sir Herbert Tree's little plot has miscarried (\n....0r will there yet be time and opportunity to carry out this\nprogramme... in some smaller Island... In Sark perhaps.\n\nThomas A. Janvier 1895."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c054", "article_bluemountain": "bmtnaau_1915-05_01#c054", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "165", "page_fin": "165", "image_debut": 77, "image_fin": 77, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.21", "titre_corps": "A DESIGN FOR A SCENE", "titre_sommaire": "A DESIGN FOR A SCENE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 77, "page_imprimee": "165", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.77", "debut_caractere": 0, "fin_caractere_exclue": 876, "texte": "A DESIGN FOR A SCENE.\n& Queer Reader. ■£? What book is It out of ?.... What is the\ndate?.... Who made the design?.... What does it represent?....\nAre those six black things supposed to be the funnels of \"The\nEmden \" ?.... Are we down-hearted ?\nThe Editor. & Yes, when we are asked such a number\nof questions.\nQueer Reader. & Why not ask questions when one does\nnot know ?\n& Queerer Reader. & Oh, how frightfully Interesting! What\na fine thing.... Yes, it would make a splendid stage scene, ...is\nthe suggestion for something exactly right.\nThe Editor. Really?.... And what leads you to be so\nconvinced.\nQueerer Reader. I will tell you. (Prepares to give three\nquarters of an hour to a long and clearly worded, if somewhat\npedantic explanation which, while being a self-revelation of\npsychology, reveals but one other thing,... the speaker's good\nopinion of him (or her) self.)"}]}, {"article_id": "bm-bmtnaau-1915-05-01-c057", "article_bluemountain": "bmtnaau_1915-05_01#c057", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "166", "page_fin": "167", "image_debut": 78, "image_fin": 79, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.22", "titre_corps": "THEATRES OF YESTERDAY AND TODAY", "titre_sommaire": "THEATRES OF YESTERDAY AND TODAY", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 78, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.78", "debut_caractere": 0, "fin_caractere_exclue": 851, "texte": "THEATRES OF YESTERDAY AND TODAY\n\nGROUND PLAN OF THE TEATRO FARNESE. PARMA.\nA. C.\nBecause a Theatre is built in the\nold days it does not follow that\nlt|is either very good or very bad.\nTo judge whether good or bad it\nis necessary to pay it a visit.\nSome theatres of all ages stand apart\nfrom every age. Such is this Teatro\nFarnese in Parma.\nI have spent several hours in the\ntheatre and it cannot be brought\nInto comparison with any other of\nits own or any period, although this\nis too often done.\nTo compare such a masterpiece is\nto belittle all heroic effort.\nThe theatre affords a magnificent\nexample of the renaissance stage at\nits highest point of artistic and\ntechnical development.\nBuilt by the architect G. B. Aleottl\n(1550-1630) and decorated by the\npainters Leonello Spada (1576-1619)\nand Glrolamo Curti (1576-1681),\nit was completed In 1619."}, {"page_pdf": 79, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.79", "debut_caractere": 0, "fin_caractere_exclue": 431, "texte": "THE NEW COURT THEATRE IN DRESDEN.\nThe accompanying plan shows a longitudinal section of the New Court\nTheatre in Dresden, which Is turnlshed with a sliding stage ol an\ninteresting but elaborate and costly kind»\nThe diagram, like the one on the preceding page, is reproduced by\npermission of the John Lane Co, New York, from Mr Moderwell's book,\n\" The Theatre of Today,\" in which a description of the Dresden Court\nTheatre is given."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c058", "article_bluemountain": "bmtnaau_1915-05_01#c058", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "166", "page_fin": "166", "image_debut": 78, "image_fin": 78, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.22.1", "titre_corps": "GROUND PLAN OF THE TEATRO FARNESE. PARMA", "titre_sommaire": "GROUND PLAN OF THE TEATRO FARNESE. PARMA", "signature_source": "A. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 78, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.78", "debut_caractere": 33, "fin_caractere_exclue": 851, "texte": "GROUND PLAN OF THE TEATRO FARNESE. PARMA.\nA. C.\nBecause a Theatre is built in the\nold days it does not follow that\nlt|is either very good or very bad.\nTo judge whether good or bad it\nis necessary to pay it a visit.\nSome theatres of all ages stand apart\nfrom every age. Such is this Teatro\nFarnese in Parma.\nI have spent several hours in the\ntheatre and it cannot be brought\nInto comparison with any other of\nits own or any period, although this\nis too often done.\nTo compare such a masterpiece is\nto belittle all heroic effort.\nThe theatre affords a magnificent\nexample of the renaissance stage at\nits highest point of artistic and\ntechnical development.\nBuilt by the architect G. B. Aleottl\n(1550-1630) and decorated by the\npainters Leonello Spada (1576-1619)\nand Glrolamo Curti (1576-1681),\nit was completed In 1619."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c061", "article_bluemountain": "bmtnaau_1915-05_01#c061", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "167", "page_fin": "167", "image_debut": 79, "image_fin": 79, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.22.2", "titre_corps": "THE NEW COURT THEATRE IN DRESDEN", "titre_sommaire": "THE NEW COURT THEATRE IN DRESDEN", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 79, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.79", "debut_caractere": 0, "fin_caractere_exclue": 431, "texte": "THE NEW COURT THEATRE IN DRESDEN.\nThe accompanying plan shows a longitudinal section of the New Court\nTheatre in Dresden, which Is turnlshed with a sliding stage ol an\ninteresting but elaborate and costly kind»\nThe diagram, like the one on the preceding page, is reproduced by\npermission of the John Lane Co, New York, from Mr Moderwell's book,\n\" The Theatre of Today,\" in which a description of the Dresden Court\nTheatre is given."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c064", "article_bluemountain": "bmtnaau_1915-05_01#c064", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "168", "page_fin": "180", "image_debut": 80, "image_fin": 94, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.23", "titre_corps": "BOOK REVIEWS", "titre_sommaire": "BOOK REVIEWS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 80, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.80", "debut_caractere": 0, "fin_caractere_exclue": 1637, "texte": "BOOK REVIEWS,\n\nTHE NE W MO VEMENT IN THE\nTHEATRE, by Sheldon Cheney.\nMitchell Kennerley. New York.\nPrice two dollars net.\npraise than blame for this\nbook. It Is the best got up, (of its\nkind) yet issued; has distinction;\ncontains many good illustrations.\nlts faults ?.,.. much repetition;\nnot enough of facts; its quality\ndiluted by a little too much talk\nand discussion. More facts, better\nco-ordinated, and fewer comments,\nwould have improved it. Still, the\nbook is a good effort; it promises\n„ for the future, and the author has\ndoubtless already learned so much\nfrom the writing of it that he will\ngive us far better work in his next.\nHis own words In the Preface are,\n\" the over-enthusiastic student Is a\nbetter guide than the over-cautious\nstudent.\" We think so too.\nMf Cheney is slightly unfair on\nAmerica when giving what he claims\nto be typical examples of the ad-\nvanced staging done there. He also\nneeds to test his weights and mea-\nsures before attempting to analyse\nand estimate the values of the works\nhe discusses. One of the reproaches\nwe over here always want to refute\non behalf of Americans is that they\nhave no sense of art values. We are\nsure they have; but Mr Cheney\ncertainly shows a chink in the\narmour when he devotes space to\nthe serious discussion of the work\nof such beginners as Mr Sam Hume.\nOne may encourage the industry\nof a kindergarten child, making its\nbabyish little plasticine models; bpt\none does not gravely discuss it In\nthe same terms as one devotes to\nM. Rodin and to sculpture as an\nart. To praise the work of amateurs,.,\namateurs too superficial and greedy\nof quick results to be ever reckoned"}, {"page_pdf": 81, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.81", "debut_caractere": 17, "fin_caractere_exclue": 2421, "texte": "among serious students, does harm\nto the amateurs themselves by\nencouraging them to produce showy\nand spurious Imitative work; it also\nconfuses the mind of the reader.\nThe chapter on Applause is good,\nthough Mr Cheney omits to quote, as\na practical illustration, the Moscow\nArt Theatre, where the audience is\nrequested in the programme not to\napplaud as the actors prefer to\nwork in quiet.\nA protest against applause is\nvery necessary nowadays,... these\ndays when, for an actor merely to\ndrop a glass by accident, is to have\na ripple of sympathetic applause\nfrom the front; and the sight of an\n«\nactress overcome by fatigue also\nwins sympathetic applause. Applause\nshould only come when it cannot be\nhelped, like thunder, as we imagine\nIt lrt Greece: as it was when, in\nthe \" Eumenides\" the actor, at\nthe end, turned to the audience\nwith ''ololeu! sing ololeu lln\nfact, not so much applause is neces-\nsary as a shout. To relieve the feelings\nIn this way goes well In a great\ntheatre, but condescendingly to\npatter with the hands is damnable.\nMany of the illustrations are\nexcellent. Very fine are the repro-\nductions of the imitation Greek\ntheatre at Berkeley, Cal; and of what\nlooks like a superb open air theatre\nat Point Loina. The adapting of the\nbeauties of Nature in choice of the\nposition of this theatre shows that\na moment of genius was contributed\ntowards the conception of the plan.\nA great part of Mr Cheney's book\ntreats of the work of Mr Gordon Craig,\nwho, he recognises, has studied \" all\nthe elements of dramatic art, as no\nman ever had studied them before.\"\nThe last chapter is devoted entirely\nto his \" Service to the Theatre.\" and\ncloses with these wordsthe\n•* new race of artists of the theatre,\n\" those men who will build this art\n\" anew upon the principles which\n\" underlie all the true arts, for all\n\" time to come will acknowledge\n\" him as the master.\"\n\nTHE THEATRE OF TODAY, by\nH.K Moderwell. John Lane Co.(i)\nPrice one & a half dollars.\nHphis book certainly has gathered\nup a great deal of the matter\non the subject,* even if a little\nindiscriminately; but, while attemp-\nting to cast it into form that\nis comprehensible, the author has\npointed out several advantages in\nthe new system, and some draw-\n\n(1) Four Illustrations from this book are reproduced ,\nby kind permission of the Publishers, in the present\nnumber of Mask,\" on pages 166 and 67 and\nfacing pages 93 and 172.\n\\"}, {"page_pdf": 82, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.82", "debut_caractere": 15, "fin_caractere_exclue": 2362, "texte": "backs in the modern conditions\nunder which theatres are conducted,\nand in having done this he should\nbe able to feel that he has not\nwasted his time but has been of\nservice to us all.\nThe book, which contains many\nillustrations, treats of \" The Gathe-\nring of the Forces \",... the Mechanical\nForces; (Improvements In Stage\nEquipment;) the Artistic Forces;\n(The Stage Setting; Pure Design;\nColour; Lighting; Stylisation; Modern\nScene Designing in America;) The\nIntellectual Forces; (Philosophy in\nthe Modern Drama.) The Literary\nForces; (French and Italian Drama-\ntists; the Russians; Dramatists of the\nGerman Nations; the Imaginative\nDramatists.) The Social Forces;\n(Modern Theatre Architecture; Or-\nganization, Economics.) The Syn-\nthesis of the Forces.\nIn his last chapter Mr Modervvell\nspeaks of \" Universality and the\nmodern Theatre,\" asserting that\n\" democratic vitality Is the basis of\nthe modern theatre.\"\n£? To our mind such words as de-\nmocratic, aristocratic, imperialistic,\nand so forth, are used too often and\ntoo loosely, and seem without worth\nin regard to the works of the artist.\nIt may occasionally be necessary to\ntouch upon them very slightly ; but,\nwhether the rule be democratic or\naristocratic, painters have painted\nwell, musicians composed well, and\ntheatre men will, we hope, continue\nI\nto work well, in either situation.\nThere was great art in Florence and\nVenice under democratic rule ; there\nwas great art in France and in\nFlanders under aristocratic rule.\nTo say that the theatre is for\nthe people is necessary. But to forget\nto add that part and parcel of the\npeople is the aristocracy, whether\nof birth, or feeling, is an omission.\nA man of the 18th century, dres-\nsed in silks, In a fashionable loggia\nin the theatre at Versailles, looking\nas If he did no work, (as Voltaire\nin his youth may have looked),\npresents, In essence, exactly the\nsame picture as Walt Whitman in\nhis rough grey suit lounging in the\nBowery, also looking as if he did\nno work.\nOne the aristocrat, one the de-\nmocrat; the two are identical.\nIt wastes the time a little to pay\nattention to these apparently very\nactive people rushing hither and\nthither, ill at ease everywhere,\nnervous, with no time to waste*\nwasted by time, and talking much\nabout democracy or aristocracy. But\nwhy talkor argue about these things?\nWho does not love democracy"}, {"page_pdf": 83, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.83", "debut_caractere": 15, "fin_caractere_exclue": 2293, "texte": "when a Lincoln or a Whitman Is\nstanding for It? Who does not love\naristocracy when represented by a\nVoltaire or a Mirabeau ? It behoves\nus to find, and find soon, a name\nfor the idle people, and to leave\nthe words * aristocrat,' * democrat,'\nat rest.\n& And this is the only fault we\nwill find here with Mr Moderwell's\nb00k;... that we meet too many\nof such unessential or ambiguous\nwords, find too much about 44 social\ndevelopment,\" \" national loyalty,\"\n\" culture and the nation \" and so\nforth.\n£? Whitman has said, and we have\noften repeated it, 44 Produce great\npersons,.... the rest follows. \" He\nnever said, 44 produce a lot of little\npersons \": yet Whitman was a\ndemocrat.\nIt is true. A people needs great\npersons. It needs to sit on the small\npersons a little more. It needs to\n44 thin out\" like a wise gardener, so\nas to make place for finer growths.\nIt needs to forward the plans of the\ngreat persons and to do this in grand\nstyle.lt needs to build great theatres,\nand not tinker about with little\ntheatres. It needs to take great\nrisks and not the safe road every\ntime. It needs to leave things more\nto the people, i.e., to itself, as\na whole, and not form little narrow\nsocieties. It needs to trust the\n44 great persons,\" the great artists;\nand then from this may come great\nart... may be: for great breeds great,\nlittle only breeds little.\n\nHOW TO SEE A PLAY, by\nRichard Burton. Macmillan Co.\nPrice one dollar, twenty five\ncents.\nTJrofessor Burton is the President\nof the Drama League of America.\n44This book,\" states the preface,\n44 is aimed squarely at the Theater-\ngoer.\"\nAS It Is intended so, so must It\nbe criticised.\nJS> It is a good book, written by a\nshrewd man whose sole purpose is\nto lend a hand to that equally shrewd\nmultitude epitomised under the title\nof 44 the playgoer.\" It contains a little\nhistory here and there of the most\ninteresting kind; Is clear and concise;\nis not dull; presents some interesting\npoints for consideration; mentions\nvarious publications of value to the\nplaygoer. But, even given all this,\nwill it hit the bulls-eye at which it\nis aimed ? Being addressed to the\nplaygoer, and yet being neither\nterrifying nor charming in manner,\nwe believe the book can hardly\nreach him, for he needs shaking or\ncharming, or both. Here we feel"}, {"page_pdf": 84, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.84", "debut_caractere": 15, "fin_caractere_exclue": 2238, "texte": "neither shock or enchantment, and\nso believe Professor Burton's inten-\ntion will hardly be fulfilled. But we\ndo believe that the student, and\nworker in the theatre, will find the\nbook of value, and appreciate these\nsane and lucid pages.\nProfessor Burton has some useful\nthings to say which need constant\nrepetition.\n\" Touching audience, actors,\n\" playwrights, producers, and the\n\" society that is behind them all,\"\nhe writes, \" intelligent coßperation\n« '\n\"is the open sesame. With that for\n\" a banner cry, mountains may be\n\" removed.\"\nOur leaders say the same thing\nover here; and if the American\npublic could only feel this, feel it\nvitally and vividly, mountains would\nbe removed, which at present ob-\nstruct progress.\nAgain: \"In all considerations of\n\" the theater, it would be a good\n\"thing to allow the unfortunate\n\" word • elevate ' to drop from the\n\" vocabulary. It misleads and anta-\n\"gonises. It is better to say that\n\" the view presented in this book\n\" is one that wishes to make the\n\" playhouse innocently pleasant, ra-\n\" tional, and sound as art. If by\n\"'elevate' we mean these things,\n\" well and good.\"\n& Very true.\nAnd now a word on this point\nabout ourselves.\nProfessor Burton remarks that\n\" advanced movements abroad are\n\"chronicled In 'The Mask'.\"\nNow,\"Advanced \" suggests some-\nthing out of reach, and •so out\nof sympathy, and that must not\nbe believed In our case. In fact,\nto paraphrase the Professor's own\nwords, \" In all considerations of the\n\" theater, it would be a good thing\n\"to allow the unfortunate word\n\"'advanced' to drop from the\n\" vocabulary. It misleads and anta-\n\" gonises. it is better to say that\n44 the view presented ...is one that\n\" wishes to make the playhouse\n\" Innocently pleasant, rational, and\n\" sound as art. If by 4 advanced ' we\n\" mean these things, well and good.\"\n\nTHE CHANGING DRAMA by\nArchibald Henderson. Henry\nHolt & Co. New York. Price one\nand a half dollars.\nrjphis is \"an attempt\" says the\nauthor, \" on a very modest scale,\n\" to discover and to disclose the\n\" real contribution of the modern\n* .\n\" school of dramatists. These are\n\" studied primarily in relation to\n\" the life and the thinking of today.\"\nThe chapter headings Include\n44 Drama in the New . Age,\" \" The"}, {"page_pdf": 87, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.87", "debut_caractere": 15, "fin_caractere_exclue": 2352, "texte": "New Criticism and the New Ethics,\"\n\" Science and the New Drama\";\nThe New Forms, (Realism and the\nPulpit Stage; Naturalism and the\nFree Theatres). \"The Battle with\nIllusions.\" \"The New Technic\";\n\"The Play and the Reader\"; \"The\nNew Content\" \"The Newer Ten-\ndencies.\"\n& The book is not very clear or\nhelpful, to students.\n£7 \"Today the creation of atmos-\n\" phere has become the business of\n•\n\" the dramatist no less than the\n\" problem of illuminative, co=ope=\n\" rative setting has become the\n\" business of the artist technician.\n\" Ibsen, Strindberg, d'Annunzio, and\n\" Maeterlinck tread hard upon the\n\" heels of Craig, Reinhardt, Stani-\n\" siawsky, and Foster Piatt,\" is an\nexample of Mr Henderson.\n£l But why say \" today,\" \" has\nbecome,\" as if the fact that the\nmodern playwrights have waxed\nverbose in their stage directions is\nproof of increased power in the\n\" creation of atmosphere\" ? Shakes=\npeare could do as much without\ndetailed description of time and\nscene. Is \"atmosphere\" lacking in\nthe opening scene of \" Hamlet\" ? or\nin any of his dramas? In fact, it was\nShakespeare who could \"create\";\nthese latter playwrights can only\n\" describe,\" wordily, the impression\nthey wish to convey.\n£7 And here again,... surely this is\na comical list,... as little co-ordinated\nor coherent as the \" Tinker, Tailor,\nSoldier, Sailor\" of nursery days....\n£7 \" Craig, Reinhardt, Stanislawsky,\n\" Barker, Falk, D'Annunzio, Piatt\n\" manipulate the theatre and its\n\" devices as the great painter ma-\n\" nipulates his colours.\"\n£7 Where is the connection ? ...Craig,\nthe creative artist of the Theatre,\nthe \" practical idealist,\" as an\nAmerican critic has described him :\nReinhardt and Stanislawsky, the\nleading impresarios (both, inciden-\ntally, good actors), of Europe:\nBarker, the playwright, and, (for\nsmall enterprises), capable business\nman. D'Annunzio, novelist and poet,\nsome of whose literary works have\nbeen recited on the stage,... it seems\na pity that men of such different\ncalibre, endowment, aims, methods\nshould be reeled off in this way;\n....could one find an instance of\n\" confusion worse confounded\"?\nWriters on the theatre are in-\ncreasing in numbers today. This is\nwell; but unless they define more\naccurately, revise their classifica-\ntions more carefully, they are no\nmore helpful than would be writers\non natural history who set out by"}, {"page_pdf": 88, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.88", "debut_caractere": 11, "fin_caractere_exclue": 2283, "texte": "classing together the eagle, the\nbeaver, the cuckoo, the ant, the\nadder and the ichthyosaurus.\n& Closer analysis, clearer thought,\nmore accurate \" study of species\"\nare needed on the part of those who\nwish to bring assistance, as workers\nor critics, to the Theatre or Its\ncause.\n\nCHIEF CONTEMPORARY DRA-\nMATISTS. Edited Thomas\nH. Dickenson. Houghton Mifflin\nCo. Boston. Mass. U. S. A.\nPrice two dollars, seventy-five\ncents.\n7y|r Dickenson has collected \"Twen-\nty Plays from the recent Drama\nof Europe and America, in a well-\nprinted, wor km a n=l ike volume.\nspace does not permit of any\ndiscussion of the plays themselves:...\nprobably the best in the book\nare \" Riders to the Sea,\" \"The\nHour Glass,\" and Tchekov's \"Cherry\nOrchard \".\n& In a word on the performance of\n\" The Cherry Orchard\" Mr Dickenson\nnotes that it was produced with great\nsuccess at the Moscow Art Theatre,\na nd later on produced at the Theater\nKommisarzhevsky In Petrograd ; but\nhe omits to say that on this latter\noccasion it was no success, though\nthis fact, taken in conjunction with\nthe other, is illuminating, and affords\nevidence of how much of the initial\nsuccess was due to the managers\nand actors of» the Moscow theatre\nand their interpretation of the play.\n& Mr W. B. Yeats is represented\nby his \" Hour Glass,\" but one won-\nders why, this book being published\nin 1915, the old version is given,\nconsidering that Mr Yeats rewrote\nthe whole piece and published this\nrevised version in \" The Mask,\nApril \" I began a revision of\n\" the words \" lie then wrote in his\n\" Preface,\" \" from the moment when\n«< the play converted a music hail\n\" singer and sent him to mass and\n\" to confession ; but no revision of\n\" words could change the effect of\n\" the Wise Man down on his knees\n*• before the Fool; so last year I\nchanged action and all.\"\nNaturally, in a single volume, it\nwas impossible to include more than\na small number of even the best\npieces; but surely a place should\nhave been found for one of the great\nplays of Henry Becque, who, dying\nin 1899, fathered so much of the\nlater movement, and whose drama,\n\" The Crows,\" was described by\nMr James Huneker as \" the bible of\nthe dramatic realists.\"\nAn interesting point to note in\nlooking through a collection com-\nprising the work of so many play-"}, {"page_pdf": 89, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.89", "debut_caractere": 15, "fin_caractere_exclue": 2383, "texte": "wrights, is, how the tyranny of\nliterature has continually increased\nin the theatre from year to year.\nWhereas the old Greek plays contain\nhardly one word of stage-direction (1)\nand the Elizabethan scarcely more\nthan the division of the acts, and\nsuch indications of scenery as may\nbe gathered from the dialogue, these\nVictorian playwrights grow ever\nmore prolix in their details of cha-\nracter, action and scene.\nMr Barker, for example, in \" The\nMadras House \" fills three columns\nof close print with the psychology,\npast and present, of the Huxtable\nfamily before he can get to work.\n£7 Yet Heaven knows there is no Law\nof the Medes and Persians why\nMr Barker shouldn't enjoy himself\nin this way;... he has as much right\nto do so as Siiakespeare or Euri-\npides,... only they didn't, but made\nus feel the subtlest psychological\nworkings during the action and\nspeaking of the characters.\n£7 In there any doubt that Mr Barker\ncould do this ?... his talent as a\nwriter of plays is the strongest thing\nhe possesses. Instead of a Repertory\n(1) Mr 0. C. W. Warr, MA. translator of the \" Eume-\n£\nnides, notes thnt the words, •' a muttering\"\nwhich punctuate the speech o! Clytemnestra are M the\nonly marginal stage-directions extant in any Greek\ntragedy.\"\nTheatre, what prevents him,....,\nbeing, as he Is, a capable stage-\nmanager, from establishing a\nBarker Theatre ?\nThe Appendix to Mr Dickenson's\nbook contains short Biographical\nnotes, with a chronological list of\nthe plays, of each author : a series of\nnotes on the productions of each of\nthe plays included in the b00k,....\nthe dates when first performed and\nthe names of the principal actors:\nand also a list of critical studies\non the work of the various play-\nwrights.\nThere is, moreover, a list of\nnearly a hundred books published\non the Contemporary Theatre in the\nlast thirty years; and although this\nlist makes no attempt at complete-\nness,... is, in fact, entirely cursory,.,,\nit is illuminating to note, by the\ndates, the growing attention given\nto the serious study of this subject,\nespecially since 1908.\n£7 A few regrettable omissions are\nto be noted.\nThe very serious writings of\nM. Adolph Appia should surely have\nbeen included in this list;... It would\naiso have been well, as this list is\ncompiled for the use of students*\nthat the few better Journals, devoted\nto the theatre should have been\nincluded."}, {"page_pdf": 90, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.90", "debut_caractere": 15, "fin_caractere_exclue": 2426, "texte": "AMERICA, Through the Specta-\ncles of as Oriental Diplomat, Wu\nTingfang. F. Stokes Co. U.S.A.\nPrice one dollar sixty cents.\n'T'he Author welcomes us with so\nshrewd and pleasant a face on\nthe frontispiece of this book that we\nare prepared to find within ju st what\nwe do find,... some shrewd, though\nalways kindly, criticisms of the\nAmerican nation and its Institutions.\nAn Introductory word states that\n44 Dr Wu's faculty for asking disco n=\ncerting\" questions and his witty\n\" rejoinders were the talk of the\n44 country when he was China's\n44 Minister to the United States. He\n44 was the joy of Washington:\" and\nthe Impressions he has now published\ntell us his views on many sides of\nAmerican life, Political and Social:\non Education, Manners and Business;\nOn Women and their Costumes; on\nTheatres, Circuses, Banquets, and\nother matters as they appear to\nthe educated Oriental mind.\n& On the Theatre he makes various\npertinent observations.\nHis view of popular musical\ncomedy or farce Is, 44 1 cannot help\nregarding this feature of theatrical\nlife as so much theatrical chaos,\"\nwhile of 44 the vivid dramatization\nof cruelty \" too often brought upon\nthe stage he writes: 44 Does a sen-\n44 sational play exercise a beneficial\n44 or a pernicious Influence over the\n44 audience?\" and goes on to say,.\n44 the mental sufferings portrayed\nt\n44 are frequently more harrowing\n44 than the details of any bull® or\n44 cock-fight Considering the\n44 matter from the view-point of\n44 a play-goer, what benefit does he\n44 receive from witnessing a tra-\n-44 gedy? In his home and his office\n44 has he not enough to engage his\n44 serious attention, and to frequently\n44 worry his mind ? Is it worth his\n44 while to dress and spend an evening\n44 watching a performance\n44 however skilfully played, will make\n44 him no happier than before.\nAnyone looking round a theatre\nduringa moment of horror,... suicide,\nmurder, despair,... on the stage,\nand noting the strain and horror\nreflected on the faces of the spec-\ntators, the absense of any indication\nthat they are experiencing that\nrefreshment which art gives, or are\nrendered 44 happier than before \",\nby the performance, can hardly fail to\nre-echo, before such morbid exhibi-\ntions, the 44 cui bono ? \" of this\nWise Man from the East.\nYet the silly parade of stage grief\ngoes on ...presumably to teach young\nwomen how to make a scene at home.\nIf you have ever noticed one in your"}, {"page_pdf": 91, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.91", "debut_caractere": 10, "fin_caractere_exclue": 2191, "texte": "own house hasn't the resemblance\never struck you ?... Doesn't It seem\na trifle what you would call \" melo-\ndramatic\" or ''theatrical\"?\n\nVIS V A KARMA.\nFirst Series. One hundred Exam-\nples of Indian Sculpture.\n\" por favour of Review \" was prin-\nted on the cover of this book.\nThe favour in this case is with us\nand to us.\nSiva, Buddha, Tara, Ganesha and\nmany other gods and goddesses,\nApsaras, Elephants, Horses, Monkeys,\nSnakes, Bulls, Deer, Cats, Mice,...\nall sculptured as never since, and\nhere recorded for us in full-page\nphotographs of good quality.\nAnd in a Preface of admirable\nfeeling Mr Eric Gill puts a little\ntruth as an introduction to these\nwonders.\nHe claims that these works \" pro-\nceed from the mouth of God \"... and\nwe see the Indian artists, dead many\ncenturies.... smiling back their pride\nthrough their works.\nIt is a notable Preface, expounding\ntruth to be the \" real supernatural,\"\nas those other Indians of British\nColumbia would say.\n& Of late several Indian books have\nappeared in Europe with success,\nMr Tagore has won the Nobel prize\ndeservedly. But we would like to\nsee a book such as \" Visvakarma \"\nplaced above even the noble works\nof Mr Tagore.... for it is a book to\ninspire such men.\nIndeed, it is a question whether\na book of noblest Images such as\nthis one does not reach further and\ndeeper into our being than any words\ncould do.\nThe examples have been selected\nby Dr Ananda Coomaraswamy, who\ncalls the work \" the First Series.\"\nWe suggest to any serious States-\nman that he reconsider carefully\nthe sense of Power,... the meaning\nof the word, and the disastrous\neffects of dishonouring the Arts and\ntheir servants.\nWe suggest that the reign of\nKing George is worthy to be remem-\nbered,... to be as well remembered\nas that of any of these old Indian\nPrlnces's reigns are remembered by\neveryone whose eyes alight upon\nthese monumental works of art.\nJZ? Only great Art is preserved longer\nthan a few hundred years.\nWe suggest that the Statesmen of\nKing George's reign delay no longer.\n\nTHE CONGO, and other Poems,\nby Nicholas Vachel Lindsay.\nMacmillan Co. Price one dollar,\ntwenty-five cents.\nVachel Lindsay is very much\nalive,... uproariously so."}, {"page_pdf": 92, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.92", "debut_caractere": 15, "fin_caractere_exclue": 2313, "texte": "we have met him already tram-\nping and harvesting his way, (i) a\nhappy vagabond, across the western\nplains, offering songs or labour in\nreturn for food and lodging; and\nfound him good company.\n& We are told in the Introduction\nto this book that his plea is 44 for\npoetry as a song art, an art appealing\nto the ear rather than the eye,\"\nand it is certainly as songs, or\nspoken pieces, that these poems\nwould yield their full force and\nflavour. For really, they are too\nboisterous, most of them, to lie out\nquiet on a printed page: they up\nand fairly shout at you.\n& 44 I respectfully submit these\n44 poems,\" writes Mr Lindsay, 44 as\n44 experiments in which I endeavour\n44 to carry ....vaudeville form back\n\"towards the old Greek precedent\n44 of the half-chanted lyric. In this\n44 case the one-third music must be\n44 added by the instinct of the reader,\"\nand he prints marginal notes to tell\nthe reader exactly how to read.\nI have tried a few readers at\nthese poems... the results are fearful-\nBut Mr Lindsay is evidently able to\nstrike fire from them with his voice.\nThere is swing and gaiety in\nthe poems, and that is rare.\n& Mr W. B. Yeats, honoured Mr\nLindsay not long since in Chicago, at\nPoetry's Banquet, 44 by addressing\n44 his after-dinner talk primarily to\n44 him 4as a fellow craftsman,' and\n44 saying of his 4 General Bootli\n44 4 This poem is stripped bare of\n44 ornament; it has an earnest simpli-\n-44 city, a strange beauty, and you\n44 know Bacon said, 4 there is no\n44 excellent \"beauty without strange-\n4* ness'.\nWe think he knows more about\npoetry than the rest of us, so we\nare content to accept his Judgment\nand wish America more of the good\nSuck a good Poet brings with him...\nand we hope he will live long to\nblow the fifes and strike the drums.\n(1) 44 The Forum.\"\n\nTHE ROMANCE OF THE BE A-\nVER by A. Radclyffe Dug in ore.\nWillian Heinemanrt. Price six\nshillings net.\nupon a time there were people\nin the world who, not content\nwith killing each other, enjoyed to\npossess the hair of 44 the other.\"\nI'm sure 1 couldn't say if that is\nbarbarous or n0t,... one lives and\nlearns. Still, some wiser men hold\nthat to scalp a man, before or after\nhaving killed him, is not done in\nthe best circles.\n£/ I'm sure 1 can't say what is done\nin the best circles.\nReport says that they clothe"}, {"page_pdf": 93, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.93", "debut_caractere": 15, "fin_caractere_exclue": 2373, "texte": "their women,... or the women clothe\nthemselves... in the skins of animals;\nfeathers, too, from the gayest birds.\nNot, of course, from any desire to\nbe taken for a pussy cat or a dove\nby dressing up as 0ne,... but the\nfeathers are gay; the skins are\nwarm.\n& In \" The Romance of the Beaver \"\nMr Dugmore shows us clearly that\nto strip this little animal of his fur\ncoat to cover a lady is not the thing\nto do. He gives numerous reasons.\nHe points out how dangerous It is,\nand how cruel. The danger lies in\ndestroying valuable, yet unvalued,\ncollaborators; and he shows just\nhow this little animal collaborates\nwith the farmers by preparing for\nthem millions of acres of unculti-\nvated land, turning it year after\nyear into richest meadow land.\nYet man, (so report says), prefers\nto kill these master craftsmen, so\nas to get a number of wretched skins,\n(worth ten dollars each at most).\nMr Dugmore puts the blame of\nthis farcical waste upon the shoul-\nders of those who control the schools\nof North America and Canada.\n\" If only the schools taught more\n\" about the usefulness of animals and\n\" birds, even from the selfish point\n44 of view of their results to man ;\n44 and taught those things intelli-\n44 gently, much good would come.\"\n\" But a trip into any part of the\n\" country where the beaver still\n44 exists in its wild state will show\n44 how blind people are to their own\n\"interest in allowing these animals\n44 to be destroyed.\"\nI have not read many another\nbook that is so full of interest as\nthis one. The doings of men somehow\nappear less serious as one reads in\nit of the doings of the Beaver.\nHe is one of the jolliest of little\nbeasts... one of the cleverest... most\npatient... most systematic, and a\ncraftsman and a labourer par excel-\nlence. He is all this so as to enjoy\nhis life, and his pleasure in life is\nrelated in this book.\nThe world is topsyturvy through\nsome cause or other. Mankind is\noften given to thinking backwards...\nhaving grown tired of thinking for-\nwards... having spoiled himself.\nThe Beaver, on the contrary,\nshows us that, if we are content to\nwant less, we can always continue\nto think and act according to Nat ure.\nstz? \" Nature rnit uns\" seems to be\nthe motto of the Beaver. If we\ndestroy the Beavers we need not\nfancy Nature will forget to ter-\nribly if imperceptibly revenge them.\nThe Beavers and the Belgians,....\nwhat ?"}, {"page_pdf": 94, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.94", "debut_caractere": 15, "fin_caractere_exclue": 2250, "texte": "STUDIES IN STA by\nClayton Hamilton. Henry Holt\nCo. New York. Price one dollar\nfifty cents net.\nMr Clayton Hamilton is one of\nthose gentlemen who. without\napparently having any particular call\nor aptitude, insist upon writing\nabout the Theatre.\nA book of his, \" The Theory\nof the Theatre\" appeared a few\nyears ago. It was some what dry. (i)\n& He has now followed up this\nformer effort with a new volume of\ncollected essavs in which, under the\nw w\ntitle \"Studies in Stagecraft,\" he\nwrestles with such matters as \"The\nNew Art of making Plays, \" \" The\nPictorial Stage, \" \" The decorative\nDrama,\" \" The Drama of illusion,\"\n\" The Value of Stage Conventions,\"\n\" The supernatural Drama,\" \"Orga-\nnising an Audience,\" \"The Function\nof Dramatic Critics\" and many more.\nSome of the essays have previo-\nusly appeared in magazines; and\none of them, in which he occupies\nhimself with Mr Gordon Craig, has\nbeen already commented upon in\nThe Mask. (October 1912).\nWe know that since then, how-\never, Mr Hamilton has awakened to\nthe vitality of puppets and to various\nother matters (1) of which he was\npreviously scornful: so we hope for\nsomething more living from him\nby and bye.\n(I) See review in \" The Mask January 1911.\n\nCENSORSHIP IN ENGLAND:\nIts History from the Fifteenth\nCentury,by Frank Fowell and\nFrank Palmer. & Frank Palmer.\nPrice seven shillings and six-\npence net.\n''jphe joint authors of the book have\ncollected together a good deal\nof interesting matter relative to the\ncensorship of public performances,\nfrom the old days of the \" Master\nof Revels \" down to the Censor of\nthe modern play,\nThe Mask has so often given\nits opinion as to the value of an\nestablished Censor that there Is no\nneed here to discuss the views about\nhis position and powers expressed\nby Mr Frank Fowell and Mr Frank\nPalmer, whose championship is on\nthe other side. But, setting aside\nall such controversy, the book may\nbe said to be a useful as well as an\ninteresting piece of work, giving\nmany facts and documents relative\nto the censorship of plays from early\ntimes, and a good many facsimiles\nof • censored ' manuscripts, besides\nsome portraits of early \" Stage\nCensors\" and \" Examiners of Plays.\"\n(1) The New Movement in the Theatre. Sheldon Cheney,\npage 52."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c066", "article_bluemountain": "bmtnaau_1915-05_01#c066", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "168", "page_fin": "169", "image_debut": 80, "image_fin": 81, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.23.2", "titre_corps": "THE NEW MOVEMENT IN THE THEATRE by Sheldon Cheney", "titre_sommaire": "THE NEW MOVEMENT IN THE THEATRE by Sheldon Cheney", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 80, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.80", "debut_caractere": 15, "fin_caractere_exclue": 1637, "texte": "THE NE W MO VEMENT IN THE\nTHEATRE, by Sheldon Cheney.\nMitchell Kennerley. New York.\nPrice two dollars net.\npraise than blame for this\nbook. It Is the best got up, (of its\nkind) yet issued; has distinction;\ncontains many good illustrations.\nlts faults ?.,.. much repetition;\nnot enough of facts; its quality\ndiluted by a little too much talk\nand discussion. More facts, better\nco-ordinated, and fewer comments,\nwould have improved it. Still, the\nbook is a good effort; it promises\n„ for the future, and the author has\ndoubtless already learned so much\nfrom the writing of it that he will\ngive us far better work in his next.\nHis own words In the Preface are,\n\" the over-enthusiastic student Is a\nbetter guide than the over-cautious\nstudent.\" We think so too.\nMf Cheney is slightly unfair on\nAmerica when giving what he claims\nto be typical examples of the ad-\nvanced staging done there. He also\nneeds to test his weights and mea-\nsures before attempting to analyse\nand estimate the values of the works\nhe discusses. One of the reproaches\nwe over here always want to refute\non behalf of Americans is that they\nhave no sense of art values. We are\nsure they have; but Mr Cheney\ncertainly shows a chink in the\narmour when he devotes space to\nthe serious discussion of the work\nof such beginners as Mr Sam Hume.\nOne may encourage the industry\nof a kindergarten child, making its\nbabyish little plasticine models; bpt\none does not gravely discuss it In\nthe same terms as one devotes to\nM. Rodin and to sculpture as an\nart. To praise the work of amateurs,.,\namateurs too superficial and greedy\nof quick results to be ever reckoned"}, {"page_pdf": 81, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.81", "debut_caractere": 17, "fin_caractere_exclue": 1893, "texte": "among serious students, does harm\nto the amateurs themselves by\nencouraging them to produce showy\nand spurious Imitative work; it also\nconfuses the mind of the reader.\nThe chapter on Applause is good,\nthough Mr Cheney omits to quote, as\na practical illustration, the Moscow\nArt Theatre, where the audience is\nrequested in the programme not to\napplaud as the actors prefer to\nwork in quiet.\nA protest against applause is\nvery necessary nowadays,... these\ndays when, for an actor merely to\ndrop a glass by accident, is to have\na ripple of sympathetic applause\nfrom the front; and the sight of an\n«\nactress overcome by fatigue also\nwins sympathetic applause. Applause\nshould only come when it cannot be\nhelped, like thunder, as we imagine\nIt lrt Greece: as it was when, in\nthe \" Eumenides\" the actor, at\nthe end, turned to the audience\nwith ''ololeu! sing ololeu lln\nfact, not so much applause is neces-\nsary as a shout. To relieve the feelings\nIn this way goes well In a great\ntheatre, but condescendingly to\npatter with the hands is damnable.\nMany of the illustrations are\nexcellent. Very fine are the repro-\nductions of the imitation Greek\ntheatre at Berkeley, Cal; and of what\nlooks like a superb open air theatre\nat Point Loina. The adapting of the\nbeauties of Nature in choice of the\nposition of this theatre shows that\na moment of genius was contributed\ntowards the conception of the plan.\nA great part of Mr Cheney's book\ntreats of the work of Mr Gordon Craig,\nwho, he recognises, has studied \" all\nthe elements of dramatic art, as no\nman ever had studied them before.\"\nThe last chapter is devoted entirely\nto his \" Service to the Theatre.\" and\ncloses with these wordsthe\n•* new race of artists of the theatre,\n\" those men who will build this art\n\" anew upon the principles which\n\" underlie all the true arts, for all\n\" time to come will acknowledge\n\" him as the master.\""}]}, {"article_id": "bm-bmtnaau-1915-05-01-c067", "article_bluemountain": "bmtnaau_1915-05_01#c067", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "169", "page_fin": "171", "image_debut": 81, "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=bmtnaau191505-01.2.23.3", "titre_corps": "THE THEATRE OF TODAY, by H.K. Moderwell", "titre_sommaire": "THE THEATRE OF TODAY, by H.K. Moderwell", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 81, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.81", "debut_caractere": 1895, "fin_caractere_exclue": 2421, "texte": "THE THEATRE OF TODAY, by\nH.K Moderwell. John Lane Co.(i)\nPrice one & a half dollars.\nHphis book certainly has gathered\nup a great deal of the matter\non the subject,* even if a little\nindiscriminately; but, while attemp-\nting to cast it into form that\nis comprehensible, the author has\npointed out several advantages in\nthe new system, and some draw-\n\n(1) Four Illustrations from this book are reproduced ,\nby kind permission of the Publishers, in the present\nnumber of Mask,\" on pages 166 and 67 and\nfacing pages 93 and 172.\n\\"}, {"page_pdf": 82, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.82", "debut_caractere": 15, "fin_caractere_exclue": 2362, "texte": "backs in the modern conditions\nunder which theatres are conducted,\nand in having done this he should\nbe able to feel that he has not\nwasted his time but has been of\nservice to us all.\nThe book, which contains many\nillustrations, treats of \" The Gathe-\nring of the Forces \",... the Mechanical\nForces; (Improvements In Stage\nEquipment;) the Artistic Forces;\n(The Stage Setting; Pure Design;\nColour; Lighting; Stylisation; Modern\nScene Designing in America;) The\nIntellectual Forces; (Philosophy in\nthe Modern Drama.) The Literary\nForces; (French and Italian Drama-\ntists; the Russians; Dramatists of the\nGerman Nations; the Imaginative\nDramatists.) The Social Forces;\n(Modern Theatre Architecture; Or-\nganization, Economics.) The Syn-\nthesis of the Forces.\nIn his last chapter Mr Modervvell\nspeaks of \" Universality and the\nmodern Theatre,\" asserting that\n\" democratic vitality Is the basis of\nthe modern theatre.\"\n£? To our mind such words as de-\nmocratic, aristocratic, imperialistic,\nand so forth, are used too often and\ntoo loosely, and seem without worth\nin regard to the works of the artist.\nIt may occasionally be necessary to\ntouch upon them very slightly ; but,\nwhether the rule be democratic or\naristocratic, painters have painted\nwell, musicians composed well, and\ntheatre men will, we hope, continue\nI\nto work well, in either situation.\nThere was great art in Florence and\nVenice under democratic rule ; there\nwas great art in France and in\nFlanders under aristocratic rule.\nTo say that the theatre is for\nthe people is necessary. But to forget\nto add that part and parcel of the\npeople is the aristocracy, whether\nof birth, or feeling, is an omission.\nA man of the 18th century, dres-\nsed in silks, In a fashionable loggia\nin the theatre at Versailles, looking\nas If he did no work, (as Voltaire\nin his youth may have looked),\npresents, In essence, exactly the\nsame picture as Walt Whitman in\nhis rough grey suit lounging in the\nBowery, also looking as if he did\nno work.\nOne the aristocrat, one the de-\nmocrat; the two are identical.\nIt wastes the time a little to pay\nattention to these apparently very\nactive people rushing hither and\nthither, ill at ease everywhere,\nnervous, with no time to waste*\nwasted by time, and talking much\nabout democracy or aristocracy. But\nwhy talkor argue about these things?\nWho does not love democracy"}, {"page_pdf": 83, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.83", "debut_caractere": 15, "fin_caractere_exclue": 1365, "texte": "when a Lincoln or a Whitman Is\nstanding for It? Who does not love\naristocracy when represented by a\nVoltaire or a Mirabeau ? It behoves\nus to find, and find soon, a name\nfor the idle people, and to leave\nthe words * aristocrat,' * democrat,'\nat rest.\n& And this is the only fault we\nwill find here with Mr Moderwell's\nb00k;... that we meet too many\nof such unessential or ambiguous\nwords, find too much about 44 social\ndevelopment,\" \" national loyalty,\"\n\" culture and the nation \" and so\nforth.\n£? Whitman has said, and we have\noften repeated it, 44 Produce great\npersons,.... the rest follows. \" He\nnever said, 44 produce a lot of little\npersons \": yet Whitman was a\ndemocrat.\nIt is true. A people needs great\npersons. It needs to sit on the small\npersons a little more. It needs to\n44 thin out\" like a wise gardener, so\nas to make place for finer growths.\nIt needs to forward the plans of the\ngreat persons and to do this in grand\nstyle.lt needs to build great theatres,\nand not tinker about with little\ntheatres. It needs to take great\nrisks and not the safe road every\ntime. It needs to leave things more\nto the people, i.e., to itself, as\na whole, and not form little narrow\nsocieties. It needs to trust the\n44 great persons,\" the great artists;\nand then from this may come great\nart... may be: for great breeds great,\nlittle only breeds little."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c068", "article_bluemountain": "bmtnaau_1915-05_01#c068", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "171", "page_fin": "172", "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=bmtnaau191505-01.2.23.4", "titre_corps": "HOW TO SEE A PLAY, by Richard Burton", "titre_sommaire": "HOW TO SEE A PLAY, by Richard Burton", "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": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.83", "debut_caractere": 1367, "fin_caractere_exclue": 2293, "texte": "HOW TO SEE A PLAY, by\nRichard Burton. Macmillan Co.\nPrice one dollar, twenty five\ncents.\nTJrofessor Burton is the President\nof the Drama League of America.\n44This book,\" states the preface,\n44 is aimed squarely at the Theater-\ngoer.\"\nAS It Is intended so, so must It\nbe criticised.\nJS> It is a good book, written by a\nshrewd man whose sole purpose is\nto lend a hand to that equally shrewd\nmultitude epitomised under the title\nof 44 the playgoer.\" It contains a little\nhistory here and there of the most\ninteresting kind; Is clear and concise;\nis not dull; presents some interesting\npoints for consideration; mentions\nvarious publications of value to the\nplaygoer. But, even given all this,\nwill it hit the bulls-eye at which it\nis aimed ? Being addressed to the\nplaygoer, and yet being neither\nterrifying nor charming in manner,\nwe believe the book can hardly\nreach him, for he needs shaking or\ncharming, or both. Here we feel"}, {"page_pdf": 84, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.84", "debut_caractere": 15, "fin_caractere_exclue": 1828, "texte": "neither shock or enchantment, and\nso believe Professor Burton's inten-\ntion will hardly be fulfilled. But we\ndo believe that the student, and\nworker in the theatre, will find the\nbook of value, and appreciate these\nsane and lucid pages.\nProfessor Burton has some useful\nthings to say which need constant\nrepetition.\n\" Touching audience, actors,\n\" playwrights, producers, and the\n\" society that is behind them all,\"\nhe writes, \" intelligent coßperation\n« '\n\"is the open sesame. With that for\n\" a banner cry, mountains may be\n\" removed.\"\nOur leaders say the same thing\nover here; and if the American\npublic could only feel this, feel it\nvitally and vividly, mountains would\nbe removed, which at present ob-\nstruct progress.\nAgain: \"In all considerations of\n\" the theater, it would be a good\n\"thing to allow the unfortunate\n\" word • elevate ' to drop from the\n\" vocabulary. It misleads and anta-\n\"gonises. It is better to say that\n\" the view presented in this book\n\" is one that wishes to make the\n\" playhouse innocently pleasant, ra-\n\" tional, and sound as art. If by\n\"'elevate' we mean these things,\n\" well and good.\"\n& Very true.\nAnd now a word on this point\nabout ourselves.\nProfessor Burton remarks that\n\" advanced movements abroad are\n\"chronicled In 'The Mask'.\"\nNow,\"Advanced \" suggests some-\nthing out of reach, and •so out\nof sympathy, and that must not\nbe believed In our case. In fact,\nto paraphrase the Professor's own\nwords, \" In all considerations of the\n\" theater, it would be a good thing\n\"to allow the unfortunate word\n\"'advanced' to drop from the\n\" vocabulary. It misleads and anta-\n\" gonises. it is better to say that\n44 the view presented ...is one that\n\" wishes to make the playhouse\n\" Innocently pleasant, rational, and\n\" sound as art. If by 4 advanced ' we\n\" mean these things, well and good.\""}]}, {"article_id": "bm-bmtnaau-1915-05-01-c069", "article_bluemountain": "bmtnaau_1915-05_01#c069", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "172", "page_fin": "174", "image_debut": 84, "image_fin": 88, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.23.5", "titre_corps": "THE CHANGING DRAMA by Archibald Henderson", "titre_sommaire": "THE CHANGING DRAMA by Archibald Henderson", "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": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.84", "debut_caractere": 1830, "fin_caractere_exclue": 2238, "texte": "THE CHANGING DRAMA by\nArchibald Henderson. Henry\nHolt & Co. New York. Price one\nand a half dollars.\nrjphis is \"an attempt\" says the\nauthor, \" on a very modest scale,\n\" to discover and to disclose the\n\" real contribution of the modern\n* .\n\" school of dramatists. These are\n\" studied primarily in relation to\n\" the life and the thinking of today.\"\nThe chapter headings Include\n44 Drama in the New . Age,\" \" The"}, {"page_pdf": 87, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.87", "debut_caractere": 15, "fin_caractere_exclue": 2352, "texte": "New Criticism and the New Ethics,\"\n\" Science and the New Drama\";\nThe New Forms, (Realism and the\nPulpit Stage; Naturalism and the\nFree Theatres). \"The Battle with\nIllusions.\" \"The New Technic\";\n\"The Play and the Reader\"; \"The\nNew Content\" \"The Newer Ten-\ndencies.\"\n& The book is not very clear or\nhelpful, to students.\n£7 \"Today the creation of atmos-\n\" phere has become the business of\n•\n\" the dramatist no less than the\n\" problem of illuminative, co=ope=\n\" rative setting has become the\n\" business of the artist technician.\n\" Ibsen, Strindberg, d'Annunzio, and\n\" Maeterlinck tread hard upon the\n\" heels of Craig, Reinhardt, Stani-\n\" siawsky, and Foster Piatt,\" is an\nexample of Mr Henderson.\n£l But why say \" today,\" \" has\nbecome,\" as if the fact that the\nmodern playwrights have waxed\nverbose in their stage directions is\nproof of increased power in the\n\" creation of atmosphere\" ? Shakes=\npeare could do as much without\ndetailed description of time and\nscene. Is \"atmosphere\" lacking in\nthe opening scene of \" Hamlet\" ? or\nin any of his dramas? In fact, it was\nShakespeare who could \"create\";\nthese latter playwrights can only\n\" describe,\" wordily, the impression\nthey wish to convey.\n£7 And here again,... surely this is\na comical list,... as little co-ordinated\nor coherent as the \" Tinker, Tailor,\nSoldier, Sailor\" of nursery days....\n£7 \" Craig, Reinhardt, Stanislawsky,\n\" Barker, Falk, D'Annunzio, Piatt\n\" manipulate the theatre and its\n\" devices as the great painter ma-\n\" nipulates his colours.\"\n£7 Where is the connection ? ...Craig,\nthe creative artist of the Theatre,\nthe \" practical idealist,\" as an\nAmerican critic has described him :\nReinhardt and Stanislawsky, the\nleading impresarios (both, inciden-\ntally, good actors), of Europe:\nBarker, the playwright, and, (for\nsmall enterprises), capable business\nman. D'Annunzio, novelist and poet,\nsome of whose literary works have\nbeen recited on the stage,... it seems\na pity that men of such different\ncalibre, endowment, aims, methods\nshould be reeled off in this way;\n....could one find an instance of\n\" confusion worse confounded\"?\nWriters on the theatre are in-\ncreasing in numbers today. This is\nwell; but unless they define more\naccurately, revise their classifica-\ntions more carefully, they are no\nmore helpful than would be writers\non natural history who set out by"}, {"page_pdf": 88, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.88", "debut_caractere": 11, "fin_caractere_exclue": 289, "texte": "classing together the eagle, the\nbeaver, the cuckoo, the ant, the\nadder and the ichthyosaurus.\n& Closer analysis, clearer thought,\nmore accurate \" study of species\"\nare needed on the part of those who\nwish to bring assistance, as workers\nor critics, to the Theatre or Its\ncause."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c070", "article_bluemountain": "bmtnaau_1915-05_01#c070", "volume": "bmtnaau_1915-05_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": 85, "image_fin": 85, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.23.5.1", "titre_corps": "Street Scene \"Romeo and Juliet,\" Dentches Theatre, Berlin", "titre_sommaire": "Street Scene \"Romeo and Juliet,\" Dentches Theatre, Berlin", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 85, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.85", "debut_caractere": 0, "fin_caractere_exclue": 243, "texte": "Street Scene \"Romeo and Juliet,\" Dentches Theatre, Berlin. Called in “The Theatre of Today,” (by H. K. Moderwell)\n“an example of Reinhardt's early realistic style.” As an example of realism it is poor. The designer was not Professor Reinhardt."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c071", "article_bluemountain": "bmtnaau_1915-05_01#c071", "volume": "bmtnaau_1915-05_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=bmtnaau191505-01.2.23.6", "titre_corps": "CHIEF CONTEMPORARY DRAMATISTS. Edited by Thomas H. Dickenson", "titre_sommaire": "CHIEF CONTEMPORARY DRAMATISTS. Edited by Thomas H. Dickenson", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 88, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.88", "debut_caractere": 291, "fin_caractere_exclue": 2283, "texte": "CHIEF CONTEMPORARY DRA-\nMATISTS. Edited Thomas\nH. Dickenson. Houghton Mifflin\nCo. Boston. Mass. U. S. A.\nPrice two dollars, seventy-five\ncents.\n7y|r Dickenson has collected \"Twen-\nty Plays from the recent Drama\nof Europe and America, in a well-\nprinted, wor km a n=l ike volume.\nspace does not permit of any\ndiscussion of the plays themselves:...\nprobably the best in the book\nare \" Riders to the Sea,\" \"The\nHour Glass,\" and Tchekov's \"Cherry\nOrchard \".\n& In a word on the performance of\n\" The Cherry Orchard\" Mr Dickenson\nnotes that it was produced with great\nsuccess at the Moscow Art Theatre,\na nd later on produced at the Theater\nKommisarzhevsky In Petrograd ; but\nhe omits to say that on this latter\noccasion it was no success, though\nthis fact, taken in conjunction with\nthe other, is illuminating, and affords\nevidence of how much of the initial\nsuccess was due to the managers\nand actors of» the Moscow theatre\nand their interpretation of the play.\n& Mr W. B. Yeats is represented\nby his \" Hour Glass,\" but one won-\nders why, this book being published\nin 1915, the old version is given,\nconsidering that Mr Yeats rewrote\nthe whole piece and published this\nrevised version in \" The Mask,\nApril \" I began a revision of\n\" the words \" lie then wrote in his\n\" Preface,\" \" from the moment when\n«< the play converted a music hail\n\" singer and sent him to mass and\n\" to confession ; but no revision of\n\" words could change the effect of\n\" the Wise Man down on his knees\n*• before the Fool; so last year I\nchanged action and all.\"\nNaturally, in a single volume, it\nwas impossible to include more than\na small number of even the best\npieces; but surely a place should\nhave been found for one of the great\nplays of Henry Becque, who, dying\nin 1899, fathered so much of the\nlater movement, and whose drama,\n\" The Crows,\" was described by\nMr James Huneker as \" the bible of\nthe dramatic realists.\"\nAn interesting point to note in\nlooking through a collection com-\nprising the work of so many play-"}, {"page_pdf": 89, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.89", "debut_caractere": 15, "fin_caractere_exclue": 2383, "texte": "wrights, is, how the tyranny of\nliterature has continually increased\nin the theatre from year to year.\nWhereas the old Greek plays contain\nhardly one word of stage-direction (1)\nand the Elizabethan scarcely more\nthan the division of the acts, and\nsuch indications of scenery as may\nbe gathered from the dialogue, these\nVictorian playwrights grow ever\nmore prolix in their details of cha-\nracter, action and scene.\nMr Barker, for example, in \" The\nMadras House \" fills three columns\nof close print with the psychology,\npast and present, of the Huxtable\nfamily before he can get to work.\n£7 Yet Heaven knows there is no Law\nof the Medes and Persians why\nMr Barker shouldn't enjoy himself\nin this way;... he has as much right\nto do so as Siiakespeare or Euri-\npides,... only they didn't, but made\nus feel the subtlest psychological\nworkings during the action and\nspeaking of the characters.\n£7 In there any doubt that Mr Barker\ncould do this ?... his talent as a\nwriter of plays is the strongest thing\nhe possesses. Instead of a Repertory\n(1) Mr 0. C. W. Warr, MA. translator of the \" Eume-\n£\nnides, notes thnt the words, •' a muttering\"\nwhich punctuate the speech o! Clytemnestra are M the\nonly marginal stage-directions extant in any Greek\ntragedy.\"\nTheatre, what prevents him,....,\nbeing, as he Is, a capable stage-\nmanager, from establishing a\nBarker Theatre ?\nThe Appendix to Mr Dickenson's\nbook contains short Biographical\nnotes, with a chronological list of\nthe plays, of each author : a series of\nnotes on the productions of each of\nthe plays included in the b00k,....\nthe dates when first performed and\nthe names of the principal actors:\nand also a list of critical studies\non the work of the various play-\nwrights.\nThere is, moreover, a list of\nnearly a hundred books published\non the Contemporary Theatre in the\nlast thirty years; and although this\nlist makes no attempt at complete-\nness,... is, in fact, entirely cursory,.,,\nit is illuminating to note, by the\ndates, the growing attention given\nto the serious study of this subject,\nespecially since 1908.\n£7 A few regrettable omissions are\nto be noted.\nThe very serious writings of\nM. Adolph Appia should surely have\nbeen included in this list;... It would\naiso have been well, as this list is\ncompiled for the use of students*\nthat the few better Journals, devoted\nto the theatre should have been\nincluded."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c071a", "article_bluemountain": "bmtnaau_1915-05_01#c071a", "volume": "bmtnaau_1915-05_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=bmtnaau191505-01.2.23.7", "titre_corps": "AMERICA, Through the Spectacles of an Oriental Diplomat. Wu Tingfang", "titre_sommaire": "AMERICA, Through the Spectacles of an Oriental Diplomat. Wu Tingfang", "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=bmtnaau191505-01.1.90", "debut_caractere": 15, "fin_caractere_exclue": 2426, "texte": "AMERICA, Through the Specta-\ncles of as Oriental Diplomat, Wu\nTingfang. F. Stokes Co. U.S.A.\nPrice one dollar sixty cents.\n'T'he Author welcomes us with so\nshrewd and pleasant a face on\nthe frontispiece of this book that we\nare prepared to find within ju st what\nwe do find,... some shrewd, though\nalways kindly, criticisms of the\nAmerican nation and its Institutions.\nAn Introductory word states that\n44 Dr Wu's faculty for asking disco n=\ncerting\" questions and his witty\n\" rejoinders were the talk of the\n44 country when he was China's\n44 Minister to the United States. He\n44 was the joy of Washington:\" and\nthe Impressions he has now published\ntell us his views on many sides of\nAmerican life, Political and Social:\non Education, Manners and Business;\nOn Women and their Costumes; on\nTheatres, Circuses, Banquets, and\nother matters as they appear to\nthe educated Oriental mind.\n& On the Theatre he makes various\npertinent observations.\nHis view of popular musical\ncomedy or farce Is, 44 1 cannot help\nregarding this feature of theatrical\nlife as so much theatrical chaos,\"\nwhile of 44 the vivid dramatization\nof cruelty \" too often brought upon\nthe stage he writes: 44 Does a sen-\n44 sational play exercise a beneficial\n44 or a pernicious Influence over the\n44 audience?\" and goes on to say,.\n44 the mental sufferings portrayed\nt\n44 are frequently more harrowing\n44 than the details of any bull® or\n44 cock-fight Considering the\n44 matter from the view-point of\n44 a play-goer, what benefit does he\n44 receive from witnessing a tra-\n-44 gedy? In his home and his office\n44 has he not enough to engage his\n44 serious attention, and to frequently\n44 worry his mind ? Is it worth his\n44 while to dress and spend an evening\n44 watching a performance\n44 however skilfully played, will make\n44 him no happier than before.\nAnyone looking round a theatre\nduringa moment of horror,... suicide,\nmurder, despair,... on the stage,\nand noting the strain and horror\nreflected on the faces of the spec-\ntators, the absense of any indication\nthat they are experiencing that\nrefreshment which art gives, or are\nrendered 44 happier than before \",\nby the performance, can hardly fail to\nre-echo, before such morbid exhibi-\ntions, the 44 cui bono ? \" of this\nWise Man from the East.\nYet the silly parade of stage grief\ngoes on ...presumably to teach young\nwomen how to make a scene at home.\nIf you have ever noticed one in your"}, {"page_pdf": 91, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.91", "debut_caractere": 10, "fin_caractere_exclue": 144, "texte": "own house hasn't the resemblance\never struck you ?... Doesn't It seem\na trifle what you would call \" melo-\ndramatic\" or ''theatrical\"?"}]}, {"article_id": "bm-bmtnaau-1915-05-01-c072", "article_bluemountain": "bmtnaau_1915-05_01#c072", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "177", "page_fin": "177", "image_debut": 91, "image_fin": 91, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.23.8", "titre_corps": "VISVAKARMA", "titre_sommaire": "VISVAKARMA", "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=bmtnaau191505-01.1.91", "debut_caractere": 146, "fin_caractere_exclue": 2028, "texte": "VIS V A KARMA.\nFirst Series. One hundred Exam-\nples of Indian Sculpture.\n\" por favour of Review \" was prin-\nted on the cover of this book.\nThe favour in this case is with us\nand to us.\nSiva, Buddha, Tara, Ganesha and\nmany other gods and goddesses,\nApsaras, Elephants, Horses, Monkeys,\nSnakes, Bulls, Deer, Cats, Mice,...\nall sculptured as never since, and\nhere recorded for us in full-page\nphotographs of good quality.\nAnd in a Preface of admirable\nfeeling Mr Eric Gill puts a little\ntruth as an introduction to these\nwonders.\nHe claims that these works \" pro-\nceed from the mouth of God \"... and\nwe see the Indian artists, dead many\ncenturies.... smiling back their pride\nthrough their works.\nIt is a notable Preface, expounding\ntruth to be the \" real supernatural,\"\nas those other Indians of British\nColumbia would say.\n& Of late several Indian books have\nappeared in Europe with success,\nMr Tagore has won the Nobel prize\ndeservedly. But we would like to\nsee a book such as \" Visvakarma \"\nplaced above even the noble works\nof Mr Tagore.... for it is a book to\ninspire such men.\nIndeed, it is a question whether\na book of noblest Images such as\nthis one does not reach further and\ndeeper into our being than any words\ncould do.\nThe examples have been selected\nby Dr Ananda Coomaraswamy, who\ncalls the work \" the First Series.\"\nWe suggest to any serious States-\nman that he reconsider carefully\nthe sense of Power,... the meaning\nof the word, and the disastrous\neffects of dishonouring the Arts and\ntheir servants.\nWe suggest that the reign of\nKing George is worthy to be remem-\nbered,... to be as well remembered\nas that of any of these old Indian\nPrlnces's reigns are remembered by\neveryone whose eyes alight upon\nthese monumental works of art.\nJZ? Only great Art is preserved longer\nthan a few hundred years.\nWe suggest that the Statesmen of\nKing George's reign delay no longer."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c073", "article_bluemountain": "bmtnaau_1915-05_01#c073", "volume": "bmtnaau_1915-05_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=bmtnaau191505-01.2.23.9", "titre_corps": "THE CONGO, and other Poems by Nicholas Vachel Lindsay", "titre_sommaire": "THE CONGO, and other Poems by Nicholas Vachel Lindsay", "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=bmtnaau191505-01.1.91", "debut_caractere": 2030, "fin_caractere_exclue": 2191, "texte": "THE CONGO, and other Poems,\nby Nicholas Vachel Lindsay.\nMacmillan Co. Price one dollar,\ntwenty-five cents.\nVachel Lindsay is very much\nalive,... uproariously so."}, {"page_pdf": 92, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.92", "debut_caractere": 15, "fin_caractere_exclue": 1798, "texte": "we have met him already tram-\nping and harvesting his way, (i) a\nhappy vagabond, across the western\nplains, offering songs or labour in\nreturn for food and lodging; and\nfound him good company.\n& We are told in the Introduction\nto this book that his plea is 44 for\npoetry as a song art, an art appealing\nto the ear rather than the eye,\"\nand it is certainly as songs, or\nspoken pieces, that these poems\nwould yield their full force and\nflavour. For really, they are too\nboisterous, most of them, to lie out\nquiet on a printed page: they up\nand fairly shout at you.\n& 44 I respectfully submit these\n44 poems,\" writes Mr Lindsay, 44 as\n44 experiments in which I endeavour\n44 to carry ....vaudeville form back\n\"towards the old Greek precedent\n44 of the half-chanted lyric. In this\n44 case the one-third music must be\n44 added by the instinct of the reader,\"\nand he prints marginal notes to tell\nthe reader exactly how to read.\nI have tried a few readers at\nthese poems... the results are fearful-\nBut Mr Lindsay is evidently able to\nstrike fire from them with his voice.\nThere is swing and gaiety in\nthe poems, and that is rare.\n& Mr W. B. Yeats, honoured Mr\nLindsay not long since in Chicago, at\nPoetry's Banquet, 44 by addressing\n44 his after-dinner talk primarily to\n44 him 4as a fellow craftsman,' and\n44 saying of his 4 General Bootli\n44 4 This poem is stripped bare of\n44 ornament; it has an earnest simpli-\n-44 city, a strange beauty, and you\n44 know Bacon said, 4 there is no\n44 excellent \"beauty without strange-\n4* ness'.\nWe think he knows more about\npoetry than the rest of us, so we\nare content to accept his Judgment\nand wish America more of the good\nSuck a good Poet brings with him...\nand we hope he will live long to\nblow the fifes and strike the drums.\n(1) 44 The Forum.\""}]}, {"article_id": "bm-bmtnaau-1915-05-01-c074", "article_bluemountain": "bmtnaau_1915-05_01#c074", "volume": "bmtnaau_1915-05_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=bmtnaau191505-01.2.23.10", "titre_corps": "THE ROMANCE OF THE BEAVER by A. Radclyffe Dugmore", "titre_sommaire": "THE ROMANCE OF THE BEAVER by A. Radclyffe Dugmore", "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=bmtnaau191505-01.1.92", "debut_caractere": 1800, "fin_caractere_exclue": 2313, "texte": "THE ROMANCE OF THE BE A-\nVER by A. Radclyffe Dug in ore.\nWillian Heinemanrt. Price six\nshillings net.\nupon a time there were people\nin the world who, not content\nwith killing each other, enjoyed to\npossess the hair of 44 the other.\"\nI'm sure 1 couldn't say if that is\nbarbarous or n0t,... one lives and\nlearns. Still, some wiser men hold\nthat to scalp a man, before or after\nhaving killed him, is not done in\nthe best circles.\n£/ I'm sure 1 can't say what is done\nin the best circles.\nReport says that they clothe"}, {"page_pdf": 93, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.93", "debut_caractere": 15, "fin_caractere_exclue": 2373, "texte": "their women,... or the women clothe\nthemselves... in the skins of animals;\nfeathers, too, from the gayest birds.\nNot, of course, from any desire to\nbe taken for a pussy cat or a dove\nby dressing up as 0ne,... but the\nfeathers are gay; the skins are\nwarm.\n& In \" The Romance of the Beaver \"\nMr Dugmore shows us clearly that\nto strip this little animal of his fur\ncoat to cover a lady is not the thing\nto do. He gives numerous reasons.\nHe points out how dangerous It is,\nand how cruel. The danger lies in\ndestroying valuable, yet unvalued,\ncollaborators; and he shows just\nhow this little animal collaborates\nwith the farmers by preparing for\nthem millions of acres of unculti-\nvated land, turning it year after\nyear into richest meadow land.\nYet man, (so report says), prefers\nto kill these master craftsmen, so\nas to get a number of wretched skins,\n(worth ten dollars each at most).\nMr Dugmore puts the blame of\nthis farcical waste upon the shoul-\nders of those who control the schools\nof North America and Canada.\n\" If only the schools taught more\n\" about the usefulness of animals and\n\" birds, even from the selfish point\n44 of view of their results to man ;\n44 and taught those things intelli-\n44 gently, much good would come.\"\n\" But a trip into any part of the\n\" country where the beaver still\n44 exists in its wild state will show\n44 how blind people are to their own\n\"interest in allowing these animals\n44 to be destroyed.\"\nI have not read many another\nbook that is so full of interest as\nthis one. The doings of men somehow\nappear less serious as one reads in\nit of the doings of the Beaver.\nHe is one of the jolliest of little\nbeasts... one of the cleverest... most\npatient... most systematic, and a\ncraftsman and a labourer par excel-\nlence. He is all this so as to enjoy\nhis life, and his pleasure in life is\nrelated in this book.\nThe world is topsyturvy through\nsome cause or other. Mankind is\noften given to thinking backwards...\nhaving grown tired of thinking for-\nwards... having spoiled himself.\nThe Beaver, on the contrary,\nshows us that, if we are content to\nwant less, we can always continue\nto think and act according to Nat ure.\nstz? \" Nature rnit uns\" seems to be\nthe motto of the Beaver. If we\ndestroy the Beavers we need not\nfancy Nature will forget to ter-\nribly if imperceptibly revenge them.\nThe Beavers and the Belgians,....\nwhat ?"}]}, {"article_id": "bm-bmtnaau-1915-05-01-c075", "article_bluemountain": "bmtnaau_1915-05_01#c075", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "180", "page_fin": "180", "image_debut": 94, "image_fin": 94, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.23.11", "titre_corps": "STUDIES IN STAGECRAFT by Clayton Hamilton", "titre_sommaire": "STUDIES IN STAGECRAFT by Clayton Hamilton", "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=bmtnaau191505-01.1.94", "debut_caractere": 15, "fin_caractere_exclue": 1220, "texte": "STUDIES IN STA by\nClayton Hamilton. Henry Holt\nCo. New York. Price one dollar\nfifty cents net.\nMr Clayton Hamilton is one of\nthose gentlemen who. without\napparently having any particular call\nor aptitude, insist upon writing\nabout the Theatre.\nA book of his, \" The Theory\nof the Theatre\" appeared a few\nyears ago. It was some what dry. (i)\n& He has now followed up this\nformer effort with a new volume of\ncollected essavs in which, under the\nw w\ntitle \"Studies in Stagecraft,\" he\nwrestles with such matters as \"The\nNew Art of making Plays, \" \" The\nPictorial Stage, \" \" The decorative\nDrama,\" \" The Drama of illusion,\"\n\" The Value of Stage Conventions,\"\n\" The supernatural Drama,\" \"Orga-\nnising an Audience,\" \"The Function\nof Dramatic Critics\" and many more.\nSome of the essays have previo-\nusly appeared in magazines; and\none of them, in which he occupies\nhimself with Mr Gordon Craig, has\nbeen already commented upon in\nThe Mask. (October 1912).\nWe know that since then, how-\never, Mr Hamilton has awakened to\nthe vitality of puppets and to various\nother matters (1) of which he was\npreviously scornful: so we hope for\nsomething more living from him\nby and bye.\n(I) See review in \" The Mask January 1911."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c076", "article_bluemountain": "bmtnaau_1915-05_01#c076", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "180", "page_fin": "180", "image_debut": 94, "image_fin": 94, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.23.12", "titre_corps": "CENSORSHIP IN ENGLAND by Frank Fowell and Frank Palmer", "titre_sommaire": "CENSORSHIP IN ENGLAND by Frank Fowell and Frank Palmer", "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=bmtnaau191505-01.1.94", "debut_caractere": 1222, "fin_caractere_exclue": 2250, "texte": "CENSORSHIP IN ENGLAND:\nIts History from the Fifteenth\nCentury,by Frank Fowell and\nFrank Palmer. & Frank Palmer.\nPrice seven shillings and six-\npence net.\n''jphe joint authors of the book have\ncollected together a good deal\nof interesting matter relative to the\ncensorship of public performances,\nfrom the old days of the \" Master\nof Revels \" down to the Censor of\nthe modern play,\nThe Mask has so often given\nits opinion as to the value of an\nestablished Censor that there Is no\nneed here to discuss the views about\nhis position and powers expressed\nby Mr Frank Fowell and Mr Frank\nPalmer, whose championship is on\nthe other side. But, setting aside\nall such controversy, the book may\nbe said to be a useful as well as an\ninteresting piece of work, giving\nmany facts and documents relative\nto the censorship of plays from early\ntimes, and a good many facsimiles\nof • censored ' manuscripts, besides\nsome portraits of early \" Stage\nCensors\" and \" Examiners of Plays.\"\n(1) The New Movement in the Theatre. Sheldon Cheney,\npage 52."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c077", "article_bluemountain": "bmtnaau_1915-05_01#c077", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "181", "page_fin": "184", "image_debut": 95, "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=bmtnaau191505-01.2.24", "titre_corps": "EDITORIAL NOTES", "titre_sommaire": "EDITORIAL NOTES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 95, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.95", "debut_caractere": 0, "fin_caractere_exclue": 1789, "texte": "EDITORIAL NOTES.\n\nUNION AND .\nTThe New Movement in the Theatre\ndevelops apace. And more and\nmore evident does a desire for unity\nshow itself among the members of\nthe Movement.\n& We have proof of this in the\nquantity of letters which we receive\nnow from artists and critics in many\npart of the globe.\nThey all evince a desire to unite\nthemselves with us, and many of\nthe letters received are as warm-\nhearted and spirited as could pos-\nsibly be.\nThe more artists who write to\nus the better. It is good for us...\nfor them... and most of all for the\nMovement itself.\n& There is no need of any formal\nintroduction between us: their work\nand our work form the bond which\nunites us, and justifies spontaneous\ncommunications.\nThe more advanced come closest,...\nthe beginners can catch up. They\nmust make no short cuts, must avoid\nimitation of the external qualities\nof the leaders of the movement,\nand then the association will be\nproductive.\nThe very important Exhibition\norganized so intelligently by Dr Alt-\nherr at Zurich last year has done\nmuch to advance and strengthen\nthe Movement. Its chief value con-\nsisted in bringing together for the\nfirst time the work of Adolph Appia\nand Gordon Craig. More than this,...\nit brought the two artists together\nand we believe we are not wrong\nin saying that the union of these\ntwo men is of greater significance\nto the well-being of the Movement\nthan anything that has occurred for\nmany years.\nWe confidently expect to hear\nfrom more and more of the men\nwhose lives, sympathies, and, not\nleast, whose livelihoodare bound\nup in the Movement.\n\nA NOTE ON A JOURNAL.\n'\"T'he New York Dramatic Mirror \"\nhas improved in the last year\nor so. It used to be a little dull;\nnow it is interesting.\nThis is mainly due to the amount\nof Vaudeville and Motion Picture"}, {"page_pdf": 96, "page_imprimee": "182", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.96", "debut_caractere": 18, "fin_caractere_exclue": 2195, "texte": "matter put into it, although now\nand again we find a good photo or\ntwo of Interesting productions in\nthe theatres called 44 serious.\"\n& A first class illustration was in\nthe anniversary number, January\n27th, showing Whitford Kane and\nMiss Morgan in \" Lonesome Like.\"\nThe picture shows us the care taken\nover a realistic production at Mr\nAmes' \" Little Theatre \" New York.\nFor realism it proves Mr Ames\nto be a careful man, and his\nstage manager and scene-maker very\nthorough. It seems to be lighted\ncarefully, too. We have not seen a\nbetter thing of its kind from America.\nParticularly worth studying is\nthe care taken with the ground.\nMany a realistic scene is capably\ndone until the floor is reached, and\nthen it flattens out, and all regard\nfor realism is forgotten.\nSome people don't want realism,\nbut every good workman is glad\nwhen he sees thorough work, whe-\nther the work of the realist or the\nartist.\nIn the same number of the\n♦'Dramatic Mirror\" we note a page\nof 44 faces, \" being the different\nmake-ups of Mr Romaine Fielding,\nwho is author, actor, and manager\nfor the Lubin Company.\n& Mr Fielding seems to be a man\nof particular talent, and we should\ngather is of Italian extraction.\nIt Is a pity such men, owing to\nthe established standards of this\nblessed century, are obliged to dwarf\ntheir talents to that standard.\nIt must at times feel like saluting\na flag on which a plucked hen takes\nthe place of the old and traditional\neagle; ...but then a plucked hen is\neatable.\nLet the standard sink then, for\nonly when it has been thoroughly\nlowered can the new and the best\nmovement be seen to be an ascen-\nding one.\n\nANYTHING WRONG ?\npossibly only the Humbug which\nenvelops everything.\nJS? Nothing else seems wrong.\nWhen we see Smith praised and\nRobinson damned for doing the same\nthing, and the praise being ladled\nout because Smith has shown tact,\n....has, in fact, played the humbug,...\nthen it seems obvious that only\nHumbug Is wrong,\nYet tact is a pleasant thing\n....when used with its own essence,\nwith great tact.\nTo praise a man or woman tact\"\nfully is desirable; but to lie and\nsteal with tact and get praise for\nit does not seem altogether square\nor round."}, {"page_pdf": 97, "page_imprimee": "183", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.97", "debut_caractere": 18, "fin_caractere_exclue": 2246, "texte": "Tact nowadays has degenerated\ninto obvious and quite commonplace\nhumbug. And that kind of tact has\nbrought upon us the awful Theatres\nwhich we still struggle tactfully to\npraise.\nIt seems a waste of time and\nenergy when it is plain that we\ncould get good Theatres put up and\n>\nfilled up ....If the tactful idiots would\nbe shipped away to Australia or\nAfrica.\nHalf London would then be emp-\ntied ; but there would be a chance\nthat we should then, as Strindberg\nwrote, \"secure a theatre, where we\n44 may be horrified over the horrible,\n44 laugh over the laughable, play\n44 with the playful; where we can\n44 see everything and not be offended,\n44 when we see what lies concealed\nf\n44 behind theological and esthetic\n44 veils, even if the old conventional\n44 laws must be broken; may we\n44 secure a free theatre, where we\n44 shall have freedom for all things\n44 save to have no talent and to be\n44 a hypocrite or a fool! \"\n\nON RECORDS OF ARTISTS.\nnphe records kept of actors and\nmen of the stage,... of Irving and\nWagner, for example.... are unfor-\ntunate.\nThe Poet is luckier.\nByron's friends who reported his\nsayings and life in books, Trelawny,\nand Medwin, for instance, did so in\nthe right way. They recorded him\nand effaced themselves.\nIrving had the misfortune to be\nreported by one of his assistants,\nMr Bram Stoker, who acted as his\nbusiness manager.\nStoker talks about himself, and\nputs down the 44 clever \" things he\ndid and said, and uses the word we\nas if it had value. Hence his record\nhas little value.\nBooks on Wagner, too, often are\nabout their writers, not about the\nmusician. But indeed this is too\noften so in such cases: It shows\ngreat stupidity, for to display conceit\nof that kind is not only a pity, but\nit defeats its own end, for that which\nis small never looks so small as\nwhen set by and compared with that\nwhich is great.\nThe records of Byron are, on the\nother hand, so rich owing to the\ncontents being nearly all Byron. In\nTrelawny's case there is, it is true,\nmuch of Shelley; but this only sets\noff the creator of *' Don Juan.\"\n& These books on Byron are to be\nrecommended as examples to all\nwho are preparing books relating\nto the few men whose opinions of\nthese their times will be worth\npreserving."}, {"page_pdf": 98, "page_imprimee": "184", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.98", "debut_caractere": 18, "fin_caractere_exclue": 2288, "texte": "ON THE SMALL SCALE.\n\"At last the Granville Barker\n44 methods have been displayed\n44 to us in two exemplars. The result\n\" does not seem likely to shake the\n44 theatrical firmament from Its foun-\n-44 dations. The whole idea of the\n44 threatened revolution seems to be\n4< to substitute one set of stage\n44 conventions for another. This does\n44 not give reason for terror nor for\n44 vast congratulation. The exchange\n44 of the method of lighting, making\n44 crudity take the place of finish\n44 of detail, giving us stage-pictures\n44 and groupings composed in one\n44 way instead of another, the car-\n-44 rying of the apron out over the\n44 orchestra pit so as to allow greater\n44 vistas and more freedom of action,\n4* these Innovations are many of them\n44 more freakish than important.\" (i)\nIt seems hard lines on the Stage\nSociety of America, which was Instru-\nmental in arranging for Mr Barker's\nvisit, to be criticised in this way by\nthe brightest paper in America;\nbecause the Stage Society, on the\nface of it, hardly set out to bring\nanything startling, new or moving\nto America.\nThe thoughtful and adequate\nperformances of the Barker Troupe\ncould scarcely be expected to rivet\nthe attention of a nation which flung\nthe suspension bridge from New York\nto Brooklyn, which conceived the\nPanama Canal, which raised the\nstupendous 44 sky-scrapers \" of New\nYork Citj', and which beats Russia\nin its contempt for economy.\nPerhaps 44 Life \" should remem-\nber that the Stage Society was\nwanting to do something small, neat\nand cheap...... and these Barker\nperformances were just what it\nwanted.\n(1) \"Life.\" New York. February 11. 1915.\n\nA WORD ABOUT \"THE MASK.\"\n'\"l\"*he war has interfered with our\nwork to such an extent that\nit has been impossible until now\nto issue the new number of the\nJournal.\nThe Mask is not a topical\njournal, and cannot consider the\ntopical subjects with which the\ntheatre of war is filled; but it can\ncontinue along its old path, though\nnot without difficulty, if a number of\nthe subscribers who have not yet\ndone so will send in their subscrip-\ntions.\nThe money goes to pay the one\nor two compositors, the printer,\nthe paper, the envelopes and the\nstamps.\nNo money whatever goes to any of\nthe writers or illustrators, or to the\nEditor or to anyone else."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c079", "article_bluemountain": "bmtnaau_1915-05_01#c079", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "181", "page_fin": "181", "image_debut": 95, "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=bmtnaau191505-01.2.24.2", "titre_corps": "UNION AND PROGRESS", "titre_sommaire": "UNION AND PROGRESS", "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=bmtnaau191505-01.1.95", "debut_caractere": 18, "fin_caractere_exclue": 1578, "texte": "UNION AND .\nTThe New Movement in the Theatre\ndevelops apace. And more and\nmore evident does a desire for unity\nshow itself among the members of\nthe Movement.\n& We have proof of this in the\nquantity of letters which we receive\nnow from artists and critics in many\npart of the globe.\nThey all evince a desire to unite\nthemselves with us, and many of\nthe letters received are as warm-\nhearted and spirited as could pos-\nsibly be.\nThe more artists who write to\nus the better. It is good for us...\nfor them... and most of all for the\nMovement itself.\n& There is no need of any formal\nintroduction between us: their work\nand our work form the bond which\nunites us, and justifies spontaneous\ncommunications.\nThe more advanced come closest,...\nthe beginners can catch up. They\nmust make no short cuts, must avoid\nimitation of the external qualities\nof the leaders of the movement,\nand then the association will be\nproductive.\nThe very important Exhibition\norganized so intelligently by Dr Alt-\nherr at Zurich last year has done\nmuch to advance and strengthen\nthe Movement. Its chief value con-\nsisted in bringing together for the\nfirst time the work of Adolph Appia\nand Gordon Craig. More than this,...\nit brought the two artists together\nand we believe we are not wrong\nin saying that the union of these\ntwo men is of greater significance\nto the well-being of the Movement\nthan anything that has occurred for\nmany years.\nWe confidently expect to hear\nfrom more and more of the men\nwhose lives, sympathies, and, not\nleast, whose livelihoodare bound\nup in the Movement."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c080", "article_bluemountain": "bmtnaau_1915-05_01#c080", "volume": "bmtnaau_1915-05_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=bmtnaau191505-01.2.24.3", "titre_corps": "A NOTE ON A JOURNAL", "titre_sommaire": "A NOTE ON A JOURNAL", "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=bmtnaau191505-01.1.95", "debut_caractere": 1580, "fin_caractere_exclue": 1789, "texte": "A NOTE ON A JOURNAL.\n'\"T'he New York Dramatic Mirror \"\nhas improved in the last year\nor so. It used to be a little dull;\nnow it is interesting.\nThis is mainly due to the amount\nof Vaudeville and Motion Picture"}, {"page_pdf": 96, "page_imprimee": "182", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.96", "debut_caractere": 18, "fin_caractere_exclue": 1644, "texte": "matter put into it, although now\nand again we find a good photo or\ntwo of Interesting productions in\nthe theatres called 44 serious.\"\n& A first class illustration was in\nthe anniversary number, January\n27th, showing Whitford Kane and\nMiss Morgan in \" Lonesome Like.\"\nThe picture shows us the care taken\nover a realistic production at Mr\nAmes' \" Little Theatre \" New York.\nFor realism it proves Mr Ames\nto be a careful man, and his\nstage manager and scene-maker very\nthorough. It seems to be lighted\ncarefully, too. We have not seen a\nbetter thing of its kind from America.\nParticularly worth studying is\nthe care taken with the ground.\nMany a realistic scene is capably\ndone until the floor is reached, and\nthen it flattens out, and all regard\nfor realism is forgotten.\nSome people don't want realism,\nbut every good workman is glad\nwhen he sees thorough work, whe-\nther the work of the realist or the\nartist.\nIn the same number of the\n♦'Dramatic Mirror\" we note a page\nof 44 faces, \" being the different\nmake-ups of Mr Romaine Fielding,\nwho is author, actor, and manager\nfor the Lubin Company.\n& Mr Fielding seems to be a man\nof particular talent, and we should\ngather is of Italian extraction.\nIt Is a pity such men, owing to\nthe established standards of this\nblessed century, are obliged to dwarf\ntheir talents to that standard.\nIt must at times feel like saluting\na flag on which a plucked hen takes\nthe place of the old and traditional\neagle; ...but then a plucked hen is\neatable.\nLet the standard sink then, for\nonly when it has been thoroughly\nlowered can the new and the best\nmovement be seen to be an ascen-\nding one."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c081", "article_bluemountain": "bmtnaau_1915-05_01#c081", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "182", "page_fin": "183", "image_debut": 96, "image_fin": 97, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.24.4", "titre_corps": "ANYTHING WRONG?", "titre_sommaire": "ANYTHING WRONG?", "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=bmtnaau191505-01.1.96", "debut_caractere": 1646, "fin_caractere_exclue": 2195, "texte": "ANYTHING WRONG ?\npossibly only the Humbug which\nenvelops everything.\nJS? Nothing else seems wrong.\nWhen we see Smith praised and\nRobinson damned for doing the same\nthing, and the praise being ladled\nout because Smith has shown tact,\n....has, in fact, played the humbug,...\nthen it seems obvious that only\nHumbug Is wrong,\nYet tact is a pleasant thing\n....when used with its own essence,\nwith great tact.\nTo praise a man or woman tact\"\nfully is desirable; but to lie and\nsteal with tact and get praise for\nit does not seem altogether square\nor round."}, {"page_pdf": 97, "page_imprimee": "183", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.97", "debut_caractere": 18, "fin_caractere_exclue": 936, "texte": "Tact nowadays has degenerated\ninto obvious and quite commonplace\nhumbug. And that kind of tact has\nbrought upon us the awful Theatres\nwhich we still struggle tactfully to\npraise.\nIt seems a waste of time and\nenergy when it is plain that we\ncould get good Theatres put up and\n>\nfilled up ....If the tactful idiots would\nbe shipped away to Australia or\nAfrica.\nHalf London would then be emp-\ntied ; but there would be a chance\nthat we should then, as Strindberg\nwrote, \"secure a theatre, where we\n44 may be horrified over the horrible,\n44 laugh over the laughable, play\n44 with the playful; where we can\n44 see everything and not be offended,\n44 when we see what lies concealed\nf\n44 behind theological and esthetic\n44 veils, even if the old conventional\n44 laws must be broken; may we\n44 secure a free theatre, where we\n44 shall have freedom for all things\n44 save to have no talent and to be\n44 a hypocrite or a fool! \""}]}, {"article_id": "bm-bmtnaau-1915-05-01-c082", "article_bluemountain": "bmtnaau_1915-05_01#c082", "volume": "bmtnaau_1915-05_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=bmtnaau191505-01.2.24.5", "titre_corps": "ON RECORDS OF ARTISTS", "titre_sommaire": "ON RECORDS OF ARTISTS", "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=bmtnaau191505-01.1.97", "debut_caractere": 938, "fin_caractere_exclue": 2246, "texte": "ON RECORDS OF ARTISTS.\nnphe records kept of actors and\nmen of the stage,... of Irving and\nWagner, for example.... are unfor-\ntunate.\nThe Poet is luckier.\nByron's friends who reported his\nsayings and life in books, Trelawny,\nand Medwin, for instance, did so in\nthe right way. They recorded him\nand effaced themselves.\nIrving had the misfortune to be\nreported by one of his assistants,\nMr Bram Stoker, who acted as his\nbusiness manager.\nStoker talks about himself, and\nputs down the 44 clever \" things he\ndid and said, and uses the word we\nas if it had value. Hence his record\nhas little value.\nBooks on Wagner, too, often are\nabout their writers, not about the\nmusician. But indeed this is too\noften so in such cases: It shows\ngreat stupidity, for to display conceit\nof that kind is not only a pity, but\nit defeats its own end, for that which\nis small never looks so small as\nwhen set by and compared with that\nwhich is great.\nThe records of Byron are, on the\nother hand, so rich owing to the\ncontents being nearly all Byron. In\nTrelawny's case there is, it is true,\nmuch of Shelley; but this only sets\noff the creator of *' Don Juan.\"\n& These books on Byron are to be\nrecommended as examples to all\nwho are preparing books relating\nto the few men whose opinions of\nthese their times will be worth\npreserving."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c083", "article_bluemountain": "bmtnaau_1915-05_01#c083", "volume": "bmtnaau_1915-05_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=bmtnaau191505-01.2.24.6", "titre_corps": "ON THE SMALL SCALE", "titre_sommaire": "ON THE SMALL SCALE", "signature_source": "", "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=bmtnaau191505-01.1.98", "debut_caractere": 18, "fin_caractere_exclue": 1643, "texte": "ON THE SMALL SCALE.\n\"At last the Granville Barker\n44 methods have been displayed\n44 to us in two exemplars. The result\n\" does not seem likely to shake the\n44 theatrical firmament from Its foun-\n-44 dations. The whole idea of the\n44 threatened revolution seems to be\n4< to substitute one set of stage\n44 conventions for another. This does\n44 not give reason for terror nor for\n44 vast congratulation. The exchange\n44 of the method of lighting, making\n44 crudity take the place of finish\n44 of detail, giving us stage-pictures\n44 and groupings composed in one\n44 way instead of another, the car-\n-44 rying of the apron out over the\n44 orchestra pit so as to allow greater\n44 vistas and more freedom of action,\n4* these Innovations are many of them\n44 more freakish than important.\" (i)\nIt seems hard lines on the Stage\nSociety of America, which was Instru-\nmental in arranging for Mr Barker's\nvisit, to be criticised in this way by\nthe brightest paper in America;\nbecause the Stage Society, on the\nface of it, hardly set out to bring\nanything startling, new or moving\nto America.\nThe thoughtful and adequate\nperformances of the Barker Troupe\ncould scarcely be expected to rivet\nthe attention of a nation which flung\nthe suspension bridge from New York\nto Brooklyn, which conceived the\nPanama Canal, which raised the\nstupendous 44 sky-scrapers \" of New\nYork Citj', and which beats Russia\nin its contempt for economy.\nPerhaps 44 Life \" should remem-\nber that the Stage Society was\nwanting to do something small, neat\nand cheap...... and these Barker\nperformances were just what it\nwanted.\n(1) \"Life.\" New York. February 11. 1915."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c084", "article_bluemountain": "bmtnaau_1915-05_01#c084", "volume": "bmtnaau_1915-05_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=bmtnaau191505-01.2.24.7", "titre_corps": "A WORD ABOUT \"THE MASK.\"", "titre_sommaire": "A WORD ABOUT \"THE MASK.\"", "signature_source": "", "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=bmtnaau191505-01.1.98", "debut_caractere": 1645, "fin_caractere_exclue": 2288, "texte": "A WORD ABOUT \"THE MASK.\"\n'\"l\"*he war has interfered with our\nwork to such an extent that\nit has been impossible until now\nto issue the new number of the\nJournal.\nThe Mask is not a topical\njournal, and cannot consider the\ntopical subjects with which the\ntheatre of war is filled; but it can\ncontinue along its old path, though\nnot without difficulty, if a number of\nthe subscribers who have not yet\ndone so will send in their subscrip-\ntions.\nThe money goes to pay the one\nor two compositors, the printer,\nthe paper, the envelopes and the\nstamps.\nNo money whatever goes to any of\nthe writers or illustrators, or to the\nEditor or to anyone else."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c085", "article_bluemountain": "bmtnaau_1915-05_01#c085", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "185", "page_fin": "186", "image_debut": 99, "image_fin": 100, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.25", "titre_corps": "OUR NOBLE THEATRE", "titre_sommaire": "OUR NOBLE THEATRE", "signature_source": "J. S", "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=bmtnaau191505-01.1.99", "debut_caractere": 82, "fin_caractere_exclue": 1237, "texte": "OUR NOBLE THEATRE.\n\nOeadlng the full report of the heroic Dardanelles Landing by E. Ashmead-\nBartlett we had for the moment forgotten the Theatre and the City..\nAs the last line of the report was reached the heading of the next\nparagraph caught the eye: we read on automatically:\n\" Scanty Stage .\"\n\" Censor' s Warning.\"\n& We hastily read the fourteen lines which followed and wished the\nEnglish Theatre and Music Hall might be sunk in the sea for the cheap\ntrash that it pretends the Public wants, and the cheap trashy standard\nthat it thinks good enough for England. The undressings on the English,\nStage are really on a par with the German gas poisoning.\n& Any old dirty trick seems to be the pride of the Theatre in London..\nTo be so weak as to have to depend on undressing in the Theatre\nand call it \"Art\" is the proud example which our Theatre offers at\nthis time of all others.\nTo so exceed its licence that the Lord Chamberlain is obliged to warn\nthe London theatrical and music hail world, while the spirit at the\nDardanelles and In Belgium is the order of the day, is nothing short\nof damnable.... What are the Theatre managers and the Music Hail"}, {"page_pdf": 100, "page_imprimee": "186", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.100", "debut_caractere": 72, "fin_caractere_exclue": 1993, "texte": "magnates doing? Are they all even greater imbeciles than they have\nfor years proved themselves ?\nThe English Music Hall and Theatre, being under the leadership of\nSir Herbert Tree, hardly seems to know what flag is flying at the\nmast-head. It should be told.\nWe have regretted for years in these columns that the English\nTheatre, and more especially the London Theatre, was so utterly chaotic and\nundisciplined; and now during the most serious period of our history its\nLeaders are even unable to make its women clothe themselves decently.\nThe real reason of all this is plain.\nWe have had too long as Head of the Profession a man who was too\nsmall to wear Sir Henry Irving's mantle; an actor who, clever in parts\nrequiring a foreign accent, Is nevertheless unable to speak the King's\nEnglish to any effect when it comes to trying to raise the English\nTheatrical standard.\n& For years we have pointed out that the English Theatre contains\nhundreds of first-class actors, many good managers, and plenty of ideas;\nfirst-class staffs, good material galore: but we know that since the death\nof Sir Henry Irving the English Theatre has had a poor master: one of\nthose easy-going, tactful persons without an ideal for his calling, without\nbelief in an Ideal as something which, if never reached, calls at the least\nfor serious and unceasing attempts to reach it.\n& And so it is that on the day when England hears of the heroic and\nsuccessful work at the Dardanelles, it also hears of this failure of the\nEnglish Theatre : \" The Lord Chamberlain issues a warning to the London\nTheatrical and Muslc-Hall world.\"\nTherefore, may that particular kind of Theatrical and Music-Hail world\nbe swept into the sea, is the prayer of one of the old English Theatre's\ntruest friends, \" The Mask,\" together with its Editor, all Its contributors,\nand, we believe, all its readers, whether British, American, French,\nItalian, or Russian.\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c086", "article_bluemountain": "bmtnaau_1915-05_01#c086", "volume": "bmtnaau_1915-05_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=bmtnaau191505-01.2.25.1", "titre_corps": "IN REMEMBRANCE OF Walter Crane Rupert Brooke Charles Frohmann", "titre_sommaire": "IN REMEMBRANCE OF Walter Crane Rupert Brooke Charles Frohmann", "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=bmtnaau191505-01.1.99", "debut_caractere": 18, "fin_caractere_exclue": 80, "texte": "IN REMEMBRANCE OF\nWalter Crane\nRupert Brooke\nCharles Frohmann."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c088", "article_bluemountain": "bmtnaau_1915-05_01#c088", "volume": "bmtnaau_1915-05_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=bmtnaau191505-01.2.26", "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=bmtnaau191505-01.1.101", "debut_caractere": 0, "fin_caractere_exclue": 437, "texte": "SPECIAL NOTICE.\nMr Gordon Craig wishes us to announce that, while he remains Adviser\non Art matters to our journal, he does not wish it supposed that\nhe acts as Editor, except on some special occasion.\nA thorough revision of the staff has been forced upon us owing to\nthe exigencies of the war, and subscribers, contributors, and others\nare requested not to send any communication addressed to anyone except\nthe Editor or the Publishers."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c089", "article_bluemountain": "bmtnaau_1915-05_01#c089", "volume": "bmtnaau_1915-05_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=bmtnaau191505-01.2.27", "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=bmtnaau191505-01.1.101", "debut_caractere": 439, "fin_caractere_exclue": 1075, "texte": "TWO BOOKS ON THE THEATRE,\nby Edward Gordon Craig.\nON THE ART OF THE THEATRE.\n(Now in its fourth Edition) HEINEMANN 1911.\nTOWARDS A NEW THEATRE.\nDENT. 1912.\nAFTER THE PRACTICE THE THEORY\n\" Most people begin with theory, and go 0n... if they go 0n... to carry\ntheir theory into practice. Mr. Gordon Craig has done a better\nthing, and, having begun by creating a new Art of the Stage on\nthe actual boards of the Theatre, has followed up his practical\ndemonstration by a Book of Theory, in which he explains what he\nhas done, telling us also what he hopes to d 0.,,\nARTHUR SYMONS in \" STUDIES IN SEVEN ARTS. \"\nORDER THROUGH ANY 800 /(SELLER"}]}, {"article_id": "bm-bmtnaau-1915-05-01-c090", "article_bluemountain": "bmtnaau_1915-05_01#c090", "volume": "bmtnaau_1915-05_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=bmtnaau191505-01.2.28", "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=bmtnaau191505-01.1.102", "debut_caractere": 0, "fin_caractere_exclue": 258, "texte": "LIVING THEATRE\nPRICE ONE SHILLING NET.\nAN ILLUSTRATED BOOKLET ABOUT\nTHE GORDON CRAIG SCHOOL\nAND ITS JOURNAL\nTHE MASK\nI\nIssued\nby** The Mask\" Publishers.\n\\\nNow in its Second Edition.\nOrder\nARENA\nthrough any Bookseller,\nor direct from\nGOLDONI, FLORENCE, ITALY."}]}, {"article_id": "bm-bmtnaau-1915-05-01-c091", "article_bluemountain": "bmtnaau_1915-05_01#c091", "volume": "bmtnaau_1915-05_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=bmtnaau191505-01.2.29", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 102, "page_imprimee": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.102", "debut_caractere": 260, "fin_caractere_exclue": 899, "texte": "THE MOSHER BOOKS\n'pHE special literary value ol my general Catalogue has given it a unique\nposition in the world T>f book-making for book-lovers.\nFrom 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.\nSent without charge to all who are interested in choice editions at\nmoderate prices.\nTHOMAS B. MOSHER, PORTLAND, MAINE\n»"}]}, {"article_id": "bm-bmtnaau-1915-05-01-c092", "article_bluemountain": "bmtnaau_1915-05_01#c092", "volume": "bmtnaau_1915-05_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "190", "page_fin": "190", "image_debut": 104, "image_fin": 104, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.2.30", "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": 104, "page_imprimee": "190", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.104", "debut_caractere": 0, "fin_caractere_exclue": 927, "texte": "WHIIWHIMIM i<lM HB.IIIiUtii i)'i'l! I Willi—\n*r.\n*\nS=v\nIX-5I\nII\nW I\nMm\n3\nC 4\ny\n&fr\n&\n<Z2\nI\n?s3\nfi\nn 1 iiiUft t fir— in—ii n inn\n- •\n<Xs\nOOLDONI BOOKS FOR SOLDIERS AND NURSES.\njackets of these books In small sizes (about five by three inches), have been\nsent from time to time for the use of soldiers at the front, and to the\nHospitals, and have been found useful.\nWM\nTHE GOLBONI\nBOOKS.\nFOR NOTES\nSKETC H I N G\nDRAWING AND\nPA / N T I\nPROCURABLE DIRECT FROM\n•• THE MASK \" PUBLISHERS ,\nTPhese Books are made from\nthose fine Italian papers\nwhich, unobtainable in England,\nare found, even In Italy, only by\nexperience and careful search.\nThe Books are bound in\nvellum, or in boards covered\nwith papers upon which designs,\nfloral or conventional, are\nhand-printed in colours.\nThese small books cost one shilling each, post free. <<&>\nSpecial prices for large numbers.\nWrite for particulars to The Mask Publishers,\nARENA GOLDONI, F, ."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.1", "texte": "MAY i o I s\nMil 81 K JU 1A • V % .\n£§£ tdh- r :V 9s > 1 ST. v7»W\nA QUARTERLY JOURNAL OF\nTHE ART OF THE THEATRE\nILLUSTRA TED.\nVolume Seven. Number Two.\nARENA 80 L DON]\nFLORENCE\nITALY\nYEARLY SUBSCRIPTION FIFTEEN SHILLINGS.\n& SINGLE COPY PRICE FOUR,SHILLINGS NET. &\nTRADE AGENTS.\nS IM P KI N, MARSHALL, HAMILTON, & CO. LOND O N.\n~ ' ■■■ ' m smm ■ y-"}, {"page_pdf": 2, "page_imprimee": "couv. 3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.2", "texte": "THE MASK. MAY 1915.\nStampata privafaßiente aU'Arena Qoldoni, Via de' Serragli, Firenze\n„a MV1\n\nLITERARY CONTENTS.\nOLD AND NEW John Semar. ... 93\nSOME WORDS AND THEIR MEANING (With an\nIntroductory Note) ...... Skeat. , . 97\nA NOTE ON A PAGEANT STAGE. . . Felix Urban .... 100\nA NOTE ON JAPANESE MARIONETTES. . . Gordon Craig. ... 104\n\" HAMLET \" IN MOSCOW Gordon Craig. ... 109\nA HISTORY OF PUPPETS (Continued). . . \" Yorick\" (P. Ferrigni) . 118\nCHI LO SA ? A Note suggested by a Wood-Cut. A. C 130\nSCREENS. THE THOUSAND SCENES IN ONE\nSCENE. Anon 139\nIMPRESSIONS OF THE \" SCENE. . . W.B.Yeats .... 139\nA LETTER ON THE \"SCENE\" TO GIOVANNI\nGRASSO. , Filiberto Scarpelli- . . >59\nIN DEFENCE OF THE SCENE OF VAST PRO-\nPORTIONS. . I . . . . . Louis Madrid. ... 163\nA DESIGN FOR A SCENE. A Dialogue. I .1 . J. S 165\nTHEATRES OF YESTERDAY AND TODAY A. C 166\nBOOK REVIEWS. EDITORIAL NOTES.\nShort Extracts. John Ruskin. 99. Thoreau. 107.\n\nILLUSTRATIONS.\nTHE CELLAR SCENE FROM HEBBEL' S\n\" QENOVEVA.\" (Frontispiece). . . . Adolph Lfnnebach.\nSCENE DESIGN FOR \" SWORD AND SONG,\" 1904. Gordon Craig. 95\nA PAGEANT STAGE From an Old Print. . . 101\nFOUR DIAGRAMS OF A JAPANESE MARIONETTE. From an 18th Century Book. 104,105!\nA MARIONETTE MAKER AT WORK. G. N. . • . . . 135\nAN OLD ITALIAN WOOD-CUT. . . , . Anon\nA BOOK-PLATE, (for G. W. Plank) . . . Gordon Craig. . . . 138\nA BOOK-PLATE. ....... Stanislas Lodochowskowski. 135\nA BOOK-PLATE. . . . . . . Samuel Prim. . . . 137\nTHE ARENA GOLDONI. FLORENCE. Diagram 145\nDESIGN FOR A COSTUME IN \" BETHLEHEM Gordon Craig. ... 161\nAN OLD ITALIAN DESIGN Italian artist. ... 165\nGROUND PLAN. TEATRO FARNESE. PARMA . G. B. Aleotti. ... 166\nSECTIONAL PLAN. NEW COURT THEATRE.\nDRESDEN Lossow & Kuhne Architects. 167"}, {"page_pdf": 4, "page_imprimee": "[92]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.4", "texte": "Cellar Scene from Hebbel's “Genoveve.\" Dresden Court Theatre. Adolph Linnebach."}, {"page_pdf": 5, "page_imprimee": "[93]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.5", "texte": "OLD AND NEW.\n\ngomething old and something new, and not too much of either.\nWe are not Futurists,... alas, that is beyond us; nor can we be\nthe other blessed thing... Archivists.\n£> There is plenty of room for a new Theatre [Journal (or even two),\nwherein nothing but what is to come is mentioned. There has been no\nsuch Journal as yet, but the room for it has always been made obvious by\nits absence.\n& And there is no Journal entirely given up to research work of days\ngone by, more's the pity; but the opportunity is never lacking.\nFor our part we must content ourselves with but touching on both\nthe past and the future, and, as the present calls for a little notice, that\ntoo occupies some of our space.\nThat the two great divisions of time, Past and Future, appeal to\nus as being each dependent on the other in this work of the Theatre\nshould surprise no one. Our wish is not to startle but to go on with\nour work.\n& A success is out of the question.... wishing to succeed.\n& To be \" the latest thing \" is our dread.... wishing to succeed.\nNever did we dream we should be thought to be revolutionary : had\nno thoughts to deride 44 the old school \" nor to laugh at honest failures.\nFrom the first we have praised the most contradictory things, theot ios\nand persons,\nBecause we admire the old Greek we are not advocates of\nmodern Greek Theatres, yet have shown admiration for the modern circus.\nCalling for masked actors, we have, nevertheless, given our enthu-\nsiastic praise to the best non-masked actors."}, {"page_pdf": 6, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.6", "texte": "OLD AND NEW.J&\n\n& The great actor has called forth our applause, but the little actor\nhas asked for and deserved our criticism.\nEach branch of stage art we have been ready to accept.... except the\namateurish.\n& We have found good things to say of foreign artists without forget-\nting that part of our duty is to call English artists to the fore.\nTowards America we have never attempted superior airs. But\n« Towards a New Theatre \" we have ever striven to go.\n& To gather new friends together and to keep our old friends has\nbeen part of our task; but to do so without compromise, without having\nto be a party to any of their little conspiracies enterprises.\nVVe have on foot one plot only: ...to move towards a New Theatre.\nNot to meet with the approval of loiterers or those wanting to take\nshort cuts which lead nowhere, or those who, without madness or method,\nwould waste our time in disparaging both inspiration and calculation.\nWe disapprove so much in ourselves and regret so much our short-\ncomings, that to listen to mild or exaggerated criticism of our mistakes\nwould seem to be only a waste of time.\n& Faults galore we may have, but we move \" Towards a New\nTheatre \",.... a Theatre of the Future but founded on that of the Past.\n& \" On va bien loin depuis qu'on est las.\"\n\nJ. S."}, {"page_pdf": 7, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.7", "texte": "Scene Design for Mr Fred Terry's Production of Sword and Song.\" Shaftesbury Theatre,\nLondon, 1904; by E. Gordon Craig."}, {"page_pdf": 9, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.9", "texte": "SOME WORDS AND THEIR MEANING.\nKATIE'S SERVICE.\nintend to give now and again the exact definitions and derivations\nof some words used very often when writing or speaking of the\nDrama and the Theatre; for we are of the opinion that the real sense\nof these words is too often forgotten, and therefore seldom implied by\nwriters and speakers.\nlt would be no use to go into long essays on these words to say what\nthey mean. One would never come to any end. But as some considerable\nuse has been served by reminding our friends of the derivation of the\nwords \" Theatre \" and \" Drama,\" (1) we hope that similar results will\nobtain by enlarging our list.\nAfter all, in art as in life, the slight services are never without some\nvalue. Valuable, for instance, is the work of the man who cleans our\nwindows for us, or who washes the crockery or sweeps the room! Valuable\nwas Katie's service. (2)\nOne would by no means restrain the theatrical writers. Let them\ndash ahead and try to espress their meanings: but a few moments'\nthought as to what is the meaning of such words as Rhythm, Drama,\nTheatre, and so forth, is advisable ; for we come across such words five\nto fifteen times on a page of a modern critic's book.\nTake the word \" Rhythm \" for example. Its chief concern is with Time\nand Measure. The word Time points to precision ; something clean-cut\ninstead of floppy. Yet the moderrs use the word in a vague sense and\nseem never to trouble to define to themselves its limits.\n«« Measure,\" too; something to do with feet and hands; but only, let\nus hope, with regulation feet and hands, or, for the law-breakers here,\nan elephant's foot or a baboon's hand would be Included In the standard,...\nand the result, anarchy of thought.\n«« Rhythm \" Is used nowadays to imply something to do with everything,\nfrom sex to sandals A pity.\n\n(1) The Mask. Volume I. page 93.\n(2) What?... you do not know who Katie is? ..and yet there is but one Katie cashriaed in perfect words\nin the History of \"Zuleika Dobsoa. \""}, {"page_pdf": 10, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.10", "texte": "& SOME WORDS AND THEIR MEANING. &\n\nThe Theatre folk need not be concerned with transforming the world,\nbut merely with doing their own particular little measured and particular\nlimited task to the best of their power.\n& Transform the Theatre by all means; but let the Theatre transform\nLife If it likes. The task is not for you or for me. The Theatre is our\nchild :... attend to its needs, render it ' Katie's service,' and will do\nthe greater work when we are dead and gone.... Avanti!\nSOME WORDS AND THEIR MEANING.\nTRAGEDY. French, derived from Latin derived from Greek.) Old\nFrench, tragedie, derived from Latin tragoedia; derived from Greek\nxpaycpSla a tragedy literally * a goat-song'; probably because the actors\nwere clad in goat-skins to resemble satyrs. Derived from Greek xpayipgog\na tragic singer; literally 'goat-singer', derived from Greek xpay-og a\nhe-goat; (bSog a singer, contracted from aoiSog.\n<£? Derivatives, trag-ic, French tragi que, Latin , Greek xpaytxog\nliterally ' goatish '.\nCOMEDY. (French, derived from Latin, derived from Greek). Old\nFrench, comedie, ' a play'. Cotgrave's Dictionary, derived from Latin,\ncomoedia derived from Greek a comedy, derived from Greek\nxwjjuodog a comic actor, derived from Greek, xa>|xo-g a banquet; revel,\nfestai procession; dotSog a singer, from astSeiv to sing. A comedy was a\nfestive spectacle, with singing, etc.\nRHYTHM. FrencSi, derived from Latin derived from Greek. Middle\nFrench rithme, Cotgrave's Dictionary 1660: derived from the Latin\nrhytmus; derived from the Greek pvOjioc, measured motion, time,\nmeasure; derived from the Greek p&siv to flow.\nVAUDEVILLE. & French. vaudeville, originally, a country ballad;\n•so tearmed of Vaudevire; a Norman town, wherein Olivier Bassel\n(or Basselin), the first inventer of them, lived ;'(1) Cotgrave's Dictionary,\n\n(1) It is amusing to note in view of the amount of money made in England by 14 Vaudeville,\" that the\nMads of Olivier Bassel were \"satiric songs against the English, who wanted to invade the kingdom.\" (see\nPougln's Dictionaire du Theatre)."}, {"page_pdf": 11, "page_imprimee": "99", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.11", "texte": "SOME WORDS AND THEIR &\n\nedition of 1660. Basselin was a Norman poet, (died about 1418), whose\nsongs were named after his native valley, the Vire Is in\nNormandy, South of Bayeux.\nDANCE. French; derived from Old High German. Middle English\ndauncen derived from Old French dan, derived from Old High Qerman\ndanson, to drag along (as in a round dance), derived from Old High\nQerman dans, 2nd grade of dinseti, to pull, draw; allied to English\nThin. Compare Gothic ai-thinsan, to draw towards one.\nAMUSE', to divert. £> (French, derived from Latin). French, am user, 'to\namuse, make to muse or think of, to gaze at'; (Cotgrave's Dictionary. 1660.\nderived from the French & (which equals the Latin ad), to, at; Old\nFrench, muser, to gaze at, stare at, muse.\n\nA NOTE ON WORDS AND THEIR MEANINGS.\n\n\" I tell you earnestly and authoritatively, (I 1 ani right In this),\nyou must get into the habit ol looking intensely at words, and\nassuring yourself of their meaning, syllable by syllable ...nay, letter by\nletter....\n«« Let the accent of words be watched; and closely; let their meaning\nbe watched more closely still, and fewer will do the work. A few words\nwell chosen, and distinguished, will do work that a thousand cannot,\nwhen every one is acting, equivocally, in the function of another.\n& \"Yes: and words, if they are not watched, will do deadly work\nsometimes. There are masked words droning and skulking about us 5n\nEurope just now, ....(there never were so many, owing to the spread of\na shallow, blotching, blundering, infectious 'information,5 or rather\ndeformation, everywhere, and to the teaching of catechisms and phrases\nat school instead of human meanings).... there are masked words, abroad,\n1 say, which nobody understands, which everybody uses, and most people"}, {"page_pdf": 12, "page_imprimee": "100", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.12", "texte": "WORDS AND THEIR MEANING.\n\nwill also fight for, live for, or even die for, fancying they mean this or\nthat, or the other; of things dear to them: for such words wear\nchameleon cloaks.... ♦ ground=>!ton' cloaks, of the colour of the ground of\nanj' man's fancy: cn that ground they lie in wait, and rend them with\na spring from it. •\n** There never were creatures of prey so mischievous, never diplomat-\nists so cunning, never poisoners so deadly, as these masked words:\nthey are the unjust stewards of all men's ideas: whatever fancy or\nfavourite instinct a map most cherishes, he gives to his favourite masked\nword to fake care of for him; the word comes to have at last an infinite\npower over him,... you cannot get at him but by its ministry.\"\n\nJohn Ruskin.\n\nA NOTE ON A PAGEANT STAGE\nby Felix Urban,\n\nhe picture upon the opposite page shows one of\nthe pageant stages used In olden days in France\nas part of the festivities which celebrated the\nsolemn 'entries' of royalty Into a city.\n£> These 'entrees' took place on the occasion of\nmarriages, of the return from conquests, of coro=\nnations, and other great events in the royal annals,\nand were signalized by splendid decorations and\ngorgeous processions and pageants.\nIn those days the Theatre, formerly shrined in the churches, had\nbeen brought out into the streets for ail the people, nobles and commoners\nalike: it was free to all, and the whole city was its stage."}, {"page_pdf": 13, "page_imprimee": "101", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.13", "texte": "A Pageant Stage, showing A Garden of Animals and Birds, as represented in the Royal Entries."}, {"page_pdf": 15, "page_imprimee": "103", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.15", "texte": "A NOTE ON A PAGEANT STAGE.\n\n& Paris, as the capitol city, had a lavish share of festivals; but Rheims,\nthe city where the kings of Prance were crowned, was also the scene\nof many splendid 4 entries,' with their accompanying rejQicings and grand\ntheatrical displays.\nOn August 14, 1462, for example, when Louis XI made his 4 entree,'\nsome mysteries were acted \"at the expense of the funds voted for the\ncoronation \"; and twenty one years later, when his'young son, Louis XII,\n44 entered the city on Saturday May 29th, 1484, after dinner; being less\n44 than fourteen years old,\" the chronicles give a detailed account of many\nof the spectacles which greeted him as he passed along the streets.\nIn one place was the Fountain of Youth, in which people were bathing,\nto renew their life, while above was Cupid, blind-fold, with an arrow,\nand Venus 44 dressed as a lady.\" On another raised stage was a group\nrepresenting Romulus and Remus, with the wolf, shepherd, and other\nlegendary characters, while further on was a stage on which appeared\nking Pharamond, first king of the French, surrounded by men dressed\nas Turks and Saracens 44 some armed, others not,.who were In the act\nof crowning him.\"\nAll along the streets, as the procession went forward, 44 there were\n44 burning great torches of the kind that are carried at the Fdte Dleu,\n44 which are very large and massive, some being more than forty feet\n44 high and of quite sixty pounds of wax.\" Such, torches may be seen in\nthe Illustration reproduced here, and in many contemporary prints.\nThe streets, also, were 44 weil apparelled, along the fronts of the\nhouses; some with boughs of trees, others with fine linen, others with\ntapestries, and others with paintings.\"\nAt the Croix Saint Victor 44 on a stage well hung with tapestry was\n44 represented the Mystery of the Baptism and Annointing of King Clovis,\n44 first Christian king of the French\" and so on, through a long list,\ndoes the chronicler record the patriotic or religious pageants which met\nthe procession in every street and square.\n& I suppose that the street stagfe shown in the Illustration represents\n44 Orpheus \" In the enchanted garden of his muse, to which the animals\nhave free entry, but wild men and kings have to remain without,....\nattracted, yes, but not yet quite ready to enter Eden."}, {"page_pdf": 16, "page_imprimee": "104", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.16", "texte": "A NOTE ON JAPANESE MARIONETTES,\nby Gordon Craig.\n\nPorter Garnett se-\nveral years ago very\nkindly sent me these tra-\ncings of parts of a Japanese\nmarionette from designs\nin an 18th century book\non Marionettes and Stage\ncraft, owned by Dr Arnold\nGenthe of San Francisco.\n& I was at that time\noverwhelmed by a convic-\ntion that the marionette,\neven though but distantly\nrelated to the Idol, held\nsomething vital to the\ndevelopment of the Thea-\ntre : I felt that it was one\nof the few things which\ncounted in all the discoveries in the land of the stage.\nJG? 1 still feel this. My judgement has had time to ripen, and if not\nconvinced of the immediate advent of a world of super-marionettes to\nrescue a special branch of the art of acting from decay, 1 am persuaded\nthat the marionette is the basis for a revival of that particular branch.\nDo not misunderstand me to mean that in reviving the Marionette as\nit was or as It Is, we can revive the branch of acting to which I allude.\nBut by studying the nature of this creation of artists (and marionettes\nhave been made by artists of all nations since the earliest recorded\ntimes), by careful and serious and protracted study of the Idea In the\nIdol, in the Puppet, in the Doll, in Images of all kinds, we shall widen\nand not narrow our vision, and so, maybe, see things we would show to\nothers. This instinct to show others what we have seen is an essential.\nIt keeps the creative instinct young; and, if nowadays this Instinct is"}, {"page_pdf": 17, "page_imprimee": "105", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.17", "texte": "Diagrams of Head and Arm\nof a Japanese Marionette."}, {"page_pdf": 18, "page_imprimee": "106", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.18", "texte": "A NOTE ON JAPANESE MARIONETTES.\n\ndull, may it not be because we have forgotten our early training to\nshare our joys and our chocolates and our discoveries ? (i)\nAnd this Is one of the things I have been studying a little.... the\nnature of the marionette.\n& And in this study, the tracings sent me by Mr Garnett are useful.\nThe elaboration of the mechanism seems at first a little startling: a\nhand in which each joint of each finger is moveable seems a little unne-\ncessary ;we think of the two conventions followed by the Javanese: of\nthe Turkish convention, and we must admit that this crab-like elaboration\nis aiming rather wide of the mark and hitting only the outer ring. But\non recalling the Italian, German, English and French efforts to hit the\nbullseye we see how short of the mark they are. as well as wide of it.\nThe Japanese have done well in their marionettes because they have\nat least hit the target,... If not in the centre.\n& Their elaborate mechanism shows that they considered that Infinite\ncapacity for taking pains was not unworthy of the object they had in\nview;... a figure that should be comparable to the human figure in that\nit could move anywhere and make a maximum number of movements,\n(if not the maximum), with head and hands, shoulders and legs.\n(There is a full-length design which Is not reproduced here because\nthe tracing Is torn; but it shows that shoulders, neck, head, arms at\nall joints, fingers, trunk, hips, knees and feet are all flexible and moveable\nIn several different ways).\nI cannot say whether we have here the Ideal marionette. I think\nnot: but we have a thorough one.\nThe doll stage of the puppet has been passed. To go back to it should be\nunnecessary, except for the student who would practise In strict privacy.\nTa display a doll is therefore not enough when once we have seen\nthis Japanese figure.\n\n(1) N. B. The experts Browne, Smythe and de Jones, who are bad at finding out anything but what Appia,\nBakst, Fortuny, Brazicolli or L have discovered, will not be in the game or share any of the fun, (except by\nstealth,) because they have not observed the \" rules\" oi the game.\nI bave to mention this, for it is these experts who so often write to the press or chatter at tea-tables in a\nwrythe of fury, that we are forgetting them, are not acknowledging that their art of theft is the art of\ncreation, and are therefore setting it down as valueless to the theatre."}, {"page_pdf": 19, "page_imprimee": "107", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.19", "texte": "A NOTE ON JAPANESE MARIONETTES. .\n\nNeither will it d'o to copy the Japanese and put on it a European or\nRussian Ballet costume. That short cut can be left to Messrs Browne,\nSmythe and de Jones. They will take it, rest assured.\nlmpotence detests creation for obvious reasons....\nBut we must avoid copying this type, and can do so. Let us avoid\ncopying the other types I have mentioned.\n& But after long meditation let some of us venture to exchange notes,\n(even if only with our sub-conscious selves), and record the results of\nour vision, however vague, however \" impossible.\"\n& For there is that in the marionette of all times which arrests the\nattention of sages and children, and this force must not be wasted.\n\nA PASSAGE FROM AN OLD BOOK.\nDEDICATED TO ANY STATESMAN OF THE\nREIGN OF KING GEORGE THE FIFTH.\n\nThere was an artist in the city of Kouroo who was disposed to strive\nafter perfection. One day It came into his mind to make a staff. Having\nconsidered that in an imperfect work time is an Ingredient, but into a\nperfect work time does not enter, he said to himself, It shall be perfect\nin all respects, though I should do nothing else in my life.\n& He proceeded instantly to the forest for wood, being resolved that it\nshould not be made of unsuitable material ; and as he searched for and\nrejected stick after stick, his friends gradually deserted him, for they\ngrew old in their work and died, but he grew not older by a moment.\nHis singleness of purpose and resolution, and his elevated piety,\nendowed him, without his knowledge, with perennial youth. As he made\nno compromise with Time, Time kept out of his way, and only sighed\nat a distance because he could not overcome him."}, {"page_pdf": 20, "page_imprimee": "108", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.20", "texte": "A PASSAGE FROM AN OLD BOOK.\n\nBefore he had found a stock in all respects suitable the city of Kouroo\nwas a hoary ruin, and he sat on one of its mounds to peel the stick.\nBefore he had given it the proper shape the dynasty of the Candahars\nwas at an end, and with the point of the stick he wrote the name of the\nlast of that race In the sand, and then resumed his work. By the time he\nhad smoothed and polished the staff Kalpa was no longer the pole-star;\nand ere he had put on the ferule and the head adorned with precious\nstones, Brahma had awoke and slumbered many times.\nBut why do I stay to mention these things? When the finishing\nstroke was put to his work, it suddenly expanded before the eyes of the\nastonished artist into the fairest of all the creations of Brahma.\ntie had made a new system in making a staff, a world with full and\nfair proportions; in which, though the old cities and dynasties had passed\naway, fairer and more glorious ones had taken their places.\nAnd now he saw by the heap of shavings still fresh at his feet, that,\nfor him and his work, the former lapse of time had been an illusion, and\nthat no more time had elapsed than is required for a single scintillation\nfrom the brain of Brahma to fall on and inflame the tinder of a mortal\nbrain. The material was pure, and his art was pure; how could the\nresult be other than wonderful ?\n\nThoreau, In \"Walden.\""}, {"page_pdf": 21, "page_imprimee": "109", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.21", "texte": "\"HAMLET\" IN MOSCOW, Notes for a\nshort Address to the Actors of the Moscow\nArt Theatre,\nby Gordon Craig.\n\n(November 19 1909),\ndo not want you, when you come to perform\nthis Drama of Kings and Princes, to create the\nimpression of actors acting, for that nearly always\nmeans something Insincere and which for some\nshameful reason we have been forced to hear\ncalled \" theatrical\nBut you must not go to the other extreme.\nIf you do so you will create an impression of\neveryday people who have never seen a court, much less a king, and\nwho have no idea of Royalty.\n£? The Royal is not yet the Theatrical although sometimes the two\nare confused. You must attempt to move and speak as though you\nwere in an atmosphere which is rare.... for Shakespeare has made\nit rare.\nTo do this you must try to think rarely and see all things as rare\nthings. The stage offers nothing more difficult for your, talents.\n& I am of the opinion that no band of actors will succeed in thoroughly\nrepresenting this sense of Royalty until they become R0ya1.... and to do\nthis it will be necessary to live their lives with the object of culture\nuppermost 5 for only by this means can they absorb that air which, alter\nit has entered a man, lends him at least a manner which is magnificent\nand a tone which is sweet.\np It jg this manner and this tone which we need for the representation\nof Shakespeare's Dramatic Poems.\nI have said culture for I purposely limit our aspirations here to\nculture; if I went further I should say that we must first get into that\nspiritual state of ecstacy which we can better imagine than tell about.\nBut for our purpose... Shakespeare's purpose... a Royal state is enough,...\nnay, is it not half the way to a Religious state ; and If we can acquire"}, {"page_pdf": 22, "page_imprimee": "110", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.22", "texte": "\" HAMLET \" IN MOSCOW.\n\nit on e way or another shall we not all be very fortunate, being nearer\nby a step towards the spiritual state ?\nJP And how to acquire it ?\njg? Now here you bring me face to face with a Riddle at once very\ndifficult and quite easy to solve.\nHow to make something which is Rounded at each end stand up on\neither end the Egg of Columbus.\nI can help you but 1 cannot teach you, for this is a thing which no\nman can teach. 1 can tell you some things which, if you will believe\nthem, will unfailingly bring you in time nearer to that state which we\nhave called ecstatic.\n& Remember that the acme of ecstasy is not apparent excitement, but\napparent calm. It is the white heat of emotion ;... that is to say, it is\nalmost trance. This state has a thousand names and takes a myriad\nforms. We call it wisdom.\n4Z? it Is pure emotion with all Its impurity burnt away.\nln order to have the courage to make the attempt to enter such a\nstate, some great promise must be given you that the attempt will not\nbe made in vain.\nI will give you that promise. You must believe me, for what 1 say is\ntrue. I promise you that you can reach any state provided you can see\nbeyond it. 1 know quite well that you have at least ten or twenty\ntimes in your life seen or felt things which seemed mad to you. You\navoided these feelings not because you disliked them but because you\nsaw no use to put them t0,... and so grew frightened. In other words,\nyour Imagination awoke in you and possessed you for a moment or two.\nNow I tell you that you must awaken your Imagination and let It possess\nyou entirely. Be less frightened of those moments when they come.\nGo towards them.... run the risk: leave yourself free with them; let\nthem possess you. Ecstasy is nothing else than a kind of madness.... a\nkind of madness, remember, not any kind of madness.\nIt is all which is Rapid... White... Glowing... Circular... Vast... Steady.\nIt is all that you dare to dream about and fear to go near.\n& It is the great Danger.\nAnd for this very reason I tell you that you must go to meet it."}, {"page_pdf": 23, "page_imprimee": "111", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.23", "texte": "u HAMLET\" IN MOSCOW. .\n\n(November 20 1909).\nY'ou want to be able to understand and interpret one of the greatest\nworks of genius which the world possesses and therefore you must\nbring yourselves nearer to the state of that genius.\nYou must become ecstatic. You must lose yourself.\nIt is Impossible to believe that you can interpret so great a work\nwithout making use of your own greatness. You cannot do it by your reason,\nwhich is your littleness. You can only do it by the power of Imagination.\nIf you can loosen the< bonds which imprison your freedom (and your\nimagination is your freedom) you will be in a state to receive the\ncommunications of my imagination.\nj£f We can then advance upon the work and master its secrets.\n£? If you remain tied by your intellect or reason you would never\nunderstand me and so we should be unable to achieve anything. And I\nhave only one thing to communicate to you. The ecstasy of Shakespeare.\nUnder this heading a thousand moments of madness are gathered.\n\n(November 22 1909).\nis something which, when it seems to succeed is called Heroic:\nwhen it seems to fall is called Polly.\n& To attempt what is called the Impossible,... that is Madness, and\nthat is Good.\n& On October 20th 480 B. C. was fought the Battle of Salamis. The\nGreeks had 380 ships, the Persians 2000 ships led by Xerxes.\n& This is the gist of the words spoken by Themistocles the Greek\ngeneral, before the battle.\n\" The argument of it was that in all things that are possible to man's\nnature and situation, there is always a higher and a lower\" and that\nthey must stand for the higher. (1)\nThey did so,... and they won the battle; and the madness of the\nattempt was called Heroic... and justified.\n& You must make this same mad attempt In \" Hamlet and \" if the\nMuses leave us may we die.\" (2)\n(1) Heroditus.\n(2) Euripides."}, {"page_pdf": 24, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.24", "texte": "•' HAMLET \" INMOSCO W. .\n\n£? And now that I've told you what I want you to do let me advise you\n• ■\nwhat not to do.\nDo not, I beg of you, do not think too much.\nEverybody has a habit of thinking, but modern actors think much\ntoo much.\njSf No one by thinking can see the sky. He sees it and realises It through\nhis senses.\nTo think when music is playing would be idle... one must merely\nreceive it into the soul through the senses.\n& And it is to be so with our Hamlet. Let your brains rest and absorb\nthe beauty of Hamlet through your eyes and ears and do not forget what\nis called touch, for it has much to do with your movement.\nBy means of the brains... by thinking, one can act cleverly. A clever\nman is he who thinks; and you are acknowledged by Europe to be the\n» ....\ncleverest company of actors in the west.\nBy means of the senses and the soul you may become the most\nprofound... the most beautiful... the most spiritual.\n& So, my dears, do not think too much... and feel more,... much more.\nAnd let me tell you here that 1 love you all very much and will do\nanything I can, and all I can, to be of help to you during this your\ninterpretation of our Hamlet; but that it is you who have the harder\ntask,... that is, to bring yourselves willingly into the simplest state of\nbeing possible; and you can only do this by choosing the higher in place\nof the lower means: the senses and the soul instead of the brain.\n\n(November 30 1909).\nIt has been proved by experience that the Shakespearean Dramatic Poems\ncannot be performed in the same manner as we perform modern Plays.\n& All the colour departs from the Poems when we act them as we act\nIbsen, or Tchekov.\nOne difference between Shakespeare and the modern writers is that\nwhereas they deal in men and women he deals In types. His lover is the\ntype of all lovers, distinguished by nothing but his passion. We know no\ndetails about his life: we do not know his character. Shakespeare only\nshows us his passion. It is the Poet's passion. Romeo sings and floats"}, {"page_pdf": 25, "page_imprimee": "113", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.25", "texte": "& \" HAMLET\" IN MOSCOW. &\n\nbefore u5,... he does not converse and walk. He loves... loves again...\nsickens... revives... sickens again... meets Fate... and dies.\nAnd Passion, not Character, stamps its mark on the whole tragedy\nof Romeo and Juliet. It is only where something comic has to be revealed\nthat Character is made use of. I learnt this from my friend Yeats, our\ngreat Irish poet.\n& Well then...\nA company of actors who would perform this play must weigh all\nthis very thoroughly.\nIt is because modern stage managers and actors attempt to turn\nShakespeare's Dramatic Poems into Plays of Character that they produce\nso lamentable results.\nHamlet is made up of Passion... Style,,. Music... and Vision: but not\nCharacter.\nCharacter appears incidentally in the figures of the two Grave-diggers,\nand even they have something of that strange mystic appearance, that\nstrange and magic expression of face which arrest our attention in many\nof the Greek portraits and in the Pompetan frescoes.\nOn looking at them we are startled by what they appear to see....\nor what they have seen long ago and is reflected in their eyes and\nmouth. A gravity which lends a rare beauty to the staring eyes\nand slightly opened mouth. (In Greek Tragedy or Comedy masks the\nmouth was indicated as open. It is the passionate state. The closed\nmouth is the intellectual state). Character appears also in Osrlc... and\nin Polonius.\n& And now... how shall a company of actors who have trained themselves\nto represent Plays of Character as you have done, who have based your\nmethods of representation upon actuality instead Poetry and Imagi-\nnation, how shall they wrestle with Hamlet ?\nShall they do better than treat it as a Romance... a thing of fancy,...\nor an actuality? Dare they face the thing as it is?\nTo me the secret of performing the play lies in the capacity of the\nactor to understand Passion,... the white heat of Passion, the cairn of\nPassion, its ecstasy, and in having given his Hfe to the creation of a\ntechnique which shall convey ecstasy to those who look on."}, {"page_pdf": 26, "page_imprimee": "114", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.26", "texte": "\" HAMLET \" IN MOSCOW.\n\nWere Grasso, our stunning Giovanni, to interpret Hamlet we should\nexpect and ask for red heat. That is another story.\n.<2? Hamlet is a saint yet loves Ophelia.... in that he is a saint; yet\nkills Polonius... in that a saint....\njSf How so? you ask. Because he is the creation of Imagination, because\na Poet gave birth to iiim. He is no reality.\n& Remember Gioconda's smile which is Leonardo's smile.... Hamlet has\nthat smile.\nYet Hamlet talks much ?\n& Weil, we must not touch on that dread matter, for it is, alas, too\ntrue. Can the actor nowadays understand this state of being created\nthrough the Imagination ?... can he attain to it ?\n& To the point then. This is a question which slowly and unwillingly\nthrusts forwards for an answer....\n& It is as Tragic as the Tragedy of Hamlet.\n&If the reply is \"No then why is it he cannot understand it ?\nBecause\nN0!.... No man but only angels may answer this question,\nwhen Love by luck returns into the Theatre the Theatre will be reborn.\n& When it returns to Earth it will enter the Theatre.\n& Come, Chuang Tzu, come to my help; tell them what 1 mean,.... or\nrather tell them that I am not utterly wrong in that by Passion I mean\nnot the passions:....\n& \" Hui Tzu said to Chuang Tzu : 'Are there, then, men who have no\n\" passions ?' Chuang Tzu replied : 'Certainly'.\n'< 'But if a man has no passions', argued Hui Tzu, 'what is it that\n\" makes him a man ? '\n\" 'Tao', replied Chuang Tzu, 'gives hint his expression, and God gives\n\" him his form. How should he not be a man ?'\n£? \" 'lf, then, he is a man,' said Hui Tzu, 'how can he be without pas-\n\" sions ?' What you mean by passions,' answered Chuang Tzu, 'is not\n\" what I mean. By a man without passions 1 mean one who does not\n\" permit good and evil to disturb his internal economy, but rather falls\n\" in with whatever happens, as a matter of course, and does not add to\n\" the sum of his mortality.\""}, {"page_pdf": 27, "page_imprimee": "115", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.27", "texte": "•' HAMLET \" IN MOSCOIV.\n\n& 44 The pure men of old slept without dreams, and waked without\n\" anxiety. They ate without discrimination, breathing deep breaths.\n44 For pure men draw breath from their uttermost depths; the vulgar\n44 only from their throats. Out of the crooked, words are retched up\n44 like vomit. If men's passions are deep, their divinity is shallow.\n£/ 44 The pure men of old did not know what it was to iove life nor to\n44 hate death. They did not rejoice in birth, nor strive to put off dis-\n-44 solution. Quickly come and quickly go ;... no more. They did not forget\n44 whence it was they had sprung, neither did they seek to hasten their\n44 return thither. Cheerfully they played their allotted parts, waiting\n44 patiently for the end. This is what is called not to lead the heart\n44 astray from Tao, nor to let the human seek to supplement the divine.\n44 And this is what is meant by a pure man.\"\n\nIPhis is the gist of what 1 wished to say to the actors of the Moscow\nArt Theatre. But on seeing their kind faces and wrinkled brows I had\nnot the heart to add one more wrinkle. 1 had at least the wit to abstain\nonce more:.... and 1 made one more design for an Über-Marionette."}, {"page_pdf": 28, "page_imprimee": "116", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.28", "texte": "A HISTORY OF PUPPETS\nby \"Yorick\".\n\nic <■>\nPUPPETS IN FRANCE.\n(Continued)\n•yhe list of plays represented In France by the burattini during that\nstormy and glorious period Is too interesting, and too useful to the\ngeneral history of the Theatre, to be left out of these pages. It is cer-\ntalnly Incomplete, but it Is the only one that can be proved by documen-\ntary evidence, after long and diligent research, which I, myself, have\nmade through the \" Dlctionnaire des Theatres de Paris \" compiled by the\nBrothers Parfaict. This, then, is the list:...\n«« Alceste \". A parody in three acts of the lyric tragedy of Alessandro\nHardy, which bears the same title. Author anonymous. It is thought to\nbe the work of Dominique and Romagnesi. It was represented at the\nFair of Saint Germain in 1739.\n(Dominique was really Pier Francesco Biancolelli, an Italian, and a\nson of Domenico Biancolelli, an excellent actor, who took part in\nthe company, conducted by the famous \" Scaramuccia \" in 1653. Pier\nFrancesco was born in Paris in 1581; studied in the College of the Jesuits,\nthen followed at Toiosa the Italian comedians of the Pascariello company,\nacting the part of Arlecchino, in which his father had been inimitable.\nGiovanni Antonio Romagnesi, also an Italian, was the son of Gaetano del\nMarc' Antonio and of Brigida Fedeli of Mantua, all comic actors. His\nadventures might serve as the subject of a Song romance).\n*'Arlequin amant desesp£re \". A pantomime performed by the ma-\nrionettes of Bienfait at the Fair of Saint-Germain on Friday the 20th of\nFebruary, 1749.\n\" Arlequin courier \". A piece in one act with vaudeville airs, played\nby the marionettes of Le Vasseur, (called ** Les comediens practiciens \")\nat the Fair of Saint-Germain in 1749* (Practiciens, because whoever spoke\nfor the burattini used a \" strega \" or \" pivetta \", which in French is\ncalled \" pratique \").\n\n(1) P. Ferrigni."}, {"page_pdf": 29, "page_imprimee": "117", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.29", "texte": "A HISTORY OF PUPPETS. -\n\n& 44L'Assemblee des Polssardes ou Polichinelle Maitre d'hote! Pro-\nduction in one act by Carolet, represented by marionettes at the Fair of\nSaint-Germain in 1737.\n& (Argument. Pulcinella under the name of Rapinet, and having received\na fair patrimony, acts the master of the house to a number of wealthy\nSignori; he is thinking of taking as his wife, Ghita, the daughter of\nFlanchet, a seller of dried cod-fish. The marriage is to take place that\nday, and in honour of it, Pulcinella proposes to take the young lady and\nher mother to the theatre of the Opera comique. This good intention is\ndisturbed by the arrival of Rudepogne, another pretender for the hand\nof the girl. He threatens to murder the \" sposo \". Pulcinella acts the\nbully, but is in mortal fear. Fortunately everything is arranged ; the\n14 sposi\" complete their union and Pulcinella invites all the fishwives of\nthe market to a festa at which a Savoyard exhibits a rfiarmotte. Then\nfollows dancing and general merry-making.\n44 La grande mere amoureuse \". In one act by Fuzelier, a parody of\nthe musical opera 44Atys\" by Qulnault. Played by the marionettes of\nBienfait, 1710.\n44 Les aventures de la Foire Saint-Laurent \". In one act\"; author\nanoymous, represented Friday the 23rd. June, 1736.\n44 Colombine aux enfers ou Arlequin vainqueur de Pluton \". A pan-\ntomime performed by the marionettes of Bienfait at the Fair of S. Lorenzo\nin the year 1748.\n&44 Colombine Nitetis \". A parody In three acts of \" Nitteti a tragedy\nby Danchet. Author Alessio Piron. Acted by the marionettes of Bienfait\non Sunday the 7th. of March 1723.\n44 La course galante ou L'ouvrage d'une minute \". An act in prose by\nCarolet. Represented by the marionettes of La Place at the Fair of\nS. Lorenzo in 1722. Parody of a comedy by Legrand, called 44 Le Galant\ncoureur ou L'ouvrage d'un moment \"."}, {"page_pdf": 30, "page_imprimee": "118", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.30", "texte": "A HISTORY OF PUPPETS.\n\n&44 La descente d'Enee aux enters Played at the marionette theatre\nef Bienfait in February 1747-\n& Les Dieux ou Les noces de Venus \". In one act. A comedy by\nLaffichard acted by marionettes at the Fair of Saint-Germain, on Sunday,\nthe 3rd. of February 1743.\n« Les eaux de Passy \". A comedy by Carolet, performed by the ma-\nrionettes of Bienfait at the Fair of Saint-Germain in 1724.\n& ♦< Le femme dlablesse A comedy with music, by the marionettes of\nBienfait at the Fair of S. Lorenzo in the month of August, 1746.\n« La fille \". Parody In three acts of Voltaire's tragedy,\n\" Alzlra\" Author unknown. Played by the marionettes of Bienfait in\nMarch 1736.\n& \" Les fleurs \". Pantomime acted by the marionettes of Le Vasseurat\nthe Fair of Saint-Germain the 18th. February, 1749.\n& 44 L'lle des fees ou Le geant aux marionnettes \". Comedy in one act\nand in vaudeville, author anonymous, played by the marionettes of\nBienfait on Tuesday the 12th. July 1735*\n*' La grenoullllere galante \". Parody in three acts, prose and music,\nof 44 Les Indes galants \". Author Carolet, represented by marionettes at\nthe Fair of S. Lorenzo in the same year.\n1\n** Le ravissement d'Heiene \". Spectacular production of Fuzelier,\nacted in the marionette theatre, called 4< Vittoria \" by the burattini of\nBertrand at the Fair of Saint-Germain in 1705.\n44 Javotte \". A parody in one act of the tragedy of Voltaire 44 Merope \"\n%\nAuthor Valois, Given by the marionettes of Bienfait at the Fair of\nSaint-Germain in 1743."}, {"page_pdf": 31, "page_imprimee": "119", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.31", "texte": "A HISTORY OF PUPPETS.\n\n\" L'impromptu de Polichinelle \" in one act, prose and music by Vaiois.\nPlayed by Bienfait's marionettes at the Fair of San Lorenzo 1735.\n<< ines et Marianne aux champs Elysees By Carolet. One act, played\nby Bienfait's marionettes at the Fair of San Lorenzo in 1724. A parody\nof \" Ines de Castro \" by De la Motte, and of \" Marianna \" by Voltaire.\n&\" Le marchand ridicule Performed by the marionettes of Gillot at\nthe Fair of Saint-Germain in 1708. Author anonymous.\n»« L© manage d'ArJequin et de Colomblne par Jupiter \". A pantomime\nacted by the marionettes of Blenfait at the Fair of Saint-Germain, on\nMonday the 17th. February, 1749-\n& 44 Les Metamorphoses de Polichinelle\". Anonymous. An act in prose\nand music, played by Bienfait's marionettes at the Fair of Saint-Germain\nin 1740. A satire on Italian actors in Paris.\n& La Noce interrompue \". by Carolet. Represented by the marionettes\nof Bertrand at the Fair of Saint-Germain in 1717-\n<• Les noces de Polichinelle et de la veuve Barnabas \"• Anonymous.\nActed by Bienfait's marionettes at the Fair of Saint-Germain in 1738.\nj0 44 L'ombre du cocher poete \". Prologue of the \" Arrontino d'amore \"\nand of \" Pierrot Romolo \", by Fuzeller, Le Sage and D'Orneal. Presented\nin February 1722 by marionette strangers who acted under the name of\nLa Place.\nj0 \" Les petites maisons \". In one act by Carolet. Performed by Bienfalt a\nmarionettes at the Fair of San Lorenzo In 1727*\nj0 \" Le cocher maladroit otf Polichinelle Phaeton ' • Parody of Fetonte ,\na lyric tragedy by Quinault. By Carolet's marionettes in l74o»\n«« Pierrot Romulus ou Le ravisseur poli A parody of 44 Romolo \" a"}, {"page_pdf": 32, "page_imprimee": "120", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.32", "texte": "A HISTORY OF PUPPETS.\n\ntragedy by La Motte. Authors, Le Sage, Fuzeller and Orneval. Acted by\nthe marionettes of La Place. A much applauded work, full of spirit and\nof comic element.\nI\n& 44 Polichineile a la guinguette de Vaurigard \". One act, prose and\nmusic. Author anonymous. Marionette theatre of Bienfait in August 173 L\n&•' Polichineile Amadis \". A parody on 44 Amadigl di Gaola a lyric\ntragedy by Quinault. Author anonymous. Bienfait's marionette theatre,\nMarch 1733.\n*\n& 44 Polichineile Alcide \". Comedy by Carolet. represented by the ma-\nrionettes of Bienfait, Thursday, February 26th. the following year. A parody\non 44 Omfale \" a lyric tragedy by De la Motte.\n& 44 Polichineile Apollon ou Le Parnasse moderne \". By Carolet. Played\nby Blenfait's marionettes in 1732.\n& 44 Polichineile Atys \". A parody on the lyric tragedy of 44 Atys \" by\nQuinault. Author, Carolet. Bienfait's marionette theatre at the Fair of\nSan Lorenzo in the same year.\n44 Polichineile Colin-Maillard \". Anonymous. By Gillot's marionettes,\nwithout date.\n44 Polichineile Compte de Paonfier \". A parody on 44 Glorieux \", a\ncomedy by Destouches. Author, a beginner, Largitiere junior. March 1733.\n£? 44 Polichineile Cupidon ou L'amour contrefait \". Comedy in one act\nby Carolet. Bienfait's marionettes at the Fair of San Lorenzo 1731.\n& 44 Polichineile distributeur d'esprlt \". One act by Valols d'Orbille for\nBienfait's marionettes at the Fair of Saint-Germain, 1741.\n44 Polichineile maitre macon \". Comedy In one act by anonymous\nauthor for Bienfait's marionettes at the Fair of Saint-Germain, 1744."}, {"page_pdf": 33, "page_imprimee": "121", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.33", "texte": "A HISTORY OF PUPPETS.\n\n44Polichlnelle Persde Parody in one act on the Opera 44 Perseo \"\nby Quinault, Author anonymous. Bienfait's marionettes at the Pair of\nSaint-Germain, 1737»\n44 Polichineile Pyrame \". A parody of the lyric tragedy of 44 Piramo e\nTisbe by Quinault. Author anonymous. Bienfait's marionettes at the Pair\nof Saint-Germain, 1740.\n4\n& 44 La princesse de Golconde ou L'heureuse ressemblance \". An operetta\nby Carolet, 1737-\n0 44 Les rejouissances publiques ou Le retour de la Paix \". A production\nin prose and music by an anonymous author, for Levasseur's marion-\nettes, 1749*\nN\n0 44 Le Remouleur d'amour \" in one act by Le Sage, Fuzeller and\nD'Orneval, played by La Place's marionettes In February 172a.\n0 44 Le songe ou Le r£ve de l'amour \". One act, author anony-\nmous, acted by marionettes at the Fair of San Lorenzo in 1735*\n0 44 Le amans peureux \". A parody on the opera 44 Teti e Peleo \" by\nFontenelle the following year.\n044 Tiresias \"• A comedy in three acts by Alessio Piron; piayed at the\ntheatre of Francisque by marionettes of natural size 1722 at the Fair of\nSaint-Laurent.\n0 44 Tiresias aux quinze vlngts \". A comic piece in one act by Carolet.\nA parody on the preceding comedy. Represented by La Place's marionettes\nat the same Fair and in the same year#\n0 44 L'un pour I'autre \". A parody on the comedy 44 Amor per amore \"«\nOne act, by Valois d'Orvilie, 174 L\n0 ** Orphes et Euridyce \". One act. The following year."}, {"page_pdf": 34, "page_imprimee": "122", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.34", "texte": "A HISTORY OF PUPPETS. .\n\n& 44 Arlequln au Sabbat \". Pantomime executed by Bienfait's marionet-\ntes in February 1752.\n\" La prise de Charleroy \". Played by Bienfait's marionettes August\nnth. 1746, and preceded by the three following productions.\n« Arlequin vainquer de la femme de son maitre.\n«4 Le jeu des bonnes marionnettes \".\n& 44 Les amusements comiques de Polichinelle \".\nAPOGEE AND DECADENCE.\nAs soon as the temporary Fairs were suppressed and permanent Fairs\nwere established In their stead, puppet theatres were transferred\nto the new localities without delay, and were erected in even larger\nnumbers, and in a better and more elegant style# Moreover the managers\nof them called to their aid, not only decorators, machinists, scene-paint®\ners, dressers, lamp lighters and firemen, but inventors of every kind of\nspectacle and of every kind of marvel and surprise.\nOne of those little theatres, constructed according to the designs of\na leading architect, belonged to Fourre, a very clever 44 impresario \" of\nburattini and full of audacity, who was not afraid to put upon the stage\nfor the first time a great mythological 44 ballo,\" of which the title was\n44 Giunone all' inferno.\" The representation of it involved stupendous and\n»\nsurprising mechanism, the most ingeniously formed automata, that moved\nby the action of springs and counterweights, a rich 44 vestlario \" and\ninnumerable characters, together with dances, transformations, fireworks,\nchanges of scenery before the eyes of the public, and fierce combats be-\ntween the people of Olympus and the infernal spirits.\n& The experiment was to meet with favour later on, but it did not at\nfirst bring much gain or advantage to its daring originator. The public\npreferred satirical comedies, lively farces and the caricatures and parodies\nthat formed the greater part of the repertory of marionettes.\nI should have to travel a long way If I desired to follow my charming"}, {"page_pdf": 35, "page_imprimee": "123", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.35", "texte": "A HISTORY OF PUPPETS.\n\nlittle heroes to the permanent theatres of the Boulevard du Temple,\nunder the direction of the immortal Servandoni;... of the TuiUeries under\nthe active Nicolet, who had taken as his device, the motto 44 de plus fort\nen plus fort \"... of Versailles under Audinot... and of the Palais Royal,\nunder the galleries constructed by the Duke de Chartres in 1784, where\nthe small 44 sala\" became later the theatre that bears even now the\nsame name.\n£> It will be sufficient to remember that the marionettes of Audinot,\nfor whom Giovan Battista Nougaret wrote some of his most charming\n44 vaudevilles,\" Initiated in 1770 those sprightly representations, that\nwere then known under the name of \"Ambigu comique,\" a denomination\nthat is still preserved in one of the theatres of the great Capital.\n& 1 should recall also that the Regent of France offered to receive the\nmarionettes of Bertrand at the Court; that the Duchess de Montpensier\nengaged a company of Neapolitan 44 pupi \" for her paiace, and that the\nburattini of 44 Seraphin \" obtained the title of 44 Spectacle des Enfants\nde France.\"\n& When the terrible revolution broke out, that was destined to change\nthe face of the civil world, marionettes, as was natural, divided into two\nparties, and fought In opposing camps, so that while in the Memoirs of\nthe Marquis de Custine we read an account of the imprisonment of an\naristocratic showman, whose Pulcinella had ridiculed the 44Pere Duchesne;\"\nwe stand horrified at the 44 Vieux Cordeliier \" of Camille Desmouiins \" In\nthe pages of which, overflowing with righteous indignation, he describes\nthe decapitation of Pulcinella in a marionette theatre, at the same place\nand hour, In which, by the executioner's hand, the head of the descendant\nof St. Louis was to roll upon the scaffold.\nBut let us turn our eyes away from those sad sights and console\nourselves by thinking of the times In which our charming little wooden\n44 personaggi \" were received, caressed and acclaimed in the good society\nof the preceding centuries.\n& Tallemant des Reaux, in a little story of the year 1550, relates that\nmarionettes entered the palace of the Duke de Guise one day, to divert\nthe amours of the nephew of 44 Balafre\" with Mademoiselle de Pons, his\nbeautiful favourite. We know from Malezieux that the young prince"}, {"page_pdf": 36, "page_imprimee": "124", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.36", "texte": "A HISTORY OF PUPPETS.\n\nDombes, in order to induce Mademoiselle d' Enghien to come to bim,\npromised her a Pulcinelia play:...\n\" Pour prix d' une action si belie.\nJe vous proniets Policbinelle.\"\nNow Malezieux was an illustrious poet, one of the forty \"immortals\"\nof the Academy, the friend, confidant and secretary of the Duchess de\nMaine and the organizer of the wonderful ** fStes \" in the park at Sceaux,\nwhere marionettes were always honoured and appreciated. The Apollo of\nSceaux wrote for the burattini of the Duchess an infinity of madrigals,\nodes, stanzas, and epigrams to be recited or sung at intervals, and he\ncomposed every now and then satirical comedies, In the course of which\nhis learned and venerated colleagues of the Academy were not always\ntreated with fraternal benevolence.\nThe marionettes of Sceaux allowed themselves to discharge more than\none envemoned shaft against that exalted school; they ridiculed the\nmajesty of the President De Mesmes, and criticised, always bitterly and\nsometimes maliciously, the books that were published by the members\nof the august assembly. And here we see Pulcinelia as a philologist\nfalling out with the \" Immortal \" and ready to argue about the etymology\nof a word, the nationality of a phrase or the legitimacy of an adjective.\n£> The quarrel, violent as the quarrels of grammarians and masters of\nlanguage usually are, soon became personal, and Malezieux, who had\nassumed the position of \" capocomico \" in the service of the dissenting\nAcademicians, moved his ground from Sceaux to the Hotel de Tresmes,\nand tried to win the Duke de Bourbon to his side.\nBut that was not the first, nor was it to be the last of the disputes\nbetween Pulcinelia and the learned academic Assembly. In a book, by\nMaurepas, dated 1752, I find recorded a \" Requeste du sieur Pollchinelle\na Nosseigneurs de i'Academie francaise etablis au Louvre,\" in which our\nintrepid burattino demands that the right should be conceded to him of\ntaking part in Academical meetings.\nWith the great king, Louis xiv, marionettes were on excellent terms\nfrom the time when they went to the palace of Saint-Germain to divert\nthe melancholy early days of the Dauphin, but that friendship was\nbecoming cooler and the king was beginning to manifest some displeasure"}, {"page_pdf": 37, "page_imprimee": "125", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.37", "texte": "A Marionette Maker at work, at the Arena Goldoni. Florence."}, {"page_pdf": 39, "page_imprimee": "127", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.39", "texte": "A HISTORY OF PUPPETS.\n\ntowards them, until one day, Madame de Maintenon, observing that his\nMajesty was showing signs of weariness, summoned to Versailles \" quel\ncaro pazzo di Pulcinella \" in company with Colombina, Lelio and the\nCapltano Spavento. The monarch laughed heartily over \" Victolre de\nDenaln,\" a bold dialogued \" pamphlet,\" in which Marshal de Villars was\nrepresented under the guise of \" Scarabombardone,\" and bitterly attacked\nfor his fanfaronnades toutes gasconnes.\" If any Courtier, no matter\nhow exalted in rank and importance, had dared to express one half of\nthe criticisms that Pulcinella discharged habitually with such perfect\nfreedom, even the Bastille itself could not have provided a prison dark\nenough, or locks and bolts of sufficient strength and security for his\npunishment and confinement.\n*2? In 1746 Le Comte d' Eu, a great master of artillery, invited the\ni?urattini to his residence in the castle of Sceaux (the same that had\nbelonged to the Duchesse de Maine), and desired to manage the wires of\nthe articulated little \"figurine\" himself, and also to speak for the dumb\n\" personaggi.\" Voltaire, who assisted at that unusual spectacle, became\nso much interested in the performance, that he was reconciled \" Ipso\nfacto \" with the marionettes, who had been guilty of treating his\n\" Merope \" with such scant respect, and, going behind the curtain, took\nhold of the wires and directed them with his own hand and, finally,\ndragged Pulcinella to the front and improvised a gracious compliment\nfor the courteous host:..,\n'* Polichinelle de grand coeur,\nPrince, vous remercie:\n. En me faisant beaucoup d' honneur,\nVous faites mon envie.\nVous possedez tousles talents,\nJe n'al qu'un caract&re:\nJ'amuse pour quelques moments,\nVous savez toujours plaire.\nOn salt que vous faites mouvolr\nDe plus belles machines:\nVous fites sentir leur pouvoir\nA Bruxelles, a Malines.\""}, {"page_pdf": 40, "page_imprimee": "128", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.40", "texte": "A HISTORY OF .\n\nAnd thus It happened that king Voltaire made peace with king\nPulcinella and soon afterwards the two monarchs were together at the\ncastle of Cirey, where the Sovereign of French literature extended cordial\nand conspicuous hospitality to the Prince of Italian Burattini. After a\nbanquet the author of \" Pucelle \" rubbed his hands together as a sign\nof sincere contentment, embraced \" Madame de Ch&telet,\" made eyes at\n\" Madame de Graffigny,\" invited his fortunate guests by a wave of his\nhand,... and passed into the hall of the theatre, where, now spectator,\nnow director of the play, he listened attentively to the performance of\n\" L'Enfant prodigue,\" and then, in a mischievous vein, produced \" Le\nmariage de Pollchinelle,\" a satire that, as Madame Graffigny writes, was\nfull of fun and frolic, \" avec des propos £ mourir de rire* ou il fourrait la\ncoteri? de M.le Due de Richelieu, 1' hlstoire de I'abbe Des Fontaines et\ntoutes sortes de contes, toujours sur le ton italien.\"\nj2? It should be remembered also that Voltaire did not regard marionettes\nas a frivolous entertainment, infantile, unworthy of him, and only good\nfor the purpose of killing time; on the contrary, he took them quite\nseriously and discussed the merits of piays suited to their limited stage,\nand applied philological theories to the traditional characters of burat-\ntinesque *'personaggi \"precisely as Jean Jacques Rousseau did in the\nfirst part of the first book of \" Confessions,\" in which he left a record\nof his real sympathy with wooden actors; or like Francois de Nantes,\nwho, in the time of the first Napoleon, excused the negligence of an\n\" \" In the Ministry, who confessed that he was in the habit of\nstopping every morning to watch Pulcinella; or like Madame Pdlicier,\na celebrated singer at the Opera, who gave a pension to a certain\nshowman, on condition that he came twice a day to give her a private\nperformance; or like Pont de Veyle and Francesco Nau, who wrote little\ncomedies and \"intermezzi\" for the burattini \"da salotto; \" or like\nHeinrich Heine, who discussed the possibility of composing a new \" Faust\"\nout of the detached parts of the different \" Puppenspielen ;\" or, again,\ntine Beranger, who regarded the world as one vast theatre of marionettes\ngoverned by its \" Dieu des bonnes gens \" and established for the amuse*\nment of women.\n44 Pr&s des femmes que sommes-nous ?"}, {"page_pdf": 41, "page_imprimee": "129", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.41", "texte": "A HISTORY OF PUPPETS.\n\nDes pantins qu' on ballotte.\nMessieurs, sautez, faites les fous,\nAu gre de letir marotte.\nLe plus lourd et le plus subttl\na\nFont la danse complete,\nEt Dieu pourtant n'a nils qu' un fll\nA chaque marionnette.\"\nBut the brightness of this period for French marionettes began to\ndecline with the decline of the eighteenth century. Francois de Nantes,\nHeine and B6ranger, who belong more to the nineteentli century, were\nalready regarded as fantastic, and it was, precisely, because of their\ntenderness for burattini. By degrees the number of theatres \" di genere \"\nIncreased, a class of theatre in which real dramatic work was becoming\nevery day, more and more, a matter of secondary Importance, and so,\ngradually, the little \" pupazzi \" theatres were closed and disappeared;\nshowmen emigrated to country places, where the repertory was reduced\nto a few little comedies, suitable for the amusement of children, and\nPulcinella, under the Republic, was seen no more."}, {"page_pdf": 42, "page_imprimee": "130", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.42", "texte": "CHI LO SA? A Note suggested by\nA Wood-Cut done in the Dark Days.\n\niphey say that the two men who designed and cut this design were paid\npractically nothing, those were the good old days: and they say\nthat the people who bought the prints and the bits of text paid very\nlittle for them and enjoyed them and were heard calling them beautiful\nfor one reason or another. Great wars in those times, too; unheard of\nslaughter on battle-fields,... even five hundred, even a thousand at any\ndecisive engagement. Really clever men lived then, but mechanically\ndeficient.... Chi lo sa ?\n& They were obliged to cut this block by hand... did not choose to do\nso; the world, its mind and conditions, its religions and its public, forced\nthe thing to be done by hand."}, {"page_pdf": 43, "page_imprimee": "131", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.43", "texte": "CHI LO SA?\n\nWhat a barbarous time these good old times were! Think of the poor\nslave of an artist ...forced to cut wood !\n£/ How far forward civilization has brought us.\nln those times we enjoyed our hours and our days. Now if we don't\nenjoy our minutes whose fault is it ?\nTime,... that degenerate old man who, instead of changing with the\ntimes, keeps to the ancient order of things.\n& Order of things ?... order 0f.... order.... or\n£/ Chi lo sa ?\n\nA. C."}, {"page_pdf": 44, "page_imprimee": "132", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.44", "texte": "THREE BOOK-PLATES\nDesigned and Engraved\nby THE WOOD ENGRAVERS OF\nSAN LEONARDO\nFLORENCE\nITALY."}, {"page_pdf": 45, "page_imprimee": "133", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.45", "texte": "The Book-Plate of George Wolfe Plank. Designed and Cut by E. G. C."}, {"page_pdf": 47, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.47", "texte": "A Book-Plate Designed and Engraved by Stanislas Lodochowskowski."}, {"page_pdf": 49, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.49", "texte": "A Book-Plate Designed and Engraved by Samuel Prim."}, {"page_pdf": 51, "page_imprimee": "139", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.51", "texte": "SCREENS\nTHE THOUSAND SCENES IN ONE SCENE.\nSOME NOTES AND FACTS RELATIVE TO THE \"SCENE\"\nINVENTED AND PATENTED BY EDWARD GORDON CRAIG.\n(0\nThe following Extracts are taken from several sources, and express\nMr IV. B. Yeats' personal experience of the value to the Dramatic\nPoet of this invention, based upon his own use of it.\nFROM THE \" PREFACE \" TO\" PLA YS FOR AN IRISH .\"\n\"A\" summer I have been playing with a little model, where there is a\nscene capable of endless transformation, of the expression of every\nmood that does not require a photographic reality. Mr Craig.... who has\ninvented all this.... has permitted me to set up upon the stage of\nAbbey another scene that corresponds to this, on the scale of a foot for\nan inch, and henceforth I shall be able, by means so simple that one\nlaughs, to lay the events of my plays amid a grandeur like that of\nBabylon; and where there Is neither complexity nor compromise nothing\nneed go wrong, no lamps become suddenly unmasked, no il!-pa!nted corner\ncome suddenly Into sight.\n♦» Henceforth I can all but 44 produce \" my play while 1 write It, moving\nhither and thither little figures of cardboard through gay or solemn\nlight and shade, allowing the scene to give the words and the words the\nscene.\n&44 I am very grateful for he has banished a whole world that wearied\nme and was undignified and given me forms and lights upon which I can\nplay as upon some stringed instrument.\nW. B. Yeats. October 1911.\nFROM THE \" NOTES \" TO \" PLi4FS PO/? IRISH THEATRE\n« like the other plays in this book, has been altered many\ntimes after performance, till at last I had come to think I had put\nall my knowledge into It and could not, apart from the always Incalcu=\n\n(1) These are the oumbers of some of the Patents taken ont for the Invention. Great Britain, No. 1771 United\nStates of America, No. 1022820. France, No. 414871. Italy, No. 109089. Germany, No. 236875."}, {"page_pdf": 52, "page_imprimee": "140", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.52", "texte": "THE THOUSAND SCENES IN ONE . &\n\nfable pleasure good playing brings, look for greater pleasure than it had\nalready given me. But now because of Mr Craig's scene which is fitted\nto so many moods and actions, and makes possible natural and expressive\nlight and shade, I have begun to alter it again and to find in this a new\nexcitement.\nW. B. Yeats. October 1911.\nFROM AN 44 INTERVIEW\" IN THE 44 EVENING TELEGRAPH.\"\n\" 'T'he scenery differs entirely from the old style of scenery, and consists\nchiefly of portable screens, by means of which beautiful decorative\neffects can be obtained, the working of the screens being based on cer°\ntain mathematical proportions by which the stage manager can make\nwalls, pillars, etc a palace almost in a moment, a palace of great\ncyclopean proportions, and which can be changed again almost in a moment\ninto a room with long corridors, and be changed again into a third and\nvery different scene just as quickly.\n41 The primary value of Mr Craig's invention is that it enables one to\nuse light in a more natural and more beautiful way than ever before.\nWe get rid of all the top hamper of the stage all the hanging ropes\nand scenes which prevent the free play of light. If is now possible to\nsubstitute in the shading of one scene real light and shadow for painted\niight and shadow. Continually, in the contemporary theatre, the painted\nshadow is out of relation to the direction of the light, and what is more\nto the point, one loses the extraordinary beauty of delicate light and\nshade. This means, however, an abolition of realism, for it makes scene-\npainting, which is, of course, a matter of painted light and shade, im°\npossible. One enters into a world of decorative effects which give the\nactor a renewed importance. There is less to compete against him, for\nthere is less detail, though there is more beauty.\nW. B. Yeats. January 1911.\nFROM THE PROGRAMME OF THE ABBEY THEATRE, DUBLIN.\n44 rThe method of decoration in 44 The Deliverer\" and 44 The Hour Glass\"\nwas invented by Mr Gordon Craig and will be used by the Art\nTheatre of Moscow, where it will make possible a performance of the full"}, {"page_pdf": 53, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.53", "texte": "THE THOUSAND SCENES IN ONE SCENE.\n\nHamlet, with a different decoration for every little scene, so rapidly can\nthe scenes be changed. Thursday night will, however, be its first public\nuse. It does not aim at effects of realism, but at a decoration of the\nstage almost infinite in the variety of its expression and suggestion, and\nfor the first time makes possible effects of lights and shadows various,\npowerful and delicate. Mr Craig has given us the right to make use of\nhis patent in Ireland, with the generosity of a great artist, and because\nhe respects our work and ambition.\nW. B. Yeats. January 12, 13, 15, 1911.\nFROM AN INTERVIEW GIVEN TO \" HEARTH AND HOME.\"\n\" JL t present we are busy producing \"The Hour-Glass\" at the Abbey\nTheatre, Dublin. I have had great trouble with this play, for In its\noriginal form the treatment it seem platitudinous. A music-hall\nsinger who saw it was converted; that was very distressing. Had it not\nbeen for Gordon Craig's designs, I should not have troubled to rewrite\nit. But they helped me wonderfully, and I think I have banished platitude\nfrom the \" Hour Glass \" in its present form. Gordon Craig is the greatest\nproducer living, greater than Reinhardt, or any other.\nW. B. Yeats. November 1912."}, {"page_pdf": 54, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.54", "texte": "THE THOUSAND SCENES IN ONE SCENE.\nA NOTE ON ANCIENT AND MODERN SCENERY.\nn the earliest days of the stage,... for we must\naccept the Greek records as being the earliest...\nscenery was not scenery in the usual acceptance\nof the word. 1 should describe it rather as Scene.\nIt was an architectural background ; it could not\nbe moved and was made of marble or stone, and\nit served more or less as scenery for all their plays,\ntragic, comic or satiric.\nNov/ and again we hear of other pieces of scenery being added for some\nspecial occasion when a play demanded something which the architecture\ncould not supply, but it is very rarely that we hear of such additions.\nThis architecture was exposed to the daylight, there being no roof\nto the theatre.\n<£> After several hundred years we come to the second important period\nof dramatic art.\nThis was the mediaeval theatre. Its background was also architectural\nalthough painting, gold and colours, were profusely used. As the perfor=\nma nee took place in a closed building artificial light was to a certain\nextent used in the spectacle, many candles of all sizes as well as oil\nlamps being employed. Daylight was also made use of, and this was done\nwith much knowledge. Everything was on a grand scale, costly in the\nextreme.... superb. Only religious dramas were performed.\nThe third important theatre was not a rich one. Religion had severed\nits connection with the theatre by this time and it Is no doubt owing\nto this fact that its sponsers were unable to find support among the\nricher section of the public. Their income was therefore dependent upon\nthe people, and in order to make sure of that income their prices had\nto be low and everything to be cheaply done.\nThis fact no doubt helped to decide them in many artistic questions\nwhich were to a certain extent dependent upon financial conditions.\nThus v e see that arcnitecture was of necessity dispensed with and an\nordinary wooden theatre was erected with a wooden background draped\nwith the best curtains of which funds could allow. The theatre of the"}, {"page_pdf": 55, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.55", "texte": "THE THOUSAND SCENES IN ONE SCENE.\n\nCommedia dell'Arte, which flourished about this time, was, when It\ngot Its permanent playhouses, no less restricted In its means owing to\nthe 'same cause, and its scenery was pretty much the same as the\nShakespearean scenery except that it seems to have been a little less dull.\n& Prom 1600 the modern scenery of the theatre has been evolved.\n1 have read many books in which the authors wax indignant about modern\nscenery, at the same time giving great praise to the Shakespearean scenery;\nbut if they find fault with the children they must blame the father, and\nthe Shakespearean scene is the father of the modern scene.\nIf the theatre today were as poor as in the time of Shakespeare we\nshould have scenery as meagre.\n& But since Shakespeare's time the theatre has grown very rich, and\nLondon, Instead of possessing two or three play houses, is able to boast\nabout two hundred theatres. Many of these theatres are several times\nlarger than the theatres of Shakespeare's time; in fact in the last three\ncenturies the theatre has been able to do what we can describe as\n44 beat up \" full houses.\nAs 1 have Indicated, It has had to employ this sporting process of\nbeating the covies because it no longer wished to serve religion, and,\nleaving religion, it no longer wished to be austere,... not even with\nthat austerity which belongs to the Roman Catholic religion: and not\nhaving this check upon its temperament it has become rather more\nflashy than fine.\n£? Each century more money came into the box office and each century\nmore money was spent upon gaudy trappings. Artists would be Invited Into\nthe theatre now and again to assist the manager to invent some new\nvulgarity and would fight the managers and would finally leave the theatre.\nTo invite the cooperation of the painter is no nineteenth century\nidea; the managers have been whistling to him since the sixteenth\ncentury. Very few have accepted the Invitation and those who did so\nhave always burnt their fingers.\nToday the managers are still inviting painters into the theatre In\nthe hope that they may bring with them some scenic invention. But\nthey bring nothing new; they bring a repetition of the old, and it Is\npossibly quite exact to say that nothing quite new in spirit will be"}, {"page_pdf": 56, "page_imprimee": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.56", "texte": "THE THOUSAND SCENES IN ONE SCENE.\n\nbrought to the theatre until the prodigal theatre returns to its father...\nand to the service of the Religious spirit.\nBut there must be some balancing point, some golden mean between\nthis ideal religious theatre which is now so far off, and this anything\nbut ideal modern theatre which is with us at the present moment; and\ntherefore we serve both theatres best when we concentrate our force\nupon something which is neither; something which Is less than impos-\nsible; something practical instead of eccentric.\n& Here we are concerned only with one section of this practical theatre,...\nwith the scenic section; yet what follows is the result of considering the\ntheatre as a whole and not as the result of considering this one section\nby itself.\nTHE \"SCENE\" AND THE POETIC DRAMA.\nTphe highest form of modern theatrical art is the performance of the poetic\ndrama. It neither reaches the altitudes of the old religious drama nor falls\nto the splendid depths of the musical comedy, but is something betwixt\nand between, and It is considerably nearer to the higher than the lower.\nThus everyone must acknowledge that there is much of the modern\nmusical comedy and melodrama in Shakespeare, but that there is more\nspiritual drama. Shakespeare even condescends to.the touch of the music\nhall and is at home in it, but from it he is continually rising to touch\nthose heights called by some... the Impossible.\n& It is for this poetical drama that the Scene which Is the subject of\nthis article was created.\nSince making It its creator has felt that it will be of service not only\nto the theatre, but also to the dramatic poet; and hopes that both to the\nstage and to the poet it will prove of great practical use,... using the\nword \"practical \" in its fullest signification.\n& Its practical use has been already not only demonstrated before poets,\nbut proved in a theatre before an audience, and in the third section of\nmy article I shall set forth this practical value in detail; that is to say,\n1 shall show how it saves time, space, force and money.\nOf its other practical aspect I will treat in the next section and\n\n(1) See page 139 to 141."}, {"page_pdf": 57, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.57", "texte": "above plan of the Arena Goidoni shows the additions which have\nbeen made to the original establishment during the last two years.\n& The most important of these is the old church of Santa Chlara, marked\nS. upon the plan. It Is now used as the School Aluseuin and Library. Its\noriginal fittings, and the marble facings of the wa;is and arches ..sound\nthe high altar, may be seen in the South Kensington Museum.\nAnother addition Is the Printing Office, (U)."}, {"page_pdf": 59, "page_imprimee": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.59", "texte": "THE THOUSAND SCENES IN ONE SCENE.\n\nwill there show the practical or technical artistic advantages which it\npossesses over modern scenery.\nA WARNING.\nCirst of all it is necessary to state that this Scene is an Invention\npatented (i) by its Inventor, and that the imitation of some of its\nEXTERNAL and SUPERFICIAL QUALITIES by the trade, and recorded by\npictures In \" The New Movement in the Theatre,\" Mr Sheldon Cheney's\nuseful book, (2) are to be mistrusted. Only genuine works of art have\nany ultimate value commercially or artistically: imitations and spurious\ncopies are for the gull.\nDESCRIPTION OF THE SCENE.\n'X'he Scene is made up usually or four, six, eight, ten or twelve screens,\nand, although sometimes of more than twelve, seldom of less than four.\nEach part or leaf of a screen is alike in every particular except breadth,\nand these parts together form a Screen, composed of two, four, six,\neight or ten leaves. These leaves fold either way and are monochrome\n*\nin tint.\nThe height of all these screens is alike.\n& These screens are self-supporting and are made either of a wooden\nframe covered with canvas, or of solid wood.\n& with screens of narrow dimensions curved forms are produced, for\nlarge rectangular spaces broader leaved screens are used, and for varied\nand broken forms all sizes are employed.\nSometimes a flat roof is used with these screens, at other times\nthe space above the top line Is shown.\nThe Scene being monochrome, the minimum of light is required\nto Illuminate it, as there is much reflection from each leaf. Ordinary\nbattens that are used in the theatre, and also daylight, can be used for\nits Illumination.\nThe screens can be so arranged that by moving three leaves a great\nchange in effect is produced.\n\n(1) See page 159.\n(2) Published by Mr Mitchell Keanerley, New York: January 1915."}, {"page_pdf": 60, "page_imprimee": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.60", "texte": "THE THOUSAND SCENES IN ONE SCENE.\n\nThe Art of using this Scene to the best advantage Is a delicate one\nand acquired only with practise. The aim of the Arranger is to place his\nscreens in such a position that, by moving the minimum number of leaves,\nhe may produce the desired amount of variety. Where the maximum\namount of variety is required the change Is less easy to accomplish, for,\nin art as well as in nature, sudden contrasts cause more trouble because,\nas a rule, undesirable.\nSometimes certain additions may be made to this Scene, such as a\nflight of steps, a window, a bridge, a balcony, and of course the necessary\nfurniture, though great care and reserve must be exercised in making\nthese additions so as to avoid the ridiculous.\nARTISTIC VALUES.\nThis Scene is a ~ving thing. ,\n-sS? In the hands of an Artist it is capable of all varieties of expression,\neven as a living voice and a living face are capable of every expression.\nThe Scene remains always the same, while incessantly changing.\nSome may ask how such a thing can possibly be, and one can only\nask such questioners to study the human face.\nEvery human face is shaped more or less the same, and is made\nup of two eyes, a brow, a nose, a mouth, a chin and so forth;\nmove any one of these parts ever so little, and we note a different\nexpression.\n& This Scene resembles the human face.\nis obvious that the advantage of such a Scene will be best understood\nand felt by those who see it; but its uses can at any rate be recorded\nto some advantage.\n& Through its use we obtain a sense of harmony and a sense of variety\nat the same time. We may be said to have recovered one of the Unities of\nthe Greek Drama without losing any of the varietyjof the Shakespearean\ndrama.\n& We pass from one scene to another without a break of any kind, and\nwhen the change has come we are not conscious of any disharmony\nbetween it and that which Is past.\n1 have sasd *3|ls Scene that It is a living thing, that it is capable"}, {"page_pdf": 61, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.61", "texte": "THE THOUSAND SCENES IN ONE SCENE.\n\nof expression, and I must here warn you, from personal experience\nin its use, that it is so living that, unless treated as a living thing,\nit is quite likely not to respond to the will of the manipulator or\narranger.\nAccidental effects can be obtained which are beautiful even as a\nbeautiful accidental effect can be produced on the piano, but no one\nwithout knowing this Scene intimately, that is to say, without having\nstudied it more than carefully, can produce harmony from Its planes.\nIt even refuses to obey the artist entirely when the artist is not in\nthe right mood ; and its inventor has worked with a set of screens for\na day or two searching for an especial form for a scene in \" Hamlet \"\nand been totally unable to bring out any expression from its flatness;\nyet in the process of overcoming the difficulty perhaps a more perfect\nharmony has been ultimately produced.\nThe results obtained have found favour with all the poets, a few\nof the actors, all the stage managers and some of the directors of\ntheatres to whom they have been shown, and the Scene has also won\nthe approval of the stage hands, whose praise the Inventor values.\nTo all of these he declares himself beholden for many suggestions\nwhich have improved the instrument.\nADVANTAGES TO ACTOR AND STAGE MANAGER.\none of the advantages of this invention is that, should the actor\nfeel after a few nights that he could play the scenes better in a\ndifferent arrangement, and have a clear idea as to his wishes and how\nto obtain them, he can test his ideas in the morning on the model\nand make his changes that same evening.\n& II after a month or so he wishes to change again, either because\nhe thinks something can be improved by giving himself more liberty\nas actor, or for any other reason, he <h&n Again make any change which\nseems to him desirable. In fact the Scene is as much for the Actor as\nit is for the Stage Manager or the Poet.\nIf the actor feels that he cannot play his part in a certain scene he\nhas only to go to the stage manager, and together, with the model on\nthe table, they can work out a new arrangement."}, {"page_pdf": 62, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.62", "texte": "THE THOUSAND SCENES IN ONE .\n\n& The advantages which the use of this Model offers to the Stage\nManager are exceptional.\nTHE MODEL STAGE AND.\nTo begin with, the model with which lie works Is always ready to his\nhand. He keeps it in his study and is thus able continually to test Ideas\nwhich come into his head as to the Poetic Drama which he has to produce.\nHe has not to wait for the scene painter to bring him a model which, if\nhe does not like, he has to have changed and rechanged; but he has at his\ndisposal a model scene which he can be always changing and arranging,\nand from which he can derive ideas for the movement of his figures.\n& Possessing the model, he is not saddled with a cumbersome and\nelaborate \" model stage \" of the usual pattern; he need not fear to\ntouch the thing lest It fall to pieces, or the strings and wires get tangled.\nHe has a workman-like model to use.... no litter, no strings, no paper;\nno longer a toy but clean and solid wood.\nuS He is often at a loss how to fashion scenes for these old plays which\nhave held the boards for so long. In his study he fancies a passage here,\na long wall somewhere there, pillars here; but he is unable to put\nthese down on paper, and if he could do so it would still be unsatisfactory.\nHe could not see the thing, he could not measure his distances, he could not\ntell whether there is enough space for a man to come on there, whether\nthere will be room enough on the stage for this passage to go back in that\ndirection, and in his helplessness he is obliged to tell the scene painter\nto make the design. But with the Scene which is here offered him, and\nwith this small model stage all this preliminary work will be made many\ntimes easier. He can do it himself.\n& He is producing 44 Richard 111 \" for Instance. He wants a vast throne-\nroom for the one scene and he wants to follow It up by a small cell. He\ncan place his screens upon his model stage, (i) and turn them this way\nand that until he has got his throne room. He can then mark the\nresults down upon the ground-plan drawn to scale with which the\nInventer provides him.\n\n(i) A very perfect model of this stage is at the Arena Goldoni with the necessary lighting arrangements, and\nis set up in the room marked 0. on the plan on page 145."}, {"page_pdf": 63, "page_imprimee": "151", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.63", "texte": "THE THOUSAND SCENES IN ONE SCENE. &\n\n& After he lias done this he can move one or two leaves of the screen\nso as to bring all the screens to form a smaller, prison-like place.\nAt the first attempt he will not have much success. He will then\nprobably begin by forming the smaller scene first and he will try if it\nis not possible to work passing from the second to the first\nscene, from the smaller to the larger instead of from the larger to the\nsmaller. He may probably find that this makes his task easier.\nBut he who finds the greatest difficulty at the outset in arranging\nscenes from these screens is more likely than another to produce\nultimately more important results if he persevere; but one should avoid\nif possible the feeling that there is something very difficult about the\nmanipulation of the Scene.\n& Some say that this is the Poet's Scene. To a certain extent in its\nfirst state it is more his Scene than anyone else's, for it represents the\nworld perhaps better than any other Scene has done.... that particular\nworld created by the Poets, the world of Imagination. The Poets them-\nselves have said so. '\n& But let not the casual reader think that this indicates something flimsy\nand floating. Nothing of the kind. It is something sharp-cut, something\nvivid and definite, as firm in its outline as it is flexible in its movement,\nand this, I believe, is what the Poets have always held such a world to be.\nFinally, in connection with this Scene the Inventer has planned several\nadditional inventions by means of which doors, windows, cornices, stair-\ncases, trees, hills, clouds, stars, sun, moon and all can be placed\nbefore the audience, and that without calling in a single extra man to\nassist the usual staff.\nPRACTICAL VALUES OF THIS \"SCENE\".\n'To save unnecessary waste of money and time is the aim In the\norganization of every enterprise. It is more often than not that this\nidea of true economy Is forgotten in the theatre, and is substituted by\nwaste.\nMr Pltzroy Gardner, a keen theatrical manager, writing in the \"Strand\nMagazine \" (i) says, \" I have no hesitation in saying that in the West\n\n(1) September 1911."}, {"page_pdf": 64, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.64", "texte": "THE THOUSAND SCENES IN ONE SCENE.\n\n\" end theatres of London at least forty thousand pounds a year are\n\" frittered away, apart from what is lost by putting on plays with a\n\" four-to-one chance against their success \".... \" Scenery and dresses are\noften ordered without proper deliberation, or negotiation as to cost. \"\n■£? Much power of all kinds is wasted in the theatre, and in no department\nis there greater waste than in the scenic department.\nThe scenery has always wasted the time of the theatre, of the actors,\nof everyone, more especially in productions of the Popular drama. Scenery\nhas also wasted the receipts of the theatre. Scenery lias always wasted\nthe energies and force of the managerial staff; it has also wasted space.\nLarge warehouses are costly and the space on the stage is valuable.\nSo we see clearly that time, force, space and money are wasted by\nmodern scenery, whereas all four are economised by the use of this Scene.\nUnder these four headings of Time, Force, Space and therefore Money,\nlet us enumerate some of It advantages, and show in what way economy\nis possible through Its use,\nTHE SAVING OF TIME.\n| It saves the Manager's Time, for after he has once mastered its\nsimple mechanism he is able in a short time to produce arrangements\nwith his model which shall give the effect he requires. It also saves\nhim the time which would otherwise be spent in discussing plans and\nmodels with the scene painters, carpenters and workmen.\n& The fact that the Scene is self-supporting saves the time which is\nusually wasted in hanging scenery and in finding spare places for the\naccomodation of the different cloths, cut-cloths, built-out pieces, etc.\n& It saves the manipulator's time as, the screens being easy to move\nfrom one position to another, one full set can change to another full\nset in less than thirty seconds.\nThe maximum wait between the acts need not exceed seven minutes\nat most, and it can even be less if desired. Eighteen men can strike the\nlargest set and leave the stage empty in twenty seconds. A smaller\nchange can be effected in four to ten seconds by fewer men. It Is greatly\nowing to the fact of each screen being self-supporting that this becomes\npossible."}, {"page_pdf": 65, "page_imprimee": "153", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.65", "texte": "THE THOUSAND SCENES IN ONE SCENE.\n\nIt also saves time in all that concerns the lighting,\n& Time is wasted in rehearsing the lights because such rehearsal in\nso many instances means guessing which light is best; here it is saved\nbecause the simplest light is the best; that is to say, the light of the\nbattens.* The inventor tells us that, whereas In former experiments he\nusually did away with the battens, he has found them work perfectly\neasily with this Scene. It has been continually demonstrated, in fact,\nthat no other light is so good.\nAnother saving of time In regard to the lighting is that the manager\ncan calculate with more precision than formerly the necessary strength\nof his limes.\ncome then to the advantages In the matter of storage.\nlt is a great saving of Time iiere also to be able to store this Scene\nin the theatre itself, for as a rule much time is wasted in sending to\nthe warehouse for the heavy scenery of the Popular Drama, and on\nthe continent even more time is lost in this labour than in England\nowing to the nightly changes. But in any theatre where the programme\nis changed a great saving of time is effected through the use of this Scene,\nTHE SAVING OF FORCE AND LABOUR.\nI ABOUR. Under this heading are included both mentai and physical\nlabour. The manager is saved the mental strain of interviewing and\ndiscussing plans with many different persons because he has only to give\nthem the finished plan to carry out when he has worked It out upon\nhis model, and this working out he can do with greater quiet and\nconcentration in his own study by himself than when obliged to do it in the\nusual way with the scene painters, carpenters and others upon the stage.\n&i„ fact, force and labour are saved to the manager and the staff right\nthrough the production of the play, because they know that their model\nis a thing with which they can calculate.\n& If this Scene were like ordinary scenery,... that is to say, not self=\nsupporting, every time it moved its position it would have to be attached\nto ropes or supports of some kind which would necessitate the expenditure\nof energy not required when the thing is self=supporting. The force"}, {"page_pdf": 66, "page_imprimee": "154", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.66", "texte": "THE THOUSAND SCENES IN ONE SCENE.\n\nnecessary to manipulate the modern scenery for a big production is\nenormous, whereas to move these six or ten screens and their ad-\nditional parts which compose the Scene is a very easy matter and a\ngreat saving in physical force.\nworkmen who have already used it.\nTHE SAVING OF SPACE.\n£3PACE. Space is economised because the Scene takes up no room in\nthe flies, since, instead of being slung, it Is self-supporting and when\nfinished is folded up and goes easily into the scene dock, taking up the\nminimum of storage room.\njg/ There is the same economy of space in the transport of scenery from\ntown to town for which, with ordinary scenery, many railway trucks are\nneeded ; but much space is saved in the transport of this Scene owing\nto the fact that the measurements of all its parts are standardized.\n& There are 805 Theatres in England, not counting the Music Halls,\nnor the small platforms or drill halls which are used for play acting and\nfor concerts. The small places cannot afford to buy much scenery; this\nIs often the reason why plays are not produced in the small places.\nThis Screen Scene is elastic. When placed on the stage it can be\ncompressed or enlarged. A small theatre purchases, say, four small\nscreens for Its first productions. Next year It can add to that number\ntwo more, and two more the following year. So at the end of three\nyears it has eight screens. Each addition to it makes a new combination\npossible while the original effects obtained and the original arrangements\ndevised remain as useful as ever they were.\nTHE SAVING OF MONEY.\nlt saves Money because Time, Labour and Space are saved by\nits use and the waste of all these things costs Money.\nThis Scene, as I have already said, goes into one or two trucks.\nThis indicates how much room it takes, and therefore not more than\nthe same amount of room Is needed if It is ever to be stored outside the\ntheatre."}, {"page_pdf": 67, "page_imprimee": "155", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.67", "texte": "& THE THOUSAND SCENES IN ONE SCENE.\n\nj0 Owing to its being monochrome the minimum amount of light is\nsufficient, the leaves of the screens acting as reflectors.\nLastly, the adaptability of these few screens to many plays so that\nan Infinite variety of effects can be obtained,... and those effects more\nartistic in quality than usual.... (i) makes it obvious to everyone that\nthe saving in the expenditure on scenery is considerable.\n& To be able to put the scenery for Hamlet, Faust, the Merchant of\nVenice, the Taming of the Shrew, the Tempest, the Bourgeois Gentilhomme,\nRosmersholm, and When We Dead Awaken, Pelleas and Melisande,\nElektra, the Agamemnon, Salome, Edipus Rex, the Land of Heart s Desire,\nLa Gioconda,... to be able to put all the scenery for these plays in one\nor two railway trucks proves that the cost must be very much less than\nthat of the ordinary scenery which would require ten or fifteen trucks\nat the very least.\n& There is also the initial saving in expenditure in the purchase of scenery,\nsince instead of a complete set for each play one set may be used for all.\nj-? in fact this Scene may from ail points of view be described as\n44 Multum in parvo.\"\nOn the ground of its practicality patents have been obtained in Europe,\nincluding Germany, (2) and in America, and, after having experimented\nwith the full sized models which have been made in Moscow and in\nLondon, it has been found that it answers all expectations and fulfils\nevery requirement of the Popular Drama#\nln fact it has proved economical both artistically and commercially,\n.and the European managers before whom it has been tested confirm\nthis estimate of its value.\n11 will be of interest here to quote the two following extracts from\n« The Times\" (London), the former written after a 44 demonstration\"\nof the use of the 44 Scene \" by its Inventor, at his studio in London\nin 1911; the latter an extract from the account sent by the 44 Times \"\nspecial correspondent in Moscow, after the first production of 44 Hamlet\"\nwith the 44 Screen \" scenery, at the Art Theatre in that city. The\n\n(1) These Artistic Values have been dealt with separately.\n(2) See page 139."}, {"page_pdf": 68, "page_imprimee": "156", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.68", "texte": "THE THOUSAND SCENES IN ONE SCENE.\n\n\" Hamlet\" production has since then been already given over one\nhundred and fifty times in the same theatre.\nSeptember, 23. 1911.\n*\nJhe device is extremely simple, It consists of folding screens, which\nwill stand of themselves without being fastened either to the stage\nor to ropes, rollers, or beams in the \" flies.\" The screens can be made\nof any size required. They may be 30ft. high or only Bft.; they may\nhave three folds or a dozen, and each fold may be ift. wide or 6ft. Three\nmen in three minutes could move or remove a whole scene and, folded\nflat, each screen would take up very little space. The obvious advantages\nare the ease and quickness with which these things can be handled and\nthe simplicity of the manipulation. To change a scene would no longer\nbe to roll up or roll down great canvases, to screw and unscrew bolts,\nto adjust and fasten ropes, to remove entirely an elaborate built-up set,\nand put another in its place. A complete change of scene can be obtained\nmerely by rearranging a few screens. And when it is necessary (as in\nthe case of touring companies) to take away the complete scenery of a\nplay, the carpenters, Instead of working all night and losing some very\nimportant piece of the outfit, could transport the folded screens to the\n\\an at a reasonable hour. Moreover, that terror of Monday morning in\nprovincial theatres... the \" scene-plot \"... is reduced to a simple plan of\nthe stage marked out in squares with the positions of the screens shown,\nby letters or figures, and a quarter of an hour's work ought to make\nthe whole set of changes clear to the stage-hands.\n& Ease and quickness of manipulation are matters that interest the\npublic no less than the stage-manager and scene-shifters. On the playing\nof Shakespeare, for instance, such a device would have wide and deep\neffects. But the question most likely to occur to the public first of all\nis what kind of scenery these screeus provide. Not, of course, the scenery\nof detail and archaeology, the scenery of crowded fact and \" realization\nof a period. But an hours experimenting with Mr. Craig's model stage\nrevealed a veiy wide variety of suggestions, moods, settings, properly so-\ncalled, for drama. The model screens exhibited were all In monochrome,\nwhich was practically the \" self-colour \" of the material of which the"}, {"page_pdf": 69, "page_imprimee": "157", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.69", "texte": "THE THOUSAND SCENES IN ONE SCENE.\n\nmodels were made; but indoor and outdoor scenes alike were made each\nin a few seconds and In two or three movements* and the purport of\neach was unmistakable. Quite extraordinary effects of space and spirit\nwere obtained; and In this the lighting played a very important part.\nFor one advantage of these screens is that the light can be directed\nfrom almost any point, and a change of light makes a change of mood,\nor even of place. Mr. Craig's own desire appears to be to dispense as\nfar as possible with any colouring on the screens themselves, partly\nbecause each screen can thus take on a much wider range of characters,\nso to speak, than if it were coloured. Most of the colouring would be\nobtained by means of coloured lights; and there would be no danger\nthat a scene painted for one light would be robbed of its effect by being\nseen later under another light... an error too often made with scenery\nas we know it. Further definition... In a forest scene, for instance... can\nbe obtained by means of an ingenious device for casting shadows; and\n\" properties \"... chairs, tables, and the like... can be as easily used with\nthese screens as with the curtains of the Elizabethans or with the\nbuilt-up sets of the modern stage .\nA street scene that would have done equally well for London, Florence,\nor Baghdad was made with three screens in three seconds; and there\nseems to be no reason why, with a sparing use of colour and pattern, a\nmodern drawing-room should not be as clearly suggested as a castle or\na magic island. A proscenium that can be easily enlarged or reduced\nforms a subsidiary part of the scheme; and sloping stages could, If\nnecessary, be made flat for the reception of the screens.\nprovided, simply and quickly worked, and adaptable to practically all\nneeds. It is certainly of wonderful effect in the suggestion of place and\nmood; and experiment with the models only whets the appetite to see\na stage equipped with the new scenery on the full scale.\nMoscow. January 9. 1912.\nEvery scene in the Hamlet has for its foundation an arrangement of\nscreens which rise to the full height of the proscenium, and consist\nof plain panels devoid of any decoration. Only two colours are used,., &"}, {"page_pdf": 70, "page_imprimee": "158", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.70", "texte": "THE THOUSAND SCENES IN ONE SCENE.\n\nneutral cream shade and gold. A complete change of scene is created\nsimply by the rearrangement of these screens, whose value lies, of course,\nnot so much in themselves as in their formation and the lighting.\nMr. Craig has the singular power of carrying the spiritual significance\nof words and dramatic situations beyond the actor to the scene in which\nhe moves. By the simplest of means he is able, in some mysterious way,\nto evoke almost any sensation of time or space, the scenes even in\nthemselves suggesting variations of human emotion.\nTake, for example, the Queen's chamber In the Castle of Elsinore.\nLike all the other scenes, it is simply an arrangement of the screens\nalready mentioned. There is nothing which definitely represents a castle,\nstill less the locality or period; and yet no one would hesitate as to its\nsignificance... and why? Because it is the spiritual symbol of such a\nroom. A symbol, moreover, whose form is wholly dependent upon the\naction which It surrounds; every line, every space of light and shadow\ngoing directly to heighten and amplify the significance .of that action,\nand becoming thereby something more than its mere setting... a vital\nand component part no longer separable Jrom the whole. Whatever\nMr. Craig has done he has obviously done it not only with the touch of\nan artist, but also with all the care and reverence of a true lover of\nShakespeare.\n& To Judge from his work he Is not so much a revolutionary as a\nreformer. Far from being an enemy to theatrical tradition, he seems to\nrealize better than any one how much valuable material for Ills art lies\nburied in that limbo of things forgotten. He has gone back over a field\nwhose fertility so many have ignored, and drawn from it all that Is best\nand most useful to him. (Extract from \" The Times.\")"}, {"page_pdf": 71, "page_imprimee": "159", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.71", "texte": "AN IMPRESSION OF THE \"SCENE\"\nby an Eye-Witness.\n\nA LETTER TO GIOVANNI GRASSO, THE SICILIAN GENIUS, FROM\nAN ITALIAN FRIEND WHOM HE ENTRUSTED WITH WHAT HE\nDESCRIBES AS \"A MISSION\", TO MR GORDON CRAIG.\nWo have boon allowed to publish this Italian tribute here 9 and do\nso with pleasure» for it conies from Signor Scarpelli9 a Florentine\nartist~architect° writer, of mature judgment, and expresses the\nwarm delight, as well as the keen, sincere and intimate perception,\nwhich seems so much more inherent in the South than in the\nNorth.\nIt was written after an hour's visit, and without having read, or\nreceived, any verbal description of the \" Scene\" or its intention,\nand is thus of the greater interest as proving how directly\nand simply the \"Scene\" expresses itself and how swiftly and\nsimply it wins and convinces by its inherent qualities.\nDecember 4 th 1913.\nlyiy dearest Giovanni,\ni went yesterday to Signor Craig at tlie Arena Goldoni.\nMy impression ? Craig is a prodigious man, if prodigious signifies the\npower of conjuring up from nothing, before your eyes, that which\namazes you.\nAnd the elements of which Craig makes use for his creations are\nnothing or almost nothing: some screens and some electric lights.\nHe sets upon the stage of his little theatre, (no bigger than a child's\nmarionette theatre), his tiny screens, and, while you look on, with a\nrapid movoment of the hands arranges them in a certain way: a ray\nof electric light comes to strike between those simple rectangles of\ncardboard, and the miracle is accomplished: you behold a majestic scene;\nthe sense of the small disappears absolutely; you forget the dimensions\nof the theatre, such is the scrupulous equilibrium of the lights and o?\nthe lines which Craig knows how to give to the scenes. Another slight\nmovement of the screens, (always before your eyes,) and the scene changes"}, {"page_pdf": 72, "page_imprimee": "160", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.72", "texte": "AN IMPRESSION OF THE 44 SCENE.\"\n\nand then changes again without the lines and the light effects ever\nTecalllng to you that which you have already seen. And thus one passes\nfrom the vision of a piazza, a street, an imposing portico to that of a\nsaia, a prison, a subterranean dungeon.\nCraig is a great painter, a great architect, a great poet. He paints\nwith light, he constructs with a few rectangles of cardboard, and with\nthe harmony of his colours and of his lines he creates profound sensations,\nas only the fathers of poetry knew how to create.\n1 do not exaggerate, dear Giovanni.\nThe S|ght of some scenes for 44 Othello \" gave me the thrill which\nonly the reading of Shakespeare had been able to give me 1\nWe are far, very far, from the usual scenographlc resources, be they\neven the best which can be remembered.\n& If one does not see Craig's theatre one cannot imagine wh at this man\nknows how to do, and I am very very sorry that you had not the time\nto go to the Arena Goldoni. You have lost a sight which is among the\nfinest which 1 have witnessed since 1 was born, not excluding the\nmajestic spectacles of Nature itself. When you return to Florence you\nmust not deprive yourself of so great an enjoyment.\n(Here follow further and private reports),\nand then the letter concludes as follows:\n& 441 have related to you my visit to Signor Craig; the mission which\nyou entrusted to me is accomplished. Tell ine if you are pleased with\nwhat 1 have written.\n& Many many big kisses to you and to the children, homage to your\nSignora, affectionate salutations to all friends.\n\nFiliberto Scarpelli\nFirenze."}, {"page_pdf": 73, "page_imprimee": "161", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.73", "texte": "A Design for a Costume in \"Bethlehem\" produced at the University of London, 1903, byJGordon Craig."}, {"page_pdf": 75, "page_imprimee": "163", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.75", "texte": "IN DEFENCE OF THE SCENE OF\nVAST PROPORTIONS\nby Louis Madrid.\n\nhave heard it said, and on good authority, that many\nactors and actresses, Sir Herbert Beerbohm Tree and\nMrs Patrick Campbell among the number, have always\nheld that certain scenes designed by the artists of the\nNew Movement are too overwhelming in their propor-\ntions and that the actors sink to insignificance when\nperforming in them. Their theory is only an excuse.\n£? xhe following is an extract from an article which appeared In an\nAmerican journal (i) in 1895 with some excellent drawings, by Louis Loeb,\nwhich show us the fallacy of this excuse. It concerns the first performance\nheld by the\nbuilt by the Romans In the reign of Marcus Aurelius (121 A. D. 180).\n& xhe Dimensions of the theatre are as follows:\nWidth 338 feet, depth 254 feet.\nHeight of facade and of rear wall of stage 120 feet.\nRadius of auditorium 182 feet.\n& And here Is what M. Janvier, the writer of the article, and who was\npresent at the performance, has to say:\n\" The theory has been advanced that the great size of the Greek\nstage, and of the palace in its rear which was its permanent set of\nscenery, so dwarfed the figures of the actors that buskins and padding\nwere used in order to make the persons of the players more in keeping\nwith their surroundings. With submission, I hold that this would have\nbeen, in one way, out of proportion with the background. If used at all\nin tragedy, buskins and pads probably were used to make the heroic\ncharacters of the drama literally greater than the other characters.\n«« In point of fact, the majestic height of the scene did not dwarf the\nhuman figures sustaining serious parts. The effect was precisely ihe\ncontrary. Mademoiselle standing solitary in that great open space,\nwith the play of golden light upon her, became also heroic. With the\ncharacters in \" (Edlpus \" and \" Antigone \" the result was the same: the\nsomber grandeur of the tragedies was enlarged by the majesty of the\n\n(1) \" The Century.\" June 1895."}, {"page_pdf": 76, "page_imprimee": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.76", "texte": "IN DEFENCE OF THE SCENE OF VAST PROPORTIONS.\n\nbackground, and play and players alike were upraised to a lofty plane of\nsolemn stateliness by the stately reality of those noble walls which them-\nselves were tragedies because of the ruin that had come to them with age.\n& **Upon the corned}7 that so Injudiciously was Interpolated into the\nprogram the effect of the heroic environment was hopelessly belittling.\nM. Arene's 44 Helot \" and M. Ferrier's 44 Revanche D' Iris \" are charming\nof their kind, and to see them in an ordinary theater, with those intimate\naccessories of house life which such sparkling trifles require, would be only\na delight. But at Orange their sparkle vanished, and they were jarringly\nout of place. Even the perfect excellence of the players,... and no Grecian\nactress, I am confident, ever surpassed Mademoiselle Rachel-Boyer In\nexquisitely finished handling of Grecian draperies could not save them.\nQuite as distinctly as each of the tragedies was a success, the little\ncomedies were failures, being overwhelmed utterly by the stately sur-\nroundings, and lost In the melancholy bareness of that great stage. It\nwas all the more, therefore, an Interesting study in the psychology of\nthe drama to perceive how the comparatively few actors In the casts of\nthe tragedies.... how even, at times, only one or two figures.... seemed\nentirely to fill the stage; and how at all times these plays and their\nsetting absolutely harmonized. \"\nperhaps the truth is that some actors and actresses know they are\nmore successful in the 44 little comedies \" which M. Janvier says were\nfailures at Orange.\nBut if Sir Herbert Beerbohm Tree feels so forcibly about such scenes,\nhow is it that only a short time ago he was announcing, with his native\nenthusiasm, that in order to adequately celebrate the Tercentenary of the\nDeath of Shakespeare he had invited Professor Reinhardt the German,.., is\nit German ?... producer to share the task and the expense in Sir Herbert's\nEnglish Theatre? It was remarked at the time by some one that nothing\ncould be more fitting than to choose this way of celebrating the DEATH\nof Shakespeare.\nWhat a misfortune that Sir Herbert Tree's little plot has miscarried (\n....0r will there yet be time and opportunity to carry out this\nprogramme... in some smaller Island... In Sark perhaps.\n\nThomas A. Janvier 1895."}, {"page_pdf": 77, "page_imprimee": "165", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.77", "texte": "A DESIGN FOR A SCENE.\n& Queer Reader. ■£? What book is It out of ?.... What is the\ndate?.... Who made the design?.... What does it represent?....\nAre those six black things supposed to be the funnels of \"The\nEmden \" ?.... Are we down-hearted ?\nThe Editor. & Yes, when we are asked such a number\nof questions.\nQueer Reader. & Why not ask questions when one does\nnot know ?\n& Queerer Reader. & Oh, how frightfully Interesting! What\na fine thing.... Yes, it would make a splendid stage scene, ...is\nthe suggestion for something exactly right.\nThe Editor. Really?.... And what leads you to be so\nconvinced.\nQueerer Reader. I will tell you. (Prepares to give three\nquarters of an hour to a long and clearly worded, if somewhat\npedantic explanation which, while being a self-revelation of\npsychology, reveals but one other thing,... the speaker's good\nopinion of him (or her) self.)"}, {"page_pdf": 78, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.78", "texte": "THEATRES OF YESTERDAY AND TODAY\n\nGROUND PLAN OF THE TEATRO FARNESE. PARMA.\nA. C.\nBecause a Theatre is built in the\nold days it does not follow that\nlt|is either very good or very bad.\nTo judge whether good or bad it\nis necessary to pay it a visit.\nSome theatres of all ages stand apart\nfrom every age. Such is this Teatro\nFarnese in Parma.\nI have spent several hours in the\ntheatre and it cannot be brought\nInto comparison with any other of\nits own or any period, although this\nis too often done.\nTo compare such a masterpiece is\nto belittle all heroic effort.\nThe theatre affords a magnificent\nexample of the renaissance stage at\nits highest point of artistic and\ntechnical development.\nBuilt by the architect G. B. Aleottl\n(1550-1630) and decorated by the\npainters Leonello Spada (1576-1619)\nand Glrolamo Curti (1576-1681),\nit was completed In 1619."}, {"page_pdf": 79, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.79", "texte": "THE NEW COURT THEATRE IN DRESDEN.\nThe accompanying plan shows a longitudinal section of the New Court\nTheatre in Dresden, which Is turnlshed with a sliding stage ol an\ninteresting but elaborate and costly kind»\nThe diagram, like the one on the preceding page, is reproduced by\npermission of the John Lane Co, New York, from Mr Moderwell's book,\n\" The Theatre of Today,\" in which a description of the Dresden Court\nTheatre is given."}, {"page_pdf": 80, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.80", "texte": "BOOK REVIEWS,\n\nTHE NE W MO VEMENT IN THE\nTHEATRE, by Sheldon Cheney.\nMitchell Kennerley. New York.\nPrice two dollars net.\npraise than blame for this\nbook. It Is the best got up, (of its\nkind) yet issued; has distinction;\ncontains many good illustrations.\nlts faults ?.,.. much repetition;\nnot enough of facts; its quality\ndiluted by a little too much talk\nand discussion. More facts, better\nco-ordinated, and fewer comments,\nwould have improved it. Still, the\nbook is a good effort; it promises\n„ for the future, and the author has\ndoubtless already learned so much\nfrom the writing of it that he will\ngive us far better work in his next.\nHis own words In the Preface are,\n\" the over-enthusiastic student Is a\nbetter guide than the over-cautious\nstudent.\" We think so too.\nMf Cheney is slightly unfair on\nAmerica when giving what he claims\nto be typical examples of the ad-\nvanced staging done there. He also\nneeds to test his weights and mea-\nsures before attempting to analyse\nand estimate the values of the works\nhe discusses. One of the reproaches\nwe over here always want to refute\non behalf of Americans is that they\nhave no sense of art values. We are\nsure they have; but Mr Cheney\ncertainly shows a chink in the\narmour when he devotes space to\nthe serious discussion of the work\nof such beginners as Mr Sam Hume.\nOne may encourage the industry\nof a kindergarten child, making its\nbabyish little plasticine models; bpt\none does not gravely discuss it In\nthe same terms as one devotes to\nM. Rodin and to sculpture as an\nart. To praise the work of amateurs,.,\namateurs too superficial and greedy\nof quick results to be ever reckoned"}, {"page_pdf": 81, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.81", "texte": "BOOK REVIEWS. -\n\namong serious students, does harm\nto the amateurs themselves by\nencouraging them to produce showy\nand spurious Imitative work; it also\nconfuses the mind of the reader.\nThe chapter on Applause is good,\nthough Mr Cheney omits to quote, as\na practical illustration, the Moscow\nArt Theatre, where the audience is\nrequested in the programme not to\napplaud as the actors prefer to\nwork in quiet.\nA protest against applause is\nvery necessary nowadays,... these\ndays when, for an actor merely to\ndrop a glass by accident, is to have\na ripple of sympathetic applause\nfrom the front; and the sight of an\n«\nactress overcome by fatigue also\nwins sympathetic applause. Applause\nshould only come when it cannot be\nhelped, like thunder, as we imagine\nIt lrt Greece: as it was when, in\nthe \" Eumenides\" the actor, at\nthe end, turned to the audience\nwith ''ololeu! sing ololeu lln\nfact, not so much applause is neces-\nsary as a shout. To relieve the feelings\nIn this way goes well In a great\ntheatre, but condescendingly to\npatter with the hands is damnable.\nMany of the illustrations are\nexcellent. Very fine are the repro-\nductions of the imitation Greek\ntheatre at Berkeley, Cal; and of what\nlooks like a superb open air theatre\nat Point Loina. The adapting of the\nbeauties of Nature in choice of the\nposition of this theatre shows that\na moment of genius was contributed\ntowards the conception of the plan.\nA great part of Mr Cheney's book\ntreats of the work of Mr Gordon Craig,\nwho, he recognises, has studied \" all\nthe elements of dramatic art, as no\nman ever had studied them before.\"\nThe last chapter is devoted entirely\nto his \" Service to the Theatre.\" and\ncloses with these wordsthe\n•* new race of artists of the theatre,\n\" those men who will build this art\n\" anew upon the principles which\n\" underlie all the true arts, for all\n\" time to come will acknowledge\n\" him as the master.\"\n\nTHE THEATRE OF TODAY, by\nH.K Moderwell. John Lane Co.(i)\nPrice one & a half dollars.\nHphis book certainly has gathered\nup a great deal of the matter\non the subject,* even if a little\nindiscriminately; but, while attemp-\nting to cast it into form that\nis comprehensible, the author has\npointed out several advantages in\nthe new system, and some draw-\n\n(1) Four Illustrations from this book are reproduced ,\nby kind permission of the Publishers, in the present\nnumber of Mask,\" on pages 166 and 67 and\nfacing pages 93 and 172.\n\\"}, {"page_pdf": 82, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.82", "texte": "BOOK REVIEWS.\n\nbacks in the modern conditions\nunder which theatres are conducted,\nand in having done this he should\nbe able to feel that he has not\nwasted his time but has been of\nservice to us all.\nThe book, which contains many\nillustrations, treats of \" The Gathe-\nring of the Forces \",... the Mechanical\nForces; (Improvements In Stage\nEquipment;) the Artistic Forces;\n(The Stage Setting; Pure Design;\nColour; Lighting; Stylisation; Modern\nScene Designing in America;) The\nIntellectual Forces; (Philosophy in\nthe Modern Drama.) The Literary\nForces; (French and Italian Drama-\ntists; the Russians; Dramatists of the\nGerman Nations; the Imaginative\nDramatists.) The Social Forces;\n(Modern Theatre Architecture; Or-\nganization, Economics.) The Syn-\nthesis of the Forces.\nIn his last chapter Mr Modervvell\nspeaks of \" Universality and the\nmodern Theatre,\" asserting that\n\" democratic vitality Is the basis of\nthe modern theatre.\"\n£? To our mind such words as de-\nmocratic, aristocratic, imperialistic,\nand so forth, are used too often and\ntoo loosely, and seem without worth\nin regard to the works of the artist.\nIt may occasionally be necessary to\ntouch upon them very slightly ; but,\nwhether the rule be democratic or\naristocratic, painters have painted\nwell, musicians composed well, and\ntheatre men will, we hope, continue\nI\nto work well, in either situation.\nThere was great art in Florence and\nVenice under democratic rule ; there\nwas great art in France and in\nFlanders under aristocratic rule.\nTo say that the theatre is for\nthe people is necessary. But to forget\nto add that part and parcel of the\npeople is the aristocracy, whether\nof birth, or feeling, is an omission.\nA man of the 18th century, dres-\nsed in silks, In a fashionable loggia\nin the theatre at Versailles, looking\nas If he did no work, (as Voltaire\nin his youth may have looked),\npresents, In essence, exactly the\nsame picture as Walt Whitman in\nhis rough grey suit lounging in the\nBowery, also looking as if he did\nno work.\nOne the aristocrat, one the de-\nmocrat; the two are identical.\nIt wastes the time a little to pay\nattention to these apparently very\nactive people rushing hither and\nthither, ill at ease everywhere,\nnervous, with no time to waste*\nwasted by time, and talking much\nabout democracy or aristocracy. But\nwhy talkor argue about these things?\nWho does not love democracy"}, {"page_pdf": 83, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.83", "texte": "BOOK REVIEWS.\n\nwhen a Lincoln or a Whitman Is\nstanding for It? Who does not love\naristocracy when represented by a\nVoltaire or a Mirabeau ? It behoves\nus to find, and find soon, a name\nfor the idle people, and to leave\nthe words * aristocrat,' * democrat,'\nat rest.\n& And this is the only fault we\nwill find here with Mr Moderwell's\nb00k;... that we meet too many\nof such unessential or ambiguous\nwords, find too much about 44 social\ndevelopment,\" \" national loyalty,\"\n\" culture and the nation \" and so\nforth.\n£? Whitman has said, and we have\noften repeated it, 44 Produce great\npersons,.... the rest follows. \" He\nnever said, 44 produce a lot of little\npersons \": yet Whitman was a\ndemocrat.\nIt is true. A people needs great\npersons. It needs to sit on the small\npersons a little more. It needs to\n44 thin out\" like a wise gardener, so\nas to make place for finer growths.\nIt needs to forward the plans of the\ngreat persons and to do this in grand\nstyle.lt needs to build great theatres,\nand not tinker about with little\ntheatres. It needs to take great\nrisks and not the safe road every\ntime. It needs to leave things more\nto the people, i.e., to itself, as\na whole, and not form little narrow\nsocieties. It needs to trust the\n44 great persons,\" the great artists;\nand then from this may come great\nart... may be: for great breeds great,\nlittle only breeds little.\n\nHOW TO SEE A PLAY, by\nRichard Burton. Macmillan Co.\nPrice one dollar, twenty five\ncents.\nTJrofessor Burton is the President\nof the Drama League of America.\n44This book,\" states the preface,\n44 is aimed squarely at the Theater-\ngoer.\"\nAS It Is intended so, so must It\nbe criticised.\nJS> It is a good book, written by a\nshrewd man whose sole purpose is\nto lend a hand to that equally shrewd\nmultitude epitomised under the title\nof 44 the playgoer.\" It contains a little\nhistory here and there of the most\ninteresting kind; Is clear and concise;\nis not dull; presents some interesting\npoints for consideration; mentions\nvarious publications of value to the\nplaygoer. But, even given all this,\nwill it hit the bulls-eye at which it\nis aimed ? Being addressed to the\nplaygoer, and yet being neither\nterrifying nor charming in manner,\nwe believe the book can hardly\nreach him, for he needs shaking or\ncharming, or both. Here we feel"}, {"page_pdf": 84, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.84", "texte": "BOOK REVIEWS.\n\nneither shock or enchantment, and\nso believe Professor Burton's inten-\ntion will hardly be fulfilled. But we\ndo believe that the student, and\nworker in the theatre, will find the\nbook of value, and appreciate these\nsane and lucid pages.\nProfessor Burton has some useful\nthings to say which need constant\nrepetition.\n\" Touching audience, actors,\n\" playwrights, producers, and the\n\" society that is behind them all,\"\nhe writes, \" intelligent coßperation\n« '\n\"is the open sesame. With that for\n\" a banner cry, mountains may be\n\" removed.\"\nOur leaders say the same thing\nover here; and if the American\npublic could only feel this, feel it\nvitally and vividly, mountains would\nbe removed, which at present ob-\nstruct progress.\nAgain: \"In all considerations of\n\" the theater, it would be a good\n\"thing to allow the unfortunate\n\" word • elevate ' to drop from the\n\" vocabulary. It misleads and anta-\n\"gonises. It is better to say that\n\" the view presented in this book\n\" is one that wishes to make the\n\" playhouse innocently pleasant, ra-\n\" tional, and sound as art. If by\n\"'elevate' we mean these things,\n\" well and good.\"\n& Very true.\nAnd now a word on this point\nabout ourselves.\nProfessor Burton remarks that\n\" advanced movements abroad are\n\"chronicled In 'The Mask'.\"\nNow,\"Advanced \" suggests some-\nthing out of reach, and •so out\nof sympathy, and that must not\nbe believed In our case. In fact,\nto paraphrase the Professor's own\nwords, \" In all considerations of the\n\" theater, it would be a good thing\n\"to allow the unfortunate word\n\"'advanced' to drop from the\n\" vocabulary. It misleads and anta-\n\" gonises. it is better to say that\n44 the view presented ...is one that\n\" wishes to make the playhouse\n\" Innocently pleasant, rational, and\n\" sound as art. If by 4 advanced ' we\n\" mean these things, well and good.\"\n\nTHE CHANGING DRAMA by\nArchibald Henderson. Henry\nHolt & Co. New York. Price one\nand a half dollars.\nrjphis is \"an attempt\" says the\nauthor, \" on a very modest scale,\n\" to discover and to disclose the\n\" real contribution of the modern\n* .\n\" school of dramatists. These are\n\" studied primarily in relation to\n\" the life and the thinking of today.\"\nThe chapter headings Include\n44 Drama in the New . Age,\" \" The"}, {"page_pdf": 85, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.85", "texte": "Street Scene \"Romeo and Juliet,\" Dentches Theatre, Berlin. Called in “The Theatre of Today,” (by H. K. Moderwell)\n“an example of Reinhardt's early realistic style.” As an example of realism it is poor. The designer was not Professor Reinhardt."}, {"page_pdf": 87, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.87", "texte": "BOOK REVIEWS.\n\nNew Criticism and the New Ethics,\"\n\" Science and the New Drama\";\nThe New Forms, (Realism and the\nPulpit Stage; Naturalism and the\nFree Theatres). \"The Battle with\nIllusions.\" \"The New Technic\";\n\"The Play and the Reader\"; \"The\nNew Content\" \"The Newer Ten-\ndencies.\"\n& The book is not very clear or\nhelpful, to students.\n£7 \"Today the creation of atmos-\n\" phere has become the business of\n•\n\" the dramatist no less than the\n\" problem of illuminative, co=ope=\n\" rative setting has become the\n\" business of the artist technician.\n\" Ibsen, Strindberg, d'Annunzio, and\n\" Maeterlinck tread hard upon the\n\" heels of Craig, Reinhardt, Stani-\n\" siawsky, and Foster Piatt,\" is an\nexample of Mr Henderson.\n£l But why say \" today,\" \" has\nbecome,\" as if the fact that the\nmodern playwrights have waxed\nverbose in their stage directions is\nproof of increased power in the\n\" creation of atmosphere\" ? Shakes=\npeare could do as much without\ndetailed description of time and\nscene. Is \"atmosphere\" lacking in\nthe opening scene of \" Hamlet\" ? or\nin any of his dramas? In fact, it was\nShakespeare who could \"create\";\nthese latter playwrights can only\n\" describe,\" wordily, the impression\nthey wish to convey.\n£7 And here again,... surely this is\na comical list,... as little co-ordinated\nor coherent as the \" Tinker, Tailor,\nSoldier, Sailor\" of nursery days....\n£7 \" Craig, Reinhardt, Stanislawsky,\n\" Barker, Falk, D'Annunzio, Piatt\n\" manipulate the theatre and its\n\" devices as the great painter ma-\n\" nipulates his colours.\"\n£7 Where is the connection ? ...Craig,\nthe creative artist of the Theatre,\nthe \" practical idealist,\" as an\nAmerican critic has described him :\nReinhardt and Stanislawsky, the\nleading impresarios (both, inciden-\ntally, good actors), of Europe:\nBarker, the playwright, and, (for\nsmall enterprises), capable business\nman. D'Annunzio, novelist and poet,\nsome of whose literary works have\nbeen recited on the stage,... it seems\na pity that men of such different\ncalibre, endowment, aims, methods\nshould be reeled off in this way;\n....could one find an instance of\n\" confusion worse confounded\"?\nWriters on the theatre are in-\ncreasing in numbers today. This is\nwell; but unless they define more\naccurately, revise their classifica-\ntions more carefully, they are no\nmore helpful than would be writers\non natural history who set out by"}, {"page_pdf": 88, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.88", "texte": "BOOK REV.\n\nclassing together the eagle, the\nbeaver, the cuckoo, the ant, the\nadder and the ichthyosaurus.\n& Closer analysis, clearer thought,\nmore accurate \" study of species\"\nare needed on the part of those who\nwish to bring assistance, as workers\nor critics, to the Theatre or Its\ncause.\n\nCHIEF CONTEMPORARY DRA-\nMATISTS. Edited Thomas\nH. Dickenson. Houghton Mifflin\nCo. Boston. Mass. U. S. A.\nPrice two dollars, seventy-five\ncents.\n7y|r Dickenson has collected \"Twen-\nty Plays from the recent Drama\nof Europe and America, in a well-\nprinted, wor km a n=l ike volume.\nspace does not permit of any\ndiscussion of the plays themselves:...\nprobably the best in the book\nare \" Riders to the Sea,\" \"The\nHour Glass,\" and Tchekov's \"Cherry\nOrchard \".\n& In a word on the performance of\n\" The Cherry Orchard\" Mr Dickenson\nnotes that it was produced with great\nsuccess at the Moscow Art Theatre,\na nd later on produced at the Theater\nKommisarzhevsky In Petrograd ; but\nhe omits to say that on this latter\noccasion it was no success, though\nthis fact, taken in conjunction with\nthe other, is illuminating, and affords\nevidence of how much of the initial\nsuccess was due to the managers\nand actors of» the Moscow theatre\nand their interpretation of the play.\n& Mr W. B. Yeats is represented\nby his \" Hour Glass,\" but one won-\nders why, this book being published\nin 1915, the old version is given,\nconsidering that Mr Yeats rewrote\nthe whole piece and published this\nrevised version in \" The Mask,\nApril \" I began a revision of\n\" the words \" lie then wrote in his\n\" Preface,\" \" from the moment when\n«< the play converted a music hail\n\" singer and sent him to mass and\n\" to confession ; but no revision of\n\" words could change the effect of\n\" the Wise Man down on his knees\n*• before the Fool; so last year I\nchanged action and all.\"\nNaturally, in a single volume, it\nwas impossible to include more than\na small number of even the best\npieces; but surely a place should\nhave been found for one of the great\nplays of Henry Becque, who, dying\nin 1899, fathered so much of the\nlater movement, and whose drama,\n\" The Crows,\" was described by\nMr James Huneker as \" the bible of\nthe dramatic realists.\"\nAn interesting point to note in\nlooking through a collection com-\nprising the work of so many play-"}, {"page_pdf": 89, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.89", "texte": "BOOK REVIEWS.\n\nwrights, is, how the tyranny of\nliterature has continually increased\nin the theatre from year to year.\nWhereas the old Greek plays contain\nhardly one word of stage-direction (1)\nand the Elizabethan scarcely more\nthan the division of the acts, and\nsuch indications of scenery as may\nbe gathered from the dialogue, these\nVictorian playwrights grow ever\nmore prolix in their details of cha-\nracter, action and scene.\nMr Barker, for example, in \" The\nMadras House \" fills three columns\nof close print with the psychology,\npast and present, of the Huxtable\nfamily before he can get to work.\n£7 Yet Heaven knows there is no Law\nof the Medes and Persians why\nMr Barker shouldn't enjoy himself\nin this way;... he has as much right\nto do so as Siiakespeare or Euri-\npides,... only they didn't, but made\nus feel the subtlest psychological\nworkings during the action and\nspeaking of the characters.\n£7 In there any doubt that Mr Barker\ncould do this ?... his talent as a\nwriter of plays is the strongest thing\nhe possesses. Instead of a Repertory\n(1) Mr 0. C. W. Warr, MA. translator of the \" Eume-\n£\nnides, notes thnt the words, •' a muttering\"\nwhich punctuate the speech o! Clytemnestra are M the\nonly marginal stage-directions extant in any Greek\ntragedy.\"\nTheatre, what prevents him,....,\nbeing, as he Is, a capable stage-\nmanager, from establishing a\nBarker Theatre ?\nThe Appendix to Mr Dickenson's\nbook contains short Biographical\nnotes, with a chronological list of\nthe plays, of each author : a series of\nnotes on the productions of each of\nthe plays included in the b00k,....\nthe dates when first performed and\nthe names of the principal actors:\nand also a list of critical studies\non the work of the various play-\nwrights.\nThere is, moreover, a list of\nnearly a hundred books published\non the Contemporary Theatre in the\nlast thirty years; and although this\nlist makes no attempt at complete-\nness,... is, in fact, entirely cursory,.,,\nit is illuminating to note, by the\ndates, the growing attention given\nto the serious study of this subject,\nespecially since 1908.\n£7 A few regrettable omissions are\nto be noted.\nThe very serious writings of\nM. Adolph Appia should surely have\nbeen included in this list;... It would\naiso have been well, as this list is\ncompiled for the use of students*\nthat the few better Journals, devoted\nto the theatre should have been\nincluded."}, {"page_pdf": 90, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.90", "texte": "BOOK REVIEWS.\n\nAMERICA, Through the Specta-\ncles of as Oriental Diplomat, Wu\nTingfang. F. Stokes Co. U.S.A.\nPrice one dollar sixty cents.\n'T'he Author welcomes us with so\nshrewd and pleasant a face on\nthe frontispiece of this book that we\nare prepared to find within ju st what\nwe do find,... some shrewd, though\nalways kindly, criticisms of the\nAmerican nation and its Institutions.\nAn Introductory word states that\n44 Dr Wu's faculty for asking disco n=\ncerting\" questions and his witty\n\" rejoinders were the talk of the\n44 country when he was China's\n44 Minister to the United States. He\n44 was the joy of Washington:\" and\nthe Impressions he has now published\ntell us his views on many sides of\nAmerican life, Political and Social:\non Education, Manners and Business;\nOn Women and their Costumes; on\nTheatres, Circuses, Banquets, and\nother matters as they appear to\nthe educated Oriental mind.\n& On the Theatre he makes various\npertinent observations.\nHis view of popular musical\ncomedy or farce Is, 44 1 cannot help\nregarding this feature of theatrical\nlife as so much theatrical chaos,\"\nwhile of 44 the vivid dramatization\nof cruelty \" too often brought upon\nthe stage he writes: 44 Does a sen-\n44 sational play exercise a beneficial\n44 or a pernicious Influence over the\n44 audience?\" and goes on to say,.\n44 the mental sufferings portrayed\nt\n44 are frequently more harrowing\n44 than the details of any bull® or\n44 cock-fight Considering the\n44 matter from the view-point of\n44 a play-goer, what benefit does he\n44 receive from witnessing a tra-\n-44 gedy? In his home and his office\n44 has he not enough to engage his\n44 serious attention, and to frequently\n44 worry his mind ? Is it worth his\n44 while to dress and spend an evening\n44 watching a performance\n44 however skilfully played, will make\n44 him no happier than before.\nAnyone looking round a theatre\nduringa moment of horror,... suicide,\nmurder, despair,... on the stage,\nand noting the strain and horror\nreflected on the faces of the spec-\ntators, the absense of any indication\nthat they are experiencing that\nrefreshment which art gives, or are\nrendered 44 happier than before \",\nby the performance, can hardly fail to\nre-echo, before such morbid exhibi-\ntions, the 44 cui bono ? \" of this\nWise Man from the East.\nYet the silly parade of stage grief\ngoes on ...presumably to teach young\nwomen how to make a scene at home.\nIf you have ever noticed one in your"}, {"page_pdf": 91, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.91", "texte": "BOOK REV\n\nown house hasn't the resemblance\never struck you ?... Doesn't It seem\na trifle what you would call \" melo-\ndramatic\" or ''theatrical\"?\n\nVIS V A KARMA.\nFirst Series. One hundred Exam-\nples of Indian Sculpture.\n\" por favour of Review \" was prin-\nted on the cover of this book.\nThe favour in this case is with us\nand to us.\nSiva, Buddha, Tara, Ganesha and\nmany other gods and goddesses,\nApsaras, Elephants, Horses, Monkeys,\nSnakes, Bulls, Deer, Cats, Mice,...\nall sculptured as never since, and\nhere recorded for us in full-page\nphotographs of good quality.\nAnd in a Preface of admirable\nfeeling Mr Eric Gill puts a little\ntruth as an introduction to these\nwonders.\nHe claims that these works \" pro-\nceed from the mouth of God \"... and\nwe see the Indian artists, dead many\ncenturies.... smiling back their pride\nthrough their works.\nIt is a notable Preface, expounding\ntruth to be the \" real supernatural,\"\nas those other Indians of British\nColumbia would say.\n& Of late several Indian books have\nappeared in Europe with success,\nMr Tagore has won the Nobel prize\ndeservedly. But we would like to\nsee a book such as \" Visvakarma \"\nplaced above even the noble works\nof Mr Tagore.... for it is a book to\ninspire such men.\nIndeed, it is a question whether\na book of noblest Images such as\nthis one does not reach further and\ndeeper into our being than any words\ncould do.\nThe examples have been selected\nby Dr Ananda Coomaraswamy, who\ncalls the work \" the First Series.\"\nWe suggest to any serious States-\nman that he reconsider carefully\nthe sense of Power,... the meaning\nof the word, and the disastrous\neffects of dishonouring the Arts and\ntheir servants.\nWe suggest that the reign of\nKing George is worthy to be remem-\nbered,... to be as well remembered\nas that of any of these old Indian\nPrlnces's reigns are remembered by\neveryone whose eyes alight upon\nthese monumental works of art.\nJZ? Only great Art is preserved longer\nthan a few hundred years.\nWe suggest that the Statesmen of\nKing George's reign delay no longer.\n\nTHE CONGO, and other Poems,\nby Nicholas Vachel Lindsay.\nMacmillan Co. Price one dollar,\ntwenty-five cents.\nVachel Lindsay is very much\nalive,... uproariously so."}, {"page_pdf": 92, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.92", "texte": "BOOK REVIEWS.\n\nwe have met him already tram-\nping and harvesting his way, (i) a\nhappy vagabond, across the western\nplains, offering songs or labour in\nreturn for food and lodging; and\nfound him good company.\n& We are told in the Introduction\nto this book that his plea is 44 for\npoetry as a song art, an art appealing\nto the ear rather than the eye,\"\nand it is certainly as songs, or\nspoken pieces, that these poems\nwould yield their full force and\nflavour. For really, they are too\nboisterous, most of them, to lie out\nquiet on a printed page: they up\nand fairly shout at you.\n& 44 I respectfully submit these\n44 poems,\" writes Mr Lindsay, 44 as\n44 experiments in which I endeavour\n44 to carry ....vaudeville form back\n\"towards the old Greek precedent\n44 of the half-chanted lyric. In this\n44 case the one-third music must be\n44 added by the instinct of the reader,\"\nand he prints marginal notes to tell\nthe reader exactly how to read.\nI have tried a few readers at\nthese poems... the results are fearful-\nBut Mr Lindsay is evidently able to\nstrike fire from them with his voice.\nThere is swing and gaiety in\nthe poems, and that is rare.\n& Mr W. B. Yeats, honoured Mr\nLindsay not long since in Chicago, at\nPoetry's Banquet, 44 by addressing\n44 his after-dinner talk primarily to\n44 him 4as a fellow craftsman,' and\n44 saying of his 4 General Bootli\n44 4 This poem is stripped bare of\n44 ornament; it has an earnest simpli-\n-44 city, a strange beauty, and you\n44 know Bacon said, 4 there is no\n44 excellent \"beauty without strange-\n4* ness'.\nWe think he knows more about\npoetry than the rest of us, so we\nare content to accept his Judgment\nand wish America more of the good\nSuck a good Poet brings with him...\nand we hope he will live long to\nblow the fifes and strike the drums.\n(1) 44 The Forum.\"\n\nTHE ROMANCE OF THE BE A-\nVER by A. Radclyffe Dug in ore.\nWillian Heinemanrt. Price six\nshillings net.\nupon a time there were people\nin the world who, not content\nwith killing each other, enjoyed to\npossess the hair of 44 the other.\"\nI'm sure 1 couldn't say if that is\nbarbarous or n0t,... one lives and\nlearns. Still, some wiser men hold\nthat to scalp a man, before or after\nhaving killed him, is not done in\nthe best circles.\n£/ I'm sure 1 can't say what is done\nin the best circles.\nReport says that they clothe"}, {"page_pdf": 93, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.93", "texte": "BOOK REVIEWS.\n\ntheir women,... or the women clothe\nthemselves... in the skins of animals;\nfeathers, too, from the gayest birds.\nNot, of course, from any desire to\nbe taken for a pussy cat or a dove\nby dressing up as 0ne,... but the\nfeathers are gay; the skins are\nwarm.\n& In \" The Romance of the Beaver \"\nMr Dugmore shows us clearly that\nto strip this little animal of his fur\ncoat to cover a lady is not the thing\nto do. He gives numerous reasons.\nHe points out how dangerous It is,\nand how cruel. The danger lies in\ndestroying valuable, yet unvalued,\ncollaborators; and he shows just\nhow this little animal collaborates\nwith the farmers by preparing for\nthem millions of acres of unculti-\nvated land, turning it year after\nyear into richest meadow land.\nYet man, (so report says), prefers\nto kill these master craftsmen, so\nas to get a number of wretched skins,\n(worth ten dollars each at most).\nMr Dugmore puts the blame of\nthis farcical waste upon the shoul-\nders of those who control the schools\nof North America and Canada.\n\" If only the schools taught more\n\" about the usefulness of animals and\n\" birds, even from the selfish point\n44 of view of their results to man ;\n44 and taught those things intelli-\n44 gently, much good would come.\"\n\" But a trip into any part of the\n\" country where the beaver still\n44 exists in its wild state will show\n44 how blind people are to their own\n\"interest in allowing these animals\n44 to be destroyed.\"\nI have not read many another\nbook that is so full of interest as\nthis one. The doings of men somehow\nappear less serious as one reads in\nit of the doings of the Beaver.\nHe is one of the jolliest of little\nbeasts... one of the cleverest... most\npatient... most systematic, and a\ncraftsman and a labourer par excel-\nlence. He is all this so as to enjoy\nhis life, and his pleasure in life is\nrelated in this book.\nThe world is topsyturvy through\nsome cause or other. Mankind is\noften given to thinking backwards...\nhaving grown tired of thinking for-\nwards... having spoiled himself.\nThe Beaver, on the contrary,\nshows us that, if we are content to\nwant less, we can always continue\nto think and act according to Nat ure.\nstz? \" Nature rnit uns\" seems to be\nthe motto of the Beaver. If we\ndestroy the Beavers we need not\nfancy Nature will forget to ter-\nribly if imperceptibly revenge them.\nThe Beavers and the Belgians,....\nwhat ?"}, {"page_pdf": 94, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.94", "texte": "BOOK REVIEWS.\n\nSTUDIES IN STA by\nClayton Hamilton. Henry Holt\nCo. New York. Price one dollar\nfifty cents net.\nMr Clayton Hamilton is one of\nthose gentlemen who. without\napparently having any particular call\nor aptitude, insist upon writing\nabout the Theatre.\nA book of his, \" The Theory\nof the Theatre\" appeared a few\nyears ago. It was some what dry. (i)\n& He has now followed up this\nformer effort with a new volume of\ncollected essavs in which, under the\nw w\ntitle \"Studies in Stagecraft,\" he\nwrestles with such matters as \"The\nNew Art of making Plays, \" \" The\nPictorial Stage, \" \" The decorative\nDrama,\" \" The Drama of illusion,\"\n\" The Value of Stage Conventions,\"\n\" The supernatural Drama,\" \"Orga-\nnising an Audience,\" \"The Function\nof Dramatic Critics\" and many more.\nSome of the essays have previo-\nusly appeared in magazines; and\none of them, in which he occupies\nhimself with Mr Gordon Craig, has\nbeen already commented upon in\nThe Mask. (October 1912).\nWe know that since then, how-\never, Mr Hamilton has awakened to\nthe vitality of puppets and to various\nother matters (1) of which he was\npreviously scornful: so we hope for\nsomething more living from him\nby and bye.\n(I) See review in \" The Mask January 1911.\n\nCENSORSHIP IN ENGLAND:\nIts History from the Fifteenth\nCentury,by Frank Fowell and\nFrank Palmer. & Frank Palmer.\nPrice seven shillings and six-\npence net.\n''jphe joint authors of the book have\ncollected together a good deal\nof interesting matter relative to the\ncensorship of public performances,\nfrom the old days of the \" Master\nof Revels \" down to the Censor of\nthe modern play,\nThe Mask has so often given\nits opinion as to the value of an\nestablished Censor that there Is no\nneed here to discuss the views about\nhis position and powers expressed\nby Mr Frank Fowell and Mr Frank\nPalmer, whose championship is on\nthe other side. But, setting aside\nall such controversy, the book may\nbe said to be a useful as well as an\ninteresting piece of work, giving\nmany facts and documents relative\nto the censorship of plays from early\ntimes, and a good many facsimiles\nof • censored ' manuscripts, besides\nsome portraits of early \" Stage\nCensors\" and \" Examiners of Plays.\"\n(1) The New Movement in the Theatre. Sheldon Cheney,\npage 52."}, {"page_pdf": 95, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.95", "texte": "EDITORIAL NOTES.\n\nUNION AND .\nTThe New Movement in the Theatre\ndevelops apace. And more and\nmore evident does a desire for unity\nshow itself among the members of\nthe Movement.\n& We have proof of this in the\nquantity of letters which we receive\nnow from artists and critics in many\npart of the globe.\nThey all evince a desire to unite\nthemselves with us, and many of\nthe letters received are as warm-\nhearted and spirited as could pos-\nsibly be.\nThe more artists who write to\nus the better. It is good for us...\nfor them... and most of all for the\nMovement itself.\n& There is no need of any formal\nintroduction between us: their work\nand our work form the bond which\nunites us, and justifies spontaneous\ncommunications.\nThe more advanced come closest,...\nthe beginners can catch up. They\nmust make no short cuts, must avoid\nimitation of the external qualities\nof the leaders of the movement,\nand then the association will be\nproductive.\nThe very important Exhibition\norganized so intelligently by Dr Alt-\nherr at Zurich last year has done\nmuch to advance and strengthen\nthe Movement. Its chief value con-\nsisted in bringing together for the\nfirst time the work of Adolph Appia\nand Gordon Craig. More than this,...\nit brought the two artists together\nand we believe we are not wrong\nin saying that the union of these\ntwo men is of greater significance\nto the well-being of the Movement\nthan anything that has occurred for\nmany years.\nWe confidently expect to hear\nfrom more and more of the men\nwhose lives, sympathies, and, not\nleast, whose livelihoodare bound\nup in the Movement.\n\nA NOTE ON A JOURNAL.\n'\"T'he New York Dramatic Mirror \"\nhas improved in the last year\nor so. It used to be a little dull;\nnow it is interesting.\nThis is mainly due to the amount\nof Vaudeville and Motion Picture"}, {"page_pdf": 96, "page_imprimee": "182", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.96", "texte": "EDITORIAL NOTES.\n\nmatter put into it, although now\nand again we find a good photo or\ntwo of Interesting productions in\nthe theatres called 44 serious.\"\n& A first class illustration was in\nthe anniversary number, January\n27th, showing Whitford Kane and\nMiss Morgan in \" Lonesome Like.\"\nThe picture shows us the care taken\nover a realistic production at Mr\nAmes' \" Little Theatre \" New York.\nFor realism it proves Mr Ames\nto be a careful man, and his\nstage manager and scene-maker very\nthorough. It seems to be lighted\ncarefully, too. We have not seen a\nbetter thing of its kind from America.\nParticularly worth studying is\nthe care taken with the ground.\nMany a realistic scene is capably\ndone until the floor is reached, and\nthen it flattens out, and all regard\nfor realism is forgotten.\nSome people don't want realism,\nbut every good workman is glad\nwhen he sees thorough work, whe-\nther the work of the realist or the\nartist.\nIn the same number of the\n♦'Dramatic Mirror\" we note a page\nof 44 faces, \" being the different\nmake-ups of Mr Romaine Fielding,\nwho is author, actor, and manager\nfor the Lubin Company.\n& Mr Fielding seems to be a man\nof particular talent, and we should\ngather is of Italian extraction.\nIt Is a pity such men, owing to\nthe established standards of this\nblessed century, are obliged to dwarf\ntheir talents to that standard.\nIt must at times feel like saluting\na flag on which a plucked hen takes\nthe place of the old and traditional\neagle; ...but then a plucked hen is\neatable.\nLet the standard sink then, for\nonly when it has been thoroughly\nlowered can the new and the best\nmovement be seen to be an ascen-\nding one.\n\nANYTHING WRONG ?\npossibly only the Humbug which\nenvelops everything.\nJS? Nothing else seems wrong.\nWhen we see Smith praised and\nRobinson damned for doing the same\nthing, and the praise being ladled\nout because Smith has shown tact,\n....has, in fact, played the humbug,...\nthen it seems obvious that only\nHumbug Is wrong,\nYet tact is a pleasant thing\n....when used with its own essence,\nwith great tact.\nTo praise a man or woman tact\"\nfully is desirable; but to lie and\nsteal with tact and get praise for\nit does not seem altogether square\nor round."}, {"page_pdf": 97, "page_imprimee": "183", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.97", "texte": "EDITORIAL NOTES.\n\nTact nowadays has degenerated\ninto obvious and quite commonplace\nhumbug. And that kind of tact has\nbrought upon us the awful Theatres\nwhich we still struggle tactfully to\npraise.\nIt seems a waste of time and\nenergy when it is plain that we\ncould get good Theatres put up and\n>\nfilled up ....If the tactful idiots would\nbe shipped away to Australia or\nAfrica.\nHalf London would then be emp-\ntied ; but there would be a chance\nthat we should then, as Strindberg\nwrote, \"secure a theatre, where we\n44 may be horrified over the horrible,\n44 laugh over the laughable, play\n44 with the playful; where we can\n44 see everything and not be offended,\n44 when we see what lies concealed\nf\n44 behind theological and esthetic\n44 veils, even if the old conventional\n44 laws must be broken; may we\n44 secure a free theatre, where we\n44 shall have freedom for all things\n44 save to have no talent and to be\n44 a hypocrite or a fool! \"\n\nON RECORDS OF ARTISTS.\nnphe records kept of actors and\nmen of the stage,... of Irving and\nWagner, for example.... are unfor-\ntunate.\nThe Poet is luckier.\nByron's friends who reported his\nsayings and life in books, Trelawny,\nand Medwin, for instance, did so in\nthe right way. They recorded him\nand effaced themselves.\nIrving had the misfortune to be\nreported by one of his assistants,\nMr Bram Stoker, who acted as his\nbusiness manager.\nStoker talks about himself, and\nputs down the 44 clever \" things he\ndid and said, and uses the word we\nas if it had value. Hence his record\nhas little value.\nBooks on Wagner, too, often are\nabout their writers, not about the\nmusician. But indeed this is too\noften so in such cases: It shows\ngreat stupidity, for to display conceit\nof that kind is not only a pity, but\nit defeats its own end, for that which\nis small never looks so small as\nwhen set by and compared with that\nwhich is great.\nThe records of Byron are, on the\nother hand, so rich owing to the\ncontents being nearly all Byron. In\nTrelawny's case there is, it is true,\nmuch of Shelley; but this only sets\noff the creator of *' Don Juan.\"\n& These books on Byron are to be\nrecommended as examples to all\nwho are preparing books relating\nto the few men whose opinions of\nthese their times will be worth\npreserving."}, {"page_pdf": 98, "page_imprimee": "184", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.98", "texte": "EDITORIAL NOTES.\n\nON THE SMALL SCALE.\n\"At last the Granville Barker\n44 methods have been displayed\n44 to us in two exemplars. The result\n\" does not seem likely to shake the\n44 theatrical firmament from Its foun-\n-44 dations. The whole idea of the\n44 threatened revolution seems to be\n4< to substitute one set of stage\n44 conventions for another. This does\n44 not give reason for terror nor for\n44 vast congratulation. The exchange\n44 of the method of lighting, making\n44 crudity take the place of finish\n44 of detail, giving us stage-pictures\n44 and groupings composed in one\n44 way instead of another, the car-\n-44 rying of the apron out over the\n44 orchestra pit so as to allow greater\n44 vistas and more freedom of action,\n4* these Innovations are many of them\n44 more freakish than important.\" (i)\nIt seems hard lines on the Stage\nSociety of America, which was Instru-\nmental in arranging for Mr Barker's\nvisit, to be criticised in this way by\nthe brightest paper in America;\nbecause the Stage Society, on the\nface of it, hardly set out to bring\nanything startling, new or moving\nto America.\nThe thoughtful and adequate\nperformances of the Barker Troupe\ncould scarcely be expected to rivet\nthe attention of a nation which flung\nthe suspension bridge from New York\nto Brooklyn, which conceived the\nPanama Canal, which raised the\nstupendous 44 sky-scrapers \" of New\nYork Citj', and which beats Russia\nin its contempt for economy.\nPerhaps 44 Life \" should remem-\nber that the Stage Society was\nwanting to do something small, neat\nand cheap...... and these Barker\nperformances were just what it\nwanted.\n(1) \"Life.\" New York. February 11. 1915.\n\nA WORD ABOUT \"THE MASK.\"\n'\"l\"*he war has interfered with our\nwork to such an extent that\nit has been impossible until now\nto issue the new number of the\nJournal.\nThe Mask is not a topical\njournal, and cannot consider the\ntopical subjects with which the\ntheatre of war is filled; but it can\ncontinue along its old path, though\nnot without difficulty, if a number of\nthe subscribers who have not yet\ndone so will send in their subscrip-\ntions.\nThe money goes to pay the one\nor two compositors, the printer,\nthe paper, the envelopes and the\nstamps.\nNo money whatever goes to any of\nthe writers or illustrators, or to the\nEditor or to anyone else."}, {"page_pdf": 99, "page_imprimee": "185", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.99", "texte": "EDITORIAL NOTES.\n\nIN REMEMBRANCE OF\nWalter Crane\nRupert Brooke\nCharles Frohmann.\n\nOUR NOBLE THEATRE.\n\nOeadlng the full report of the heroic Dardanelles Landing by E. Ashmead-\nBartlett we had for the moment forgotten the Theatre and the City..\nAs the last line of the report was reached the heading of the next\nparagraph caught the eye: we read on automatically:\n\" Scanty Stage .\"\n\" Censor' s Warning.\"\n& We hastily read the fourteen lines which followed and wished the\nEnglish Theatre and Music Hall might be sunk in the sea for the cheap\ntrash that it pretends the Public wants, and the cheap trashy standard\nthat it thinks good enough for England. The undressings on the English,\nStage are really on a par with the German gas poisoning.\n& Any old dirty trick seems to be the pride of the Theatre in London..\nTo be so weak as to have to depend on undressing in the Theatre\nand call it \"Art\" is the proud example which our Theatre offers at\nthis time of all others.\nTo so exceed its licence that the Lord Chamberlain is obliged to warn\nthe London theatrical and music hail world, while the spirit at the\nDardanelles and In Belgium is the order of the day, is nothing short\nof damnable.... What are the Theatre managers and the Music Hail"}, {"page_pdf": 100, "page_imprimee": "186", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.100", "texte": "EDITORIAL NOTES.\nALL RIGHTS RESERVED Gerente Responsabile GIULIO VANZI\n\nmagnates doing? Are they all even greater imbeciles than they have\nfor years proved themselves ?\nThe English Music Hall and Theatre, being under the leadership of\nSir Herbert Tree, hardly seems to know what flag is flying at the\nmast-head. It should be told.\nWe have regretted for years in these columns that the English\nTheatre, and more especially the London Theatre, was so utterly chaotic and\nundisciplined; and now during the most serious period of our history its\nLeaders are even unable to make its women clothe themselves decently.\nThe real reason of all this is plain.\nWe have had too long as Head of the Profession a man who was too\nsmall to wear Sir Henry Irving's mantle; an actor who, clever in parts\nrequiring a foreign accent, Is nevertheless unable to speak the King's\nEnglish to any effect when it comes to trying to raise the English\nTheatrical standard.\n& For years we have pointed out that the English Theatre contains\nhundreds of first-class actors, many good managers, and plenty of ideas;\nfirst-class staffs, good material galore: but we know that since the death\nof Sir Henry Irving the English Theatre has had a poor master: one of\nthose easy-going, tactful persons without an ideal for his calling, without\nbelief in an Ideal as something which, if never reached, calls at the least\nfor serious and unceasing attempts to reach it.\n& And so it is that on the day when England hears of the heroic and\nsuccessful work at the Dardanelles, it also hears of this failure of the\nEnglish Theatre : \" The Lord Chamberlain issues a warning to the London\nTheatrical and Muslc-Hall world.\"\nTherefore, may that particular kind of Theatrical and Music-Hail world\nbe swept into the sea, is the prayer of one of the old English Theatre's\ntruest friends, \" The Mask,\" together with its Editor, all Its contributors,\nand, we believe, all its readers, whether British, American, French,\nItalian, or Russian.\n\nJ. S."}, {"page_pdf": 101, "page_imprimee": "187", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.101", "texte": "SPECIAL NOTICE.\nMr Gordon Craig wishes us to announce that, while he remains Adviser\non Art matters to our journal, he does not wish it supposed that\nhe acts as Editor, except on some special occasion.\nA thorough revision of the staff has been forced upon us owing to\nthe exigencies of the war, and subscribers, contributors, and others\nare requested not to send any communication addressed to anyone except\nthe Editor or the Publishers.\n\nTWO BOOKS ON THE THEATRE,\nby Edward Gordon Craig.\nON THE ART OF THE THEATRE.\n(Now in its fourth Edition) HEINEMANN 1911.\nTOWARDS A NEW THEATRE.\nDENT. 1912.\nAFTER THE PRACTICE THE THEORY\n\" Most people begin with theory, and go 0n... if they go 0n... to carry\ntheir theory into practice. Mr. Gordon Craig has done a better\nthing, and, having begun by creating a new Art of the Stage on\nthe actual boards of the Theatre, has followed up his practical\ndemonstration by a Book of Theory, in which he explains what he\nhas done, telling us also what he hopes to d 0.,,\nARTHUR SYMONS in \" STUDIES IN SEVEN ARTS. \"\nORDER THROUGH ANY 800 /(SELLER"}, {"page_pdf": 102, "page_imprimee": "188", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.102", "texte": "LIVING THEATRE\nPRICE ONE SHILLING NET.\nAN ILLUSTRATED BOOKLET ABOUT\nTHE GORDON CRAIG SCHOOL\nAND ITS JOURNAL\nTHE MASK\nI\nIssued\nby** The Mask\" Publishers.\n\\\nNow in its Second Edition.\nOrder\nARENA\nthrough any Bookseller,\nor direct from\nGOLDONI, FLORENCE, ITALY.\n\nTHE MOSHER BOOKS\n'pHE special literary value ol my general Catalogue has given it a unique\nposition in the world T>f book-making for book-lovers.\nFrom 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.\nSent without charge to all who are interested in choice editions at\nmoderate prices.\nTHOMAS B. MOSHER, PORTLAND, MAINE\n»"}, {"page_pdf": 103, "page_imprimee": "189", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.103", "texte": "ANNOUNCEMENTS; FROM « THE MASK PRESS \"\nARENA O O L D O N I.FLORENCE, ITALY.\nmmrnaaamammmmmaimmmmmmmmmmmamMmmmmmmwmmmmmmmmmm-mmmimmmmmmmmmmmmmiemmmmmmmmmmmmmßKmmmmmammmammmmmmmmmmmmmmmmmmmmmmmmMmmmmmmmmmmammmmmmm\n—-—— SUBSCRIPTION PRICES, THE MASK. VOLUME SEVEN. I\n1| *',e seventh Volume, of which this Is the second number,\nThree Editions are published, the yearly subscriptions, post free,\nw. uw to* these Editions being respectively as follows.\nPopular Edition. . . . Shillings 15. Dollars 4.00 |\nKp Large Paper Edition (200 copies.) ~ 20. ~ 5.00 I\nEdition de Luxe. (15 copies.) ~ 65, „ 16.00 I\nTHE MASK. 1908... 1909... 1910... 1911... I9I2\"« *9l3 I9M-- |\nA certain number of complete sets of Volumes 1, a, 3, 4, 5 & 6.\nstill remain, and, bound in vellum, may be obtained from this\n| office, price nine guineas, (doilars 4) a set. |\n| A PEW EXTRA Vol. 4. shillings as dollars 6.50 each j\n| S SETS OF Vol. 5. .» »» ao. „ „ 5.50 ,» I\nI I Vol. 6. ~ ~- ao. ~ ~ 5«5° »» 1\nI Volumes 5 or 6 Large Paper Ed, (vellum bound,) shillings as, |\n' dollars 6.50. & & •& I\nOrders and Subscriptions may be sent direct to |\nTHE MASK O ffi ces , Arena Oold on i, Florence , Italy, j\nor \"The Society of the Theatre.\" 6, John St, Adelphi, London. Tel: 1601 Regent j\nslo M E\\ OP/NI O N S Of AT \"THE MASK\" j\n- \"\n\" There is not a page in it which is not interesting I\n\"and stimulating in a fine j\n« The Mask \"always contains something worth j\n\" and often something worth keeping' I\nPali Mall Gazette. I\n\" A quite remarkable magazine, rich in intel- j\nligence. \" I\nWestminster Gazette. I\n«A very amusing and st, as well as a most\n\" beautiful, magazine\nThe Daily Telegraph. J"}, {"page_pdf": 104, "page_imprimee": "190", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191505-01.1.104", "texte": "WHIIWHIMIM i<lM HB.IIIiUtii i)'i'l! I Willi—\n*r.\n*\nS=v\nIX-5I\nII\nW I\nMm\n3\nC 4\ny\n&fr\n&\n<Z2\nI\n?s3\nfi\nn 1 iiiUft t fir— in—ii n inn\n- •\n<Xs\nOOLDONI BOOKS FOR SOLDIERS AND NURSES.\njackets of these books In small sizes (about five by three inches), have been\nsent from time to time for the use of soldiers at the front, and to the\nHospitals, and have been found useful.\nWM\nTHE GOLBONI\nBOOKS.\nFOR NOTES\nSKETC H I N G\nDRAWING AND\nPA / N T I\nPROCURABLE DIRECT FROM\n•• THE MASK \" PUBLISHERS ,\nTPhese Books are made from\nthose fine Italian papers\nwhich, unobtainable in England,\nare found, even In Italy, only by\nexperience and careful search.\nThe Books are bound in\nvellum, or in boards covered\nwith papers upon which designs,\nfloral or conventional, are\nhand-printed in colours.\nThese small books cost one shilling each, post free. <<&>\nSpecial prices for large numbers.\nWrite for particulars to The Mask Publishers,\nARENA GOLDONI, F, ."}]}