{"numero_id": "bm-bmtnaau-1918-03-01", "volume": "bmtnaau_1918-03_01", "ocr_sha256": "203c9d5281b2d64d4551e622cabc23c24d66f4d2c26158d28278047618fd9ce0", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1918/03_01/bmtnaau_1918-03_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1918/03_01/bmtnaau_1918-03_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191803-01", "articles": [{"article_id": "bm-bmtnaau-1918-03-01-c001", "article_bluemountain": "bmtnaau_1918-03_01#c001", "volume": "bmtnaau_1918-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1", "page_fin": "1", "image_debut": 1, "image_fin": 1, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191803-01.2.1", "titre_corps": "MOTTO", "titre_sommaire": "MOTTO", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 1, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191803-01.1.1", "debut_caractere": 106, "fin_caractere_exclue": 220, "texte": "MOTTO\nGOD GRANT THAT\nWE MAY BE RIGHT\nFOR THOU DOST\nKNOW WE ARE\nDETERMINED\nNOT TO GIVE IN\nAn old Scotsmans* prayer."}]}, {"article_id": "bm-bmtnaau-1918-03-01-c002", "article_bluemountain": "bmtnaau_1918-03_01#c002", "volume": "bmtnaau_1918-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1", "page_fin": "1", "image_debut": 1, "image_fin": 1, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191803-01.2.2", "titre_corps": "TO ALL OUR OLD FRIENDS", "titre_sommaire": "TO ALL OUR OLD FRIENDS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 1, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191803-01.1.1", "debut_caractere": 1757, "fin_caractere_exclue": 2245, "texte": "TO ALL OUR OLD FRIENDS.\n\"THE MASK \" IS REDUCED IN SIZE,...\nFOR WHAT & FOR WHY?...\n1. Paper is very scarce : and you see\n2. It is for the small Pocket. And then\n3. The Postman can carry it more easily.\n4. Besides, A little pot is soon hot and\n5. While the tall maid is stooping the\nlittle one has swept the house. Also a\nlittle leaven leaveneth the whole lump,...\nthat lump ?... You may have three guesses.\n....give it up?., it's not me.... not y0u....\nYes, it is!... The European Theatre!"}]}, {"article_id": "bm-bmtnaau-1918-03-01-c003", "article_bluemountain": "bmtnaau_1918-03_01#c003", "volume": "bmtnaau_1918-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1", "page_fin": "1", "image_debut": 1, "image_fin": 1, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191803-01.2.3", "titre_corps": "PREFATORY NOTE", "titre_sommaire": "PREFATORY NOTE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 1, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191803-01.1.1", "debut_caractere": 222, "fin_caractere_exclue": 1755, "texte": "PREFATORY NOTE.\nIN 1908, nearly ten years ago, \" The Mask \" came upon\nthe scene with the following purpose announced in the\nfollowing words....\n\"To bring before an intelligent public many ancient and\nl! modern aspects of the Theatre s Art which have too\nn long been disregarded or forgotten. Not to attempt\n,! to assist in the so-called reform of the modern The-\n\" atre,... for reform is now too late; not to announce\n\" theories which have not been already tested, but to\nn announce the existence of a vitality which already\n\" begins to reveal itself in a beautiful and definite form\n,! based upon an ancient and noble tradition. \"\nWe believe that we achieved our purpose: and n0w....\nTHE object of the publication is to travel on and carry on.\nIt will carry on what it set out to do: and even should\nit some day become endowed and thus enabled to carry on\nstill longer.... and this is its wish.... the art is so long to\nlearn and the possibilities so incomprehensibly infinite, that\nthere will be no fear that it will ever cease to be needed.\nIT will for ever champion the artist,... the practical man of\ninspired ideas : it will for ever keep ahead of the times: and\nit will for the moment try to bring home to an intelligent\npublic, at last awakened to a sense of many values which\nbut too late were poorly prized, the particular value to a\nnation, to a people, to mankind, of the Arts : for the Arts are\nthe vivid expression of the vision of a people victorious over\nthemselves: and \" where there is no vision the people perish.\""}]}, {"article_id": "bm-bmtnaau-1918-03-01-c004", "article_bluemountain": "bmtnaau_1918-03_01#c004", "volume": "bmtnaau_1918-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1", "page_fin": "2", "image_debut": 1, "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=bmtnaau191803-01.2.4", "titre_corps": "WHAT WE HAVE TO SAY AND WHAT MUST BE DONE", "titre_sommaire": "WHAT WE HAVE TO SAY AND WHAT MUST BE DONE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 1, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191803-01.1.1", "debut_caractere": 2247, "fin_caractere_exclue": 4206, "texte": "WHAT WE HAVE TO SAY\nAND WHAT MUST BE DONE.\nIIfHAT man is there of you, whom\n** if his son ask bread, wij/. he give\nhim a stone ? St. Matt. VII, 9.\n1. Precisely what we said from 1908\nto 1915.\n2. That to exclude honest organizers\nand artists from the English Thea-\ntre is a blunder.\n3. That the Theatre Public wants\nboth artists and organizers.... all\nthat can be found.\n4. That you must think longer, and\nbe aware that every manager and\nevery actor and craftsman is not\nan artist.\n5. That the few who are should be\nput to far more use.\n6. That the unsuccessful city men are\nnot the organizers we want.\n7. That there are not more than six\nfirst-class organizers who can un-\nderstand the Theatre.\n8. That there are not more than three\nEnglish-speaking artists who under-\nstand the Art of the Theatre.\n9. That there are first-rate, second-\nrate, tenth-rate, and any number\nof grades.\n10. That to fail to distinguish these\nis to blunder at the outset and is\nnot economical in the end.\n11. That there always are and always\nhave been first-class actors in\nEngland.\n12. That England has, in Shakespeare,\nthe grandest Dramatist of Europe,\nbut that the English people are\nnot allowed to realize this - And\nthis is mis - called LIBERTY.\nThat the nation, minus Shakespeare,\nis not the nation.\nThat all Europe is amazed at the\nnational disregard of his genius.\nThat genius is a national asset,\nnot a mere title.\n13. That we English could, with\ntime, and the support of those\nEnglish people who rave about\nthe Russian Ballet, have a far\ngrander Ballet.\n14. That Mimo- Drama or Dumb-\nShow is not the sole property of\nexcitable southern races. Nor was\n4 Sumurun * che only possible form\nof Mimo-Drama: nor \" The Mira-\ncle \" England's best!\n15. That Censors do no harm.... if a\nPublic has conquered itself.\n16. That plays which preach and lay\ndown the law about politics and\nsocial reforms are always poor\nplays and therefore undesirable.\n17. That the Theatre is not entirely"}, {"page_pdf": 2, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191803-01.1.2", "debut_caractere": 0, "fin_caractere_exclue": 1875, "texte": "to educate, not entirely to amuse....\nsomething of both : ....\n18. That the Theatre's service is to\nmove people and the spirit of\nnations, .... not to excite but to\ndetermine them.\n19. That it's service to the English\nnation has been for years rejected.\n20. That Drama must once more be-\ncome Dramatic.\n21 Spectacular, Literary, Popular,\nCultured, Vulgar, Precious.... what\nyou will, provided it be Dramatic.\n22. That English Criticism is too Insular\nand must have a wider outlook;\nno longer making blunders through\nbeing uniformed, as London criticism\ndid when it hailed Miss Maud\nAllen as the noblest exponent of\nthe Dance, and discovered some\ntime later that Isadora Duncan had\nbeen that for several years past.\n23. That to this end Critics must be\ngiven a chance to travel all over\nthe world and become informed.\n24. That to rave over n The Miracle B\nand the Germans was queer, to\nsay the least of it. (It was The\nDaily Mail that supported Pro-\nfessor Reinhardt in 1912, ....only\nsix years ago, although previously\nwarned, not once, but many times,\nagainst the undesirability of im-\nporting home-made articles from\nGermany instead of getting them\nfirst-hand).\n25. That there may or may not be\nsuch a thing as patriotic Art, but\nto exploit the foreigner at the\nexpense of the English artist is\nunwise, expensive, and shows a\nlack of reason.\n26. That to make enquiries as to what\nconstitutes a first-class man of the\nTheatre is never amiss.\n27. That to go to the Garrick Club\nfor information concerning the few\nEnglish Stage Artists of value is\na little unwise,.... besides, English\nClubs are not yet agencies.\n28. And an artist may have talent,\nyet not waste his time in society\nor clubs.\n29. That Theatrical blood and tradition\ncounts for something. To whom?...\nto the NATION.\n30. That to break with it sometimes\ncounts for even more. Against\nwhom?... against the NATION."}]}, {"article_id": "bm-bmtnaau-1918-03-01-c006", "article_bluemountain": "bmtnaau_1918-03_01#c006", "volume": "bmtnaau_1918-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "2", "page_fin": "2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191803-01.2.5", "titre_corps": "THE MANAGER AND THE MUSE", "titre_sommaire": "THE MANAGER AND THE MUSE", "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": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191803-01.1.2", "debut_caractere": 1877, "fin_caractere_exclue": 1901, "texte": "THE MANAGER AND THE MUSE"}]}, {"article_id": "bm-bmtnaau-1918-03-01-c007", "article_bluemountain": "bmtnaau_1918-03_01#c007", "volume": "bmtnaau_1918-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "2", "page_fin": "2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191803-01.2.5.1", "titre_corps": "THE ETERNAL PROPOSITION", "titre_sommaire": "THE ETERNAL PROPOSITION", "signature_source": "Carlo Lacchio", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191803-01.1.2", "debut_caractere": 1903, "fin_caractere_exclue": 1993, "texte": "THE ETERNAL PROPOSITION. B. C. 4191. TO A. D. 1914.\nHOW ABOUT A NEW ONE?\nby Carlo Lacchio."}]}, {"article_id": "bm-bmtnaau-1918-03-01-c008", "article_bluemountain": "bmtnaau_1918-03_01#c008", "volume": "bmtnaau_1918-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "2", "page_fin": "3", "image_debut": 2, "image_fin": 3, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191803-01.2.6", "titre_corps": "OUR CONTEMPORARY", "titre_sommaire": "OUR CONTEMPORARY", "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": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191803-01.1.2", "debut_caractere": 1995, "fin_caractere_exclue": 3374, "texte": "OUR CONTEMPORARY\nOUR Contemporary in whose covers we shelter.... (and\nlet us never forget it), is of course quite right to make\nlight of those various things which, strangely enough, are\nstill grave in the suburbs.\nBut for our part we cannot do it. There seems to us\nnothing at all laughable about the inability of the age to\ntake what is left of its art and its artists as seriously as\npossible: the inability to see that age after age, century\nafter century, the standard of art seems to decline, until it\nreaches an age like the present, (or the just past years), when\nthere is nothing left to be done but to take to Egypt, to\nthe ancient Etruscans and to the Greeks and cuddle their\ncold art works to our bosoms as though they were live things\nof today.\nOur Contemporary is quite blithe and gay while we are\nutterly desperate about it. Besides, it's no business of ours,\nhe tells us. Is the stage no business of ours ? we reply; and.,\nhis only answer is that he hopes not.\nFor why and for what then have we thundered for seven\nyears from this, the hub of the universe.... Florence ?\nShall we cease from thundering, we ask you, ladies and\ngentlemen, readers? Take the sheet in your hand, look at it\nand tell us if efficiency could go further. You know what\npaper costs; you know, every tradesman tells us, and every-\nbody repeats it, that this piece of paper that you now hold"}, {"page_pdf": 3, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191803-01.1.3", "debut_caractere": 0, "fin_caractere_exclue": 3109, "texte": "in your hand is worth its weight in g01d,... the mere paper:...\nand people don't exaggerate.... not nowadays.\nNow consider when three million copies of this have\nbeen sent out and three million hearths, each with two to three\nmembers, efficient in enthusuasm, (enthusiasm starting from\ntheir every pore) round the hearth, and all hanging on this\ngreat, this holy, this never-to-be-forgotten question, Shall the\nTheatre of England perish?... or rather, how shall the The-\natre of England perish?... Consider if that is not sufficient\nreason for us to carry onour thundering.\nThe burning question of today i 5.... Which way is best\nfor the English Theatre to perish ? For you don't tell us that\nat this day, or at any day for numberless years past, there\nhas been any question as to which is the best way for the\nEnglish Theatre to live and become one of the blessings of\nthe land (1). For that is so simply solved, and the solution\nwas given in our columns for seven years running, and today\nwe are still calling for the same reforms, and now our Con-\ntemporary \"Vants us to laugh aside whole matter.\nWhy should we ? We have lost everything : the Arena\nis a barracks ; we have no office but a Post Office Box 8\nx 12 inches at the G. P. O. Florence.... happy in that....\nand so we 11 see the whole pack of them, plus our Con-\ntemporary, damned before we will shelve the question of the\nfuture English Drama and the English Theatre. And, as we\nsaid before, why should we, when thousands of hearts, thous-\nands of eager faces and clutching hands are seizing and poring\nover the three million copies of our weighty journal, which\nPropaganda, that sweet child of nature always standing at\nthe elbow of the artist, is spreading through the length and\nbreadth of two or three hemispheres.\nTime and idle tears forbid us to say more.... for we\nhave space enough.... We could, could we not, seize \" The\nMarionnette \" and say our say in its pokey little pages. Perish\nthe thought!\nYes, we will thunder still : first of all meekly asking\nthat Sir John Hare, Sir Charles Wyndham, Sir George\nAlexander, Mr. Cyril Maude, Mr. Charles Hawtry, Mr.\nH. B. Irving, Mr. Martin Harvey, Mr. Granville Barker,\nSir F. Benson and others, as many as possible, shall all be\nplaced in the inevitable positions to which it has been their\nduty to push themselves. (Cur in theatrum. Cato severe, Venisii ?).\nNo, but seriously, let as many important positions and\nimportant theatres as possible be filled and quickly t00....\nby these men of undoubted importance, and then,... only then....\nlet steps be taken to find other Theatres, say in Newcastle,\nStratford, Dover, Plymouth, and such-like smaller places, and\nput artists there, and organizers there, and give these smaller\ntheatres annually good sums of money to work on. It has been\ndone with success elsewhere... and we told you so nine years\nag0.... why \" wait and see? \"... What ?... what did you say?\n(1) Russian Theatre, French Theatre, and before.... just before.... the\nGerman Theatre.... miracles happened then.... all these Theatres were not only\nhailed, but supported, by y0u,..."}]}, {"article_id": "bm-bmtnaau-1918-03-01-c009", "article_bluemountain": "bmtnaau_1918-03_01#c009", "volume": "bmtnaau_1918-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "3", "page_fin": "4", "image_debut": 3, "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=bmtnaau191803-01.2.7", "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": 3, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191803-01.1.3", "debut_caractere": 3111, "fin_caractere_exclue": 3123, "texte": "BOOK REVIEWS"}, {"page_pdf": 3, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191803-01.1.3", "debut_caractere": 4622, "fin_caractere_exclue": 5196, "texte": "THE ART THEATRE by Sheldon\nCheney. A. A. KnopfU. S. A.\nTN n The Art Theatre n can be found\n246 pages of proof that the whole\nseven years* work of n The Mask n\namounts to a row of psns. It was\nchiefly for the sake of the young men\nof twenty to thirty, working in the\ntheatre, that \" The Mask \" was publish-\ned, at a loss all the time, not alone\nof money. They seem to have pro-\nfitted little.\nThe question you will put to us is\nthis: will you throw over the whole\nof the younger generation in the thea-\ntre because, out of a thousand, nine\nhundred and seventy-five seem to be"}, {"page_pdf": 4, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191803-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 5467, "texte": "blind to what you are driving at ?\nAnd you are quite right.\nThat is why n The Mask n is going\n0n.... for the other twenty-five. And\nif they become less, if they dwindle\nto five, we shall still go on. But we\nwish that out of that five there might\nbe two who would devote themselves,...\nhimself,... herself.... from now onwards\nto keeping a watchful eye on every\nbook, magazine and production which\ncomes out labelling itself either as art,\nor as belonging to the art theatre and\nthe New Movement, while being mere-\nly a production of an opportunist ' on\nthe make \\\nThese two will recognize it in a mo-\nment for what it is.\nThe people who perpetrate these\nerrors are unconscious of their bung-\nling, possibly, through what Captain\nMarryat would call nan excess of\nzeal \".\nYou will say, perhaps, that \" The\nMask \" should do this work without\nneed of the extra Two. But if n The\nMask n has failed in seven years with\nthese particular persons it will go on\nfailing. We think it needs a different\ntouch. Let us call it the touch of the\nTw0,... the Two above named ; and it\nwill be more effective if privately done.\nWhether it will be a lighter hand\nor a heavier, one cannot foretell, but\nfor the sake of the theatre we do\nhope that some one will appear to\ntake up this task.\nFor instance, take one example from\nthe book, 11 The Art Theatre n, Is it\nnot remarkable that we should read,\nby one of our good friends, such a\npassage as this : ,f And so the chapter\n\" closes. 1 hope that the reader will\nH carry in his recollection of it a picture\nn of the artist-director combining qua-\nn lities of Appia and Reinhardt, Hume\n\" and Browne..,, a new man of the\nw theatre who is at once thinking artist\n\" and practical workman, dreamer and\n11 executive, machinist and priest of the\nn temple that will be the new theatre w.\nDo you see what we mean ?\nSupposing that twenty years ago we\nhad heard of a new actress who was\nto combine the qualities of Madame\nSarah Bernhardt, Miss Ellen Terry,\nMile.... and Miss Eastlake. (We omit\nthe third name, not being aware of the\nunknown person at that period who\nattempted to do, shall we say, the\n* Bernhardt stunt '.\nThere evidently were several at it.\nNow any theatre-artist-director com-\nbining the qualities of Appia and\nReinhardt would alone be so stupen-\ndous that all is said when those two\nnames are mentioned* What is the\naddition in the name Hume ? what\nin the name Browne ? Does either\nname add a new quality or a new\ncelebrity or a new.... I have sat think-\ning of this for a quarter of an hour,\nand I really do not see what it does\nadd. Therefore why mention these ?\n1f,... and I am not going to suppose\nit, somebody tells me that it is the\nway they have in a modern journa-\nlistic book when wishing to give a\nboost to two unknown unqualified\nmembers of the stage, then I can un-\nderstand it; but if this is so, and I\ncannot believe it, the very lowest point\nhas been reached in n the Art Thea-\ntre \" in America,\n\nANOTHER BOOK ABOUT THE\nTHEATRE. George J. Nathan. (E.\nW. Huebsch. 1915).\nI THINK this is the best book on the\ntheatre that America has produced.\nFirst reason is that it is American....\nvery American; it is good-tempered,\nrollicking, sufficiently paradoxical, well\nwritten and alive. It 4 gets there *\nmore times than not; it is what we\nin England call 4 all right '; and for\nmy part is a book I can turn to again\nand again, not one of the least rea-\nsons for this being that it has style,\nand its Americanisms are perfectly de-\nlightful.\nFor instance, writing of some inci-\ndents in one of Stanley Houghton's\nplays, he suddenly exclaims, l! what\nsweetish, highly laquered pish; what\nold-fashioned facetious immateriality;\nwhat elegant popgunnery !... is this not\npure rouge-stick wallawalla ? 11\nMaeterlinck he calls n arch-arbiter of\nthe after-life rumble-bumblen. And\nof a certain prince who was an excep-\ntional waltzer, he writes; n dancing\nwith a lovely actress in Paris during\nhis gay days, the good prince, so goes\nthe story, marathon'd all the other\ncouples off the wax n.\nIn his essay on n The Unimportance\nnof being Earnest, he says; n Anyone\nn who knows the first thing about Shake-\n-11 speare, for instance, knows that of all\n\" men, he was a glutton for mendacity,\nn and rarely meant a philosophy he wrote\n\" save, of course, when he wrote of rum\nn and women. Did not the fellow\nn himself, forsooth, once admit as much?\nn n Why11, he was asked by Robert Peele,\nf! are you ever so persistently insincere\n\"in your labours ? n To which he of-\nfered the now celebrated rejoinder:\nn Bob, you give me a pain in the ear.\nn No sincere man who is or hopes to\n?! be regarded as an artist descends to\nIf so low and so facile a means as sin-\nn cerity to trick fame and repute and\nn moneys. That is reserved for the\nn mahogany heads, the vacant gourds,\nn who have nothing to sell but since-\n,f rity. Do you get me, old tosspot ? n\n,f .... I do not remember the exact\ns wording n.\nWhenever I wish to feel cheerful I\nremember that phrase, \" Bob, you give\nme a pain in the ear !f. And as do-\nzens of such phrases are to be found\nin Mr Nathan's book, and as there are\nhundreds of people going about the\nworld who want cheering up, here is\nsomething that will do it.\nThe secondary value that the book has,\nthat of being admirable sense, is thrown\nin as an extra : and very many people\nwill want to know much more about\nthe theatre, having enjoyed themselves\nin the society of a critic who can be\nprofound without being dull."}]}, {"article_id": "bm-bmtnaau-1918-03-01-c011", "article_bluemountain": "bmtnaau_1918-03_01#c011", "volume": "bmtnaau_1918-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "3", "page_fin": "4", "image_debut": 3, "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=bmtnaau191803-01.2.7.1", "titre_corps": "THE ART THEATRE by Sheldon Cheney", "titre_sommaire": "THE ART 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": 3, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191803-01.1.3", "debut_caractere": 4622, "fin_caractere_exclue": 5196, "texte": "THE ART THEATRE by Sheldon\nCheney. A. A. KnopfU. S. A.\nTN n The Art Theatre n can be found\n246 pages of proof that the whole\nseven years* work of n The Mask n\namounts to a row of psns. It was\nchiefly for the sake of the young men\nof twenty to thirty, working in the\ntheatre, that \" The Mask \" was publish-\ned, at a loss all the time, not alone\nof money. They seem to have pro-\nfitted little.\nThe question you will put to us is\nthis: will you throw over the whole\nof the younger generation in the thea-\ntre because, out of a thousand, nine\nhundred and seventy-five seem to be"}, {"page_pdf": 4, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191803-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 2948, "texte": "blind to what you are driving at ?\nAnd you are quite right.\nThat is why n The Mask n is going\n0n.... for the other twenty-five. And\nif they become less, if they dwindle\nto five, we shall still go on. But we\nwish that out of that five there might\nbe two who would devote themselves,...\nhimself,... herself.... from now onwards\nto keeping a watchful eye on every\nbook, magazine and production which\ncomes out labelling itself either as art,\nor as belonging to the art theatre and\nthe New Movement, while being mere-\nly a production of an opportunist ' on\nthe make \\\nThese two will recognize it in a mo-\nment for what it is.\nThe people who perpetrate these\nerrors are unconscious of their bung-\nling, possibly, through what Captain\nMarryat would call nan excess of\nzeal \".\nYou will say, perhaps, that \" The\nMask \" should do this work without\nneed of the extra Two. But if n The\nMask n has failed in seven years with\nthese particular persons it will go on\nfailing. We think it needs a different\ntouch. Let us call it the touch of the\nTw0,... the Two above named ; and it\nwill be more effective if privately done.\nWhether it will be a lighter hand\nor a heavier, one cannot foretell, but\nfor the sake of the theatre we do\nhope that some one will appear to\ntake up this task.\nFor instance, take one example from\nthe book, 11 The Art Theatre n, Is it\nnot remarkable that we should read,\nby one of our good friends, such a\npassage as this : ,f And so the chapter\n\" closes. 1 hope that the reader will\nH carry in his recollection of it a picture\nn of the artist-director combining qua-\nn lities of Appia and Reinhardt, Hume\n\" and Browne..,, a new man of the\nw theatre who is at once thinking artist\n\" and practical workman, dreamer and\n11 executive, machinist and priest of the\nn temple that will be the new theatre w.\nDo you see what we mean ?\nSupposing that twenty years ago we\nhad heard of a new actress who was\nto combine the qualities of Madame\nSarah Bernhardt, Miss Ellen Terry,\nMile.... and Miss Eastlake. (We omit\nthe third name, not being aware of the\nunknown person at that period who\nattempted to do, shall we say, the\n* Bernhardt stunt '.\nThere evidently were several at it.\nNow any theatre-artist-director com-\nbining the qualities of Appia and\nReinhardt would alone be so stupen-\ndous that all is said when those two\nnames are mentioned* What is the\naddition in the name Hume ? what\nin the name Browne ? Does either\nname add a new quality or a new\ncelebrity or a new.... I have sat think-\ning of this for a quarter of an hour,\nand I really do not see what it does\nadd. Therefore why mention these ?\n1f,... and I am not going to suppose\nit, somebody tells me that it is the\nway they have in a modern journa-\nlistic book when wishing to give a\nboost to two unknown unqualified\nmembers of the stage, then I can un-\nderstand it; but if this is so, and I\ncannot believe it, the very lowest point\nhas been reached in n the Art Thea-\ntre \" in America,"}]}, {"article_id": "bm-bmtnaau-1918-03-01-c012", "article_bluemountain": "bmtnaau_1918-03_01#c012", "volume": "bmtnaau_1918-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "4", "page_fin": "4", "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=bmtnaau191803-01.2.7.2", "titre_corps": "ANOTHER BOOK ABOUT THE THEATRE by George J. Nathan", "titre_sommaire": "ANOTHER BOOK ABOUT THE THEATRE by George J. Nathan", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191803-01.1.4", "debut_caractere": 2950, "fin_caractere_exclue": 5467, "texte": "ANOTHER BOOK ABOUT THE\nTHEATRE. George J. Nathan. (E.\nW. Huebsch. 1915).\nI THINK this is the best book on the\ntheatre that America has produced.\nFirst reason is that it is American....\nvery American; it is good-tempered,\nrollicking, sufficiently paradoxical, well\nwritten and alive. It 4 gets there *\nmore times than not; it is what we\nin England call 4 all right '; and for\nmy part is a book I can turn to again\nand again, not one of the least rea-\nsons for this being that it has style,\nand its Americanisms are perfectly de-\nlightful.\nFor instance, writing of some inci-\ndents in one of Stanley Houghton's\nplays, he suddenly exclaims, l! what\nsweetish, highly laquered pish; what\nold-fashioned facetious immateriality;\nwhat elegant popgunnery !... is this not\npure rouge-stick wallawalla ? 11\nMaeterlinck he calls n arch-arbiter of\nthe after-life rumble-bumblen. And\nof a certain prince who was an excep-\ntional waltzer, he writes; n dancing\nwith a lovely actress in Paris during\nhis gay days, the good prince, so goes\nthe story, marathon'd all the other\ncouples off the wax n.\nIn his essay on n The Unimportance\nnof being Earnest, he says; n Anyone\nn who knows the first thing about Shake-\n-11 speare, for instance, knows that of all\n\" men, he was a glutton for mendacity,\nn and rarely meant a philosophy he wrote\n\" save, of course, when he wrote of rum\nn and women. Did not the fellow\nn himself, forsooth, once admit as much?\nn n Why11, he was asked by Robert Peele,\nf! are you ever so persistently insincere\n\"in your labours ? n To which he of-\nfered the now celebrated rejoinder:\nn Bob, you give me a pain in the ear.\nn No sincere man who is or hopes to\n?! be regarded as an artist descends to\nIf so low and so facile a means as sin-\nn cerity to trick fame and repute and\nn moneys. That is reserved for the\nn mahogany heads, the vacant gourds,\nn who have nothing to sell but since-\n,f rity. Do you get me, old tosspot ? n\n,f .... I do not remember the exact\ns wording n.\nWhenever I wish to feel cheerful I\nremember that phrase, \" Bob, you give\nme a pain in the ear !f. And as do-\nzens of such phrases are to be found\nin Mr Nathan's book, and as there are\nhundreds of people going about the\nworld who want cheering up, here is\nsomething that will do it.\nThe secondary value that the book has,\nthat of being admirable sense, is thrown\nin as an extra : and very many people\nwill want to know much more about\nthe theatre, having enjoyed themselves\nin the society of a critic who can be\nprofound without being dull."}]}, {"article_id": "bm-bmtnaau-1918-03-01-c013", "article_bluemountain": "bmtnaau_1918-03_01#c013", "volume": "bmtnaau_1918-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "4", "page_fin": "4", "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=bmtnaau191803-01.2.9", "titre_corps": "WALT WHITMAN", "titre_sommaire": "WALT WHITMAN", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191803-01.1.4", "debut_caractere": 6194, "fin_caractere_exclue": 6528, "texte": "WALT WHITMAN.\nREADING THE POEMS OF WALT WHITMAN AGAIN FOR THE ...TH\nTIME. WHAT A GREAT AMERICAN I HOW WELL HE UNDERSTOOD\nTHAT ART, LIKE NATURE, NEEDS TIME, AND AGAIN TIME, AND\nAGAIN TIME FOR IT TO GROW AND ANNOUNCE ITSELF AND JUSTIFY\nITSELF... LET US ADD, RAIN DOES NO HARM TO NATURE.... A LITTLE\nRAIN, DEAR ENGLAND..., A LITTLE RAIN."}]}, {"article_id": "bm-bmtnaau-1918-03-01-c014", "article_bluemountain": "bmtnaau_1918-03_01#c014", "volume": "bmtnaau_1918-03_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "4", "page_fin": "4", "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=bmtnaau191803-01.2.10", "titre_corps": "IN SEARCH OF TALENT", "titre_sommaire": "IN SEARCH OF TALENT", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191803-01.1.4", "debut_caractere": 5604, "fin_caractere_exclue": 6192, "texte": "IN SEARCH OF TALENT ,\nWe want to know the names of a number of new young men and women\nwho are coming along in the theatre, .... any name, any talent\nBUT we want to hear the talent clearly defined ; what he or she has done.\nIn sending word about her don't say \" she is so like Duse for that means\nnothing ; it only means she is not like Madame Duse.\nIn writing about him don't say he is like David Garrick at his best, for that is\nfudge. Just write plainly if you please, and define all the Limitations in the person.\nIt is by the limitations of the man that his greatness, can be guaged."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191803-01.1.1", "texte": "THE MASK\nA MONTHLY LEAFLET OF\nTHE ART OF THE THEATRE\nVOLUME EIGHT: NUMBER ONE\nADDRESS: BOX 444. FLORENCE\n\nMOTTO\nGOD GRANT THAT\nWE MAY BE RIGHT\nFOR THOU DOST\nKNOW WE ARE\nDETERMINED\nNOT TO GIVE IN\nAn old Scotsmans* prayer.\n\nPREFATORY NOTE.\nIN 1908, nearly ten years ago, \" The Mask \" came upon\nthe scene with the following purpose announced in the\nfollowing words....\n\"To bring before an intelligent public many ancient and\nl! modern aspects of the Theatre s Art which have too\nn long been disregarded or forgotten. Not to attempt\n,! to assist in the so-called reform of the modern The-\n\" atre,... for reform is now too late; not to announce\n\" theories which have not been already tested, but to\nn announce the existence of a vitality which already\n\" begins to reveal itself in a beautiful and definite form\n,! based upon an ancient and noble tradition. \"\nWe believe that we achieved our purpose: and n0w....\nTHE object of the publication is to travel on and carry on.\nIt will carry on what it set out to do: and even should\nit some day become endowed and thus enabled to carry on\nstill longer.... and this is its wish.... the art is so long to\nlearn and the possibilities so incomprehensibly infinite, that\nthere will be no fear that it will ever cease to be needed.\nIT will for ever champion the artist,... the practical man of\ninspired ideas : it will for ever keep ahead of the times: and\nit will for the moment try to bring home to an intelligent\npublic, at last awakened to a sense of many values which\nbut too late were poorly prized, the particular value to a\nnation, to a people, to mankind, of the Arts : for the Arts are\nthe vivid expression of the vision of a people victorious over\nthemselves: and \" where there is no vision the people perish.\"\n\nTO ALL OUR OLD FRIENDS.\n\"THE MASK \" IS REDUCED IN SIZE,...\nFOR WHAT & FOR WHY?...\n1. Paper is very scarce : and you see\n2. It is for the small Pocket. And then\n3. The Postman can carry it more easily.\n4. Besides, A little pot is soon hot and\n5. While the tall maid is stooping the\nlittle one has swept the house. Also a\nlittle leaven leaveneth the whole lump,...\nthat lump ?... You may have three guesses.\n....give it up?., it's not me.... not y0u....\nYes, it is!... The European Theatre!\n\nWHAT WE HAVE TO SAY\nAND WHAT MUST BE DONE.\nIIfHAT man is there of you, whom\n** if his son ask bread, wij/. he give\nhim a stone ? St. Matt. VII, 9.\n1. Precisely what we said from 1908\nto 1915.\n2. That to exclude honest organizers\nand artists from the English Thea-\ntre is a blunder.\n3. That the Theatre Public wants\nboth artists and organizers.... all\nthat can be found.\n4. That you must think longer, and\nbe aware that every manager and\nevery actor and craftsman is not\nan artist.\n5. That the few who are should be\nput to far more use.\n6. That the unsuccessful city men are\nnot the organizers we want.\n7. That there are not more than six\nfirst-class organizers who can un-\nderstand the Theatre.\n8. That there are not more than three\nEnglish-speaking artists who under-\nstand the Art of the Theatre.\n9. That there are first-rate, second-\nrate, tenth-rate, and any number\nof grades.\n10. That to fail to distinguish these\nis to blunder at the outset and is\nnot economical in the end.\n11. That there always are and always\nhave been first-class actors in\nEngland.\n12. That England has, in Shakespeare,\nthe grandest Dramatist of Europe,\nbut that the English people are\nnot allowed to realize this - And\nthis is mis - called LIBERTY.\nThat the nation, minus Shakespeare,\nis not the nation.\nThat all Europe is amazed at the\nnational disregard of his genius.\nThat genius is a national asset,\nnot a mere title.\n13. That we English could, with\ntime, and the support of those\nEnglish people who rave about\nthe Russian Ballet, have a far\ngrander Ballet.\n14. That Mimo- Drama or Dumb-\nShow is not the sole property of\nexcitable southern races. Nor was\n4 Sumurun * che only possible form\nof Mimo-Drama: nor \" The Mira-\ncle \" England's best!\n15. That Censors do no harm.... if a\nPublic has conquered itself.\n16. That plays which preach and lay\ndown the law about politics and\nsocial reforms are always poor\nplays and therefore undesirable.\n17. That the Theatre is not entirely"}, {"page_pdf": 2, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191803-01.1.2", "texte": "to educate, not entirely to amuse....\nsomething of both : ....\n18. That the Theatre's service is to\nmove people and the spirit of\nnations, .... not to excite but to\ndetermine them.\n19. That it's service to the English\nnation has been for years rejected.\n20. That Drama must once more be-\ncome Dramatic.\n21 Spectacular, Literary, Popular,\nCultured, Vulgar, Precious.... what\nyou will, provided it be Dramatic.\n22. That English Criticism is too Insular\nand must have a wider outlook;\nno longer making blunders through\nbeing uniformed, as London criticism\ndid when it hailed Miss Maud\nAllen as the noblest exponent of\nthe Dance, and discovered some\ntime later that Isadora Duncan had\nbeen that for several years past.\n23. That to this end Critics must be\ngiven a chance to travel all over\nthe world and become informed.\n24. That to rave over n The Miracle B\nand the Germans was queer, to\nsay the least of it. (It was The\nDaily Mail that supported Pro-\nfessor Reinhardt in 1912, ....only\nsix years ago, although previously\nwarned, not once, but many times,\nagainst the undesirability of im-\nporting home-made articles from\nGermany instead of getting them\nfirst-hand).\n25. That there may or may not be\nsuch a thing as patriotic Art, but\nto exploit the foreigner at the\nexpense of the English artist is\nunwise, expensive, and shows a\nlack of reason.\n26. That to make enquiries as to what\nconstitutes a first-class man of the\nTheatre is never amiss.\n27. That to go to the Garrick Club\nfor information concerning the few\nEnglish Stage Artists of value is\na little unwise,.... besides, English\nClubs are not yet agencies.\n28. And an artist may have talent,\nyet not waste his time in society\nor clubs.\n29. That Theatrical blood and tradition\ncounts for something. To whom?...\nto the NATION.\n30. That to break with it sometimes\ncounts for even more. Against\nwhom?... against the NATION.\n\nTHE MANAGER AND THE MUSE\n\nTHE ETERNAL PROPOSITION. B. C. 4191. TO A. D. 1914.\nHOW ABOUT A NEW ONE?\nby Carlo Lacchio.\n\nOUR CONTEMPORARY\nOUR Contemporary in whose covers we shelter.... (and\nlet us never forget it), is of course quite right to make\nlight of those various things which, strangely enough, are\nstill grave in the suburbs.\nBut for our part we cannot do it. There seems to us\nnothing at all laughable about the inability of the age to\ntake what is left of its art and its artists as seriously as\npossible: the inability to see that age after age, century\nafter century, the standard of art seems to decline, until it\nreaches an age like the present, (or the just past years), when\nthere is nothing left to be done but to take to Egypt, to\nthe ancient Etruscans and to the Greeks and cuddle their\ncold art works to our bosoms as though they were live things\nof today.\nOur Contemporary is quite blithe and gay while we are\nutterly desperate about it. Besides, it's no business of ours,\nhe tells us. Is the stage no business of ours ? we reply; and.,\nhis only answer is that he hopes not.\nFor why and for what then have we thundered for seven\nyears from this, the hub of the universe.... Florence ?\nShall we cease from thundering, we ask you, ladies and\ngentlemen, readers? Take the sheet in your hand, look at it\nand tell us if efficiency could go further. You know what\npaper costs; you know, every tradesman tells us, and every-\nbody repeats it, that this piece of paper that you now hold"}, {"page_pdf": 3, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191803-01.1.3", "texte": "in your hand is worth its weight in g01d,... the mere paper:...\nand people don't exaggerate.... not nowadays.\nNow consider when three million copies of this have\nbeen sent out and three million hearths, each with two to three\nmembers, efficient in enthusuasm, (enthusiasm starting from\ntheir every pore) round the hearth, and all hanging on this\ngreat, this holy, this never-to-be-forgotten question, Shall the\nTheatre of England perish?... or rather, how shall the The-\natre of England perish?... Consider if that is not sufficient\nreason for us to carry onour thundering.\nThe burning question of today i 5.... Which way is best\nfor the English Theatre to perish ? For you don't tell us that\nat this day, or at any day for numberless years past, there\nhas been any question as to which is the best way for the\nEnglish Theatre to live and become one of the blessings of\nthe land (1). For that is so simply solved, and the solution\nwas given in our columns for seven years running, and today\nwe are still calling for the same reforms, and now our Con-\ntemporary \"Vants us to laugh aside whole matter.\nWhy should we ? We have lost everything : the Arena\nis a barracks ; we have no office but a Post Office Box 8\nx 12 inches at the G. P. O. Florence.... happy in that....\nand so we 11 see the whole pack of them, plus our Con-\ntemporary, damned before we will shelve the question of the\nfuture English Drama and the English Theatre. And, as we\nsaid before, why should we, when thousands of hearts, thous-\nands of eager faces and clutching hands are seizing and poring\nover the three million copies of our weighty journal, which\nPropaganda, that sweet child of nature always standing at\nthe elbow of the artist, is spreading through the length and\nbreadth of two or three hemispheres.\nTime and idle tears forbid us to say more.... for we\nhave space enough.... We could, could we not, seize \" The\nMarionnette \" and say our say in its pokey little pages. Perish\nthe thought!\nYes, we will thunder still : first of all meekly asking\nthat Sir John Hare, Sir Charles Wyndham, Sir George\nAlexander, Mr. Cyril Maude, Mr. Charles Hawtry, Mr.\nH. B. Irving, Mr. Martin Harvey, Mr. Granville Barker,\nSir F. Benson and others, as many as possible, shall all be\nplaced in the inevitable positions to which it has been their\nduty to push themselves. (Cur in theatrum. Cato severe, Venisii ?).\nNo, but seriously, let as many important positions and\nimportant theatres as possible be filled and quickly t00....\nby these men of undoubted importance, and then,... only then....\nlet steps be taken to find other Theatres, say in Newcastle,\nStratford, Dover, Plymouth, and such-like smaller places, and\nput artists there, and organizers there, and give these smaller\ntheatres annually good sums of money to work on. It has been\ndone with success elsewhere... and we told you so nine years\nag0.... why \" wait and see? \"... What ?... what did you say?\n(1) Russian Theatre, French Theatre, and before.... just before.... the\nGerman Theatre.... miracles happened then.... all these Theatres were not only\nhailed, but supported, by y0u,...\n\nBOOK REVIEWS\n\nA PA IR\nCHINA UNDER THE DOW A-\nGER EMPRESS. Bland and Back,\"\nhouse. Heinemann. 6/-net.\nGERALDINE FARRAR, by Her-\nself, Houghton Mifflin Co. U. S. A.\n2 Dollars net.\nWO books by the same post like\nGeraldine Farrar's Memoirs and\nthe Dowager Empress of China's Life,...\nand one is enormously impressed.\nI can say little about either, both are\nso extraordinary. If I have a regret it is\nthat the same publisher did not publish\nthe two books as companion volumes.\nOne is about a barbarian and one is\nabout a civilized lady. One of them\nhas the advantage of the collaboration\nof those two always admirable writers,\nBackhouse and Bland; both are 4 thril-\nling', but one is more thrilling than the\nother.\nWhen the Empress of China orders\nthe concubine Pearl to be thrown down\nthe well, it really reads like something\nthat ought to have been in the other\ndramatic book; when one reads of\nMiss Farrar and the German Emperor\none is set musing about Her Majesty\nTzu Hsi. But when at the end of\nthe Empress's life it is told that she\nlies on her deathbed and that they\nawait the last message, and the grand\nclimax comes in these words : n Never\nagain allow any woman to hold the\nsupreme power in the state then we\nturn to Miss Farrar's astounding work\nand search in vain for any word of\nlike wisdom from the several speaking\nportraits of the Divine Creatress of\nJuliet, Norma and Lucia. If she could\nspeak we wonder, would she be as\nsweeping about actresses as the great\nQueen was about queens ?... we wonder.\n\nTHE ART THEATRE by Sheldon\nCheney. A. A. KnopfU. S. A.\nTN n The Art Theatre n can be found\n246 pages of proof that the whole\nseven years* work of n The Mask n\namounts to a row of psns. It was\nchiefly for the sake of the young men\nof twenty to thirty, working in the\ntheatre, that \" The Mask \" was publish-\ned, at a loss all the time, not alone\nof money. They seem to have pro-\nfitted little.\nThe question you will put to us is\nthis: will you throw over the whole\nof the younger generation in the thea-\ntre because, out of a thousand, nine\nhundred and seventy-five seem to be"}, {"page_pdf": 4, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191803-01.1.4", "texte": "blind to what you are driving at ?\nAnd you are quite right.\nThat is why n The Mask n is going\n0n.... for the other twenty-five. And\nif they become less, if they dwindle\nto five, we shall still go on. But we\nwish that out of that five there might\nbe two who would devote themselves,...\nhimself,... herself.... from now onwards\nto keeping a watchful eye on every\nbook, magazine and production which\ncomes out labelling itself either as art,\nor as belonging to the art theatre and\nthe New Movement, while being mere-\nly a production of an opportunist ' on\nthe make \\\nThese two will recognize it in a mo-\nment for what it is.\nThe people who perpetrate these\nerrors are unconscious of their bung-\nling, possibly, through what Captain\nMarryat would call nan excess of\nzeal \".\nYou will say, perhaps, that \" The\nMask \" should do this work without\nneed of the extra Two. But if n The\nMask n has failed in seven years with\nthese particular persons it will go on\nfailing. We think it needs a different\ntouch. Let us call it the touch of the\nTw0,... the Two above named ; and it\nwill be more effective if privately done.\nWhether it will be a lighter hand\nor a heavier, one cannot foretell, but\nfor the sake of the theatre we do\nhope that some one will appear to\ntake up this task.\nFor instance, take one example from\nthe book, 11 The Art Theatre n, Is it\nnot remarkable that we should read,\nby one of our good friends, such a\npassage as this : ,f And so the chapter\n\" closes. 1 hope that the reader will\nH carry in his recollection of it a picture\nn of the artist-director combining qua-\nn lities of Appia and Reinhardt, Hume\n\" and Browne..,, a new man of the\nw theatre who is at once thinking artist\n\" and practical workman, dreamer and\n11 executive, machinist and priest of the\nn temple that will be the new theatre w.\nDo you see what we mean ?\nSupposing that twenty years ago we\nhad heard of a new actress who was\nto combine the qualities of Madame\nSarah Bernhardt, Miss Ellen Terry,\nMile.... and Miss Eastlake. (We omit\nthe third name, not being aware of the\nunknown person at that period who\nattempted to do, shall we say, the\n* Bernhardt stunt '.\nThere evidently were several at it.\nNow any theatre-artist-director com-\nbining the qualities of Appia and\nReinhardt would alone be so stupen-\ndous that all is said when those two\nnames are mentioned* What is the\naddition in the name Hume ? what\nin the name Browne ? Does either\nname add a new quality or a new\ncelebrity or a new.... I have sat think-\ning of this for a quarter of an hour,\nand I really do not see what it does\nadd. Therefore why mention these ?\n1f,... and I am not going to suppose\nit, somebody tells me that it is the\nway they have in a modern journa-\nlistic book when wishing to give a\nboost to two unknown unqualified\nmembers of the stage, then I can un-\nderstand it; but if this is so, and I\ncannot believe it, the very lowest point\nhas been reached in n the Art Thea-\ntre \" in America,\n\nANOTHER BOOK ABOUT THE\nTHEATRE. George J. Nathan. (E.\nW. Huebsch. 1915).\nI THINK this is the best book on the\ntheatre that America has produced.\nFirst reason is that it is American....\nvery American; it is good-tempered,\nrollicking, sufficiently paradoxical, well\nwritten and alive. It 4 gets there *\nmore times than not; it is what we\nin England call 4 all right '; and for\nmy part is a book I can turn to again\nand again, not one of the least rea-\nsons for this being that it has style,\nand its Americanisms are perfectly de-\nlightful.\nFor instance, writing of some inci-\ndents in one of Stanley Houghton's\nplays, he suddenly exclaims, l! what\nsweetish, highly laquered pish; what\nold-fashioned facetious immateriality;\nwhat elegant popgunnery !... is this not\npure rouge-stick wallawalla ? 11\nMaeterlinck he calls n arch-arbiter of\nthe after-life rumble-bumblen. And\nof a certain prince who was an excep-\ntional waltzer, he writes; n dancing\nwith a lovely actress in Paris during\nhis gay days, the good prince, so goes\nthe story, marathon'd all the other\ncouples off the wax n.\nIn his essay on n The Unimportance\nnof being Earnest, he says; n Anyone\nn who knows the first thing about Shake-\n-11 speare, for instance, knows that of all\n\" men, he was a glutton for mendacity,\nn and rarely meant a philosophy he wrote\n\" save, of course, when he wrote of rum\nn and women. Did not the fellow\nn himself, forsooth, once admit as much?\nn n Why11, he was asked by Robert Peele,\nf! are you ever so persistently insincere\n\"in your labours ? n To which he of-\nfered the now celebrated rejoinder:\nn Bob, you give me a pain in the ear.\nn No sincere man who is or hopes to\n?! be regarded as an artist descends to\nIf so low and so facile a means as sin-\nn cerity to trick fame and repute and\nn moneys. That is reserved for the\nn mahogany heads, the vacant gourds,\nn who have nothing to sell but since-\n,f rity. Do you get me, old tosspot ? n\n,f .... I do not remember the exact\ns wording n.\nWhenever I wish to feel cheerful I\nremember that phrase, \" Bob, you give\nme a pain in the ear !f. And as do-\nzens of such phrases are to be found\nin Mr Nathan's book, and as there are\nhundreds of people going about the\nworld who want cheering up, here is\nsomething that will do it.\nThe secondary value that the book has,\nthat of being admirable sense, is thrown\nin as an extra : and very many people\nwill want to know much more about\nthe theatre, having enjoyed themselves\nin the society of a critic who can be\nprofound without being dull.\n\nAll rights reserved. Gerente responsabile : Giulio Vanzi.\nTipografia Giuntina, diretta da L. Franceschini - Firenze, Via del Sole, 4.\n\nIN SEARCH OF TALENT ,\nWe want to know the names of a number of new young men and women\nwho are coming along in the theatre, .... any name, any talent\nBUT we want to hear the talent clearly defined ; what he or she has done.\nIn sending word about her don't say \" she is so like Duse for that means\nnothing ; it only means she is not like Madame Duse.\nIn writing about him don't say he is like David Garrick at his best, for that is\nfudge. Just write plainly if you please, and define all the Limitations in the person.\nIt is by the limitations of the man that his greatness, can be guaged.\n\nWALT WHITMAN.\nREADING THE POEMS OF WALT WHITMAN AGAIN FOR THE ...TH\nTIME. WHAT A GREAT AMERICAN I HOW WELL HE UNDERSTOOD\nTHAT ART, LIKE NATURE, NEEDS TIME, AND AGAIN TIME, AND\nAGAIN TIME FOR IT TO GROW AND ANNOUNCE ITSELF AND JUSTIFY\nITSELF... LET US ADD, RAIN DOES NO HARM TO NATURE.... A LITTLE\nRAIN, DEAR ENGLAND..., A LITTLE RAIN."}]}