{"numero_id": "bm-bmtnaau-1918-10-01", "volume": "bmtnaau_1918-10_01", "ocr_sha256": "23dc5b7b231c1904f8f7405d5a1bd7818c041c1ce7a65a80d6ed92d689500da5", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1918/10_01/bmtnaau_1918-10_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1918/10_01/bmtnaau_1918-10_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191810-01", "articles": [{"article_id": "bm-bmtnaau-1918-10-01-c001", "article_bluemountain": "bmtnaau_1918-10_01#c001", "volume": "bmtnaau_1918-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "25", "page_fin": "25", "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=bmtnaau191810-01.2.1", "titre_corps": "NAPOLEON'S THEATRE : NOT EXACTLY A LITTLE THEATRE YET NO COMMERCIAL PLAYHOUSE", "titre_sommaire": "NAPOLEON'S THEATRE : NOT EXACTLY A LITTLE THEATRE YET NO COMMERCIAL PLAYHOUSE", "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": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191810-01.1.1", "debut_caractere": 124, "fin_caractere_exclue": 302, "texte": "NAPOLEON'S\nTHEATRE\nNOT EXACTLY A LITTLE THEATRE\nYET NO COMMERCIAL PLAYHOUSE.\nCorneille.\nn Le divertissement le plus doux de nos princes, les du peuple et\nle plaisir des grands n."}]}, {"article_id": "bm-bmtnaau-1918-10-01-c003", "article_bluemountain": "bmtnaau_1918-10_01#c003", "volume": "bmtnaau_1918-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "25", "page_fin": "28", "image_debut": 1, "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=bmtnaau191810-01.2.2", "titre_corps": "WANTED! ARTISTS AND MILLIONAIRES", "titre_sommaire": "WANTED! ARTISTS AND MILLIONAIRES", "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": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191810-01.1.1", "debut_caractere": 304, "fin_caractere_exclue": 2319, "texte": "WANTED!\nARTISTS AND\nMILLIONAIRES\nTHE INSURGENT THEATRE.\nThomas H. Dickinson. B. W. Huebsch.\n1917. New York.\nA beautifully bound book, well prin-\nted, by an author who has done\nhis work as well as he can do it.\nBut author — publisher — book-\nbinder alike will agree that it's not to\nmake them pretty speeches that they\nsent us the book for Review, but so\nas to strike a few sparks out of the\niron as of old.\nThen let us to the heart of the\nmatter.\nWE know most of the men whose\nwork is written about in the\nbook, which deals with the New Move-\nment in the Theatre — its American\nphase — and in particular with the\nLittle Theatres n.\nWhat brought the Little Theatres\ninto existence in a world that can find\nmore than 20 million pounds a day to\nrun a war ?\nIt was not exactly the generosity of\nthe men with money and a taste for\nart. whom he thinks brought the Little\nTheatres into existence in Europe and\nin America. Was it perhaps their not\nknowing how to spend money ?\nSay we artists were not willing to do\nour best; then how is it we have trium-\nphed? Say we were not all artists —\nwe could have gone to school under\nthe few that are. Say what you will,\nyou cannot say you were generous....\nsome day it will be said that one or\ntwo of you were very mean..,, that\nyou gave us a penny.\nWith our penny in our hands we\nbought a Hat-box second-hand off a\nlittle French milliner, and turned it into\na peep-show.\nEccola — il piccolo teairol... The\nLittle Theatre of Europe and America.\nAnd a pretty makeshift it is. We\nspent the penny on the box, and for-\ngot lunch that day. An awful mistake.\nMoney is a curse unless employed\nto creative ends and generously. Why\nkill ? why cure ? — CREATE I\n« What is the chief error in the New\nMovement ? 11 we asked Gordon Craig\nlast week.\nn The men work too hard and eat\ntoo littel, smoke too little, drink too\nlittle, and are not comfortable at home,11\nhe replied.\nn But you told them to sacrifice. n\n' n Did I ? n he answered. n Then I am\nheartily sorry for they are nearly dead.11"}, {"page_pdf": 2, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191810-01.1.2", "debut_caractere": 0, "fin_caractere_exclue": 7057, "texte": "n Well, but should n't they sacrifice? fl\nHlf they are strong enough to sa-\ncrifice all, and be alive \" he said ; I? but\nto sacrifice so much at first and then\nlater to compromise and accept two-\npenny-half-penny little theatres so that\nthey may feed their personal vanity is\nnot sacrifice. n\n\" Sacrifice vanity.... place and\nabove all altitude, as Austin Harrison\nhas been telling the English Government\nto do.\nRTell me more,\" I urged.\n* Satan ! n he hissed. \"You shirker\nSatan! Would you have me do your\nwork for you? And make clear for\nyou what your own eyes are too lazy\nto search out and see for yourselves?\"\nA most surprising man, to be sure!\nhe was gone in a flash, leaving\nme not exactly peeved, but feeling how\nvery very wrong it was of him to speak\nso to one who respects and cherishes\nall he has done for the theatre; but\nseriously right in essentials. And it was\nafter this late cold douche that I percived\nthat all these little theatres are the pro-\nduct of what we might perhaps call the\nSkinflints of Society the dear pa-\ntrons of Art. Shocking people mean\nas the skeletons of church mice.\nYou may say, for instance, that it was\nvery generous of Miss Alice and Miss Irene\nLewisohn to support the Neighbourhood\nPlayhouse. They are well-to-do ladies,\nbut they went in for teaching Dancing.\nWhat have the teaching of dancing,\nphilanthropy and the generous support\nof the arts in common ?\nThen there is Miss Barnsdall who\ncreated the Little Theatre of Los An-\ngeles. I do not know whether she has\ntalent or no, but she is reported by\n.Miss Mackay in a book called n The\nLittle Theatre in the United States H W\nto be an discoverer of talent n in others.\nn The Little Theatre Players of Denver n\nwere supported by Mrs. Helen Schu-\nster-Martin; n she provided a building\nand a corps of efficient workers \" in\n1915 says Mr. Dickinson, but Miss\nMackaye does not mention her in her\nbook: all she says is that the Denver\ntheatre failed; and her book is dated\n1917'\nMr. Dickinson goes into this question\nof support. He says:\n* The ideal of the new theatre may\nbe distinguished from that of the old\nby their differing standards of support\nNow support is quite indispensable in\nthe theatre. Unlike the other arts, any\none of which may be considered quite\napart from its support, and simply a\nmatter of the artist's own creative\nimpulse, the art of the theatre has no\nexistence except as it is sustained from\nwithout. Support is not the reward\nor the recognition of the artist of the\ntheatre; it is the pre-requisite. It is the\nmaterial with which he works. With-\nout it he cannot work.\nn Now support is of two orders, clearly\nto be distinguished and yet mutually\nconnected. The first is the mental\nsupport upon which the success of every\nplay depends, the support of the minds\nof the audience, The second is the\nfinancial support upon which the ma-\nchinery of the production depends 11\nand he adds: \" a study of the con-\ndition of the stage during several years\nand the witness of the activities of the\nInsurgent Theatres, lead me to believe\nthat in neither respect has support\nbeen healthy for some time past. rr\nHe finds that the Audience in their\nmental support are either too puritani-\ncally suspicious, take no real pleasure\nin the shows, leave their taste in the\ncloakroom as they go in .... or, if con-\nnoisseurs, have become so n critical and\nexpert in the attitude toward a play\nas to be of little service in its support \".\nThese last are the so-called \" high-\nbrows n. A wretched set, we always\nthink.\nThe real supporters, he says, are\n\" Germans, French and Italian n; they\nare n theatre lovers n.\nSo according to Mr. Dickinson the\naudience is of no good at all.\nNow of the other kind of supporters.\nThe financial supporters.\nHe starts by not mentioning them.\nWe therefore think that is the point\non which to concentrate attention.\nMr. Dickinson tells us instead what\nit costs in a city of America per week\nto run a little theatre of this kind,\n£ 1900.0.0. a week is what expe-\nrience shows is the figure.\nOne wonders what an English Lord\nwould say to that: .... did not one in\nEngland promise to give Mr. Gordon\nCraig two thousand pounds odd a year\nfor five years ? That was for a 5ch001,...\nwith a staff of thirty members... and vast\nideas to be carried out.\nIt is not certain whether the full five\nyears support was ever forthcoming.\nNow had £ 1900.0.0. a WEEK,\nbeen required what would England\nand its Lords have said ? (Over seven\nmillions a day is found for purposes\nof war, they say).\nMr. Dickinson then takes us imme-\ndiately into a chapter called n Experi-\nments in Subsidy n. At last, I thought,\nI shall have names and figures.\nNot a bit of it.\nWe are told of the twenty trustees\nand a guarantee fund of $ 25.000\nraised for the New Theatre, Chicago.\n$ 25,000 is £ 5000, .... practically\nnothing. But where are the contribu-\ntors* names ? One wants to see what\neach man* gave.... each fabulously rich\nman and woman.\nWhen I say l? fabulously rich \" I\nmean anyone with an income over\n£ 10.000 to £ 15,000 a year.\nThen Mr. Dickinson quotes the affair\nof the Pittsfield, (Massachusetts) \" Co-\nlonial Theatre n. Fifty citizens, he says,\nbought the Theatre and gave it to a\nMr. Parke to run. 11 At the end of\na year he gave up the task several\nthousand dollars poorer n.\nNow, why can't we know the names\nof those fifty citizens?.... we could\nlook up the records of their income\nand capital.\nThe same story comes from Northamp-\nton, Massachusetts:... and certainly\nhere Mr. Edward H. R. Lyman is\nmentioned. He seems to have been\ngenerous, alone giving to the town n a\nlarge and well-equipped theatre \", etc.\nBut here is the sad part of it, ....\nHe gave it to the Town. Why couldn't\nhe have found an artist in Europe, if\nnot in America, and given it to him ?\nI guarantee that had he done so they\nwould still have Dramatic Art in Nor-\nthampton today.\nI cast no discredit on the doubtless\nfine abilities of Miss Bonstelle or Mr.\nHarrison who were chosen to attempt\nto wake up the Inhabitants of North-\nampton, Mass. when I assert that if\nNorthampton's leaders....and Mr. Lyman\nwas one of them .... had gone to a very\nlittle trouble to find one of the few\nartists on earth, ... and they are easily\nfound.... Northampton would have had\nto wake up... or become the laughing-\nstock of the States.\nIt was at this Theatre in America\nthat Sir Johnson Forbes Robertson\nplayed f! Hamlet n for the last time, and\nin his speech said to the Inhabitants:\nn No matter what it costs you, do not\ngive up your Municipal Theatre n.\nThe \" what it costs you H is good.\nBut there are among the citizens some\nSkinflints surely, and not to have been\nable to keep Miss Bonstelle and Mr.\nHarrison was a step backwards.\nSo we reach the end of this pro-\nmising chapter on 11 Experiments in\nSubsidy n without one supporter being\nnamed except Mr. Lyman,... and he\nshows up well.\nThe whole error of Mr. Dickinson\nexcellent book is the error of all such\nbooks and of the whole New Move-\nment. It will not face the truth.\n\n(i) Some notes on this book appeared\nin \" The Mask N. 6."}, {"page_pdf": 3, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191810-01.1.3", "debut_caractere": 0, "fin_caractere_exclue": 7127, "texte": "The truth is this: ... A Theatre can\nonly be created in a city by two fac-\ntors:... a great artist and a millionaire,\n(for you see what groups and committees\ndo). Both mu t give their best, and gene-\nrously.\nRead the History of Art and don't\nblink the Truth. In the old days there\nwere great ideas, greatly supported...\ngreatly carried out.\n.... In Rome,... in Florence.... in\nParis,... in Venice, ... in Potsdam, ...\nin St. Petersberg.\nHow ?\nBy giants ? .... who ? .... Artists and\nPatrons, each one of them n a big\nman lf Sometimes, .... rarely, .... a\nbig-minded woman.\nIn England only, great artists were\nunrecognized. There was always a\nstingyness about England in its support\nof great art.\nAnd America has caught this bad\nquality from the English nation, for\nthis reason .... that it thinks in English\nand feels as an Englishman about Art.\nGet it out of you, America: ... Feel\nlike a Spaniard, or, better still, like an\nAmerican... be bully generous... swagger\nlike the Lords you are .... beat the\nMedicis, the Popes, the Sforzas and\nthe Bourbons at their own game. Do\nthe big thing bigly.,.. and for heaven's\nsake do not perpetuate the awful mean-\nness of the Lickpennies.\nSo here we have the root from\nwhich the popularity of the. \" Little\nTheatre\" springs:... Meanness, Parsi-\nmony; Little Things pleasing or expressing\nLittle and ungenerous minds.\nNo other explanation can throw light\non this Little Theatre movement.\nIn the New Movement I recognize\nas original creative artists but four\nYvette Guilbert, Isadora Duncan, Appia,\nCraig; of the Dramatists I do not\nspeak here for it is not the Dramatist\nwho has been the prime mover in this\nRenaissance of our most ancient Art of\nthe Theatre. After these four come the\nsuccessful impresarios, men of taste or\npower, and distinctly not creative artists.\nReinhardt, Stanislawsky, Djagelew and\nRouch£; for Antoine has, I gather,\nretired, and after these come a long list\nof good men and true such as Hevesi,\nRooyards, Dumont, Fuchs, Starke,\nBakst, Barker, Poel, Copeau, Poe„ and\nso forth, too many to record here.\nAnd then the students.... many who\nmight perhaps have been far better\nemployed.... some at hunting the alli-\ngator, others in a museum.... a third\ngroup sent to sea.... a fourth emplo-\nyed in a furniture stores.... a fifth as\ngardeners..... a sixth at culling the ever-\npopular water cresses and selling them....\ndoing, in short, any mortal useful thing,\nanything except pretending to be stu-\ndents of art. For not feeling anything\nat all in any way turbulent in their na-\ntures, they took up stage work for all and\nany reason but the right ones.... and there\nare but few.... they took it up as one\ntakes up what seems a soft job ; and\nnearly every one of these students has\na Little Theatre today or is a celebrated\ncritic of the Theatre.\nWe all know it's not their fault\nor before long everyone will know: it's\nthe fault of the family of Skinflints.\nHad Miss Isadora Duncan had\nlet us say, an eighth of a million to\nplay with, do you suppose for a mo-\nment that she would not have founded\na 5ch001.... several theatres on such a\nscale as to make the little Dalcroze\neffort and all the hopping heresies of\nthe Wiesenthal sisters, the Morrises and\nthe rest of the \" Salomes n unnecessary ?\nThese futile immitators would have\ngone to Miss Duncan's school or to\none of the theatres and would have\nthere learnt to Wait\nsuch a bad thing to learn either. It is\nonly by a tendency to Wait (add a\ncapacity) that a diamond is born.\nIf paste is as good to you, you should\nhave paste. To me it is not. So you see\nwhat these earnest ones have lost by the\nSkinflints refusing to hand over half a\nmillion to Miss Isadora Duncan.\nThe same thing applies to Yvette\nGuilbert. An eighth of a million to\nbegin with for her.\nWith Craig and Appia maybe it\nis the same.\nTo these four artists let them but\nbe in a position to pay their pupils\nwell all the possible talent of the\nage would have flowed. Slowly, with-\nout the awful haste of the Ameri-\ncans or the smug slowness of the\nEnglish, four great schools would have\narisen.\nThe Theatre would then have been\nsafe for Aristocracy and by that I\nmean the only aristocracy worthy the\nname... that of blood, character or\ncreative power.\nAs it is the Theatre is a poor concern\nand the poor Little Theatres a little\ntoo ridiculous.\nEven Mr. Ames, quite one of the\nmost short-sighted impresarios on earth,\ndeserved better than that pokey little\nback-street affair in New York. Mr.\nAmes, who really has a genius for\ndoing the wrong thing when given the\nchance, should have been allowed to do\nit large. It would have found him\n0ut.... Amd he would, let us all hope,\nhave seen reason for accepting the post\nof business man or assistant stage-ma-\nnager to some really capable first class\nman in America.\nWhy should he have been allowed\nto n do it large n? Because then The\nPublic instead of a clique would have\njudged his efforts and judged them as\nthey sample their beer, their bread and\ntheir tobacco:\nHad these awful Skinflints men-\ntioned previously been responsible peo-\nple and not so close-fisted thieves,\nMr. Browne, the Englishman of Chicago,\ncould have developed admirably... if his\ntendency to take himself so seriously\nhad been nipped in the bud.... if he\nhad been under some sort of public\ninstead of clique discipline.\nMr. Hume might have begun to see\nwith his own eyes had he been con-\ntent to train:... Mr. Jones, too.\nMr. Urban of course was hopeless\nfrom the first; began too late in life,\nand then far too near Vienna - in\nVienna, in fact.\nBut there are others than Messrs\nBrowne, Hume, Jones and Urban : one\ncan remember that.\nThere are some far more serious, far\nless uninformed men coming along:...\nin the different groups are both men\nand women of determination, and we\nhope and believe of talent: men and\nwomen one does not hear of until they\nreally have won their spurs. These art\nreally TRAINING, we think.\nTraining does this for a man.... it\nmakes a man of him, both physically\nand mentally.\nNow the first thing training teaches a\nman is to use initiative : to Be Himself;\nrely on himself: stop thinking of himself....\nand go for the enemy. The Enemy of\nArt is a conglomerate thing in oneself\nBlindness, Conceit, and Ape facility\nallied to Timidity, Ignorance (this clings to\nan undisciplined man even after ten years\nwork: very often so); especially Igno-\nrance ©f why one is trying to be an artist;\nand utter Incapacity to perceive that\none should never try to be that. One\nIS that or one never is ; if never....\nthen give it up and determine to be\na tip-top sound craftsman.\nAND NO IV THE CREATIVE POINT\nOF THIS DESTRUCTIVE ESSAY.\nBut here at this parting of the ways\nvanity too often steps in and prevents\nany such sound renunciation. The wise\nfriends or relations urge the blind one to\nup and do and prove in five years how\nlittle right he had to go on trying to\nbe what Nature had said no to. But\nit is true: Craftsmen is what these quan-\ntities of half-baked artists should aim to\nbe: and if 30,000 so-called artists of\ntoday would stop calling themselves ar-\ntists, stop trying to express originally what"}, {"page_pdf": 4, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191810-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 1966, "texte": "they even fail to have seen, and would\ndevote all their time to becoming expert\nin any single branch of craftsmanship. (i)\nTHE THEATRE WOULD STILL BE\nSA FED A T THIS THE LAST HOUR.\nWho shall pay these 30.000 is a\ndifficult thing for me to know. There is\nplenty of money on earth, as is being\nproved daily ; far more than we expected\nplenty for any reasonable extrava-\ngance. Who shall pay the men so as to\nprevent this drunken orgy of artisticness\nand little nothings, and produce instead\na regular increase of fine honest crafts-\nmanship ? The State may have to look\ninto the matter. I wish it would.\nSelf-employed and self-governed ar-\ntists and craftsmen are dog - tired of\nliberty.... that illusion; they are tired\nof little or no pay; of seeing the apes\nof their ideas and especially of their\nfaults or experiments foisted on to a\npublic weary of the very name of Art.\nBut artists and craftsmen, the genuine\nfew, are true as steel to Art. They\nknow the value of what has been\nentrusted to them, if not by God by\nthe very nearest thing to God that\never will be.\nAttention ill one and all, and\neven our good supporters: a message\nfrom Mr Gordon Craig to close the\ntalk:,., he tells me to say this.\nArt is not going to lose its\nbattle. It never has lost yet in\nthe history of the world.\nDon't you think it's a good\nthing to be on the side that\nwins?\nHigher appeal. Don't you\nsee what a blessing it would\nbe to you to feel that\nhad brought the victory nearer\nby half a century ? Then come\nalong and help with a will.\nFor our battles may be 10ng....\nBUT WE NEVER LOSE.\n\n(x) NOTE. With this last twelve lines\nMr. Craig agrees sufficiently to write\non my M. S. which I sent to him to\nread:.... n EXACTLYyou have\nn struck a new path here: this chance\nB remains. And here is the creative\nB point in what otherwise Would he only\nB a destructive paper.\nn But remember, craftsmen must be\nR employed.\n11 Who can be entrusted to employ\n* and pay craftsmen to creative endsn ?"}]}, {"article_id": "bm-bmtnaau-1918-10-01-c005", "article_bluemountain": "bmtnaau_1918-10_01#c005", "volume": "bmtnaau_1918-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "28", "page_fin": "28", "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=bmtnaau191810-01.2.3", "titre_corps": "WAKE UP, ENGLAND!", "titre_sommaire": "WAKE UP, ENGLAND!", "signature_source": "A. E. Haigh", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191810-01.1.4", "debut_caractere": 1968, "fin_caractere_exclue": 2825, "texte": "WAKE UP, ENGLAND!\nTO provide for the amusement of the people (of\nAthens) was considered to be one of the regular\nduties of the government. In England Theatres are\nsimply private enterprises. In some foreign countries\ncertain theatres receive subventions from the state, and are\nsubject to a code of rules ; but for practical purposes\ntheir connexion with the state is only a slight one. But\nin Athens the superintendence of the /annual dramatic\nperformances was just as much a part of the public\nadministration of affairs as was the repair of the dock-\nyards, the equipment of fleets, or the despatch of\narmies.\nA. E. Haigh. \" The Attic Theatre \". O\n(1) And England, which can find seven million a day year after\nyear for war, could not, even in peace times, find even one million a year\nto enable its artists to provide a worthy theatre for its people. Ed."}]}, {"article_id": "bm-bmtnaau-1918-10-01-c006", "article_bluemountain": "bmtnaau_1918-10_01#c006", "volume": "bmtnaau_1918-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "28", "page_fin": "28", "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=bmtnaau191810-01.2.4", "titre_corps": "THE CINEMATOGRAPH", "titre_sommaire": "THE CINEMATOGRAPH", "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": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191810-01.1.4", "debut_caractere": 2827, "fin_caractere_exclue": 4176, "texte": "THE CINEMATOGRAPH\nFOR several years m. world has\nheard of the disastrous effects of the\nCinema upon the theatre. It is sup-\nposed to be a branch of the theatrical\nart which is killing the parent tree ! 1!\nBut from one point of view Cinema\nis, as a matter of fact, not a branch\nof theatrical art, and all it is doing to\nthe theatre is to close some of its su-\nperfluous d00r5.... and this is a very\nexcellent thing.\nIt closes the doors of the Theatre\nwhich lead the public to the Box\noffice scenically one of the best\nthings in the modern theatre. The Ci-\nnema has had an effect upon the Box-\noffice of the Theatre, but not upon the\nTheatre itself. It has prevented vulgar\nenthusiasm for the cheap dramatic stuff\nof the theatre, for it has supplied a\ncheaper dramatic stuff. The vulgar\nenthusiasm now empties itself into the\nCinema Halls, and the theatre is po-\nsitively being saved. So if anything\nthe Cinema has saved the Theatre.\nIf there is anything the Cinema will\nkill it will be Journalism.\nI often hear journalists saying how\nthey are discovering fresh ideas for Ci-\nnema.... a fresh way.... method.... I\nfail to gather what they mean, bu/ I\nsee that their mind is running upon\nCinema and that they speak as a fa-\nther would speak of what he is going:...\nto do with his son when he grows up\nyou know the attitude.\nI think a shock awaits them."}]}, {"article_id": "bm-bmtnaau-1918-10-01-c007", "article_bluemountain": "bmtnaau_1918-10_01#c007", "volume": "bmtnaau_1918-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "28", "page_fin": "28", "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=bmtnaau191810-01.2.5", "titre_corps": "THE SECRET OF SUCCESS IS CONSTANCY OF PURPOSE", "titre_sommaire": "THE SECRET OF SUCCESS IS CONSTANCY OF PURPOSE", "signature_source": "Disraeli", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191810-01.1.4", "debut_caractere": 4178, "fin_caractere_exclue": 4224, "texte": "THE SECRET\nOF SUCCESS\nIS CONSTANCY\nOF PURPOSE."}]}, {"article_id": "bm-bmtnaau-1918-10-01-c008", "article_bluemountain": "bmtnaau_1918-10_01#c008", "volume": "bmtnaau_1918-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "28", "page_fin": "28", "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=bmtnaau191810-01.2.5.1", "titre_corps": "[Illustration sans titre]", "titre_sommaire": "[Illustration sans titre]", "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": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191810-01.1.4", "debut_caractere": 4226, "fin_caractere_exclue": 4246, "texte": "Disraeli.\n1805-1881."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191810-01.1.1", "texte": "THE MASK\nA MONTHLY LEAFLET OF\nTHE ART OF THE THEATRE\nPRICE ONE PENNY\nVOLUME EIGHT: NUMBER SEVEN\nADDRESS: BOX 444. FLORENCE\n\nNAPOLEON'S\nTHEATRE\nNOT EXACTLY A LITTLE THEATRE\nYET NO COMMERCIAL PLAYHOUSE.\nCorneille.\nn Le divertissement le plus doux de nos princes, les du peuple et\nle plaisir des grands n.\n\nWANTED!\nARTISTS AND\nMILLIONAIRES\nTHE INSURGENT THEATRE.\nThomas H. Dickinson. B. W. Huebsch.\n1917. New York.\nA beautifully bound book, well prin-\nted, by an author who has done\nhis work as well as he can do it.\nBut author — publisher — book-\nbinder alike will agree that it's not to\nmake them pretty speeches that they\nsent us the book for Review, but so\nas to strike a few sparks out of the\niron as of old.\nThen let us to the heart of the\nmatter.\nWE know most of the men whose\nwork is written about in the\nbook, which deals with the New Move-\nment in the Theatre — its American\nphase — and in particular with the\nLittle Theatres n.\nWhat brought the Little Theatres\ninto existence in a world that can find\nmore than 20 million pounds a day to\nrun a war ?\nIt was not exactly the generosity of\nthe men with money and a taste for\nart. whom he thinks brought the Little\nTheatres into existence in Europe and\nin America. Was it perhaps their not\nknowing how to spend money ?\nSay we artists were not willing to do\nour best; then how is it we have trium-\nphed? Say we were not all artists —\nwe could have gone to school under\nthe few that are. Say what you will,\nyou cannot say you were generous....\nsome day it will be said that one or\ntwo of you were very mean..,, that\nyou gave us a penny.\nWith our penny in our hands we\nbought a Hat-box second-hand off a\nlittle French milliner, and turned it into\na peep-show.\nEccola — il piccolo teairol... The\nLittle Theatre of Europe and America.\nAnd a pretty makeshift it is. We\nspent the penny on the box, and for-\ngot lunch that day. An awful mistake.\nMoney is a curse unless employed\nto creative ends and generously. Why\nkill ? why cure ? — CREATE I\n« What is the chief error in the New\nMovement ? 11 we asked Gordon Craig\nlast week.\nn The men work too hard and eat\ntoo littel, smoke too little, drink too\nlittle, and are not comfortable at home,11\nhe replied.\nn But you told them to sacrifice. n\n' n Did I ? n he answered. n Then I am\nheartily sorry for they are nearly dead.11"}, {"page_pdf": 2, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191810-01.1.2", "texte": "n Well, but should n't they sacrifice? fl\nHlf they are strong enough to sa-\ncrifice all, and be alive \" he said ; I? but\nto sacrifice so much at first and then\nlater to compromise and accept two-\npenny-half-penny little theatres so that\nthey may feed their personal vanity is\nnot sacrifice. n\n\" Sacrifice vanity.... place and\nabove all altitude, as Austin Harrison\nhas been telling the English Government\nto do.\nRTell me more,\" I urged.\n* Satan ! n he hissed. \"You shirker\nSatan! Would you have me do your\nwork for you? And make clear for\nyou what your own eyes are too lazy\nto search out and see for yourselves?\"\nA most surprising man, to be sure!\nhe was gone in a flash, leaving\nme not exactly peeved, but feeling how\nvery very wrong it was of him to speak\nso to one who respects and cherishes\nall he has done for the theatre; but\nseriously right in essentials. And it was\nafter this late cold douche that I percived\nthat all these little theatres are the pro-\nduct of what we might perhaps call the\nSkinflints of Society the dear pa-\ntrons of Art. Shocking people mean\nas the skeletons of church mice.\nYou may say, for instance, that it was\nvery generous of Miss Alice and Miss Irene\nLewisohn to support the Neighbourhood\nPlayhouse. They are well-to-do ladies,\nbut they went in for teaching Dancing.\nWhat have the teaching of dancing,\nphilanthropy and the generous support\nof the arts in common ?\nThen there is Miss Barnsdall who\ncreated the Little Theatre of Los An-\ngeles. I do not know whether she has\ntalent or no, but she is reported by\n.Miss Mackay in a book called n The\nLittle Theatre in the United States H W\nto be an discoverer of talent n in others.\nn The Little Theatre Players of Denver n\nwere supported by Mrs. Helen Schu-\nster-Martin; n she provided a building\nand a corps of efficient workers \" in\n1915 says Mr. Dickinson, but Miss\nMackaye does not mention her in her\nbook: all she says is that the Denver\ntheatre failed; and her book is dated\n1917'\nMr. Dickinson goes into this question\nof support. He says:\n* The ideal of the new theatre may\nbe distinguished from that of the old\nby their differing standards of support\nNow support is quite indispensable in\nthe theatre. Unlike the other arts, any\none of which may be considered quite\napart from its support, and simply a\nmatter of the artist's own creative\nimpulse, the art of the theatre has no\nexistence except as it is sustained from\nwithout. Support is not the reward\nor the recognition of the artist of the\ntheatre; it is the pre-requisite. It is the\nmaterial with which he works. With-\nout it he cannot work.\nn Now support is of two orders, clearly\nto be distinguished and yet mutually\nconnected. The first is the mental\nsupport upon which the success of every\nplay depends, the support of the minds\nof the audience, The second is the\nfinancial support upon which the ma-\nchinery of the production depends 11\nand he adds: \" a study of the con-\ndition of the stage during several years\nand the witness of the activities of the\nInsurgent Theatres, lead me to believe\nthat in neither respect has support\nbeen healthy for some time past. rr\nHe finds that the Audience in their\nmental support are either too puritani-\ncally suspicious, take no real pleasure\nin the shows, leave their taste in the\ncloakroom as they go in .... or, if con-\nnoisseurs, have become so n critical and\nexpert in the attitude toward a play\nas to be of little service in its support \".\nThese last are the so-called \" high-\nbrows n. A wretched set, we always\nthink.\nThe real supporters, he says, are\n\" Germans, French and Italian n; they\nare n theatre lovers n.\nSo according to Mr. Dickinson the\naudience is of no good at all.\nNow of the other kind of supporters.\nThe financial supporters.\nHe starts by not mentioning them.\nWe therefore think that is the point\non which to concentrate attention.\nMr. Dickinson tells us instead what\nit costs in a city of America per week\nto run a little theatre of this kind,\n£ 1900.0.0. a week is what expe-\nrience shows is the figure.\nOne wonders what an English Lord\nwould say to that: .... did not one in\nEngland promise to give Mr. Gordon\nCraig two thousand pounds odd a year\nfor five years ? That was for a 5ch001,...\nwith a staff of thirty members... and vast\nideas to be carried out.\nIt is not certain whether the full five\nyears support was ever forthcoming.\nNow had £ 1900.0.0. a WEEK,\nbeen required what would England\nand its Lords have said ? (Over seven\nmillions a day is found for purposes\nof war, they say).\nMr. Dickinson then takes us imme-\ndiately into a chapter called n Experi-\nments in Subsidy n. At last, I thought,\nI shall have names and figures.\nNot a bit of it.\nWe are told of the twenty trustees\nand a guarantee fund of $ 25.000\nraised for the New Theatre, Chicago.\n$ 25,000 is £ 5000, .... practically\nnothing. But where are the contribu-\ntors* names ? One wants to see what\neach man* gave.... each fabulously rich\nman and woman.\nWhen I say l? fabulously rich \" I\nmean anyone with an income over\n£ 10.000 to £ 15,000 a year.\nThen Mr. Dickinson quotes the affair\nof the Pittsfield, (Massachusetts) \" Co-\nlonial Theatre n. Fifty citizens, he says,\nbought the Theatre and gave it to a\nMr. Parke to run. 11 At the end of\na year he gave up the task several\nthousand dollars poorer n.\nNow, why can't we know the names\nof those fifty citizens?.... we could\nlook up the records of their income\nand capital.\nThe same story comes from Northamp-\nton, Massachusetts:... and certainly\nhere Mr. Edward H. R. Lyman is\nmentioned. He seems to have been\ngenerous, alone giving to the town n a\nlarge and well-equipped theatre \", etc.\nBut here is the sad part of it, ....\nHe gave it to the Town. Why couldn't\nhe have found an artist in Europe, if\nnot in America, and given it to him ?\nI guarantee that had he done so they\nwould still have Dramatic Art in Nor-\nthampton today.\nI cast no discredit on the doubtless\nfine abilities of Miss Bonstelle or Mr.\nHarrison who were chosen to attempt\nto wake up the Inhabitants of North-\nampton, Mass. when I assert that if\nNorthampton's leaders....and Mr. Lyman\nwas one of them .... had gone to a very\nlittle trouble to find one of the few\nartists on earth, ... and they are easily\nfound.... Northampton would have had\nto wake up... or become the laughing-\nstock of the States.\nIt was at this Theatre in America\nthat Sir Johnson Forbes Robertson\nplayed f! Hamlet n for the last time, and\nin his speech said to the Inhabitants:\nn No matter what it costs you, do not\ngive up your Municipal Theatre n.\nThe \" what it costs you H is good.\nBut there are among the citizens some\nSkinflints surely, and not to have been\nable to keep Miss Bonstelle and Mr.\nHarrison was a step backwards.\nSo we reach the end of this pro-\nmising chapter on 11 Experiments in\nSubsidy n without one supporter being\nnamed except Mr. Lyman,... and he\nshows up well.\nThe whole error of Mr. Dickinson\nexcellent book is the error of all such\nbooks and of the whole New Move-\nment. It will not face the truth.\n\n(i) Some notes on this book appeared\nin \" The Mask N. 6."}, {"page_pdf": 3, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191810-01.1.3", "texte": "The truth is this: ... A Theatre can\nonly be created in a city by two fac-\ntors:... a great artist and a millionaire,\n(for you see what groups and committees\ndo). Both mu t give their best, and gene-\nrously.\nRead the History of Art and don't\nblink the Truth. In the old days there\nwere great ideas, greatly supported...\ngreatly carried out.\n.... In Rome,... in Florence.... in\nParis,... in Venice, ... in Potsdam, ...\nin St. Petersberg.\nHow ?\nBy giants ? .... who ? .... Artists and\nPatrons, each one of them n a big\nman lf Sometimes, .... rarely, .... a\nbig-minded woman.\nIn England only, great artists were\nunrecognized. There was always a\nstingyness about England in its support\nof great art.\nAnd America has caught this bad\nquality from the English nation, for\nthis reason .... that it thinks in English\nand feels as an Englishman about Art.\nGet it out of you, America: ... Feel\nlike a Spaniard, or, better still, like an\nAmerican... be bully generous... swagger\nlike the Lords you are .... beat the\nMedicis, the Popes, the Sforzas and\nthe Bourbons at their own game. Do\nthe big thing bigly.,.. and for heaven's\nsake do not perpetuate the awful mean-\nness of the Lickpennies.\nSo here we have the root from\nwhich the popularity of the. \" Little\nTheatre\" springs:... Meanness, Parsi-\nmony; Little Things pleasing or expressing\nLittle and ungenerous minds.\nNo other explanation can throw light\non this Little Theatre movement.\nIn the New Movement I recognize\nas original creative artists but four\nYvette Guilbert, Isadora Duncan, Appia,\nCraig; of the Dramatists I do not\nspeak here for it is not the Dramatist\nwho has been the prime mover in this\nRenaissance of our most ancient Art of\nthe Theatre. After these four come the\nsuccessful impresarios, men of taste or\npower, and distinctly not creative artists.\nReinhardt, Stanislawsky, Djagelew and\nRouch£; for Antoine has, I gather,\nretired, and after these come a long list\nof good men and true such as Hevesi,\nRooyards, Dumont, Fuchs, Starke,\nBakst, Barker, Poel, Copeau, Poe„ and\nso forth, too many to record here.\nAnd then the students.... many who\nmight perhaps have been far better\nemployed.... some at hunting the alli-\ngator, others in a museum.... a third\ngroup sent to sea.... a fourth emplo-\nyed in a furniture stores.... a fifth as\ngardeners..... a sixth at culling the ever-\npopular water cresses and selling them....\ndoing, in short, any mortal useful thing,\nanything except pretending to be stu-\ndents of art. For not feeling anything\nat all in any way turbulent in their na-\ntures, they took up stage work for all and\nany reason but the right ones.... and there\nare but few.... they took it up as one\ntakes up what seems a soft job ; and\nnearly every one of these students has\na Little Theatre today or is a celebrated\ncritic of the Theatre.\nWe all know it's not their fault\nor before long everyone will know: it's\nthe fault of the family of Skinflints.\nHad Miss Isadora Duncan had\nlet us say, an eighth of a million to\nplay with, do you suppose for a mo-\nment that she would not have founded\na 5ch001.... several theatres on such a\nscale as to make the little Dalcroze\neffort and all the hopping heresies of\nthe Wiesenthal sisters, the Morrises and\nthe rest of the \" Salomes n unnecessary ?\nThese futile immitators would have\ngone to Miss Duncan's school or to\none of the theatres and would have\nthere learnt to Wait\nsuch a bad thing to learn either. It is\nonly by a tendency to Wait (add a\ncapacity) that a diamond is born.\nIf paste is as good to you, you should\nhave paste. To me it is not. So you see\nwhat these earnest ones have lost by the\nSkinflints refusing to hand over half a\nmillion to Miss Isadora Duncan.\nThe same thing applies to Yvette\nGuilbert. An eighth of a million to\nbegin with for her.\nWith Craig and Appia maybe it\nis the same.\nTo these four artists let them but\nbe in a position to pay their pupils\nwell all the possible talent of the\nage would have flowed. Slowly, with-\nout the awful haste of the Ameri-\ncans or the smug slowness of the\nEnglish, four great schools would have\narisen.\nThe Theatre would then have been\nsafe for Aristocracy and by that I\nmean the only aristocracy worthy the\nname... that of blood, character or\ncreative power.\nAs it is the Theatre is a poor concern\nand the poor Little Theatres a little\ntoo ridiculous.\nEven Mr. Ames, quite one of the\nmost short-sighted impresarios on earth,\ndeserved better than that pokey little\nback-street affair in New York. Mr.\nAmes, who really has a genius for\ndoing the wrong thing when given the\nchance, should have been allowed to do\nit large. It would have found him\n0ut.... Amd he would, let us all hope,\nhave seen reason for accepting the post\nof business man or assistant stage-ma-\nnager to some really capable first class\nman in America.\nWhy should he have been allowed\nto n do it large n? Because then The\nPublic instead of a clique would have\njudged his efforts and judged them as\nthey sample their beer, their bread and\ntheir tobacco:\nHad these awful Skinflints men-\ntioned previously been responsible peo-\nple and not so close-fisted thieves,\nMr. Browne, the Englishman of Chicago,\ncould have developed admirably... if his\ntendency to take himself so seriously\nhad been nipped in the bud.... if he\nhad been under some sort of public\ninstead of clique discipline.\nMr. Hume might have begun to see\nwith his own eyes had he been con-\ntent to train:... Mr. Jones, too.\nMr. Urban of course was hopeless\nfrom the first; began too late in life,\nand then far too near Vienna - in\nVienna, in fact.\nBut there are others than Messrs\nBrowne, Hume, Jones and Urban : one\ncan remember that.\nThere are some far more serious, far\nless uninformed men coming along:...\nin the different groups are both men\nand women of determination, and we\nhope and believe of talent: men and\nwomen one does not hear of until they\nreally have won their spurs. These art\nreally TRAINING, we think.\nTraining does this for a man.... it\nmakes a man of him, both physically\nand mentally.\nNow the first thing training teaches a\nman is to use initiative : to Be Himself;\nrely on himself: stop thinking of himself....\nand go for the enemy. The Enemy of\nArt is a conglomerate thing in oneself\nBlindness, Conceit, and Ape facility\nallied to Timidity, Ignorance (this clings to\nan undisciplined man even after ten years\nwork: very often so); especially Igno-\nrance ©f why one is trying to be an artist;\nand utter Incapacity to perceive that\none should never try to be that. One\nIS that or one never is ; if never....\nthen give it up and determine to be\na tip-top sound craftsman.\nAND NO IV THE CREATIVE POINT\nOF THIS DESTRUCTIVE ESSAY.\nBut here at this parting of the ways\nvanity too often steps in and prevents\nany such sound renunciation. The wise\nfriends or relations urge the blind one to\nup and do and prove in five years how\nlittle right he had to go on trying to\nbe what Nature had said no to. But\nit is true: Craftsmen is what these quan-\ntities of half-baked artists should aim to\nbe: and if 30,000 so-called artists of\ntoday would stop calling themselves ar-\ntists, stop trying to express originally what"}, {"page_pdf": 4, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191810-01.1.4", "texte": "they even fail to have seen, and would\ndevote all their time to becoming expert\nin any single branch of craftsmanship. (i)\nTHE THEATRE WOULD STILL BE\nSA FED A T THIS THE LAST HOUR.\nWho shall pay these 30.000 is a\ndifficult thing for me to know. There is\nplenty of money on earth, as is being\nproved daily ; far more than we expected\nplenty for any reasonable extrava-\ngance. Who shall pay the men so as to\nprevent this drunken orgy of artisticness\nand little nothings, and produce instead\na regular increase of fine honest crafts-\nmanship ? The State may have to look\ninto the matter. I wish it would.\nSelf-employed and self-governed ar-\ntists and craftsmen are dog - tired of\nliberty.... that illusion; they are tired\nof little or no pay; of seeing the apes\nof their ideas and especially of their\nfaults or experiments foisted on to a\npublic weary of the very name of Art.\nBut artists and craftsmen, the genuine\nfew, are true as steel to Art. They\nknow the value of what has been\nentrusted to them, if not by God by\nthe very nearest thing to God that\never will be.\nAttention ill one and all, and\neven our good supporters: a message\nfrom Mr Gordon Craig to close the\ntalk:,., he tells me to say this.\nArt is not going to lose its\nbattle. It never has lost yet in\nthe history of the world.\nDon't you think it's a good\nthing to be on the side that\nwins?\nHigher appeal. Don't you\nsee what a blessing it would\nbe to you to feel that\nhad brought the victory nearer\nby half a century ? Then come\nalong and help with a will.\nFor our battles may be 10ng....\nBUT WE NEVER LOSE.\n\n(x) NOTE. With this last twelve lines\nMr. Craig agrees sufficiently to write\non my M. S. which I sent to him to\nread:.... n EXACTLYyou have\nn struck a new path here: this chance\nB remains. And here is the creative\nB point in what otherwise Would he only\nB a destructive paper.\nn But remember, craftsmen must be\nR employed.\n11 Who can be entrusted to employ\n* and pay craftsmen to creative endsn ?\n\nWAKE UP, ENGLAND!\nTO provide for the amusement of the people (of\nAthens) was considered to be one of the regular\nduties of the government. In England Theatres are\nsimply private enterprises. In some foreign countries\ncertain theatres receive subventions from the state, and are\nsubject to a code of rules ; but for practical purposes\ntheir connexion with the state is only a slight one. But\nin Athens the superintendence of the /annual dramatic\nperformances was just as much a part of the public\nadministration of affairs as was the repair of the dock-\nyards, the equipment of fleets, or the despatch of\narmies.\nA. E. Haigh. \" The Attic Theatre \". O\n(1) And England, which can find seven million a day year after\nyear for war, could not, even in peace times, find even one million a year\nto enable its artists to provide a worthy theatre for its people. Ed.\n\nTHE CINEMATOGRAPH\nFOR several years m. world has\nheard of the disastrous effects of the\nCinema upon the theatre. It is sup-\nposed to be a branch of the theatrical\nart which is killing the parent tree ! 1!\nBut from one point of view Cinema\nis, as a matter of fact, not a branch\nof theatrical art, and all it is doing to\nthe theatre is to close some of its su-\nperfluous d00r5.... and this is a very\nexcellent thing.\nIt closes the doors of the Theatre\nwhich lead the public to the Box\noffice scenically one of the best\nthings in the modern theatre. The Ci-\nnema has had an effect upon the Box-\noffice of the Theatre, but not upon the\nTheatre itself. It has prevented vulgar\nenthusiasm for the cheap dramatic stuff\nof the theatre, for it has supplied a\ncheaper dramatic stuff. The vulgar\nenthusiasm now empties itself into the\nCinema Halls, and the theatre is po-\nsitively being saved. So if anything\nthe Cinema has saved the Theatre.\nIf there is anything the Cinema will\nkill it will be Journalism.\nI often hear journalists saying how\nthey are discovering fresh ideas for Ci-\nnema.... a fresh way.... method.... I\nfail to gather what they mean, bu/ I\nsee that their mind is running upon\nCinema and that they speak as a fa-\nther would speak of what he is going:...\nto do with his son when he grows up\nyou know the attitude.\nI think a shock awaits them.\n\nTHE SECRET\nOF SUCCESS\nIS CONSTANCY\nOF PURPOSE.\n\nDisraeli.\n1805-1881.\n\nAll rights reserved Oct. 1918.\nGerente responsabile: Giulio Vanzi.\nTipografia Giuntina. Firenze.\nPRICE ONE PENNY."}]}