{"numero_id": "bm-bmtnaau-1919-01-01", "volume": "bmtnaau_1919-01_01", "ocr_sha256": "0bef1b47703d7bf2e374cc757a84a79d4186070eb84b46584bdb270421d44b3f", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1919/01_01/bmtnaau_1919-01_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1919/01_01/bmtnaau_1919-01_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191901-01", "articles": [{"article_id": "bm-bmtnaau-1919-01-01-c001", "article_bluemountain": "bmtnaau_1919-01_01#c001", "volume": "bmtnaau_1919-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "41", "page_fin": "42", "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=bmtnaau191901-01.2.1", "titre_corps": "A PANIC OF SHEEP : OR 1100 VOTES TO 15", "titre_sommaire": "A PANIC OF SHEEP : OR 1100 VOTES TO 15", "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": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191901-01.1.1", "debut_caractere": 163, "fin_caractere_exclue": 2004, "texte": "A PANIC OF SHEEP.\nOR 1100 VOTES TO 15.\nTHE Drama or Art of the Theatre ....and by that I mean\nall that is not the commerce of the Stage.... while being\nto some extent the product of artists, is nowadays very\noften greatly aided by the Professional or Trade Actor.\nIt is in being ridiculous that the Professional or Trade\nActor aids the Theatre.\nThe following announcement in \" The Times Weekly\nEdition n of November 8th 1918 will show you how.\nBY 1,100 VOTES TO 15.\n\" F)Y 1,100 votes to 15 the Actors' Association decided\nP) last week to go into liquidation that it might be\n\" reconstituted as a trade union. Mr. Sydney Valentine said\n\" it was not desired to hold a pistol at any one's head, but as\n\" a trade union they would be in a position to demand that\n\" contracts should be made fair to the performer. When the\n\" Association recently took their grievances to the managers\n\" they were put off because managements were then con-\n\" cerned with labor troubles. As a trade union they would\n\"be able to shut a Theatre up in 24 hours if their\n\" grievances were not considered \".\nPERHAPS you do not see how this aids the Drama and\nthe Theatre.\nLet me make it clear. The more theatres that are shut\nthe better.\nHow laudable in a Professional is the ambition to close\ntheatres.\nHere in Italy some surprise has been expressed among\nall classes that an English Professional Actor should take so\nlong over what at first sight seems so easy a job Why\ntwenty-four hours ?... when three minutes should be enough.\nI daresay the artists of Europe and America (those not\naffiliated in any trades-union should be enough) will also\nread this announcement with puzzlement. For to tell you\nthe truth it is almost a kind of fixed idea here in Italy\namongst actors, writers and others that the aim of all actors\nis to keep theatres open.\n\nConcluded on page 42."}, {"page_pdf": 2, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191901-01.1.2", "debut_caractere": 0, "fin_caractere_exclue": 2384, "texte": "This belief has been spreading like wildfire, and therefore\nthis strange new suggestion.... this innovation.... which comes\nfrom England ....nay, from London.... that the modern\nactors' ambition is to be talented enough to close a theatre\nin twenty-four hours, has given our theorists a rude shock.\nMr. Valentine's assurance that he and his associates\nwere not desirous of holding any pistol at anyone's head must\nhave brought no end of comfort to the plenipotentiaries who\nwere breathlessly awaiting Messrs Valentine and Orson s\nultimatum in the next room.\nTo close all the Theatres simultaneously could do no\nmanager anything but good :... it would be an act of human\nkindness. But to level stage pistols at the heads of the\nmanagers would be, to say the least of it, very theatrical.\nWe hope'Messrs Valentine and Orson will never\nproceed to such lengths; but will, as they are at last about\nto become real tradesmen, make the most of their opportunity,\nclosing all the theatres they come across without the cost of\na single inch of red flannel, without one dab of vermilion....\nIT must be with special pride that English actors can today\nlook upon their position and the spirit which they bring\nto their work.\nTo the privilege of painting their faces they may now\nadd that of having a grievance.\nTheir grievance is that they are not paid well enough.\nWhereas French and Italian players receive as much as £ 3\nto £ 5 a week, English ' artists ' are paid but £ 20 to £ 30\na week. Some were even forced to accept such ridiculous\nsums as £ 60, £ 80 or even £ 100 a week.\nIt is all very remarkable, this bid for freedom by the\npoor persecuted stage unionists of London.\nI can well imagine that in future no theatre programme\ncan possibly be issued without its T. U. after each name.\nWe have had our Sir JOHN MlLLAIS R. A. Now we\nshall have our Mr. ROSCIUS T. U.\nThus a bill of the play \" Julius Caesar \" would look\nsomething like this:\nJulius Caesar. Sir FRANK BENSON T. U.\nCassius Mr. ORSON T. U.\nBrutus Mr. VALENTINE T. U.\nand so forth.\nLater on perhaps we may be informed by other Letters\nwhether the actor is one of the Labour Party, Bolshevik\n...or simply happy anarchist.\nHenry V. Mr. OSCAR ASCHE L. P.\nFalstaff Mr. WILLIE GOSLING H. A. S.\nNOW indeed may the English actor proudly say with\nall true heroes,\n\" The old guard never dies.... perish the thought!...\n....it surrenders\"."}]}, {"article_id": "bm-bmtnaau-1919-01-01-c002", "article_bluemountain": "bmtnaau_1919-01_01#c002", "volume": "bmtnaau_1919-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "41", "page_fin": "43", "image_debut": 1, "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=bmtnaau191901-01.2.2", "titre_corps": "ABOUT THE STAGE", "titre_sommaire": "ABOUT THE STAGE", "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": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191901-01.1.1", "debut_caractere": 2006, "fin_caractere_exclue": 3835, "texte": "ABOUT THE STAGE.\nBy THE SPECTATORS\nAND PERFORMERS.\nSAINT JOHN CHRYSOSTOM.\ncupidimis inductionem \",\n1V1 n adulterii meditationem \".\n11 Daemonum solemnitates \".\no MADAME D USE. o\nTO save the Theatre the Theatre\nmust be destroyed, the actors and\nactresses must all die of the plague:\nthey poison the air, they make art\nimpossible.\nThe Drama dies of stalls and eve-\nning dress and people who go to the\nTheatre to digest their dinner.\n0 SAINT CYPRIAN, o\n9 y %\n1 HESAURUM pudoris.\nANTON TCH E K O V.\nConstantine. To me the Theatre\nof today is no more than an antiqua-\nted prejudice, a dull routine. When\nthe curtain rises, and all these accom-\nplished actors, these priests of a sa-\ncred art, endeavour to show, by lamp-\nlight, in a room with three walls,\nhow ordinary people eat, drink, love,\nmove about the world ; when a mo-\nrality is preached to us in trivial phrases\nand pictures.... a wretched, common-\nplace morality convenient for house-\nhold use; when the same old story is\ndished up again and again in a thou-\nsand variations; then 1 can do no\notherwise than fly as Maupassant fled\nfrom the Eiffel Tower, whose trivia-\nlity threatened to shatter his soul ! *\nSorin. But you admit that the Thea-\ntre is an important factor in civili-\nzation....\nConstantine. New forms are what\nwe need, new forms. Better have\nnothing at all than cling to the old\ntradition.\no /. M . SYN G E . o\nON the stage one must have reality,\nand one must have joy ; and that\nis why the intellectual modern drama\nhas failed, and people have grown sick\nof the false joy of the musical comedy,\nthat has been given them in place of\nthe rich joy found only in what is\nsuperb and wild in reality,\nE D U A R D S C H U R 6.\nTHE existing theatre is the docile\nand passive image of surrounding\nsociety The theatre of the future will\n\nContinued on page 42 column 2."}, {"page_pdf": 2, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191901-01.1.2", "debut_caractere": 2386, "fin_caractere_exclue": 4652, "texte": "remould man and society to its own\nimage. For it will be the temple of\nthe ideal, the ardent hearth of the\nconscious, free, and creative Soul.\nWOLFGANG *GOETHE.\nIT is well-nigh time that people cea-\nsed talking about the form of dra-\nmatic compositions, about their length\nand shortness, their unities, their be-\nginning, middle and end, and all the rest\nof it; and that we now began to go\nstraightway to their contents* which\nhitherto it seems, have been left to\ntake care of themselves.\nThere is, however, one form which\nis as distinct from the other as the\ninternal sense from the external; a\nform which is not tangible but requires\nto be felt. Our head must be able\nto overlook that which the head of\nanother can grasp; our heart must be\nable to feel that which the heart of\nanother can feel. The intermingling of\nthe rules will not give rise to loose-\nness; and, though the example should\nprove dangerous, yet it is at bottom\nbetter to make a confused piece than\na cold one.\nIndeed, if only more persons were\nalive to this inner form, which com-\nprehends within itself all forms, we\nshould not be disgusted by so many\nabortive productions of the intellect ;\nwriters would not think of expanding\nevery tragic event into a drama and\nof slicing up every novel into a play.\nI wish that some clever individual\nwould parody this twofold nuisance by\narranging, say, the /Esopian fable of\nthe Wolf and the Lamb in the form\nof a tragedy in five acts.\nHe who would work for the stage\nshould, moreover, study the stage, the\neffects of scenography, of lights, of\nrouge, and other colouring matter, of\nglazed linen and spangles. He should\nleave nature in her proper place, and\ntake careful heed not to have recourse\nto anything but what may be perfor-\nmed by children with puppets upon\nboards and laths, together with sheets\nof cardboard and linen.\nSAINT A UGUSTINE.\nSTAGE plays also carried me away,\nfull of images of my miseries, and\nof fuel to my fire. Why is it, that\nman desires to be made sad, beholding\ndoleful and tragical things, which yet\nhimself would by no means suffer ?\nYet he desires as a spectator to feel\nsorrow at them, and this very sorrow\nis his pleasure. What is this but a\nmiserable madness ? For a man is the\nmore affected with these actions, the less"}, {"page_pdf": 3, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191901-01.1.3", "debut_caractere": 0, "fin_caractere_exclue": 5124, "texte": "free he is from such affections. How*\nsoever, when he suffers in his own\nperson, it uses to be styled misery:\nwhen he compassionates others, then\nit is mercy. But what sort of com-\npassion is this for feigned and scenical\npassions ? For the auditor is not cal-\nled on to relieve, but only to grieve :\nand he applauds the actor of these\nfictions the more, the more he grieves.\nAnd if the calamities of those persons,\n(whether of old times, or mere fiction)\nbe so acted, that the spectator is not\nmoved to tears, he goes away disgus-\nted and criticising; but if he be mo-\nved to passion, he stays intent, and\nweeps for joy. M\n11 Muscipulam et caveam n\nn Diavoli turpissimam n.\nGUSTAVE FLAUBERT.\nTHE artist should be in his work\nlike God in creation, invisible and\nall-powerful ; he should be felt every-\nwhere and seen nowhere. Art should\nbe raised above personal affection and\nnervous susceptibility. It is time to\ngive it the perfection of the physical\nsciences by means of a pitiless me-\nthod.\nA UGUSTE STRINDBERG.\na\nMAY we secure a free theatre,\nwhere we shall have freedom\nfor all things save to have no talent\nand to be a hypocrite or a fool.\no TERTULLIAN. o\nPRIVATUM impudicitiae consisto-\nriura.\nWALT WHITMAN.\nOF what is called drama, or dra-\nmatic presentation in the United\nStates, as now put forth at the thea-\ntres, I should say it deserves to be\ntreated with the same gravity, and\non a par with the questions of orna-\nmental confectionary at public dinners,\nor the arrangement of curtains and\nhangings in a ball-room, nor more nor\nless, 1870.\no CHARLES LAMB, o\nTO see Lear acted.... to see an old\ninan tottering about with a stick,\nturned out of doors by his daughters\non a rainy night, has nothing in it\nbut what is painful and disgusting.\nWe want to take him into shelter,\nthat is all the feeling the acting of\nLear ever produced in me. The con-\ntemptible machinery by which they\nmimic the storm which he goes out in,\nis not more inadequate to represent the\nhorror of the real elements than any\nactor can be to represent Lear. They\nmight more easily propose to perso-\nnate the Satan of Milton upon a\nstage, or one of Michaelangelo's terri-\nble figures.... Lear is essentially im-\npossible to be represented on the\nstage.\nW. SAVAGE LANDOR.\nLeontion. I would rather hear a\nlittle about the theatre, and whether\nyou think at last that women should\nfrequent it; for you have often said\nthe contrary.\nEpicurus. I think they should visit\nit rarely; not because it excites their\naffections, but because it deadens them.\nTo me nothing is so odious as to be\nat once among the rabble and among\nthe heroes, and, while I am receiving\ninto my heart the most exquisite of\nhuman sensations, to feel upon my\nshoulder the hand of some inattentive\nand insensible young officer.\nLeontion. Do you derive no plea-\nsure from the representation of a con-\nsumate actor?\nEpicurus. High pleasure ; but liable\nto be overturned in an instant: plea-\nsure at the mercy of anyone who sits\nbeside me.\no o LESS I N G . o o\nWE have actors but no mimetic\nart. If in past times there was\nsuch an art, we have it no longer; it\nis lost, it must be discovered anew.\nThere is enough superficial chatter on\nthe subject in various languages, but\nspecial rules, known to everyone, pro-\nnounced with distinctness and preci-\nsion, according to which the blame or\nthe praise of an actor can be defined\nin a particular case, of such I scarcely\nknow two or three.\nARTHUR S YMO N S.\nLOSING, as we do, something of the\nparticularity of these painted faces,\nwe are ahle to enjoy all the better\nwhat it is certainly important we should\nappreciate if we are truly to ap-\npreciate our puppets. This is nothing\nless than a fantastic, yet a direct re-\nturn, to the Masks of the Greeks : that\nlearned artifice by which tragedy and\ncomedy were assisted in speaking to the\n: world with the universal Voice, by this\ndeliberate generalising of emotion. It\n, will be a lesson to some of our mo-\nf dern notions; and it may be instructive\n\" for us to consider that we could not\nr give a play of Ibsen's to Marionnettes\n, but that we could give them the \" Aga-\ni memnon \".\nBENJAMIN DISRAELI.\nI HAVE a passion for instrumental mu-\n1 sic, but 1 admire little the human\nvoice, which appears to me, with all\nour exertions, a poor instrument. Sense\nand sentiment, too, are always sacrifi-\nced to dexterity and caprice. A grand\norchestra fills my mind with ideas.... I\nforget every thing in the stream of in-\nvention. A prima donna is very ra-\nvishing; but while I listen 1 am a mere\nman of the world, or hardly sufficient\nly well bred to conceal my weariness\"\nCHARLES N O D I E R .\nMARIONNETTES have never been\nhissed, even in France, where\nthey hiss everything.\nWHAT I most admire in the ma-\nrionnettes..,. and I admire nearly\neverything in them.... is the exquisite\ndecorum of this primitive form of the\ndrama.\nANATOLE FRANCE.\nI HAVE an infinite desire to see Ma-\nrionnettes replace living actors. If I\nmust speak all my thought, actors spoil\nthe play for me. I mean good actors..••\nsuch as are found at the Com£die Fran-\ngaise. Their talent is too great. It co-\nvers everything."}]}, {"article_id": "bm-bmtnaau-1919-01-01-c004", "article_bluemountain": "bmtnaau_1919-01_01#c004", "volume": "bmtnaau_1919-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "43", "page_fin": "44", "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=bmtnaau191901-01.2.3", "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": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191901-01.1.3", "debut_caractere": 5126, "fin_caractere_exclue": 5872, "texte": "BOOK REVIEWS.\n\nAN I ME D ANNATE by Corrado\nRicci. Treves. Milano. Illustrated.\nIN this volume of historical studies\nSignor Ricci returns to Bologna, that\ntheatre of so many highly-coloured and\ndramatic events, for his characters; and\ngives us chapters of various types of\nadventurers or criminals of past centu-\nries for whose movements the city ser-\nved as stage.\nHe shows us Ginevra Sforza, B the\nevil genius of the house of Bentivoglio 11;\na natural son of Cesare Borgia; Chri-\nstina Dudley of the family of the Dukes\nof Northumberland, married to the Mar-\nchese Paoletti; her sons and her daugh-\nters, and so ona train of surprising\nfigures brought vividly before us in the\nsetting of one of the most vivid and\npicturesque cities of the time."}, {"page_pdf": 4, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191901-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 5097, "texte": "Signor Ricci has done much for Bo-\nlogna in his careful studies alike of its\npersonalities, its theatres and its burat-\ntini, and to all who understand Italian\nwe recommend his books*\n\nFA THER NOAH and Other Fancies\nby Geoffrey IVhitworth. Chatto & Win-\ndus 1918.\nTHE author of n The Art of Nijinsky ■\nhas made a nice little play with a\nLesson in it and I see no harm in\nthat;... it has some fine moments in it,\nas that one when, after a silence, the\ncooing of the dove is heard outside. I\ndo not really believe William Blake\nwould have made a better drama from\nthe material Mr Pinero would not\nhave attempted it.... and therein is Mr\nPinero so far above us all.... we Blakes,\nKeats, Coleridges, Whitworths and the\nhumble reviewer.... (and what literary.,\ncritic has not tried his hand at a play?).\nMr Pinero rejects Noah in the Ark\nand a lot of water moving outside and\na fearful lot of darkness inside; the\nwhole story and situation he rejects as\nunfit for Dramatic purposes. Now Mr\nWhit worth and the others jump at\nthe things the wise craftsman leaves.\nWhy?.... Ask me another!\nThe sooner we learn again from\ncraftsmen this job of making plays....\nwriting them or improvising them or a\nbit of each, no matter what, so long as\nwe follow some guide who has gone\nbefore, the sooner we shall create good\nplays. It is a job and must be learnt....\nand takes a time to learn.\nOf the poems in the book I only\nknow I could not have written them\nmyself.... (and what literary critic has\nnot tried his hand at a poem?): it\nmust be the easiest thing in the world\nto write poems;.... how then is it that\nsuch a number of indifferent poems get\ninto print?\nIt's the same trouble as with the\nplays. Folk will be making verse\nwithout first speaking to a true poet.\nAnd true poets are the kindest and\nwisest of counsellors, always glad to\ngive all they can.\nI know one Who is, and he did not\nlive far from Euston Row either when\nI knew him.\nWhy not take a bus to Euston\nRow, Mr Whitworth?....\n\nBLACK AND WHITE MAGIC by\nE. H. W. M. and Wilfred Blair.\nB. H. BlacktVell: Oxford. Price\n3/6 net.\nA book of verses, many of them re-\nprinted from w Punch w and 11 The\nSpectator w.\n\nSERBIAN FAIRY TALES, Tran-\nslated by Madame Elodie L. Mijato'\nvich: with illustrations by Sidney Stan-\nley. IV. Heinemann.\nTHERE are sixteen stories and six-\nteen illustrations, some of them in\ncolour.\nSome of the stories are new to us,\nthough all allied more or less directly\nto others we already know: and some\nof them are well worth reading.\n\nTHE WAY OF MARTHA AND\nTHE WA1 OF MARY by Stephen\nGraham. Macmillan. 7/6 net.\nTHE RUSSIAN SCHOOL OF\nPAINTING by Alexandre Benois.\nAlfred A. Knopf. New York.\nTHE first book is about the religious\nidea of the Russian people, and\n* touches also upon the Russian Theatre,\nthe Movements of the peoples, the\nMarket-Place, the Tavern, and many\nphases of Russian life.\nThe second book, translated from\nthe Russian work by M, Benois, con-\ntains 32 reproductions of pictures by\nRussian painters, and a good deal that\nis of interest about the schools of\npainting in the place where they mur-\nder kings and princesses.\nFrankly, I have no use for those places.\n\nINCENSE AND ICONOCLASM.\nStudies in Literature. Charles Leonard\nMorse. Putnam. New York•\nA collection of papers which all\nappeared in n The Dial n and are\ndedicated to the memory of the Founder\nof that paper, Francis Fisher Browne.\nAmong the essays we find : Some\nHindu Dramas: Goethe ....the Old\nView and the New: On Comedy:\nThe Intoxication of Words: The Novel\nand the Play : The Traditions and the\nNew Age: Literature, Music and\nMorals: and many others, maintaining\nthe high standard which we always\nnoted in the literary essays in n The\nDial\n\nTHE JOLLY DUCHESS, Harriot\nMellon, by Charles E. Pearce. Stanley\nPaul and Co•\nTHE book reached us during those\nwar days when The Mask did not\nappear, but, though not one of the\nlatest books, we recommend it as good\nreading, being just what it states itself\non the Title page: A sixty years*\ngossiping record of Stage and Society\n(1777 to 1837), and re'ating all the\nadventures of Miss Harriot Mellon upon\nthe stage, and as Mrs Coutts, and later\n- as the Duchess of St Albans.... Quite\n- amusing.\nThere are forty two illustrations,\nincluding portraits of many of the\nleading players of the period.\n\ni \\\nPOPULAR AMUSEMENTS by\nRichard Henry Edwards. Association\nPress : New York.\nTHIS volume, forming No. 8 in the\nseries of n Studies in American Social\nConditions n which \" are published in\nthe interest of a systematic consideration\nof social questions by groups of citizens n,\nis divided into four Parts: The Problem\n' of Popular Amusements: Proposed\nSolutions of the Problem of Popular\nAmusements: Suggestions for Community\nAction: and Appendix. It contains\nchapters on the Dramatic Group of\nAmusements, ....Serious drama, Melo-\ndrama, Farce, Vaudeville, Motion\npictures, etc.; and on every other\nspecies of Recreation or Amusement\nfor the benefit of the People at large.\nFor us just a trifle too tragic.... but\nsome may like planned - out joy....\n■ i i mmmammmmmmmmmmammmmmmaamammmmmmammmaoammi —"}]}, {"article_id": "bm-bmtnaau-1919-01-01-c005", "article_bluemountain": "bmtnaau_1919-01_01#c005", "volume": "bmtnaau_1919-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "43", "page_fin": "44", "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=bmtnaau191901-01.2.3.1", "titre_corps": "ANIME DANNATE by Corrado Ricci", "titre_sommaire": "ANIME DANNATE by Corrado Ricci", "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": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191901-01.1.3", "debut_caractere": 5141, "fin_caractere_exclue": 5872, "texte": "AN I ME D ANNATE by Corrado\nRicci. Treves. Milano. Illustrated.\nIN this volume of historical studies\nSignor Ricci returns to Bologna, that\ntheatre of so many highly-coloured and\ndramatic events, for his characters; and\ngives us chapters of various types of\nadventurers or criminals of past centu-\nries for whose movements the city ser-\nved as stage.\nHe shows us Ginevra Sforza, B the\nevil genius of the house of Bentivoglio 11;\na natural son of Cesare Borgia; Chri-\nstina Dudley of the family of the Dukes\nof Northumberland, married to the Mar-\nchese Paoletti; her sons and her daugh-\nters, and so ona train of surprising\nfigures brought vividly before us in the\nsetting of one of the most vivid and\npicturesque cities of the time."}, {"page_pdf": 4, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191901-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 183, "texte": "Signor Ricci has done much for Bo-\nlogna in his careful studies alike of its\npersonalities, its theatres and its burat-\ntini, and to all who understand Italian\nwe recommend his books*"}]}, {"article_id": "bm-bmtnaau-1919-01-01-c006", "article_bluemountain": "bmtnaau_1919-01_01#c006", "volume": "bmtnaau_1919-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "44", "page_fin": "44", "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=bmtnaau191901-01.2.3.2", "titre_corps": "FATHER NOAH and Other Fancies by Geoffrey Whitworth", "titre_sommaire": "FATHER NOAH and Other Fancies by Geoffrey Whitworth", "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": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191901-01.1.4", "debut_caractere": 185, "fin_caractere_exclue": 1978, "texte": "FA THER NOAH and Other Fancies\nby Geoffrey IVhitworth. Chatto & Win-\ndus 1918.\nTHE author of n The Art of Nijinsky ■\nhas made a nice little play with a\nLesson in it and I see no harm in\nthat;... it has some fine moments in it,\nas that one when, after a silence, the\ncooing of the dove is heard outside. I\ndo not really believe William Blake\nwould have made a better drama from\nthe material Mr Pinero would not\nhave attempted it.... and therein is Mr\nPinero so far above us all.... we Blakes,\nKeats, Coleridges, Whitworths and the\nhumble reviewer.... (and what literary.,\ncritic has not tried his hand at a play?).\nMr Pinero rejects Noah in the Ark\nand a lot of water moving outside and\na fearful lot of darkness inside; the\nwhole story and situation he rejects as\nunfit for Dramatic purposes. Now Mr\nWhit worth and the others jump at\nthe things the wise craftsman leaves.\nWhy?.... Ask me another!\nThe sooner we learn again from\ncraftsmen this job of making plays....\nwriting them or improvising them or a\nbit of each, no matter what, so long as\nwe follow some guide who has gone\nbefore, the sooner we shall create good\nplays. It is a job and must be learnt....\nand takes a time to learn.\nOf the poems in the book I only\nknow I could not have written them\nmyself.... (and what literary critic has\nnot tried his hand at a poem?): it\nmust be the easiest thing in the world\nto write poems;.... how then is it that\nsuch a number of indifferent poems get\ninto print?\nIt's the same trouble as with the\nplays. Folk will be making verse\nwithout first speaking to a true poet.\nAnd true poets are the kindest and\nwisest of counsellors, always glad to\ngive all they can.\nI know one Who is, and he did not\nlive far from Euston Row either when\nI knew him.\nWhy not take a bus to Euston\nRow, Mr Whitworth?...."}]}, {"article_id": "bm-bmtnaau-1919-01-01-c007", "article_bluemountain": "bmtnaau_1919-01_01#c007", "volume": "bmtnaau_1919-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "44", "page_fin": "44", "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=bmtnaau191901-01.2.3.3", "titre_corps": "BLACK AND WHITE MAGIC by E.H.W.M. and Wilred Blair.", "titre_sommaire": "BLACK AND WHITE MAGIC by E.H.W.M. and Wilred Blair.", "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": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191901-01.1.4", "debut_caractere": 1980, "fin_caractere_exclue": 2158, "texte": "BLACK AND WHITE MAGIC by\nE. H. W. M. and Wilfred Blair.\nB. H. BlacktVell: Oxford. Price\n3/6 net.\nA book of verses, many of them re-\nprinted from w Punch w and 11 The\nSpectator w."}]}, {"article_id": "bm-bmtnaau-1919-01-01-c008", "article_bluemountain": "bmtnaau_1919-01_01#c008", "volume": "bmtnaau_1919-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "44", "page_fin": "44", "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=bmtnaau191901-01.2.3.4", "titre_corps": "SERBIAN FAIRY TALES. Translated by Madame Elodie L Mijalovich", "titre_sommaire": "SERBIAN FAIRY TALES. Translated by Madame Elodie L Mijalovich", "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": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191901-01.1.4", "debut_caractere": 2160, "fin_caractere_exclue": 2504, "texte": "SERBIAN FAIRY TALES, Tran-\nslated by Madame Elodie L. Mijato'\nvich: with illustrations by Sidney Stan-\nley. IV. Heinemann.\nTHERE are sixteen stories and six-\nteen illustrations, some of them in\ncolour.\nSome of the stories are new to us,\nthough all allied more or less directly\nto others we already know: and some\nof them are well worth reading."}]}, {"article_id": "bm-bmtnaau-1919-01-01-c009", "article_bluemountain": "bmtnaau_1919-01_01#c009", "volume": "bmtnaau_1919-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "44", "page_fin": "44", "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=bmtnaau191901-01.2.3.5", "titre_corps": "THE WAY OF MARTHA AND THE WAY OF MARY by Stephen Graham", "titre_sommaire": "THE WAY OF MARTHA AND THE WAY OF MARY by Stephen Graham", "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": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191901-01.1.4", "debut_caractere": 2506, "fin_caractere_exclue": 3152, "texte": "THE WAY OF MARTHA AND\nTHE WA1 OF MARY by Stephen\nGraham. Macmillan. 7/6 net.\nTHE RUSSIAN SCHOOL OF\nPAINTING by Alexandre Benois.\nAlfred A. Knopf. New York.\nTHE first book is about the religious\nidea of the Russian people, and\n* touches also upon the Russian Theatre,\nthe Movements of the peoples, the\nMarket-Place, the Tavern, and many\nphases of Russian life.\nThe second book, translated from\nthe Russian work by M, Benois, con-\ntains 32 reproductions of pictures by\nRussian painters, and a good deal that\nis of interest about the schools of\npainting in the place where they mur-\nder kings and princesses.\nFrankly, I have no use for those places."}]}, {"article_id": "bm-bmtnaau-1919-01-01-c010", "article_bluemountain": "bmtnaau_1919-01_01#c010", "volume": "bmtnaau_1919-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "44", "page_fin": "44", "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=bmtnaau191901-01.2.3.6", "titre_corps": "INCENSE AND ICONOCLASM by Charles Leonard Morse", "titre_sommaire": "INCENSE AND ICONOCLASM by Charles Leonard Morse", "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": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191901-01.1.4", "debut_caractere": 3154, "fin_caractere_exclue": 3698, "texte": "INCENSE AND ICONOCLASM.\nStudies in Literature. Charles Leonard\nMorse. Putnam. New York•\nA collection of papers which all\nappeared in n The Dial n and are\ndedicated to the memory of the Founder\nof that paper, Francis Fisher Browne.\nAmong the essays we find : Some\nHindu Dramas: Goethe ....the Old\nView and the New: On Comedy:\nThe Intoxication of Words: The Novel\nand the Play : The Traditions and the\nNew Age: Literature, Music and\nMorals: and many others, maintaining\nthe high standard which we always\nnoted in the literary essays in n The\nDial"}]}, {"article_id": "bm-bmtnaau-1919-01-01-c011", "article_bluemountain": "bmtnaau_1919-01_01#c011", "volume": "bmtnaau_1919-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "44", "page_fin": "44", "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=bmtnaau191901-01.2.3.7", "titre_corps": "THE JOLLY DUCHESS, Harriot Mellon by Charles E. Pearce", "titre_sommaire": "THE JOLLY DUCHESS, Harriot Mellon by Charles E. Pearce", "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": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191901-01.1.4", "debut_caractere": 3700, "fin_caractere_exclue": 4296, "texte": "THE JOLLY DUCHESS, Harriot\nMellon, by Charles E. Pearce. Stanley\nPaul and Co•\nTHE book reached us during those\nwar days when The Mask did not\nappear, but, though not one of the\nlatest books, we recommend it as good\nreading, being just what it states itself\non the Title page: A sixty years*\ngossiping record of Stage and Society\n(1777 to 1837), and re'ating all the\nadventures of Miss Harriot Mellon upon\nthe stage, and as Mrs Coutts, and later\n- as the Duchess of St Albans.... Quite\n- amusing.\nThere are forty two illustrations,\nincluding portraits of many of the\nleading players of the period."}]}, {"article_id": "bm-bmtnaau-1919-01-01-c012", "article_bluemountain": "bmtnaau_1919-01_01#c012", "volume": "bmtnaau_1919-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "44", "page_fin": "44", "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=bmtnaau191901-01.2.3.8", "titre_corps": "POPULAR AMUSEMENTS by Richard Henry Edwards", "titre_sommaire": "POPULAR AMUSEMENTS by Richard Henry Edwards", "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": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191901-01.1.4", "debut_caractere": 4298, "fin_caractere_exclue": 5097, "texte": "i \\\nPOPULAR AMUSEMENTS by\nRichard Henry Edwards. Association\nPress : New York.\nTHIS volume, forming No. 8 in the\nseries of n Studies in American Social\nConditions n which \" are published in\nthe interest of a systematic consideration\nof social questions by groups of citizens n,\nis divided into four Parts: The Problem\n' of Popular Amusements: Proposed\nSolutions of the Problem of Popular\nAmusements: Suggestions for Community\nAction: and Appendix. It contains\nchapters on the Dramatic Group of\nAmusements, ....Serious drama, Melo-\ndrama, Farce, Vaudeville, Motion\npictures, etc.; and on every other\nspecies of Recreation or Amusement\nfor the benefit of the People at large.\nFor us just a trifle too tragic.... but\nsome may like planned - out joy....\n■ i i mmmammmmmmmmmmammmmmmaamammmmmmammmaoammi —"}]}, {"article_id": "bm-bmtnaau-1919-01-01-c013", "article_bluemountain": "bmtnaau_1919-01_01#c013", "volume": "bmtnaau_1919-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "44", "page_fin": "44", "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=bmtnaau191901-01.2.4", "titre_corps": "EDITORIAL NOTE", "titre_sommaire": "EDITORIAL NOTE", "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": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191901-01.1.4", "debut_caractere": 5099, "fin_caractere_exclue": 5809, "texte": "EDITORIAL NOTE.\n\nDEMOCRATIC KINGS.\n«A/irs Ella Wheeler Wilcox, the\n1VX \" American poetess, speaking\nB to a large gathering at Kingsway\nn Hall, London, said that since she\nn had spent six months in France and\nn Belgium and seen the lives of cons-\nn titutional monarchs she thought that\n\" King George and King Albert were\nn as truly democratic as the President\nnof any Republic n. n Stick to them n.\n(Applause).\nNOW we could not possibly disa-\ngree with Mrs Wilcox the Ame-\nrican poetess, but our weakness would\nbe to put it the other way round;\nand so, if we were for paying a com-\npliment forwards, we should say of a\nfine President, ...Mr Wilson, for exam-\nple... that we think him as truly Royal\nas any King."}]}, {"article_id": "bm-bmtnaau-1919-01-01-c014", "article_bluemountain": "bmtnaau_1919-01_01#c014", "volume": "bmtnaau_1919-01_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "44", "page_fin": "44", "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=bmtnaau191901-01.2.4.1", "titre_corps": "DEMOCRATIC KINGS", "titre_sommaire": "DEMOCRATIC KINGS", "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": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191901-01.1.4", "debut_caractere": 5116, "fin_caractere_exclue": 5809, "texte": "DEMOCRATIC KINGS.\n«A/irs Ella Wheeler Wilcox, the\n1VX \" American poetess, speaking\nB to a large gathering at Kingsway\nn Hall, London, said that since she\nn had spent six months in France and\nn Belgium and seen the lives of cons-\nn titutional monarchs she thought that\n\" King George and King Albert were\nn as truly democratic as the President\nnof any Republic n. n Stick to them n.\n(Applause).\nNOW we could not possibly disa-\ngree with Mrs Wilcox the Ame-\nrican poetess, but our weakness would\nbe to put it the other way round;\nand so, if we were for paying a com-\npliment forwards, we should say of a\nfine President, ...Mr Wilson, for exam-\nple... that we think him as truly Royal\nas any King."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191901-01.1.1", "texte": "rpi ip 1\\ /I A 0\nI I 1rH \\/l / \\ |V\nI 1 ILL 1V\nA MONTHLY LEAFLET OF\nTHE ART OF THE THEATRE\nPRICE ONE PENNY\nVOLUME EIGHT: NUMBER ELEVEN\nADDRESS: BOX 444. FLORENCE\n\nA PANIC OF SHEEP.\nOR 1100 VOTES TO 15.\nTHE Drama or Art of the Theatre ....and by that I mean\nall that is not the commerce of the Stage.... while being\nto some extent the product of artists, is nowadays very\noften greatly aided by the Professional or Trade Actor.\nIt is in being ridiculous that the Professional or Trade\nActor aids the Theatre.\nThe following announcement in \" The Times Weekly\nEdition n of November 8th 1918 will show you how.\nBY 1,100 VOTES TO 15.\n\" F)Y 1,100 votes to 15 the Actors' Association decided\nP) last week to go into liquidation that it might be\n\" reconstituted as a trade union. Mr. Sydney Valentine said\n\" it was not desired to hold a pistol at any one's head, but as\n\" a trade union they would be in a position to demand that\n\" contracts should be made fair to the performer. When the\n\" Association recently took their grievances to the managers\n\" they were put off because managements were then con-\n\" cerned with labor troubles. As a trade union they would\n\"be able to shut a Theatre up in 24 hours if their\n\" grievances were not considered \".\nPERHAPS you do not see how this aids the Drama and\nthe Theatre.\nLet me make it clear. The more theatres that are shut\nthe better.\nHow laudable in a Professional is the ambition to close\ntheatres.\nHere in Italy some surprise has been expressed among\nall classes that an English Professional Actor should take so\nlong over what at first sight seems so easy a job Why\ntwenty-four hours ?... when three minutes should be enough.\nI daresay the artists of Europe and America (those not\naffiliated in any trades-union should be enough) will also\nread this announcement with puzzlement. For to tell you\nthe truth it is almost a kind of fixed idea here in Italy\namongst actors, writers and others that the aim of all actors\nis to keep theatres open.\n\nConcluded on page 42.\n\nABOUT THE STAGE.\nBy THE SPECTATORS\nAND PERFORMERS.\nSAINT JOHN CHRYSOSTOM.\ncupidimis inductionem \",\n1V1 n adulterii meditationem \".\n11 Daemonum solemnitates \".\no MADAME D USE. o\nTO save the Theatre the Theatre\nmust be destroyed, the actors and\nactresses must all die of the plague:\nthey poison the air, they make art\nimpossible.\nThe Drama dies of stalls and eve-\nning dress and people who go to the\nTheatre to digest their dinner.\n0 SAINT CYPRIAN, o\n9 y %\n1 HESAURUM pudoris.\nANTON TCH E K O V.\nConstantine. To me the Theatre\nof today is no more than an antiqua-\nted prejudice, a dull routine. When\nthe curtain rises, and all these accom-\nplished actors, these priests of a sa-\ncred art, endeavour to show, by lamp-\nlight, in a room with three walls,\nhow ordinary people eat, drink, love,\nmove about the world ; when a mo-\nrality is preached to us in trivial phrases\nand pictures.... a wretched, common-\nplace morality convenient for house-\nhold use; when the same old story is\ndished up again and again in a thou-\nsand variations; then 1 can do no\notherwise than fly as Maupassant fled\nfrom the Eiffel Tower, whose trivia-\nlity threatened to shatter his soul ! *\nSorin. But you admit that the Thea-\ntre is an important factor in civili-\nzation....\nConstantine. New forms are what\nwe need, new forms. Better have\nnothing at all than cling to the old\ntradition.\no /. M . SYN G E . o\nON the stage one must have reality,\nand one must have joy ; and that\nis why the intellectual modern drama\nhas failed, and people have grown sick\nof the false joy of the musical comedy,\nthat has been given them in place of\nthe rich joy found only in what is\nsuperb and wild in reality,\nE D U A R D S C H U R 6.\nTHE existing theatre is the docile\nand passive image of surrounding\nsociety The theatre of the future will\n\nContinued on page 42 column 2."}, {"page_pdf": 2, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191901-01.1.2", "texte": "This belief has been spreading like wildfire, and therefore\nthis strange new suggestion.... this innovation.... which comes\nfrom England ....nay, from London.... that the modern\nactors' ambition is to be talented enough to close a theatre\nin twenty-four hours, has given our theorists a rude shock.\nMr. Valentine's assurance that he and his associates\nwere not desirous of holding any pistol at anyone's head must\nhave brought no end of comfort to the plenipotentiaries who\nwere breathlessly awaiting Messrs Valentine and Orson s\nultimatum in the next room.\nTo close all the Theatres simultaneously could do no\nmanager anything but good :... it would be an act of human\nkindness. But to level stage pistols at the heads of the\nmanagers would be, to say the least of it, very theatrical.\nWe hope'Messrs Valentine and Orson will never\nproceed to such lengths; but will, as they are at last about\nto become real tradesmen, make the most of their opportunity,\nclosing all the theatres they come across without the cost of\na single inch of red flannel, without one dab of vermilion....\nIT must be with special pride that English actors can today\nlook upon their position and the spirit which they bring\nto their work.\nTo the privilege of painting their faces they may now\nadd that of having a grievance.\nTheir grievance is that they are not paid well enough.\nWhereas French and Italian players receive as much as £ 3\nto £ 5 a week, English ' artists ' are paid but £ 20 to £ 30\na week. Some were even forced to accept such ridiculous\nsums as £ 60, £ 80 or even £ 100 a week.\nIt is all very remarkable, this bid for freedom by the\npoor persecuted stage unionists of London.\nI can well imagine that in future no theatre programme\ncan possibly be issued without its T. U. after each name.\nWe have had our Sir JOHN MlLLAIS R. A. Now we\nshall have our Mr. ROSCIUS T. U.\nThus a bill of the play \" Julius Caesar \" would look\nsomething like this:\nJulius Caesar. Sir FRANK BENSON T. U.\nCassius Mr. ORSON T. U.\nBrutus Mr. VALENTINE T. U.\nand so forth.\nLater on perhaps we may be informed by other Letters\nwhether the actor is one of the Labour Party, Bolshevik\n...or simply happy anarchist.\nHenry V. Mr. OSCAR ASCHE L. P.\nFalstaff Mr. WILLIE GOSLING H. A. S.\nNOW indeed may the English actor proudly say with\nall true heroes,\n\" The old guard never dies.... perish the thought!...\n....it surrenders\".\n\nremould man and society to its own\nimage. For it will be the temple of\nthe ideal, the ardent hearth of the\nconscious, free, and creative Soul.\nWOLFGANG *GOETHE.\nIT is well-nigh time that people cea-\nsed talking about the form of dra-\nmatic compositions, about their length\nand shortness, their unities, their be-\nginning, middle and end, and all the rest\nof it; and that we now began to go\nstraightway to their contents* which\nhitherto it seems, have been left to\ntake care of themselves.\nThere is, however, one form which\nis as distinct from the other as the\ninternal sense from the external; a\nform which is not tangible but requires\nto be felt. Our head must be able\nto overlook that which the head of\nanother can grasp; our heart must be\nable to feel that which the heart of\nanother can feel. The intermingling of\nthe rules will not give rise to loose-\nness; and, though the example should\nprove dangerous, yet it is at bottom\nbetter to make a confused piece than\na cold one.\nIndeed, if only more persons were\nalive to this inner form, which com-\nprehends within itself all forms, we\nshould not be disgusted by so many\nabortive productions of the intellect ;\nwriters would not think of expanding\nevery tragic event into a drama and\nof slicing up every novel into a play.\nI wish that some clever individual\nwould parody this twofold nuisance by\narranging, say, the /Esopian fable of\nthe Wolf and the Lamb in the form\nof a tragedy in five acts.\nHe who would work for the stage\nshould, moreover, study the stage, the\neffects of scenography, of lights, of\nrouge, and other colouring matter, of\nglazed linen and spangles. He should\nleave nature in her proper place, and\ntake careful heed not to have recourse\nto anything but what may be perfor-\nmed by children with puppets upon\nboards and laths, together with sheets\nof cardboard and linen.\nSAINT A UGUSTINE.\nSTAGE plays also carried me away,\nfull of images of my miseries, and\nof fuel to my fire. Why is it, that\nman desires to be made sad, beholding\ndoleful and tragical things, which yet\nhimself would by no means suffer ?\nYet he desires as a spectator to feel\nsorrow at them, and this very sorrow\nis his pleasure. What is this but a\nmiserable madness ? For a man is the\nmore affected with these actions, the less"}, {"page_pdf": 3, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191901-01.1.3", "texte": "free he is from such affections. How*\nsoever, when he suffers in his own\nperson, it uses to be styled misery:\nwhen he compassionates others, then\nit is mercy. But what sort of com-\npassion is this for feigned and scenical\npassions ? For the auditor is not cal-\nled on to relieve, but only to grieve :\nand he applauds the actor of these\nfictions the more, the more he grieves.\nAnd if the calamities of those persons,\n(whether of old times, or mere fiction)\nbe so acted, that the spectator is not\nmoved to tears, he goes away disgus-\nted and criticising; but if he be mo-\nved to passion, he stays intent, and\nweeps for joy. M\n11 Muscipulam et caveam n\nn Diavoli turpissimam n.\nGUSTAVE FLAUBERT.\nTHE artist should be in his work\nlike God in creation, invisible and\nall-powerful ; he should be felt every-\nwhere and seen nowhere. Art should\nbe raised above personal affection and\nnervous susceptibility. It is time to\ngive it the perfection of the physical\nsciences by means of a pitiless me-\nthod.\nA UGUSTE STRINDBERG.\na\nMAY we secure a free theatre,\nwhere we shall have freedom\nfor all things save to have no talent\nand to be a hypocrite or a fool.\no TERTULLIAN. o\nPRIVATUM impudicitiae consisto-\nriura.\nWALT WHITMAN.\nOF what is called drama, or dra-\nmatic presentation in the United\nStates, as now put forth at the thea-\ntres, I should say it deserves to be\ntreated with the same gravity, and\non a par with the questions of orna-\nmental confectionary at public dinners,\nor the arrangement of curtains and\nhangings in a ball-room, nor more nor\nless, 1870.\no CHARLES LAMB, o\nTO see Lear acted.... to see an old\ninan tottering about with a stick,\nturned out of doors by his daughters\non a rainy night, has nothing in it\nbut what is painful and disgusting.\nWe want to take him into shelter,\nthat is all the feeling the acting of\nLear ever produced in me. The con-\ntemptible machinery by which they\nmimic the storm which he goes out in,\nis not more inadequate to represent the\nhorror of the real elements than any\nactor can be to represent Lear. They\nmight more easily propose to perso-\nnate the Satan of Milton upon a\nstage, or one of Michaelangelo's terri-\nble figures.... Lear is essentially im-\npossible to be represented on the\nstage.\nW. SAVAGE LANDOR.\nLeontion. I would rather hear a\nlittle about the theatre, and whether\nyou think at last that women should\nfrequent it; for you have often said\nthe contrary.\nEpicurus. I think they should visit\nit rarely; not because it excites their\naffections, but because it deadens them.\nTo me nothing is so odious as to be\nat once among the rabble and among\nthe heroes, and, while I am receiving\ninto my heart the most exquisite of\nhuman sensations, to feel upon my\nshoulder the hand of some inattentive\nand insensible young officer.\nLeontion. Do you derive no plea-\nsure from the representation of a con-\nsumate actor?\nEpicurus. High pleasure ; but liable\nto be overturned in an instant: plea-\nsure at the mercy of anyone who sits\nbeside me.\no o LESS I N G . o o\nWE have actors but no mimetic\nart. If in past times there was\nsuch an art, we have it no longer; it\nis lost, it must be discovered anew.\nThere is enough superficial chatter on\nthe subject in various languages, but\nspecial rules, known to everyone, pro-\nnounced with distinctness and preci-\nsion, according to which the blame or\nthe praise of an actor can be defined\nin a particular case, of such I scarcely\nknow two or three.\nARTHUR S YMO N S.\nLOSING, as we do, something of the\nparticularity of these painted faces,\nwe are ahle to enjoy all the better\nwhat it is certainly important we should\nappreciate if we are truly to ap-\npreciate our puppets. This is nothing\nless than a fantastic, yet a direct re-\nturn, to the Masks of the Greeks : that\nlearned artifice by which tragedy and\ncomedy were assisted in speaking to the\n: world with the universal Voice, by this\ndeliberate generalising of emotion. It\n, will be a lesson to some of our mo-\nf dern notions; and it may be instructive\n\" for us to consider that we could not\nr give a play of Ibsen's to Marionnettes\n, but that we could give them the \" Aga-\ni memnon \".\nBENJAMIN DISRAELI.\nI HAVE a passion for instrumental mu-\n1 sic, but 1 admire little the human\nvoice, which appears to me, with all\nour exertions, a poor instrument. Sense\nand sentiment, too, are always sacrifi-\nced to dexterity and caprice. A grand\norchestra fills my mind with ideas.... I\nforget every thing in the stream of in-\nvention. A prima donna is very ra-\nvishing; but while I listen 1 am a mere\nman of the world, or hardly sufficient\nly well bred to conceal my weariness\"\nCHARLES N O D I E R .\nMARIONNETTES have never been\nhissed, even in France, where\nthey hiss everything.\nWHAT I most admire in the ma-\nrionnettes..,. and I admire nearly\neverything in them.... is the exquisite\ndecorum of this primitive form of the\ndrama.\nANATOLE FRANCE.\nI HAVE an infinite desire to see Ma-\nrionnettes replace living actors. If I\nmust speak all my thought, actors spoil\nthe play for me. I mean good actors..••\nsuch as are found at the Com£die Fran-\ngaise. Their talent is too great. It co-\nvers everything.\n\nBOOK REVIEWS.\n\nAN I ME D ANNATE by Corrado\nRicci. Treves. Milano. Illustrated.\nIN this volume of historical studies\nSignor Ricci returns to Bologna, that\ntheatre of so many highly-coloured and\ndramatic events, for his characters; and\ngives us chapters of various types of\nadventurers or criminals of past centu-\nries for whose movements the city ser-\nved as stage.\nHe shows us Ginevra Sforza, B the\nevil genius of the house of Bentivoglio 11;\na natural son of Cesare Borgia; Chri-\nstina Dudley of the family of the Dukes\nof Northumberland, married to the Mar-\nchese Paoletti; her sons and her daugh-\nters, and so ona train of surprising\nfigures brought vividly before us in the\nsetting of one of the most vivid and\npicturesque cities of the time."}, {"page_pdf": 4, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau191901-01.1.4", "texte": "Signor Ricci has done much for Bo-\nlogna in his careful studies alike of its\npersonalities, its theatres and its burat-\ntini, and to all who understand Italian\nwe recommend his books*\n\nFA THER NOAH and Other Fancies\nby Geoffrey IVhitworth. Chatto & Win-\ndus 1918.\nTHE author of n The Art of Nijinsky ■\nhas made a nice little play with a\nLesson in it and I see no harm in\nthat;... it has some fine moments in it,\nas that one when, after a silence, the\ncooing of the dove is heard outside. I\ndo not really believe William Blake\nwould have made a better drama from\nthe material Mr Pinero would not\nhave attempted it.... and therein is Mr\nPinero so far above us all.... we Blakes,\nKeats, Coleridges, Whitworths and the\nhumble reviewer.... (and what literary.,\ncritic has not tried his hand at a play?).\nMr Pinero rejects Noah in the Ark\nand a lot of water moving outside and\na fearful lot of darkness inside; the\nwhole story and situation he rejects as\nunfit for Dramatic purposes. Now Mr\nWhit worth and the others jump at\nthe things the wise craftsman leaves.\nWhy?.... Ask me another!\nThe sooner we learn again from\ncraftsmen this job of making plays....\nwriting them or improvising them or a\nbit of each, no matter what, so long as\nwe follow some guide who has gone\nbefore, the sooner we shall create good\nplays. It is a job and must be learnt....\nand takes a time to learn.\nOf the poems in the book I only\nknow I could not have written them\nmyself.... (and what literary critic has\nnot tried his hand at a poem?): it\nmust be the easiest thing in the world\nto write poems;.... how then is it that\nsuch a number of indifferent poems get\ninto print?\nIt's the same trouble as with the\nplays. Folk will be making verse\nwithout first speaking to a true poet.\nAnd true poets are the kindest and\nwisest of counsellors, always glad to\ngive all they can.\nI know one Who is, and he did not\nlive far from Euston Row either when\nI knew him.\nWhy not take a bus to Euston\nRow, Mr Whitworth?....\n\nBLACK AND WHITE MAGIC by\nE. H. W. M. and Wilfred Blair.\nB. H. BlacktVell: Oxford. Price\n3/6 net.\nA book of verses, many of them re-\nprinted from w Punch w and 11 The\nSpectator w.\n\nSERBIAN FAIRY TALES, Tran-\nslated by Madame Elodie L. Mijato'\nvich: with illustrations by Sidney Stan-\nley. IV. Heinemann.\nTHERE are sixteen stories and six-\nteen illustrations, some of them in\ncolour.\nSome of the stories are new to us,\nthough all allied more or less directly\nto others we already know: and some\nof them are well worth reading.\n\nTHE WAY OF MARTHA AND\nTHE WA1 OF MARY by Stephen\nGraham. Macmillan. 7/6 net.\nTHE RUSSIAN SCHOOL OF\nPAINTING by Alexandre Benois.\nAlfred A. Knopf. New York.\nTHE first book is about the religious\nidea of the Russian people, and\n* touches also upon the Russian Theatre,\nthe Movements of the peoples, the\nMarket-Place, the Tavern, and many\nphases of Russian life.\nThe second book, translated from\nthe Russian work by M, Benois, con-\ntains 32 reproductions of pictures by\nRussian painters, and a good deal that\nis of interest about the schools of\npainting in the place where they mur-\nder kings and princesses.\nFrankly, I have no use for those places.\n\nINCENSE AND ICONOCLASM.\nStudies in Literature. Charles Leonard\nMorse. Putnam. New York•\nA collection of papers which all\nappeared in n The Dial n and are\ndedicated to the memory of the Founder\nof that paper, Francis Fisher Browne.\nAmong the essays we find : Some\nHindu Dramas: Goethe ....the Old\nView and the New: On Comedy:\nThe Intoxication of Words: The Novel\nand the Play : The Traditions and the\nNew Age: Literature, Music and\nMorals: and many others, maintaining\nthe high standard which we always\nnoted in the literary essays in n The\nDial\n\nTHE JOLLY DUCHESS, Harriot\nMellon, by Charles E. Pearce. Stanley\nPaul and Co•\nTHE book reached us during those\nwar days when The Mask did not\nappear, but, though not one of the\nlatest books, we recommend it as good\nreading, being just what it states itself\non the Title page: A sixty years*\ngossiping record of Stage and Society\n(1777 to 1837), and re'ating all the\nadventures of Miss Harriot Mellon upon\nthe stage, and as Mrs Coutts, and later\n- as the Duchess of St Albans.... Quite\n- amusing.\nThere are forty two illustrations,\nincluding portraits of many of the\nleading players of the period.\n\ni \\\nPOPULAR AMUSEMENTS by\nRichard Henry Edwards. Association\nPress : New York.\nTHIS volume, forming No. 8 in the\nseries of n Studies in American Social\nConditions n which \" are published in\nthe interest of a systematic consideration\nof social questions by groups of citizens n,\nis divided into four Parts: The Problem\n' of Popular Amusements: Proposed\nSolutions of the Problem of Popular\nAmusements: Suggestions for Community\nAction: and Appendix. It contains\nchapters on the Dramatic Group of\nAmusements, ....Serious drama, Melo-\ndrama, Farce, Vaudeville, Motion\npictures, etc.; and on every other\nspecies of Recreation or Amusement\nfor the benefit of the People at large.\nFor us just a trifle too tragic.... but\nsome may like planned - out joy....\n■ i i mmmammmmmmmmmmammmmmmaamammmmmmammmaoammi —\n\nEDITORIAL NOTE.\n\nDEMOCRATIC KINGS.\n«A/irs Ella Wheeler Wilcox, the\n1VX \" American poetess, speaking\nB to a large gathering at Kingsway\nn Hall, London, said that since she\nn had spent six months in France and\nn Belgium and seen the lives of cons-\nn titutional monarchs she thought that\n\" King George and King Albert were\nn as truly democratic as the President\nnof any Republic n. n Stick to them n.\n(Applause).\nNOW we could not possibly disa-\ngree with Mrs Wilcox the Ame-\nrican poetess, but our weakness would\nbe to put it the other way round;\nand so, if we were for paying a com-\npliment forwards, we should say of a\nfine President, ...Mr Wilson, for exam-\nple... that we think him as truly Royal\nas any King.\n\nAll rights reserved January 1919.\nGerente responsabile : Giulio Vanzi.\nTipografia Giuntina. Firenze."}]}