{"numero_id": "bm-bmtnaau-1923-01", "volume": "bmtnaau_1923_01", "ocr_sha256": "2cb94d5ad7aae196e90e5474eb27bd45a1c27ffb62e936094e4fa1b1e7b04d34", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1923_01/bmtnaau_1923_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1923_01/bmtnaau_1923_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01", "articles": [{"article_id": "bm-bmtnaau-1923-01-c002", "article_bluemountain": "bmtnaau_1923_01#c002", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 6, "image_fin": 6, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.2", "titre_corps": "THE ANFITEATRO FLAVIO, ROMA, called IL COLOSSEO", "titre_sommaire": "THE ANFITEATRO FLAVIO, ROMA, called IL COLOSSEO", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 6, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 159, "texte": "THE ANFITEATRO FLAVIO, ROMA, called IL COLOSSEO.\nFrom an Etching by G. B. Piranesi. {1720-1778). The Original Plate measures 28 1/2 x 19 11/16 inchss.\nPlate I."}]}, {"article_id": "bm-bmtnaau-1923-01-c004", "article_bluemountain": "bmtnaau_1923_01#c004", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 9, "image_fin": 10, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.4", "titre_corps": "LITERARY CONTENTS", "titre_sommaire": "LITERARY CONTENTS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 9, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.9", "debut_caractere": 10, "fin_caractere_exclue": 1797, "texte": "LITERARY CONTENTS.\nAUTHOR. PAGE.\nA. B. C. . . . Acting, A Plea for more Breadth in it . . 20\nAmbrose, G. B. . Real Acting . . . . . . . . 12\nBacon, J. Somers . . An old Problem Solved ...... 17\nBalance, John. . . Exhibitions and Books . . . . . 8\nJ. B Big Talk 9\nBull, John . . The Theatre and the State , . . . . 25\nCarrie, Allen . . . Francesco Clerico, A Note on a Portrait . . . 20\nOn Martial, Havell and Callot ..... 26\nCraig, E. Gordon . . A Message, 1919 . . . . . . . 3\nA Word to initiate Volume IX. . . ... 5\nOn the 154 Sonnets of Shakespeare . . . . 18\nS Editor. (J. S.) . . A word about Lambranzi. . . . . . 21\nForeword ......... 1\nn Incorrect n ........ 29\nI Introduction, Volume IX . . . . . 1\n| Theatre Men in Europe ...... 23\nWhat and Who \" The Mask \" don't in believe. . 3\nI Florian, Francois M. . Notes on a Journey 28\nI Klaassen, Jan . . . The International Theatre Exhibition in Amsterdam . 9\nj Nathan, George Jean . Pantaloons A'posture. . . . . . . 15\nf Smith, C. G. . . . An old Book. Note on a Book of Rules ... 25\nI Charing Cross Road in 1975 . . . . 7\n[ j English Contrariness . . . • • • 6\n! llrban, Felix . . , La Salle de Spectacles des Tuileries . . . . 22\nUnsigned Contributions . Among the Visitors . . • . - . . 11\nAmsterdam, London, America . . . . 11\nInternational Theatre Exhibition in London . . . 10\nTheatre of Sabbioneta, translation .... 24\nXX)/C REVIEWS.\nTITLE. AUTHOR. PAGE.\ns.\nBeggar's Opera, The Frank Kidson ... 37\nBritish Drama, A Short History of . . . . Benjamin Brawley 39\nChinese Theatre, The ...... Tchov-kia-kien . . 33\nChinese Drama, Studies in the .... Kate Buss. ... 35\nChronisten der Mode . . . . ■ . Oskar Fischel ... 36\nContinental Stage Craft . . . • . Kenneth Macgowan . . 35\nElizabethans Drama. . • . . . . . Janet Spens ... 39"}, {"page_pdf": 10, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.10", "debut_caractere": 0, "fin_caractere_exclue": 1093, "texte": "TITLE. AUTHOR. PAGE.\nEnglish Pageantry'. . . . . . . Robert Withington . . 38\nExemplary Theatre, The. . . . . H. Granville Barker . . 38\nGreek Theatre and its Drama, The. . . . Roy C. Flickenger . . 38\nLady into Fox ....... David Garnett ... 37\nModerne Buhnenbild, Das . . . . . Oskar Fischel ... 39\nNo Plays of Japan, The. ..... Arthur Waley ... 34\nOld Drama and the New, The .... William Archer. . . 40\nOn the Site of the Globe Play house of Shakespeare George Hubbard . . 34\nPlays ......... Gordon Bottomley . . 39\nRussian Theatre under the Revolution, The . . Oliver Sayler ... 36\nScenes & Machines on the English Stage during the\nRenaissance ....... Lily B Campbell . . 33\nSeneca and Elizabethan Tragedy . . . . F. L. Lucas ... 39\nShakespeare to Sheridan. . . . . Alwin Thaler ... 37\nTheatre of Tomorrow, The ..... Kenneth Macgowan . . 35\nThings that have interested me ... Arnold Bennett ... 36\nTwentieth Century Theatre, The .... William Lyon Phelps. . 38\nWorld in Falseface, The . . . . George Jean Nathan . . 36\nMagazines . . . 40\n•\nTHE PENNY GAFF. LETTERS. FOREIGN NOTES. EDITORIALS."}]}, {"article_id": "bm-bmtnaau-1923-01-c005", "article_bluemountain": "bmtnaau_1923_01#c005", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 10, "image_fin": 10, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.5", "titre_corps": "ILLUSTRATIONS", "titre_sommaire": "ILLUSTRATIONS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 10, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.10", "debut_caractere": 1095, "fin_caractere_exclue": 1737, "texte": "ILLUSTRATIONS.\nPlate 1. The Colosseum, Roma . . . Piranesi .... Face Title Page\nn 2. Arlecchino . . . . . G. M. Mitelli . . \" Page 1\n\" 3. The Guildhall Courtyard, 191 1 . G. Torrance Stephenson \" \"8\n\" 4. Francesco Clerico. . . . Anon .... 11 \"20\n\" 5. Teatro Olimpico, Sabbioneta . Vincenzo Scamozzi . \" \"24\n\" Atto Primo ; \"La Schiava n, 1602 . The Book of Pietro Bartoli . \"13\nDesign from Lambranzi, 1716 . . . Anon . . . . . \"21\nFrontispiece of nLa Supplica 8 . . . Anon . . . . . \"12\nPlan of la Salle de Spectacles des Tuileries Maximilien Brebion. . \"22\nHead and Tail Pieces, from old designs and from woods cuts by C. Borrow & E. Carrick."}]}, {"article_id": "bm-bmtnaau-1923-01-c007", "article_bluemountain": "bmtnaau_1923_01#c007", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 12, "image_fin": 12, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.6", "titre_corps": "ARLECCHINO", "titre_sommaire": "ARLECCHINO", "signature_source": "G. M. Mitelli", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 12, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.12", "debut_caractere": 0, "fin_caractere_exclue": 51, "texte": "ARLECCHINO, by G. M. Mitelli. (4634-1718).\nPlate 2."}]}, {"article_id": "bm-bmtnaau-1923-01-c008", "article_bluemountain": "bmtnaau_1923_01#c008", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1", "page_fin": "2", "image_debut": 13, "image_fin": 14, "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=bmtnaau1923-01.2.7", "titre_corps": "FOREWORD", "titre_sommaire": "FOREWORD", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 13, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.13", "debut_caractere": 10, "fin_caractere_exclue": 730, "texte": "FOREWORD\n\nAFTER THE PRACTISE THE THEORY\nIN 1908 we announced our object:\n!! To bring before an intelligent pub-\nlic many ancient and modern aspects\nof the Theatre's Art which have too\nlong been disregarded or forgotten.\n\" To announce the existence of a\nvitality which already begins to reveal\nitself in a beautiful and definite form\nbased upon an ancient and noble tra-\ndition 11.\nWith all apologies for not shifting\nour ground, our object, if you like it,\nshall be the same today.\nWE still hold to our first maxim, \" After the prac-\ntise the theory \" : we can but still champion the\nArtist, and see in him and in his real supremacy the hope\nof our little stage world : we still claim Leadership for\n\nContinued on page 2"}, {"page_pdf": 14, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.14", "debut_caractere": 0, "fin_caractere_exclue": 1522, "texte": "those who have proved themselves, by their gifts and\ndevelopment, the leaders in the various branches of the\nart; and we want now to see order coming into the\nranks : the leaders in front, and all the rest ranged\nbehind.\nt| To our regret many circumstances have hindered our\nsteady issue of volume after volume since 1919.\nBut this interval has not been unfruitful, nor for a\nday inactive.\nAll of our colleagues have been unremittingly at\nwork. Articles have been written ; papers have been\nwatched for erroneous statements or misleading reports\nrelative to the New Movement in the Theatre, and\nthese corrected by Letters made public by the courtesy\nof the various Editors. A large amount of research\nwork has been accomplished in Theatre history, so that\nwe have been strengthened in our knowledge and un-\nderstanding of the old traditions and laws of the Thea-\ntre ; information already acquired has been coordinated\nand edited : curious books and documents have been\ncollected from many sources to enrich the supply of\nmaterial treating of the Theatre in all ages and lands;\nand work has been done in connection with the Inter-\nnational Theatre Exhibition.\nThis Exhibition has proved that two publics, those\nof Holland and England, are very much alive to the\nvalue of mise-en-scene, ... mise-en-scene being the making\nvisible what is in the words of the dramatist.\nOur Exhibition, then, was made to serve the Drama\nand its parts.\noMORE THANo\nVISITED THE\nINTERNATIONAL\nTHEATRE EXHIBITION\nIN E NGLAND 19 2 2-19 2 3\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1923-01-c010", "article_bluemountain": "bmtnaau_1923_01#c010", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "1", "page_fin": "2", "image_debut": 13, "image_fin": 14, "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=bmtnaau1923-01.2.8", "titre_corps": "1923 : VOLUME NINE", "titre_sommaire": "1923 : VOLUME NINE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 13, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.13", "debut_caractere": 732, "fin_caractere_exclue": 2776, "texte": "1923\nVOLUME NINE\nWE recommence after an interval\nwith a whole Volume and may\nbegin by announcing that on the whole\nthe success of the First Phase of the\nNew Movement in the European Thea-\ntre is assured, although in a few lands\nnot yet even understood.\nSince 1908 we have worked for the\nsuccess of the Movement as a whole,\nnot for anything more parochial.\nO\nThis Movement began like all\nother movements; in a parting with\nlazy folk.\nLazy folk love repetition, easy times,\nshort hours, big pay, .... and time to\nair opinions, place to sow discord, and\nsupposedfy, .... revolution, and all\nthis was offered them by the theatres\nof yesterday.\nO\nThe theatres of today in England\nstill offer the same old opportunities\nfor laziness.\nThat is why the Movement goes on\nand shall go on.\nLazy folk are the curse of everyone\nand everything.\nBut besides these weaker members\nof the Theatre there are the stronger,\nmore promising, but almost as mis-\nchievous folk, the uninformed.\nThese are often taken to be the\nstrong-minded ones, ... the men and\nwomen who \" count n, ... the men and\nwomen of n character ,f. They are\nnot quite all that, but they are more\npromising.\nWith these the New Movement has\nnot yet parted, and will not if they\nwill hurry up a little, and become in-\nformed about the work they are con-\nnected with.\nThey have not yet realized that all\nover JEurope and America thousands of\nmen and women working in Thea-\ntres, ... actors, actresses, playwrights, pro-\nducers, musicians, scenographers, stage-\nmanagers and critics, have taken the\ntrouble to become informed as to the\nexact nature of the Theatre ... its aims, ...\nits hopes, ideals and possibilities.\nIt is these who belong closely to the\nNew Movement, and no others. They\nreceived no free pass into it; they en-\ntered it through their wish and ability\nto understand : they remain in it so\nlong as they understand.\nThis New Movement is towards a\nNew Theatre, a downright Theatrical\nStage in distinction to a merely Literary\nPlayhouse, or a Fashionable thing, or\n\nContinued on page 2"}, {"page_pdf": 14, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.14", "debut_caractere": 1524, "fin_caractere_exclue": 2327, "texte": "a Mechanic or Realistic substitute for\ngenuine Theatricals.\nThis Volume offers our readers a\nglance at a few of the results reached\nin the last twenty years. It records the\nproofs of experiments, as witnessed in\nthe International Theatre Exhibition; it\nrecords the growing desire for research\nand information in regard to Theatrical\nmatters as manifested in the considerable\noutput of Theatre books.\nThe three cities which offer most\nresistence to the progress of the Dra-\nmatic Art are : LONDON, PARIS,\nand NEW YORK.\nFraudulent makeshifts are pushed be-\nfore these three publics by influential\nand self-interested men of talent, and\nthe three cities are too easily taken in\nby these forgeries. n The Mask n will\nwatch and continue to report of them\nto that large public which supports the\nNew Movement."}]}, {"article_id": "bm-bmtnaau-1923-01-c011", "article_bluemountain": "bmtnaau_1923_01#c011", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "2", "page_fin": "2", "image_debut": 14, "image_fin": 14, "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=bmtnaau1923-01.2.9", "titre_corps": "\"LES FRONDEURS\" : from Goethe's Conversations With Eckermann", "titre_sommaire": "\"LES FRONDEURS\" : from Goethe's Conversations With Eckermann", "signature_source": "Eckermann", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 14, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.14", "debut_caractere": 2329, "fin_caractere_exclue": 2955, "texte": "\"LES FRONDEURS\"\nGoethe's Conversations\nWith Eckermann.\n1827. Jan 3. At dinner we talked\nover Canning9s excellent speech for\nPortugal. n Some people, n said\nGoethe, n call this speech coarse ; hut\nthese people knoW n°l what they\nwant they have a morhid desire\nto be frondeurs against all greatness.\nIt is no opposition, it is mere fron-\ndation ; they must have something to\nhate. When Napoleon was alive they\nhated him, and he served as a good\nconduit-pipe. When it was all over\n>\nwith him, they grumbled at the Holy\nAlliance, and yet nothing greater or\nmore beneficial for mankind was ever\ndevised. Now it is Canning's turn. n"}]}, {"article_id": "bm-bmtnaau-1923-01-c013", "article_bluemountain": "bmtnaau_1923_01#c013", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "3", "page_fin": "4", "image_debut": 15, "image_fin": 16, "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=bmtnaau1923-01.2.10", "titre_corps": "1919 1923", "titre_sommaire": "1919 1923", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 15, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 1927, "texte": "1919\n1923\nA MESSAGE FROM GORDON CRAIG\nTHE FOUNDER OF \"THE MASK\"\nJ. S.\nWe issued this \" Message \\ th\" Credo \" \" Mask \\\nat the end of volume eight with our \" Announcement\"\nof the coming Volume. We feel that, after this interval, we\ncannot do better than reprint it, together with the new word\nMr Craig has sent us to initiate Volume Nine.\nWhat rouses my indignation every day is to see a masterpiece and a\nturpitude ranged side hy side. Little talents are cried up, great talents dis-\nparaged ; nothing could be more stupid, nor more immoral. \"\nCorrespondance de G. FLAUBERT, Serie Hi, p. 386.\nNEED THE MASK make any protestations of faith\nthis year ?... You know its beliefs. Do you think\nthey will change today?... Why should they?\nNothing is more easy than that it should remain staunch\nto its Cause.\nft is a Cause which, when it bears fruit, will bring a\nlittle benefit to everybody.\nBut as that Cause is always being misrepresented and\nbelittled by those curious folk who seem to want the world\nto stand still so that they may make a remark and ten per\ncent, let us once more rehearse the Creed.\nq THE MASK BELIEVES in The Theatre and in\nThe Drama whether written, acted, sun# or spoken.\nq THE MASK BELIEVES in it all.\nq THE MASK BELIEVES in the Acfor and in the Actress,\nq IT BELIEVES in the Marionnettes and in Masks.\nq*T BELIEVfc.S in Sceneries and Musics and in Dancing,\nin Dancers, Musicians, Scenographers and Dramatists.\nq BELIEVES in every blessed or cursed thing that ever\nwas, is or shall be in The Theatre.... if Theatrical.\nq BELIEVES in The Theatre of Europe and in the\nTheatre of America. Not alone in one local Theatrical\ngroup.\nq BELIEVES in, and venerates, the great Asiatic Theatre.\nq IT BELIEVES in the FUTURE OF THE THEA TRE\n....not alone in the future of a phase of the London, Paris,\nor Honolulu Theatre, but in the whole.\nfl IT LOVES AND ADORES all that can be called\nThe Theatre.\n\nContinued on page 4"}, {"page_pdf": 16, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.16", "debut_caractere": 0, "fin_caractere_exclue": 2814, "texte": "q IT IS ENTRANCED by the 55 Theatrical. ?! Which\nsome day is to become the Theatrical without inverted commas.\nC| IT LOVES the dust , and the rags and the paint and\nthe daub and dirt of the Old Theatre.... its ancient 5me11....\nits strange air.... its queer ways ... ALL.\nHOW SHOULD\" THE MASK \" NOT LOVE IT ALL?\n€} As for those who misrepresent \" THE MASK, B tell them\nfrom me that we know our own Mother, and what she\nexpects of us, and that no one but she shall dictate to us\nour duty.\n€J THE THEATRE is our Mother. Its arms encircle the\nGlobe. It is not Parochial.... not hypocritical.... not pathetic. ..\nnot pious.... not puffed up.... starched or spotless. Not a piece\nof Virtue without any goodness, but Human.\nIts faults become ours.\nDo you suppose we shall not love these faults.... What?\nOr do you suppose either that we shall tolerate them in\nourselves for 10ng.... What?\nIf our Home is not quite as perfect as that of the other\nMuses it can be..,, and so it shall be.\nGive us time to put it in better order....\nGive us bricks to build the foundations of a new one.\nSend no more incompetents to our aid.... send no more\nadvice, no more weak-kneed patrons.... send us more solid\nassistance if you wi11.... reliable men and enough money....\nwe need both.\nAnd help us by routing misrepresentation.\n€J YOU, OUR READERS AND ENCOURAGERS,\nnail the lies to the doors of the liars....\nThe Tarradiddle that we want no Drama.\nThe Yarn that we want nothing but Scenery.\nThe Whopper that we despise the Actor.... that we wish\nto glorify the Producer 0n1y.... that our theories are rash inno-\nvations, are not based upon the oldest and best traditions....\nAnd that special fib of the fib-mongers, that we are exclusive,\nthat we want a precious Theatre de Luxe.... nail it up N\nWe exclude nothing except the non-Dramatic.... the\nnon-Theatrical; and the great traditions we reverence.\nWe include all and every good form of Theatre in our\nProgramme, we do not exclude the worst: already we have\nchanged some of the worst theatres into good ones.\nSo Trace the lies up and down the cities to the house-\ndoors of the liars and nail them there. Do that part of the\nwork for us and we will do the rest.\n€J And say besides that it was I who asked you to do so\non behalf of THE MASK and the Dramatic Genius of\nthe World.\n\nContinued on page 5\nONE\nOF THE MOST\nSTRIKING\nDIFFERENCES\nBETWEEN A\nCAT AND A LIE\nIS\nTHAT A CAT\nHAS ONLY\nNINE\nLIVES\nMARK TWAIN\no\nYESTERDAY MY ASS SAID TO\nME: \"THERE IS NO DOUBT\nTHAT YOUR STABLE IS ONE\nOF THE CORNERS OF HEA-\nVEN. THERE IS' NO WATER,\nNO GRASS, NO HAY, NO\nOATS. IT IS NO PLACE FOR A\nBEAST: 'TIS FOR AN ANGEL. \"\nO LIE NUMLER ONE NAILED. O\n\" MAN CARRIES UNDER HIS HAT A PRIVATE THEATRE, WHEREIN A GREATER DRAMA\nIS ACTED THAN EVEN ON THE MIMIC STAGE, BEGINNING AND ENDING IN ETERNITY ».\nCarlyle."}]}, {"article_id": "bm-bmtnaau-1923-01-c016", "article_bluemountain": "bmtnaau_1923_01#c016", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "3", "page_fin": "3", "image_debut": 15, "image_fin": 15, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.11", "titre_corps": "WHAT AND WHO \"THE MASK\" DON'T BELIEVE IN", "titre_sommaire": "WHAT AND WHO \"THE MASK\" DON'T BELIEVE IN", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 15, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.15", "debut_caractere": 1929, "fin_caractere_exclue": 3135, "texte": "WHAT AND WHO\n\"THE MASK\"\nDON'T BELIEVE IN\nBooming rubbish for the eternal\nreason.\nBooming rubbish for the other reason.\nBaby-talk plays.\nWaiting till a Fraser dies to make\nhim exaggeratedly famous.\nFirst under-booming Fraser, then\nover-booming Fraser.\nBlake n quite mad n: Blake n grea-\ntest marvel on earth ff.\nMaking a jest of the Theatrical on\nthe stage of a Theatre.\nExposing the n make believe n of\nthe stage to raise a laugh that is\nNihilism in Hammersmith.\nDramatic critics who at heart despise\nand rather like the stage for what it\nbrings in.\nOver-slow discovery of obviously va-\nluable things.\nTaking the Theatre seriously instead\nof being serious.\nn Realism n.\nThe belief in Reality in Art: (there\nbeing no such thing).\nGrein .... not yet.\nThe acting which is praised for con-\nvincing a critic that it is not acting\nat all. ■\nThe A.rt which conceals Art, (i.e...\nRubbish.)\nPhantom Backers,... English, French\nand American.\nn Responsible \" Managers of London\nTheatres.\nBig talk and long discussions on\nShakespeare in the London Press,\nwhile Berlin, New York, Prague,\nParis, produces him rapidly and inces-\nsantly.\nCliques.\nScalping the Dramatic Censor.\nDramatic Colleges which fail to expe-\nriment."}]}, {"article_id": "bm-bmtnaau-1923-01-c017", "article_bluemountain": "bmtnaau_1923_01#c017", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "5", "page_fin": "6", "image_debut": 17, "image_fin": 18, "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=bmtnaau1923-01.2.12", "titre_corps": "AND NOW ANOTHER WORD TO INITIATE VOLUME NINE", "titre_sommaire": "AND NOW ANOTHER WORD TO INITIATE VOLUME NINE", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 17, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 4785, "texte": "AND NOW ANOTHER WORD\nTO INITIATE VOLUME NINE\nWHEN in 1907 I be-\ngan to shape this\n\" Mask \" I wanted to cut\ndeeply into it certain lines\nwhich would give it a de-\nfinite and vivid expression.\nThis I did. These\nlines can to-day be traced,\nby any one sufficiently in-\nterested, by re-reading the\nessays in the first volume,\nissued in 1908 and 1909.\nThis expression on the face of \" The\nMask \" cried out very distinctly \" Let us\nwake up ! men of the European Theatre :\nlet us shake ourselves, and set about a spring-\ncleaning of the old house ; clear out the bric-\na-brac which has accumulated there for cen-\nturies ; start afresh to refurnish : and,\nwhere the building be at all insecure, break\ndown and rebuild it better. Let us come and,\nlearn and understand our house better, so\nthat our best and most ancient traditions shall\nnot be lost but shall be found good again to\nabide by \".\nThe Ancient the Ancient traditions,\n\" The Mask \" has repeated over and over\nagain ; Not the newer \" traditions \" thrust\nforward by restless revolutionaries these last\nhundred and fifty years or more (0, n tradi-\ntions \" made to meet the modest requirements\nof the flaccid minds of modern adventurers in\nour Theatrical realms.\nThose new \" traditions \", \" The Mask \"\ncried out, are too easy, too lax, and utterly\nunworthy of an ancient Theatrical art once\nbuilt up and designed so well by the old\nmasters.\nTo the Ancient Traditions, then!... and\nlet us spare ourselves no pains.\nSearch forward too, cried \" The Mask \",...\nforward to new thoughts, but with immense\ncaution,... for there's little that can be new.\nAnd all the time we search let us make sure\nthat we do not forget the most ancient and\nmost honourable traditions of the past. Carry\nthem in our heads better still, in our very\nbones.\nCrying out that, \" The Mask \" leapt for-\nward expecting many others to follow, and\ncatch up with it, meet at some hut half\nway up the mountain.\nSo far so good. The cry was heard. It\nroused hundreds of men to follow. The thea-\ntrical world was stirred ; it awoke : some of\nits men did wonders.\nBut, while they went forward, they nearly\nall forgot the warning, n Remember not to\nforget the Ancient Traditions ! remember,\nthere is little that can be new! \"\nWhen the rain shall fall upward from\nearth to heaven, and when the roots of the\nflowers shall twist up into the air, their blos-\nsoms open to the dust and in the earth, then\nand then only may we alter in our art.... and\nin the simple and natural rules of the game.\nOur art is to come down like the rain\nand grow up like the flowers : it is not to\nbe made as you plan a campaign or an elec-\ntion ; as you make clock-works, or manipulate\nmachines.\nWe are not to be organizers; we are to\nbe something more in the nature of gardeners.\nSpeed, push, and aplomb have nothing to do\nwith our task; it is patience and attention to\nour few small plants, our small patch of ground\nand our seeds (our own, not our neighbours')....\nand a clear mind about the winds and the\nrains and the forces outside ourselves, and\nsome consideration for our neighbour and his\ngarden, that we need.\nThose of you beginning, as actor, actress,\nscenic man or stage-manager, must go slowly\nand learn what you have to give to fit you\nto create:... if you can give nothing you can\ndecidedly count yourself and your work ended\nbefore you even begin.\nThey say that the times are not good for\n\n(i) What, Goldoniy Beaumarchais, Clair on, Dumesnil, Du-\ncts, Rancourt, Montansier revolutionary 9 Certainly, dange-\nrously so. IVhat, Sophie A mould, Rachel, Nov erre, Vestris,\nLa Guimard, Taglioni, Jagemann, Louis {the architect) and\nBellinit these and their schools restless revolutionaries 9...\nMais 0ut.... very clearly and most unfortunately.... t,\nTheir schools included such honourable names as Charles Kean,\nMacready, Scribe. Dumas Ills, Becque, Tchekov, Tel bin: Verdi,\nGamier, and a hundred others : all destructive.... entirely fatal.\n« Quite alarming !»....« and we thought these very people\nall so traditional».\nZ,oo£ carefully and you will see that all were in revolt\nagainst the design and plans of the old masters. Drama,\nacting, the architecture, the dance, all were being deliberately\nundermined; the most deadly revolution 9\nThe critics backed up this treasonable undertaking most\nmanfully. Dr. Marey in 1884 caps the whole crownless struc-\nture with his bright discovery. In 1 goo came resistence to this\nEuropean conspiracy. And some of you took it for Revolu-\ntion 11! You recall that old Music Hall song, « <2«r Lodger\nis a nice young man » / it ends « Ma-ma told me so ». And so\nwas it with the resistence of 1900. Mama told you it was\nRevolution; —it ivas no such thing. The resistence of 1900\nwhich is now called the New Movement was the first step of\na return to order."}, {"page_pdf": 18, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.18", "debut_caractere": 0, "fin_caractere_exclue": 2426, "texte": "any Art; a double, triple, reason for every\none to wake up and learn his lesson.\n€J And you, in London, do you think all\nthis that I write mere words ? 1 know many\nof you in England do, and 1 am sorry for\nthis. I know you don't in America, France,\nGermany, Holland, Italy, and Russia; and I\nam honoured by that.\nYou in London, couldn't you too possi-\nbly consider the practicality (if no more than\nthat) of waking up so as to begin to see\nthrough your own eyes and your own mind,\nand not any longer with and through the mind\nof Piccadilly Circus and Chelsea, the Bedford\nTavern and the Press Agent, the organizing\nmuse, machines, and the rest of Little London?\nPardon me, but you are certainly odd to\nforget there is a greater London and a still\ngreater world and that the Parish is always\nrather comic: and you a dramatist and\nan actor —■!!\nYou push handsomely through Society,\ndown the High street; you elbow with Pu-\nritanical fire in and out of the Sunday School;\nyou fret and fume with spirit till you arrive\nat the Pump, every now and again stopping\nas though you heard a voice calling from the\ndistance; then you shudder and go on with\nyour big-little talk to drown it, until you\nreach your destination, the Parochial Play-\nhouse ; and there you bring about what others\nin the Parish call 15 big ideas \".... and which,\nwe note, are not your own. You mount a\nplay or six plays ; \" such as Dryden or Ad-\ndison could have written n ; you are \"greater\nthan Polkovsky \", cries the Pump, \" more\nvital than Lippmanstein \" echoes the Steeple,\nand so on and on and over the edge you go.\n€J The times are rather difficult, was there\never a time that was n0t...? But it is always\na more difficult time than before when in-\ntrigue is allowed to interfere with progress as\nmuch as it does today.\n\" The Mask \" wants a Theatre based on\nfriendship a friendship based on an under-\nstanding of and affection for the Theatrical\nart in distinction to the Theatrical profession.\nThe several cliques and most of the indi-\nviduals in the English Theatrical world seem\nvery contented to see their Theatre based\nupon offensive Intrigue. A few foreigners\naccept the same basis. But the others and\nI think these are the men who count want\nto see Intrigue carried out of the place and\nput in its right place a grave, for no reason\nbut that it is worthless and its corpse very\nunpleasant.\nHere there is a lead from \" The Mask \".\nWho will follow it?"}]}, {"article_id": "bm-bmtnaau-1923-01-c020", "article_bluemountain": "bmtnaau_1923_01#c020", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "6", "page_fin": "7", "image_debut": 18, "image_fin": 19, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.13", "titre_corps": "ENGLISH CONTRARINESS", "titre_sommaire": "ENGLISH CONTRARINESS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 18, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.18", "debut_caractere": 2428, "fin_caractere_exclue": 3827, "texte": "ENGLISH CONTRARINESS\n\" Mr Dash's designs for stage scenery are so bare that it would be expecting too much\nof any actor to ask. him to perform in them. They are forbidding, bleak. cold and\nintellectual. All is so severe and plain that,\" ... etc., etc. Daily Press, London.\nWE sometimes are very stupid in\nEngland in the things we say\nabout Stage Scenery. I was reminded\nof this very sharply today on opening\nan old volume of R The Sphere n and\nseeing a design for the Guildhall court\nyard as prepared for the visit of King\nGeorge in 1911. The date of \" The\nSphere w is July 1, 1911.\nHere is a serious place prepared for\na serious but gay ceremony; pre-\npared for n a scene ff ; for the n scene n\nis not there until the actors are there,...\nand that is the whole point.\nWhat do we see in the design for\nwhat we may call the n Scenery n ?\nTwo plain roofs, * two side pieces\nabsolutely plain in form, two side paths\nfree of all obstructions such as posts,\ngarlands, etc., a central path and two\ngrand stands one on each side of the\ncentral path. All is as bare as it can\nbe. Doubtless some touches of colour\nand some few lines are added before\nall is ready. But the form is severe,\nsimple and direct.\nTo animate all this the scene enters it.\nThe grand stands become crowded\nwith the aristocracy of Great Britain;\non the side paths well-known personages\nmove here and there great persons\n\n* See Plate 2,"}, {"page_pdf": 19, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 2211, "texte": "in the service of the King, ...and soon\nthe whole thing wakes up to a climax.\nThe King himself appears; with him\nthe Queen and members of his house-\nhold. The cheers, the rattle of the\nhorses' hoofs, the music, add more life\nto all this: the scene at last exists. And\nnot before.\n€J Now if you ask some one of the\nspectator-actors in all this either one\nof those in the two grand-stands, on\nthe pathways, or in the roadway ....for\nthe people crowd round and form a\nbackground ....if you ask one of this\nthrong what is the scene of a play in a\nTheatre they will tell you it is the\nscenery.\nAnd when you ask them if plain\nsevere scenery or gaudy scenery is best\nfor an inspiring gay situation in Drama\nthey will scout the idea that the plain\nscenery is enough. They will even be\ncontemptuous or crack jokes about\nwill it.\nC| This suggests that it may be a mistake\nto ask spectators anything more\nespecially when they have not analyzed\ntheir experience in a* theatre; and that\nis as it should be. They are not\nexpected to analyze a scene and we\nshould not ask them....\nYet we do so and when we do\nnot there are some egotistical people in\nbox and stall who will push forward\nand proffer their opinion, nay, even\ncome down with their opinion as though\nuttering Gospel. If no one attends\nthey will spend odd quarters of an\nhour here and there pressing their opi-\nnion on all they meet until at last\nw public opinion 11 has been informed\nknows for they are very influencial\ntalkers, these very thoughtless\nthinkers.\nThis is possibly one of the explana-\ntions how it comes about that our stage\nsceneries are generally wrong,\nYet here is n The Sphere n showing\nus the proof that when serious men set\nto work to devise a background even\na built-up-scene, as it is called, for a\nserious but gay ceremony, they simplify\nand avoid all the elaboration they can\nand put no n life n into it,\nThey know. They know that\nthe life of the scene is to come into\nit later.\nTheatre scenic artists forget this as a\nrule, and so do stage-managers ; and\nactors, thus anticipated by talking-sce-\nneries, come into a scene which is\nalready too full of life and discover\nthat there is nothing left for them to\ndo. This they do to perfection."}]}, {"article_id": "bm-bmtnaau-1923-01-c021", "article_bluemountain": "bmtnaau_1923_01#c021", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "7", "page_fin": "7", "image_debut": 19, "image_fin": 19, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.14", "titre_corps": "THE CHARING CROSS ROAD IN 1975", "titre_sommaire": "THE CHARING CROSS ROAD IN 1975", "signature_source": "C. G", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 19, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.19", "debut_caractere": 2213, "fin_caractere_exclue": 6125, "texte": "THE CHARING CROSS\nROAD IN 1975.\nC. G.\nI had written the above Note upon\nthis reproduction in w The Sphere ?!\nwith the reproduction in black and white\nin front of me.\ni then suggested to the Editor of\nn The Mask that he should write to\nMr Clement Shorter to ask if he would\nallow the design to be reproduced, and\nMr. Shorter with great courtesy imme-\ndiately sent the original drawing from\nwhich this block was made.\nWhen this was shown to me I had\na feeling of delight. The repro-\nduction was interesting ...the original\nwas more than that. On the back of\nthe drawing was written 4 G. Torrance\nStephenson * and his address.\nThe fact of it being in my house,\nin my room where I keep several\ndrawings by Bibiena, Galliari and some\nunknown men of the 17th century\nbrought about the delusion that I had\nacquired one more interesting, and cer-\ntainly charming, item for my collection.\nI let myself dream a little. I ima-\ngined myself some fifty years hence\nstopping to look in one of the many\nportfolios of sketches which stand out-\nside or inside the old shops in the\nCharing Cross Road.\nThis drawing would be amongst a\nheap of others inside the shop, that is\ncertain. And I thought, suppose I were\nturning over the drawings and came\nacross this one, what I would think of\nit. (I suppose myself a collector of\nnothing but drawings and prints of ce-\nremonies and stage scenes).\nI should have seen that this design\nwas for some ceremony at some En-\nglish or French town ; ...but where ? I\nshould have asked myself. There's the\nbuilding at the back: I suppose it's\nEnglishj ...but it might be French;\n...the houses on each side look more\nEnglish than French, ...perhaps Scotch.\nIt's not London, anyhow; of that I\nshould have felt certain, for the thing\nis not huge, dark and soot-begrimed,\n...it's all gay and small; some provincial\ntown, certainly. The windows in the\nhouse o» the right look English right\nenough. Yes, it is England, ...and the\nbuilding at the back must surely be\nsome town hall or college.\nNever would I have guessed aright,\nthat it represented London and the\nGuildhall. But I would have bought\nthe charming drawing because it is so\ngood.\nRapidly done, there has been time\nfor the artist's gaiety to get on to the\npaper.\nI should have taken it home and\nlooked up the name in my Biographi-\ncal dictionaries. Should I have found\nhim ? I should have looked him up in\n4 Who's Who ', should 1 have found\nhim ?\nI will look him up now. I wonder\nshall I find him\nNo, he is not there; yet all the\nMr. and Mrs. Mulbray Stones are there,\n...and other great nobodies.\nHere is somebody an artist who\nwas living and working well spite of\nthe difficult requirements of the London\nPress of those years. I do not know\nhim, this is the first time I have\nheard his name. And, while he is no\nRubens, no Rembrandt, he is a good\nartist doing good work in 1911 and no\none seemingly caring to record his\nexistence.\nThere must be some hundreds of\nartists being ignored, except that\nMr, Bulloch, and the Editors of the\nn Sketch n and the n Illustrated London\nNews \" and other journals know them\nand pay them well. That for me is some\nsatisfaction. And to the Historian of\nour times let us hope their work is\nknown, ...their handwork, not alone\ntheir reproductions. For by merely\nlooking at the reproduction given here\nyou would not be able to suppose that\nthe whole drawing has great charm:\nand that it has charm 1 know, for I\nnow possess the original and can answer\nfor it.\nIt seems to me that a month or two\nspent at the publishing offices of 11 The\nSphere n, the n Sketch thew Graphic \"\nand the n Illustrated London News wby\nsome one with an eye to see, and\na certain flair for what's whaf in a\ndrawing, would yield, I believe, pretty\ngood results. (Though Mr. Shorter and\nMr. Bulloch will not thank me for the\nsuggestion!)\nWhy should we have to wait sixty\nto a hundred years before we discover\nwhat is now in front of us ?"}]}, {"article_id": "bm-bmtnaau-1923-01-c023", "article_bluemountain": "bmtnaau_1923_01#c023", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "8", "page_fin": "9", "image_debut": 20, "image_fin": 23, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.15", "titre_corps": "EXHIBITIONS AND BOOKS : A Note by John Balance", "titre_sommaire": "EXHIBITIONS AND BOOKS : A Note by John Balance", "signature_source": "JOHN BALANCE", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 20, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.20", "debut_caractere": 0, "fin_caractere_exclue": 6862, "texte": "EXHIBITIONS AND BOOKS\nA NOTE\nBY JOHN BALANCE\nTHERE has never before been a\nperiod in the theatrical world of\nEurope and America when exhibitions\nof modern theatrical work, and books\non the modern Theatre have been so\nprevalent.\nThe exhibitions began slowly to form\nfrom 1900 onwards, or even before that:\nthere would be one e\\ery three or four\nyears. But between 1912 and 1914\nthey came fast and furious. Mannheim,\nZurich, Cologne, Warsaw, Dublin,...and\nit would have gone on but that the\nwar came and stopped it. The war\nbeing ended, it began again. It was\nnot merely a passing idea ; there was\nconviction behind the whole thing or it\nwould not have begun again. It began\nagain with Zurich in 1920, Torino in\n1921, and in London, where Lovat\nEraser's work was exhibited shortly after\nhis death (1).\nThen came the idea of an Interna-\ntional Exhibition. This originated with\nMr. Frans Mijnssen in Amsterdam.\nMr. Wijdeveld was called in, and con-\nsulted ; and, setting his immense energy\nand his brilliant vision at work, he\nmore or less alone, aided by the un-\ntiring application of Mr. Lensveld, the\nmost erudite of the Dutchmen concerned\nwith theatre technique, practically created\nthe whole thing.\nThe Albert and Victoria Museum at\nSouth Kensington followed after Am-\nsterdam's triumphant achievement, and,\ndoing what France and America were\ntalking of doing, did it straight away\nand transported all to London.\nIt is not the first time that England\nhas been quick and sure instead of\nn slow and sure n ; and this example\nshould encourage us to make the next\nnecessary theatrical move as swiftly and\nas surely.\nManchester, which was prepared, and\nalways neck to neck with London in\nbeing prepared to go one quicker than\nLondon if allowed to, ...and by that\nI mean if the code of good manners\npermits it, for there is never any shoving\nbefore London for n I bag first n in\nEngland, ...Manchester arranged to\ntake the whole thing on after London.\nGlasgow came next (2), then Bradford.\nand there was talk of it going to Ame-\nrica.\nMeantime there has been an important\nexhibition in 1922 in Torino, and one\nin Vienna. In Vienna was displayed\nmuch i7 th and 18th century work as\nwell as a little modern work.\nThese above-mentioned International\nExhibitions have been on a very large\nscale.\no THREE HUNDRED BOOKS, o\nNOW in the first of these post-war\nInternational Exhibitions, that held\nin Amsterdam, there was a very important\nsection devoted to the literature of the\nTheatre ; to the books which had come\nout in the last twenty or thirty years,\nbooks all dealing with that New Move-\nment with which n The Mask n is\nassociated.\nAnd it was something of a discovery\nfor enquirers to find that about three\nhundred books had been issued on the\ntheatre, mainly concerned with this\nNew Movement, in these last twenty to\nthirty years.\nNot theoretical books, but technical\nand historical, and in foreign languages\nas well as in English, while some of\nthose in English are on the Theatres of\nforeign lands.\nThis collection of books which was\ngathered in Amsterdam was not carried\nto England ; but another collection was\nmade, a very fine collection too, which\ncontained fifty out of the three hundred\nmodern books, the rest being very va-\nluable and interesting books of the\nold-time theatre.\no A TIME OF PREPARATION, o\nNOW what is the significance of\nall these Books and Exhibitions ?\nExhibitions and books are not the be-all\nand the end-all of the dramatic world:\nthe play, the actor, the production,\nthese are the real things. But exhibi-\ntions and books have their uses ; they\nprepare the way, and they only come\nin such profusion as lately they have\ndone, when there has been need for\npreparing a new way.\nHow is it that no actor in England,\nGermany, or France, or for that matter\nin Italy, of exactly the eminence and\ndistinction of Irving or Salvini, ...how\nis it that no such actor has appeared ?\nAnd how is it that when the drama of\nIbsen, Strindberg, Brieux, Wilde and\nShaw appeared there was no modern\ntheatre in which to represent their plays,\nno modern setting for these particular\nstones, and nobody to wear them ?\nFor the dramas of these acknowledged\ngreat dramatists of the time have never\nreally been accepted : they have never\nbeen strung round the public's neck.\nAnd the reason is this: there was\nno theatre ready for them (1).\nIt is now an accepted truth that the\ntheatre precedes the drama: that it must\nbe ready and waiting ... awaiting the\narrival of the Drama : that the actor\nmust be ready too, And these exhi-\nbitions and books afford sure proof that\nwe are preparing the theatre for the\ndramatist.\nWhat the actor is doing to prepare\nhimself has not yet been everywhere\nquite clearly demonstrated. That it was\nfound unpractical for him to exhibit in\nLondon when the architectural and\nscenic designs and books were exhibited\nwas unfortunate, but it seems it could\nnot be helped (2).\nThis was chiefly due to the fact that\nthe Exhibition was held in the National\nMuseum at South Kensington where\nperformances are not permitted: but\nthere is nothing to prevent the actor\nfrom organizing an exhibition if any one\nactor has some clear idea how to set\noff performer against performer.\n- True, they show what they can do\nevery evening ; but some of the con-\nditions of the actor's calling are not\ntoday as propitious as the most ventur-\nsome would like, and these perhaps may\nfind away to show the public in some\n\n(1) Besides these larger friendly gathe-\nrings there have been numbers of smaller\nexhibitions of stage work in Europe and\nAmerica. I suppose some 30 to 40 have\nbeen held sinee 1902. J. B.\n(2) Over people visited the\nExhibition i7i England A\n(1) Bernard Shaw is played now here,\nnow there, in every kind of theatre on the\nContinent. He has found no one of these\ndevoting all its time to his work as did\nthe Moscow Art Theatre to the Tchekov\ndrama.\n(2) The following very significant pas-\nsage occurred in a long article by\nMr. Gordon Craig which appeared in the\nLondon « Times »/ January 6th 1922.\nThe Exhibition was held in London five\nmonths later, in June of the same year ;\n« I have not been told whether two of\nthe principal figures in our theatre world\nwill be exhibiting I mean the drama-\ntist and performer. If not we must not\njeer at Amsterdam, for we know that the\ndramatist and the performer are nightly\nexhibiting in every city of the world\nFor my part, if I were ever to direct\nsuch an International Exhibition I should\ntry to make it a sine qua non that the\nmost famous professional dramatists and\nperformers showed the world what they\nwould like to give it, if quite free ».\nMr. Craig was not given the direction\nof this Exhibition, but there were seve-\nral actors and actresses on the Committee.\nThey had probably not read this article.\nThey certainly seem to have taken no\nsteps to profit by the suggestion it con-\ntained Ed."}, {"page_pdf": 23, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 704, "texte": "exhibition many different interesting dis-\ncoveries that they have made in the\nlast twenty years, and are keeping\ndark from us at present because the\nmanagers won't let them display them\nin the nightly theatre.\nWhen such an exhibition does come\nalong, and if it is, we won't say up-to-date\nbut at least not behind the times, the\ncoming dramatist can rejoice for his day\nwill be dawning.\nMeantime some of us think that to\nconcern ourselves with Exhibitions and\nBooks, and the preparatory work of\nwhich they are both the instruments\nand the expression, is the best thing to\ndo while waiting the actor's pleasure,\nWe hope there will be no unne-\ncessary stage wait,\nn Beginners for the second Act,\nplease n I"}]}, {"article_id": "bm-bmtnaau-1923-01-c024", "article_bluemountain": "bmtnaau_1923_01#c024", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 21, "image_fin": 21, "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=bmtnaau1923-01.2.16", "titre_corps": "THE GUILDHALL COURT YARD, LONDON", "titre_sommaire": "THE GUILDHALL COURT YARD, LONDON", "signature_source": "G. Torrance Stephenson", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 206, "texte": "THE GUILDHALL COURT YARD, LONDON, AS PREPARED FOR\nTHE VISIT OF H. M. KING GEORGE V. 1911.\nDrawing by G. Torrance Stephenson Reproduced by kind\nPermission of The Editor of \"The Sphere\". (See Page 6)\nPlate 3."}]}, {"article_id": "bm-bmtnaau-1923-01-c025", "article_bluemountain": "bmtnaau_1923_01#c025", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "9", "page_fin": "9", "image_debut": 23, "image_fin": 23, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.17", "titre_corps": "AMSTERDAM : NOTE ON THE INTERNATIONAL THEATRE EXHIBITION", "titre_sommaire": "AMSTERDAM : NOTE ON THE INTERNATIONAL THEATRE EXHIBITION", "signature_source": "JAN KLAASSEN", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.23", "debut_caractere": 706, "fin_caractere_exclue": 4747, "texte": "AMSTERDAM.\nA NOTE ON THE INTERNATIONAL THEATRE\nEXHIBITION\nBY JAN KLAASSEN.\nWE wish that we could have given our readers Mr Klaassens account of\nthis remarkable Exhibition, as also the following account of the Exhibition\nat South Kensington, immediately after the events themselves and when these\naccounts were sent to us. That unfortunately proved impossible. But n News\nis not merely what happened yesterday. It is any kind of tidings, fresh infor-\nmation, events reported, something told us we did not know before : and a\nfact, if it has any permanent value, can still be n news n a year later if it\nthrows fresh light on a subject or tells us something we did not already know.\nSo we feel tha{ the News of these two Exhibitions is as good today as ever\nfor all who realize how significant a part these great International Exhibitions\nare playing in the Theatre Movement of today. Ed.\nFRIENDS meeting: Friends not\nbent on business, nor on mischief\nbut on good: that sums up the Ams-\nterdam Exhibition of Theatrical Art\nand its value.\n* Its chief merit was that it was Inter-\nnational. It represented the European\nTheatre : it brought together not only\nthe works, but the men, of all the\ntheatres\nHad it been merely a display of what\nHolland alone could do, it would have\nstill been very interesting. Being Inter-\nnational, it became exactly ten times as\ninteresting. Ten nations were repre-\nsented : Holland, Austria, Belgium, En-\ngland, France, Germany, Russia, Scan-\ndinavia, Switzerland, America. A re-\npresentative of five of these nations\nspoke in the small Theatre downstairs.\nProfessor Strnad spoke, and M. Wij-\ndeveld, and M. Lensveld. Mr. Gordon\nCraig spoke as an Englishman, and\nM. Jacques Copeau as a Frenchman,\nand, though I understood Mr. Craig\nwell, I know little French and had to\nrely on a Dutch critic to tell me what\nM. Copeau said. It appeared that he\nsaid more or less what Mr. Craig said;\nand when I told Mr. Craig this, (for\nhe too knows little French), he declared\nthat that in itself was the best of news,\nbecause n our coming together at this\nExhibition was not that we might all\ndisagree with each other but exactly\nthat we might come to agreement n.\nOur land, upon which we have been\nsowing new seed, is the Theatre. The\nsowers and husbandmen are the men\nof the Theatre, of the New Move-\nment. The authoritative critics are the\nwatchmen.\nIn every land there is one or more\nof these, but one anyhow. And\none is enough ...when he is George\nJean Nathan of the United States, or\nMijnheer Buning of Holland. In Ger-\nmany we have Professor Fischel.\nWhat sort of men are these critics ?\n...Well, they are of the oldest and best\ntype. They are direct, bold, clever.\nIt is they who should support the hus-\nbandman, defend his crops from the\nfoxes and the crows. They are con-\ncerned solely with the long slow way\nof nature which repeats itself in art.\nThey care nothing for the hot-houce\nmethod of forcing. This is the affair\nof the business man of the Theatre\nthe impresario. There are always hun-\ndreds of his way of looking at the\nTheatre.\nMy summing up of this Exhibition\nis that it has shown us clearly who are\nthe men who bring the richest things\nto the Theatre, and who are the Cri-\ntics who will inform the Public cor-\nrectly about them. It has shown that\nthese are one and all friends, bound\ntogether not alone by the sentiment\nwhich clings to a theatre and all its\nassociations, but by a better understand-\ning of what is wrong with the stage and\nof how gradually to put it right.\nIt has shown what kind of followers\nthese men have, where they live, and\nwhat are the powers of each. It has\nshown that in many lands the stage is\nable to avail itself of certain thinkers\nand artists and their new ideas. It has\nalso shown that in some lands the stage,\nwhile eager to avail itself of these ad-\nvantages, has not quite made up its\nmind to do so in the most simple, the\nmost ordinary and straightforward way.\nIt has shown us that organization has\nbegun on the one and only honourable\nbasis that of a firm friendship."}]}, {"article_id": "bm-bmtnaau-1923-01-c027", "article_bluemountain": "bmtnaau_1923_01#c027", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "9", "page_fin": "9", "image_debut": 23, "image_fin": 23, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.18", "titre_corps": "BIG TALK", "titre_sommaire": "BIG TALK", "signature_source": "J. B", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.23", "debut_caractere": 4749, "fin_caractere_exclue": 6059, "texte": "BIG TALK.\nJ. B.\nBIG talk is always cheerful; I\nlike it for that reason. I use it\nfor the same reason,... when I use it.\nSo evidently does a certain tall clean-\nshaven American who hung about the\nExhibition Rooms in Amsterdam on the\nlast days.\nThere was Mr Carlton Miles;\nhe doesn't waste time in talk; he does\nthings. There was Mr Cheney; he\ndoes things too. And there were Mr\nClarke and Mr Larkin; they write and\ndraw. But this other Mr P.... (I know\nhis name begins with P but the rest of\nit escapes me), .... he does nothing but\ntalk.\nHe was going to take the Show over\nto the States; right away; he had\ncollected a lot of money for the purpose\nalready, so he said. Perhaps he had.\nWhat did he do with it all ?\nHe was taking Craig over too\nhe was even taking himself. He assu-\nred one of the Committee he was going\nto do all this, and rehearsed the sums\nhe had collected.\nO\nTHERE is a county or corner in\nAmerica which breeds talkers so\nbig that they may even be called boasters.\nOf course America is not a conti-\nnent of Boasters ; but this corner of the\ncontinent is so flourishing, (like all else\nover there), that the boasters come out\nin hoards and are almost a nuisance to\nthe level-headed practical men of action\nthere.\nMr P.... has taken himself over, I\nhear;,., but he left the Exhibition be-\nhind."}]}, {"article_id": "bm-bmtnaau-1923-01-c028", "article_bluemountain": "bmtnaau_1923_01#c028", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "10", "page_fin": "10", "image_debut": 24, "image_fin": 24, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.19", "titre_corps": "THE INTERNATIONAL THEATRE EXHIBITION IN LONDON AT THE VICTORIA AND ALBERT MUSEUM", "titre_sommaire": "THE INTERNATIONAL THEATRE EXHIBITION IN LONDON AT THE VICTORIA AND ALBERT MUSEUM", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 24, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 6539, "texte": "THE INTERNATIONAL THEATRE\nEXHIBITION IN LONDON\nAT THE VICTORIA AND ALBERT MUSEUM.\nTN June 1922 the International Theatre\n** Exhibition, which had been inaugu-\nrated in Amsterdam in January, was open-\ned at the Victoria and Albert Museum,\nSouth Kensington.\nA Note as to the Movement of which\nit was the outcome, and the purpose which\nhad animated that Movement, was written\nfor the illustrated Programme by Mr.\nGordon Craig, and is reprinted here :\nTWENTY to thirty years ago some\nof us in the European Theatre\nfelt that we could bring to the enter-\ntainment of the people something they\nmight like to have.\nEntertainment can grow as dull as any-\nthing else, and we thought that here and\nthere the Theatre was showing signs of\ngrowing dull. So we set to work.\nThe drawings, models, plans, masks,\nand marionettes shown here are the\nresult of our labour.\nOut of about 900 pieces exhibited\nhere, at least two-thirds have been\ncarried out in large on the stages in\nAmerica, Austria, Belgium, England,\nFrance, Germany, Holland, Italy, Po-\nland, Russia, and Switzerland. In most\nof these lands the play-writer and the\nactor have welcomed our ideas for\nit is ideas which we have brought to\nthe Theatre, not merely sceneries and\npictures.\nA new way of looking at an old\nthing this was our principal idea, and\nthis idea has freshened up that part of\nentertainment which was growing dull.\nOurs was no hideous R revolution R,\n—no pompous R reform 11. We just\nmade some most ordinary and desi-\nrable changes.\nWe based our changes on some of\nthe oldest and best traditions known to\nmankind, though we rejected that an-\ncient and, for some unknown reason,\nrespected Tradition which orders you to\nR do as was done last time n.\nWe began to build our Theatres diffe-\nrently, we set our stages with different\nscenes, and we acted our old and new\nplays differently not in every land\nor in every city, but in nearly every\nland or in most cities.\nAnd this Exhibition is held in London\nso that England may prepare to do not\nmerely what other lands have already\ndone but much more.\nOVER 350,000 PEOPLE VISITED\nTHE EXHIBITION IN ENGLAND\n1922-1923*\nTHEATRE EXHIBITION\nBANQUET IN LONDON.\nTn connection vith the inaugural cere-\nmony a banquet was held on June 2nd\nat the Hotel Cecil.\nAfter Lord Howard de Walden, who\npresided, had give?i the health of His\nMajesty the King, Mr Granville Barker\nproposed the toast of« The Victoria and\nAlbert Museum and read a long and\nvaluable paper on the value of education\nto the theatre, his remarks being largely\ndirected at Mr Fisher, the Education\nMinister; he made use of the phrase\nvery often heard from the lips of Irving\nabout the dignity of the profession.\nAs some of the speeches were fully\nreported at the time we do not offer\nfurther details here. We think, however,\nit may interest our readers to have a\ncopy of what was witheld from the pu-\nblic ; that is to say, Mr Gordon Craig's\nspeech at the Banquet. in which he re-\nplied to the toast of « The Exhibitors »,\nproposed by Mr Alfred Lugg.\nThe speech was delivered without pre-\nparation.\nMR GORDON CRAIG'S SPEECH.\nLORD Howard de Walden, ladies\nand gentlemen, I have really no\nright to be here, for I am not an\neducated person, and I know nothing\nabout Education. Mr Barker and Mr\nFisher have spoken very admirably\nabout this same Education and its\nrelation to the Theatre. Mr Fisher\nmost kindly alluded to me as a scenic\nartist, but I am not a scenic artist.\n1 am here to thank you on behalf of\nthe scenic artists, and 1 do thank you\nfor them very much, but I am an Actor,\nand unless you accept me as such I\ncannot go on.\n{Applause; n Go on! R)\nn As an actor I am surprised to hear\nMr Barker talking of n the dignity of\nthe profession n, as though it were a\nmild and proper sort of thing, this\nacting and this theatre. They are\nwild things, unruly, not tame in the\nleast, and if the ladies will excuse me,\n1 would say n Damn the dignity of the\nprofession! n\nR When I heard the toast of His\nMajesty the King proposed and listened\nto the mild response I wondered how\nit was that everyone did not spring to\ntheir feet and cry out n The King ! R\nI can tell you this about the drama in\nEngland. Until men will leap to their\nfeet at such a toast we shall never have\na drama. The Drama is not made\nfrom mildness and charm and politeness.\nIt is because everyone in England is so\npolite that I shall be going back to\nItaly in four or five days. This is not\nthe atmosphere in which to create\ndrama, and it is drama that I wish to\ncreate. Drama cannot be created by\nbeing merely polite you must have\nfury.\nw The talk this evening has been far\ntoo much about Education and Deco-\nration. It is not the educator or the\ndecorator who creates drama. It is the\nactor and the fury of the actor. He\ncreates it by taking a story and inven-\nting what dialogue is necessary as he\ngoes along. You cry out, nlt is\nimpossible !ff But, ladies and gen-\ntlemen, it is not impossible. You think\nit is impossible because you will not\nstudy the subject and inquire into the\npast. If you did so you would find\nthat this creating of dramas by actors\nw7as done for some two to three hundred\nyears, with immense success. The actor\nwould take a story, such a story as\nthat of the jew who lent monies to the\nChristian, and he would create a drama\nfrom it. As it was done in the past\nit can be done again ; it rests with the\nactor to do it (1).\nR Mr Lugg, the Secretary of the\nActors* Association, who has just spoken,\nreferred to me in terms which give me\nthe utmost delight. English dramatic\nart I feel is a matter for Mr Lugg and\nthe Actors' Association rather than for\nthe educationalists. If you would all\nrally round him and his actors you\nwould have the National Theatre with\nyou (if you want one) in a very short\ntime hut you must support him.\nWhen this National Theatre comes to\nbe built you will have at the head of\nit Sir Johnstone Forbes Robertson, Sir\nArthur Pinero, Mrs Patrick Campbell,\nMr Granville Barker, Sir John Martin\nHarvey, Sir Harry Lauder {Here\nMr Craig let fall a long roll of names\nLaughter). What I had meant to\ndo was to read a list of some two\nhundred names of distinguished actors,\nfor all of whom a place should be\nfound in this National Theatre ....so\nlong as you do not put the name of\nCraig in that list.\n\" But it was not to speak of a\nNational Theatre or actors that I began.\nIt was to thank you on behalf of my\nfriends the artists; the artists have\ntaught me all I know of dramatic art,\nbut it is as an actor that I thank you\nfor them\n(1) See page 12 4t Peal Acting \""}]}, {"article_id": "bm-bmtnaau-1923-01-c029", "article_bluemountain": "bmtnaau_1923_01#c029", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "11", "page_fin": "11", "image_debut": 25, "image_fin": 25, "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=bmtnaau1923-01.2.20", "titre_corps": "AMONG THE VISITORS. HOW THE EXHIBITION APPEALED TO THE WOMEN WRITERS", "titre_sommaire": "AMONG THE VISITORS. HOW THE EXHIBITION APPEALED TO THE WOMEN WRITERS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 5393, "texte": "AMONG THE VISITORS.\nHOW THE EXHIBITION APPEALED\nTO THE WOMEN WRITERS.\nALL over England, while the male\ncritics have studied the exhibits\nin their relation to the stage, the drama\nand the grown-up public, the ladies\nhave looked to see what it contain-\ned for the younger public..,, the chil-\ndren. And in each city some lady\nhas written something charming and to\nthe point.\nHere is such a Note written by a\nwoman who at Glasgow lingered in\nthe Room of the Models.\nTHE ROOM OF THE MODELS.\nWERE I the mother of many I\nwould take them all to this ma-\ngic room. Dolls* houses they would\ndoubtless dub these model theatres,\nand they would probably rejoice more\nin the n Wapping Ballet n set than in\nthe splendid austerities of Gordon\nCraig. But what games of make-be-\nlieve we could evolve! What dra-\nmas we would write! What fairy\nfantasies we could weave about these\nwondrous little pools of light shining so\nsteadfastly behind the puny stage sets.\nThe wistful colours would act as cor-\nrectives after the appalling crudities of\ntheir illustrated ABC's. The written\nglories of Grimm and Hans Anderson\nthey would see revealed before their\neyes, and for many a long day the\nradiant rubble of these little scenes\nwould flutter about and illumine the\ngrey background of their schoolroom.\n11 Luft me up—luft me up ! ! n\nLoudly the urchin's plea shrilled in\nour ears. His mother—a pleasant-\nfaced woman in a big grey shawl—\nheld him high in her arms that he\nmight feast his eyes on the miniature\nscene. He breathed deeply an ecs-\ntatic n Ooh! n and whimpered when\nshe set him down. Apologetically she\nlooked at us. w He's no seen the like\nafore. n Then she, too, indulged in\nan ecstatic sigh—n Eh, fegs, but they're\nawful bonny. n\nSo writes Ann Adair in the w Glas-\ngow Herald. n\nAnd here is another piece by a\nwoman, this time from London.\nFOR four weeks the Victoria and Al-\nbert Museum has been the scene of\na remarkable phenomenon. It was\nsymbolised to me yesterday by a child\nwho had accompanied his father to\nthe Theatre Exhibition that is being\nheld there. The father in his absorp-\ntion had forgotten his child and the\nchild had forgotten his father. It was\nearly in the day and visitors were\nfew and far between. The child was\nenjoying himself. With dancing mo-\ntion and waving hands uplifted, he\nwas giving himself the frequently re-\nnewed sensation of entering the dar-\nkened room wherein lay row upon\nrow of enchanting lighted stage scenes\nin miniature. He was moving rapidly\nin a circle—out of the British Room\ninto the Models Room, the German,\nthe Craig and Appia Rooms, and back\ninto the British. This circuit he re-\npeated so continuously and so swiftly\nthat it made me quite giddy to watch\nhim. He was not awed by the formal\narrangement of the exhibits, the vast\nrooms, nor the silence : not he! He\nwas not perplexed by what it ail\nmeant, but he was taking it all in—\nthrough his pores.\n11 The Museum has flung open its\nheavy doors to a living thing, to no\nless than the living spirit of a New\nTheatre. The child felt the spirit\nthough he knew nothing about it. n\nAnd this same writer, elaborating\non this theme of the living spirit per-\nvading the exhibition, continues :\nThe visitors feel it though many\nof them know nothing about it, and\nsome of them even resent it. The\nwarders feel it. At the end of the\nfirst week, the warder in charge of\nsome of the rooms in the Theatre\nExhibition confided in me: —n It gets\non your nerves sometimes, standing\nabout in them big galleries and no-\nthing doing. Us chaps have got our\nhands out for this job. Time passes\nso much more quickly. It's gone\nbeautiful this week ! n\nAnd here is another significant com-\nment :\nIwas standing idly near the cata-\nlogue stall one day, and was pon-\ndering upon the words n Towards a\nNew Theatre n displayed on the co-\nver of a large book by Gordon Craig,\nwhen I heard a lady addressing the\nvendor of catalogues in piercing tones.\nn 4 Towards a new theatre ? But\nwe've got too many already—and they\ndon't pay! * The catalogue vendor\nexplained that it was towards a thea-\ntre in the abstract.\ns 4 Theatre in the abstract ? * que-\nried the lady. 4I do not know what\nyou mean, * She picked up her cata-\nlogue and her change and went off\nmystified.\nR 4 A theatre not made with hands, '\nmurmured a voice at the catalogue\nstall. With this sentence ringing in\nmy ears I returned to the Craig draw-\nings, and where before I had been\npuzzled I seemed now to understand.\nI have made friends with the ven-\ndor of catalogues, and as I sit beside\nher have on occasion heard apprecia-\ntion and depreciation of the exhibi-\ntion, addressed to the chair.\nn One day an irate visitor deman-\nded of my friend if there were no\nphotos of actors and actresses—the\nold favourites.\n4 No, I am sorry. This exhibi-\ntion deals only with designs and mo-\ndels for the modern theatre,\nn I hate the modern theatre—it's\ndisgusting! Not even a sign of Ellen\nTerry in the whole show!*\nAt this my friend smiled sweetly.\nn4l am sorry you haven't been into\nRoom 11, * said she,\nn The point was lost upon the irate\nvisitor.\nn 4 But I kave.\\l've been everywhere.\nAnd it's all disgusting—it's horrible ! '\nn Flinging down his catalogue upon\nthe table, he made a dramatic exit. R\nIn Room II were all the designs\nthat Ellen Terry had to show. Her\npresence was so evident there that the\nabsense of her name in the catalogue\nwas immaterial.... for most. w"}]}, {"article_id": "bm-bmtnaau-1923-01-c031", "article_bluemountain": "bmtnaau_1923_01#c031", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "11", "page_fin": "11", "image_debut": 25, "image_fin": 25, "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=bmtnaau1923-01.2.21", "titre_corps": "AMSTERDAM LONDON AMERICA", "titre_sommaire": "AMSTERDAM LONDON AMERICA", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.25", "debut_caractere": 5395, "fin_caractere_exclue": 5744, "texte": "AMSTERDAM\nLONDON\nAMERICA\n•J Never before was a Theatre Exhibi-\ntion so perfectly housed as it was in\nAmsterdam by Mr Wijdeveld. His was\na brilliant piece of work.\nNever before was a Theatre Exhi-\nbition so honourably housed as it was\nin London at the Victoria and Albert\nMuseum.\nCJ And America talked of having the\nwhole collection taken over there."}]}, {"article_id": "bm-bmtnaau-1923-01-c032", "article_bluemountain": "bmtnaau_1923_01#c032", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "12", "page_fin": "14", "image_debut": 26, "image_fin": 28, "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=bmtnaau1923-01.2.22", "titre_corps": "REAL ACTING : OR, CAN THE ACTOR CREATE? SOME EVIDENCE THAT HE CAN, COLLECTED", "titre_sommaire": "REAL ACTING : OR, CAN THE ACTOR CREATE? SOME EVIDENCE THAT HE CAN, COLLECTED", "signature_source": "G. B. AMBROSE", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 26, "page_imprimee": "12", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.26", "debut_caractere": 0, "fin_caractere_exclue": 3124, "texte": "REAL ACTING.\nOR, CAN THE ACTOR CREATE?\nSOME EVIDENCE THAT HE CAN,\nCOLLECTED\nBY G. B. AMBROSE.\n\nREAL actors create. They take an\nold short story (as the play-wri-\nters do), or make a new short story ;\nyet not really like a short story, but\nmore like a telegraphic message of a\nseries of facts and events.\nThese facts and events must all be\nbrought to happen in one spot. No\ngood including this, for example :\nn Hamlet here goes to England. On\narriving goes to Stratford-on-Avon ;\nlays a wreath on Shakespeare's tomb n.\nAny wreath-laying must be done on\nthe stage and the scene must not change\nfrom Elsinore to England, nor be any\nspot other than the one spot selected\nfor the appearance of the first characters\nwhich come on.\nThe actors then invent their own\ndialogue.\nImpossible n, you say. n Already\ndone n I must reply : and what has\nbeen done once can be done again.\nI give you here for your eyes to see\nand for your common sense to reason\nabout, a page from an Italian book of\nabout eight pages in my possession.\n(see page 13). You will find a\ntranslation in the side column.\nThis is the first page of an Italian\nplot or scenario. Here is stated briefly\nall that is to happen at the beginning\nof Act I. The piece has 3 Acts and\na Prologue: the entire contents of\neach act gets on to one page, ....and\na page measures 6 A/4 inches by 4 A/4\ninches.\nThe book is rather a rare thing to\nfind, but, once found, is a proof that\nreal actors have had no more than this\non which to weave their dialogue.\nYou'll see some of the characters\nnamed on the page reproduced here :\nMagnijico who is Pantalont; Gratiano\nwho is the Doctor or il Dottore;\nBuratino, Zanni, Fulvio and Turchetta.\nMagnijico is a name Pantalone goes\nunder. He is a serious figure, not an\nold doddering ass like the Pantaloon\nof the pantomimes of 1880. Gratiano\nis il Dottore or Doctor, another serious\nfigure, .... the learned one. All is\nserious and distinguished, and over all\nof it sings and dances the comic muse.\nThe scene is a street in Naples.\nThe Properties, or Rohbe as they are\ncalled in the book, are a purse,\nTurkish dress for Zants Slave's dress\nfor Fulvio, and no more. Here you\nsee a Costume becoming a Property.\nAny Professor Brander Matthews,\nor even aw Times * critic puzzling\nseriously over this at home, becomes\nw il Dottore w as he argues with logic\nthat costume cannot possibly be Pro-\nperties nor the Property-man the proper\nmoral guardian of any of the costumes:\nhe would find it very unpractical....\nflippant.... n it can't prevail\nThe English Theatre Trade's Union\nwould find it utterly ....deplorably ....\nout of order that the costumier should\nbe ousted by the property man, ....\nwho would probably strike if asked to\ntouch anything in a department to\nwhich he did not belong.\nThe Italian actors of the. sixteenth\nand seventeenth centuries had no pa-\ntience with such noodles,... seeing what\nharm they could do. So the\ndid all the work of a theatre without\na huge staff of 136 workers, or even\n36 workers, or even. 6. Perhaps the\nbaggage man lent a hand as ever.\nThe reproduction of this rare leaf\nhas been put here so that any actors"}, {"page_pdf": 27, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 2970, "texte": "or critics, curious to have proof of the\ntruth of what we have been asserting\nsince 1908, can have it here.\nAnd how to set about it ? you ask.\nDo you remember Goethe's two\nlines ? ....badly translated they go like\nthis :\nw Strike up, my boy, no fear\nno hesitation ;\nTill you begin no chance of inspi-\nration n.\nWhat? at rehearsal ? with a\ncompany of fellow-actors who are all\nstrangers to each other ? NO ! and\nhere's the heart of the matter, .... (at\nwhich we find the worm nibbling\ntoday).... not strangers.... actual friends.\nTill you become — but fast\nand loyal friends and choose a\nleader who shall give the beat, the\nstroke, the direction, and abide by his\nruling, you'll not create again. You\ncan be no real afctors till you care to\nbe real friends.\nThis rare book has the title :\nLA SCHIAVA | COMEDIA NUOVA | E RIDI-\nCOLOSA. | NUOVAMENTE POSTA IN LUCE,\nAD IN- | STANTIA D'OGNI SPIRITO | GEN-\nTILE. | COLOPHON | IN PAVIA, j PER PIETRO\nBARTOLI. 1602. | CON LICEN2A DE' SUPE-\nRIOR!. |\nThese words are surrounded by a\nborder.\nTRANSLATION,\no ACT ONE o\n{Magnifico, i. e. Pantalone, and Gra-\ntiano, i. e. il Dottore, enter from\nthe street) (1).\nMagn. In the street (2) with.\nGra. (/ imagine two old men. Serious\ncomic actors, n Character w act-\nors. w Ed.)\nMagnifico asks him (Gratiano) for\nthe two hundred scudi which he is\nto have for the Merchandise that\nhe (Gratiano) has had : Gratiano\nsays that he must go to the Banco\nde i Grifoni (Bank of the Grifoni)\nwhere they will be given him, and\ngives him a token, then goes away.\nMagnifico remains and discourses of\nhaving turned his son Fulvio out of\nthe house for his bad behaviour; then,\nwanting to give orders to the Zanni\n{a servant) that he should go to the\nBank to collect the money he knocks\nat the House.\nZanni. (/ imagine Zanni to he Ar~\nlecchino as he generally is, a low\ncomedian,... a rascal hut capa-\nble. Ed.) (3).\n{He) comes to the window preten-\nding to sleep; in the end, after\nhaving jested a while, Magnifico\ntells him to go the Bank and touch\nthe little finger of the Banker (4) who\nwill give him two hundred scudi\nand that he bring them to the\nhouse : Zanni, who will do it, re-\ntires within, Magnifico goes along\nthe street.\nFulvio. (/ imagine the young leading\nman.... helpless but charming. Ed.)\n{He) discourses of the love he has\nfor the Slave of Buratino, and, how,\nowing to not having money, he will\nnot be able to have his pleasure in\nthis.\nZanni {comes cut) from the house to\ngo to the Bank : Fulvio begs him\nto be willing to help him ; Zanni\nasks what he wants; Fulvio says\nhe only wants him to take as much\nstuff in his father's house as he {Ful~\nvio) can procure two hundred scudi\nfor; Zanni says he by no means\nwishes to steal ; Fulvio threatens\nhim if he will not do as he wants ;\nZanni goes along the street, and\nFulvio follows him.\nBur at. From his House discourses on\nhis Profession, & praises his art\n(trade), then calls Turcheta from\nthe House.\nTurcheta (/ imagine the young lea->"}, {"page_pdf": 27, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.27", "debut_caractere": 4528, "fin_caractere_exclue": 5121, "texte": "(1) The translation follows as\" closely as\npossible the brevity of the originalsave\nthat a few unpunctnated sentences have\nbeen rendered more intelligible by stops,\nand, where necessary, an extra word or\ntwo has been added in italics, bracketted.\nSeveral Editorial comments have also\nbeen added in brackets,\n(2) The scene is a street in Naples\nwith Magnifico Pan ta tone's house on one\nsidei The two men enter foom another\nstreet; ..i.e., not from the house is the\npoint.\n(3) See Illustration facing Page 1 for\none of the Zanni; servants, low co-\nmedians.\n(4) Evidently a kind of counter sign,"}, {"page_pdf": 28, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.28", "debut_caractere": 0, "fin_caractere_exclue": 5394, "texte": "ding lady, bought from the Turks\nfor sale in Venice. Ed.).\n(Comes on and he) tells her that\nhe wants to sell her ; she, weeping,\nbegs him to give her to decent\npeople so that her honour may be\nsafe; Buratino weeps also; then\nthey enter the House.\nZanni, who has collected the money\nat the Bank (comes in); in this\n(moment) Fulvio comes upon him\n(from behind).\nFulvio sees the money, begs Zanni to\ngive it to him, Zanni\nMORE EVIDENCE\nTHAT THE ACTOR\no CAN CREATE o\nIN the foregoing reproduction and\ntranslation we have clear evidence\nthat the actor could and did create,\nand much more evidence may be brought\nin support and confirmation of this.\nA few more such proofs I would\nlike to offer here : especially as, in a\nrecent letter to a London newspaper,\nevidently taking part in some controversy\nwhich had been raging, Mr William\nFarren asserts that the actor \" never\ncreates \". He, no doubt, has a\nnumber of excellent reasons for saying\nso; but he gives us only one of these:\n\" The actor never does more than\nconvey what comes from another brain \" ■\nIt is a long time since I have seen\nthat written and signed by an actor,\nand it will be, I hope, a long time\nbefore I see it written again by anyone\nconnected with a Theatre.\nIt is noticeable that Mr Farren speaks\nof what an actor never does : he writes\nin the present tense. He does not say\nthat actors never did create, for he\nknows that they did.\nBetween 1 500 and 1900 it was the\ncustom for all good actors in many\nlands to create. I will not tire my\nreaders with a repetition of what has\nbeen printed in former pages of this\njournal. But I will give you two\nextracts, and also the names of a few\nof the most famous actors of Italy,\n(to take but one country), who most\nassuredly created their plays, inventing\nthe dialogue and the action of the\nplays, and led by a capo-comico, or\nhead-actor.\nThe names first :\nAngelo Beolco 1502-1542\nF. Andreini 1548-1624\nT. Martinelli . 1551-1630\nIsabella Andreini 1562-1604\nFlamminia (c) 1 565\nG. Tabarin (c) 1568\nGanassa (c) 1570\nPellesini (c) 1570\ndi Fonaris (c) 1570\nO. Nobili (c) 1570\nF. Scala (c) 1577\nSalimbeni (c) 1590\nD. Biancolelli 1637-1729\nCarlo Cantii (c) 1640\nThe Romagnesi family (c) 1640-1700\nAdami (c) 1660\nG. Pasquati (c) 1674\nG. Bianchi (c) 1676\nGherardi (c) 1676\nThe Riccoboni Family (c) 1678-1770\nMuzio (c) 1688\nVisentini (c) 1700\nSticotti (c) 1700\nCostantini (c) 1708\nN. Barbieri 1576-1641\nCecchini (c) 1610\nB. Bocchini (c) 1610\nGabrielli (c) 1625\nStefano Lolli (c) 1629\nTiberio Fiorilli (c) 1630\nVitali (c) 1720\nSacco (c) 1738\nBertinazzi (c) 1745\nRoti (c) 1770\nDel Buono (c) 1800\nPetito (c) 1852\nScarpetta (c) 1854-1919\nAnd now the two Extracts, the\ntestimony of actors :\nEvarista Gherardi in 1717 wrote:\n\" To be a good Italian actor means\n\" to be a man who possesses a rich\nn store of knowledge, who plays more\nn from fancy than from memory, who,\nn while he plays, invents all he says;\nn who seconds his colleague on the\nn stage, that is, matches his actions and\nn words so well with those of his\nn comrade, that he enters at once on\nn all the movements to which the other\nR invites him, and in such away as\nn to make everybody believe that all\nR has been settled beforehand n.\nTo which Mantzius, the Danish actor,\nadds : n We can well understand that\namateurs were insufficient for these\ntasks n.\nRiccoboni the Italian actor, in 1728\nwrote : w The actor who improvises,\nn acts with more animation and in a\nn more natural way than he who\n11 performs a part he has learned by\nn heart. People feel better, and con-\nn sequently say better, what they invent\nn than what they borrow from others\nn by means of the memory. But these\nn advantages are purchased at the price\nn of many difficulties ; clever actors are\n51 required, moreover actors of equal\nn talent; for the drawback of impro-\nR visation is, that the art of even the\nn best actor absolutely depends on his\nR fellow performer ; if he has to act\nn with a colleague who does not reply\nn exactly at the right moment, or who\nn interrupts him in the wrong place,\nR his words miss part of their effect,\nnor his spirit is gone. To an actor\nn who depends on improvisation, it is\nn not sufficient to have face, memory,\nn voice, even sentiment; if he is to\nR distinguish himself, he must possess a\nn lively and fertile imagination, a great\nn facility of expression, he must master\nn all the subtleties of language, possess\nn all the knowledge which is requireh\nn for the different situations in which\nn his part places him 11.\nThe many biographies and histories\nof the English stage give the names of\nthe British actors who developed this\nbranch of the theatrical calling.\nAs I read Mr Farren's letter over\nand over again, I am led to believe\nfrom it that some writer in this con-\ntroversy had been suggesting that an\nactor could be as n great n as Shake-\nspeare any day.\nThat we all know is twaddle. But\nI hope that actors will not a name,\neven a great one, drive them to take\nrefuge under any extinguishing modesty.\nFor the actors Andreini and Scala were\nbetter playwrights though not better\nplay-writers than Shakespeare, ....\nand, by the way, Andreini somewhat\nresembles him.\nAs you can see by his portrait in\n\" The Mask n Volume 6, face page 93.\nEVERY PRODUCTION OF\nGENIUS MUST BE THE\nPRODUCTION OF\nENTHUSIASM.\nDISRAELI.\nO\nCAPACITIES ARE PRESUPPO-\nSED: THEY ARE MEANT TO\nDEVELOP INTO CAPABILITIES,\nOR SKILLED DEXTERITIES.\nGOETHE."}]}, {"article_id": "bm-bmtnaau-1923-01-c033", "article_bluemountain": "bmtnaau_1923_01#c033", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "12", "page_fin": "12", "image_debut": 26, "image_fin": 26, "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=bmtnaau1923-01.2.22.1", "titre_corps": "La Supplica", "titre_sommaire": "La Supplica", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 26, "page_imprimee": "12", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.26", "debut_caractere": 3126, "fin_caractere_exclue": 3235, "texte": "The above illustration is the title page of the very rare book on the Stage by\nthe actor Barbieri. 1576-1641."}]}, {"article_id": "bm-bmtnaau-1923-01-c035", "article_bluemountain": "bmtnaau_1923_01#c035", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "13", "page_fin": "13", "image_debut": 27, "image_fin": 27, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.23", "titre_corps": "Atto Primo", "titre_sommaire": "Atto Primo", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 27, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.27", "debut_caractere": 2972, "fin_caractere_exclue": 4526, "texte": "Atto Primo.\nMagi). I firsdacon.\nGrar. II Magnifico gli dinunda gliduoj cento fcudi, cfift\ndeue hauere per la Mercantia, che ha hauujo:\nOratlano dice, cße vadi ai Banco de i Grifoni, che gli fa-\nran no dati, & gli da vn fegno poi fj parte, Magnifico refta,\n& difcotrehauer mandate fuofi di Caia Fuluio fuo HgHo-\nperitfuo ma 1 gonerno, poi voler dar ordine a Zanni, chc\nvadi aJ Banco i pighargli denari batte a Cafa.\nZanni. Viene alia fineflra fingendo di dorm ire, in fine doppo\nhauer buriato vn pczzo:Magnifico gli dice, che vadial\nBanco de t Grifoni,& rocbj t!dittopicoloalls Bancheri,\nche gli dara doci cento fcudi eche gli portii Cafa: Zanni\nche (o fara, fi rifira dentro, Magnifico viper llrada.\nFuluio, trarta I'amor de h Schiaua de Buratino,& per nonhs«\nnet denari non potra hauer ilfuo content© in cjnefto.\nZanni di cafa per ar.dar ai Banco ? Fuluio !o prega a volerf®\nagiutare, Zanni gli adjmanda che cofa voole, Fuluio die©\ncon voler, che pigli tanta robba in cafa di fuo padre, che\njpofli caoarduoi-cehto fcudi, Zanui dice non voter rubbat\ni aaodo niuno; Fuluio gii minatia fe non fara a fuo (&odo,\nZanni ui per ftrada,& Fuluio lo feguita.\nBurar. Di Cafa difcorre foprsla fua Profellione , & foda Tarto\nfua. poi chiama di Cafa Turchera.\nTurcheta,& gli dice, che la vuol vender » lei piangendo lo pre-\nfta dar la a perfone da bene, accio i'honor fuo fijfeluoj\nuratino piange ancor lui poi eotrano in Cafa.\nZanni, che £ rifcofib gli Denari ai Banc©, io gli arriua\nadofio Fuluio.\nF&luio gli ie<fe gli &rtarf* preg* Zauns folcfgiicii dare, Zara-\nin"}]}, {"article_id": "bm-bmtnaau-1923-01-c037", "article_bluemountain": "bmtnaau_1923_01#c037", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "15", "page_fin": "16", "image_debut": 29, "image_fin": 30, "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=bmtnaau1923-01.2.24", "titre_corps": "PANTALOONS A-POSTURE", "titre_sommaire": "PANTALOONS A-POSTURE", "signature_source": "GEORGE JEAN NATHAN", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 29, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 4441, "texte": "PANTALOONS A-POSTURE\nBY GEORGE JEAN NATHAN\nTHUS dulcetly the mimes when lifted the curtain on\nMr. Cyril Harcourt's drama, w The Intruder : \"\nRENE LEVARDIER. I shall leave by the ten o'clock\ntrain for Fontinblow.\nPAULINE (his wife) What ! You are going to Fon-\ntaineblue to-night ?\nGEORGE GUERAND (her lover) But I did not be-\nlieve there was a night train to Fountainblah.\nFor a study of contemporaneous mummering, would\nthat an evening before this stage had been yours ! You\nwould have been fetched, I promise you. You would\nhave seen artist and artiste act the play almost entirely\nwith the eyebrows. You would have seen the leading\nlady interpret deep nervous emotion with he upper por-\ntion of her corset. You would have heard allusions to the\nPont Noof and you would have seen the actor who played\nthe thief adjust his hat to his hip and, with feet akimbo, defy\nthe hero who was standing beside him by addressing his\nremarks hotly to the head usher. You would have seen\nthe leading lady, grief stricken, sink into a chair, clasp 'ker-\nchief to mouth and move her head slowly from side to side\nlike Mr. Montague Glass ' Mozart Rabiner. You would\nhave seen the actor playing the husband halt long enough\nat the door on his exit to give the audience an eye : thus\nregistering suspicion. You would have seen the actor playing\nthe lover halt long enough at the door on his exit to give the\naudience the same eye : thus registering alarm. You would\nhave heard an allusion to the cohan-seerage and you\nwould have seen the actor playing the husband indicate\ndoubt by biting the right corner of his lower lip and the\nactor playing the lover indicate defiance by taking his hands\nout of his pockets.\nIn short, you would have been reminded d( the fire-\nside story of the local actor, who, at the last moment cal-\nled upon to substitute in a play adapted from a foreign\nsource, rushed upon the stage the opening night and\nproudly negotiated \" Oui, oui, monsieur \"as \" Owie. owie,\nmonster ! \"\nIn no other profession in the world, of course, is there\nso much incompetence as in acting. Not even in dra-\nmatic criticism. The reasons for this incompetence are fa-\nmiliar to the readers of Diderot, Coquelin, Lewes, *Walkley,\nGeorge Moore, Anatole France, Tree and such others as\nhave treated of the subject. But some of these reasons,\nthough familiar, are not as sound as they might be. Tree,\nfor example, himself an actor, argues, as did Coquelin\nbefore him, that the little knowledge which is supposed to\nbe dangerous in most walks of life is the desideratum of\nthe stage artist—the little French, German, Italian, mu-\nsic, etc. And then, following up this spruce brain ma-\nnoeuvre, the gentleman observes that where education tends\nto the repression of emotion, the actor lives and moves\nand has his being in its expression. Mr. Tree here ob-\nviously waxes ridiculous. To argue that education is not\nnecessary to an actor in that it will interfere with his\nexpression of the emotions, to argue that he may the bet-\nter express them if he does not know thoroughly what he\nis talking about, is to argue that Robert G. Ingersoll was\nless successful in impressing his audience than Robert\nDowning. A farce actor or a melodrama actor may, of\ncourse, be at once an ignoramus and a successful stage\nperformer. But small wonder (realizing most actors be-\nlieve with Mr. Tree) that such as Ibsen and Shakespeare\nand Hauptmann are so regularly murdered in their tracks !\nIndeed, no better proof of the vacuity of Mr. Tree's be-\nlief may be had than in Mr. Tree's own performances.\nEven where the actor is not possessed of thorough\neducation, his histrionic eminence in the comunity depends\nlargely upon his cajoling that community into believing he\nis possessed of such an education—as witness the case in\nour own community of Mrs. Fiske. Sarah Bernhardt is a\ngreat actress because she is an educated1 woman. (1) True,\nthe greater the idiot, the more vividly he may express\nsuch physical emotions related to amour and the chasing\nof a lady around the room as are part and parcel of the\nSardou species of drama ; but the mental emotions of the\nmodern dramaturg require certainly for their expression\nsomething other then mere ear-wiggling and leg work.\nThe difficulty with the actor, however, is not that he\n\nReprinted by kind permission of Mr. Nathan from « Mr.\nGeorge Jean Nathan Presents»; A. A. Knopf, New York, 1917.\n(1) Written previous to her death. Ed."}, {"page_pdf": 30, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.30", "debut_caractere": 0, "fin_caractere_exclue": 5733, "texte": "is not, generally, an educated person, but that, generally,\nhe has not even a vague smattering of the minor know-\nledges necessary to his art. The average actor or actress\non our own stage, for example, cannot pronounce correctly\nthree simple words in French, German or Italian, cannot\nplay, even amateurishly, the piano, does not know how to\nhandle the foil, cannot dance two steps of the minuet,\ncannot read even the first measure of so incomplex a com-\nposition as Lizt's Von der Wiege bis zum Grabe. n\nThe average actor thinks of his newly acquired role prin-\ncipally in terms of the clothes it will permit him to wear.\nTwenty years ago a dramatist could rely, in part at least,\nupon his actors. Glance at the plays of the period and\nyou will find trivial stage directions and scant instructions\nas to the costuming. To-day Shaw's stage directions to\nthe actors occupy as much space in a play manuscript as\ndoes the acting play itself. And Barrie's are often as\nlong as Shaw's.\nWalkley says that an actor must be impressed by the\noutward and visible signs of things rather than by the\nthings themselves. It is true that an actor is so impressed,\nbut this does not, assuredly, argue that he should be. What\nWalkley should have said was that a theatre audience is\nimpressed by the outward and visble signs of things rather\nthan by the things themselves and that, this being the case,\nthe actor—being by nature of his craft a lazy fellow—\ntakes the same easy course so to impress his audience.\nTo contend that this is, therefore, just what the actor\nought to do—and that is but fair to allow him to do it\n—is to contend that the best actor is that actor who in-\nterprets not the role written for him by the dramatist but\nthe audience's composite idea of the role written for him\nby the dramatist. And to make this contention is to speak\nin terms of mob popularity, which popularity is, of course,\never vitally at odds with art of any kind—even what\nMoore called the lowest of all the arts, acting. The plain\ntruth, patently enough, is that the actor bears the same\nrelation to an artist that the phonograph bears to Madame\nSembrich. The artist is contemptuous of the crowd. The\nonly actor in America who is contemptuous of the crowd\nis Mr. Arnold Daly. And Daly, by that mark, is the\nonly ac or in America who approaches the rank of an\nartist. And Daly, as actors are regarded by the theatre-\ngoing crowd, is not what is known to them as a successful\nactor.\nThe actor thinks in terms of what his audience will\nthink. Mr. William Faversham had once the impertinent\nintelligence to portray lago as he himself thought that\ncharacter should be portrayed and his audiences, who had\nbeen used to the rubberstamp notion of lago, felt them-\nselves slighted and would have nothing to do with the\ncharacterization. Other actors, playing like merchants the\nsafe side, merely sell to their audiences the characterizations\nof the roles and the appurtenances thereto that the audiences\nare accustomed to. Let an actor playing an English\ncharacter correctly recite the word specialty as speciality\nand, as was the case with Miss Grace George last season,\nthe audience will promptly snicker its distrust. Let an\nactor playing a judge enact the role in a make-up resem-\nbling Mr. Justice Freddie Kernochan in place of the customary\nmake-up resembling Russ Whytal and he will be a gloomy\nfailure in the audience's eye.\nI cannot believe, for all that has been said and said\neloquently to the contrary, that the numskull makes the best\nactor. It is to me inconceivable that Havelock Ellis, incog.,\ncould not have played the doctor in 1 Damaged Goods n\nvery much better and very much more convincingly than the\nactor who did play the part or that Finley Peter Dunne\ncouldn't have played the Irishman in H General John Regan n\nseveral times better than Mr. Charles Haw trey.\nYet, in spite of all these remarks, picture to yourself\nthe most intelligent and best actor in the whole world\nplaying John Gabriel Borkman. Picture this actor in the\nmidst of a superb performance. Picture him captivating the\nmost intelligent audience ever gathered into a theatre.\nPicture his keen strokes of characterization, his perfect\narticulation, his own clear mentality gleaming through the\nIbsen script. Then suddenly picture, in the very\nmidst of this remarkable impersonation of the role ; the\ngreat actor accidently splitting his pants I\nAnd, having succeeded in picturing this, you have\nsucceeded coordinately in picturing the tumbling to earth\nof every fine theory of the art of acting ever written\nincluding particularly this, my own.\nTHE Theatre has often been at variance with the\npulpit: they ought not to quarrel. How much is it\nto be wished that in both the celebration of nature and of\nGod were entrustd to none but men of noble minds.\nGoethe.\nTO make the common marvellous, as if it were a re-\nvelation, is the test of genius.\nLowell.\nA WISE scepticism is the first attribute of a good\ncritic.\nLowell.\nCRITICISM is as often a trade as a science, requiring, as\nit does, more health than wit, more labour than capa-\ncity, more practice than genius.\nLa Bruy&re.\nORDINARILY men entertain a very erroneous notion\nof criticism, and understand by it nothing more than\na certain shrewdness in detecting and exposing the faults\nof a work of art.\nSchlegel.\nTOO much is said about an actor's fire I It has been\ndisputed whether an actor can have too much fire.\nWhen those who hold this opinion adduce, byway of\nevidence, that an actor is vehement, or, at least, more ve-\nhement in the wrong place, perhaps, than circumstances\nrequire, those who maintain the contrary are justified in\nasserting that the actor manifests not too much fire, but too\nlittle sense.\nLessing."}]}, {"article_id": "bm-bmtnaau-1923-01-c040", "article_bluemountain": "bmtnaau_1923_01#c040", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "17", "page_fin": "18", "image_debut": 31, "image_fin": 32, "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=bmtnaau1923-01.2.25", "titre_corps": "AN OLD PROBLEM SOLVED : WHAT TO DO WITH SHAKESPEARE", "titre_sommaire": "AN OLD PROBLEM SOLVED : WHAT TO DO WITH SHAKESPEARE", "signature_source": "J. SOMERS BACON", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 31, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 5578, "texte": "AN OLD PROBLEM\nSOLVED\nWHAT TO DO WITH\nSHAKESPEARE\nBY J. SOMERS BACON.\nTHE question what to do with\nShakespeare still remains unsolved,\nand 1 propose to do my best to solve\nit now.\nWe of the n New Movement 9 in\nTheatre work, especially the scenic\nmen, are the culprets, so they say.\nBut it is not against any of us that\nthe prim and righteous and their friends\nshould level their accusations. No, they\nshould accuse Shakespeare and find and\nproclaim his faults.\nWell, some do this. They say he\nis too Theatrical.\nAs for that, we, being theatrical\nourselves, are happy to find old Shake-\nspeare a bit gaudy too, and to make\nas much of it as we possibly can.\nAnd surely when Shakespeare is\nmade much of and spoiled a little he\nis, perhaps, a little more easily managed\nthan if brought up and brought out\npuritanically. Yet when it comes to\nputting a play by Shakespeare on the\nstage the difficult part lies in managing\nthe play for it is so unruly, so\nhuge and sprawling.\nWhat to do no one has yet decided.\nWho is best fitted to decide ? A\nparson, a shipwright or a stage-manager?\nIn spite of the letter's shortcomings\nI really think that the most theatrical\nstage-manager is the one who can do\nthe trick best, a trick which no\none else can do: that is to say,\npreserve Shakespeare's plays for England.\nWhile it is quite true that Shake-\nspeare is not a good play-maker in the\nstrictest sense of the word, it's odd\nhow very theatrical he is, .... Poetical-\ntheatrical.\nTake the first scene in n Macbeth n.\nHere v/e have three old hags, Scotch\nwitches, imagining that they can run\ntheir neighbourhood by giving up all\nthat's bright and gay in life and con-\ncentrating with fury towards mischief\n.... dry old hags.\nThey meet over some pot of stew\nwhich they can't eat and some bootleg\nwhisky which they love, and make a\nlittle quiet, very concentrated and utterly\nmischievous prayer.\nHaving done this, they separate\nand in separating they ask when they\nshall meet again, and so on.\nNow any sensible modern play-writer\nwould have made them talk at least\nreasonably. Whereas their talk is\nunreasonable, highly coloured, as my-\nstifying as our critics find Craig's writings,\nsemi-musical, and, as I have always had\nto admit, very theatrical.\nThe English unprofessional producer\nwhen he comes to it determines to\nsimplify it, to discipline it and\nto organize and bring up politely what\nis utterly wild. I don't like the result.\nThis first scene then becomes dull, flat,\nbony.\nMr William Poel is not the first\nEnglishman who felt and thought in\nthis way nor Mr Archer the first\nEnglish critic. There have been thou-\nsands who felt as they do, saw what\nthey saw, that a Shakespeare play\nis a disorderly piece of workmanship,\nand needs bringing to earth, needs soap\nand water and scrubbing brush to wash\naway all its faults, especially theatricalism\nif it is theatricalism which is not\nwanted in the Theatre.\nThese gentlemen are not entirely to\nbe blamed for doing as they do, for\ncalling out against overloading the Drama\nwith scenery and music and 11 effects n,\nfor it is, I believe, their natural instinct\nto wish to preserve as much of Shake-\nspeare's words and noble sentiments\nand even more than these, as best\nthey can.\nYet what with protests here, scrub-\nbing there, and organization everywhere,\nthe plays are slowly being worn away\nand soon will be lost to us.\nThe words are already being lost,\n...rtheir sense was lost long ago ; their\nmusic going; the picture and the\nsituation no longer held worthy to stand\nalone, ....(and of course they should not\nstand alone) : the place rather in\nruins.\nI think that some serious steps might\nbe taken to decide if what I say be true\nor not, ....whether Shakespeare's plays\nare in ruins, and his theatre too: and,\nif this be true, to secure, (without the\ndelay of more than another twenty-five\nyears) some new house and keeper for\nthis unruly but possibly useful article\nknown as Shakespeare, or what's\nleft of him. I don't know if we can\nafford to keep the man, but I don't\nthink he should be n scrapped n together\nwith useless officials of Home and\nForeign Office.\nIf, on the other hand, we cannot\nhouse him in our own land, let us sell\nhim, .... let us ,f realize n upon him.\nWhat I mean is this. I do not\nseriously think that we as Englishmen\nought to waste him. I do really think\nthat there is one market for him or\nanother.\nIf he is not neat, funny or polite\nenough, or even sufficiently handsome,\nfor any Theatre public in England, he\nstill has his indisputable value as an n old\nMaster.R His thirty-seven plays after\nall are the only genuine Shakespeares\nwe possess or ever can possess. And\nI believe that we might turn these\nthirty-seven plays to profit. France, or\nGermany, and America would possibly\nbe willing to purchase twelve apiece.\nWe owe A.merica money. Could\nwe not sell the entire rights of the\nfollowing thirteen (as twelve) plays to\nAmerica for £ 856,000,000, thus\ncancelling the debt ?\nKing Lear.\nKing John.\nKing Richard 11.\nKing Henry VIII.\nKing Richard 111.\nAntony & Cleopatra.\nJulius Caesar.\nCymbeline.\nThe Taming of the Shrew.\nAil's Well that ends Well.\nMerchant of Venice.\nMacbeth.\nMuch Ado about Nothing.\nBy entire rights I mean publishing\nand acting rights, and the rights to call\nShakespeare an American.\nThen we might sell ten to Ger-\nmany with reserves.\nTwo Gentlemen of Verona.\nOthello.\nWinter's Tale.\nHamlet.\nTitus Andronicus.\nTimon of Athens.\nThe Tempest.\nTwelfth Night.\nComedy of Errors.\nMerry Wives of Windsor.\nTo Eastern peoples we might barter\neight of the plays for oil to the value\nof £ 600,000,000."}, {"page_pdf": 32, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.32", "debut_caractere": 0, "fin_caractere_exclue": 2116, "texte": "Coriolanus.\nRomeo & Juliet.\nTroilus & Cressida.\nLove's Labour Lost.\nA Midsummer night's Dream.\nAs you like it.\nMeasure for Measure.\nPericles.\nThis would leave us with six :\nHenry IV, Part I.\nHenry IV. Part 2.\nHenry V.\nHenry VI. Part 1.\nHenry VI. Part 2.\nHenry VI. Part 3.\nif it's not keeping too much.\nWe sell Gainsboroughs and Reynolds\nand other masterpieces of painting ....\nso why not these ?\nI put it to Mr Baldwin and the\nother ministers that here is away out\nof their difficulties.\nAll rights to print, publish or perform\nthe plays should be sold.\nThe thirteen named first should be-\ncome lock stock and barrel the entire\nright of the Americans, who should be\nallowed henceforth to erect statues to\ntheir national poet Shakespeare, to build\ntheatres to show his plays; all rights of\ntranslation should be made over to them\nby a new Act of Parliament.\nPerhaps sixty-five million is much to\nask for a single play. Were this to prove\nthe case there is Byron whom we never\nread, and whom we might throw in,\n.... entire Byronic rights ; and throw in\nten or twelve of the dissolute Elizabethan\nplaywrights. I believe that within five\nyeais we could ship over 856 dramas\nwithout much difficulty and with prac-\ntically no loss to ourselves, .... and with\n£ 856,000,000 gain.\nThere does not seem any need to point\nout that the Americans would know\nhow to farm out the masterpieces so as\nto yield a profit of some £ 15,000,000\nyearly. So that in less than eighty\nyears they would have repaid themselves,\nbroadcasting America's National Poet,\nand then the profit would begin.\nWith all the eager hands for ever\nstretching to us across the Atlantic ready\nto welcome and enrich any ordinary\nmodern poet who cares to go over and\nlecture, have we any doubt that a hearty\nwelcome awaits him who for a short\nwhile longer we may call our greatest\npoet ? ....and may we not wish him\nand his works God-speed and congra-\ntulate ourselves on a good bargain?\n....and, if we have an ounce of our\nnational capacity left, we really ought\nto be able to make that bargain.\nWould this not solve an awkward, not\nto say unfortunate, problem ?"}]}, {"article_id": "bm-bmtnaau-1923-01-c042", "article_bluemountain": "bmtnaau_1923_01#c042", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "18", "page_fin": "19", "image_debut": 32, "image_fin": 33, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.26", "titre_corps": "ON THE 154 SONNETS OF SHAKESPEARE", "titre_sommaire": "ON THE 154 SONNETS OF SHAKESPEARE", "signature_source": "EDWARD GORDON CRAIG", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 32, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.32", "debut_caractere": 2118, "fin_caractere_exclue": 5827, "texte": "ON THE 154 SONNETS OF SHAKESPEARE\nBY EDWARD GORDON CRAIG\nI think it is the Abb 6 d'Hebiin, (1684-1732), the sen-\n-1 timentalist, who was the first to state it as his belief\nthat Shakespeare wrote his Sonnets for money.\nUntil 1700 no one had doubted this; but about that\ntime sentimentalism began to see a larger sale in a volume\nof heart to heart sonnets, and the rumour spread that these\nby Shakespeare had positively been written to two persons.\nOn this rumour, rumour embroidered. The thing took\non mysteries, mysteries meant still greater sales—and this\nidea of a double-hearted Shakespeare with his two loves\n77 of comfort and despair n came to be accepted by all.\nBy all but d'Hebiin ; and in 1716, exactly a hundred\nyears after the death of Shakespeare, he decided to explode\nthis foolish notion. He is pitiless in his derision of the\nidea that Shakespeare's heart is laid bare in the sonnets.\n75 Double hearted Shakespeare n he cries, 75 why not treble\n—quadruple ? 77 11 Ah, ce petit homme infatigable ! Dans\ntoute I'histoire du genre humain ii n'y a jamais eu de\npoete qui a r£vel£ un fcel nombre d'ecartelures sur le divin\n£cusson 51 he writes in his n Essay on the Human Heart, n\n(Dijon) page 37 of the 1732 edition.\nHis book was published at his own expense but very\nfew copies seem to have been preserved, his house being\nburnt during the terrible fire of 1732 in which it appears\nhe lost his life—and most of the' copies of his book at the\nsame time. Since then no one has troubled to combat the\nsentimental sonnet notion, and now almost everyone has\nreturned to the belief that they do hold a profound my-\nstery, although a few have been of d'Heblin's opinion—\nas I am.\nThat Shakespeare wrote them for money seems to me\nobvious, and so tedious were it to go and search deeper\nbelow the perfect surface of these hundred and fifty four\ntrifles.\nWhen twenty-four years after his death they were\nreprinted they were bundled pell-mell anyhow in a volume\nregardless of any order.—What sequence can a number of\nsonnets have which are sent by a dozen men or so to as\nmany women.,., and from five or six women to no fewer\nmen.... ?\nI see one of these sad or smiling visitors seated in the\nthird-floor-back with Mr Shakespeare;—and: 17 I cannot\ntell him what I feel n she says.\nw Which is ?... 77\nn That I adore him, that I worship him, that—that—n\nand she cannot utter another word.—Yet before long sbe\nhas poured out her grief, H that some day he will grow\ncold. w\n77 Tomorrow at twelve will you come here. I will\nhave written something by then.... n\n77 Can it be.... eleven? n she asks.\nHe hesitates,— and then quickly, quietly,—71 At eleven. 77\nThat same evening before going to the Theatre\nShakespeare has penned three sonnets for her.\nII One of them might do—somehow n is his doubt\nas he reads : n One will do n is his certainty on reading\nthe last.\nAt 10.50 the next day a knock on his door—She\nis in before the answer is given to n Come* in. !!\nHe gives her the first. (It happened that later on it\ncame to be the very first in the book though it was the\nsixteenth he had written):\nFrom fairest creatures toe desire increase,\nThat thereby beauty's rose might never die,\nBut cfS the riper should by time decease,\nHis tender heir might bear his memory :\nBut thou, contracted to thine own bright eyes,\nFeed'st thy light's flame with self-substantial fuel,\nMaying a famine where abundance lies,\nThyself thy foe, to thy sweet self too cruel.\nThou that art now the world's fresh ornament\nAnd only herald to the gaudy spring,\nWithin thine own bud huriest thy eontent\nAnd, pitying churl, makcst waste in niggarding.\nPity the world, or else this glutton be,\nTo eat the world's due, by the grave and thee,"}, {"page_pdf": 33, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 5469, "texte": "She lingers after reading it—looking out of the window\nacross the roofs—it hangs loosely in her left hand.\nShakespeare, who has been into the next room leaving\nher alone, returns and sees her look.\nnNo ! n says he decisively,—\" This then. \" and he\noffers her another sheet of paper. She utters not a word\n—-takes the sonnet, and reads:\nAgainst that time,* if ever that time come,\nWhen I shall see thee frown on my defects,\nWhen as thy love hath cast his utmost sum,\nCall'd to that audit by advised respects ;\nAgainst that time when thou shalt strangely pass,\nAnd scarcely greet me with that sun, thine eye.\nWhen love, converted from the thing it Was,\nShall reasons find of settled gravity ;\nAgainst that time do / ensconce me here\nWithin the knowledge of mine own desert,\nAnd this my hand against myself uprear,\nTo guard the lawful reasons on thy part:\nTo leave poor me thou hast the strength of laws,\nSince why to love I can allege no cause.\nImmediately she is folding up the verse—and she is\nall flustered.\nShe folds and buries the sonnet in her bosom—timidly\nputs down on the table a little purse, sees that he sees it\n—and thanks him again and again pressing his hand—\nand more thanks—more. She is gone—the door is closed.\nThe purse contains the modern equivalent of £ 8.0.0.\nShakespeare moves towards the door—stops—stands awhile\npurse in hand—through his brain speed strange visiqns of\nman and woman—and streets—and forests—and a stream\n—and the wearing down of pebbles in a brook—cool—\nliquid—and one word concludes a11.... it issues from his\nlips—the door itself could barely have heard, so silent\nare the half-spoken thoughts which precede an action....\nMermaid ''.\nReaching for a hat and a cloak which hang at the\nside of the door he turns the handle—passes out on to\nthe narrow landing, shuts the door—locks it—key in poc-\nket—-twice slapped, he begins to descend.\nAs he issues from his front door a carriage is driving\naway. A head looks out and looks up at the third-floor\nwindows: the face is beautiful.\nP \\lT/£ were but now wagering how you make your\nVV money, Will, and here you come to resolve the\nmatter.... w\nn Not by gambling on other men's affairs. n\nThis historically authentic opening to a long day's ca-\nrouse at the Mermaid is vouched for by Prewter in his\nw The Muses Mayday\" (1595). (Howlett's reprint, 1641).\nBUT IT was not always a refined and noble lady who\ncame to demand a sonnet.... and it was not always\na purely cut sonnet that was supplied.\nSometimes it was something a good deal more Falsta-\nfian that came rapping at the door,—A little song, young\nman, if you please —and let there be ginger in it. n\nH Ginger, sir, it shall have. Is it to a favourite horse\nor—? n\nn Horse, my boy, Horse ?—it's a mare ! (roars of\nlaughter,) * as winsome a young filly as ever grazed but-\ntercups in a meadow. n One imagines they talked nonsense\nlike this,\nn A blonde or a.... ? \"\nn There are four of them (more roars) —\" three blondes\nand one as red as a carrot n howls his visitor. 11 How\nlong will you be about it ? he continues, sitting down\ngravely—but leaping up the next moment cries out \" bestir\n—bestir !—we want it in about two hours from now\nyou see there are four of u5.... all sea folk. n\n\" Two hours—that will make it 10 o'clock: be here\nat 9.30 and the verses will be ready,... Any names to\nbe introduced ? n asks William.\nYes,—Margery and Marian ; you better write 4em\ndown : here, I'll write 4 em up,—they aren't easy names\nto remember. Margery, Marian—l always have carried a\nbit of chalk—and Moll and Meg n ; and up on the wall\nof the lodgings were staring the four white names. The\nseaman pockets the bit o' chalk, gazing like a big fish at\nthe four names as though he had just painted the portraits\nof their owners.\nn The master is sweet on Moll, and Margery is really\nthe boatswain's girl.... but- he's too full o' poetry, the\nyoung parrot.... all this week its love and dove... : but\nmake it jolly—no poetry,... skip the poetry—jolly is the\ntune.... n and down goes the fat fellow and as he goes\ndown starts humming an old sea air without any words.\nShakespeare stands close to his door ajar—his ear cocked,\nand the verse is written as the old buffer descends:—five\nminutes to copy it down—and commentators to this day\nmake out that the English muses are not real people and\nthat they do not come on the wings of chance but come\ndeliberately like Oliver Cromwell's reforms and feed on air\nand virtue—and whisper quietly so that no one but a true\npuritanical poet can hear the noble things the puritanical\npoet pumps up three years after they have gone.\nAt 9.30 the fat man called for his verse and paid\nWilliam handsomely, three Elizabethan pounds f He was\na jolly old boy and it was an immense sum in those days\nfor a jingle—the equivalent of £ 24, of today's money ;\nand for this all Shakespeare gave him was :\nThe master, the swabber, the boatswain, and /,\nThe gunner, and his mate,\nLoved Moll, Meg, and Marian, and Margery,\nBui none of us cared for Kate ;\nFor she had a tongue with a tang,\nWould cry to a sailor, Go hang I\nShe loved not the savour of tar nor of pitch ;\nYet a tailor might scratch her where'er she did itch.\nThen, to sea, boys, and let her go hang I\nn By Davy, this'll swing well to the tune of \" Red\nroses and hose n cries the fat man, and down he goes,\nand down goes William after him: three landings, three\nturns:... there's a fog outside. B Goodbye n—one to the\nright, one to the left,... n Mermaid. n"}]}, {"article_id": "bm-bmtnaau-1923-01-c044", "article_bluemountain": "bmtnaau_1923_01#c044", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "20", "page_fin": "20", "image_debut": 34, "image_fin": 34, "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=bmtnaau1923-01.2.27", "titre_corps": "FRANCESCO CLERICO : A NOTE ON A PORTRAIT by Allen Carric", "titre_sommaire": "FRANCESCO CLERICO : A NOTE ON A PORTRAIT by Allen Carric", "signature_source": "ALLEN CARRIC", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 34, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.34", "debut_caractere": 0, "fin_caractere_exclue": 1746, "texte": "FRANCESCO CLERICO\nA NOTE ON A PORTRAIT\nBY ALLEN CARRIC.\nFRANCESCO CLERICO WAS ONE\nof the foremost Italian ballet mas-\nters of the 18th century. And this\nimage of him is one of the most spi-\nrited things of its kind that I know of.\nIt was engraved in 1795 and is by\nsome artist unknown to me.\nWhen Clerico was born or where\nI do not know, I am hoping that some\none in one of the museums may know\nthe facts of his existence and will let\nme know them.\nHe produced several ballets : in Pa-\ndo va in 1789; in Bologna in 1795;\nin Venice and Parma in 1797 ; and\nin Milano at the n Scala R in 1790\nand 1823.\nI am not an engraver, but I am\neager to find out who it was put in\nthe sweeping straggling eyebrow in\nthis plate. The nose, mouth and eye\nseem to me as well done as it is pos-\nsible to do them.\nThe whole thing is alive, and I\nhear a voice coming from the image\nwhich begins to say, n Signcre, my\nfather the Conte di Bozzola was one\nof the proudest men, but he was also\nvery human and I loved him dearly.\nWhen I was fourteen years of age he\ntook me around the lagoons in his gon-\ndola and I shall never forget when he\nlanded, leaving me in the boat which\npushed off and returned to Murano.\nn Come again soon n he called : but\nwhen I came I could not find him-\nand I was told 4He is dead. * Si-\ngnore, when I dance I remember these\ntwo days : the happy day between his\nknees in the gondola and the day I\ncould not find him. The tragedy and\ncomedy of my dances which you are\nkind enough to say pleases you springs\nfrom these two days. When I was\neighteen I was on my way to A>n-\ncona.... n—but I hear no more;—a\nshort circuit. I have probably erred\nin the name of the town,... taken the\nwrong turning, and the voice dies\naway\nPerhaps he said Ascona."}]}, {"article_id": "bm-bmtnaau-1923-01-c045", "article_bluemountain": "bmtnaau_1923_01#c045", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "20", "page_fin": "21", "image_debut": 34, "image_fin": 37, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.28", "titre_corps": "ACTING : A PLEA FOR MORE BREADTH IN IT", "titre_sommaire": "ACTING : A PLEA FOR MORE BREADTH IN IT", "signature_source": "A. B. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 34, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.34", "debut_caractere": 1748, "fin_caractere_exclue": 5425, "texte": "ACTING\nA PLEA FOR MORE\nBREADTH IN IT,\nBY A. B. C.\nIF a fault can be found in the\nmodern English actor, it is that he\ndoes not explain, does not express; he\nfails to express. He fears to repeat\nnowadays. The old actors came back\nand back to a thing they wished to\nmake clear.\nThe modern acior is inclined to slur.\nIf he wishes to express jealousy, he\nwill express it over and over again by\none note : Jealous, jealous, jealous\nhe strums on the piano with one finger.\nThe old actor would repeat six to ten\nto thirty different times in as many\ndifferent tones and gestures the one\nthought, and so at last we began to\nsee the idea building itself up in front\not us. Construction is what actors\nknew more or then than they do today.\nIn doing as they did they followed\na very old tradition.\nWhere the masters succeed, is in\nthat they will take no chances of\nfailure. A master will be expressing,\nclearly, or to some people confusedly,\none way or another way, every way,\nand will repeat and again and again\nrepeat in twenty different ways, the\nthing he sets out to tell us.\nTake the passage in Book II in Ovid's\nfl Metamorphosis 11 where the boy\nPhaeton asks his father Apollo to grant\nhim his wish to drive the steeds and\nchariot ot the sun. Then see how\nOvid as Apollo pleads, not once, twice,\nbut many times, for he is the actor and\nApollo his role; and, failing to turn\nthe boy, then describes the catastrophe.\nHow again and again he relates the\ndetails one on top of another, each\none enough, it would be supposed, to\nexpress his thought, But no! he\nmust add and add; for it is not\nanything trifling he wishes to say like\n\" Hullo Phillips, how are you? n ; it\nis almost the great catastrophe, ....\nalmost the annihilation of creation he\nhas to swerve near.\nAnd what but something near this\nis in R King Lear n, in n (Edipus n,\nin nearly all the great tragedies, so that,\npacked to the brim with grief and pain,\nthe creation for us does seem to totter\nduring the course of reading ?\nAnd it is because the modern actor\nshirks the thing, trembles to scale this\ntoppling ruin, fears to pile Pelion upon\nOssa, that he can never raise the\nstructure high enough or reveal it huge\nenough for the full purposes of Dramatic\nart; .... and so, when today we have\nTheatricals, they stand bare and trivial\nbeside the old Dramatic art.\nIt would seem essential that before\na great Tragedian can establish himself\nin England he must be laughed at....\nfor it is essential that he should exag-\ngerate furiously.... be pack full of\nmannerisms : for we must needs call his\n• mannerisms 9 that which is his alone\nand strange to us,\n(Oh, I know all about your Mos-\ncow Art Theatre..., that's the perfection\nof the familiar. Instead of the tragic\nthey give you the worried: a vast dif-\nference.\nAs we are an eccentric nation our\nchief actors needs must be to us the\nvery essence of eccentricity. Were we\na saner race it could be otherwise....\nlike the Russians for example. And\nwe reveal all the madman's ignorance\nof his state when we cry down the\nvery least signs of eccentricity in our\nactors. Rather we should hail these\nas long-looked-for signs of the coming\nmen.\nSomething like this must be in the\nminds of those critics who find the art\nof the circus clown so admirable The\ncircus clown with his joke to perform,\nhis point to be made to a circle of\npeople, diverse and dull, who sit around\nhim :—his method is not \\ery unlike\nOvid's.\nHe pushes the first point home with\nthe mallet of his craft:—quickly he\npushes it in once more, a third time he\nrams it into u5,.., big pauses between.\nIs the point home ?—yes, he has\nmade sure of this ; and now by a slight\nturn he proves this; by a gentle twist"}, {"page_pdf": 37, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.37", "debut_caractere": 550, "fin_caractere_exclue": 2386, "texte": "he causes the whole circle of specta*\ntors to utter a cry resembling pain—\nbut really of pleasure,\nI appeal for more and more appre-\nciation by actors of the values of exag-\ngeration, and less disdain for emphasis\nand fury in the actor, so that our\nTheatrical Art become stronger where\nit now lacks strength,.., in tragedy....\nin our immense and priceless English\ndrama.\nI would not ask our perfect actor\nSir Charles Hawtry to exaggerate or\nto let his fury loose,—nor his critics\nto abate a word of their praise for\nthis very lack of exaggeration, this\nsuave power of suggestion which, by\nraising an eyelid, he is able to employ.\nI would not look to see Sir .Gerald\ndu Maurier be anything or do anything\nmore than he is and does : and the\nmany other actors who belong to this\neyelid school, I for my part would not\nmiss one of them. The faultlessness\nof their miniature method must not be\ndisturbed—nor undervalued.\nBut this method is only one of the\nmethods. The Theatre knows it and\nshould recognize it more.\nTo be suave, to drawl, lisp and act\nthe oracle in a ' natural ' way when\nperforming Falstaff, Charles Surface,\nMercutio, Gratiano, Beatrice, Portia,\nthe Merry Wives of Windsor or any\nof the larger comic master-roles of the\n17th or 16th centuries would be fu-\ntile. These, like the great tragic roles,\nneed swing, fire, attack, and exagge-\nration The Theatrical.\nWhether it be possible for our young\nactors to attain this breadth while for-\nced to perform the modern cramping\ndramas—dramas which are mildly and\nsafely popular, is a question I cannot\nanswer, though 1 feel that they can do\nno such thing.\nBut our clowns have the breadth—\nour actor 6 of broad farce have it—and\nI think it is from these that the theatre\nto come can look to draw its represen-\ntative actors of the new generation,...\nif we are going to have some."}]}, {"article_id": "bm-bmtnaau-1923-01-c048", "article_bluemountain": "bmtnaau_1923_01#c048", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 35, "image_fin": 35, "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=bmtnaau1923-01.2.29", "titre_corps": "Francesco Clerico", "titre_sommaire": "Francesco Clerico", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 35, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.35", "debut_caractere": 0, "fin_caractere_exclue": 46, "texte": "Francesco Clerica\nBallet-Master.\n1795\nPlate 4."}]}, {"article_id": "bm-bmtnaau-1923-01-c049", "article_bluemountain": "bmtnaau_1923_01#c049", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "21", "page_fin": "21", "image_debut": 37, "image_fin": 37, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.30", "titre_corps": "DESIGN FROM LAMBRANZI \"BALLI TEATRALI\" 1716", "titre_sommaire": "DESIGN FROM LAMBRANZI \"BALLI TEATRALI\" 1716", "signature_source": "Ed.", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 37, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.37", "debut_caractere": 0, "fin_caractere_exclue": 548, "texte": "DESIGN FROM LAMBRANZI\n\"BALLI TEATRALI\" 1716\nHPHIS same Lambranzi, who was he? Seldom has a\n* Dancer Writer (which was he?) eluded us as\nthis one.\nWe have searched for some word about him but no\none seems to know anything of him or his work. His\nbook appeared in 1716. Its title is, \" Nuova e curiosa\nscuola di balli teatrali \", and there is a portrait of the\nauthor in it.\nCan any reader give us the further information we\nrequire: When he was born?... died?... what he\ndid?... where he went, whether he wrote any other\nbooks besides this one ? Ed."}]}, {"article_id": "bm-bmtnaau-1923-01-c051", "article_bluemountain": "bmtnaau_1923_01#c051", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "22", "page_fin": "22", "image_debut": 38, "image_fin": 38, "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=bmtnaau1923-01.2.31", "titre_corps": "LA SALLE DE SPECTACLES DES TUILERIES", "titre_sommaire": "LA SALLE DE SPECTACLES DES TUILERIES", "signature_source": "FELIX URBAN", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 38, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.38", "debut_caractere": 0, "fin_caractere_exclue": 50, "texte": "LA SALLE DE SPECTACLES DES TUILERIES.\nFELIX URBAN."}, {"page_pdf": 38, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.38", "debut_caractere": 169, "fin_caractere_exclue": 2852, "texte": "This plan shows its second slate when rebuilt by\nSoufflot and Gabriel and reopened January sih, 1764.\nPLAN by BREBION. (Archives Nationales.\nParis).\nTHIS Plan of the Theatre in the Tuileries shows us\nthe cramped theatre built up of light materials in-\nside the old walls: A. Salle du Theatre des machines,\nno longer being used in 1764 and, as we see, divided\nfrom the new theatre which is B. and C.\nB. the Sal!e du Theatre de l'Op£ra.\nC. The sc£ne du Theatre de l'Op£ra.\nD. & E. entrances from the Cour des Suisses and\nfrom the gardens of the Palace.\nIt seems that this is the theatre in which Voltaire\nwas crowned on Monday March 30th 1778. Mant-\nzius (0 asserts that it was on April Is and a Wednesday.\nThere are several engravings showing us the well-known\nevent; but these and a drawing all quarrel about the\ndecoration of the salle, the position of Voltaire, etc.\nSo like History not to know.\nThe building cost 409,555 livres, and the first per-\nformance was of Castor et Politic. It was called the\nn Salle provisoire des Tuileries. n\nLater on when Napoleon came to sweep away\npretty things and to substitute prettier, if nobler ones,\nin their place, he set Percier and Fontaine to work in\n1804. These architects took the old design of the\nItalians and adapted it with immense success. For this\ndesign see n The Mask, n volume 8, page 25, which\nshows the auditorium.\nThe salle marked A. they destroyed, having first\ncarefully taken the idea to use in their new salle which,\nit appears, filled the space B, and the stage C.\nIn 1873 the house-breakers began to demolish what\nremained of the place after the bombardment in 1871,\nand the pretty doings of the Comunists who, being on\nfire, and not knowing what to do with this Divine Ele-\nment, guessed that petrolium and gunpowder placed in\nthe basement and set light to would relieve them of\nsomething. It destroyed the building it also destroyed\ntheir own fire.\nBut of course if people wont allow man to create\nand wont give him the necessary little aids towards that\nend, which is a good one, he is apt to destroy. Why ?\nAsk me anotherqr rather, don't ask me anything,\nor I might hold forth upon the aristocracy once more.\nTo aid creative artists, instead of the old n aristo-\ncracy n the new aristocracy is already movingthe\nmen of business: the cloth merchants,—the timber mer-\nchants—the silk merchants,... all the merchants. All\nis as right as rain. The old incapable master of the\nhouse has given in.... we'd have betted he wouldn't\nbut he has..,, and the new master comes in.\nBut don't talk about Democracy for that's all Fudge.\nIt is a new aristocracy.\nAvanti la musica!\n(1) Dr Karl Mantzius, the Danish Theatre historian."}]}, {"article_id": "bm-bmtnaau-1923-01-c052", "article_bluemountain": "bmtnaau_1923_01#c052", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "22", "page_fin": "22", "image_debut": 38, "image_fin": 38, "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=bmtnaau1923-01.2.31.1", "titre_corps": "Theatre in the Tuileries", "titre_sommaire": "Theatre in the Tuileries", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 38, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.38", "debut_caractere": 52, "fin_caractere_exclue": 167, "texte": "BUILT in the Palace by Vigarani and Amandini, the\nItalians, both from Modena, it was opened on February\n7 th, 1662."}]}, {"article_id": "bm-bmtnaau-1923-01-c053", "article_bluemountain": "bmtnaau_1923_01#c053", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "23", "page_fin": "23", "image_debut": 39, "image_fin": 39, "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=bmtnaau1923-01.2.32", "titre_corps": "THEATRE MEN IN EUROPE", "titre_sommaire": "THEATRE MEN IN EUROPE", "signature_source": "EDITOR", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 39, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.39", "debut_caractere": 0, "fin_caractere_exclue": 3787, "texte": "THEATRE MEN IN EUROPE\nBY THE EDITOR\nn HE IS BEST SERVED WHO HAS NO NEED TO PUT OTHER PEOPLE'S\nHANDS AT THE END OF HIS ARMS. » Rousseau.\nTHEORISTS are very valuable people—but people\nwho theorize on what they have practised are no\nless so.\nWe hold no brief for everyone in a Theatre who can\nmerely handle a pencil and brushes in the European Thea-\ntre. Some are able to do this only, and that alone en-\ntitles no one to produce a play. We admire them or\nqualify our admiration for them as scenic men,... but we\ndo not count them as more than that.\nAnd we have now and again thought that a useful\npurpose would be served by making a list of all the wor-\nkers in the European Theatrical world, and, after each\nname, stating what each can do.\nFor example, the list might read like this :\nWE should like to see a list of about a hundred such\nnames drawn up. We would like to know still further\ndetails as to what exactly Prof. Reinhardt can do ; what\nStanislawsky can do ; Antoine, Appia, Bakst, Gemier,\nRoller, Jessner, Pcelzig, Sievevt,... what these can do:\nand the Americans, and the Englishmen too.\nMost of us are irritated by reading in journals long and\ntedious comparisons drawn between men who are not oc-\ncupied at all in the same work.\nWe think Boom is a very brilliant if unheard of de-\nsigner who can probably do more than merely design:\nwe think Antoine a very brilliant stage manager:- we\nare bored when we come across a comparison of the\ntwo. One is a scenic man ; one is a stage manager and\nan actor.... until we hear authoritatively that each is more\nthan that.\nIf Antoine has designs, let them come out, and let us\ncompare them with those by Boom. If Boom can stage-\nmanage let us hear about it, and how he stage-manages.\nLet that and Antoine's stage-management be compared.\nNor can there be comparison made between Rein-\nhardt and Craig, Craig, so far as I know, being able to\ndo all that the German master does and a good deal more.\nAgain, Appia and Bakst. So far as anyone knows\nBaksfc has written no such books as has the Swiss genius:\nbut have either of them acted ?... can either of them\nstage-manage ? Perhaps ; only we ought to know it, and\nsoon.\nSomething authoritative about each man's abilities would\nprevent a lot of error from spreading, and save a great\ndeal of time at present wasted in big talk by Boom and\nhis friends. This big talk only serves to delay the deve-\nlopment of the modem Theatre.\nMr McGowan to some extent informs 12s who is who\nin his n Continental Stage Craft ** ; but it's a plainer list\nwhich is\" wanted. M. Parker's n Who's Who w gives us\nsome facts, and critics and others still remain in the dark\nabout these simple tacts, nWhat can each man do ?\nbecause, being so simple, it occurs to no one to trouble\nabout it.\nYet, these facts once truthfully stated, there would be\nfewer errors being repeated in books and journals.\nON TRUTH AND ERROR.\nTHE truth has always need of being repeated, because\nerror is ceaselessly and repeatedly preached to us, and\nnot only by some isolated voice but by the crowd. In\nthe newspapers, encyclopaedias, in the schools and univer-\nsities, everywhere error holds the first rank ; it is at ks\nease with the majority, who charge themselves with its\ndefence.\nGOETHE. n Conversations with\nEckermann n. 1823-1832.\n(i) We will not vouch for the correctness of this Table.\nFor example, M. Bakst may be a craftsma?i; IvL Antoine a\nplaywright. So difficult is it to state what these three men\nwhom we have chosen as examples can do and camiot do that\nour plea seems to be more than jzistified.\n\nName &\nNationality\nActor\nPlaywright\nDesigner\nStage-\nManager\nArchitect\nCraftsman\nLight Expert\nBakst, Hebrew :\nNo\nNo\nYes\nNo\nNo\n•\n•\nAntoine, French:\nYes\n•\nNo\nYes\nNo\n?\nNo\nStanislawsky, Rus-\nsian :\nYes\nNo\nNo\nYes\nNo\nNo\nNo (1)"}]}, {"article_id": "bm-bmtnaau-1923-01-c055", "article_bluemountain": "bmtnaau_1923_01#c055", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "23", "page_fin": "23", "image_debut": 39, "image_fin": 39, "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=bmtnaau1923-01.2.32.2", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 39, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.39", "debut_caractere": 3568, "fin_caractere_exclue": 3787, "texte": "Name &\nNationality\nActor\nPlaywright\nDesigner\nStage-\nManager\nArchitect\nCraftsman\nLight Expert\nBakst, Hebrew :\nNo\nNo\nYes\nNo\nNo\n•\n•\nAntoine, French:\nYes\n•\nNo\nYes\nNo\n?\nNo\nStanislawsky, Rus-\nsian :\nYes\nNo\nNo\nYes\nNo\nNo\nNo (1)"}]}, {"article_id": "bm-bmtnaau-1923-01-c056", "article_bluemountain": "bmtnaau_1923_01#c056", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "24", "page_fin": "n. p.", "image_debut": 40, "image_fin": 41, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.33", "titre_corps": "THE THEATRE OF SABBIONETA : SOME NOTES TRANSLATED FROM OLD ITALIAN WRITERS", "titre_sommaire": "THE THEATRE OF SABBIONETA : SOME NOTES TRANSLATED FROM OLD ITALIAN WRITERS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 40, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.40", "debut_caractere": 0, "fin_caractere_exclue": 5795, "texte": "THE THEATRE OF SABBIONETA.\nSOME NOTES TRANSLATED FROM OLD ITALIAN WRITERS.\n\nSCAMOZZI, Palladio's pupil who\ncompleted the Teatro Olimpico\n(Vicenza) built another classical theatre\nin 1588 at Sabbioneta for the Duke\nVespasiano Gonzago but this does not\nnow exist. n\nJohn Henry Middleton. M. A.,\nLitt. D., F. S. A.y D. C. L., Slade\nProf, of Cambridge, Art Director of\nSouth Kensington Museum 1892-\n1896, in 11 The Encyclopaedia Bri-\ntannica w Vol. XXVI. Page 732.\nLatest Edition.\nO\nDUKE Vespasiano Gonzaga(Dec. 6,\n1532—Feb. 26, 1591) was born\nat Fondi, became n Signore di Sab-\nbioneta ,} in 1540, in 1555 n Mar-\nchese dl Sabbioneta e Principe di\nBozzolo, n in 1574 n Principe di Sab-\nbioneta e Marchese di Rivarolo R and,\nin 1577, full 51 Duca di Sabbioneta n.\n(Garollo). He set out to make a little\nmodel city of the place, with a Pa-\nlace, a Mint, a Theatre, a Printing\nPress, all in miniature.\nAT Vicenza, Palladio had raised a\nTheatre in ancient style, and the\nAccademia Olimpica had had the CEdi-\npus of Sophocles represented there. The\nsuccess was immense, and had its echo\namong the powerful and the letteraii\nin every part of Italy. It is presumable\nthat Vespasiano, going to or returning\nfrom Venice, had had occasion to see\nthe Olimpico of Vicenza, and since\nVincenzo Scamozzi da Vignola had\ncarried out the set (permanent) scene\nthere, he thought to select the cele-\nbrated architect to erect the Teairidio\nand the Odeo (1) of his capital,\nThe esteem which Vincenzo Sca-\nmozzi had acquired by the scenes of\nthe Teatro Olimpico, the finest flower\nof Italy having assembled at that spec-\ntacle, was the reason why in 1588 he\nwas called to Sabbioneta by the Duke\nVespasiano Gonzaga, that he might\nmake him a plan for a theatre in the\nancient style, as was that of Vicenza.\nAnd he set out from Vicenza the first\nday of May, and having arrived at\nSabbioneta the third of the same (month),\nhe was received by the ministers/ (the\nDuke being not then in the city, since,\njust on the first day of th,at month, he\ntoo had set forth) with great honour.\nHe saw the site and made the plan\nin two fogli rialc (I) which Signor\nMariette preserves in his rare cabinet,\nof the which, through his extreme\nkindness, I hold here a copy. Here\nis, however, the description which the\nsame Scamozzi made of the Teatro\nOlimpico a few years later, so that\nafter he had designed (or set in order)\nthe scenes of the Teatro Olimpico of\nVicenza he might raise from the foun-\ndations the Odeum and Theatre due\nto the excellency of the Lord Duke\nVespasiano Gonzaga in his city of Sab-\nbioneta, capable of holding a large\nnumber of persons, besides some rooms\nat either end, adapted to various uses,\nand with the orchestra, and the grades\nfor sitting upon.\nThe proscenium and the prospec-\ntives of the edifices represent a great\nPiazza, with a most noble street in\nthe middle and others on either side.\nHe remained there eight days to\nmake the designs, which lie consigned\nto the ministers of the Duke. (Jemanza).\nIN November and December of the\nsame year Vincenzo Scamozzi con-\nstructed the permanent scene ; a great\npiazza, with streets in the background\nand palaces and houses, a scene mi-\nserably destroyed at the beginning of\nthe last century. Dondi writes that\nScamozzi n was there in person to have\nit done.... and the stucco ornamenta-\ntion has been done by one Messer\nBernardino, a Venetian worker in stucco\nwith other companions, for the which\nsaid prospettiva (scene) the said Lord\nDuke donated to the said Scamotio\nScuti (scudi) a hundred and ten and\na silver cup. n\nIN the Carnival of 1 590 the Theatre\nA was inaugurated. To act there, there\nwas summoned by the Duke the company\nof Silvio de* Gambi, Ferrarese, to which\nVespasiano gave the name of n Ac-\ncademia dei Confidenti, n endowed it\nwith four hundred scudi a year and\nconceded to it the privilege of calling\nitself the court company, and of dis-\nplaying, wherever it should go to ap-\npear (i. e. to perform) the ducal coat\nof arms. We do not know what pro-\nductions may have been given.\nThe Theatre of Sabbioneta, isolated\non three sides, with three exterior fa-\ncades of architectural purity of style,\nis ornamented with niches, now strip-\nped of their statues and busts. The\nouter walls are decorated with stucco\nreliefs with Doric lisene and windows\nwith cornice, entablature and pediment.\nThe internal rectangle, forming the\nplatea, ends in a semi-ellipse in which\nrises, as in an amphitheatre, the gram\ndinata for the spectators.\nAt the end is the princely loggia\nwith wooden balustrade, and twelve\nCorinthian columns which sustain the\nelegant canopy upon which, correspon-\nding to the columns, stand twelve\ngracefully modelled statues. Four spaces\nare filled, and, in niches, are four\nvigorous busts of emperors. The semicir-\ncular wall at the end preserves, bru-\ntally injured by nails, the ochroid\ndecorations representing, life size, the\nRoman emperors dear to the Duke,\nset in light and graceful niches.\nBehind the wall two saloons form-\ned the Odeum.\nThe Olimpico of Sabbioneta is the\nsecond Theatre of the kind constructed\nim Italy. The third is the Farnese of\nParma, erected thirty years later.\nThe fabric did not undergo altera-\ntions. Only the ceiling was lowered\nand the walls covered with whitewash,\nbeneath which wait, to be restored to\nthe contemplation of the lovers of the\nbeautiful, the suggestive decorations of\nthe ignoto Bernardino Vicenzino (1).\n(i) The little Theatre and the Odeum.\n(l) A term indicative of the format of\nthe sheets of paper used.\n(i) The use here of the word ignoto\n(unknown) is a little obscure> since it\nPreceded an artisVs name, whereas it is\nusually only applied to some anonymous\nof unidentified authorship. Possibly our\nauthor means not known in the sense of\ntoo little knoivn or celebrated.\nTrans."}]}, {"article_id": "bm-bmtnaau-1923-01-c058", "article_bluemountain": "bmtnaau_1923_01#c058", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 41, "image_fin": 41, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.33.2", "titre_corps": "DESIGN FOR THE TEATRO OLIMPICO OF SABBIONETA", "titre_sommaire": "DESIGN FOR THE TEATRO OLIMPICO OF SABBIONETA", "signature_source": "Vincenzo Scamozzi", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 41, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.41", "debut_caractere": 0, "fin_caractere_exclue": 130, "texte": "DESIGN FOR THE TEATRO OLIMPICO OF SABBIONETA\nby Vincenzo Scamozzi, 1588. From the Drawing in the Uffizi Gallery, Firenze.\nPlate 5."}]}, {"article_id": "bm-bmtnaau-1923-01-c059", "article_bluemountain": "bmtnaau_1923_01#c059", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "25", "page_fin": "25", "image_debut": 43, "image_fin": 43, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.34", "titre_corps": "THE THEATRE AND THE STATE", "titre_sommaire": "THE THEATRE AND THE STATE", "signature_source": "JOHN BULL", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 43, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.43", "debut_caractere": 0, "fin_caractere_exclue": 4256, "texte": "THE THEATRE\nAND THE STATE.\nBY JOHN BULL.\nIT is reported though how true\nthe report may be, I will not vouch\nfor that Signor Mussolini's visit to\nMadame Eleonora Duse (1) to discuss\nwith her the best way to bring the Ita-\nlian stage into the service of the nation,\nwas anticipated by exactly three days\nby our then English Premier, who, it\nis reported, sent his representative,\na distinguished Minister, to call upon\nMiss Ellen Terry with precisely the\nsame idea as that with which Signor\nMussolini called three days later on\nMadame Eleonora Duse.\nIt is understood that the Minister\ncounselled caution to the great English\nactress.\nn I'll not trouble you with the old\ntalk which you may have already heard\nabout the Scotchman who came to\nLondon.... n.\nn What, the one which ends up\n* Bang went saxpence ' ? \" cried Miss\nTerry.\nn Precisely said the Minister\nv since you know it.... n.\nn Know it I n cried our Eilen,\n® Why, I'm half a Scotchman myself ;\nbut the other half is Irish n.\n11 Miss Terry n, responded the go-\nvernment representative earnestly, a it\nis to this other half I come to counsel\ncaution n. 11 If, nhe went on, awe\nare to awaken the English Theatre\nwe must dissemble. I think that is\nthe right phrase, Miss Terry. Nothing\nmust be done openly. To be open\nis to be rash, to be rash is to lose\nmoney. We must bang no sixpence\nover this affair. It is for this reason that\nI come to consult you. What in your\nopinion is the best thing to be done ? a\nHere Miss Terry, losing all that\ncontrol over herself which she had just\nbeen begged to maintain, cried out.\na Call my son and give him the power\nto establish a .... B.\na Unfortunately I do not know Mr\nTerry r\\ interposed the Minister.\ns My son is Gordon Craig n, said\nthe actress simply.\nR I have never heard of him n,\nreplied the Minister, looking quite\nuncomfortable. n Yet stay, .... Mr\nNorman Craig ....Mr Norman Craig n,\nhe mused, n Why, of course I've heard\nof him. I really must beg your pardon.\nOne of our best K.Cs, one of the most\nnotable members of Parliament, and\nindeed the very man to organize a\nBritish Theatre reasonably, and I dare\nsay economically. Perhaps, Miss Terry\nhe went on, a you would tell your son,\nMr Norman Craig, that our idea is to\nmake the English Theatre represent the\nspiritual life of the nation and that my\nnotion would be to see him organizing\na modest little theatre somewhere in\nthe very centre of Highgate. He might\ntake a Drill Hall, (Drill Halls are\ncheap just now), and get together a few\nenthusiasts who would be glad to work\nfor so good a cause for next to\nnothing. One thing he would have to\navoid a great danger. I refer to\nthe plays of Shakespeare. Shakespeare,\nmy dear Miss Terry, spells ruin n.\nw It spells ruin, because Shakespeare\nwas, if I may coin a phrase, too sudden,\ntoo like the lightning. A dangerous\nman, and his works are dangerous\nworks. Something more homely is\nwhat we need up at Highgate, some-\nthing rural, something any garden citizen\ncould take his neighbour to see. My\nold friend Barrie can be relied on to\nmake them cry; the only trouble is,\nwho the deuce shall make 'em laugh.\nCan you think of any one, Miss Terry?\na But time flies, and it was not to\nworry you with questions that I called\nto see you. While all that you have\ncounselled me shall not be overlooked,\nthere is one point which has escaped\nus. It is the little matter of finance.\nWe are quite prepared to support this\nTheatre in a manner not unworthy of\nthe British Empire which we represent;\nand so I promise that at least £260\nshall be put aside by the Treasury to\nsee this matter through to the bitter\nend. That an appeal to the nation\nfor voluntary subscriptions will be ne-\ncessary, I do not think is, as yet,\nevident. But should such an extremity\narise, you, Miss Terry, shall be authd-\nrized to make that appeal! ! We had\nfirst thought of asking Lord Howard\nde Walden to undertake this pleasurable\ntask, if I may coin another phrase,\nwhile he'd do it with a better grace\nyou will do it more natural B.\nWhether this interview really took\nplace, or not, and if these were the\nvery words, or even the gist, of the\nconversation, we have not been able\nto ascertain .... so we reprint the report\nof the interview with every reserve.\n(i) Reported Dec. 4, 1922."}]}, {"article_id": "bm-bmtnaau-1923-01-c062", "article_bluemountain": "bmtnaau_1923_01#c062", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "25", "page_fin": "26", "image_debut": 43, "image_fin": 44, "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=bmtnaau1923-01.2.35", "titre_corps": "AN OLD BOOK : A NOTE ON A BOOK OF RULES", "titre_sommaire": "AN OLD BOOK : A NOTE ON A BOOK OF RULES", "signature_source": "C. G. SMITH", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 43, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.43", "debut_caractere": 4258, "fin_caractere_exclue": 5620, "texte": "AN OLD BOOK:\nA NOTE ON A BOOK\nOF RULES\nBY C. G. SMITH.\nI WAS looking through a booklet called\n1 a Rules of the National Union of\nTheatrical Stage Employees—London,\n1901 n.\nDo the workmen's rules help on the\nperformance? I thought: I suppose so,\n1 guessed e\nI turned over the leaves. There\nwere 6! rules and nearly each rule\nwas subdivided into a few or many\nclauses. I counted ten clauses in one\nrule, eleven in two others, twenty in\na third, and so on.\nI came to H Rule 29, Working\nRules n. This rule had five clauses.\nClause one seemed all right. I may\nas well say thai at the first glance I\nthought most of the rules seemed sound\nand most of the clauses too.\nBut f was searching for some clause\nwhich I, as one of the hundred thou-\nsand artists who have to work in\ntheatres, felt might somehow or other\nspoil the work—my work:... the work\nof all of us.\nI found one in Rule 29. It was\nclause 2. Here it is:\na No member employed to help\na Work a show shall work during the\nw same performance in more than one\na of the following six departments:\nw Stage and Cellar, Flies, Properties,\n3 Gas, Limes or Electric\nI recalled a conversation I once had\nwith a clever sort of artist (in Liver-\npool I think it was) ; a man pack full\nof notions for * getting on with thingsn.\nHe had little patience with those men\nwho believe 1 that the Way f6 Md a\nthings w^l!Vjaffl cM$"}, {"page_pdf": 44, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.44", "debut_caractere": 0, "fin_caractere_exclue": 2907, "texte": "what has been done for the last thirty\nor forty years just because it has been\ndone year in and year out. He was\nfor a little progress all the time, for\nH getting on n : he said the whole\nessence of success in the thealwe was\nto strike sparks out of the whole\naffair,... play, acting, scene and all;\nand insisted that to do this hard and fast\nrules must not be followed for too long.\nWhy must a curtain roll up and\nroll down between Acts ? Why must\nfootlights be always used ? Why must\nHamlet always be in black crape and\njet ? Why must the Ghost always moan\nand spout? Why must limelights act\nas they do act ?—and on these and\nother little points he elaborated.\n1 won't linger here on his elabora-\ntions : suffice it to say he asked me at\nthe end this question : n Why cannot\nI and my fellow-actors and our fellow-\nworkers in cellar, on stage and in\nflies give each other a rest now and\nagain ?—Why cannot the property and\nscene-men after having made and set\ntheir scene and props climb up on to\nbridges and perches and light em them-\nselves ? Why not ? Why, in the name\nof all that's murky, why not? why\nall this watertight compartment business\nof only one job to one man,... more\nespecially since he grows to be quite\nout of sympathy with what t'other\nfellow is up to, and don't understand\nwhy he's turning on an amber light\njust on that spot, and why it's to be\nsoft until such and such a cue and\nfierce after the cue...? Our theatre\nain't a machine 11 he wound up.\nq Exactly; and 1 recalled this when I\ncame across clause 2 of Rule 29 in\nthe booklet I have mentioned; and\nthen I admit 1 did seriously come to\nask myself : 11 Are these Rules framed\nby one class, by one group of men in\nthe theatre, or by alb—including the\nactors and the craftsmen and the dra-\nmatists ? \"\nAnd as I read on further I am\nsorry to say I saw that they had been\nframed by one kind of Theatre man\nonly: the kind of absolutely honest\ngood workman who don't understand\nat all why Drama exists, what it has\ndone and may still do, and how it\ncan do it.\nI am convinced those Rules should\nbe revised, reframed, by the whole\nmind and hand of the Theatre,—not\nby the 11 hands 11 alone.\nA/fR Smith will not mind my adding\nd-Y-*- a tag to his article.\nHe lives in Chelsea,—goes to Cha-\nring & a\nday, of ce Jo rehearsal and Jo se^M\nthe stage is being got ready, and\nagain to the evening performance.\nThis he does year in and year out.\nHis attitude towards the stage is\ntherefore forced to be a narrower one\nthan if he were to be blessed with\nsome freedom and could travel. He\nwould then come to learn that there\nare a number of theatres which have\nrid themselves years ago of the incu-\nbus of Trades Unions, and that these\ntheatres make their own Rules.\nThe result of this ordinary freedom\nwhich allows the manager to control\nhis house is that it becomes a 1923\nhouse instead of Gn / 876 or an / 893\nhouse.\nAnd that is an advantage. Ed."}]}, {"article_id": "bm-bmtnaau-1923-01-c064", "article_bluemountain": "bmtnaau_1923_01#c064", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "26", "page_fin": "27", "image_debut": 44, "image_fin": 45, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.36", "titre_corps": "ON MARTIAL, HAVELL AND CALLOT", "titre_sommaire": "ON MARTIAL, HAVELL AND CALLOT", "signature_source": "ALLEN CARRIC", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 44, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.44", "debut_caractere": 2909, "fin_caractere_exclue": 6635, "texte": "ON MARTIAL,\nHAVELL AND CALLOT\nBY ALLEN CARRIC.\nTPO those Artists who are Draughts-\nmen, who are fascinated by the\nTheatre, but who cannot Act, Stage-\nmanage, or give time to the study of\nthe Stage, yet who propose to reform it.\nDO you know w Le Monde Dra-\nmatique 11 ? It is nothing of\nvalue unless some young artist reading\nthis cares to make it so.\nPublished in 1835, seven volumes\nof this B Revue des spectacles anciens\nei mcdernes n had appeared by the\nyear 1837 : so says the Catalogue\nissued by M. Jorel of Paris, and, as\nthe B Referee B was won t to say,\nBHe ought to know w. M. jorel s\nlibrary is in Rue Bonaparte, No. 3.\nWere I in Paris I would ask M. Jorel\nto tell me who it was that published\n11 Le Monde Dramatique who wrote\nfor it, and who illustrated it, so that\nI could make it clearer how it is that\nthe B Revue n is so useless to us now.\nAnd as usual I judge with prejudice\nuppermost, ....prejudice made rampant\nby instinct, and instinct probably more\nreliable than all else: \" the howling\ndog knows what he sees 15.\nAnd I howl after having seen two\nillustrations.\n1 haven't a copy of the Revue w ;\nI have only these two lithographs,\nextracted by some one long ago and\nfound by me in the print shop in the\nRuie.de Seine.,. Asd ..they..are very bad.\nThey are supposed to represent ;\nB Le Theatre de Dijon n ; and B Le\nTheatre de la Koenigstadt at Berlin 11.\nThey are neither fine lithographs nor\nsharp exact documentary drawings:\nthey are just the USUAL unreliable\ntenth-rate pieces of work we so often\nfind in poor Guides, cheap school\nhistories, and always find in the Thea-\ntrical Journals, Reviews and Magazines.\nThe worst of artists were put on to\ndeal with the Theatres. These artists,\nwho could draw excellently, were seldom\nsufficiently interested in the Theatre in\nthose days; and slow, indeed, until\nquite recently, to consider it a subject\nat all worth while.\nBut nowadays that is all changing (1).\nVery many of those same artists are\nconsidering the Theatre very well worth\nwhile. I don't mean that they see in\nthe Theatre a means of getting to the\nfront or a means for money-making,\nthough there must be always a few\nwho look at all things very much from\nthat practical point of view. I mean\nthat they who were once more in love\nwith their own muse are taking up with\nours. And, as the eyes of many of\nthese young artists, mostly draughtsmen,\nare turned towards the Theatre, I would\nsuggest that they take care to avoid\nmuch future trouble to themselves by\nlooking no more into the Theatre but\nonly at it ; at the construction of\nthe building.\nIncidentally this would give pleasure\nto the many men whose lives and whose\nforefathers* lives have been devoted\nsolely to the Theatre, and who there-\nfore have more of the Theatric in them\nthan anyone whose Home it isr not.\nAnything less Theatric falls short,\nthat's the worst of it. and this is\nwhat too often happens when young\ndraughtsmen from even the best art\nschools, even one so talented as was\nFragonard, and as are a few others\ntoday, attempt to assume the Theatric\nair; for then what was an ordinary\nand natural Theatrical position in those\nof the family becomes a rather affected\npose known as the n Artistic 11-n Thea-\ntrical w.\nNowadays there must be at least\neight hundred draughtsmen of talent\ndiverting themselves and exercising their\ntalent by pretending to be theatre men.\nI mean it in no unkind spirit, but most\n\n(i) Js it a change for the worse 9\nsome t>laywriters seem to think so : they\ncomplain because we concern ourselves\nwith the appearance of things. Must we\nthen, to please them better, pass on to their\nconcern the writing of plays 9 We\nmight fail: shall we try to succeed 9\nWould that cause less complaint 9 .... or\nmore 9"}, {"page_pdf": 45, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 5388, "texte": "of these men could do far better were\nthey to stop over-decorating our stages,\nover 11 producing n and under stage-\nmanaging on them and turn once more\nto their drawing.\nIf there be one or two who, being\nreally entirely devoted to the theatre,\nmust work near it, if never in it, their\ntask is clear, and consists, to my mind,\nin depicting clearly, exactly, curiously,\ngrandly, or however they will, the\nbuildings which we call theatres, ....\nmaking records of the whole and the\nparts of those buildings, the exterior,\nthe interior, front, side, back, from far\noff as part of the street or piazza, from\nnear by showing some particular and\npeculiar detail. That would be really\nuseful to everyone and such drawings\nwould be valuable as documents in the\nfuture, and, if the man has talent,\nvaluable as works of art now and for\never.\n\nMARTIAL\nWE had in Paris somewhere about\n1863 a certain M. Martial.\nWith grace and with precision (he\nwas no great man) he etched all the\nimportant places of the several Arron-\ndissements : it might be a Theatre of\n1789 or a house where some Dramatic\nPoet had lived in 1670 \\ he jotted\ndown with care the facts about the\nplaces as conscienciously as he did\nthose of some ancient Hotel in which\nsome Emperor had dwelt in 1564.\nM. Martial was not another Mey-\nron, but he was a very good etcher\nand an exact draughtsman, who looked\ncarefully at Theatres and saw what\nthere was to record. Except for a\nfew interiors he seems to have confi-\nned himself to drawing the outsides.\nHis plate of 1863 showing us four\nTheatres, the Theatre Historique built\nby Dumas pere, the Theatre Imp£-\nriale, the Theatre des Folies Drama-\ntiques and La Gait 6,... what could be\nbetter ? His plate (1839) of the\nTheatre St Marcel,... what more is\nwanted ? I know of no one else who\nhas troubled to show us precisely what\nthat Theatre once looked like.... may\nbe you had never heard its name.\n\nHAVELL.\nIN England a little earlier, in 1826,\nMr Daniel Havell was engraving some\nfourteen of the London playhouses,\nwith a care and a charm which is as\na rule in England reserved only for\ndepicting churches and lordly man-\nsions. Others besides Havell now and\nagain gave time to our little house,\nbut only now and again.\nSo you see that there have been a\nfew men who thought it delightful and\nworth while even in that strange early\npart of the nineteenth century to de-\nvote themselves to the careful recor-\nding of the details of the exteriors of\nTheatres, without being swayed by a\npassing fit of curiosity and a burst of\negoism to push through and see the\nmanager and get a job on the stage ;\nand it would be a charming thing to\nfind a few men of today interested\nwith such a task,—and as free from\nthe desire to venture further.\n\nCALLOT.\n;\\JOW for a master,—and it's a mas-\nI N ier who counts.... Jacques Callot.\nYou see engravings of his stage work ?\nTut! he never did stage work.\nBesides doing marvellous things with\nBattles, Armies, Cities, people cif rank,\nhe flies over and over again to the\nTheatre.—But not to meddle with the\nstage, never that; he was too much\nof a swagger fellow to meddle; but to\nrecord what his friend Giulio Parigi\nthe scenic man is doing, or to show\nwhat a playhouse looked like in those\ndays, and what the actors looked\nlike, that he felt he might venture on.\nHe is particularly well-bred, and so he\nalways avoided fancying he could teach\nactors how to stand better than Parigi(l)\nand the stage manager and experience\nwere teaching them; he sticks, very\nsportsmanlike, to his needle and his\ncopper plate, and with this dart and\nbuckler he attacks and records the\nfacts and incidentally lives for ever.\nFor while everything he ever did is\ntouched with genius, nothing he ever\ndid holds more of that genius than his\ndearly doved theatre records.\nNow you who read this may be a\nMartial or a Havel!, or, wonder of\nwonders, a second Callot;—but you\nwill be less than the least of the three\nif, born to draw and born with the\nusual man's love of the Theatre, (and\nthat's other than a talent for the stage)\nyou follow the passing fashion, desert\nyour fine talents and blunder into our\ngarden.\nIf you love our garden enough to\nmake some records of it, we shall be\ntouched, and rest your true and faithful\nfriends, and shall find it a pleasant\nthing to record in cur own way that\nyou possessed grace.\nThis stage of ours is without doubt\na place worth recording and we will\nopen our gate to you and give you\nthe run of the place, Gentlemen.\nAnd, in years to come, your name\nwill so be often on the lips of those\nwho love fine drawings and those who\nadore the Theatre (I).\nTRULY UNHAPPY IS THE\nMAN WHO LEAVES UN-\nDONE WHAT HE CAN DO,\nAND UNDERTAKES WHAT HE\nDOES NOT; NO WONDER HE\nCOMES TO GRIEF.\nGOETHE.\nO\nA' TRULY GREAT GENIUS\nWILL BE THE FIRST TO\nPRESCRIBE LIMITS FOR ITS\nOWN EXERTIONS.\nBROUGHAM.\nO\nA MAN HEARS ONLY WHAT\nHE UNDERSTANDS.\nGOETHE.\n(i) It was tinder Parigi he studied\nand he had every excuse, had he consented\nto avail himself of it, to tell himself that\nhe could « raise the Theatre until it was\nfull of beauty and strength and wisdom »\nas a young draughtsman wrote me only\nlast week he was studying to do,\n(r) Whether all actors of today know\nof the existence of Callot is not the\nquestion all who truly love the thea-\ntre do know himy for all to whom the\nTheatre means more than what can be\ngot out of it take the trouble to look for\nits friends."}]}, {"article_id": "bm-bmtnaau-1923-01-c065", "article_bluemountain": "bmtnaau_1923_01#c065", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "27", "page_fin": "27", "image_debut": 45, "image_fin": 45, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.36.1", "titre_corps": "MARTIAL", "titre_sommaire": "MARTIAL", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.45", "debut_caractere": 831, "fin_caractere_exclue": 1898, "texte": "MARTIAL\nWE had in Paris somewhere about\n1863 a certain M. Martial.\nWith grace and with precision (he\nwas no great man) he etched all the\nimportant places of the several Arron-\ndissements : it might be a Theatre of\n1789 or a house where some Dramatic\nPoet had lived in 1670 \\ he jotted\ndown with care the facts about the\nplaces as conscienciously as he did\nthose of some ancient Hotel in which\nsome Emperor had dwelt in 1564.\nM. Martial was not another Mey-\nron, but he was a very good etcher\nand an exact draughtsman, who looked\ncarefully at Theatres and saw what\nthere was to record. Except for a\nfew interiors he seems to have confi-\nned himself to drawing the outsides.\nHis plate of 1863 showing us four\nTheatres, the Theatre Historique built\nby Dumas pere, the Theatre Imp£-\nriale, the Theatre des Folies Drama-\ntiques and La Gait 6,... what could be\nbetter ? His plate (1839) of the\nTheatre St Marcel,... what more is\nwanted ? I know of no one else who\nhas troubled to show us precisely what\nthat Theatre once looked like.... may\nbe you had never heard its name."}]}, {"article_id": "bm-bmtnaau-1923-01-c066", "article_bluemountain": "bmtnaau_1923_01#c066", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "27", "page_fin": "27", "image_debut": 45, "image_fin": 45, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.36.2", "titre_corps": "HAVELL", "titre_sommaire": "HAVELL", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.45", "debut_caractere": 1900, "fin_caractere_exclue": 2733, "texte": "HAVELL.\nIN England a little earlier, in 1826,\nMr Daniel Havell was engraving some\nfourteen of the London playhouses,\nwith a care and a charm which is as\na rule in England reserved only for\ndepicting churches and lordly man-\nsions. Others besides Havell now and\nagain gave time to our little house,\nbut only now and again.\nSo you see that there have been a\nfew men who thought it delightful and\nworth while even in that strange early\npart of the nineteenth century to de-\nvote themselves to the careful recor-\nding of the details of the exteriors of\nTheatres, without being swayed by a\npassing fit of curiosity and a burst of\negoism to push through and see the\nmanager and get a job on the stage ;\nand it would be a charming thing to\nfind a few men of today interested\nwith such a task,—and as free from\nthe desire to venture further."}]}, {"article_id": "bm-bmtnaau-1923-01-c067", "article_bluemountain": "bmtnaau_1923_01#c067", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "27", "page_fin": "27", "image_debut": 45, "image_fin": 45, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.36.3", "titre_corps": "CALLOT", "titre_sommaire": "CALLOT", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 45, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.45", "debut_caractere": 2735, "fin_caractere_exclue": 5388, "texte": "CALLOT.\n;\\JOW for a master,—and it's a mas-\nI N ier who counts.... Jacques Callot.\nYou see engravings of his stage work ?\nTut! he never did stage work.\nBesides doing marvellous things with\nBattles, Armies, Cities, people cif rank,\nhe flies over and over again to the\nTheatre.—But not to meddle with the\nstage, never that; he was too much\nof a swagger fellow to meddle; but to\nrecord what his friend Giulio Parigi\nthe scenic man is doing, or to show\nwhat a playhouse looked like in those\ndays, and what the actors looked\nlike, that he felt he might venture on.\nHe is particularly well-bred, and so he\nalways avoided fancying he could teach\nactors how to stand better than Parigi(l)\nand the stage manager and experience\nwere teaching them; he sticks, very\nsportsmanlike, to his needle and his\ncopper plate, and with this dart and\nbuckler he attacks and records the\nfacts and incidentally lives for ever.\nFor while everything he ever did is\ntouched with genius, nothing he ever\ndid holds more of that genius than his\ndearly doved theatre records.\nNow you who read this may be a\nMartial or a Havel!, or, wonder of\nwonders, a second Callot;—but you\nwill be less than the least of the three\nif, born to draw and born with the\nusual man's love of the Theatre, (and\nthat's other than a talent for the stage)\nyou follow the passing fashion, desert\nyour fine talents and blunder into our\ngarden.\nIf you love our garden enough to\nmake some records of it, we shall be\ntouched, and rest your true and faithful\nfriends, and shall find it a pleasant\nthing to record in cur own way that\nyou possessed grace.\nThis stage of ours is without doubt\na place worth recording and we will\nopen our gate to you and give you\nthe run of the place, Gentlemen.\nAnd, in years to come, your name\nwill so be often on the lips of those\nwho love fine drawings and those who\nadore the Theatre (I).\nTRULY UNHAPPY IS THE\nMAN WHO LEAVES UN-\nDONE WHAT HE CAN DO,\nAND UNDERTAKES WHAT HE\nDOES NOT; NO WONDER HE\nCOMES TO GRIEF.\nGOETHE.\nO\nA' TRULY GREAT GENIUS\nWILL BE THE FIRST TO\nPRESCRIBE LIMITS FOR ITS\nOWN EXERTIONS.\nBROUGHAM.\nO\nA MAN HEARS ONLY WHAT\nHE UNDERSTANDS.\nGOETHE.\n(i) It was tinder Parigi he studied\nand he had every excuse, had he consented\nto avail himself of it, to tell himself that\nhe could « raise the Theatre until it was\nfull of beauty and strength and wisdom »\nas a young draughtsman wrote me only\nlast week he was studying to do,\n(r) Whether all actors of today know\nof the existence of Callot is not the\nquestion all who truly love the thea-\ntre do know himy for all to whom the\nTheatre means more than what can be\ngot out of it take the trouble to look for\nits friends."}]}, {"article_id": "bm-bmtnaau-1923-01-c070", "article_bluemountain": "bmtnaau_1923_01#c070", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "28", "page_fin": "29", "image_debut": 46, "image_fin": 47, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.37", "titre_corps": "NOTES ON A JOURNEY", "titre_sommaire": "NOTES ON A JOURNEY", "signature_source": "FRANCOIS M. FLORIAN", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 46, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.46", "debut_caractere": 0, "fin_caractere_exclue": 6192, "texte": "NOTES ON A JOURNEY\nBY FRANCOIS M. FLORIAN.\nI have just been visiting Roma, Milano, Paris and Lon-\ndon. I did pass a day in Manchester, but as my time\nin England was limited to fourteen days I thought it best\nto stay no longer in what struck me as quite the noisiest\ncity on earth after Geneva.\nAnd London is the most tranquil.\nn Are we growing excitable ? Tl was the heading of\nthe leader in one journal the week or day after the fracas\nat the Wembly stadium.... and I wished I could reply to\nLondon at large. 17 Not growing, you always were R.\nThere has arisen a certain false idea about the calm\nof the English. It is supposed to be natural. The truth\nis that the English is quite the most excitable race on\nearth ; and, knowing this, it is obliged to assume a\npretended calm which is quite foreign to its nature.\n1 was at Wembly and I round myself reminded of\ntwo immense crowds which lately packed Roma : the one\non the day Mussolini entered and became Head of the\nGovernment, and the other on the day Princess Yolande\nbecame a bride. But there was this difference. The En-\nglish crowd was closer packed, heavier ; and it seemed a\nlittle rougher.\nThe days when Mussolini entered Roma and the\nPrincess was wedded, there was not the faintest suggestion\nof panic or disorder. Nothing had broken down, to judge\nfrom the crowd. It did not push, smash or get out of\ncontrol for a moment. No policemen, mounted or unmoun-\nted, had to be called up to restore order. Everyone was\nin great excitement, but everyone controlled himself. No\none was still or calm, but no groups hustled or pushed.\nNo one had taken anyone's place; that, in an Italian\ncrowd, is out of the question ; the streets in Roma are\neveryone's property and nothing at all self-opinionated ever\nlives there over halt a minute. Everyone in the street is\nglad to see everyone else there, and utterly indifferent too.\nQuite natural fine manners control these Italian crowds of\n50,000 in Roma just as they do in some parts of the east.\nIn my land, but I am always too near to see in\nit anything but perfection—a crowd in the Place de la\nConcorde will joke possibly a little too much ; but then\nwe seldom have such gatherings as the glorious Wembly\nPark Cup Tie Final, and never any Princesses marrying,\nand of late no Dictators. We live and let live, and enjoy\nanything odd and fantastic.\nAnd that is, perhaps, why Wembly Park gave me\nsuch a thrill—and hew it was that I came to see that\nyou English are far more excitable people au fond than\nwe Latins.\nO\nAND I visited some playhouses. Here I really was\ndisappointed. Not with the players. Your come-\ndian Sir Gerald du M&urier seemed to me a very finished\nactor ; if I may say so, almost a Victorian actor.\nI had noticed one day standing on the steps of, I\nthink, the Edmund Kean Club (1) a very handsome figure\nof a somewhat aged mas, yet a man whose upright figure\nand curiously alert head struck me as remarkable. 51 Who\nis that ? n I asked after I had gone by. R Bancroft,—\nSquire Bancroft R said my friend. Rls he an actor ? R\nI asked in utter ignorance. R I should think he is R he re-\nplied. R Tell me about him, R I implored. But my friend\nis one of those charming Englishmen who know everybody\nand everything but yet who hesitate when asked for in-\nformation about anything and anyone.\nf? There's a book of Memoirs bv him R he was soon\nsaying. n Its name ? R I pleaded,—but its name had\nescaped him, We parted and I went into a bookshop\nin Whitehall and asked for and was able to buy the\nvery book.\nAnd, that same evening, I went to see Sir Gerald du\nMaurier act and to take notice of the quiet demeanour of\nhis audience. They and he seemed to me just what I\nhad been reading of all day in Mr. Bancroft's book (1). The\ntwo words which seem to me to describe this book and\nSir Gerald du Maurier are R Victorian R, n seriousness. R\n1 cannot recall any two men in any other Continental\nTheatre who have taken themselves and every detail of\ntheir career with so much seriousness—and this possibly\naccounts for the wrapt attention of the audience at the\nWyndham Theatre. To take oneself seriously is not so\npermissible in a Parisian as in a Londoner;— in Italy it\nis not dreamed of—in Germany not 4 ausgeschlossen and\nI find it very exhilerating and original. Another play-\nhouse I visited was the Lyric Opera House \"in Ham-\nmersmith where I should have enjoyed the delightful\nR Beggars' Opera 51 possibly more had I seen it earlier in\nthe run. But my excitable Englishmen were so familiar\nwith it that they could barely wait till a tune was ended\nand a joke cracked to applaud very loudly and to laugh\nvery merrily.\nI found no less excitable people at R The Immortal\nHour, R a piece I must admit I could not entirely follow.\nMy Sunday should, I am told since, have been spent\nout of London at the Hampton Palace, but I was not\nwarned in time so I spent Sunday in London.\nIt is an experience I never want to enjoy again, be-\ncause on Sunday all excitement seems suddenly to desert\nthese highly strung people, and a stranger would be led\nto suppose, by the gloom and the odd stillness which\nprevails, that something terrible was about to happen. It is\nonly when Monday morning comes that one realizes that\nsomething terrible has happened.—A day has been lost.\nAnd on the Monday I had to to Paris. I de-\ncided to enter my own city like a stranger. I dined that\nevening at the passable Restaurant des Beaux Arts in the\nRue Bonaparte, and after dinner I strolled up to the Cafe\nin the Place Saint Germain des Pr£s. There are four\nor five cafes there, so what I have to tell will not offend\nany—since all cannot be the one I visited.\nI sat awhile, and then, wondering what I should do,\nI decided to go to the Theatre du Vieux Colombier where\nM. Copeau always has „R the latest things, n as you En-\nglish say. But before going I must admit I needed to feel\nthat my intention was as good (and as English) as I sup-\nposed it to be. So I called the waiter, and feigning an\n\n(i) M* Plorian possibly means the Garrick Club, for to\naur knowledge no Edmund Kean Club exists. Ed.\n(i) Sir Squire was knighted after the book had appeared,\nwhich accounts for this slight slip by M, Pierian* Ed-"}, {"page_pdf": 47, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 2471, "texte": "execrable French I asked him, could he tell me of any\ntheatre,—any theatre, I emphasized—within walking [dis-\ntance of his caf£. n There are none n he answered, and\nwent inside.\nn So the Vieux Colombier is not what a waiter calls\na Theatre, n I thought ; and his decision decided me:\nI would not go—it is only a stone's throw from the place,\nbut since the waiter doesn't count it as a Theatre, and\nas his decision would haunt me if I went, I will give in\nas a Foreigner would,—l will admit that no Theatre is\nnear—I will smoke another cigar, and go home to my flat.\nOnce home I spent the evening thinking over my\ntravels.\nRoma had had dramatic surprises in the streets.—Mi-\n!ano dramatic performance in the R Scala. n—London,\never charming, had thoroughly roused and pleased me, and\nnow I was home, and M. Copeau's Theatre no theatre.\nFor the first time in my life I began to consider\nMo Copeau ; but what conclusion I came to about him\nand his no-theatre I must tell you in my next article.\nLondon, Roma, and Milano. The first two are homes\n—I had almost slipped and written hot-beds—of the aristo-\ncracy. Milano is the merchant town.—I was told in Mi-\nlano that the new Scala is pretty well supported by these\ngentlemen. It showed well when I was there. Signor To-\nscanini is admittedly a very great artist, and he has been\nplaced at the head of a very efficient company. Well, that\naccounts for Milano.\nIn Roma I was told that the aristocracy do very little\nto support anything—and that Politics have now taken the\nplace of other entertainments, and to talk politics involves\nhaving to dress and go out to dine with one another, and\nthat this is the most enjoyable of all dramatic pastimes,—\nthis and card-playing.\nAs I do not play cards, and dislike to hear the word\nPolitics—or to utter it—I left Roma after six days, went\nto Milano, and returned to Roma for the unforgettable\nmarriage celebrations of the Princess Yolande.\nAnd now if you ask me, n is there a theatre near Eu-\nrope ? R I must like the waiter in the cafe in the Place St\nGermain reply R not one. 11 My trip has been all enchant-\nment— everywhere I found good friends, perfect railway\naccomodation, good food and a cheery good nature around\nEurope :—but a Theatre—not one.\nI admit I had no time to see the Kamerny Company.\nIt was visiting Berlin or Madrid at' the moment. That\nCompany, from all I hear, is a 1923 Theatre.\nIs a 1923 Theatre a Theatre ? This I will discuss in\nmy next, but one, article."}]}, {"article_id": "bm-bmtnaau-1923-01-c071", "article_bluemountain": "bmtnaau_1923_01#c071", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "29", "page_fin": "31", "image_debut": 47, "image_fin": 49, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.38", "titre_corps": "INCORRECT", "titre_sommaire": "INCORRECT", "signature_source": "EDITOR ; J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.47", "debut_caractere": 2473, "fin_caractere_exclue": 5174, "texte": "INCORRECT.\nBY THE EDITOR.\n\nTHERE are a mighty number of careless statements\nbeing made today. This is nothing peculiar to the\ncentury. But what is peculiar to it is, that there are many\nmore books and journals today than formerly which find it\nwell to print these statements as though they were the\ntruth—and worth the type-setter's pains.\nWhether this wholesale chatter dignified to the point\nof being called n fact n does real harm to our modern\nworld in general is not our concern ; where it affects the\nTheatre it is: so we propose to do something towards\nremedying it; and we want you, our readers, to help\nin this.\nWe expect most of our readers are able to discern\nthese errors, and it is on these we count; and they will\nhave seen how most of the statements made with such\ngrave assurance about our New* Movement are all non-\nsense.\nHere are some examples of what we mean. They\nare taken from four sources: Books. Lectures. Journals.\nIdle Talk.\nI. A BOOK\nIN n The Little Theatres in the United States n by Cons-\ntance D'Arcy Mackay the author states (1) :\nn The initial idea of the 4 Little Theatre ' came to us\nfrom Europe. Its inception goes back to 1887 when the\nfirst small experimental theatre was established in Paris by\nAndre Antoine. n\nThis is incorrect. Even if the first Little Theatre\nheard of by America was Antoine's theatre, it was yet\nnot the first. In Europe,... in Paris as well as in Italy\nand Germany, experiment has been unceasing. 7 here were\ndozens of little Theatres in Paris a century or so be-\nfore 1887.\nAgain, (page 4) n A critic has recently said, n writes\nMiss Mackay, that \" the Little Theatre is the one thing\nthat has happened in the history of the stage in the last\n35 years; 15 and she adds to this, n Indeed, the whole\n* new art * of the modern stage, lighting, colour, siyliza-\ntion, synchronization, has been made possible through the\nlittle Theatre, without the impetus of the Little Theatre\nthere would probably have been no Gordon Craig, no\nStanislawsky, no Reinhardt, n etc.\nThis is incorrect.\nThe Little Theatre is not 4 the one thing ' that has\nhappened in the history of the European stage in the last\n35 years. Neither do we think it the one thing which has\nhappened in America.\nThe whole new art,—lighting, colour, stylization, etc,\nwas not made possible in Europe by the Little Theatre.\nThe existence of Gordon Craig, Stanislawsky and\nReinhardt is not due to the Little Theatre:... True it\nmay be that Stanislawsky and Reinhardt began their work\nin and for Little Theatres, but not so Gordon Craig.\nOne of the facts she does not state is that Stanislawsky\nwas a wealthy man when he opened his Little Theatre....\n\n(i) Henry Holt Co, New York, igij."}, {"page_pdf": 48, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 6340, "texte": "it was not therefore quite the same as Antoine's venture\nor Reinhardt's. Gordon Craig has never, by the way, had\na theatre of his own. That also is never stated. One\nimagines by some of these books that he, like Antoine,\nStanislawsky and Reinhardt, found his countrymen eager\nabout experiment.... They were not.\nSpeaking further on of Gordon Craig's n Screens n\nMiss Mackaye says they are of plain cream c010ur.... and\ndoes not qualify the statement.\nThis also is incorrect, for his patent does not limit them\nto this.\nOn page 150 she refers the reader to Mr Huntly Car-\nter's book on n The Theatre of Max Reinhardt, n where\nshe says a full description of n how Mr Craig came to\noriginate this type of scenery n is to be found.\nThis is incorrect, for how Mr Craig came to originate\nhis R Screens n has not been fully described anywhere;\nbut the best words on the matter are naturally to be found\nin his own writings in n The Mask n and in w Towards\na New Theatre. n\nWriting of Professor Reinhardt Miss Mackay says on\npage II : n In Sumurun he showed how costume effects\ncould be marvellously heightened by the use of scenery\nwithout perspective. For with all his allegiance to the\nmodems, Max Reinhardt is first and foremost a superb\ncolourist, decorative rather than analytical, n and so\nforth.\nNov/ how long, shall we have to continue to tell our\nfriends,... writers and critics.... in the New Movement that\nProfessor Max Reinhardt is just a first-class director of a\ngood commercial play-house, and a good actor, but not an\nartist at all, not a H colourist n, and creates nothing.\nMiss Mackay says on page 243 that the Little Theatre\nof Denver failed. To publish this statement, by itself, in\n1917, was incorrect. It first failed, and then in 1915 it\npicked up again and n has now, (1917) been in existence\ntwo seasons and has prospered in good plays n (1).\nA SECOND BOOK\nAN old professor of some University in Columbia wri-\nting in an influential but half-asleep journal, about the\nwork of some wide-awake and influential stage-manager,\nsays, n There is no fear that his admirable principles\nwill prevail. w—This, after these principles have entirely\nwon out.\n€J It is a custom with some writers of books on the\nTheatre to class Reinhardt, Appia, Antoine, Jessner, Craig,\nand a few others, together. All five are not only utterly\ndifferent, but do different tasks. This careless classifica-\ntion creates a confusion in the minds of the readers, and\nthey pass along the confused nonsense to others.\nII. LECTURES.\nA young man, possibly 38 years of age, but somewhat\nof a beginner in the Theatre, gets a hearing before\na London audience and asserts solemnly that C....'. de-\nsigns for scenes are exaggeratedly large and could not pos-\nsibly be put on any stage. He is one of the pushful new\ncomers, and some of his work, bad as it is, is formed to\nsome extent on the study of C....\\ work. This fact\nshould teach him to observe truth when making statements\nabout his benefactor,\n(2) Another, about the same age, asserts that w C....\nis no longer really interested in the Theatre. He thinks\nhe is, but he isn't. n\nHe is one of the men, oddly enough, C. .. has always\nsingled out as one of the few English scenic men worth\nconsidering, and there are about eighteen to twenty.\n(3; An English play-writer and producer of plays, in\na Lecture delivered April Bth 1919 at the Royal Society\nof Arts in London, asserted that, n Mr has pro-\nduced few plays (fortunately, perhaps, for his methods\nof production would destroy the Dramatist and obliterate\nthe Actor) ; he has invented no system of lighting which\ncan be used with advantage (!)—and most of his scene\ndesigns are unrealizable (2) on the stage; if you recall\nhis drawings you will find he requires a proscenium 120\nfeet high (3), where an average height in theatres is 20 to\n25 feet (4). «\nThese statements are incorrect.\n(4) A professor of Cambridge University, England,\nlecturing in Manchester at the International Exhibition of\nTheatre Art, made several incorrect assertions, He was\ninstantly taken to task by a Lieutenant in the British Navy.\nThis put error to the right about, and one has to\nadmire the quick acknowledgement made by this professor\n(Columbia University, please copy), of his error, which he\nshowed was quite unintentional. The point is that someone\nwas alert to correct error, and that the Cambridge Pro-\nfessor had the good grace to put things right. (Columbia\nUniversity, again copy).\nIII. JOURNALS.\n(1) ]\\/|R Granville Barker, who, one could have sup-\n-IVJL posed, was aware that, in the success of the\nInternational Exhibition of Theatre Art, a good step had\nbeen taken towards a better Theatre for England, while\nstarting to praise what was being then received with a\nround of heartiest applause, soon broke off and began to\nfind fault with the models as being incorrectly made—out\nof scale.\nHe went out of his way to find this fault, for it did\nnot exist.\nWhen someone pointed this out to him, he did not\nshow the least sign of regret,... Won't do, Harley!\n(2) Mr Israel Zangwili, as chairman at a banquet\ngiven to Mr Grein (who will be remembered as being one\nof the first to be instrumental in bringing over an excellent\ncompany of German actors to England, in being helpful\nabout Sir Herbert Tree's visit to Berlin, and several other\nsimilar stage exploits), is reported to have said that he was\n\n(1) Hie Insurgent Theatre, T. Dickenson, 1917.\n(1) The speaker here forgot the words «by me ».\n(2) The speaker again forgot the words «by me ».\n(3) I have lately been curious, wrote a stage-worker to us\nlately, «to measure Mr ' designs as given in his book\nof forty drawings< and find that even measured literally the\nscene is never more than nine times the height of the drama-\ntic figure, and in the 7najority of drawings the proportion is\nvery much less (except in the case of two drawings which the\nauthor says are inte7ided more as book illustratio7is ».\n(4) The speaker was dreaming his little dream• Measure the\naverage of twelve well known theatres: Adelphi, 37 ft. Alham-\nbra, 40 ft. Charing Cross, 28 ft. Britannia, 38 ft. Co7nedyt\n28 ft. Covent Garden. 38 ft. Drury Lane, 41 ft. Efnpire,\n36 ft. Lyceum, 38 ft. Savoy, 35 ft. Parag 071, 34 ft. Hay mar-\nket, 24 ft. the average comes to 34 ft, 7101 20 or 23 ft. (We\nquote measurements from Buckle, 1888)."}, {"page_pdf": 49, "page_imprimee": "31", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 6416, "texte": "\" indifferent, or even hostile \" to the mise-en-sc£ne men,\n(i. e. the Reinhardts, Stanislawskys, Antoines and others),\nbecause mise-en-sc£ne was solely concerned with surface\nmatters.\nHe then failed to point out that this was good, and\nsome one had to write on behalf of these mise-en-sc&ne\nmen to the \" Manchester Guardian n and explain the obvious:\ni. e. that outward and visible signs were to make evident\nthe inward and spiritual grace of the noble Dramas of Mr\nZangwill and his confreres.\nSit down, Zangwill, or rise with a better grace and\nnobler thoughts about those who can be of the utmost ser-\nvice to your line dramas, and have been serving drama for\nyears—doing nothing else.\n(3) In the \"Glasgow Herald \" (1922), a column of\nnotice on the International Exhibition of Theatre Art was\nspoiled by whoppers. Here are some of them.\n\"Mr (an Englishman) has somehow acquired\nin the public mind a wide-spread reputation as a pioneer\nin the Art of the Theatre. He is entirely a dreamer. \"\n(First whopper).\n11 So far as his designs go, almost all of them fail com-\npletely to satisfy the first simple condition of practicality.\"\n(Second whopper).\nOf another artist, an American: \" His designs for\n\" The Cenci \" are striking on paper, but it is doubtful if\nanything like the same effect can be achieved in practise.\"\n(Third whopper).\nThere were about eight more tarradiddles, but we won't\ntire you with reprinting them here.\n\" The Glasgow Herald \" is a grand old journal, (it's\nProprietor and Editor opened the Glasgow Theatre Exhi-\nbition, by the way,) and it should not allow itself to be\nimposed on by writers eager to detract from good British\nwork. There are four or five influential papers far too full\nof such intentional or unintentional misstatements.\nWe hope we shall not be obliged to point out which\njournals and reprint the misstatements.\nIV. LOOSE TALK.\nTHE loose talk is of two kinds: that which is merely\nmischievous, ....the idle tattle of those who wish always\nto seem to be informed, to be \" in the know ,f and there-\nfore talk carelessly themselves and circulate careless rumours\nabout important workers in the Movement and about events\nin the Movement itself: and there is the malicious talk\nof those unhappy creatures who, ever since Pope's day\nhave not ceased to\nDamn with faint praise, assent with civil leer,\nAnd without sneering teach the rest to sneer ;\nWilling to wound, and yet afraid to strike,\nJust hint a fault, and hesitate dislike.\nBut with this vast mob and its leaders we really can-\nnot concern ourselves. You, our readers, (some of our\nreaders....) can, and we hope you will never let an\noccasion slip. It helps to keep things lively.\nWe have given these examples out of very many in\nour possession If the errors are made through ignorance, then\nall is well ...and all the critics and public need do is to\ndemand sharply that, before making statements about the\nstage, and its workers and representatives the writers and\nspeakers should sharpen their wits at least until they become\ncorrect. If through malice, then something is rotten in the\nstate of England. They have rather too ugly a look.\nThat they are utterances of men whose lamps are dim,\nwho are sick, may be true. One should, and we could,\nforgive such a failing for such a reason.\nBut we do not intend to, because the Theatre may\nsuffer through if, let alone the men who are daily working\nfor its sake.\nBut there is the remedy for much of this loose state-\nment and talk which is such a curse to all endeavour, and\nyou can help us to apply it.\nWhen you read something of the kind which strikes\nyou as a huge big lie, enquire into it, and immediately\ncombat the person who is spreading the lie; be it an ac-\ncidental or a deliberate lie the result is the same.\nEspecially to every artist do we address ourselves.\nFight the battles for the other artists and they will fight\nfor you. Fail to do this, and you must not wonder if\nthe others do not respond in your time of need.\nThere is no call to discuss Art; leave Art out of the\nquestion, for it has nothing to do with it.\nGo for the liars who would sneakingiy cheat us out\nof the one thing we know our best men can do, write plays,\nproduce plays, act plays.\nIf the friend you stand up to protect can't write, pro-\nduce or act a play, admit it ; don't lie about it. See\nwhat it is they say he can't do which he can do, and\nthen show the critter who said he couldn't no mercy.\nA practical v/ord. Don't write long letters to papers.\nWhen writing, have your letter typed out and keep one\ncopy of it, sending the other to the paper in which you\nwant it published. When sending it, enclose what is called\na \" covering letter \", (a private and quite formal one) to\nthe Editor of whatever journal you write to. Let this\nconsist of live lines at most, to ask if he will have the\ncourtesy to allow you space in his journal for the accom-\npanying letter. (He often wont have that courtesy—he\nmore often will.)\nDon't write often, but when you write be sure of your\nfacts, and then hit hard.\nDon't bother about the words. If you can't write\npretty sentences, thank ycur stars and go ahead and write\nwhat is better—sense, and in as few words as possible.\nBut get your facts correct.\nYou will make some enemies by this, but you will\nbind your friend to you, your friend who is worth a hun-\ndred such enemies.\nWhen fifty friends shall act in this v/ay for each ether,\nour Theatre we all care about so much will be nearer by\nten thousand days than it is today.\nThat it is still rather far off today is mainly because\nof this failure on your part to attack for your friend's sake\nand his work's sake.\nWe know the excellent type of man who, rather than\nfight for a friend, will lie low and say nothing,... and thus,\nby siding with all sides, will make no enemies. Joseph\nSurface was not unlike him. \" Every body in the world\nspeaks well of him \" says Sir Peter Teazle, to which old\nOliver, that real little Englishman, replies, \" 1 am sorry to\nhear it; he has too good a character to be an honest\nfellow. Every body speaks well of him! Psha ! then he\nhas bowed as low to knaves and fools as to the honest\ndignity of genius and virtue \".\nSome people will not appreciate Sheridan's English at-\ntitude—we rather like it.\nAnd lastly, remember this: that your best friends in\nthe Theatre are not those with whom you share a lunch,\nbut they who have shared their work between you all.\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1923-01-c073", "article_bluemountain": "bmtnaau_1923_01#c073", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "32", "page_fin": "32", "image_debut": 50, "image_fin": 50, "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=bmtnaau1923-01.2.39", "titre_corps": "THE PENNY GAFF : THE \"BAD MANNERS\" OF THE GALLERY BOYS", "titre_sommaire": "THE PENNY GAFF : THE \"BAD MANNERS\" OF THE GALLERY BOYS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 50, "page_imprimee": "32", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 4205, "texte": "THE PENNY GAFF.\nTHE \"BAD MANNERS\" OF THE\nGALLERY BOYS.\nMiss Marie Tempest came back to\nLondon a few months since after\na long absense and produced a play\nwhich, according to several critics, was\nff shocking n, n dreadful, n and, according\nto the gallery boys, was n Rotten. n\nMr St. John Ervine, gallant as ever,\nattempted to prove in fl The Obser-\nver n that the gallery boys were wrong\nto shout out n rotten n ; and that,\nMiss Tempest being present, the boys\nshould have yelled out n divine. n\nBut who was it brought the play to\nLondon ? The boys evidently thought\nit was Miss Tempest's offering to\nthem.... and would do anything sooner\nthan deceive Miss Tempest.\nThey love Miss Tempest—who\ndoesn't ? Just as the gallery girls love\nSir Martin Harvey, and the rough\nand tumble pit of the old days loved\nMrs Glover and Mr Charles Kean.\nBut love is like that, if it be sincere;\nand to expect the pit and gallery to\nturn on an insipid politeness which\nwould be quite unnatural to them is\nto expect the fire to turn into water.\nIf a celebrated manager, actor or\nactress offers rubbish to us, the Gal-\nlery is within its rights to call it\nrubbish.... and to call clearly. Ma-\ndame Eleonora Duse has been, in the\nlast twelve years or so, howled down\nby the house,... not from any disrespect\nfor her powers, nor because the Italian\naudience is n brutal, n but because she\ntoo has stooped to inadequately bolster\nup a few rubbishy plays. Mr. Er-\nvine refers to the Italian audiences as\nbrutal. This is because' he does not\nknow them. They are not brutal, nor\nhypocritical, nor like rice pudding.\nThey are intelligent beyond all other\naudiences. They laugh at sentimenta-\nlity whether it parade on the stage or\nin the stalls, and they laugh at fine\nactresses who attempt clumsily to smug\ngle rubbish across the footlights and\nsell it for a high price.\nFine actresses should not do this;\nand when they do so, the gallery\ndislikes it ; for it prefers to see a fine\nactress in a fine play by a good\nauthor.\nThe London Gallery has this time\nbeen wrongly censured, Unless the\nTheatre has become a private house\nwhy should stalls and circles be ' anxious\nto do honour' to an actress who brings\nus a play which Mr Eryine describes as\n* dreadful * ? To applaud would have\nbeen to set the seal of London public\napproval on rubbish—a thing done\nweek by week by those who mistake\nthe parterre for their private drawing\nroom. Yet, when the gallery shows\ncourage, everyone lisps n What bad\nmanners! n A good deal more of\nsuch n bad manners n and our English\nTheatre might be purged of the sixthrate\ntheatricals which an artificial public now\nbooms as first-rate.... for such \"bad\nmanners \" are not bad manners at all.\nA damn bad play is bad manners....\nthe presumption in the stalls is bad\nmanners.\nTo stop the gallery from its ancient\nprivilege of honest expression of dis-\nlike of a vile play and wild enthus-\niasm for a good one is to ask the gal-\nlery to capitulate. The stalls applaud\nyou to your face, Miss Tempest, and\nthen go and tear you to pieces behind\nyour back. Is that what you like ?\nNo, any day you prefer the true ring\nof the voice of the gallery, its scorn\neven..,, for it has often offered you\nits enthusiasm and will do so again if\nyou do not join in the treason of rui-\nning the stage to gain some private\nends at the expense of the liberty of\npublic expression,\nHERE is an idea for the n Chel-\nsea Art Buns \" as a flippant\nyoungster in the King's Road calls\nthe students there.\nIf it be difficult to find a Gallery\nin which to exhibit your pictures, get\nthe local authorities to let you rig up\nsomething like the above sign-post\nacross the King's Road—not too far\nfrom the Six Bells.\nYou could hang up somte 24 large\ncanvasses,... and since \" The Times, \"\nn Morning Post n and ff Observer \"\nwill see that some one is on the spot\nto forbid the audience on the tops of\nthe busses to be at all expressive\neither for or against anything—you ought\nto be able to have an exemplary exhi-\nbition.... and the pictures could be\ncovered with a curtain on Sundays.\nIn Paris they do something very much\nlike this: and so they do anywhere\nand everywhere save where an English\ngroup is allowed to find it n irregular. n"}]}, {"article_id": "bm-bmtnaau-1923-01-c076", "article_bluemountain": "bmtnaau_1923_01#c076", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "32", "page_fin": "32", "image_debut": 50, "image_fin": 50, "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=bmtnaau1923-01.2.40", "titre_corps": "TO SILENCE A CAT-CALL", "titre_sommaire": "TO SILENCE A CAT-CALL", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 50, "page_imprimee": "32", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.50", "debut_caractere": 4207, "fin_caractere_exclue": 5176, "texte": "TO SILENCE A CAT-CALL.\n'THERE are some rather dull indi-\nA viduals who, when Mr Gordon\nCraig's work is under discussion, seem\nunable to do anything but reecho without\nceasing that cat-call, \" Craig wants to\ndestroy the actor n,\nWe therefore reprint these words\nof his from \" The Mask January\n1914, Vol. VI, No. 3, which quite\nsufficiently answer and refute them.\nn I announced (1) the return of\nthe Über-Marionette or Idol, and the\nexodus of the actor from the Theatre,\nand I repeat it.... the Über Marionnette\nis inevitable. The actor of sense will\nunderstand me. He knows. He is of\nmy family. No particular of my pro-\ngramme excludes him, even if it reor-\nganizes many of his present duties and\nprovides for all accidents waiting to\nscare him. When the time comes his\nplace is secure \".\nlf there be one of the said indi-\nviduals who has recovered his wits,\nlet him, then, try a new cry:\n\" Craig wants to awaken the actor n.\n(i) \" On the Art of the Theatre\n1905-191 /."}]}, {"article_id": "bm-bmtnaau-1923-01-c077", "article_bluemountain": "bmtnaau_1923_01#c077", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "33", "page_fin": "40", "image_debut": 51, "image_fin": 58, "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=bmtnaau1923-01.2.41", "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": 51, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 6643, "texte": "BOOK REVIEWS\n\nTHE CHINESE THEATRE by\nTchoi)-kia-kten I illustrated by A.\nJacovleff: John Lane. Price twenty-\none shillings net.\nTHIS particular book on n The\nChinese Theatre 8 is, for a num-\nber of reasons, quite one of the most\nimportant books on Theatricals issued\nfor a long time.—Important because\nauthoritative and brief, and because it\nstates quite clearly that that thing we Call\nthe human element is excluded as much\nas possible from the whole business :\n—important, for it emphasizes how\ngreat is the discipline which their good\nactors have to undergo :—important\nbecause the tradition is very faithfully\nkept in China ; because ail trifling rea-\nlities such as doors, chariots, horses,\nboats, threads, stones and such-like\n8 properties 8 are excluded, instead\nof this, the actor must pretend to be\nopening a door, pretend to be riding\nin a chariot, pretend* to be mounting a\nhorse or steering a boat? pretend to\nbe twisting a thread or throwing a\nstone, and must pretend as perfectly as\npossible,... must abide by the traditio-\nnal way of pretending, so that we\n8 feel the flowing waters and the rock-\ning of the boat, B—we8—we 8 see the\nhorse 8 that is not there. The author\ntells us this is so.\nThe artist who draws us some fifty\ninteresting pictures of the actor at work\nshows us that, on the other hand,\nother 8 properties 8 are lavishly em-\nployed. He shows us actors making\nup with grease paint,... not to make\nthemselves look like the Chinese folk\nwe meet every day in the Pekih\nstreets but to look precisely unlike\nthem,—to look like persons in the\nTheatre world, an unreal world.\nIn England we show in some play\n(say by Sir. A, W. Pinero) a man and a\nwoman who are pretending to be some-\none else—some other natural beings,\nsome every-day beings,... the man in\nthe street, we call him ; the woman in\nthe street, we call her.\nThis playful, vain endeavour has\nnot appealed to the Chinese mind...\nthe Chinese Finero.... the Chinese whose\nworks of art are so superb, so fault-\nless,—whose Theatre is, I dare say,\nas faultless. I was never there.\nAnd how is this at all surprising ?\n*—What is rather more surprising to\nmany of us is that which we do in an\nEnglish Theatre and dream it to be a\nwork af art.—What dreamers, what\nunpractical folk we English are.... we\nnatural people pretending to be na-\ntural,... is it not the acme of idiocy.\nIf we pretend, the very last we should\npretend is nature, and the very last\nthing we should pretend to be is natural.\nThe work has been well printed by\nKapp of Paris. It costs twenty-one shil-\nlings; some of the drawings are in themsel-\nves worth the twenty-one shillings. That\nof the 8 Actress in the part of an ac-\ncused woman before the Tribunal 8 is\na serious, fine thing. I look at it and\n8 Indeed, indeed it has taken discipline\nto come to this 8 I find myself saying.\nIt was a relief to find that the au-\nthor omits to even mention that 8 pro-\nperty man 8 or R prompter 8 who was a\nsensation to the yokels of London\nwhen 8 The Yellow Jacket 8 (a nice\nparody of the Chinese way) was per-\nformed there. To giggle at him—to\nfind him so clever— as was done at\nthat time, was to proclaim aloud that\nour theatre-goers had become 5i11y,... or\nhad never been anything else. Just so\nmight a Zulu stand agape before the\nbrass-buttoned peak-capped custodians\nwho are on duty in our National Gal-\nlery, and forget to look at the pic-\ntures there.\nThe Chinese use masks—painting\ntheir faces to seem like masks,—much\ndepending on the way the painting\nis done.\nThe paints, some dozens of them,\nare in pots and stand on cast-iron hea-\nters : some forty paint-brushes,—one\nfor each colour—are used for laying\nthe paint on. Bright intense colours are\nused: also black, brown and white.\nIncomprehensible is such a theatre\nto some of our English critics. One\nsuch wrote, relative to this very book,\n8 It leaves one, on the whole, with\nthe impression that the Chinese Thea-\ntre is a very infantile affair 8. That\nit is understood by many millions of\nChinese is only evidence to such critics\nthat the Chinese nation is an ass,... or\nat any rate, rather queer. That it is,\nat any rate, reverenced by many Eu-\nropean critics, goes without saying.\nThe Arts must vary in many of\ntheir moods—and ways—all over the\nearth; but there are some firm princi-\nples underlying each art, and, if not\nlearnt and held to by a nation, that\nnation can count its arts as pretty well\ndamned..., till it choose to relearn the\nrules.\nThere is always time to learn—and\nthere are always men prepared to\nuphold a grand tradition.\nThat in the Arts too many people of\nour English nation will always willingly\nswear to abide faithful for ever and ever\nto a petty tradition and giggle and\ngrimace before a grand one, is rather\ntoo terrible a subject to dwell 0n....\nBut to go on, to advance, and to\nestablish a grand tradition of our own\nwe need not first hark back to 400 B. C.\nand ape the ways of Greece, or go\nback to 712 A. D. and affect Chi-\nnoiserie.... All we need to do is to\nbe true to first principles, not false to\nthe Theatre because it pays better to\nbe true to Sir James SobstufF or Miss\nQuibble.\nWe want Drama, not baby-talk\nplays signifying nothing.\n\nSCENES AND MACHINES ON\nTHE ENGLISH STAGE DURING\nTHE RENAISSANCE: A Classi-\ncal Revival, by Lily B. Campbell.\nCambridge University Press 1923.\n(15 illustrations, pp. Xf 302)\nPrice /5/—.\nHISTORY being so often the de-\nlight of elderly men, I suppose\nthat in time I shall also come to see\nHistory as they see it. But at present\nI am all for shorter Histories. I am\nfor cutting out all talk in Histories.\nI would make little of much instead\nof much of little. And, this virtuous\nintention in my head, I popped into\nthe Biblioteca Reale today just to see\nwhether there were any short histo-\nries. I found a history of Italy in 42\nvolumes. Weil, Italy is a big subject;\nf can let the 42 volumes pass; such\nbrevity seems almost divine. But it\nwas theatre books I was after. I call-\ned for some relating to one section of\nthe stage work of the past. ...on sce-\nneries. They brought me 8 La Sce-\nnografia n, a small but fat book of\nabout 325 pages with about 165 plates.\nI began to give my morning to this.\n1 found a number of facts put down\nwhich were correct; almost as many\nwhich were not correct, some 30 to\n40 incorrect dates and a fair amount\nof waste letter-press. After three\nhours at this book I went home. 8 It\nis not so that I will write History\nwhen I come to it w I promised myself.\nThis was before lunch. After lunch\nI was toying with Miss Campbell's\nbook n Scenes and Machines 8 and I\nfelt far less virtuous : I had to write\nthis review; and I thought, * Well"}, {"page_pdf": 52, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.52", "debut_caractere": 0, "fin_caractere_exclue": 6812, "texte": "now, if ever 1 come to write a Hi-\nstory Book on one branch of Thea-\ntrical Craftsmanship may the Gods\ngrant that I do my work half as well\nas this lady has done hers Not that\nit is faultless, only mine would have\ntwice as many faults ... differen faults.\nI would try not to take 60 pages\nto show what could be revealed in 16.\nI would take eight to ten years or\nlonger over my first book. I would\nmake an Index to it which should be\nreally perfect. I would not mix up\npeople just because they were called\nby the same name; and unless I had\nvery serious proofs I would state no-\nthing as a fact which might later on\nprove to be all fancy.\nAs for illustrations, I should be fas-\ntidiously careful,\nAnd the only fault 1 can possibly\nfind with Miss Campbell's book is that\nan illustration or two might have been\nbelter chosen ; and the index is not\nquite correct, and the names now and\nagain wrong, and some of the state-\nments a little rash.\nThat said, the book is delightful,\nand certainly proves that n scenery was\nfrom the beginning of ihe revival of\nthe classical drama in Italy regarded\nas an accepted part of dramatic pro-\nduction B.\nWhat a strange world it is that we\nstill ask for 312 close-printed pages\nfrom a clever lady to prove that. That\nthere is need for another Moli&re is\nclear. We have not advanced in\ncommon-sense one step since 1673.\nWe assemble in our wigs, gowns and\nspectacles with solemn faces, we sit\ndown in circles, we say Hullo Agate!\nand what ho Ervinef We nod to\nArcher, we open manuscripts, we forget\nwhy we were born. Someone begins\nto read; we listen; we feel awkward,\nso we protest. We contradict; we\nrise up and storm: we cry out; ...all\nis in an uproar; ...all to prove that a\nmouse is actually, was originally, and\nmay very seriously be supposed in the\nfuture to be, a mouse.\nBut no one rises, reads, and dis-\ncusses more pleassantly or more ca-\npably than the author of n Scenes and\nMachines n. She credits our Inigo\nJones with far greater powers than he\npossessed and we shall not grumble\nat that. She is one of the first to talk to\nus of Sabbattini. She is gallant in her\nhopeless task, for her task is t© help\nto convince an absolutely indifferent\nlot of nobodies that to dress even the\ngrandest of naked human forms, the\nDrama, is, anyhow, permissable, leads\nto comfort and something more, and\ndoes not offend the eye.\nB No, no! n cry out the bewigged\nacademicians, the learned duffers \" no,\nno; ...the eye is a sensual agent: pluck\nout yours n, they howl; M ...pluck out\nyours\n\nON \"THE SITE OF THE GLOBE\nPLAYHOUSE OF SHAKE-\nSPEARE by George Hubbard. Cam-\nbridge University Press. 1923.Price7/6\nA good and very cheap book of\n44 pages instead of a long and\ntedious one of 444 : ...what a delight!\nWho says that brevity is none of my\nbusiness, and that if there had been\n444 pages I should have been obliged\nto read each page? I reply I could\nnot have read them.\nAnd there are twelve loose plates\nof plans of London, ...and here Mr\nHubbard has again shown his wit by\ngiving us only bits of the plans and\nby enlarging those bits. All concen-\ntrates on the matter he is concerned\nwith... the Globe Playhouse.\nThe book is handsomely printed\nand finely bound and has a large page\nof clear type.\nBut what a jest! ... for our author\nproves conclusively that we Londoners\nhave a rare number of sheep walking\naround reading and talking about\nShakespeare and dressed up to look like\nstudents, doctors, learned men, poets.\nDo not the aforesaid sheep assemble\nin front of the Pothouse of Messers\nBarclay, Perkins and Co Ltd, and,\nwith tears in their eyes and in true\nemulation of the inaccuracy of their\ndear Shakespeare, proclaim that his\nTheatre stood where it never stood ?\nR It is, dear be—and - a—bo—hop\nfriends, a duty we owe not alone to\nour bo—and—a—hop selves but to\nthe memory of tb at great if often\ninaccurate Dramatist whom we all\nlove, ...I allude to none other than\nMr. be—and—a—bo—hop William\nShakespeare; it is, I say, dear bo—\nand—a—hop friends, our beholden\nduty to erect here and now a—be—\nand—a—boo memorial tablet ... in the\nwrong spot 11.\nThus will the speech run some day\nin some farce entitled 11 The Thirteen\nWise Men of Gotham n.\nMay I be sitting next Mr Hubbard\non the first night.\n\nTHE NO PLAYS OF JAPAN by\nArthur Waley. A. A. Knopfl JVei»\nYork.\nTHESE great plays.\nThis great way of playing for a\ngreat audience!\nThere is nothing to be said in a\nbrief review about this sort of thing*\nso good it is. But it is a blessing for\nus that Mr. Waley has translated all\nthese nineteen plays ard a farcical inter-\nlude, and has given us ten designs to\nhelp us to understand it all a little\nbetter than we did. To understand it\nentirely one has to be born a Japanese\nand be still living in Japan,—in thai\nJapan which we suppose is still the\nJapan of the No-Drama.\nIf that land be gone, if it be turned\ninto a commercial affair instead of a\ncountry, the B No w had better be\nswept away as soon as possible. For\nthe n No w is the soul of Japan.\nWhat the n No H can be to us except\nsomething very sad, I, after many years*\nknowing of. it and knowing what it\nstood for, dare not trust myself to say,\nAs a mere hint as to how we should\nproduce plays, it is futile. As a de-\ncorative thing, it is worthless to us.\nMerely because it employs masks, it\nis, for us, nothing. Symbolical, I be-\nlieve. What of that, for us ? It deals\nwith heroes and great legends—where\nlies the content, for us?\nIn Italy, they will perhaps make,\none day, something heroic from the\ncoming of Mussolini. But that, too,\nwill take time. My friends who write\nplays and act them are not the un-\nborn babes of to-morrow. They are\nliving now. I cannot rejoice for them\nin the continued triumph of compro-\nmisers in nearly all other governments\nexcept Italy's: nor in that yellow-grey\nspirit of compromise in so many lands,\nwhich creeps out like a fog, at just\nthat slow pace, and just that colour,\nto envelop the little great leaders as\nthey are making their non-committal\nspeeches. That is what my friends\nthe play-writers and the actors have as\nmaterial to work on to-day. A rich\ntheme of nothing, in which nobodies\ndrift on and drift off the stage. For\nsuch a Drama is not brought into exis-\ntence by any one perfect writer or\nany two: or in England Mr. Max\nBeerbohm could give us our English\nDrama, and Anatole France could sup-\nply Paris.\nAnd when I turn from these w No B\nplays of Japan, to listen to the tone\nof voice of him we call our great Aris-\ntophanes, 1 am staggered by the mild-\nness of his laughter. Did he find the\nsituation only so mildly tragic that he\ncould be merely twinkling? Still, that\nis better than being prettily senti-\nmental.\nI would willingly tell you the price\nof this book, but there is no sign of\nthe price on it, on its cover, or on\nthe case in which it is packed. Yet"}, {"page_pdf": 53, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.53", "debut_caractere": 0, "fin_caractere_exclue": 99, "texte": "one would have thought that Mr. A.\nKnopf could ha>e been called a prac-\ntical man.\n\nTWO GOOD BOOKS."}, {"page_pdf": 53, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.53", "debut_caractere": 5026, "fin_caractere_exclue": 6522, "texte": "STUDIES IN THE CHINESE\nDRAMA by Kate Buss. Four Seas\nCo. Boston. U. S. A. Price 5\ndollars.\nI do not know when I have seen a\nprettier bound book than this, 6r a\nbetter printed one. The illustrations\nare first-class too. But it is not to\npraise these things at the expense of the\nauthor's work that I speak of them\nfirst.\nThe book itself is excellent, and all\nwho are interested in this Eastern\nTheatre will assuredly get a copy if\nthey can; ,;.but as there were only\n1000 copies printed and the type is\ndistributed they must hurry up or be\ntoo late.\nThe Chinese, says Miss Buss, hold\nas unimportant the building, scene and\nlighting of a Theatre: as important the\ncostume. Yet she explains that in\nPekin the Imperial Theatre has B three\nstages one above the other 11 and tells\nus more of these three stages. This\ndoes not strike us as proof that the\nconstruction of Theatres is considered\nas unimportant.\nOf its scenery she writes that the\nChinese consider it n silly and unne-\ncessary B, and that n the imagination\nthat has created in Chinese art so\nmuch chimerical humour of animal and\nflower and fetish can find a river\nwhere there is no water, and a moun-\ntain where none is painted n. This\nbeing so it seems to us that if the Chi-\nnese mind be at all logical, it should\nproceed along that mountain path and\nfind a hat where none is worn, shoes\nand embroideries where none are to\nbe seen... and actors where none have\nentered. Where should we get to,—\n.. , . the summit of the mountain\nperhaps."}, {"page_pdf": 54, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.54", "debut_caractere": 0, "fin_caractere_exclue": 6589, "texte": "THE WORLD IN FALSEFACE\nby George Jean Nathan. A. A. Knopf.\nNew York• Price dollars 2.50.\nIN this his latest book Nathan goes\noff the lines.... I mean the lines\nlaid down for him by the theatrical\nprofession,—and may he enjoy his little\nramble as well as the 4 profession '\nwill, if it buys his book. He writes\nof n Theatre and Drama B and of\nB Art and Criticism, n but he also\nstrays into B the world we live in w\nand touches on B men and women. B\nHis book is in four parts.\nPerhaps the most interesting passage\nto me is the last one in the book\ncalled nln memcriam B wherein he\ntoasts all the old drinks he has had in\nfourteen of the towns he has been in.\n—B The pale pink chianii in the\naround the corner from Dante's mo-\nnument in Florence. The worst of\nan address like that is that there are\ntwelve street corners at Dante's statue.\nI counted them yesterday.\nNathan has something to say this\ntime about the bribery of dramatic\ncritics in America. It is a very en-\ntertaining bock and one very curious\nremark in Part 2 must set everybody\ntalking.\n\nTHE RUSSIAN THEATRE UN-\nDER THE REVOLUTION, by\nOUber Sayler. Littles Brown & Co.,\nBoston, U. S. A. Price Dollars 2.50.\nMR. Sayler journeyed three quarters\nof the way reund the world, in\nwar-time, to visit a country where re-\nvolution and famine were raging, to\nlearn amongst other things whether the\ntheatre of that country still survived, and,\nif so, what it was doing. Some of\nthe news Mr. Sayler brought back was\nworth bringing.\nWhen Mr, Sayler reached Moscow\ntowards the end of 1917 he found\nStanislawsky's ® Seagull Theatre w as\nactive as ever:... more so, in fact,\nsince it had added two B Studio\nTheatres to its original foundationu\nHe found also the Kamerny Theatre\nwhich had arisen since 1914, that is,\nduring the war period. 'The Great\nState and Small State Theatres of\nMoscow and many others were vigo-\nrously at work, and the people so\ncrowding to the performances that even\nthe privilege of buying seats had to be\nballotted for. New productions might\nbe few, owing to financial straits; but\non how fine a repertory these Russian\ntheatres had to draw, how the ardent\nwork of former days was aiding them\no bridge over the present, and how\nenaciously they were holding on until\nthe dawn of better days, has been\nconvincingly shown in Mr. Sayler s\nbook.\nMoreover, the list given of entirely\nnew productions prepared between 1914\nand 1917 by the Kamerny alone tes-\ntifies to the brains and enthusiasm of\nthis theatre.\nThis revolutionary f! Kamerny n ope-\nned for its first performance on De-\ncember 25th 1914 with B Sakuntalan\nby Kalidasa. It proceeded with Synge's\nB Play Boy of the Western World, n\nCalderon's B Life is a Dream, B Gol-\ndoni's \" The Fan,\" and Kuzmin's n Pen-\ntecost al Toledo. B Its second season,\n1915 to 1916, included n The Marriage\nof Figaro B by Beaumarchais ; B The\nCarnival of Life B by Remy de Gour-\nmont; Rostand's B Cyrano de Bergerac B\nand Tor Her berg's n Two Worlds. B\nIts third season, 1916 to (917, began\nwith B The Merry Wives of Windsor B\nand proceeded with B Thamira of the\nCithern B by Annyensky, n The Sup-\nper of jokes Bby Sem Benelli, The\nVeil of Pierette n by Donanhy; *Un\nChapeau de Paille d'ltalie B by La-\nbiche, and the B Azure Carpetn by\nLiuboff Stolitsa. It also produced\nWilde's B Salome, B B L'Echange B by\nPaul Claude!, and Debussy's B Box of\nToys, B\nSuch varied activity, in face of dif-\nficulties so tremendous, may well give\nus to think.\nEngland and America offer excuses\nfor poor plays and lack of initiative,\n...ever the same old excuse, B lack of\nmoney B, B after-war conditions, B and\nso on: yet these glimpses of what the\nindomitable Russian theatre workers\nare doing might surely convince peo-\nple, as it does us, of the feebleness of\nsuch excuses; force us to admit that\nit is a more passionate thought about\nthe Theatre, a more sensible and se-\nrious attitude in regard to it, that we\nEnglish need if we are to rid our-\nselves of the reproach that B We possess\nthe greatest dramatist in the world and\nthe most contemptible theatre in Eu-\nrope B (1).\n(i) « England for the English» by\nGeorge Sampson. Cambridge University\nPress,\n\nTHINGS THAT HAVE INTE-\nRESTED ME. Second Series. Ar-\nnold Bennett. Chatto & Windus.\nPrice 7/6 nel.\nMR. Arnold Bennett is interested\nin the Theatre amongst other\nthings, ..•and so much so that one\nday, when the actors at the Court\nTheatre were speaking in the orthor-\ndox up-to-date realistic manner, (ie,\nso as not to be heard), Mr Bennett\nB hurried to dressing-rooms and re-\nmonstrated with the admirable chief\nactors B.\nIt would appear that the Court\nTheatre is too large, too small or too\nsomething else a place to make oneself\nheard in.... from the stage.\nThere should really be someone in\neach English theatre authorized to go\nround and speak to the actors, car-\npenters, limelightmen, prompter and\nthe rest, lest someone reading Mr\nBennett's book may take himself to\nbe equal in capacity and authority to\nMr Bennett and hurry round and\ngive his advice, Suppose six or eight\ndid this each night.\nMr Bennett writes of B Dramatic\nCritics B and of B The Dramatic Critic B,\nof n British Operatic Performances B\nand of B The Theatre Public B.\nThe Dramatic Critics he writes of are\nall British: the Theatre Public Bri-\ntish too. On B Playwrights n there\nis a three-page essay; it is on Bri-\ntish Playwrights. Of Synge he writes:\nB We had a great dramatist, Synge.\nHe went and died young. It was a\ngreater tragedy than any that his pen\nwrote. n\nThere are two other three-page\nessays on the Stage, one on B Theatre\nManagers B and one on B Theatre\nFinance B. This last begins, B More\nlies, polite lies are told about the\nTheatre than about any subject on\nearth This is probably one of the\ntruest statements ever made by anyone\non earth about the Theatre.\nMr Bennett is a very remarkable\nman, ...practical, one of Britain's fore-\nmost novelists, a playwriter, a journa-\nlist, an able-bodied seaman, and he ridi-\ncules the idea that the modern pre-\nsentation of the Greek play is worth\na row of pins. We think that here\nhe exaggerates. We hardly believe it\nto be worth one pin in the row.\n\nCHRONISTEN DER MODE by\nDr Oskar Fischel. Miiller & Co Ver-\nlag, Potsdam. 50 Marks. schlilsseU\nzahl 700.\nTHE book is in one volume and\ncovers 3000 years, and our only\nregret is that it does not cover them as\nclosely as the 19th century was covered\nby the same author in his delightful\nbook in three volumes which J. M.\nDent & Sons published in an English\ntranslation under the title of n Modes\nand Manners of the XIX Century\nHere we have 89 pages of text to"}, {"page_pdf": 55, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 6861, "texte": "cover 3000 years; in the earlier work\nthere were 500 pages devoted to 100\nyears. So that we should have liked\nit better had the author given us more\nfacts in chronological order and left\nus to elaborate on these.\nStill, his own elaborations are much\nbetter than ours could be; he describes\nthe spirit of the dress of the 3000\nyears, not of what dress was com-\nposed ; when each variation came along,\nwho brought it, on what date, and\nwhat was going on in the world at\nthat time. But the picture he draws\nis perfect so we need not cavil. And\nthe pictures he reproduces are selected\nwith considerable care. Consider what\ncare must be necessary to select 200\npictures to illustrate 3000 years full\nof costume.\n•These pictures he reproduces for us\nin a manner which impels our imme-\ndiate appreciation,\nDr Fischel is to be congratulated,\nand anyone who gets the book to be\nmore congratulated. For it is a piece\nof book work which we must admit\nastounds us.\nThe year is 1923 remember. The\nprinting of the text has been done by\nOffizin Maniche & Jahn A & G, Ru-\ndolstadt. Cliches and Copperplates,\n(and there are 107 copperplates) have\nbeen made by the firms of Richart\nLabisch & Co and Carl Sabo. The\nsix Lichtdruck in colour by Albert\nFrisch, Graphische Kunstaustadt, Ber-\nlin, and the binding by H. Fikenscher,\nLeipzig. A delicate green cloth is\nused to bind with, the lettering on it\nbeing in a rather darker shade of green,\nthe utmost intelligence being used to\nselect and execute this.\nThe copperplates amaze us, printed\non the same paper as the text; the\ncolourplates too.\nOur admiration is unbounded for\nfour sets of workmen, no matter in\nwhat land they be, who can work so\nwell under their respective heads, and\nall together under the guidance of Dr\nFischel, and produce a hook which one\nimagines might be made in a land and\na period where the wine and honey\nwere flowing copiously.\nNow if we would learn anything\nfrom this example we must not try to\nexplain it away. It is useless to say\nB Germany is a Republic now, any-\nthing can be done by a Republic B\nfor this has nothing to do with the\nquestion. In 1903 and 1906 we saw\nGermany, and it was as easily able to\ndo these things under Imperialism as\nit does today.\nNo, the answer to B how can they\ndo it ? B is this. They all are disci-\nplined; they all determine to do it ;\nthey iike to overcome difficulties for\ntheir own writers, artists and craftsmen,\nas for their own brewers, shipowners\nand other mighty and privileged ones.\nThis is the ordinary truth, and we\nonly hope that some day our English,\nFrench, American and Italian publi-\nshers, writers, artists and craftsmen\nmay be as lucky, in one thing, as the\nGermans are ...to live amongst a people\nwho have been shown that discipline\nis . necessary to all if we are all to\nhave a share in seeing our work well\nset out before the public ere we reach\nsixty years of age.\n\nTHE BEGGAR'S OPERA, Its\nPredecessors and Successors, by Frank\nKidsort. Cambridge University Press.\nPrice Five shillings net.\n11 nEAR : ear ur\nn suggestion to bring out the\nn book on the Theatre at the low\nn price of 5/-is utterly out of the\nB question. You must bear in mind\nB there are over 125 pages and 0 half-\nB tone pages of design. A paper co-\nB ver is not popular and so it will\nB have to be half cloth. A good pa-\nB per will have to be used for the\nB letter press and a fine art paper for\nB the illustrations. The book will there-\nn fore have to cost at least fifteen\nB shillings or a little more. 11\nThe writer of this letter was a pub-\nlisher who is asleep. The publisher\nwho is awake is Mr, C. F. Clay and\nthe Syndics of the Cambridge Uni-\nversity Press. They have done what\nwas B utterly out of the question 8,....\na book of 117 printed pages, 8 half-\ntones, finely printed on the best paper,\nbound in half-cloth, label (and an\nextra label inside to use when the first\none is worn out), gold-patterned sides,\n... and all used with delightful taste,\ncosting precisely 5 shillings.\nThis is the little book by Mr. Kidson\non B The Beggar's Opera. B\nIt is written excellently; it is full\nof ail the information one needs about\nthe author, his plot, the music and the\nlibretto: the productions, and the cri-\nticism received, and much about the\nearlier operas in England.\nIt is done very well and the ques-\ntion of paper and type are both as\ncarefully considered by the Cambridge\nPress as they are carelessly disregarded\nby most publishers.\nCheap common books must be is-\nsued for the lower classes, one sup-\nposes, and fine books for those who\nlike 4 em fine, cheap or costly ; but\nthose middle priced snobbish tasteless\nbooks turned out to-day by the thou-\nsands, these should be prohibited. The\nauthors and printers would then flou-\nrish ;—for it is these middle-class mush-\nlike books and book-makers who render\ngood authors and printers poor.\nWould to heaven that all the Uni-\nversities in England were given the\nsole right to issue books !—Autocratic ?\nwould it be that ? It seems to me\nthat it would be an ordinary act of\nplain common sense.\n\nLADY INTO FOX by David Gar-\nnett. Chatto & VYindus. Price 5/- net.\nHOW does Chatto & Windus ma-\nnage to get nearly all the good\nbooks ? ... like the devil with his good\ntunes it strikes us as uncanny.\nAnd here is a delightful book; a\nbook without a fault. I cannot find\none anyhow.\nIt is small, neat, and full of wit and\nbeauty, ...and even the last paragraph\nis probably right where it is, ... but\nto me there is little use for it after\nwhat has gone before and gone by so\ninevitably.\nThe woodcuts which illustrate the\nstory are genuine woodcuts and very\ngood.\n\nSHAKESPEARE TO SHERIDAN\nby Alwin Thaler Ph. D. Harvard\nUniversity Press. Price 5 dollars.\nTHIS book is very pleasantly writ-\nten, full of a great deal of good\ninformation about a period of which\nwe already have, by the way, suffi-\ncient material.\nThat is the worst thing I can say\nto the writer; and he doesn't want to\nhear the worst thing, but the best thing I\ncan say. So without any effort I can\nsay it is a most interesting book. If I\ntook in n Snappy Stories B I should stop\nfor a year and take in w Shakespeare\nto Sheridan, n for it has all the\nand is some story.\nI like my author very much because\nhe has some discontent in him. For\nexample, he is not content to fill up\nthis book of his on old things with\nold pictures. All the pictures are new.\nBy that 1 mean that they are new to\nthe public, and new to the writer of\nthis review who is familiar with a\nwidish range of such things.\nThere is one intensely interesting\ndesign,... that which shows Cuzzoni,\nand Farinelli, and Heydegger. On the\ndesign is written, B Drawn by Dorothy\nCountess of Burlington. B If this be\ntrue, I hope someone will search out,\nfind, collect together and reprint all the\ndrawings by the Countess Dorothy.\nShe had a touch of genius, and a very\ninteresting touch of it, at that."}, {"page_pdf": 56, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 6559, "texte": "This design is from an etching made\nfrom the original drawing, and is, with\nthe other thirty-eight illustrations, taken\nfrom the Harvard Theatre Collection,\nthe expert advice of Mr R. G. Shaw\nhaving been taken in their selection.\nAnd the list of illustrations is good,\ntelling one all one wants to know\nabout each plate. Sometimes half a\npage will be given to one entry.\nSince the book is so excellent perhaps\nthe publishers will not be offended if\nI deplore the heaviness of the volume,\nthe thickness of the paper, and the\ncover. Since lam speaking to one\nof the most representative of American\npresses, and an independent one; and\nsince Harvard is in the new country\nand not in our old one, may I not\nsay:—You should have printed on\npaper that cost half as much to buy:\nyou should have bound it in a strong\nwrapper and not put a black and gold\nccver on it, and then you could have\npublished two books for the same\nprice, instead of one.\nYou follow the English tradition of\nthick, heavy, luxurious paper, solid\nbinding in board and cloth. This tra-\ndition has prevented us in England\nfrom bringing out many good books.\nIn other lands on the European con-\ntinent we have what I think is a very\nmuch finer tradition. I think the French\nand Italian books are every bit as\nelegant as the others, distinctly more\npractical, and half-again as cheap.\nIt is delightful that Harvard does\nnot mark the review copies it sends\nout with any disfiguring rubber stamp.\nI wish all publishers would follow this\nexample.\n\nTHE EXEMPLARY THEATRE\nby H. Granville Barker. Chatto &\nV/indus. Price 9/— net.\nTHIS very able, if rather difficult,\nbook will be read by all true\nlovers of the Theatre and its Drama,\nand these, we believe, will be of our\nopinion when we state that we con-\nsider It the finest critical work of its\njudicial and high-intentioned author.\nMr Barker is, and always has been,\nan orthodox idealist as regards the\nBritish stage, and seldom has his rigid\nidealism been so neatly expressed as\nin the pages of n The Exemplary\nTheatre R.\nSome there are who will cavil at,\nif not quarrel with, Mr Barker for his\nattempt to improve the health, moral as\nwell as physical, of the British Stage\nby what his friend Mr Beerbohm de-\nscribes as n municipal pillules 11. But,\nfor our part, we can but whole-heart-\nedly, and for obvious reasons, admire\nthe admirable intentions of this con-\nsistent reformer, who, without the\nfaintest hope of success, without more\nthan a lick and a promise for the fu-\nture, dashes (in his well known pedes-\ntrian way) once more into the breach.\nIf some protest that this breach is the\nwrong one we can but remind them\nthat, whatever fault can be found, Mr\nBarker has been always supposed to\nbe practical to a fault, and in a re-\nformer it is surely no fault to be prac-\ntical.\nHe is young, too. To him toys\nappear sometimes to be treasures ...so\ndelighted is he to have discovered\nthese toys ...even eighteen years late.\nBut when he tells us of more weigh-\nty matters, ...when he speaks of\nthose things which R The Mask 11, for\nexample, has for many years been re-\nminding its readers are valuable, he\nassumes the gravest of airs and no\nfault can possibly be found with his\nmanner of repeating them.\nSe when we come to the end of\nthis book, we close it with a last and\nnot quite forlorn hope, that, in spite\nof pride and reason, and with the aid\nof the Drama League, the British Na-\ntional Theatre will soon come to be\nfounded in London, and that then Mr\nBarker will be chosen to be its exem-\nplary head.\n\nON PRODUCING IN LITTLE\nTHEATRES by Clarence Stratton.\nHem}? Holt Co. U. S. A. 1921.\nPrice dollars 2/90 net\nIT is too sweeping to speak of Ame-\nricans and then to praise or blame,\njust as it would be too sweeping to\ntalk of Europeans and praise or\nblame.\nBut this particular group of Ameri-\ncans treated of in Mr Stratton's book is\nshown to be very active in * trying\nthings out 11 in its Little Theatres.\nIn most of the pictures in the book,\nhowever, ...fifty-seven in ail... We find\nthat the things tried out are not suf-\nficiently original. Far too many de-\nsigns remind us of things already tried\nin other lands and found good, bad,\nor indifferent.\nAnd we wonder why these tests did\nnot suffice; why no one stops wasting\ntime and money re~iesting proved\nthings.\nStill, it is one of the many good\nbooks which anyone who is carefully\nfollowing the New Movement must\npossess.\n\nTHE GREEK THEATRE AND\nITS DRAMA by Roy C. Flicken-\nget, Ph. D. University of Chicago\nPress. 1918. Price Three dollars.\nENGLISH PAGEANTRY by Ro-\nbert Withington. Harvard University\nPress. 1918. Price three and a half\ndollars.\nTHE first book is well written and\nseems to have given the writer\nsome trouble: And it is illustrated.\nIn fact, Dr. Flickenger has been lavish\nwith his illustrations. He give us\neighty good ones. Now Mr. Withing-\nton in his n Pageantry R unluckily\nonly gives us thirteen, He might have\ngiven us eighty-one and so have\nbeaten the enthusiasm and love for\nhis subject which Flickenger reveals at\nonce, But Mr. Withington evidently\ndidn't want to reveal any ' enthusy-\nmusy f as Byron loved to call it, and,\nif he is a young man as his preface\nleads one to suppose, why the deuce\ndoesn't he go it a bit more ?\nn Pageantry n ;... what a theme ...and\nwhat an opportunity to spend money\nover eighty-one nice illustrations,\nand, as I say, we only got thirteen.\nWhat a delight an enthusiast would\nhave had (and given) had he been\ntempted to give us six extra plates in\ncolour. Why, I remember even old\nand sleepy Europe has done that for\nyears now.\n\nTHE TWENTIETH CENTURY\nTHEATRE by William Lyon Phelps,\nProfessor of English Literature at Yale.\nMacmillan Co, New York. Price\ndollars /,25,\nIT is a pity that the Macmillan Com-\npany disfigures the first page of its\nbooks by pricking them with a mes-\nsage to us by means of a patent lancet\nmachine. I hold this page up to the\nlight and can with utmost difficulty\nread R Advance copy. Not for A—\nL E. For Review R. There is no\nA.L.E. in our office, or amongst our\nreviewers, and we! rather suspected\nthe book was for Review. But why\nshould A.L. E. be so pointedly feared ?\nThe author is very sympathetic to\nthe Theatre and does not fail to say\nso. He says that he has received\nhappiness from it. There is such a\ndifferent tone to his confession from\nthose so often made by other writers\non the Theatre that one feels he is\na member of the good audience.\nTo me as a European he seems a\nlittle too tame for an American. But\nthen, it has always seemed to me that\nto be an American is to be born with"}, {"page_pdf": 57, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 6470, "texte": "the great chance, ...the chance * which\nLongfellow avoided and Whitman sei-\nzed, ... to dash along and stand for\nsomething positive. For my part, though\n1 may be wrong, I conceive Europeans\nto be more delighted by catching sight\nof a true American than what, without\nmeaning any discourtesy, I would call\na false one.\nIf I could write so good a book ;\nif I felt so young about things as Mr\nPhelps, I should throw up his profes-\nsorship of English at Yale University,\nand in three years I'd make my name\nheard all over America as standing\ndefinitely for all that is most rash and\nbest. But then I should be called\nNathan.\n\nDAS MODERNE B UHNENBILD,\nby Dr Oskctr Fischel. Verlag Was-\nmuth. Berlin. 1923.\nTHERE are 147 reproductions in\nblack and white and 8 in colour\ngiven in this work, and nearly all are\nfrom those drawings which were exhi-\nbited at the International Theatre Exhi-\nbition in Holland and England,\nDr Fischel has written 8 pages of\ntext stating well and with authority\nwhat the Theatre is, and how we can\ntake the more modern developments.\nThis has far greater need to be said\nin English and French than in German,\nfor the Germans have always under-\nstood modern things up to the point\nof trying what they were worth before\nhowling them down. Fortunately, as\nDr Fischel shows us, the howling\ndown is quite useless; and so the\nworld is not going to be cheated out\nof these things.\nThey have a certain worth; not one\nof these designs seems worth a single\nact from a play by Shakespeare, not\nmore than a dozen of the designs are\nas good as the work of Stringberg or\nSynge; but there are hardly ten that\nare not infinitely superior in quality to\nthe sentimental plays of the hour so\nloved by sentimental audiences with\nboth of which our modern stage is\ncursed,\n\nSENECA AND ELIZABETHAN\nTRAGEDY. F. L. Lucas, B. A,\nCambridge University Press. Price\n7/6 net.\nMR Lucas opens his first chapter\nby setting forth his argument :\n* In the realm of letters it has been\nSeneca's destiny, like Banquo's, to beget\nin his posterity a greatness denied\nhimself. Virgil, that imperial poet,\nwas the founder of a line of degene-\nrate literary faineants, the Epic poe-\ntasters of Silver Latin: but from\nSeneca, decadent Silver Latinist him-\nself, by a seeming freak of fortune\ncan be traced the direct descent of\nthe lordliest names in* the dramatic\nliterature of Western Europe. To\nestimate his influence and to trace the\nline of descent from him to the Eli-\nzabethans is the main purpose of this\nbook\nThe ground Mr Lucas covers is\nnot new; but as he is not too R lear-\nned \" his book will be of good use\nto those lacking classical knowledge,\nand he has been sufficiently succinct\nto compress a great deal into his 133\npages.\n\nELIZABETHAN DRAM A by Janet\nSpens. Methuen & Co. Price 5j— net.\nIT sets out to be a manual of Elizabe-\nthan drama for the use of univer-\nsity students, and will serve all who\nwish to gain some preliminary infor-\nmation as to this important period in\nthe history of the English Stage.\nIn the course of its 148 pages it\ntreats of the characteristics of Elizabe-\nthan Drama, its origins, arid the pre-\ndecessors of the Elizabethan Drama\nstrictly so-called. It points ' out that\nall tragedies previous to 1600 were\n* Revenge \" dramas and descended\nfrom the Greek, devotes a chapter to\nthis theme, and another to the Apo-\nchryphal plays and Munday, and goes\non to handle one by one Shakespeare's\ncontemporaries and successors. A use-\nful hook.\n\nA SHORT HISTORY OF THE\nBRITISH DRAM A. Benjamin Br aw-\nley. George Harrap& Co. Price 7 j6nct\nMR Brawley prefaces his work mo-\ndestly when he says that it\nw makes no special effort to be either\noriginal or profound. It aims simply\nto set forth in brief compass the main\nfacts that one might wish to have at\nhand in his first course in the English\nDrama \". And, just because the book\nis simple, n holds itself strictly to the\nhistory of the drama \", it is likely to\nbe of service to many, ...both to those\nwho wish to gain some clear outline\nof a subject wholly new to them, and\nto those who, already possessing a cer-\ntain amount of scrappy and discon-\nnected knowledge, would be glad to\ncoordinate it, pull it into line and\nshape.\nThe book is conveniently arranged\nfor students and is also furnished with\nan alphabetical index, and a helpful\nBibliography. Altogether a workman-\nlike little volume.\n\nPLA YS by Qordon Boitomley. n King\nLear s Wife and other Plays.n \" Grtiach\nand other Plays n. Constable & Co.\nTwo volumes. Price 7j6 each.\nIF Mr Bottomley had lived anywhere\nbut in England, (so that it was not\nin France or America), his first attempt\nto write a play would immediately have\nbeen encouraged by the Theatre.\nIn England the question whether\nor no a play is to reach across to the\nspectators and delight them depends\nupon whether or no the actors and\nthe stage-manager can fit the play to\ntheir own way of working.\nI have seen n The School for Scan-\ndal n fail to so reach across and delight,\nand \" King Lear w too.\nI have seen n The Lyons Mail a\nvery poor piece of writing, succeed\nimmensely.\nI have also seen \" The Lyons Mail \"\nfail utterly and n King Lear n almost\nsucceed.\nTherefore Mr Gordon Botioinley's\nPlays shall fail and shall succeed: now\nor in time to come. For, spite of\nall we can say about the comedians\nand their not yet having quite grasped\nwhat the artist means by ® conscience B,\none or more will in time come to enter\nin spirit into one of these plays with\na more than ordinary force and \"...hang\nthere like fruit my sou! till the tree\ndie\nBut until I see these plays acted, I,\nfor one, cannot say they are great\nacting plays ... although I see many\nobvious signs that they are. We can\nnone of us say that from reading a\nplay; we can only guess at best.\nI feel that were I a director of a\nTheatre I would ask Mr Gordon Bot-\ntomley to allow me to try and produce\none or two of these plays ....I would\ninvite Mr Ainley and Miss Nielson\nTerry to collaborate together to discover\naway to make these pieces very well\nworth hearing and seeing.\nWhat would be the result ? I ask\nmyself. Would Mr Ainley and Miss\nTerry show me clearly in less than\ntwo weeks* time that they thought me\na fool and the poet a fool, and his\nplays pretty but quite unfitted for the\nstage ?\nIf these two forced me to the opi-\nnion that they had found very little\nin the plays which lent itself to their\nway of speaking, moving, acting, ma-\nking their effects ...what then ? Would\nthe thing have to be given up ?"}, {"page_pdf": 58, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 2813, "texte": "I hope I could see their point.\nCould they, I wonder, see mine ?\n...which is, that they should find away\nof speaking, moving, acting and ma-\nking effective any play which is as\nobviously excellent as are these by Mr\nGordon Bottomley. And, if they could\nnot in the end find or try to find this\nway, would they allow me to find one ?\nAll these questions must prelude any\nfirst-class performance of Mr Bottomley *s\nPlays, for they are rather unusual and\nfull of fine things of a very delicate\nquality. If any actors and managers\ncare enough for these dramas, and can\nlend to them strength where perhaps\nthey need strengthening, I can imagine\nit would well repay them for their\ntrouble.\n\nTHE OLD DRAMA AND THE\nNEW by William Archer. Heinemann.\nPrice 10/6 net.\nDon Quixote, we take part\nagainst the puppets, and quite as im~\npertinently. Charles Lamb.\nn On the Artificial Comedy of\nthe last century. 11\nNOW imagine the Don turned Dra-\nmatic Critic, and you have Mr\nWilliam Archer. Imagine a book by\nDon Quixote on the Theatre with\nCervantes left out, and you have this\nnew book by Mr Archer.\nMr Archer would indict our very\ndreams.\n* We dare not n wrote Lamb, n con-\ntemplate an Atlantis, a scheme, out\nof which our coxcombical moral sense\nis for a little transitory ease excluded. n\nBut dear old Lamb could and did:\nMr Archer, IF he could,—wont.\nWas Don Quixote obstinate?\nFake care, Don Archer, take care\nthat you be not unknighted ; and Charles\nLamb become the one and only Don\nSancho of the Skies,\nYou are too careless of your com-\npany.... you frequent the dullest houses,\nnot the lowest. You have been seen\nrather too much of late with the dul-\nlest dramatists. Couldn't you manage\nto be caught drinking at a bar with a\ncouple of clowns ? That might lead,\nin time, to Parnassus. At present you\nare going straight into the place kept\nby Granville Barker, whatever that is.\nWe think it is a lodging house or a nice\nHotel or something hobnobby.\nWe have read your b00k.... very\nnearly every line ... and we think you\ndeserve to be reviewed by n The Mor-\nning Post. w\nThat is almost an unkind thing to\nsay, and if it be unkind we take it\nback.... but it would be an unkind\nthing to do to review this book of\nyours here. For n Maskreaders\nwould not spare you, and we not\nonly do spare you, but congratulate\nyou on such an able effort and hope\nthat we shall after fifty years* service\nbe able to write half as good a book.\nBut Mr. Archer reminds us of what\nSheridan wrote to his father-in-law\nMr Lumley: BWe dare not propose\na peep beyond the ankle on any\naccount; for the critics in the pit\nat a new play are much greater prudes\nthan the ladies in the boxes. n\nMr Archer is a Quixote, but he is\nalso what Quixote never was, a prude.\nLet us hope that no new critic-\nprude will ever appear to spoil the\nDrama in England."}]}, {"article_id": "bm-bmtnaau-1923-01-c079", "article_bluemountain": "bmtnaau_1923_01#c079", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "33", "page_fin": "33", "image_debut": 51, "image_fin": 51, "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=bmtnaau1923-01.2.41.2", "titre_corps": "THE CHINESE THEATRE by Tchov-kia-kien", "titre_sommaire": "THE CHINESE THEATRE by Tchov-kia-kien", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 51, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.51", "debut_caractere": 14, "fin_caractere_exclue": 5176, "texte": "THE CHINESE THEATRE by\nTchoi)-kia-kten I illustrated by A.\nJacovleff: John Lane. Price twenty-\none shillings net.\nTHIS particular book on n The\nChinese Theatre 8 is, for a num-\nber of reasons, quite one of the most\nimportant books on Theatricals issued\nfor a long time.—Important because\nauthoritative and brief, and because it\nstates quite clearly that that thing we Call\nthe human element is excluded as much\nas possible from the whole business :\n—important, for it emphasizes how\ngreat is the discipline which their good\nactors have to undergo :—important\nbecause the tradition is very faithfully\nkept in China ; because ail trifling rea-\nlities such as doors, chariots, horses,\nboats, threads, stones and such-like\n8 properties 8 are excluded, instead\nof this, the actor must pretend to be\nopening a door, pretend to be riding\nin a chariot, pretend* to be mounting a\nhorse or steering a boat? pretend to\nbe twisting a thread or throwing a\nstone, and must pretend as perfectly as\npossible,... must abide by the traditio-\nnal way of pretending, so that we\n8 feel the flowing waters and the rock-\ning of the boat, B—we8—we 8 see the\nhorse 8 that is not there. The author\ntells us this is so.\nThe artist who draws us some fifty\ninteresting pictures of the actor at work\nshows us that, on the other hand,\nother 8 properties 8 are lavishly em-\nployed. He shows us actors making\nup with grease paint,... not to make\nthemselves look like the Chinese folk\nwe meet every day in the Pekih\nstreets but to look precisely unlike\nthem,—to look like persons in the\nTheatre world, an unreal world.\nIn England we show in some play\n(say by Sir. A, W. Pinero) a man and a\nwoman who are pretending to be some-\none else—some other natural beings,\nsome every-day beings,... the man in\nthe street, we call him ; the woman in\nthe street, we call her.\nThis playful, vain endeavour has\nnot appealed to the Chinese mind...\nthe Chinese Finero.... the Chinese whose\nworks of art are so superb, so fault-\nless,—whose Theatre is, I dare say,\nas faultless. I was never there.\nAnd how is this at all surprising ?\n*—What is rather more surprising to\nmany of us is that which we do in an\nEnglish Theatre and dream it to be a\nwork af art.—What dreamers, what\nunpractical folk we English are.... we\nnatural people pretending to be na-\ntural,... is it not the acme of idiocy.\nIf we pretend, the very last we should\npretend is nature, and the very last\nthing we should pretend to be is natural.\nThe work has been well printed by\nKapp of Paris. It costs twenty-one shil-\nlings; some of the drawings are in themsel-\nves worth the twenty-one shillings. That\nof the 8 Actress in the part of an ac-\ncused woman before the Tribunal 8 is\na serious, fine thing. I look at it and\n8 Indeed, indeed it has taken discipline\nto come to this 8 I find myself saying.\nIt was a relief to find that the au-\nthor omits to even mention that 8 pro-\nperty man 8 or R prompter 8 who was a\nsensation to the yokels of London\nwhen 8 The Yellow Jacket 8 (a nice\nparody of the Chinese way) was per-\nformed there. To giggle at him—to\nfind him so clever— as was done at\nthat time, was to proclaim aloud that\nour theatre-goers had become 5i11y,... or\nhad never been anything else. Just so\nmight a Zulu stand agape before the\nbrass-buttoned peak-capped custodians\nwho are on duty in our National Gal-\nlery, and forget to look at the pic-\ntures there.\nThe Chinese use masks—painting\ntheir faces to seem like masks,—much\ndepending on the way the painting\nis done.\nThe paints, some dozens of them,\nare in pots and stand on cast-iron hea-\nters : some forty paint-brushes,—one\nfor each colour—are used for laying\nthe paint on. Bright intense colours are\nused: also black, brown and white.\nIncomprehensible is such a theatre\nto some of our English critics. One\nsuch wrote, relative to this very book,\n8 It leaves one, on the whole, with\nthe impression that the Chinese Thea-\ntre is a very infantile affair 8. That\nit is understood by many millions of\nChinese is only evidence to such critics\nthat the Chinese nation is an ass,... or\nat any rate, rather queer. That it is,\nat any rate, reverenced by many Eu-\nropean critics, goes without saying.\nThe Arts must vary in many of\ntheir moods—and ways—all over the\nearth; but there are some firm princi-\nples underlying each art, and, if not\nlearnt and held to by a nation, that\nnation can count its arts as pretty well\ndamned..., till it choose to relearn the\nrules.\nThere is always time to learn—and\nthere are always men prepared to\nuphold a grand tradition.\nThat in the Arts too many people of\nour English nation will always willingly\nswear to abide faithful for ever and ever\nto a petty tradition and giggle and\ngrimace before a grand one, is rather\ntoo terrible a subject to dwell 0n....\nBut to go on, to advance, and to\nestablish a grand tradition of our own\nwe need not first hark back to 400 B. C.\nand ape the ways of Greece, or go\nback to 712 A. D. and affect Chi-\nnoiserie.... All we need to do is to\nbe true to first principles, not false to\nthe Theatre because it pays better to\nbe true to Sir James SobstufF or Miss\nQuibble.\nWe want Drama, not baby-talk\nplays signifying nothing."}]}, {"article_id": "bm-bmtnaau-1923-01-c080", "article_bluemountain": "bmtnaau_1923_01#c080", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "33", "page_fin": "34", "image_debut": 51, "image_fin": 52, "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=bmtnaau1923-01.2.41.3", "titre_corps": "SCENES AND MACHINES ON THE ENGLISH STAGE DURING THE RENAISSANCE by Lily B. Campbell", "titre_sommaire": "SCENES AND MACHINES ON THE ENGLISH STAGE DURING THE RENAISSANCE by Lily B. Campbell", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 51, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.51", "debut_caractere": 5178, "fin_caractere_exclue": 6643, "texte": "SCENES AND MACHINES ON\nTHE ENGLISH STAGE DURING\nTHE RENAISSANCE: A Classi-\ncal Revival, by Lily B. Campbell.\nCambridge University Press 1923.\n(15 illustrations, pp. Xf 302)\nPrice /5/—.\nHISTORY being so often the de-\nlight of elderly men, I suppose\nthat in time I shall also come to see\nHistory as they see it. But at present\nI am all for shorter Histories. I am\nfor cutting out all talk in Histories.\nI would make little of much instead\nof much of little. And, this virtuous\nintention in my head, I popped into\nthe Biblioteca Reale today just to see\nwhether there were any short histo-\nries. I found a history of Italy in 42\nvolumes. Weil, Italy is a big subject;\nf can let the 42 volumes pass; such\nbrevity seems almost divine. But it\nwas theatre books I was after. I call-\ned for some relating to one section of\nthe stage work of the past. ...on sce-\nneries. They brought me 8 La Sce-\nnografia n, a small but fat book of\nabout 325 pages with about 165 plates.\nI began to give my morning to this.\n1 found a number of facts put down\nwhich were correct; almost as many\nwhich were not correct, some 30 to\n40 incorrect dates and a fair amount\nof waste letter-press. After three\nhours at this book I went home. 8 It\nis not so that I will write History\nwhen I come to it w I promised myself.\nThis was before lunch. After lunch\nI was toying with Miss Campbell's\nbook n Scenes and Machines 8 and I\nfelt far less virtuous : I had to write\nthis review; and I thought, * Well"}, {"page_pdf": 52, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.52", "debut_caractere": 0, "fin_caractere_exclue": 2516, "texte": "now, if ever 1 come to write a Hi-\nstory Book on one branch of Thea-\ntrical Craftsmanship may the Gods\ngrant that I do my work half as well\nas this lady has done hers Not that\nit is faultless, only mine would have\ntwice as many faults ... differen faults.\nI would try not to take 60 pages\nto show what could be revealed in 16.\nI would take eight to ten years or\nlonger over my first book. I would\nmake an Index to it which should be\nreally perfect. I would not mix up\npeople just because they were called\nby the same name; and unless I had\nvery serious proofs I would state no-\nthing as a fact which might later on\nprove to be all fancy.\nAs for illustrations, I should be fas-\ntidiously careful,\nAnd the only fault 1 can possibly\nfind with Miss Campbell's book is that\nan illustration or two might have been\nbelter chosen ; and the index is not\nquite correct, and the names now and\nagain wrong, and some of the state-\nments a little rash.\nThat said, the book is delightful,\nand certainly proves that n scenery was\nfrom the beginning of ihe revival of\nthe classical drama in Italy regarded\nas an accepted part of dramatic pro-\nduction B.\nWhat a strange world it is that we\nstill ask for 312 close-printed pages\nfrom a clever lady to prove that. That\nthere is need for another Moli&re is\nclear. We have not advanced in\ncommon-sense one step since 1673.\nWe assemble in our wigs, gowns and\nspectacles with solemn faces, we sit\ndown in circles, we say Hullo Agate!\nand what ho Ervinef We nod to\nArcher, we open manuscripts, we forget\nwhy we were born. Someone begins\nto read; we listen; we feel awkward,\nso we protest. We contradict; we\nrise up and storm: we cry out; ...all\nis in an uproar; ...all to prove that a\nmouse is actually, was originally, and\nmay very seriously be supposed in the\nfuture to be, a mouse.\nBut no one rises, reads, and dis-\ncusses more pleassantly or more ca-\npably than the author of n Scenes and\nMachines n. She credits our Inigo\nJones with far greater powers than he\npossessed and we shall not grumble\nat that. She is one of the first to talk to\nus of Sabbattini. She is gallant in her\nhopeless task, for her task is t© help\nto convince an absolutely indifferent\nlot of nobodies that to dress even the\ngrandest of naked human forms, the\nDrama, is, anyhow, permissable, leads\nto comfort and something more, and\ndoes not offend the eye.\nB No, no! n cry out the bewigged\nacademicians, the learned duffers \" no,\nno; ...the eye is a sensual agent: pluck\nout yours n, they howl; M ...pluck out\nyours"}]}, {"article_id": "bm-bmtnaau-1923-01-c081", "article_bluemountain": "bmtnaau_1923_01#c081", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "34", "page_fin": "34", "image_debut": 52, "image_fin": 52, "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=bmtnaau1923-01.2.41.4", "titre_corps": "ON \"THE SITE OF THE GLOBE PLAYHOUSE OF SHAKESPEARE by George Hubbard", "titre_sommaire": "ON \"THE SITE OF THE GLOBE PLAYHOUSE OF SHAKESPEARE by George Hubbard", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 52, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.52", "debut_caractere": 2518, "fin_caractere_exclue": 4235, "texte": "ON \"THE SITE OF THE GLOBE\nPLAYHOUSE OF SHAKE-\nSPEARE by George Hubbard. Cam-\nbridge University Press. 1923.Price7/6\nA good and very cheap book of\n44 pages instead of a long and\ntedious one of 444 : ...what a delight!\nWho says that brevity is none of my\nbusiness, and that if there had been\n444 pages I should have been obliged\nto read each page? I reply I could\nnot have read them.\nAnd there are twelve loose plates\nof plans of London, ...and here Mr\nHubbard has again shown his wit by\ngiving us only bits of the plans and\nby enlarging those bits. All concen-\ntrates on the matter he is concerned\nwith... the Globe Playhouse.\nThe book is handsomely printed\nand finely bound and has a large page\nof clear type.\nBut what a jest! ... for our author\nproves conclusively that we Londoners\nhave a rare number of sheep walking\naround reading and talking about\nShakespeare and dressed up to look like\nstudents, doctors, learned men, poets.\nDo not the aforesaid sheep assemble\nin front of the Pothouse of Messers\nBarclay, Perkins and Co Ltd, and,\nwith tears in their eyes and in true\nemulation of the inaccuracy of their\ndear Shakespeare, proclaim that his\nTheatre stood where it never stood ?\nR It is, dear be—and - a—bo—hop\nfriends, a duty we owe not alone to\nour bo—and—a—hop selves but to\nthe memory of tb at great if often\ninaccurate Dramatist whom we all\nlove, ...I allude to none other than\nMr. be—and—a—bo—hop William\nShakespeare; it is, I say, dear bo—\nand—a—hop friends, our beholden\nduty to erect here and now a—be—\nand—a—boo memorial tablet ... in the\nwrong spot 11.\nThus will the speech run some day\nin some farce entitled 11 The Thirteen\nWise Men of Gotham n.\nMay I be sitting next Mr Hubbard\non the first night."}]}, {"article_id": "bm-bmtnaau-1923-01-c082", "article_bluemountain": "bmtnaau_1923_01#c082", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "34", "page_fin": "35", "image_debut": 52, "image_fin": 53, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.41.5", "titre_corps": "THE NO PLAYS OF JAPAN by Arthur Waley", "titre_sommaire": "THE NO PLAYS OF JAPAN by Arthur Waley", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 52, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.52", "debut_caractere": 4237, "fin_caractere_exclue": 6812, "texte": "THE NO PLAYS OF JAPAN by\nArthur Waley. A. A. Knopfl JVei»\nYork.\nTHESE great plays.\nThis great way of playing for a\ngreat audience!\nThere is nothing to be said in a\nbrief review about this sort of thing*\nso good it is. But it is a blessing for\nus that Mr. Waley has translated all\nthese nineteen plays ard a farcical inter-\nlude, and has given us ten designs to\nhelp us to understand it all a little\nbetter than we did. To understand it\nentirely one has to be born a Japanese\nand be still living in Japan,—in thai\nJapan which we suppose is still the\nJapan of the No-Drama.\nIf that land be gone, if it be turned\ninto a commercial affair instead of a\ncountry, the B No w had better be\nswept away as soon as possible. For\nthe n No w is the soul of Japan.\nWhat the n No H can be to us except\nsomething very sad, I, after many years*\nknowing of. it and knowing what it\nstood for, dare not trust myself to say,\nAs a mere hint as to how we should\nproduce plays, it is futile. As a de-\ncorative thing, it is worthless to us.\nMerely because it employs masks, it\nis, for us, nothing. Symbolical, I be-\nlieve. What of that, for us ? It deals\nwith heroes and great legends—where\nlies the content, for us?\nIn Italy, they will perhaps make,\none day, something heroic from the\ncoming of Mussolini. But that, too,\nwill take time. My friends who write\nplays and act them are not the un-\nborn babes of to-morrow. They are\nliving now. I cannot rejoice for them\nin the continued triumph of compro-\nmisers in nearly all other governments\nexcept Italy's: nor in that yellow-grey\nspirit of compromise in so many lands,\nwhich creeps out like a fog, at just\nthat slow pace, and just that colour,\nto envelop the little great leaders as\nthey are making their non-committal\nspeeches. That is what my friends\nthe play-writers and the actors have as\nmaterial to work on to-day. A rich\ntheme of nothing, in which nobodies\ndrift on and drift off the stage. For\nsuch a Drama is not brought into exis-\ntence by any one perfect writer or\nany two: or in England Mr. Max\nBeerbohm could give us our English\nDrama, and Anatole France could sup-\nply Paris.\nAnd when I turn from these w No B\nplays of Japan, to listen to the tone\nof voice of him we call our great Aris-\ntophanes, 1 am staggered by the mild-\nness of his laughter. Did he find the\nsituation only so mildly tragic that he\ncould be merely twinkling? Still, that\nis better than being prettily senti-\nmental.\nI would willingly tell you the price\nof this book, but there is no sign of\nthe price on it, on its cover, or on\nthe case in which it is packed. Yet"}, {"page_pdf": 53, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.53", "debut_caractere": 0, "fin_caractere_exclue": 82, "texte": "one would have thought that Mr. A.\nKnopf could ha>e been called a prac-\ntical man."}]}, {"article_id": "bm-bmtnaau-1923-01-c083", "article_bluemountain": "bmtnaau_1923_01#c083", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "35", "page_fin": "35", "image_debut": 53, "image_fin": 53, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.41.6", "titre_corps": "TWO GOOD BOOKS", "titre_sommaire": "TWO GOOD BOOKS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 53, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.53", "debut_caractere": 84, "fin_caractere_exclue": 99, "texte": "TWO GOOD BOOKS."}]}, {"article_id": "bm-bmtnaau-1923-01-c084", "article_bluemountain": "bmtnaau_1923_01#c084", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "35", "page_fin": "35", "image_debut": 53, "image_fin": 53, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.41.6.1", "titre_corps": "THE THEATRE OF TO-MORROW by Kenneth Macgowan", "titre_sommaire": "THE THEATRE OF TO-MORROW by Kenneth Macgowan", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 53, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.53", "debut_caractere": 101, "fin_caractere_exclue": 5024, "texte": "THE THEATRE OF TO-MOR-\nROW by Kenneth Macgowan. Boni\n& Liveright, New York•\nCONTINENTAL STAGE CRAFT\nby Kenneth Macgowan and Robert\nEdmond Jones. Harcourt, Brace &\nCo., NeV) York•\nPrice Jive dollars each.\nGOOD books, obviously. Good in\nspirit, and of good measure. The\nwriter, Mr. Macgowan, is the Editor\nof the w Theatre Arts Magazine n star-\nted by Mr. Sheldon Cheney, and still\nto the fore.\nR The Theatre ofTTo-morrowww is\nabout Theatre construction, Sceneries,\nLighting and Plays: there are seventy-\nfive excellent illustrations.\nOne of the longest reviews of this\nvolume which I came across was a\ncolumn and a half in the n Observer n\nby Mr. St. John Ervine.... and it\nseemed to me to be a very unfair at-\ntack and seemed also to state that the\nbook was something it is not.\n\" The new stagecraft began with\nthe problem of the setting.—lt ends\nwith the problem of the actor. B writes\nMr. Macgowan. Mr. Ervine writes,\nn One puts down Mr. Macgowan's\nbook in the belief that the Theatre of\nthe future is to be a combination of\ncinema and waxworks, in which plays\nwill, not be plays but a series of lime-\nlight views, and actors will not be ac-\ntors but a collection of stuffed dolls, if\nthey are even that... 11 and he conti-\nnues jeering at Mr. Macgowan and\ndisplaying the usual Ervine cynicism\n—an assumed cynicism by the way.\nThat is detestable.... that is little Lon-\ndon.... little, petty, and B superior. n\nErvine is presumably a very young\nman, and when he storms at something\ndangerous to the stage he may do good,\nbut to jeer at what is good, by mis-\nrepresenting it, is a pity.\nErvine is a writer of plays and a\ndramatic critic. He attacks Mr. Mac-\ngowan's book because he fears some-\nthing.\nWhat can he fear ? It would seem\nthat he fears what a few other play-\nwriters fear, and quite without any\nreason. He seems to fear that some\none might one day, before long, prove\nthat the stage can do without the play\nconcocters. We do not think it need\ndo that, we hope it cannot, we like\ntalk-plays as well as any ;—but attacks\nupon theatre men who are putting their\nstages in order might some day cause\nthem to put to the test an idea they\nhad long ago put aside as something\nwhich could wait—and they might test\nwhether the serious stage can dispense\nwith play-writers more often than it\ndoes now. Attacks like Ervine's carry\nin them something to justify such an\nexperiment.\nWhile this book by Mr. Macgowan\nis not faultless, it is worth reading.\nIt is not written to tell people that\nplays are useless, actors to be damned,\nscenic folk to be anathematised, ap-\nplause to be strictly forbidden, women\nswept off the boards, and Shakespeare\nhonoured. It is written to show that\nall these things and a hundred more\ncan all live side by side in a theatre\nif only the Ervines will be so kind as\nto put off their stage-papal manner, be\na little quieter, and cease to imagine\nthey represent more than a local branch\nof an up-to-date section of a very an-\ncient art of which the plans exist.\nErvine knows the Theatre as ill as\ndid Mr. Archer and Mr. Brander\nMatthews. None of these gentlemen\nhas ever taken the trouble to study\nthe nature of the Theatrical Art, whereas\nMr. Macgowan is studying it.\nWe then come to the second book,\nto which I was glad to see Mr. A.\nB. Walkley gave more than a column's\nnotice in the n Times n.\nWhen one considers the pace at\nwhich this book was produced one\nmarvels. It is the work of five months.\nIn ten weeks in Europe, the two\nauthors saw sixty performances. They\nadmit it!.... and six would perhaps\nhave revealed all that they needed to\nknow.\nThere are a number of good things in\nthis volume. The forty sketches by Mr.\nJones are all one wants—they could not\nbe more expressive,—one only wants\nmore of them.\nThe text is good, and not so good.\nIt's good when it records what is being\ndone:—not so good when it attempts\nto explain why.\nThere is rather too much about the\npainters, and too much about Reinhardt\nand Jessner having done such and such\na play—which others do for them.\nIf Mr. Macgowan has this fault to\nsome slight extent, he is not alone, and\nhe is far less to blame than some of\nour Europeans who have taught him\nthis trick.\nAgain, I cannot blame Mr. Mac-\ngowan for his historical inaccuracy\nwhen he asserts that n the names of\nthe flamboyant brothers Galli-Bibiena\nare the first great names to be met\nwith in the annals of scene-painting. B\nMr. Macgowan is, of course, quite\nwrong, for there were many great, if\nnot greater names before that of Bi-\nbiena, and Mr. Macgowan would have\nfound this out if only hi 3 publishers\nhad not ordered him to be so quick\nabout his work..,. I do not doubt\nthis.\nAnd so I can but praise what is\ngood in the book. What is bad is in\nthe theatres of which this book is the\nreporter. It reports an exaggerated use\nof black velvet, spot-lights and gloom.\nBut it reports very many good things\ntoo, and it is in these the reader will\nbe interested."}]}, {"article_id": "bm-bmtnaau-1923-01-c085", "article_bluemountain": "bmtnaau_1923_01#c085", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "35", "page_fin": "35", "image_debut": 53, "image_fin": 53, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.41.7", "titre_corps": "STUDIES IN THE CHINESE DRAMA by Kate Buss", "titre_sommaire": "STUDIES IN THE CHINESE DRAMA by Kate Buss", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 53, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.53", "debut_caractere": 5026, "fin_caractere_exclue": 6522, "texte": "STUDIES IN THE CHINESE\nDRAMA by Kate Buss. Four Seas\nCo. Boston. U. S. A. Price 5\ndollars.\nI do not know when I have seen a\nprettier bound book than this, 6r a\nbetter printed one. The illustrations\nare first-class too. But it is not to\npraise these things at the expense of the\nauthor's work that I speak of them\nfirst.\nThe book itself is excellent, and all\nwho are interested in this Eastern\nTheatre will assuredly get a copy if\nthey can; ,;.but as there were only\n1000 copies printed and the type is\ndistributed they must hurry up or be\ntoo late.\nThe Chinese, says Miss Buss, hold\nas unimportant the building, scene and\nlighting of a Theatre: as important the\ncostume. Yet she explains that in\nPekin the Imperial Theatre has B three\nstages one above the other 11 and tells\nus more of these three stages. This\ndoes not strike us as proof that the\nconstruction of Theatres is considered\nas unimportant.\nOf its scenery she writes that the\nChinese consider it n silly and unne-\ncessary B, and that n the imagination\nthat has created in Chinese art so\nmuch chimerical humour of animal and\nflower and fetish can find a river\nwhere there is no water, and a moun-\ntain where none is painted n. This\nbeing so it seems to us that if the Chi-\nnese mind be at all logical, it should\nproceed along that mountain path and\nfind a hat where none is worn, shoes\nand embroideries where none are to\nbe seen... and actors where none have\nentered. Where should we get to,—\n.. , . the summit of the mountain\nperhaps."}]}, {"article_id": "bm-bmtnaau-1923-01-c086", "article_bluemountain": "bmtnaau_1923_01#c086", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "36", "page_fin": "36", "image_debut": 54, "image_fin": 54, "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=bmtnaau1923-01.2.41.8", "titre_corps": "THE WORLD IN FALSEFACE by George Jean Nathan", "titre_sommaire": "THE WORLD IN FALSEFACE by George Jean Nathan", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 54, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.54", "debut_caractere": 0, "fin_caractere_exclue": 1049, "texte": "THE WORLD IN FALSEFACE\nby George Jean Nathan. A. A. Knopf.\nNew York• Price dollars 2.50.\nIN this his latest book Nathan goes\noff the lines.... I mean the lines\nlaid down for him by the theatrical\nprofession,—and may he enjoy his little\nramble as well as the 4 profession '\nwill, if it buys his book. He writes\nof n Theatre and Drama B and of\nB Art and Criticism, n but he also\nstrays into B the world we live in w\nand touches on B men and women. B\nHis book is in four parts.\nPerhaps the most interesting passage\nto me is the last one in the book\ncalled nln memcriam B wherein he\ntoasts all the old drinks he has had in\nfourteen of the towns he has been in.\n—B The pale pink chianii in the\naround the corner from Dante's mo-\nnument in Florence. The worst of\nan address like that is that there are\ntwelve street corners at Dante's statue.\nI counted them yesterday.\nNathan has something to say this\ntime about the bribery of dramatic\ncritics in America. It is a very en-\ntertaining bock and one very curious\nremark in Part 2 must set everybody\ntalking."}]}, {"article_id": "bm-bmtnaau-1923-01-c087", "article_bluemountain": "bmtnaau_1923_01#c087", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "36", "page_fin": "36", "image_debut": 54, "image_fin": 54, "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=bmtnaau1923-01.2.41.9", "titre_corps": "THE RUSSIAN THEATRE UNDER THE REVOLUTION by Oliver Sayer", "titre_sommaire": "THE RUSSIAN THEATRE UNDER THE REVOLUTION by Oliver Sayer", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 54, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.54", "debut_caractere": 1051, "fin_caractere_exclue": 4147, "texte": "THE RUSSIAN THEATRE UN-\nDER THE REVOLUTION, by\nOUber Sayler. Littles Brown & Co.,\nBoston, U. S. A. Price Dollars 2.50.\nMR. Sayler journeyed three quarters\nof the way reund the world, in\nwar-time, to visit a country where re-\nvolution and famine were raging, to\nlearn amongst other things whether the\ntheatre of that country still survived, and,\nif so, what it was doing. Some of\nthe news Mr. Sayler brought back was\nworth bringing.\nWhen Mr, Sayler reached Moscow\ntowards the end of 1917 he found\nStanislawsky's ® Seagull Theatre w as\nactive as ever:... more so, in fact,\nsince it had added two B Studio\nTheatres to its original foundationu\nHe found also the Kamerny Theatre\nwhich had arisen since 1914, that is,\nduring the war period. 'The Great\nState and Small State Theatres of\nMoscow and many others were vigo-\nrously at work, and the people so\ncrowding to the performances that even\nthe privilege of buying seats had to be\nballotted for. New productions might\nbe few, owing to financial straits; but\non how fine a repertory these Russian\ntheatres had to draw, how the ardent\nwork of former days was aiding them\no bridge over the present, and how\nenaciously they were holding on until\nthe dawn of better days, has been\nconvincingly shown in Mr. Sayler s\nbook.\nMoreover, the list given of entirely\nnew productions prepared between 1914\nand 1917 by the Kamerny alone tes-\ntifies to the brains and enthusiasm of\nthis theatre.\nThis revolutionary f! Kamerny n ope-\nned for its first performance on De-\ncember 25th 1914 with B Sakuntalan\nby Kalidasa. It proceeded with Synge's\nB Play Boy of the Western World, n\nCalderon's B Life is a Dream, B Gol-\ndoni's \" The Fan,\" and Kuzmin's n Pen-\ntecost al Toledo. B Its second season,\n1915 to 1916, included n The Marriage\nof Figaro B by Beaumarchais ; B The\nCarnival of Life B by Remy de Gour-\nmont; Rostand's B Cyrano de Bergerac B\nand Tor Her berg's n Two Worlds. B\nIts third season, 1916 to (917, began\nwith B The Merry Wives of Windsor B\nand proceeded with B Thamira of the\nCithern B by Annyensky, n The Sup-\nper of jokes Bby Sem Benelli, The\nVeil of Pierette n by Donanhy; *Un\nChapeau de Paille d'ltalie B by La-\nbiche, and the B Azure Carpetn by\nLiuboff Stolitsa. It also produced\nWilde's B Salome, B B L'Echange B by\nPaul Claude!, and Debussy's B Box of\nToys, B\nSuch varied activity, in face of dif-\nficulties so tremendous, may well give\nus to think.\nEngland and America offer excuses\nfor poor plays and lack of initiative,\n...ever the same old excuse, B lack of\nmoney B, B after-war conditions, B and\nso on: yet these glimpses of what the\nindomitable Russian theatre workers\nare doing might surely convince peo-\nple, as it does us, of the feebleness of\nsuch excuses; force us to admit that\nit is a more passionate thought about\nthe Theatre, a more sensible and se-\nrious attitude in regard to it, that we\nEnglish need if we are to rid our-\nselves of the reproach that B We possess\nthe greatest dramatist in the world and\nthe most contemptible theatre in Eu-\nrope B (1).\n(i) « England for the English» by\nGeorge Sampson. Cambridge University\nPress,"}]}, {"article_id": "bm-bmtnaau-1923-01-c088", "article_bluemountain": "bmtnaau_1923_01#c088", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "36", "page_fin": "36", "image_debut": 54, "image_fin": 54, "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=bmtnaau1923-01.2.41.10", "titre_corps": "THINGS THAT HAVE INTERESTED ME", "titre_sommaire": "THINGS THAT HAVE INTERESTED ME", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 54, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.54", "debut_caractere": 4149, "fin_caractere_exclue": 6131, "texte": "THINGS THAT HAVE INTE-\nRESTED ME. Second Series. Ar-\nnold Bennett. Chatto & Windus.\nPrice 7/6 nel.\nMR. Arnold Bennett is interested\nin the Theatre amongst other\nthings, ..•and so much so that one\nday, when the actors at the Court\nTheatre were speaking in the orthor-\ndox up-to-date realistic manner, (ie,\nso as not to be heard), Mr Bennett\nB hurried to dressing-rooms and re-\nmonstrated with the admirable chief\nactors B.\nIt would appear that the Court\nTheatre is too large, too small or too\nsomething else a place to make oneself\nheard in.... from the stage.\nThere should really be someone in\neach English theatre authorized to go\nround and speak to the actors, car-\npenters, limelightmen, prompter and\nthe rest, lest someone reading Mr\nBennett's book may take himself to\nbe equal in capacity and authority to\nMr Bennett and hurry round and\ngive his advice, Suppose six or eight\ndid this each night.\nMr Bennett writes of B Dramatic\nCritics B and of B The Dramatic Critic B,\nof n British Operatic Performances B\nand of B The Theatre Public B.\nThe Dramatic Critics he writes of are\nall British: the Theatre Public Bri-\ntish too. On B Playwrights n there\nis a three-page essay; it is on Bri-\ntish Playwrights. Of Synge he writes:\nB We had a great dramatist, Synge.\nHe went and died young. It was a\ngreater tragedy than any that his pen\nwrote. n\nThere are two other three-page\nessays on the Stage, one on B Theatre\nManagers B and one on B Theatre\nFinance B. This last begins, B More\nlies, polite lies are told about the\nTheatre than about any subject on\nearth This is probably one of the\ntruest statements ever made by anyone\non earth about the Theatre.\nMr Bennett is a very remarkable\nman, ...practical, one of Britain's fore-\nmost novelists, a playwriter, a journa-\nlist, an able-bodied seaman, and he ridi-\ncules the idea that the modern pre-\nsentation of the Greek play is worth\na row of pins. We think that here\nhe exaggerates. We hardly believe it\nto be worth one pin in the row."}]}, {"article_id": "bm-bmtnaau-1923-01-c089", "article_bluemountain": "bmtnaau_1923_01#c089", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "36", "page_fin": "37", "image_debut": 54, "image_fin": 55, "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=bmtnaau1923-01.2.41.11", "titre_corps": "CHRONISTEN DER MODE by Dr Oskar Fischel", "titre_sommaire": "CHRONISTEN DER MODE by Dr Oskar Fischel", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 54, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.54", "debut_caractere": 6133, "fin_caractere_exclue": 6589, "texte": "CHRONISTEN DER MODE by\nDr Oskar Fischel. Miiller & Co Ver-\nlag, Potsdam. 50 Marks. schlilsseU\nzahl 700.\nTHE book is in one volume and\ncovers 3000 years, and our only\nregret is that it does not cover them as\nclosely as the 19th century was covered\nby the same author in his delightful\nbook in three volumes which J. M.\nDent & Sons published in an English\ntranslation under the title of n Modes\nand Manners of the XIX Century\nHere we have 89 pages of text to"}, {"page_pdf": 55, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 2880, "texte": "cover 3000 years; in the earlier work\nthere were 500 pages devoted to 100\nyears. So that we should have liked\nit better had the author given us more\nfacts in chronological order and left\nus to elaborate on these.\nStill, his own elaborations are much\nbetter than ours could be; he describes\nthe spirit of the dress of the 3000\nyears, not of what dress was com-\nposed ; when each variation came along,\nwho brought it, on what date, and\nwhat was going on in the world at\nthat time. But the picture he draws\nis perfect so we need not cavil. And\nthe pictures he reproduces are selected\nwith considerable care. Consider what\ncare must be necessary to select 200\npictures to illustrate 3000 years full\nof costume.\n•These pictures he reproduces for us\nin a manner which impels our imme-\ndiate appreciation,\nDr Fischel is to be congratulated,\nand anyone who gets the book to be\nmore congratulated. For it is a piece\nof book work which we must admit\nastounds us.\nThe year is 1923 remember. The\nprinting of the text has been done by\nOffizin Maniche & Jahn A & G, Ru-\ndolstadt. Cliches and Copperplates,\n(and there are 107 copperplates) have\nbeen made by the firms of Richart\nLabisch & Co and Carl Sabo. The\nsix Lichtdruck in colour by Albert\nFrisch, Graphische Kunstaustadt, Ber-\nlin, and the binding by H. Fikenscher,\nLeipzig. A delicate green cloth is\nused to bind with, the lettering on it\nbeing in a rather darker shade of green,\nthe utmost intelligence being used to\nselect and execute this.\nThe copperplates amaze us, printed\non the same paper as the text; the\ncolourplates too.\nOur admiration is unbounded for\nfour sets of workmen, no matter in\nwhat land they be, who can work so\nwell under their respective heads, and\nall together under the guidance of Dr\nFischel, and produce a hook which one\nimagines might be made in a land and\na period where the wine and honey\nwere flowing copiously.\nNow if we would learn anything\nfrom this example we must not try to\nexplain it away. It is useless to say\nB Germany is a Republic now, any-\nthing can be done by a Republic B\nfor this has nothing to do with the\nquestion. In 1903 and 1906 we saw\nGermany, and it was as easily able to\ndo these things under Imperialism as\nit does today.\nNo, the answer to B how can they\ndo it ? B is this. They all are disci-\nplined; they all determine to do it ;\nthey iike to overcome difficulties for\ntheir own writers, artists and craftsmen,\nas for their own brewers, shipowners\nand other mighty and privileged ones.\nThis is the ordinary truth, and we\nonly hope that some day our English,\nFrench, American and Italian publi-\nshers, writers, artists and craftsmen\nmay be as lucky, in one thing, as the\nGermans are ...to live amongst a people\nwho have been shown that discipline\nis . necessary to all if we are all to\nhave a share in seeing our work well\nset out before the public ere we reach\nsixty years of age."}]}, {"article_id": "bm-bmtnaau-1923-01-c090", "article_bluemountain": "bmtnaau_1923_01#c090", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "37", "page_fin": "37", "image_debut": 55, "image_fin": 55, "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=bmtnaau1923-01.2.41.12", "titre_corps": "THE BEGGAR'S OPERA by Frank Kidson", "titre_sommaire": "THE BEGGAR'S OPERA by Frank Kidson", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 55, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.55", "debut_caractere": 2882, "fin_caractere_exclue": 5035, "texte": "THE BEGGAR'S OPERA, Its\nPredecessors and Successors, by Frank\nKidsort. Cambridge University Press.\nPrice Five shillings net.\n11 nEAR : ear ur\nn suggestion to bring out the\nn book on the Theatre at the low\nn price of 5/-is utterly out of the\nB question. You must bear in mind\nB there are over 125 pages and 0 half-\nB tone pages of design. A paper co-\nB ver is not popular and so it will\nB have to be half cloth. A good pa-\nB per will have to be used for the\nB letter press and a fine art paper for\nB the illustrations. The book will there-\nn fore have to cost at least fifteen\nB shillings or a little more. 11\nThe writer of this letter was a pub-\nlisher who is asleep. The publisher\nwho is awake is Mr, C. F. Clay and\nthe Syndics of the Cambridge Uni-\nversity Press. They have done what\nwas B utterly out of the question 8,....\na book of 117 printed pages, 8 half-\ntones, finely printed on the best paper,\nbound in half-cloth, label (and an\nextra label inside to use when the first\none is worn out), gold-patterned sides,\n... and all used with delightful taste,\ncosting precisely 5 shillings.\nThis is the little book by Mr. Kidson\non B The Beggar's Opera. B\nIt is written excellently; it is full\nof ail the information one needs about\nthe author, his plot, the music and the\nlibretto: the productions, and the cri-\nticism received, and much about the\nearlier operas in England.\nIt is done very well and the ques-\ntion of paper and type are both as\ncarefully considered by the Cambridge\nPress as they are carelessly disregarded\nby most publishers.\nCheap common books must be is-\nsued for the lower classes, one sup-\nposes, and fine books for those who\nlike 4 em fine, cheap or costly ; but\nthose middle priced snobbish tasteless\nbooks turned out to-day by the thou-\nsands, these should be prohibited. The\nauthors and printers would then flou-\nrish ;—for it is these middle-class mush-\nlike books and book-makers who render\ngood authors and printers poor.\nWould to heaven that all the Uni-\nversities in England were given the\nsole right to issue books !—Autocratic ?\nwould it be that ? It seems to me\nthat it would be an ordinary act of\nplain common sense."}]}, {"article_id": "bm-bmtnaau-1923-01-c091", "article_bluemountain": "bmtnaau_1923_01#c091", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "37", "page_fin": "37", "image_debut": 55, "image_fin": 55, "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=bmtnaau1923-01.2.41.13", "titre_corps": "LADY INTO FOX by David Garnett", "titre_sommaire": "LADY INTO FOX by David Garnett", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 55, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.55", "debut_caractere": 5037, "fin_caractere_exclue": 5598, "texte": "LADY INTO FOX by David Gar-\nnett. Chatto & VYindus. Price 5/- net.\nHOW does Chatto & Windus ma-\nnage to get nearly all the good\nbooks ? ... like the devil with his good\ntunes it strikes us as uncanny.\nAnd here is a delightful book; a\nbook without a fault. I cannot find\none anyhow.\nIt is small, neat, and full of wit and\nbeauty, ...and even the last paragraph\nis probably right where it is, ... but\nto me there is little use for it after\nwhat has gone before and gone by so\ninevitably.\nThe woodcuts which illustrate the\nstory are genuine woodcuts and very\ngood."}]}, {"article_id": "bm-bmtnaau-1923-01-c092", "article_bluemountain": "bmtnaau_1923_01#c092", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "37", "page_fin": "38", "image_debut": 55, "image_fin": 56, "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=bmtnaau1923-01.2.41.14", "titre_corps": "SHAKESPEARE TO SHERIDAN by Alwin Thaler", "titre_sommaire": "SHAKESPEARE TO SHERIDAN by Alwin Thaler", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 55, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.55", "debut_caractere": 5600, "fin_caractere_exclue": 6861, "texte": "SHAKESPEARE TO SHERIDAN\nby Alwin Thaler Ph. D. Harvard\nUniversity Press. Price 5 dollars.\nTHIS book is very pleasantly writ-\nten, full of a great deal of good\ninformation about a period of which\nwe already have, by the way, suffi-\ncient material.\nThat is the worst thing I can say\nto the writer; and he doesn't want to\nhear the worst thing, but the best thing I\ncan say. So without any effort I can\nsay it is a most interesting book. If I\ntook in n Snappy Stories B I should stop\nfor a year and take in w Shakespeare\nto Sheridan, n for it has all the\nand is some story.\nI like my author very much because\nhe has some discontent in him. For\nexample, he is not content to fill up\nthis book of his on old things with\nold pictures. All the pictures are new.\nBy that 1 mean that they are new to\nthe public, and new to the writer of\nthis review who is familiar with a\nwidish range of such things.\nThere is one intensely interesting\ndesign,... that which shows Cuzzoni,\nand Farinelli, and Heydegger. On the\ndesign is written, B Drawn by Dorothy\nCountess of Burlington. B If this be\ntrue, I hope someone will search out,\nfind, collect together and reprint all the\ndrawings by the Countess Dorothy.\nShe had a touch of genius, and a very\ninteresting touch of it, at that."}, {"page_pdf": 56, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 1503, "texte": "This design is from an etching made\nfrom the original drawing, and is, with\nthe other thirty-eight illustrations, taken\nfrom the Harvard Theatre Collection,\nthe expert advice of Mr R. G. Shaw\nhaving been taken in their selection.\nAnd the list of illustrations is good,\ntelling one all one wants to know\nabout each plate. Sometimes half a\npage will be given to one entry.\nSince the book is so excellent perhaps\nthe publishers will not be offended if\nI deplore the heaviness of the volume,\nthe thickness of the paper, and the\ncover. Since lam speaking to one\nof the most representative of American\npresses, and an independent one; and\nsince Harvard is in the new country\nand not in our old one, may I not\nsay:—You should have printed on\npaper that cost half as much to buy:\nyou should have bound it in a strong\nwrapper and not put a black and gold\nccver on it, and then you could have\npublished two books for the same\nprice, instead of one.\nYou follow the English tradition of\nthick, heavy, luxurious paper, solid\nbinding in board and cloth. This tra-\ndition has prevented us in England\nfrom bringing out many good books.\nIn other lands on the European con-\ntinent we have what I think is a very\nmuch finer tradition. I think the French\nand Italian books are every bit as\nelegant as the others, distinctly more\npractical, and half-again as cheap.\nIt is delightful that Harvard does\nnot mark the review copies it sends\nout with any disfiguring rubber stamp.\nI wish all publishers would follow this\nexample."}]}, {"article_id": "bm-bmtnaau-1923-01-c093", "article_bluemountain": "bmtnaau_1923_01#c093", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "38", "page_fin": "38", "image_debut": 56, "image_fin": 56, "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=bmtnaau1923-01.2.41.15", "titre_corps": "THE EXEMPLARY THEATRE by H. Granville Barker", "titre_sommaire": "THE EXEMPLARY THEATRE by H. Granville Barker", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.56", "debut_caractere": 1505, "fin_caractere_exclue": 3521, "texte": "THE EXEMPLARY THEATRE\nby H. Granville Barker. Chatto &\nV/indus. Price 9/— net.\nTHIS very able, if rather difficult,\nbook will be read by all true\nlovers of the Theatre and its Drama,\nand these, we believe, will be of our\nopinion when we state that we con-\nsider It the finest critical work of its\njudicial and high-intentioned author.\nMr Barker is, and always has been,\nan orthodox idealist as regards the\nBritish stage, and seldom has his rigid\nidealism been so neatly expressed as\nin the pages of n The Exemplary\nTheatre R.\nSome there are who will cavil at,\nif not quarrel with, Mr Barker for his\nattempt to improve the health, moral as\nwell as physical, of the British Stage\nby what his friend Mr Beerbohm de-\nscribes as n municipal pillules 11. But,\nfor our part, we can but whole-heart-\nedly, and for obvious reasons, admire\nthe admirable intentions of this con-\nsistent reformer, who, without the\nfaintest hope of success, without more\nthan a lick and a promise for the fu-\nture, dashes (in his well known pedes-\ntrian way) once more into the breach.\nIf some protest that this breach is the\nwrong one we can but remind them\nthat, whatever fault can be found, Mr\nBarker has been always supposed to\nbe practical to a fault, and in a re-\nformer it is surely no fault to be prac-\ntical.\nHe is young, too. To him toys\nappear sometimes to be treasures ...so\ndelighted is he to have discovered\nthese toys ...even eighteen years late.\nBut when he tells us of more weigh-\nty matters, ...when he speaks of\nthose things which R The Mask 11, for\nexample, has for many years been re-\nminding its readers are valuable, he\nassumes the gravest of airs and no\nfault can possibly be found with his\nmanner of repeating them.\nSe when we come to the end of\nthis book, we close it with a last and\nnot quite forlorn hope, that, in spite\nof pride and reason, and with the aid\nof the Drama League, the British Na-\ntional Theatre will soon come to be\nfounded in London, and that then Mr\nBarker will be chosen to be its exem-\nplary head."}]}, {"article_id": "bm-bmtnaau-1923-01-c094", "article_bluemountain": "bmtnaau_1923_01#c094", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "38", "page_fin": "38", "image_debut": 56, "image_fin": 56, "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=bmtnaau1923-01.2.41.16", "titre_corps": "ON PRODUCING IN LITTLE THEATRES by Clarence Stratton", "titre_sommaire": "ON PRODUCING IN LITTLE THEATRES by Clarence Stratton", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.56", "debut_caractere": 3523, "fin_caractere_exclue": 4398, "texte": "ON PRODUCING IN LITTLE\nTHEATRES by Clarence Stratton.\nHem}? Holt Co. U. S. A. 1921.\nPrice dollars 2/90 net\nIT is too sweeping to speak of Ame-\nricans and then to praise or blame,\njust as it would be too sweeping to\ntalk of Europeans and praise or\nblame.\nBut this particular group of Ameri-\ncans treated of in Mr Stratton's book is\nshown to be very active in * trying\nthings out 11 in its Little Theatres.\nIn most of the pictures in the book,\nhowever, ...fifty-seven in ail... We find\nthat the things tried out are not suf-\nficiently original. Far too many de-\nsigns remind us of things already tried\nin other lands and found good, bad,\nor indifferent.\nAnd we wonder why these tests did\nnot suffice; why no one stops wasting\ntime and money re~iesting proved\nthings.\nStill, it is one of the many good\nbooks which anyone who is carefully\nfollowing the New Movement must\npossess."}]}, {"article_id": "bm-bmtnaau-1923-01-c095", "article_bluemountain": "bmtnaau_1923_01#c095", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "38", "page_fin": "38", "image_debut": 56, "image_fin": 56, "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=bmtnaau1923-01.2.41.17", "titre_corps": "THE GREEK THEATRE AND ITS DRAMA by Roy C. Flickenger", "titre_sommaire": "THE GREEK THEATRE AND ITS DRAMA by Roy C. Flickenger", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.56", "debut_caractere": 4400, "fin_caractere_exclue": 5564, "texte": "THE GREEK THEATRE AND\nITS DRAMA by Roy C. Flicken-\nget, Ph. D. University of Chicago\nPress. 1918. Price Three dollars.\nENGLISH PAGEANTRY by Ro-\nbert Withington. Harvard University\nPress. 1918. Price three and a half\ndollars.\nTHE first book is well written and\nseems to have given the writer\nsome trouble: And it is illustrated.\nIn fact, Dr. Flickenger has been lavish\nwith his illustrations. He give us\neighty good ones. Now Mr. Withing-\nton in his n Pageantry R unluckily\nonly gives us thirteen, He might have\ngiven us eighty-one and so have\nbeaten the enthusiasm and love for\nhis subject which Flickenger reveals at\nonce, But Mr. Withington evidently\ndidn't want to reveal any ' enthusy-\nmusy f as Byron loved to call it, and,\nif he is a young man as his preface\nleads one to suppose, why the deuce\ndoesn't he go it a bit more ?\nn Pageantry n ;... what a theme ...and\nwhat an opportunity to spend money\nover eighty-one nice illustrations,\nand, as I say, we only got thirteen.\nWhat a delight an enthusiast would\nhave had (and given) had he been\ntempted to give us six extra plates in\ncolour. Why, I remember even old\nand sleepy Europe has done that for\nyears now."}]}, {"article_id": "bm-bmtnaau-1923-01-c096", "article_bluemountain": "bmtnaau_1923_01#c096", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "38", "page_fin": "39", "image_debut": 56, "image_fin": 57, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.41.18", "titre_corps": "THE TWENTIETH CENTURY THEATRE by William Lyon Phelps", "titre_sommaire": "THE TWENTIETH CENTURY THEATRE by William Lyon Phelps", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 56, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.56", "debut_caractere": 5566, "fin_caractere_exclue": 6559, "texte": "THE TWENTIETH CENTURY\nTHEATRE by William Lyon Phelps,\nProfessor of English Literature at Yale.\nMacmillan Co, New York. Price\ndollars /,25,\nIT is a pity that the Macmillan Com-\npany disfigures the first page of its\nbooks by pricking them with a mes-\nsage to us by means of a patent lancet\nmachine. I hold this page up to the\nlight and can with utmost difficulty\nread R Advance copy. Not for A—\nL E. For Review R. There is no\nA.L.E. in our office, or amongst our\nreviewers, and we! rather suspected\nthe book was for Review. But why\nshould A.L. E. be so pointedly feared ?\nThe author is very sympathetic to\nthe Theatre and does not fail to say\nso. He says that he has received\nhappiness from it. There is such a\ndifferent tone to his confession from\nthose so often made by other writers\non the Theatre that one feels he is\na member of the good audience.\nTo me as a European he seems a\nlittle too tame for an American. But\nthen, it has always seemed to me that\nto be an American is to be born with"}, {"page_pdf": 57, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 620, "texte": "the great chance, ...the chance * which\nLongfellow avoided and Whitman sei-\nzed, ... to dash along and stand for\nsomething positive. For my part, though\n1 may be wrong, I conceive Europeans\nto be more delighted by catching sight\nof a true American than what, without\nmeaning any discourtesy, I would call\na false one.\nIf I could write so good a book ;\nif I felt so young about things as Mr\nPhelps, I should throw up his profes-\nsorship of English at Yale University,\nand in three years I'd make my name\nheard all over America as standing\ndefinitely for all that is most rash and\nbest. But then I should be called\nNathan."}]}, {"article_id": "bm-bmtnaau-1923-01-c097", "article_bluemountain": "bmtnaau_1923_01#c097", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "39", "page_fin": "39", "image_debut": 57, "image_fin": 57, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.41.19", "titre_corps": "DAS MODERNEBUHNENBILD by Dr Oskar Fischel", "titre_sommaire": "DAS MODERNEBUHNENBILD by Dr Oskar Fischel", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 57, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.57", "debut_caractere": 622, "fin_caractere_exclue": 1770, "texte": "DAS MODERNE B UHNENBILD,\nby Dr Oskctr Fischel. Verlag Was-\nmuth. Berlin. 1923.\nTHERE are 147 reproductions in\nblack and white and 8 in colour\ngiven in this work, and nearly all are\nfrom those drawings which were exhi-\nbited at the International Theatre Exhi-\nbition in Holland and England,\nDr Fischel has written 8 pages of\ntext stating well and with authority\nwhat the Theatre is, and how we can\ntake the more modern developments.\nThis has far greater need to be said\nin English and French than in German,\nfor the Germans have always under-\nstood modern things up to the point\nof trying what they were worth before\nhowling them down. Fortunately, as\nDr Fischel shows us, the howling\ndown is quite useless; and so the\nworld is not going to be cheated out\nof these things.\nThey have a certain worth; not one\nof these designs seems worth a single\nact from a play by Shakespeare, not\nmore than a dozen of the designs are\nas good as the work of Stringberg or\nSynge; but there are hardly ten that\nare not infinitely superior in quality to\nthe sentimental plays of the hour so\nloved by sentimental audiences with\nboth of which our modern stage is\ncursed,"}]}, {"article_id": "bm-bmtnaau-1923-01-c098", "article_bluemountain": "bmtnaau_1923_01#c098", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "39", "page_fin": "39", "image_debut": 57, "image_fin": 57, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.41.20", "titre_corps": "SENECA AND ELIZABETHAN TRAGEDY by F. L. Lucas", "titre_sommaire": "SENECA AND ELIZABETHAN TRAGEDY by F. L. Lucas", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 57, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.57", "debut_caractere": 1772, "fin_caractere_exclue": 2717, "texte": "SENECA AND ELIZABETHAN\nTRAGEDY. F. L. Lucas, B. A,\nCambridge University Press. Price\n7/6 net.\nMR Lucas opens his first chapter\nby setting forth his argument :\n* In the realm of letters it has been\nSeneca's destiny, like Banquo's, to beget\nin his posterity a greatness denied\nhimself. Virgil, that imperial poet,\nwas the founder of a line of degene-\nrate literary faineants, the Epic poe-\ntasters of Silver Latin: but from\nSeneca, decadent Silver Latinist him-\nself, by a seeming freak of fortune\ncan be traced the direct descent of\nthe lordliest names in* the dramatic\nliterature of Western Europe. To\nestimate his influence and to trace the\nline of descent from him to the Eli-\nzabethans is the main purpose of this\nbook\nThe ground Mr Lucas covers is\nnot new; but as he is not too R lear-\nned \" his book will be of good use\nto those lacking classical knowledge,\nand he has been sufficiently succinct\nto compress a great deal into his 133\npages."}]}, {"article_id": "bm-bmtnaau-1923-01-c099", "article_bluemountain": "bmtnaau_1923_01#c099", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "39", "page_fin": "39", "image_debut": 57, "image_fin": 57, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.41.21", "titre_corps": "ELIZABETHAN DRAMA by Janet Spens", "titre_sommaire": "ELIZABETHAN DRAMA by Janet Spens", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 57, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.57", "debut_caractere": 2719, "fin_caractere_exclue": 3457, "texte": "ELIZABETHAN DRAM A by Janet\nSpens. Methuen & Co. Price 5j— net.\nIT sets out to be a manual of Elizabe-\nthan drama for the use of univer-\nsity students, and will serve all who\nwish to gain some preliminary infor-\nmation as to this important period in\nthe history of the English Stage.\nIn the course of its 148 pages it\ntreats of the characteristics of Elizabe-\nthan Drama, its origins, arid the pre-\ndecessors of the Elizabethan Drama\nstrictly so-called. It points ' out that\nall tragedies previous to 1600 were\n* Revenge \" dramas and descended\nfrom the Greek, devotes a chapter to\nthis theme, and another to the Apo-\nchryphal plays and Munday, and goes\non to handle one by one Shakespeare's\ncontemporaries and successors. A use-\nful hook."}]}, {"article_id": "bm-bmtnaau-1923-01-c100", "article_bluemountain": "bmtnaau_1923_01#c100", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "39", "page_fin": "39", "image_debut": 57, "image_fin": 57, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.41.22", "titre_corps": "A SHORT HISTORY OF THE BRITISH DRAMA by Benjamin Brawley", "titre_sommaire": "A SHORT HISTORY OF THE BRITISH DRAMA by Benjamin Brawley", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 57, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.57", "debut_caractere": 3459, "fin_caractere_exclue": 4356, "texte": "A SHORT HISTORY OF THE\nBRITISH DRAM A. Benjamin Br aw-\nley. George Harrap& Co. Price 7 j6nct\nMR Brawley prefaces his work mo-\ndestly when he says that it\nw makes no special effort to be either\noriginal or profound. It aims simply\nto set forth in brief compass the main\nfacts that one might wish to have at\nhand in his first course in the English\nDrama \". And, just because the book\nis simple, n holds itself strictly to the\nhistory of the drama \", it is likely to\nbe of service to many, ...both to those\nwho wish to gain some clear outline\nof a subject wholly new to them, and\nto those who, already possessing a cer-\ntain amount of scrappy and discon-\nnected knowledge, would be glad to\ncoordinate it, pull it into line and\nshape.\nThe book is conveniently arranged\nfor students and is also furnished with\nan alphabetical index, and a helpful\nBibliography. Altogether a workman-\nlike little volume."}]}, {"article_id": "bm-bmtnaau-1923-01-c101", "article_bluemountain": "bmtnaau_1923_01#c101", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "39", "page_fin": "40", "image_debut": 57, "image_fin": 58, "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=bmtnaau1923-01.2.41.23", "titre_corps": "PLAYS by Gordon Bottomley", "titre_sommaire": "PLAYS by Gordon Bottomley", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 57, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.57", "debut_caractere": 4358, "fin_caractere_exclue": 6470, "texte": "PLA YS by Qordon Boitomley. n King\nLear s Wife and other Plays.n \" Grtiach\nand other Plays n. Constable & Co.\nTwo volumes. Price 7j6 each.\nIF Mr Bottomley had lived anywhere\nbut in England, (so that it was not\nin France or America), his first attempt\nto write a play would immediately have\nbeen encouraged by the Theatre.\nIn England the question whether\nor no a play is to reach across to the\nspectators and delight them depends\nupon whether or no the actors and\nthe stage-manager can fit the play to\ntheir own way of working.\nI have seen n The School for Scan-\ndal n fail to so reach across and delight,\nand \" King Lear w too.\nI have seen n The Lyons Mail a\nvery poor piece of writing, succeed\nimmensely.\nI have also seen \" The Lyons Mail \"\nfail utterly and n King Lear n almost\nsucceed.\nTherefore Mr Gordon Botioinley's\nPlays shall fail and shall succeed: now\nor in time to come. For, spite of\nall we can say about the comedians\nand their not yet having quite grasped\nwhat the artist means by ® conscience B,\none or more will in time come to enter\nin spirit into one of these plays with\na more than ordinary force and \"...hang\nthere like fruit my sou! till the tree\ndie\nBut until I see these plays acted, I,\nfor one, cannot say they are great\nacting plays ... although I see many\nobvious signs that they are. We can\nnone of us say that from reading a\nplay; we can only guess at best.\nI feel that were I a director of a\nTheatre I would ask Mr Gordon Bot-\ntomley to allow me to try and produce\none or two of these plays ....I would\ninvite Mr Ainley and Miss Nielson\nTerry to collaborate together to discover\naway to make these pieces very well\nworth hearing and seeing.\nWhat would be the result ? I ask\nmyself. Would Mr Ainley and Miss\nTerry show me clearly in less than\ntwo weeks* time that they thought me\na fool and the poet a fool, and his\nplays pretty but quite unfitted for the\nstage ?\nIf these two forced me to the opi-\nnion that they had found very little\nin the plays which lent itself to their\nway of speaking, moving, acting, ma-\nking their effects ...what then ? Would\nthe thing have to be given up ?"}, {"page_pdf": 58, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 682, "texte": "I hope I could see their point.\nCould they, I wonder, see mine ?\n...which is, that they should find away\nof speaking, moving, acting and ma-\nking effective any play which is as\nobviously excellent as are these by Mr\nGordon Bottomley. And, if they could\nnot in the end find or try to find this\nway, would they allow me to find one ?\nAll these questions must prelude any\nfirst-class performance of Mr Bottomley *s\nPlays, for they are rather unusual and\nfull of fine things of a very delicate\nquality. If any actors and managers\ncare enough for these dramas, and can\nlend to them strength where perhaps\nthey need strengthening, I can imagine\nit would well repay them for their\ntrouble."}]}, {"article_id": "bm-bmtnaau-1923-01-c102", "article_bluemountain": "bmtnaau_1923_01#c102", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "40", "page_fin": "40", "image_debut": 58, "image_fin": 58, "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=bmtnaau1923-01.2.41.24", "titre_corps": "THE OLD DRAMA AND THE NEW by William Archer", "titre_sommaire": "THE OLD DRAMA AND THE NEW by William Archer", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 58, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.58", "debut_caractere": 684, "fin_caractere_exclue": 2813, "texte": "THE OLD DRAMA AND THE\nNEW by William Archer. Heinemann.\nPrice 10/6 net.\nDon Quixote, we take part\nagainst the puppets, and quite as im~\npertinently. Charles Lamb.\nn On the Artificial Comedy of\nthe last century. 11\nNOW imagine the Don turned Dra-\nmatic Critic, and you have Mr\nWilliam Archer. Imagine a book by\nDon Quixote on the Theatre with\nCervantes left out, and you have this\nnew book by Mr Archer.\nMr Archer would indict our very\ndreams.\n* We dare not n wrote Lamb, n con-\ntemplate an Atlantis, a scheme, out\nof which our coxcombical moral sense\nis for a little transitory ease excluded. n\nBut dear old Lamb could and did:\nMr Archer, IF he could,—wont.\nWas Don Quixote obstinate?\nFake care, Don Archer, take care\nthat you be not unknighted ; and Charles\nLamb become the one and only Don\nSancho of the Skies,\nYou are too careless of your com-\npany.... you frequent the dullest houses,\nnot the lowest. You have been seen\nrather too much of late with the dul-\nlest dramatists. Couldn't you manage\nto be caught drinking at a bar with a\ncouple of clowns ? That might lead,\nin time, to Parnassus. At present you\nare going straight into the place kept\nby Granville Barker, whatever that is.\nWe think it is a lodging house or a nice\nHotel or something hobnobby.\nWe have read your b00k.... very\nnearly every line ... and we think you\ndeserve to be reviewed by n The Mor-\nning Post. w\nThat is almost an unkind thing to\nsay, and if it be unkind we take it\nback.... but it would be an unkind\nthing to do to review this book of\nyours here. For n Maskreaders\nwould not spare you, and we not\nonly do spare you, but congratulate\nyou on such an able effort and hope\nthat we shall after fifty years* service\nbe able to write half as good a book.\nBut Mr. Archer reminds us of what\nSheridan wrote to his father-in-law\nMr Lumley: BWe dare not propose\na peep beyond the ankle on any\naccount; for the critics in the pit\nat a new play are much greater prudes\nthan the ladies in the boxes. n\nMr Archer is a Quixote, but he is\nalso what Quixote never was, a prude.\nLet us hope that no new critic-\nprude will ever appear to spoil the\nDrama in England."}]}, {"article_id": "bm-bmtnaau-1923-01-c103", "article_bluemountain": "bmtnaau_1923_01#c103", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "40", "page_fin": "41", "image_debut": 58, "image_fin": 59, "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=bmtnaau1923-01.2.42", "titre_corps": "MAGAZINES", "titre_sommaire": "MAGAZINES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 58, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.58", "debut_caractere": 2815, "fin_caractere_exclue": 6324, "texte": "MAGAZINES\n\nThe Century. U. S. A. Once\ntheatrically alive, now theatrically dead\nand unaware.\n€$ Shadow-Land. U. S. A, Alive\nand quite aware of its snap.\n€f Vanity Fair. U. S. A. Alive\ntoo : getting better with every number:\nbeginning to toss its old readers in\nthe blanket: derisive of the young ass\nand his mate.\nEnglish Review, i. e. Theatre\nCraft. London. Going on as well as\nthe town will let it.\nSmart Set. U. S. A. Five pages\nof it interest us.\n*5 Print Collectors' Quarterly. Lon-\ndon. Wide awake, English. Nothing\nto do with the stage, yet now and\nagain containing articles useful to the\nstudent of the Theatre.\nCJ Chap Book. London. Always\nawake, always at attention; is not too\nlarge and costs only a shilling or one\nand sixpence: producing the best piece\nof work in its way in England. De-\nvoted to poetry and to engraving and\ndesign : not unmindful of the stage ;\n... and this gratuitous friendship is\nenjoyable.\nLa Ronda. Italy. Awake al-\nways interesting. We miss the work\nof L. M. So, we suppose, does n La\nRonda n.\nThe Dial. U. S. A. Snoring in\nits sleep.\nBroom. U. S. A. Is it worn\nout ? if so, why ?\n€J Theatre Arts Magazine. LJ. S. A.\nGrowing stronger, standing firmer,\naware that the Theatre is not a na-\ntional or a provincial thing, but is a\nsmall and interesting world of itself.\nWe wish it and its editors the best of\nluck in the future.\nif The Stage, London. Developing\nyearly.\n€| The Era. London. Should like\nto see it more often.\n€J The Theatre Magazine. U. S. A.\nA well printed piece of work ; often\ncontains useful photographs.\n€| Current Opinion. U. S. A. De-\nlightful as ever,\n€| Literary Digest. U. S. A. Ever\ndelightful,\nNotes & Queries for 1922 has\nbeen as good as ever it v/as and is\nof especial interest to readers of w The\nMask n for there has been many a\n11 Query n as to theatres and theatre\npeople lately, and the replies have\nbeen interesting.\nWe wonder if any of the n Mask w\nreaders can give further information as\nto the life of Anna Rencia or Renzi\nwho from 1641 to 1647 was singing\nin Venice and disappears in 1650 ?\nJohn Evelyn knew her, but that we\nalready knew; And who can tell us\nmore about the Private Theatres of\nEngland such as that owned by Sir\nWilliam Wynn at Wynnstay, 1770,\nand by the Margravine of Anspach at\nHammersmith about 1792, and by the\nEarl of Barrymore at Wargrave and\nin Savile Row. This last was called\nn Vari&es Amusantes n and was visited\nby Haydn in 1791. And who can\ngive the slightest clue as to what hap-\npened to the small theatre which was\nat No. 22 Piccadilly in 1780, and\nwhich was *an exact model of the\nsuperb Teatro Nuovo (now Comunale)\nat Bologna and the scenery the pain-\nting of the celebrated Bibiena n (An-\ntonio) ? This little playhouse was used\nfor marionettes.\nBesides these items n Notes & Que-\nries n asked about Fiorilli's visit to\nLondon which is referred to by John\nEvelyn in 1675, though Evelyn omits\nto give his name: about the private\ntheatre at Blenheim 1787 : about Bi-\nbiena's invitation to London and his\nnot going there; about the Royal Dra-\nmatic College in England, proposed in\n1858, brought into existence, and then\ndropped in 1877.\nThere was a Query about a certain\nSancta Stella who was a famous singer\nin the 18th century but no one\nseems to know anything about her today\nfor no answers were given.\nn Notes & Queries is published by\nThe Bucks Free Press, 20 High Street,\nHigh Wycombe, Bucks, England, from\nwhom you will order it, if you want\nto enjoy one of the few unspoiled ma-\ngazines of the day."}, {"page_pdf": 59, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.59", "debut_caractere": 0, "fin_caractere_exclue": 684, "texte": "€J 9 Wendingen n. Amsterdam. The\nwork of an artist; and for this ordi-\nnary reason impossible for it to be\nanything but excellent. Very good re-\nproductions. Fail to get the 9 Theatre\nnumber 9 issued September, 1922 and\nits Marionnette number just out, 1923,\nand we are sure you will regret it.\nAddress, Keizergracht, 431, Amster-\ndam.\nGazette da Bon Ton, Paris. Is\nit still issued ? ...Was as good as\nn Wendingen n and at the other\npole.\n•J London Mercury. Costs half a\ncrown and is large, almost a book,\n...128 pages. When rarely we see it\nwe are always glad to see it. It looks\nvery rich and very prosperous. The\ncondition of the English Theatre does\nnot seem to concern it at all."}]}, {"article_id": "bm-bmtnaau-1923-01-c104", "article_bluemountain": "bmtnaau_1923_01#c104", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "40", "page_fin": "41", "image_debut": 58, "image_fin": 59, "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=bmtnaau1923-01.2.42.1", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 58, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.58", "debut_caractere": 2826, "fin_caractere_exclue": 6324, "texte": "The Century. U. S. A. Once\ntheatrically alive, now theatrically dead\nand unaware.\n€$ Shadow-Land. U. S. A, Alive\nand quite aware of its snap.\n€f Vanity Fair. U. S. A. Alive\ntoo : getting better with every number:\nbeginning to toss its old readers in\nthe blanket: derisive of the young ass\nand his mate.\nEnglish Review, i. e. Theatre\nCraft. London. Going on as well as\nthe town will let it.\nSmart Set. U. S. A. Five pages\nof it interest us.\n*5 Print Collectors' Quarterly. Lon-\ndon. Wide awake, English. Nothing\nto do with the stage, yet now and\nagain containing articles useful to the\nstudent of the Theatre.\nCJ Chap Book. London. Always\nawake, always at attention; is not too\nlarge and costs only a shilling or one\nand sixpence: producing the best piece\nof work in its way in England. De-\nvoted to poetry and to engraving and\ndesign : not unmindful of the stage ;\n... and this gratuitous friendship is\nenjoyable.\nLa Ronda. Italy. Awake al-\nways interesting. We miss the work\nof L. M. So, we suppose, does n La\nRonda n.\nThe Dial. U. S. A. Snoring in\nits sleep.\nBroom. U. S. A. Is it worn\nout ? if so, why ?\n€J Theatre Arts Magazine. LJ. S. A.\nGrowing stronger, standing firmer,\naware that the Theatre is not a na-\ntional or a provincial thing, but is a\nsmall and interesting world of itself.\nWe wish it and its editors the best of\nluck in the future.\nif The Stage, London. Developing\nyearly.\n€| The Era. London. Should like\nto see it more often.\n€J The Theatre Magazine. U. S. A.\nA well printed piece of work ; often\ncontains useful photographs.\n€| Current Opinion. U. S. A. De-\nlightful as ever,\n€| Literary Digest. U. S. A. Ever\ndelightful,\nNotes & Queries for 1922 has\nbeen as good as ever it v/as and is\nof especial interest to readers of w The\nMask n for there has been many a\n11 Query n as to theatres and theatre\npeople lately, and the replies have\nbeen interesting.\nWe wonder if any of the n Mask w\nreaders can give further information as\nto the life of Anna Rencia or Renzi\nwho from 1641 to 1647 was singing\nin Venice and disappears in 1650 ?\nJohn Evelyn knew her, but that we\nalready knew; And who can tell us\nmore about the Private Theatres of\nEngland such as that owned by Sir\nWilliam Wynn at Wynnstay, 1770,\nand by the Margravine of Anspach at\nHammersmith about 1792, and by the\nEarl of Barrymore at Wargrave and\nin Savile Row. This last was called\nn Vari&es Amusantes n and was visited\nby Haydn in 1791. And who can\ngive the slightest clue as to what hap-\npened to the small theatre which was\nat No. 22 Piccadilly in 1780, and\nwhich was *an exact model of the\nsuperb Teatro Nuovo (now Comunale)\nat Bologna and the scenery the pain-\nting of the celebrated Bibiena n (An-\ntonio) ? This little playhouse was used\nfor marionettes.\nBesides these items n Notes & Que-\nries n asked about Fiorilli's visit to\nLondon which is referred to by John\nEvelyn in 1675, though Evelyn omits\nto give his name: about the private\ntheatre at Blenheim 1787 : about Bi-\nbiena's invitation to London and his\nnot going there; about the Royal Dra-\nmatic College in England, proposed in\n1858, brought into existence, and then\ndropped in 1877.\nThere was a Query about a certain\nSancta Stella who was a famous singer\nin the 18th century but no one\nseems to know anything about her today\nfor no answers were given.\nn Notes & Queries is published by\nThe Bucks Free Press, 20 High Street,\nHigh Wycombe, Bucks, England, from\nwhom you will order it, if you want\nto enjoy one of the few unspoiled ma-\ngazines of the day."}, {"page_pdf": 59, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.59", "debut_caractere": 0, "fin_caractere_exclue": 684, "texte": "€J 9 Wendingen n. Amsterdam. The\nwork of an artist; and for this ordi-\nnary reason impossible for it to be\nanything but excellent. Very good re-\nproductions. Fail to get the 9 Theatre\nnumber 9 issued September, 1922 and\nits Marionnette number just out, 1923,\nand we are sure you will regret it.\nAddress, Keizergracht, 431, Amster-\ndam.\nGazette da Bon Ton, Paris. Is\nit still issued ? ...Was as good as\nn Wendingen n and at the other\npole.\n•J London Mercury. Costs half a\ncrown and is large, almost a book,\n...128 pages. When rarely we see it\nwe are always glad to see it. It looks\nvery rich and very prosperous. The\ncondition of the English Theatre does\nnot seem to concern it at all."}]}, {"article_id": "bm-bmtnaau-1923-01-c105", "article_bluemountain": "bmtnaau_1923_01#c105", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "41", "page_fin": "41", "image_debut": 59, "image_fin": 59, "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=bmtnaau1923-01.2.43", "titre_corps": "LETTERS TO THE EDITOR", "titre_sommaire": "LETTERS TO THE EDITOR", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 59, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.59", "debut_caractere": 686, "fin_caractere_exclue": 4793, "texte": "LETTERS TO THE EDITOR\n\nTHE ROMAN MARIONNETTES.\nYours.\nH. J. MANNING.\nSir:\nIsaw with intense glee by the newspaper reports that the\nRoman marionnettes about which all London at first\nwent wild with admiration later on failed utterly over\nWilliam Shakespeare's n The Tempest *.\nThere are some things for every land, but The Tem-\npest by Roman Marionnettes is evidently not for n England n.\nSince England has taken the puppets on to her lap, if\nnot into her heart; and since she has never taken Shake-\nspeare or his n Tempest to either, one can but suppose\nthat the failure at the Scala was a good deal due to\nShakespeare—as usual.\nUnless, of course, all along, both the success of the\none and the failure of the other are due to the public.\nI saw that Mr. Fagan, who was responsible for the\nperformance—for no mere dolls of wood can be held\nresponsible—said in an Interview, that to him it was a\nvery interesting experiment, H because it will enable me n,\nhe went on, 11 to test Mr. Gordon Craig's article of faith\nthat the actor should be abolished and the super-marionnette\nput in his place \".—Which seems to me to be a very wild\nand wanton way for Mr. Fagan to speak.\nFor Mr Craig has never suggested that the actor should\nbe abolished so that a two-penny doll shall be put in his\nplace.\nBut it is like insularity to imagine he referred to Dr.\nPodrecca's little ideas when, if I mistake not, he was refer-\nring to the greater ideas of Sophocles. It is like insularity\nto see anything w super n about those natty little puppets\nfrom Rome. It is like insularity (and very obedient too)\nto rave over them at the orders of the admirable Cochran,\nto boom them as 11 incredible * beyond belief R, as\nw works of art * because they look like miniature men and\nwomen, and imitate the faults of actors, and strut and\ngenerally make a parody of life, poetry, mankind, and the\nstage.\nAll that is the mode. Actors nowadays will accept\ntheir £5 or £10 a week to make a parody of the thing\nwe love—the Theatrical; and now marionnettes are being\ndegraded in the same way.\nWho does it—and who is to blame ? Surely not Mr.\nCochran ? No, money does it and money is to blame.\nFor it is the mode, and managers and critics who will\ntruckle to the mode, are to be found by the hundred.\nThat the * Tempest 11 can be interpreted by marion-\nnettes, so that the performance will satisfy M. Anatole\nFrance, we have on record, for M. France has written to\nsay so. But, with marionnettes as with everything else, all\ndepends upon how a thing is done and who does it.\nManchester.\n\nMODERN PLAYS & PERFORMERS.\nYours.\nJ. S. RANKIN.\nSir:\nAN English Producer wishes to ask a question:\nCan anyone of the readers of * The Mask name\na modern English or American society-comedy or comic\nopera dealing with matters of to-day which, for strength\nand brilliance of treatment and sanity of thought can bear\ncomparison with w The School for Scandal w (Sheridan) ;\nn II Barbiere di Siviglia n (Rossini) and R The Beggar's\nOpera w (Gay) ?\nFailing to name any such piece with like stamina, can\nthe reader suggest why it is that today none are being\nmade ?\nPlays dealing with the peasantry are not hard to find.\nn The Playboy w and w Nan 9 are oatstanding examples.\nBut who can name the comedy of modern life which has\nthe same body and a like sparkle as the three pieces above\nnamed ?\nThe English critics of 9 The Observer 9, 9 The Man-\nchester Guardian 9 and 9 The Morning Post R have lately\nwritten a great deal about the English play-writer, and\nhow the producer swamps him. But what kind of a boat\nis it which gets swamped in the seas ? What producer\never swamped Sheridan, Rossini or Gay?\nThe truth is, that if an able-bodied piece come to be\nbrought to performance by an able-bodied company of\nactors and singers, no producer can swamp it.\nWhat, then, are our modern pieces, what our modern\nperformers, if they possess so little substance and stamina\nthat they can be, as they so often are, swamped by the\nproducer ? Surely, before so much outcry is raised against\nthe producer it would be well were these questions put\nforward and faced.\nBradford."}]}, {"article_id": "bm-bmtnaau-1923-01-c106", "article_bluemountain": "bmtnaau_1923_01#c106", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "41", "page_fin": "41", "image_debut": 59, "image_fin": 59, "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=bmtnaau1923-01.2.43.1", "titre_corps": "THE ROMAN MARIONNETTES", "titre_sommaire": "THE ROMAN MARIONNETTES", "signature_source": "H. J. MANNING", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 59, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.59", "debut_caractere": 709, "fin_caractere_exclue": 3235, "texte": "THE ROMAN MARIONNETTES.\nYours.\nH. J. MANNING.\nSir:\nIsaw with intense glee by the newspaper reports that the\nRoman marionnettes about which all London at first\nwent wild with admiration later on failed utterly over\nWilliam Shakespeare's n The Tempest *.\nThere are some things for every land, but The Tem-\npest by Roman Marionnettes is evidently not for n England n.\nSince England has taken the puppets on to her lap, if\nnot into her heart; and since she has never taken Shake-\nspeare or his n Tempest to either, one can but suppose\nthat the failure at the Scala was a good deal due to\nShakespeare—as usual.\nUnless, of course, all along, both the success of the\none and the failure of the other are due to the public.\nI saw that Mr. Fagan, who was responsible for the\nperformance—for no mere dolls of wood can be held\nresponsible—said in an Interview, that to him it was a\nvery interesting experiment, H because it will enable me n,\nhe went on, 11 to test Mr. Gordon Craig's article of faith\nthat the actor should be abolished and the super-marionnette\nput in his place \".—Which seems to me to be a very wild\nand wanton way for Mr. Fagan to speak.\nFor Mr Craig has never suggested that the actor should\nbe abolished so that a two-penny doll shall be put in his\nplace.\nBut it is like insularity to imagine he referred to Dr.\nPodrecca's little ideas when, if I mistake not, he was refer-\nring to the greater ideas of Sophocles. It is like insularity\nto see anything w super n about those natty little puppets\nfrom Rome. It is like insularity (and very obedient too)\nto rave over them at the orders of the admirable Cochran,\nto boom them as 11 incredible * beyond belief R, as\nw works of art * because they look like miniature men and\nwomen, and imitate the faults of actors, and strut and\ngenerally make a parody of life, poetry, mankind, and the\nstage.\nAll that is the mode. Actors nowadays will accept\ntheir £5 or £10 a week to make a parody of the thing\nwe love—the Theatrical; and now marionnettes are being\ndegraded in the same way.\nWho does it—and who is to blame ? Surely not Mr.\nCochran ? No, money does it and money is to blame.\nFor it is the mode, and managers and critics who will\ntruckle to the mode, are to be found by the hundred.\nThat the * Tempest 11 can be interpreted by marion-\nnettes, so that the performance will satisfy M. Anatole\nFrance, we have on record, for M. France has written to\nsay so. But, with marionnettes as with everything else, all\ndepends upon how a thing is done and who does it.\nManchester."}]}, {"article_id": "bm-bmtnaau-1923-01-c107", "article_bluemountain": "bmtnaau_1923_01#c107", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "41", "page_fin": "41", "image_debut": 59, "image_fin": 59, "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=bmtnaau1923-01.2.43.2", "titre_corps": "MODERN PLAYS & PERFORMERS", "titre_sommaire": "MODERN PLAYS & PERFORMERS", "signature_source": "J. S. RANKIN", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 59, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.59", "debut_caractere": 3237, "fin_caractere_exclue": 4793, "texte": "MODERN PLAYS & PERFORMERS.\nYours.\nJ. S. RANKIN.\nSir:\nAN English Producer wishes to ask a question:\nCan anyone of the readers of * The Mask name\na modern English or American society-comedy or comic\nopera dealing with matters of to-day which, for strength\nand brilliance of treatment and sanity of thought can bear\ncomparison with w The School for Scandal w (Sheridan) ;\nn II Barbiere di Siviglia n (Rossini) and R The Beggar's\nOpera w (Gay) ?\nFailing to name any such piece with like stamina, can\nthe reader suggest why it is that today none are being\nmade ?\nPlays dealing with the peasantry are not hard to find.\nn The Playboy w and w Nan 9 are oatstanding examples.\nBut who can name the comedy of modern life which has\nthe same body and a like sparkle as the three pieces above\nnamed ?\nThe English critics of 9 The Observer 9, 9 The Man-\nchester Guardian 9 and 9 The Morning Post R have lately\nwritten a great deal about the English play-writer, and\nhow the producer swamps him. But what kind of a boat\nis it which gets swamped in the seas ? What producer\never swamped Sheridan, Rossini or Gay?\nThe truth is, that if an able-bodied piece come to be\nbrought to performance by an able-bodied company of\nactors and singers, no producer can swamp it.\nWhat, then, are our modern pieces, what our modern\nperformers, if they possess so little substance and stamina\nthat they can be, as they so often are, swamped by the\nproducer ? Surely, before so much outcry is raised against\nthe producer it would be well were these questions put\nforward and faced.\nBradford."}]}, {"article_id": "bm-bmtnaau-1923-01-c109", "article_bluemountain": "bmtnaau_1923_01#c109", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "42", "page_fin": "47", "image_debut": 60, "image_fin": 65, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.44", "titre_corps": "FOREIGN NOTES : 1423-1923", "titre_sommaire": "FOREIGN NOTES : 1423-1923", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 60, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.60", "debut_caractere": 0, "fin_caractere_exclue": 720, "texte": "FOREIGN NOTES: 1423-1923\n\nJ. S.\nWE shall print the name of each town as spelt by its\ninhabitants not as spelt by visitors.\nLondon must remain London, not Londres or Londra.\nBut so also with Italian towns. Roma is Roma and not\nRome or Rom as spelt by English and Germans. Leghorn\nis an invention of the English; the place they refer to is\nLivorno. Mantova, Genova, Venezia or Wien, must\nnot become Mantua, Genoa, Venice or Venedig, and\nVienna. Our Foreign Notes will be of the year 1923,\nbut also of 1823, 1723, 1623 and 1523, one hundred\nto four hundred years ago, since past events have played\ntheir part in preparing the present, and the present has\nvital links, both in its weaknesses and achievements, with\nthe past."}, {"page_pdf": 60, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.60", "debut_caractere": 755, "fin_caractere_exclue": 3804, "texte": "ROMA\n1923. Madame Eleonora Duse was acting here lately\nin Ibsen's n Ghosts n, D'Annunzio's w Citta Morta ff and\nPraga's 11 Porta Chiusa B. On the first night's performance\nSignor Mussolini paid a visit to the great actress before the\nplay began, and discussed with her the best means of\nbringing the Italian Theatre to represent the spiritual life\nof the nation (1).\n1823. The Teatro Valle was restored and reopened\nwith Jacopo Ferretti's n II Corsaro \", music by Filippo\nCelli. Leopardi, who was present, wrote afterwards, n The\nopera at the Valle which is comical proves that the\n* Turco \"in Italian (an opera by Rossini) is incomparably\nbetter. The theatre was empty, the cold was killing, and\nthe actors insufferable. Why! Parigi (a comedian of that\ntime) side by side with them would seem an angel, and\nbe assured, I do not exaggerate.\nAt the Argentina n Eufemio di Messina 11, was given,\nthe libretto by J. Ferretti, music by Michele Carafa, and\nscenes by A. Lorenzoni of Bologna. Of this Leopardi\nwrote to his brother: n Carafa's opera is nearly all stolen\nfrom Rossini, but so badly that neither the imitation nor\nwhat was original gave the least pleasure.... All the voices\nwere mediocre except the tenor David and the contralto\nSantina Ferlotti ....but even the most beautiful voice applied\nto a melody which signifies nothing cannot produce any\ngrand effect. The Romans praised the scenery and damned\nthe opera n.\n€| On February sth Leopardi saw the 9 Donna del\nLargo n. The music was by Rossini, which, he says,\nmade him cry. The performance lasted six hours.\n(i) Bee also page 25.\n\nBOLOGNA\n1923. Visitors to Bologna between May and October\nwill find an excellent performance of Burattini every\nevening in the open air by going to the Piazza dei\nMarchi.\nThe Teatro Comunale built by Antonio Bibiena in 1763\nhas a fine stage and auditorium and is worth seeing. The\nTeatro del Corso is another interesting theatre. It was\nrebuilt in 1805 for Napoleon's visit, and has since then\nbeen in part reconstructed.\n1723. Jan. 10th. In the Private Theatre in the House\nof Count Pirro Malvezzi there was recited a play called\nAndromaca 11, after which a farsetto was acted by three\nyoung men from the Collegio di San Luigi. On January\n27th the Cardinal Legato went to see it.\n1623. December 17th. Guarini's R Pastor Fido ®\nwas performed at the Teatro della Sala. Soon after the\nperformance, for unknown reasons, the theatre caught fire\nand in a short space of time was completely burnt. It\nwas originally built in 1615 by Gio. Gabrielle Guidotti.\n\nLIVORNO\n1823. July 25th. My Lord Byron embarked from\nhere for Greece to go for the last time once more a-roving.\n\nMOD E N A\n1823, The Teatro in Palazzo Rangoni was built, to\nhold 300 persons.\n\nRUSSIA 1923\nNICHOLAS Roerich would naturally find Pietro GOD-\nzaga, Venetian scenographer, 1750-1831, a wonderful\nscenic man, and so his short Note of enthusiastic appre-\nciation in the 11 Theatre Arts Magazine Volume 6,\nNo. 4. is nothing to be wondered at.\nFor Gonzaga went to Russia in 1791 and died there."}, {"page_pdf": 61, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.61", "debut_caractere": 0, "fin_caractere_exclue": 3048, "texte": "RUSSIA CONTINUED.\nHe wrote two books : 11 Light adapted to Theatre\ndecor B and w Theatre Optics w.\nBut what Roerich doesn't mention in his Note is that\nGonzaga shows the direct influence of Canaletto. And\nafter all, Gonzaga is not Italy's best scenographer.\nPossibly he was one of the forty best, but is rather\nmore of a picture painter on a large scale than a pure\nscenographer of the Theatre.\nIt is the Parigi who are the genuine scenographers:\nthe Bibienas too. The Burnacini, the Mauri, Torelli, Ser-\nvandoni, Scamozzi, and Peruzzi, ....these are the Italian\nnames in the first rank.\n\nBUD R I O\n1923. January 26th. There are seldom any dramatic\nperformances here, and so perhaps it is this fact which\nrenders the performances in the Teatrino of the Palazzo\nLazzone so remarkable in our eyes.\nReality on the stage is rare, but in RLa Donna n, a\npiece by Marco Pallanc, the actors brought us reality such\nas I have not seen before in London, Prague or Moscow.\nThe scene was modern; modern realism often offends one,\nbut this scene, (there was only one), was reality itself.\nI felt the air which floated in through the large French\nwindows leading on to the lawn, .... a lawn which I swear\nI took to be real. \\ have never, as I said, seen such\nrealism. The two principal actors, Signor Monza and\nSignorina Lampretto, were acting, I suppose. 1 tried to\ntell myself this when I saw the latter dying in the third\nand last act of this tragic little piece. But even now I\ncannot assure myself that it was acting.\nSignor Monza had a small part he could not have\nbeen more than half an hour on the stage yet I know\nhim as 1 know myself. I learnt his whole story, character,\nregrets and achievement. The play turns on these.\nA most ingenious method of illuminating the stage is\nused in Budrio, at least in the Palazzo Lazzone. There\nare seven discs of polished marble hung round the back of\nthe scene, each measuring about five feet in circumference,\nand in the centre of these and somehow concealed in them\n1 thought, (for 1 only had time to glance at them), were\nthree to four electric globes. I supposed the candle power\nto be about 3000 per disc. By some contrivance these\ndiscs or lamps are moved very easily to any defined spot\nand very swiftly, this in spite of the fact that they\nmust weigh a great deal.\nI asked the manager why marble was employed instead\nof light metal reflectors. He told me because of the n mo-\ndulazione n.\nBut if I cannot properly explain the secrets of their\nmechanism I can certainly not explain how it was that the\neffect produced was one of daylight, a daylight which in\nthe course of the two and a half hours' performance\nchanged as I have never yet known stage lighting to\nchange.\nI hope later to be able to report more of this remark-\nable company of performers.\n\nCON D E\n1723. In or near this town on January 25th there\nwas born Claire-Joseph-Hippolyte Leyris de la Tude, the\ndaughter of Francois Joseph D6sir£, a sergeant, and of\nMarie Claire Scanapiecq. She named herself more sim ply\nlater on : Hippolyte Clairon."}, {"page_pdf": 61, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.61", "debut_caractere": 3099, "fin_caractere_exclue": 4487, "texte": "FIRE N Z E\no « STILL THE OLD ENTANGLEMENT. * o\nMADAME Eleonora Duse, recently visiting Firenze,\nexpressed in a letter to one of the dramatic critics\nher regret not to be able to give a piece which she would\nhave personally wished to give, in the following words:\nn Ma non fu possibile conciliare le sciocche ragioni di me-\nstiere con le ragioni dell*Arte. H wlt was not possible to\nreconcile the foolish professional reasons with the reasons\nof Art. n\nNo, ..:not at the last moment:— and why at any mo-\nment serve two masters ? and that is what it comes to\nwhen one submits art for a moment to the interests of the\nBox Office, or allows B foolish professional reasons n to\nintrude for one moment upon one's conscience as an artist\nor shelve even by a hairsbreadth one's art ideals,\n1823. Francesco Cambi issued his n Riflessione sul\nTeatro Comico Moderno * in Firenze.\nR. Landini, a famous impersonator of the Mask of\nStenterello, was born.\n1723. The opera n Fiavio Anicio Olibrio * was gi-\nven in the summer at the Teatro della Pergola; libretto\nby Apostolo Zeno; music by Nicola Porpora.\n1623. February 4th The Company of Sant'Antonio\ngave a performance of n II Voto d'Oronto n by Cicognini,\nand the Accademia degli Infiammati were asked to repeat\nit at the Palazzo Pitti, in the presence of the Archdu-\nchess, the Princes, and the Infanta of Poland ; after this\na ballet was performed."}, {"page_pdf": 62, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.62", "debut_caractere": 0, "fin_caractere_exclue": 2140, "texte": "FIRENZE CONTINUED.\nFebruary 26ih. In the evening their Royal Highnes-\nses Ferdinand© II and his wife went to the n Sala dei\nForestieri n to hear an improvised comedy (Commedia\nall' improvviso) by some young gentlemen of Pisa, which\nthey did very well,\nOctober 23rd. H. R. H. the Duchess, to give plea-\nsure to her children and to H. R. H. ordered the co-\nmedians under Fritellino (Pier Maria Cecchini) and Fla-\nminia (Orsola Cecchini his wife) to perform before her in\nthe 9 Sala R wherein was standing the fixed M prospet-\ntiva. B They gave a ridiculous comedy which lasted an\nhour, beginning at II o'clock in the evening. Their Royal\nHighnesses were much pleased. They went to the theatre\nincognito and watched the performance from behind a\ngrating. After this, and during the year, their Royal\nHighnesses saw a great deal of Fritellino and his company.\nDecember 12th The Duke made a present of 100\nscudi to the Company of Fritellino, and some rare silken\ncloth embroidered with gold to Flaminia. To Fritellino\nand Cintio he gave a gold medallion each with the im-\npression of the Duke's head on one side, and, on the\nother, the crown and ball with the motto ® primo virtutis, R\n€| B La Celeste Guida overo L'Arcangelo Rafaello, w\na B sacra rappresentazione B, libretto by Jacopo Cicognini,\nmusic by Gio. Battista da Gagliano, was produced by the\ncompany B deirArcangelo Rafaello delta la Scala. 11 The\nlibretto was printed at Venezia in 1625.\nIn December La Regina Sant* Orsola n followed\nby B I Fiori di Calvario 11 were produced H nel Teatro\ndel Grand Duca di Toscana B before Vladislao Sigis-\nmondo Prince of Poland and Sweden. The libretto was\nby A. Salvadori and the music by Marco da Gagliano. The\nlibretto was published with a frontispiece and six plates\nengraved by Alfonso Parigi who very possibly designed\nthe scenes. Each plate measures 14 centim.X'l centim.\n€jj 51 1! Medoro w was produced at the Royal Palace\non the occasion of the election of the Emperor Ferdi-\nnand II of Austria. The libretto was by Andrea Salva-\ndore, the music by Marco da Gagliano. The libretto of\n5 operas was published by P. Cecconcelli, in Firenze."}, {"page_pdf": 62, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.62", "debut_caractere": 2196, "fin_caractere_exclue": 4204, "texte": "STRATFORD ON AVON.\n1923. Here things go on and on in much the same\nway as they went on in 1823,—in 1723, but quite other\nthan ihey went on a century before then.\nIt rains here,—drizzles—and theatricals drizzle too.\nThe Shakespeare Jubilee was a fizzle,... even Garrick,\nthe great Garrick, had to bring a little of his acting down\nhere in 1769 and display it in the streets. B The inha-\nbitants who could neither understand the projected cele-\nbration nor its details, viewed the business-—to be for\ntheir advantage—with open distrust and hostility n writes\nFitzgerald in his Life of David Garrick. slt was not a\npecuniary success ; but without Garrick would have been a\nmiserable failure. It cost him individually a great deal of\nmoney.... over £ 2000. n\nAnd the inhabitants today are as suspicious and as\ndull as those in 1769. There is never any money to be\nfound to do things properly with. When the gifted C. Lovat\nFraser came here to lend a hand—and he was all\ngood spirits and willingness—all the people did was to\ngrumble, and Fraser, who seldom had a hard word to say\nof anyone, found more to laugh at than usual. The Thea-\ntre itself has never been adequate. Salzburg does more\nand better to honour Mozart than Stratford to honour\nShakespeare. But then the inhabitants of Salzburg are not\npoverty-stricken or paralyzed by feeble intentions,—and\nthey have called Reinhardt to see to things, Stratford,\nit's true, calls Mr Adams and then ties him hand and foot\nwhile expecting impossibilities from him,... gives him a few\nhundred pounds to work with—and grumbles at the result\nwhile patronizing the young man's talent,\nAs ever in our Empire, India, Egypt, must be paid\nfor by Mr Adams and the 30,000 other artists, scientists\nand some 3,000,000 other kind of sound workers. Let\nIndia, Egypt and the whole world become and remain\nEnglish if you will, but first look after things at home,—\nnot forgetting Shakespeare, the Stage of the Empire... and\nthe musical glasses—the which I was almost forgetting."}, {"page_pdf": 62, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.62", "debut_caractere": 4268, "fin_caractere_exclue": 5123, "texte": "PRAGUE 1123\n1723. For the coronation of Charles VI, Giuseppe\nBibiena constructed an amphitheatre to hold 80,000 per-\nsons, says the historian (3000 is a more likely reckoning).\nIt had a stage 39 metres broad and 63 metres deep.\nThe opera performed wTas n Costanza e Fortezza \"by Pairate,\nmusic by Fux. The scenes were by Giuseppe Bibiena.\n100 singers, 200 musicians and many dancers were called\nfrom all parts of Europe to perform at this festival, and it\nbecame celebrated as the standard of scenic production\nthroughout Europe.\n\nLUCCA.\n1823, On August 28th 11 Temistocle n was produced\nat the Teatro Giglio with music by Giovanni Paccini.\n1723. At the Teatro Pubblico two performances by\namateurs of n La Finta Pazza 11 and n Pazzo per Forza w\nby Capece were given. Giacinto Cattoli and his com-\npany performed from August 17th to the end of De-\ncember."}, {"page_pdf": 63, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.63", "debut_caractere": 0, "fin_caractere_exclue": 184, "texte": "LUCCA CONTINUED.\n1623. From September 20th to December 21st the\nactors of the company known as 11 I Confidents n, directed\nby Flaminio Scala, were performing in the Sala della\nPodesta."}, {"page_pdf": 63, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.63", "debut_caractere": 243, "fin_caractere_exclue": 1031, "texte": "TORINO\n1823. There was given this year the opera s Rug-\ngiero n or B L/eroica gratitudine w, libretto by Pietro Meta-\nstasio, music by Antonio Gandini of Modena, ballet master\nGio. Galzerani, whose wife was prima-ballerina. The\nseason was closed with 11 Didone Abbandonata B Jan. 19\nby Metastasio, with music by Zaverio Mercadante, director\nof the Conservatorio di Napoli.\n1723. The Opera-Ballet B Artenice n was produced\nfor the first time at the Teatro Regio. The libretto was\nby Giovanetti and the music by Giovanni Antonio Giay,\nmaestro della capella. The first ballerina was De-Bargues,\nand the music for the ballets was by Razetti. This opera\nwas written expressly for the Teatro Regio. In the same\nyear 811 Trionfo della Fedelt& n by Giovanetti, with\nmusic by Fior& was also given."}, {"page_pdf": 63, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.63", "debut_caractere": 1090, "fin_caractere_exclue": 1654, "texte": "GEN O V A\n1923. Nothing is made of the Teatro Carlo Felice\nhere. It is one of the largest and one of the most handsome\ntheatres in Italy: its position is central and imposing, and\nGenova is a wealthy commercial city,\nLike Manchester, the place seems to be unaware of\nthe importance to trade of a first class opera house and\ntheatres. It possesses the buildings,—the Paganini, the\nRegina Margherita and the Politeama are three large-sized\nplayhouses. The Agostino, once the most popular theatre\nin Genova, is now deserted except for occasional amateur\nperformances."}, {"page_pdf": 63, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.63", "debut_caractere": 1713, "fin_caractere_exclue": 3954, "texte": "MILANO\n1923. Arturo Toscanini is still here, and his whole\nexistence is given to the Scala. He has brought about\nmany reforms,—aroused the singers, produced a superb\nchorus, availed himself of Fortuny's inventions for scenes\nand lighting, and it is immensely to the credit of the\nmerchants of Milano and of Signer Scandiani that the\nparamount importance of this conductor has been so sanely\nrealized and his efforts seconded by those in power\nThe Theatre was reconstructed a year or two ago for\nToscanini (instead of for speculators), at an expense of\n75,000. The Journals, and the Bankers and other\nwealthy men supplied the means.\nThe talent of Signor Scandiani is exceptional. I have\nnot known many directors possessed of such unique yet\nordinary gifts. Never in a hurry, never apparently anxious,\nalways seconding Toscanini and the art,—such a B business\nman wis an example to the 11 managers nof London. Whether\nany such man is to be found in any theatre in Paris or\nNew York has not yet become evident.\n1823. February 6th. Pacini's w Vestali B v/as pro-\nduced with success at the Teatro della Scala, with La-\nblanche singing.\nFrancesco Clerico's ballet B Adelaisa di Guezetino *\nwas given on June 7th. (see portrait plate 4). Music by\nBelloli, scenes by A. Sanquirico.\nThe company of the celebrated Moncalvo was acting\nall the summer at the Teatro Canobbiana. Eight dramas\nwere performed.\n♦December 26th. The first representation of Amleto\",\nmusic by Mercadante, libretto by Felice Romani, was\ngiven at La Scala by Giorgi, La Fabbrica, Monelli, and\nLablanche in the caste. On this occasion the vast central\nchandelier was hung, and used from then onwards. It\nwas designed by Sanquirico, the scenographer of La Scala,\nand carried out by Carlo Grassi the mechanic. It cost 17,991\nlire (Austrian).\n1723. 11 Arianna nell* Isola di Nasso *, Drama in\nmusic by Giovanni Porta, was given at the Teatro Du-\ncale with Marianna Laurenzani, Scalzi and Cignoni in\nthe cast. The scenes were by G. D. Barbieri and\nG. B. Medici, under the direction of Ferdinando Brivio\nand Giuseppe Milesi. The dancer was Caetano Gros-\nsatesta.\n1423. A stage was erected at the Porta Ticinese\nand a spectacle given of the historical and military feats\nof the old Gods."}, {"page_pdf": 64, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.64", "debut_caractere": 59, "fin_caractere_exclue": 4869, "texte": "PARIS\n1923. M. Silvain, the doyen of the Com£die Fran-\ncelebrated the forty-fifth anniversary of his entry into\nthe Maison de Moli&re, on February 19th. He has also\nbeen a professor at the Conservatoire for many years.\nWe wish the old place and the old man long life;\n—after all it is our favourite playhouse when Moli&re is\non the programme... but only then.\n€| M. Jean Jacques Olivier has translated Gozzi's\nn Turandot n into French and it was produced in February\nby M. Jacques Copeau at the Theatre Vieux-Columbier\nwith considerable success. It is spoken of as the best\npiece of work seen at this theatre.\nTHE French Cabinet, the municipal Courts and the\nPolice have all been obliged or pleased to make in-\nvestigations into how much n human flesh, 11 as the news\npaper puts it, or how little, should be exhibited on French\nStages. Practically it was coming to be quite the usual\nthing for pretty women to walk on to the stages naked\nsave for a little fringe, some beads a la Bakst, and a\nhead-dress.\nThen began much argument in Paris ahout it all.\nMile. Mistinguet and M. Antoine even entered into the\ndiscussion. Antoine says he prefers nudities on the stage\nto risqu£ songs. Mile. Mistinguet finds the nude only\nobjectionable on the stage when it moves about. Others\nfound other things to say.\nAs there is no firm reason to be rendered why some\nof us cannot abide a gaping pig, why others a harmless\nnecessary cat, so can I give no reason more than a lodged\nhate and an unreasonable loathing against the whole bu-\nsiness of flesh displayed in the Theatre.\nOne journal shed rather a new light on the whole\nmatter :—n Several eminent psychologists declare that, as -\nn a rule, it is the women in the theatre audiences rather\nn than the men who encourage the undress among the\n11 stage beauties, and enjoy seeing them carry it to a\nn shocking degree. In this they are in perfect agreement\nn with the opinion recently expressed by Miss Ann Pen-\n-11 nington the American dancer.\nn 4lt is women, * said Miss Pennington, * who love best\nB to see a trim ankle, a shapely calf, a perfect knee and\nB the rippling curves of the feminine back exhibited on the\n11 stage. It is wrong to blame men for stage nudity. The\nB women are the ones who insist upon it. B\nMiss Pennington may be right.... it seems all one to\nme. The stage I have always had intense admiration f0r...,\nand so it grieves me to see the stage allowing this sort of\ntom-foolery.\nAs for anyone stopping it except the dramatic authors,\nactors, dancers and others who belong to the stage, it is\nfarcical to think of. They could stop it tomorrow. Will\nthey ?... Have they that much sense ?\n1723. n In£s de Castro n, a tragedy by Lamotte, was\nproduced here on April 6th.\nEarly in December the Theatre Comedie Frangaise\nwas closed on account of the death of the Due d'Or-\nleans.\nLachapelte died on May 29th.\nMile. Lamotte made her debut at the Com6die Fran-\nsaise on October Ist.\nBremys died on November 25th.\nMoli&re's daughter, Madeleine, died, childless.\nMarmontel, oean Francois), was born.\n1623. The Theatre du Marais, situated in the Rue\nVille du Temple, was built this year.\n1623. Nicolo Barbieri detto Beltrame came to Paris.\nHis B Supplica *, one of the rarest of books by an actor\non the condition of the stage in the late 16th and early\n17th centuries was now being prepared by him, and was\npublished in 1634 at Venezia. (See page 12). In this\nvolume the publisher gave two and a half pages of his\nAnnouncements at the end, and it is interesting to come\nacross two of the items mentioned ; i. e. Saggi di Michel\nSigner di Montagna n, a quarto; and B Apologia di Rai-\nmondo di Sebouda del Medesimo n, a quarto. In 1518\nMontaigne went to Italy for his health, was in Roma\nwhere he stayed at an inn L'Orso n close by the Tor\ndi Nona where later, in 1660, one of the most famous\ntheatres of Roma was constructed—destroyed—reconstructed\n—and over and over again destroyed. This edition of\nMontaigne's work was probably the first to appear in the\nItalian language, this advertisement in the actor's book\npossibly the first announcement.\n\no BORDEAUX\n1823. Monsieur Goethals acquired a house in the Rue\nMably, No. 28, and M. Lafargue adapted it into a private\ntheatre which was called the R Salle de l'Ath6n£e *.\n\nMUNC H E N\n1823. On Tuesday, January 14th, the Hoftheater\nwas burnt down, and in this same year Leo Von Klenze\nstarted rebuilding it from the original plans by K. von\nFischer. It was completed in 1825.\n\nLONDON\n1823. William Hone published his * Ancient Myste-\nries described etc. 11, in London. It was an Bvo of 300\npages with 13 engravings on copper and wood.\nOn May Bth the opera * Clari n or * The Maid\nof Milan n, by Howard Payne and Bishop, was produced\nat Covent Garden Theatre. The air of * bjpme Sweet\nHome * comes into the opera."}, {"page_pdf": 65, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.65", "debut_caractere": 0, "fin_caractere_exclue": 3083, "texte": "LONDON CONTINUED.\nJohn Philip Kemble, after returning from a visit to\nItaly, died at Lausanne aged 66 on February 26th at a\nquarter past nine, and was buried on March Ist.\n€$ On May 13th at Covent Garden Macready first\nplayed Shylock.\nOn October 27th, at the Drury Lane Theatre,\nduring the performance of 11 The Cataract of the Ganges n,\na surprising effect was introduced, real water gushing out\nin place of an imitation of the water. Everyone was\nmore than thrilled. The notion was a poor one, but not\nnew, the kind of thing having been tried with success in\nthe seventeenth century in Roma by Bernini as a jest.\nAt Drury Lane it was done with becoming seriousness\nfitted to the time and place and circumstances, it having\ncost much money and the piece having been especially\nwritten to the water and some horses which floundered in\nthe water.\nNov. 14. Kean retired to the house built at his own\nexpense on a portion of his twenty acres of land in the Isle of\nBute, tired of his triumphs and everything else. From\nhere he wrote to Mr Phillips : 11 Dear Phillips, Mrs Kean\nwrote to Elliston on the Bth, telling him that I had not\nabove one week to live. All is well by my keeping\naway. Dam the Ganges, to prevent further overflow: send\nto hell the Prometheus that animated the statue: set fire\nto the Bun Row ; and then I will return—at any time\nvery reluctantly—for this is the most beautiful place in\nthe world. Write and send me play-bills every day.\nHow was the box-plan for the 17th ? I can get another\ndoctors's certificate if it is necessary. Yours sincerely,\nEdmund Kean. P. S. Written with the snuffers B.\n1723-24. The Drury Lane managers produced B Harle-\nquin Dr. Faustus B in rivalry of John Rich, who, the\nsame year (December), produced B Necromancer Harle-\nquin Executed B at Lincoln's Inn Fields.\nPantomime became a greater attraction than ordinary\nacting; drew £. 1000 a week as compared to £. 500\nof the talk plays of that time.\nHogarth designed and etched a plate showing the\npopularity of the Italian opera and pantomime.\n1623. Shakespeare's first Folio, containing 36 plays,\nwas printed R according to the original copies R by Isaac\nJaggard and Edward Blount at their establishment near\nSt Dunstan's church. It formed a volume of nearly\n1000 double-column On the title page was an\nengraved portrait of the author.\nAbout this time the Curtain Theatre was destroyed.\nWilliam Sands received a license for showing a\nmotion or marionette show called R Chaos of the World R\nand another called n The Creation of the World R.\nOn July 20th Sir John Astley sold to Henry\nHerbert for the sum of £. 150 a year, the office of\nMaster of the Revels. Herbert was knighted by the king\nat the same time. He was brother of George Herbert,\nthe poet.\n\nAMERICA\n1823. During this year the first theatre in New\nOrleans was being built. In 1824 it was opened.\n1823. Mrs Melmoth died in New York at the age of\nseventy-four. She made her d£but November 20th 1793 as\nn Euphrasia w in Murphy's n The Grecian Daughter\n1823. The Theatre in Chestnut Street, Philadelphia\nwas rebuilt and opened."}]}, {"article_id": "bm-bmtnaau-1923-01-c110", "article_bluemountain": "bmtnaau_1923_01#c110", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "42", "page_fin": "42", "image_debut": 60, "image_fin": 60, "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=bmtnaau1923-01.2.44.1", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 60, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.60", "debut_caractere": 26, "fin_caractere_exclue": 720, "texte": "J. S.\nWE shall print the name of each town as spelt by its\ninhabitants not as spelt by visitors.\nLondon must remain London, not Londres or Londra.\nBut so also with Italian towns. Roma is Roma and not\nRome or Rom as spelt by English and Germans. Leghorn\nis an invention of the English; the place they refer to is\nLivorno. Mantova, Genova, Venezia or Wien, must\nnot become Mantua, Genoa, Venice or Venedig, and\nVienna. Our Foreign Notes will be of the year 1923,\nbut also of 1823, 1723, 1623 and 1523, one hundred\nto four hundred years ago, since past events have played\ntheir part in preparing the present, and the present has\nvital links, both in its weaknesses and achievements, with\nthe past."}]}, {"article_id": "bm-bmtnaau-1923-01-c111", "article_bluemountain": "bmtnaau_1923_01#c111", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "42", "page_fin": "42", "image_debut": 60, "image_fin": 60, "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=bmtnaau1923-01.2.44.2", "titre_corps": "ROMA", "titre_sommaire": "ROMA", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 60, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.60", "debut_caractere": 755, "fin_caractere_exclue": 2348, "texte": "ROMA\n1923. Madame Eleonora Duse was acting here lately\nin Ibsen's n Ghosts n, D'Annunzio's w Citta Morta ff and\nPraga's 11 Porta Chiusa B. On the first night's performance\nSignor Mussolini paid a visit to the great actress before the\nplay began, and discussed with her the best means of\nbringing the Italian Theatre to represent the spiritual life\nof the nation (1).\n1823. The Teatro Valle was restored and reopened\nwith Jacopo Ferretti's n II Corsaro \", music by Filippo\nCelli. Leopardi, who was present, wrote afterwards, n The\nopera at the Valle which is comical proves that the\n* Turco \"in Italian (an opera by Rossini) is incomparably\nbetter. The theatre was empty, the cold was killing, and\nthe actors insufferable. Why! Parigi (a comedian of that\ntime) side by side with them would seem an angel, and\nbe assured, I do not exaggerate.\nAt the Argentina n Eufemio di Messina 11, was given,\nthe libretto by J. Ferretti, music by Michele Carafa, and\nscenes by A. Lorenzoni of Bologna. Of this Leopardi\nwrote to his brother: n Carafa's opera is nearly all stolen\nfrom Rossini, but so badly that neither the imitation nor\nwhat was original gave the least pleasure.... All the voices\nwere mediocre except the tenor David and the contralto\nSantina Ferlotti ....but even the most beautiful voice applied\nto a melody which signifies nothing cannot produce any\ngrand effect. The Romans praised the scenery and damned\nthe opera n.\n€| On February sth Leopardi saw the 9 Donna del\nLargo n. The music was by Rossini, which, he says,\nmade him cry. The performance lasted six hours.\n(i) Bee also page 25."}]}, {"article_id": "bm-bmtnaau-1923-01-c112", "article_bluemountain": "bmtnaau_1923_01#c112", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "42", "page_fin": "42", "image_debut": 60, "image_fin": 60, "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=bmtnaau1923-01.2.44.2.1", "titre_corps": "TEATRO ARGENTINA", "titre_sommaire": "TEATRO ARGENTINA", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 60, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.60", "debut_caractere": 722, "fin_caractere_exclue": 753, "texte": "TEATRO ARGENTINA, ROMA IN 1750."}]}, {"article_id": "bm-bmtnaau-1923-01-c113", "article_bluemountain": "bmtnaau_1923_01#c113", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "42", "page_fin": "42", "image_debut": 60, "image_fin": 60, "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=bmtnaau1923-01.2.44.3", "titre_corps": "BOLOGNA", "titre_sommaire": "BOLOGNA", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 60, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.60", "debut_caractere": 2350, "fin_caractere_exclue": 3301, "texte": "BOLOGNA\n1923. Visitors to Bologna between May and October\nwill find an excellent performance of Burattini every\nevening in the open air by going to the Piazza dei\nMarchi.\nThe Teatro Comunale built by Antonio Bibiena in 1763\nhas a fine stage and auditorium and is worth seeing. The\nTeatro del Corso is another interesting theatre. It was\nrebuilt in 1805 for Napoleon's visit, and has since then\nbeen in part reconstructed.\n1723. Jan. 10th. In the Private Theatre in the House\nof Count Pirro Malvezzi there was recited a play called\nAndromaca 11, after which a farsetto was acted by three\nyoung men from the Collegio di San Luigi. On January\n27th the Cardinal Legato went to see it.\n1623. December 17th. Guarini's R Pastor Fido ®\nwas performed at the Teatro della Sala. Soon after the\nperformance, for unknown reasons, the theatre caught fire\nand in a short space of time was completely burnt. It\nwas originally built in 1615 by Gio. Gabrielle Guidotti."}]}, {"article_id": "bm-bmtnaau-1923-01-c115", "article_bluemountain": "bmtnaau_1923_01#c115", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "42", "page_fin": "42", "image_debut": 60, "image_fin": 60, "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=bmtnaau1923-01.2.44.4", "titre_corps": "LIVORNO", "titre_sommaire": "LIVORNO", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 60, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.60", "debut_caractere": 3303, "fin_caractere_exclue": 3415, "texte": "LIVORNO\n1823. July 25th. My Lord Byron embarked from\nhere for Greece to go for the last time once more a-roving."}]}, {"article_id": "bm-bmtnaau-1923-01-c117", "article_bluemountain": "bmtnaau_1923_01#c117", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "42", "page_fin": "42", "image_debut": 60, "image_fin": 60, "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=bmtnaau1923-01.2.44.5", "titre_corps": "MOD E N A", "titre_sommaire": "MOD E N A", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 60, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.60", "debut_caractere": 3417, "fin_caractere_exclue": 3494, "texte": "MOD E N A\n1823, The Teatro in Palazzo Rangoni was built, to\nhold 300 persons."}]}, {"article_id": "bm-bmtnaau-1923-01-c118", "article_bluemountain": "bmtnaau_1923_01#c118", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "42", "page_fin": "43", "image_debut": 60, "image_fin": 61, "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=bmtnaau1923-01.2.44.6", "titre_corps": "RUSSIA 1923", "titre_sommaire": "RUSSIA 1923", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 60, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.60", "debut_caractere": 3496, "fin_caractere_exclue": 3804, "texte": "RUSSIA 1923\nNICHOLAS Roerich would naturally find Pietro GOD-\nzaga, Venetian scenographer, 1750-1831, a wonderful\nscenic man, and so his short Note of enthusiastic appre-\nciation in the 11 Theatre Arts Magazine Volume 6,\nNo. 4. is nothing to be wondered at.\nFor Gonzaga went to Russia in 1791 and died there."}, {"page_pdf": 61, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.61", "debut_caractere": 0, "fin_caractere_exclue": 587, "texte": "RUSSIA CONTINUED.\nHe wrote two books : 11 Light adapted to Theatre\ndecor B and w Theatre Optics w.\nBut what Roerich doesn't mention in his Note is that\nGonzaga shows the direct influence of Canaletto. And\nafter all, Gonzaga is not Italy's best scenographer.\nPossibly he was one of the forty best, but is rather\nmore of a picture painter on a large scale than a pure\nscenographer of the Theatre.\nIt is the Parigi who are the genuine scenographers:\nthe Bibienas too. The Burnacini, the Mauri, Torelli, Ser-\nvandoni, Scamozzi, and Peruzzi, ....these are the Italian\nnames in the first rank."}]}, {"article_id": "bm-bmtnaau-1923-01-c119", "article_bluemountain": "bmtnaau_1923_01#c119", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "43", "page_fin": "43", "image_debut": 61, "image_fin": 61, "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=bmtnaau1923-01.2.44.7", "titre_corps": "BUDRIO", "titre_sommaire": "BUDRIO", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 61, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.61", "debut_caractere": 589, "fin_caractere_exclue": 2793, "texte": "BUD R I O\n1923. January 26th. There are seldom any dramatic\nperformances here, and so perhaps it is this fact which\nrenders the performances in the Teatrino of the Palazzo\nLazzone so remarkable in our eyes.\nReality on the stage is rare, but in RLa Donna n, a\npiece by Marco Pallanc, the actors brought us reality such\nas I have not seen before in London, Prague or Moscow.\nThe scene was modern; modern realism often offends one,\nbut this scene, (there was only one), was reality itself.\nI felt the air which floated in through the large French\nwindows leading on to the lawn, .... a lawn which I swear\nI took to be real. \\ have never, as I said, seen such\nrealism. The two principal actors, Signor Monza and\nSignorina Lampretto, were acting, I suppose. 1 tried to\ntell myself this when I saw the latter dying in the third\nand last act of this tragic little piece. But even now I\ncannot assure myself that it was acting.\nSignor Monza had a small part he could not have\nbeen more than half an hour on the stage yet I know\nhim as 1 know myself. I learnt his whole story, character,\nregrets and achievement. The play turns on these.\nA most ingenious method of illuminating the stage is\nused in Budrio, at least in the Palazzo Lazzone. There\nare seven discs of polished marble hung round the back of\nthe scene, each measuring about five feet in circumference,\nand in the centre of these and somehow concealed in them\n1 thought, (for 1 only had time to glance at them), were\nthree to four electric globes. I supposed the candle power\nto be about 3000 per disc. By some contrivance these\ndiscs or lamps are moved very easily to any defined spot\nand very swiftly, this in spite of the fact that they\nmust weigh a great deal.\nI asked the manager why marble was employed instead\nof light metal reflectors. He told me because of the n mo-\ndulazione n.\nBut if I cannot properly explain the secrets of their\nmechanism I can certainly not explain how it was that the\neffect produced was one of daylight, a daylight which in\nthe course of the two and a half hours' performance\nchanged as I have never yet known stage lighting to\nchange.\nI hope later to be able to report more of this remark-\nable company of performers."}]}, {"article_id": "bm-bmtnaau-1923-01-c121", "article_bluemountain": "bmtnaau_1923_01#c121", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "43", "page_fin": "43", "image_debut": 61, "image_fin": 61, "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=bmtnaau1923-01.2.44.8", "titre_corps": "CONDE", "titre_sommaire": "CONDE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 61, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.61", "debut_caractere": 2795, "fin_caractere_exclue": 3048, "texte": "CON D E\n1723. In or near this town on January 25th there\nwas born Claire-Joseph-Hippolyte Leyris de la Tude, the\ndaughter of Francois Joseph D6sir£, a sergeant, and of\nMarie Claire Scanapiecq. She named herself more sim ply\nlater on : Hippolyte Clairon."}]}, {"article_id": "bm-bmtnaau-1923-01-c122", "article_bluemountain": "bmtnaau_1923_01#c122", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "43", "page_fin": "44", "image_debut": 61, "image_fin": 62, "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=bmtnaau1923-01.2.44.9", "titre_corps": "FIRENZE : Still the old entanglement", "titre_sommaire": "FIRENZE : Still the old entanglement", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 61, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.61", "debut_caractere": 3099, "fin_caractere_exclue": 4487, "texte": "FIRE N Z E\no « STILL THE OLD ENTANGLEMENT. * o\nMADAME Eleonora Duse, recently visiting Firenze,\nexpressed in a letter to one of the dramatic critics\nher regret not to be able to give a piece which she would\nhave personally wished to give, in the following words:\nn Ma non fu possibile conciliare le sciocche ragioni di me-\nstiere con le ragioni dell*Arte. H wlt was not possible to\nreconcile the foolish professional reasons with the reasons\nof Art. n\nNo, ..:not at the last moment:— and why at any mo-\nment serve two masters ? and that is what it comes to\nwhen one submits art for a moment to the interests of the\nBox Office, or allows B foolish professional reasons n to\nintrude for one moment upon one's conscience as an artist\nor shelve even by a hairsbreadth one's art ideals,\n1823. Francesco Cambi issued his n Riflessione sul\nTeatro Comico Moderno * in Firenze.\nR. Landini, a famous impersonator of the Mask of\nStenterello, was born.\n1723. The opera n Fiavio Anicio Olibrio * was gi-\nven in the summer at the Teatro della Pergola; libretto\nby Apostolo Zeno; music by Nicola Porpora.\n1623. February 4th The Company of Sant'Antonio\ngave a performance of n II Voto d'Oronto n by Cicognini,\nand the Accademia degli Infiammati were asked to repeat\nit at the Palazzo Pitti, in the presence of the Archdu-\nchess, the Princes, and the Infanta of Poland ; after this\na ballet was performed."}, {"page_pdf": 62, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.62", "debut_caractere": 0, "fin_caractere_exclue": 2140, "texte": "FIRENZE CONTINUED.\nFebruary 26ih. In the evening their Royal Highnes-\nses Ferdinand© II and his wife went to the n Sala dei\nForestieri n to hear an improvised comedy (Commedia\nall' improvviso) by some young gentlemen of Pisa, which\nthey did very well,\nOctober 23rd. H. R. H. the Duchess, to give plea-\nsure to her children and to H. R. H. ordered the co-\nmedians under Fritellino (Pier Maria Cecchini) and Fla-\nminia (Orsola Cecchini his wife) to perform before her in\nthe 9 Sala R wherein was standing the fixed M prospet-\ntiva. B They gave a ridiculous comedy which lasted an\nhour, beginning at II o'clock in the evening. Their Royal\nHighnesses were much pleased. They went to the theatre\nincognito and watched the performance from behind a\ngrating. After this, and during the year, their Royal\nHighnesses saw a great deal of Fritellino and his company.\nDecember 12th The Duke made a present of 100\nscudi to the Company of Fritellino, and some rare silken\ncloth embroidered with gold to Flaminia. To Fritellino\nand Cintio he gave a gold medallion each with the im-\npression of the Duke's head on one side, and, on the\nother, the crown and ball with the motto ® primo virtutis, R\n€| B La Celeste Guida overo L'Arcangelo Rafaello, w\na B sacra rappresentazione B, libretto by Jacopo Cicognini,\nmusic by Gio. Battista da Gagliano, was produced by the\ncompany B deirArcangelo Rafaello delta la Scala. 11 The\nlibretto was printed at Venezia in 1625.\nIn December La Regina Sant* Orsola n followed\nby B I Fiori di Calvario 11 were produced H nel Teatro\ndel Grand Duca di Toscana B before Vladislao Sigis-\nmondo Prince of Poland and Sweden. The libretto was\nby A. Salvadori and the music by Marco da Gagliano. The\nlibretto was published with a frontispiece and six plates\nengraved by Alfonso Parigi who very possibly designed\nthe scenes. Each plate measures 14 centim.X'l centim.\n€jj 51 1! Medoro w was produced at the Royal Palace\non the occasion of the election of the Emperor Ferdi-\nnand II of Austria. The libretto was by Andrea Salva-\ndore, the music by Marco da Gagliano. The libretto of\n5 operas was published by P. Cecconcelli, in Firenze."}]}, {"article_id": "bm-bmtnaau-1923-01-c123", "article_bluemountain": "bmtnaau_1923_01#c123", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "43", "page_fin": "43", "image_debut": 61, "image_fin": 61, "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=bmtnaau1923-01.2.44.9.1", "titre_corps": "FROM THE \"BALLI DI SFESSANIA\"", "titre_sommaire": "FROM THE \"BALLI DI SFESSANIA\"", "signature_source": "JACQUES CALLOT", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 61, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.61", "debut_caractere": 3050, "fin_caractere_exclue": 3097, "texte": "FROM THE \"BALLI DI SFESSANIA\" BY JACQUES CALLOT"}]}, {"article_id": "bm-bmtnaau-1923-01-c124", "article_bluemountain": "bmtnaau_1923_01#c124", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "44", "page_fin": "44", "image_debut": 62, "image_fin": 62, "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=bmtnaau1923-01.2.44.10", "titre_corps": "STRATFORD ON AVON", "titre_sommaire": "STRATFORD ON AVON", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 62, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.62", "debut_caractere": 2196, "fin_caractere_exclue": 4204, "texte": "STRATFORD ON AVON.\n1923. Here things go on and on in much the same\nway as they went on in 1823,—in 1723, but quite other\nthan ihey went on a century before then.\nIt rains here,—drizzles—and theatricals drizzle too.\nThe Shakespeare Jubilee was a fizzle,... even Garrick,\nthe great Garrick, had to bring a little of his acting down\nhere in 1769 and display it in the streets. B The inha-\nbitants who could neither understand the projected cele-\nbration nor its details, viewed the business-—to be for\ntheir advantage—with open distrust and hostility n writes\nFitzgerald in his Life of David Garrick. slt was not a\npecuniary success ; but without Garrick would have been a\nmiserable failure. It cost him individually a great deal of\nmoney.... over £ 2000. n\nAnd the inhabitants today are as suspicious and as\ndull as those in 1769. There is never any money to be\nfound to do things properly with. When the gifted C. Lovat\nFraser came here to lend a hand—and he was all\ngood spirits and willingness—all the people did was to\ngrumble, and Fraser, who seldom had a hard word to say\nof anyone, found more to laugh at than usual. The Thea-\ntre itself has never been adequate. Salzburg does more\nand better to honour Mozart than Stratford to honour\nShakespeare. But then the inhabitants of Salzburg are not\npoverty-stricken or paralyzed by feeble intentions,—and\nthey have called Reinhardt to see to things, Stratford,\nit's true, calls Mr Adams and then ties him hand and foot\nwhile expecting impossibilities from him,... gives him a few\nhundred pounds to work with—and grumbles at the result\nwhile patronizing the young man's talent,\nAs ever in our Empire, India, Egypt, must be paid\nfor by Mr Adams and the 30,000 other artists, scientists\nand some 3,000,000 other kind of sound workers. Let\nIndia, Egypt and the whole world become and remain\nEnglish if you will, but first look after things at home,—\nnot forgetting Shakespeare, the Stage of the Empire... and\nthe musical glasses—the which I was almost forgetting."}]}, {"article_id": "bm-bmtnaau-1923-01-c125", "article_bluemountain": "bmtnaau_1923_01#c125", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "44", "page_fin": "44", "image_debut": 62, "image_fin": 62, "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=bmtnaau1923-01.2.44.10.1", "titre_corps": "Shakespeare Jubilee", "titre_sommaire": "Shakespeare Jubilee", "signature_source": "W. H. Brooke", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 62, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.62", "debut_caractere": 2142, "fin_caractere_exclue": 2194, "texte": "DESIGNED AND ENGRAVED ON WOOD BY W. H. BROOKE, 1831."}]}, {"article_id": "bm-bmtnaau-1923-01-c126", "article_bluemountain": "bmtnaau_1923_01#c126", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "44", "page_fin": "44", "image_debut": 62, "image_fin": 62, "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=bmtnaau1923-01.2.44.11", "titre_corps": "PRAGUE 1723", "titre_sommaire": "PRAGUE 1723", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 62, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.62", "debut_caractere": 4268, "fin_caractere_exclue": 4797, "texte": "PRAGUE 1123\n1723. For the coronation of Charles VI, Giuseppe\nBibiena constructed an amphitheatre to hold 80,000 per-\nsons, says the historian (3000 is a more likely reckoning).\nIt had a stage 39 metres broad and 63 metres deep.\nThe opera performed wTas n Costanza e Fortezza \"by Pairate,\nmusic by Fux. The scenes were by Giuseppe Bibiena.\n100 singers, 200 musicians and many dancers were called\nfrom all parts of Europe to perform at this festival, and it\nbecame celebrated as the standard of scenic production\nthroughout Europe."}]}, {"article_id": "bm-bmtnaau-1923-01-c127", "article_bluemountain": "bmtnaau_1923_01#c127", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "44", "page_fin": "44", "image_debut": 62, "image_fin": 62, "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=bmtnaau1923-01.2.44.11.1", "titre_corps": "PLAN OF THE PRAGUE THEATRE", "titre_sommaire": "PLAN OF THE PRAGUE THEATRE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 62, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.62", "debut_caractere": 4206, "fin_caractere_exclue": 4266, "texte": "PLAN OF THE PRAGUE THEATRE. BUILT BY GIUSEPPE BIBIENA, 1723."}]}, {"article_id": "bm-bmtnaau-1923-01-c128", "article_bluemountain": "bmtnaau_1923_01#c128", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "44", "page_fin": "45", "image_debut": 62, "image_fin": 63, "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=bmtnaau1923-01.2.44.12", "titre_corps": "LUCCA", "titre_sommaire": "LUCCA", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 62, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.62", "debut_caractere": 4799, "fin_caractere_exclue": 5123, "texte": "LUCCA.\n1823, On August 28th 11 Temistocle n was produced\nat the Teatro Giglio with music by Giovanni Paccini.\n1723. At the Teatro Pubblico two performances by\namateurs of n La Finta Pazza 11 and n Pazzo per Forza w\nby Capece were given. Giacinto Cattoli and his com-\npany performed from August 17th to the end of De-\ncember."}, {"page_pdf": 63, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.63", "debut_caractere": 0, "fin_caractere_exclue": 184, "texte": "LUCCA CONTINUED.\n1623. From September 20th to December 21st the\nactors of the company known as 11 I Confidents n, directed\nby Flaminio Scala, were performing in the Sala della\nPodesta."}]}, {"article_id": "bm-bmtnaau-1923-01-c129", "article_bluemountain": "bmtnaau_1923_01#c129", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "45", "page_fin": "45", "image_debut": 63, "image_fin": 63, "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=bmtnaau1923-01.2.44.13", "titre_corps": "TORINO", "titre_sommaire": "TORINO", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 63, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.63", "debut_caractere": 243, "fin_caractere_exclue": 1031, "texte": "TORINO\n1823. There was given this year the opera s Rug-\ngiero n or B L/eroica gratitudine w, libretto by Pietro Meta-\nstasio, music by Antonio Gandini of Modena, ballet master\nGio. Galzerani, whose wife was prima-ballerina. The\nseason was closed with 11 Didone Abbandonata B Jan. 19\nby Metastasio, with music by Zaverio Mercadante, director\nof the Conservatorio di Napoli.\n1723. The Opera-Ballet B Artenice n was produced\nfor the first time at the Teatro Regio. The libretto was\nby Giovanetti and the music by Giovanni Antonio Giay,\nmaestro della capella. The first ballerina was De-Bargues,\nand the music for the ballets was by Razetti. This opera\nwas written expressly for the Teatro Regio. In the same\nyear 811 Trionfo della Fedelt& n by Giovanetti, with\nmusic by Fior& was also given."}]}, {"article_id": "bm-bmtnaau-1923-01-c130", "article_bluemountain": "bmtnaau_1923_01#c130", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "45", "page_fin": "45", "image_debut": 63, "image_fin": 63, "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=bmtnaau1923-01.2.44.13.1", "titre_corps": "PLAN OF TEATRO REGIO", "titre_sommaire": "PLAN OF TEATRO REGIO", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 63, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.63", "debut_caractere": 186, "fin_caractere_exclue": 241, "texte": "PLAN OF TEATRO REGIO. TORINO. BUILT BY ALFIERI IN 1741."}]}, {"article_id": "bm-bmtnaau-1923-01-c131", "article_bluemountain": "bmtnaau_1923_01#c131", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "45", "page_fin": "45", "image_debut": 63, "image_fin": 63, "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=bmtnaau1923-01.2.44.14", "titre_corps": "GENOVA", "titre_sommaire": "GENOVA", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 63, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.63", "debut_caractere": 1090, "fin_caractere_exclue": 1654, "texte": "GEN O V A\n1923. Nothing is made of the Teatro Carlo Felice\nhere. It is one of the largest and one of the most handsome\ntheatres in Italy: its position is central and imposing, and\nGenova is a wealthy commercial city,\nLike Manchester, the place seems to be unaware of\nthe importance to trade of a first class opera house and\ntheatres. It possesses the buildings,—the Paganini, the\nRegina Margherita and the Politeama are three large-sized\nplayhouses. The Agostino, once the most popular theatre\nin Genova, is now deserted except for occasional amateur\nperformances."}]}, {"article_id": "bm-bmtnaau-1923-01-c132", "article_bluemountain": "bmtnaau_1923_01#c132", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "45", "page_fin": "45", "image_debut": 63, "image_fin": 63, "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=bmtnaau1923-01.2.44.14.1", "titre_corps": "TEATRO CARLO FELICE", "titre_sommaire": "TEATRO CARLO FELICE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 63, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.63", "debut_caractere": 1033, "fin_caractere_exclue": 1088, "texte": "TEATRO CARLO FELICE, GENOVA, BUILT BY BARABINO IN 1826."}]}, {"article_id": "bm-bmtnaau-1923-01-c133", "article_bluemountain": "bmtnaau_1923_01#c133", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "45", "page_fin": "45", "image_debut": 63, "image_fin": 63, "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=bmtnaau1923-01.2.44.15", "titre_corps": "MILANO", "titre_sommaire": "MILANO", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 63, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.63", "debut_caractere": 1713, "fin_caractere_exclue": 3954, "texte": "MILANO\n1923. Arturo Toscanini is still here, and his whole\nexistence is given to the Scala. He has brought about\nmany reforms,—aroused the singers, produced a superb\nchorus, availed himself of Fortuny's inventions for scenes\nand lighting, and it is immensely to the credit of the\nmerchants of Milano and of Signer Scandiani that the\nparamount importance of this conductor has been so sanely\nrealized and his efforts seconded by those in power\nThe Theatre was reconstructed a year or two ago for\nToscanini (instead of for speculators), at an expense of\n75,000. The Journals, and the Bankers and other\nwealthy men supplied the means.\nThe talent of Signor Scandiani is exceptional. I have\nnot known many directors possessed of such unique yet\nordinary gifts. Never in a hurry, never apparently anxious,\nalways seconding Toscanini and the art,—such a B business\nman wis an example to the 11 managers nof London. Whether\nany such man is to be found in any theatre in Paris or\nNew York has not yet become evident.\n1823. February 6th. Pacini's w Vestali B v/as pro-\nduced with success at the Teatro della Scala, with La-\nblanche singing.\nFrancesco Clerico's ballet B Adelaisa di Guezetino *\nwas given on June 7th. (see portrait plate 4). Music by\nBelloli, scenes by A. Sanquirico.\nThe company of the celebrated Moncalvo was acting\nall the summer at the Teatro Canobbiana. Eight dramas\nwere performed.\n♦December 26th. The first representation of Amleto\",\nmusic by Mercadante, libretto by Felice Romani, was\ngiven at La Scala by Giorgi, La Fabbrica, Monelli, and\nLablanche in the caste. On this occasion the vast central\nchandelier was hung, and used from then onwards. It\nwas designed by Sanquirico, the scenographer of La Scala,\nand carried out by Carlo Grassi the mechanic. It cost 17,991\nlire (Austrian).\n1723. 11 Arianna nell* Isola di Nasso *, Drama in\nmusic by Giovanni Porta, was given at the Teatro Du-\ncale with Marianna Laurenzani, Scalzi and Cignoni in\nthe cast. The scenes were by G. D. Barbieri and\nG. B. Medici, under the direction of Ferdinando Brivio\nand Giuseppe Milesi. The dancer was Caetano Gros-\nsatesta.\n1423. A stage was erected at the Porta Ticinese\nand a spectacle given of the historical and military feats\nof the old Gods."}]}, {"article_id": "bm-bmtnaau-1923-01-c134", "article_bluemountain": "bmtnaau_1923_01#c134", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "45", "page_fin": "45", "image_debut": 63, "image_fin": 63, "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=bmtnaau1923-01.2.44.15.1", "titre_corps": "TEATROPATRIOTICO", "titre_sommaire": "TEATROPATRIOTICO", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 63, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.63", "debut_caractere": 1656, "fin_caractere_exclue": 1711, "texte": "TEATROPATRIOTICO, MILANO, NOW TEATRO DE' FILODRAMMATICI"}]}, {"article_id": "bm-bmtnaau-1923-01-c135", "article_bluemountain": "bmtnaau_1923_01#c135", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "46", "page_fin": "46", "image_debut": 64, "image_fin": 64, "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=bmtnaau1923-01.2.44.16", "titre_corps": "PARIS", "titre_sommaire": "PARIS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 64, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.64", "debut_caractere": 59, "fin_caractere_exclue": 4155, "texte": "PARIS\n1923. M. Silvain, the doyen of the Com£die Fran-\ncelebrated the forty-fifth anniversary of his entry into\nthe Maison de Moli&re, on February 19th. He has also\nbeen a professor at the Conservatoire for many years.\nWe wish the old place and the old man long life;\n—after all it is our favourite playhouse when Moli&re is\non the programme... but only then.\n€| M. Jean Jacques Olivier has translated Gozzi's\nn Turandot n into French and it was produced in February\nby M. Jacques Copeau at the Theatre Vieux-Columbier\nwith considerable success. It is spoken of as the best\npiece of work seen at this theatre.\nTHE French Cabinet, the municipal Courts and the\nPolice have all been obliged or pleased to make in-\nvestigations into how much n human flesh, 11 as the news\npaper puts it, or how little, should be exhibited on French\nStages. Practically it was coming to be quite the usual\nthing for pretty women to walk on to the stages naked\nsave for a little fringe, some beads a la Bakst, and a\nhead-dress.\nThen began much argument in Paris ahout it all.\nMile. Mistinguet and M. Antoine even entered into the\ndiscussion. Antoine says he prefers nudities on the stage\nto risqu£ songs. Mile. Mistinguet finds the nude only\nobjectionable on the stage when it moves about. Others\nfound other things to say.\nAs there is no firm reason to be rendered why some\nof us cannot abide a gaping pig, why others a harmless\nnecessary cat, so can I give no reason more than a lodged\nhate and an unreasonable loathing against the whole bu-\nsiness of flesh displayed in the Theatre.\nOne journal shed rather a new light on the whole\nmatter :—n Several eminent psychologists declare that, as -\nn a rule, it is the women in the theatre audiences rather\nn than the men who encourage the undress among the\n11 stage beauties, and enjoy seeing them carry it to a\nn shocking degree. In this they are in perfect agreement\nn with the opinion recently expressed by Miss Ann Pen-\n-11 nington the American dancer.\nn 4lt is women, * said Miss Pennington, * who love best\nB to see a trim ankle, a shapely calf, a perfect knee and\nB the rippling curves of the feminine back exhibited on the\n11 stage. It is wrong to blame men for stage nudity. The\nB women are the ones who insist upon it. B\nMiss Pennington may be right.... it seems all one to\nme. The stage I have always had intense admiration f0r...,\nand so it grieves me to see the stage allowing this sort of\ntom-foolery.\nAs for anyone stopping it except the dramatic authors,\nactors, dancers and others who belong to the stage, it is\nfarcical to think of. They could stop it tomorrow. Will\nthey ?... Have they that much sense ?\n1723. n In£s de Castro n, a tragedy by Lamotte, was\nproduced here on April 6th.\nEarly in December the Theatre Comedie Frangaise\nwas closed on account of the death of the Due d'Or-\nleans.\nLachapelte died on May 29th.\nMile. Lamotte made her debut at the Com6die Fran-\nsaise on October Ist.\nBremys died on November 25th.\nMoli&re's daughter, Madeleine, died, childless.\nMarmontel, oean Francois), was born.\n1623. The Theatre du Marais, situated in the Rue\nVille du Temple, was built this year.\n1623. Nicolo Barbieri detto Beltrame came to Paris.\nHis B Supplica *, one of the rarest of books by an actor\non the condition of the stage in the late 16th and early\n17th centuries was now being prepared by him, and was\npublished in 1634 at Venezia. (See page 12). In this\nvolume the publisher gave two and a half pages of his\nAnnouncements at the end, and it is interesting to come\nacross two of the items mentioned ; i. e. Saggi di Michel\nSigner di Montagna n, a quarto; and B Apologia di Rai-\nmondo di Sebouda del Medesimo n, a quarto. In 1518\nMontaigne went to Italy for his health, was in Roma\nwhere he stayed at an inn L'Orso n close by the Tor\ndi Nona where later, in 1660, one of the most famous\ntheatres of Roma was constructed—destroyed—reconstructed\n—and over and over again destroyed. This edition of\nMontaigne's work was probably the first to appear in the\nItalian language, this advertisement in the actor's book\npossibly the first announcement."}]}, {"article_id": "bm-bmtnaau-1923-01-c136", "article_bluemountain": "bmtnaau_1923_01#c136", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "46", "page_fin": "46", "image_debut": 64, "image_fin": 64, "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=bmtnaau1923-01.2.44.16.1", "titre_corps": "SHOWING THE THEATRE DU MARAIS", "titre_sommaire": "SHOWING THE THEATRE DU MARAIS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 64, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.64", "debut_caractere": 0, "fin_caractere_exclue": 57, "texte": "SHOWING THE THEATRE DU MARAIS. PARIS, 1676. (BUILT 1623)."}]}, {"article_id": "bm-bmtnaau-1923-01-c137", "article_bluemountain": "bmtnaau_1923_01#c137", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "46", "page_fin": "46", "image_debut": 64, "image_fin": 64, "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=bmtnaau1923-01.2.44.17", "titre_corps": "BORDEAUX", "titre_sommaire": "BORDEAUX", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 64, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.64", "debut_caractere": 4157, "fin_caractere_exclue": 4329, "texte": "o BORDEAUX\n1823. Monsieur Goethals acquired a house in the Rue\nMably, No. 28, and M. Lafargue adapted it into a private\ntheatre which was called the R Salle de l'Ath6n£e *."}]}, {"article_id": "bm-bmtnaau-1923-01-c138", "article_bluemountain": "bmtnaau_1923_01#c138", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "46", "page_fin": "46", "image_debut": 64, "image_fin": 64, "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=bmtnaau1923-01.2.44.18", "titre_corps": "MUNCHEN", "titre_sommaire": "MUNCHEN", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 64, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.64", "debut_caractere": 4331, "fin_caractere_exclue": 4532, "texte": "MUNC H E N\n1823. On Tuesday, January 14th, the Hoftheater\nwas burnt down, and in this same year Leo Von Klenze\nstarted rebuilding it from the original plans by K. von\nFischer. It was completed in 1825."}]}, {"article_id": "bm-bmtnaau-1923-01-c139", "article_bluemountain": "bmtnaau_1923_01#c139", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "46", "page_fin": "47", "image_debut": 64, "image_fin": 65, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.44.19", "titre_corps": "LONDON", "titre_sommaire": "LONDON", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 64, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.64", "debut_caractere": 4534, "fin_caractere_exclue": 4869, "texte": "LONDON\n1823. William Hone published his * Ancient Myste-\nries described etc. 11, in London. It was an Bvo of 300\npages with 13 engravings on copper and wood.\nOn May Bth the opera * Clari n or * The Maid\nof Milan n, by Howard Payne and Bishop, was produced\nat Covent Garden Theatre. The air of * bjpme Sweet\nHome * comes into the opera."}, {"page_pdf": 65, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.65", "debut_caractere": 0, "fin_caractere_exclue": 2750, "texte": "LONDON CONTINUED.\nJohn Philip Kemble, after returning from a visit to\nItaly, died at Lausanne aged 66 on February 26th at a\nquarter past nine, and was buried on March Ist.\n€$ On May 13th at Covent Garden Macready first\nplayed Shylock.\nOn October 27th, at the Drury Lane Theatre,\nduring the performance of 11 The Cataract of the Ganges n,\na surprising effect was introduced, real water gushing out\nin place of an imitation of the water. Everyone was\nmore than thrilled. The notion was a poor one, but not\nnew, the kind of thing having been tried with success in\nthe seventeenth century in Roma by Bernini as a jest.\nAt Drury Lane it was done with becoming seriousness\nfitted to the time and place and circumstances, it having\ncost much money and the piece having been especially\nwritten to the water and some horses which floundered in\nthe water.\nNov. 14. Kean retired to the house built at his own\nexpense on a portion of his twenty acres of land in the Isle of\nBute, tired of his triumphs and everything else. From\nhere he wrote to Mr Phillips : 11 Dear Phillips, Mrs Kean\nwrote to Elliston on the Bth, telling him that I had not\nabove one week to live. All is well by my keeping\naway. Dam the Ganges, to prevent further overflow: send\nto hell the Prometheus that animated the statue: set fire\nto the Bun Row ; and then I will return—at any time\nvery reluctantly—for this is the most beautiful place in\nthe world. Write and send me play-bills every day.\nHow was the box-plan for the 17th ? I can get another\ndoctors's certificate if it is necessary. Yours sincerely,\nEdmund Kean. P. S. Written with the snuffers B.\n1723-24. The Drury Lane managers produced B Harle-\nquin Dr. Faustus B in rivalry of John Rich, who, the\nsame year (December), produced B Necromancer Harle-\nquin Executed B at Lincoln's Inn Fields.\nPantomime became a greater attraction than ordinary\nacting; drew £. 1000 a week as compared to £. 500\nof the talk plays of that time.\nHogarth designed and etched a plate showing the\npopularity of the Italian opera and pantomime.\n1623. Shakespeare's first Folio, containing 36 plays,\nwas printed R according to the original copies R by Isaac\nJaggard and Edward Blount at their establishment near\nSt Dunstan's church. It formed a volume of nearly\n1000 double-column On the title page was an\nengraved portrait of the author.\nAbout this time the Curtain Theatre was destroyed.\nWilliam Sands received a license for showing a\nmotion or marionette show called R Chaos of the World R\nand another called n The Creation of the World R.\nOn July 20th Sir John Astley sold to Henry\nHerbert for the sum of £. 150 a year, the office of\nMaster of the Revels. Herbert was knighted by the king\nat the same time. He was brother of George Herbert,\nthe poet."}]}, {"article_id": "bm-bmtnaau-1923-01-c141", "article_bluemountain": "bmtnaau_1923_01#c141", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "47", "page_fin": "47", "image_debut": 65, "image_fin": 65, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.44.20", "titre_corps": "AMERICA", "titre_sommaire": "AMERICA", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 65, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.65", "debut_caractere": 2752, "fin_caractere_exclue": 3083, "texte": "AMERICA\n1823. During this year the first theatre in New\nOrleans was being built. In 1824 it was opened.\n1823. Mrs Melmoth died in New York at the age of\nseventy-four. She made her d£but November 20th 1793 as\nn Euphrasia w in Murphy's n The Grecian Daughter\n1823. The Theatre in Chestnut Street, Philadelphia\nwas rebuilt and opened."}]}, {"article_id": "bm-bmtnaau-1923-01-c143", "article_bluemountain": "bmtnaau_1923_01#c143", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "47", "page_fin": "50", "image_debut": 65, "image_fin": 68, "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=bmtnaau1923-01.2.45", "titre_corps": "EDITORIAL NOTES", "titre_sommaire": "EDITORIAL NOTES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 65, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.65", "debut_caractere": 3085, "fin_caractere_exclue": 4735, "texte": "EDITORIAL NOTES.\n\nAMERICAN CLAP-TRAP.\nWHEN we read in London Papers\nof Interviews with the American\nImpresario Mr Morris Gest we are\novercome with something which we\ncannot give an exact name to. It's\nnot all nausea, not all contempt, not\nall a roar of laughter, nor is all this\nproduced by thinking of Mr Gest.\nThe Interviewer makes us think that\nLondon Interviewers have lost all talent.\nEnter the Interviewer of the n Eve-\nning Glory n to the presence of Mr\nGest who is at the Savoy Hotel. The\nInterviewer does not even know what\nto do with his hands ; he begins to\nfumble at once. He allows Mr Gest\nto speak as though Mr Gest were Mr\nThomas Hardy or M. Anatole France.\nThe Interviewer seriously interviews him.\nHave the London papers lost all\ntheir sense of proportion ? Who the dic-\nkens is this Mr Morris Gest that our\n\nJ. S.\nABOVE all, there must he no suggestion of the\nTheatrical.\nThis is one of Stanislawsky's orders to his players\nwhen about to begin rehearsing \" The Blue Bird \" in Moscow.\nHis whole discourse, a very charming one, has been re-\nprinted in an American journal, from which we take the\nabove line.\nAnd that line reveals the mind of Stanislawsky better than\na ten years enquiry could do.\n\" No suggestion of the Theatrical \". The deuce !\nO\nI WILL give another toast at this table. \" Gentlemen,\nnothing but the Theatrical \".\nIf I have not carried my hearers with me, then they are\nnot of the Theatre.\nIn ■ The Blue Bird «, in ■ The Yellow Dwarf «,in \" The\nYoung Person in Pink \", in the plays of Tchekov, Gorki,\nGogol, Shakespeare, Sheridan, Moliere, and Conrad, be Thea-\ntrical and again Theatrical and nothing but Theatrical."}, {"page_pdf": 66, "page_imprimee": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.66", "debut_caractere": 0, "fin_caractere_exclue": 6728, "texte": "British Public wants to be told what\nhe is going to produce next season ?\nTo begin with Gest n produces n\nnothing : all he does is to buy and\nsell. B The next idea in theatrical\nWaiters n says this same Gest, is the\nreligious play. The masses are reli-\ngious and they want to see a play\nwhich embodies the instinct of religion B.\nThat's Gest's first speech.\nNow it would be quite worth hea-\nring what the next idea * is to be\nif Mr Gest knew it. He doesn't.\nBut that's nothing against him: he\nknows he doesn't know it. All he\nknows is he's going to boom religion\nin Theatres of the States.\nHe goes on : B / am going to produce\nin America The Miracle n, etc,\nNot one word does he say about\nMonsieur Max Bernhardt who is really\ngoing to produce the men who produce\nit. B Now is the chance for the\nTheatre to preach the gospel of faith\nin God and faith in human kind \"\nsays Gest; .... R have you got that\ndown ? R he probably added.\nHe then goes on talking about moral\nplays and how America is dead tired\nof B unpleasant plays n and n naugh-\ntiness What humbug!\nThe article is headed in big lines :\n* STAGE'S MISSION\nOF RELIGION \".\nIf these men, (and we say it with\nall seriousness), these impresarios, are\nallowed to ruin the stage by their\nblatant vulgarity and lowest shop me-\nthods, every artist worth his salt will\nleave the Theatre.\nYou must be rid of the whole pack\nof these cheap-jacks before our men\nand women will put the house in order.\nYet Ervine and Agate, Watson, God-\nfrey^urner, and other attitudinizing critics\nremain silent before such folk.\nDo you suppose we shall bring out\nideas worth anything while these fellows\nare arpund to spoil all that is worth\nwhile ?\nAnother piece of information Mr\nGest gave the Interviewer soon after\nhis reference to God and the Church\nwas : * You must serve up your moral\nwith something that tastes good. That\nis why in n The Miracle n I am\ngoing to engage the most beautiful\nwomen. I want the most beautiful wo-\nman I can find in England and I want\nbeautiful women of other nationalities n.\nLet us add what he forgot to mention,\nwhich is, that he wants these beautiful\nEnglishwomen for Professor Max Rein-\nhardt's production of 11 The Miracle n.\n....Reinhardt who, during the war,\nlent his organizing power to destroying\nEnglishmen. That is who and what\nMr Gest wants n beautiful English\nwomen n to serve. And now as we\ngo to press we hear he has secured one.\nNo, no England, if you play games\nlike this and can find no one to protest\nyou'd better close up your Dramatic\nworld. There being money behind\nGest, one critic protested. But\nwhere is the Actors Association ?\n\nTHE ACTORS' ASSOCIATION.\nMR. Balance, in his Note on Exhi-\nbitions and Books, (page 5) sug-\ngests that the actors should get together\nand give an exhibition of their work to\nshow what they are doing to prepare\nfor the coming of the new Drama, just\nas the scenographers, architects and\nstage-managers have been showing us re-\ncently what they have done, and are doing.\nAre the actors disunited ? If so,\nwhy ? Indeed, if the actors of England\nare disunited, they have no reason to\nbe so, since there exists a centre ——\nThe Actors' Association. But what\ndoes it do ? And what is it, this\nassociation ?\nThere is, of course, Mr. Lugg the\nsecretary, who is giving his whole life\nto the work: « a young man, ener-\ngetic, devoting himself to one thing\ninstead of six: broad-minded; never\nidle for a moment from one year's end\nto another. Why should there be any\nexcuse for the actors in England being\ndisunited ? Is there, perhaps, the best\nof excuses; a reason ?\nIs it that the Actors' Association is\nheading towards nowhere —: with a\nrudder, but without a destination?\nSome feel that Mr. Lugg would be\njust as well fitted to improve the lot\nof the stone-breakers or any other\nunfortunates.\nThis union of actors, what exactly\nis it ? Is it a union in the sense of a\nTrade Union or some Missionary Union?\nWe fear it is; and if so, it does not\nappeal to us. We do not look on the\nprofession at all as a trade or a mission,\nalthough we suppose trade is a pretty\ngood thing, and we know missions are\ngood. But it does not seem to us that\nit was necessary to band together to\nsay n We won't do this w or B We\nwill be master in our own house B or\nnwe will be good n. It seems to us\na matter of course that any association\nof actors should be founded on a far\nsterner and a far more ideal basis than\nthis association seems to be, if it is to\nawaken the admiration of the entire\nprofession and attract every actor and\nactress to its banner.\nI doubt very much if any of the\nactors and actresses in the association\nhave any notion what their profession\nhas stood for these last 500 years.\nI doubt whether they know why it\nexists to-day, except to bring them an\nengagement. Of course, they like their\nwork and do it well. But an asso-\nciation of Actors should know more\nthan this ; should have some old ideal\nto keep moving towards. It costs\nnothing and at the end of 50 years if\nan advance has been made, every man\nis the gainer.\nWe have found good actors, while\nsympathetic towards Mr. Lugg, and\nwhile considering him as a man of\nenergy and fine character, regretting\nthis: that he does not come to\nrealize that though the Actors' Asso-\nciation is quite right to help its members\nto get their minimum wage, this should\nbe secondary, and only after it has\nwarned them first that the Stage expects\nthem to make the maximum effort in\ntheir work, and to remember that their\nwork is all being done not only\nfor their own individual gain and com-\nfort, but also for the ultimate good of\nthe Drama, and its house the\nTheatre.\n\nOUR FRIEND CLUNN LEWIS.\nOLD Mr Clunn Lewis the English\nPuppet man is not St Francis of\nAssisi. St Francis learned and taught\nto beg, ....and taught that it was a\nshame to fear to beg, n In the name\nof God give B was his formula:\n....a demand one would imagine terrible\nto refuse.\nMr Lewis cannot go around and\nbeg ....in anyone's name. No one there-\nfore fears to refrain from giving him\nhis tiny Theatre or enough to rest a\nlittle more comfortably on.\nHis could but be a feeble appeal\ndid he ever have to beg. * In the\nname of England give 11 No,\nthat demand has been made so often\n....and turned down. 11 In the name\nof Satan, give B. Ah ha I we might\nleave it at that, since neither the name\nof God nor of old England moves\nthese folk who will not stop and think\nnor dare to feel.\nMr Clunn Lewis has his puppets\nnow at 140 Maple Road, Penge,\nLondon, S. E.\nThere may be a few among our\nreaders who will understand why we\ngive this address, ...and who will not\nlet their opportunity pass unperceived.\nAn old Chinese sage once wrote:\nI expect to pass through this world\nbut once. Any good therefoie that I"}, {"page_pdf": 67, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.67", "debut_caractere": 0, "fin_caractere_exclue": 6196, "texte": "can do, or any kindness that I can\nshow to any fellow creature, let me\ndo it now* 1 will not defer or neglect\nit... for I shall not pass this way again n.\n\no ALL ARTISTS o\nREVOLUTIONARIES .\nTHE great Dancer is reported to\nhave said to an interviewer that\n\" All artists are at heart Revolutionists n.\nThey certainly are.\nThey revolt against compromise\nagainst disorder against the undisci-\nplined —1 against all that looks like\nliberty and is no such thing.\nAs for any artist being in sympathy\nwith Bolshevism, Communism, French\nRevolutionism, that is all well-known\nto be moonshine. An artist has one\nthought only, ....his art his work\nand then as an after thought, his bread\nand butter. But, to get the means\nto be able to lodge like a prince at\nthe Ritz, no artist, (since he is that\nand no Prince), is really more admired\nby the world for his compromise,\nhowever it may sometimes seem at the\nmoment.\nThe friends of a great artist have,\nsince compromise became an art, some-\ntimes felt exasperated that he would\nnot compromise and so win a monetary\nwordly success and do them credit.\nSo far as we have noted in the long\nstory of the centuries there were always\nplenty of good artists who flashed out\nswaggerly in their silks and tie wigs\nand chariots and entertainments, and\nas many as good who did not.\nTake a glance a long one\nat the History of the Stage it is\nall re-told there : ...same game as today.\n\nTHE ACTORS' DICTIONARY.\nPUPPETS are in danger of losing\nthe little something they possess.\nIn some lands they are being n taken\nup n: not by artists; that wouldn't\nmatter, but by others.\nSometimes to use as political propa-\nganda ; sometimes for a fad ; sometimes\nfor money-making; always the wrong\nuse is made of them in France, Eng-\nland and America. As was to be\nexpected. Diavolo!\nTheir chief use is to the actor ; as\na medium for studying the art of acting.\nThen to amuse children; or to help\nout the recital of a good play.\nBut since actors never make use of\nthem as the writer makes use of the\nDictionary; since children rarely are\nallowed to go to even a Puppet\nplayhouse; and since good plays, when\nwritten, are seldom of interest to anyone,\nthe need for the Puppet is gone.\nA false need is put in its place, and\nto gratify this a false kind of puppet\nis manufactured.\nPossibly the best use is that which\nthe Americans make of this trifle :\nthey aim at making money out of it.\nThey search for the latest thing in\npuppets, ....and get it.\nMeantime a few people will regret\never having mentioned the word n Pup-\npet n, if this is all that is to happen.\n\nFOREIGNERS\nLONDON and Manchester are again\nwelcoming the foreigners. Russians\nand Austrians are gentlemen who make\ngood music, and why shouldn't London\nand Manchester afford them ? It will\nbe foreign money which will pay for\nthem, and why not ?\nThe Arts and the Theatres may\nsome day become once more of real\nimportance are they at present ?\nIf we think they are, that is another\nmatter, for we think a lot of silly\nsentimental things. If we think that\nEnglishmen and Scotchmen and Irishmen\nin the House of Lords and the House\nof Commons are preferable to foreign-\ners what of that ? Our opinion\nis shared by a majority, .... and the\nsame majority, if consulted, would vote\nfor all English, Scotch and Irish poets,\nmusicians, plays, and operas.\nBut still what of that ?\n\nA CORRECTION.\nWHEN the International Theatre\nExhibition was in London many\nof the play-writers and the actors,\ninstead of being glad of the little\nsuccess achieved by the men who had\nbrought gifts and given them gratis to\nthe Theatre, were heard grumbling and\nsneering.\nSome even wrote churlishly in the\npapers and some saw that things were\nwritten.\nThe principal cry raised was that\nGordon Craig had brought about an\nExhibition of Theatrical Art with the\ntwo principal parts left out of it, ....i. e.\nActor and Play-writer.\nHe therefore wishes us to state that\nhe fought for both but was overborne.\nWe will quote from Mr Craig's first\narticle in n The Times n, January 6th\n1922,... written five months before\nthere was any thought (outside of his\nown head), of such an exhibition being\nheld in London, It was an article on\nthe preliminary Exhibition to be held\nin Amsterdam.\nn I have not been told whether two\nof the principal figures in our theatre\nworld will be exhibiting—l mean the\ndramatist and the performer. If not,\nwe must not jeer at Amsterdam, for\nwe know quite well that the dramatist\nand the performer are nightly exhibiting\nin every city of the world. For my\npart, if I were ever to direct such an\nInternational Exhibition I should try to\nmake it a sine qua non that the most\nfamous professional dramatists and per-\nformers should show the world what\nthey would like to give it, if quite\nfree n. *\nPlain enough words these.\nMr Craig was not called to direct\nthe London Exhibition; in his own\nwords, n there were better directors on\nthe spot. fl so it is the Committee\n(several actors were upon it and some\nmanagers) you must blame if actors and\nplay-writers were excluded.\nAmongst those on the Committee\nwere :\nMr Oscar Asche.\nMr Granville Barker.\nMr Charles B. Cochran.\nMiss Edith Craig.\nMr John Drinkwater.\nSir Johnston Forbes Robertson.\nSir Martin Harvey.\nMr Barry Jackson.\nMr Alfred Lugg.\nMr Walter Payne.\nMr Nigil Playfair.\nMiss Ellen Terry.\nMiss Sibyl Thorndyke.\nMiss Irene Vanbrugh.\nMr Fisher White.\nAnd Mr Bernard Shaw attended the\nmeetings.\nThat makes 3 dramatists, 10 actors\nand actresses, 6 managers.\nWe know quite well that Mr Craig\nmeant what he wrote in n The Times n.\nNow then, ....why didn't actors and\nplay-writers support his proposition when\nit was made, if what they wanted was\nfor actors and dramatists to lend a hand\nand share in the fun ? And why\ndidn't the dramatists' and actors' repre-\nsentatives on the Committee see that\nthey were brought into it if they wanted\nto be in it ? And why do they direct\ntheir complaints against the one man\nwho wrote and fought on their behalf ?\nThe South Kensington Museum is\nnot permitted to give performances.\nWell, what of that ? Couldn't a\nTheatre have eagerly collaborated ?\nSomething very good could have been\narranged. What was Sir Gerald Du\nMaurier doing ? ....where was Miss"}, {"page_pdf": 68, "page_imprimee": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.68", "debut_caractere": 0, "fin_caractere_exclue": 3505, "texte": "Viola Tree? ....where, oh where Miss\nPhyllis Neilson Terry ? We looked\nfor these on the opening day ; the crowd\nwas waiting for them; they waited to\nsee them enjoying this victory for the\ntheatrical art even as we have enjoyed\nseeing their victories. They waited in\nvain, ....for these and a number of the\nother actors and actresses ....well,well I\n\nTHANK GOD I AM\nNOT AS OTHER MEN.\nHOW DAVID BELASCO\no SEES HIMSELF o\nn I am not in the class of those who\nn think that they can improve the\nn handiwork of the Almighty n.\n{David Belasco t U. S. A. 1923).\nSJ That's all right for a beginning :\nbut we want to see it dawning on Mr\nBelasco that he is still in the class of\nthose who spoil the handiwork of the\nAlmighty.\n\nA WORD OF APPRECIATION.\nIN the work done for the Internati-\nonal Theatre Exhibition in England,\nthere have been many who have given\nsterling service to our cause and their\nnames are well known.\nThe name we would like to single\nout for the highest praise is that of\nMr. MARTIN HARDIE,\nthe Honorary Secretary.\n\nRADIO\nw TS Radio an enemy of the Theatre ?,n\n1 asks Mr. Charles D. Isaacson,\nseriously; and, waiting two moments\nfor an answer, gets it... gets it in that\ntime because he radios it to himself.\nn Fighting, as I constantly am, for a\nbetter art in the Theatre, n he says\nn I say the Radio cannot transplant the\nliving Theatre. n\nBut it all depends upon what Mr.\nIsaacson means by the living Theatre.\nIf he means the thing that is living\nand breathing and very much in evi-\ndence to-day, then we are sorry to\nhear that the Radio cannot transplant\nthat. But we hope, nay, are rather\ninclined to prophesy, that it will help\nto transplant that. Still as we cannot\ncall a spade a spade in this instance,\nRadio being more* like a breath of\nwind than a gardening implement,\nRadio will not precisely n transplant, n\nRadio will blow upon it and, let us\nhope, exterminate it.\nWe feel satisfied that Radio or, as\nit is called in England, Broadcasting\nis bound to finish off what the Ci-\nnema began. Mr Isaacson's n living\nTheatre, H that is to say the Theatre\nof London, Paris and New York and\nmost other places, is merely a take-it-\neasy Theatre. The moment an ener-\ngetic Cinema or Radio catches sight\nof a take-it-easy Theatre it swallows it\nup, gobbles it down.\nWhether we like the Cinema, or like\nBroad-casting better or not so well, is\nnot the question. What we dislike is\na sleepy, dawdling Theatre. Not to\nbe destroyed by Radio, it will have\nto jump up and run for its life.... and\nit will do anything but jump up.... it\nprefers to be walked on.\nIn the Cinema you can see a play\nand not hear it ; in Radio you can\nhear a play and not see it; but in\nthe Theatre proper you can go to\nsleep and not know it.\nWhen Mr. Barker wrote his book\nattacking the English actors, Miss\nNeilson-Terry in the n Pall Mall Ga-\nzette n asked, n Why cannot people\nleave us alone? They do nothing but\nabuse us. n If people do abuse the\nActors and Actresses it is because they\nwont stop flirting with Cinema, Radio,\nand any money attraction, and because\nthey leave their Theatre to act gladly for\nthe Cinema and recite for the Radio\nwhich will pay them. When actors\ncease those tricks and stay in the\nTheatre, stop intrigue, stop being unin-\nformed, wake up, learn not only their\nbusiness but what the whole Theatre\nexists for, then people like Mr Barker\nwill not write books 11 abusing n them.\n€| Then we shall have the excellent\nCinema and Radio for their own peo-\nple : our own dear Theatre for our\npeople."}]}, {"article_id": "bm-bmtnaau-1923-01-c144", "article_bluemountain": "bmtnaau_1923_01#c144", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "47", "page_fin": "47", "image_debut": 65, "image_fin": 65, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.2.45.1", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 65, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.65", "debut_caractere": 3911, "fin_caractere_exclue": 4735, "texte": "J. S.\nABOVE all, there must he no suggestion of the\nTheatrical.\nThis is one of Stanislawsky's orders to his players\nwhen about to begin rehearsing \" The Blue Bird \" in Moscow.\nHis whole discourse, a very charming one, has been re-\nprinted in an American journal, from which we take the\nabove line.\nAnd that line reveals the mind of Stanislawsky better than\na ten years enquiry could do.\n\" No suggestion of the Theatrical \". The deuce !\nO\nI WILL give another toast at this table. \" Gentlemen,\nnothing but the Theatrical \".\nIf I have not carried my hearers with me, then they are\nnot of the Theatre.\nIn ■ The Blue Bird «, in ■ The Yellow Dwarf «,in \" The\nYoung Person in Pink \", in the plays of Tchekov, Gorki,\nGogol, Shakespeare, Sheridan, Moliere, and Conrad, be Thea-\ntrical and again Theatrical and nothing but Theatrical."}]}, {"article_id": "bm-bmtnaau-1923-01-c145", "article_bluemountain": "bmtnaau_1923_01#c145", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "47", "page_fin": "48", "image_debut": 65, "image_fin": 66, "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=bmtnaau1923-01.2.45.2", "titre_corps": "AMERICAN CLAP-TRAP", "titre_sommaire": "AMERICAN CLAP-TRAP", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 65, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.65", "debut_caractere": 3103, "fin_caractere_exclue": 3909, "texte": "AMERICAN CLAP-TRAP.\nWHEN we read in London Papers\nof Interviews with the American\nImpresario Mr Morris Gest we are\novercome with something which we\ncannot give an exact name to. It's\nnot all nausea, not all contempt, not\nall a roar of laughter, nor is all this\nproduced by thinking of Mr Gest.\nThe Interviewer makes us think that\nLondon Interviewers have lost all talent.\nEnter the Interviewer of the n Eve-\nning Glory n to the presence of Mr\nGest who is at the Savoy Hotel. The\nInterviewer does not even know what\nto do with his hands ; he begins to\nfumble at once. He allows Mr Gest\nto speak as though Mr Gest were Mr\nThomas Hardy or M. Anatole France.\nThe Interviewer seriously interviews him.\nHave the London papers lost all\ntheir sense of proportion ? Who the dic-\nkens is this Mr Morris Gest that our"}, {"page_pdf": 66, "page_imprimee": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.66", "debut_caractere": 0, "fin_caractere_exclue": 2617, "texte": "British Public wants to be told what\nhe is going to produce next season ?\nTo begin with Gest n produces n\nnothing : all he does is to buy and\nsell. B The next idea in theatrical\nWaiters n says this same Gest, is the\nreligious play. The masses are reli-\ngious and they want to see a play\nwhich embodies the instinct of religion B.\nThat's Gest's first speech.\nNow it would be quite worth hea-\nring what the next idea * is to be\nif Mr Gest knew it. He doesn't.\nBut that's nothing against him: he\nknows he doesn't know it. All he\nknows is he's going to boom religion\nin Theatres of the States.\nHe goes on : B / am going to produce\nin America The Miracle n, etc,\nNot one word does he say about\nMonsieur Max Bernhardt who is really\ngoing to produce the men who produce\nit. B Now is the chance for the\nTheatre to preach the gospel of faith\nin God and faith in human kind \"\nsays Gest; .... R have you got that\ndown ? R he probably added.\nHe then goes on talking about moral\nplays and how America is dead tired\nof B unpleasant plays n and n naugh-\ntiness What humbug!\nThe article is headed in big lines :\n* STAGE'S MISSION\nOF RELIGION \".\nIf these men, (and we say it with\nall seriousness), these impresarios, are\nallowed to ruin the stage by their\nblatant vulgarity and lowest shop me-\nthods, every artist worth his salt will\nleave the Theatre.\nYou must be rid of the whole pack\nof these cheap-jacks before our men\nand women will put the house in order.\nYet Ervine and Agate, Watson, God-\nfrey^urner, and other attitudinizing critics\nremain silent before such folk.\nDo you suppose we shall bring out\nideas worth anything while these fellows\nare arpund to spoil all that is worth\nwhile ?\nAnother piece of information Mr\nGest gave the Interviewer soon after\nhis reference to God and the Church\nwas : * You must serve up your moral\nwith something that tastes good. That\nis why in n The Miracle n I am\ngoing to engage the most beautiful\nwomen. I want the most beautiful wo-\nman I can find in England and I want\nbeautiful women of other nationalities n.\nLet us add what he forgot to mention,\nwhich is, that he wants these beautiful\nEnglishwomen for Professor Max Rein-\nhardt's production of 11 The Miracle n.\n....Reinhardt who, during the war,\nlent his organizing power to destroying\nEnglishmen. That is who and what\nMr Gest wants n beautiful English\nwomen n to serve. And now as we\ngo to press we hear he has secured one.\nNo, no England, if you play games\nlike this and can find no one to protest\nyou'd better close up your Dramatic\nworld. There being money behind\nGest, one critic protested. But\nwhere is the Actors Association ?"}]}, {"article_id": "bm-bmtnaau-1923-01-c146", "article_bluemountain": "bmtnaau_1923_01#c146", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "48", "page_fin": "48", "image_debut": 66, "image_fin": 66, "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=bmtnaau1923-01.2.45.3", "titre_corps": "THE ACTORS' ASSOCIATION", "titre_sommaire": "THE ACTORS' ASSOCIATION", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 66, "page_imprimee": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.66", "debut_caractere": 2619, "fin_caractere_exclue": 5621, "texte": "THE ACTORS' ASSOCIATION.\nMR. Balance, in his Note on Exhi-\nbitions and Books, (page 5) sug-\ngests that the actors should get together\nand give an exhibition of their work to\nshow what they are doing to prepare\nfor the coming of the new Drama, just\nas the scenographers, architects and\nstage-managers have been showing us re-\ncently what they have done, and are doing.\nAre the actors disunited ? If so,\nwhy ? Indeed, if the actors of England\nare disunited, they have no reason to\nbe so, since there exists a centre ——\nThe Actors' Association. But what\ndoes it do ? And what is it, this\nassociation ?\nThere is, of course, Mr. Lugg the\nsecretary, who is giving his whole life\nto the work: « a young man, ener-\ngetic, devoting himself to one thing\ninstead of six: broad-minded; never\nidle for a moment from one year's end\nto another. Why should there be any\nexcuse for the actors in England being\ndisunited ? Is there, perhaps, the best\nof excuses; a reason ?\nIs it that the Actors' Association is\nheading towards nowhere —: with a\nrudder, but without a destination?\nSome feel that Mr. Lugg would be\njust as well fitted to improve the lot\nof the stone-breakers or any other\nunfortunates.\nThis union of actors, what exactly\nis it ? Is it a union in the sense of a\nTrade Union or some Missionary Union?\nWe fear it is; and if so, it does not\nappeal to us. We do not look on the\nprofession at all as a trade or a mission,\nalthough we suppose trade is a pretty\ngood thing, and we know missions are\ngood. But it does not seem to us that\nit was necessary to band together to\nsay n We won't do this w or B We\nwill be master in our own house B or\nnwe will be good n. It seems to us\na matter of course that any association\nof actors should be founded on a far\nsterner and a far more ideal basis than\nthis association seems to be, if it is to\nawaken the admiration of the entire\nprofession and attract every actor and\nactress to its banner.\nI doubt very much if any of the\nactors and actresses in the association\nhave any notion what their profession\nhas stood for these last 500 years.\nI doubt whether they know why it\nexists to-day, except to bring them an\nengagement. Of course, they like their\nwork and do it well. But an asso-\nciation of Actors should know more\nthan this ; should have some old ideal\nto keep moving towards. It costs\nnothing and at the end of 50 years if\nan advance has been made, every man\nis the gainer.\nWe have found good actors, while\nsympathetic towards Mr. Lugg, and\nwhile considering him as a man of\nenergy and fine character, regretting\nthis: that he does not come to\nrealize that though the Actors' Asso-\nciation is quite right to help its members\nto get their minimum wage, this should\nbe secondary, and only after it has\nwarned them first that the Stage expects\nthem to make the maximum effort in\ntheir work, and to remember that their\nwork is all being done not only\nfor their own individual gain and com-\nfort, but also for the ultimate good of\nthe Drama, and its house the\nTheatre."}]}, {"article_id": "bm-bmtnaau-1923-01-c147", "article_bluemountain": "bmtnaau_1923_01#c147", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "48", "page_fin": "49", "image_debut": 66, "image_fin": 67, "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=bmtnaau1923-01.2.45.4", "titre_corps": "OUR FRIEND CLUNN LEWIS", "titre_sommaire": "OUR FRIEND CLUNN LEWIS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 66, "page_imprimee": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.66", "debut_caractere": 5623, "fin_caractere_exclue": 6728, "texte": "OUR FRIEND CLUNN LEWIS.\nOLD Mr Clunn Lewis the English\nPuppet man is not St Francis of\nAssisi. St Francis learned and taught\nto beg, ....and taught that it was a\nshame to fear to beg, n In the name\nof God give B was his formula:\n....a demand one would imagine terrible\nto refuse.\nMr Lewis cannot go around and\nbeg ....in anyone's name. No one there-\nfore fears to refrain from giving him\nhis tiny Theatre or enough to rest a\nlittle more comfortably on.\nHis could but be a feeble appeal\ndid he ever have to beg. * In the\nname of England give 11 No,\nthat demand has been made so often\n....and turned down. 11 In the name\nof Satan, give B. Ah ha I we might\nleave it at that, since neither the name\nof God nor of old England moves\nthese folk who will not stop and think\nnor dare to feel.\nMr Clunn Lewis has his puppets\nnow at 140 Maple Road, Penge,\nLondon, S. E.\nThere may be a few among our\nreaders who will understand why we\ngive this address, ...and who will not\nlet their opportunity pass unperceived.\nAn old Chinese sage once wrote:\nI expect to pass through this world\nbut once. Any good therefoie that I"}, {"page_pdf": 67, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.67", "debut_caractere": 0, "fin_caractere_exclue": 154, "texte": "can do, or any kindness that I can\nshow to any fellow creature, let me\ndo it now* 1 will not defer or neglect\nit... for I shall not pass this way again n."}]}, {"article_id": "bm-bmtnaau-1923-01-c148", "article_bluemountain": "bmtnaau_1923_01#c148", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "49", "page_fin": "49", "image_debut": 67, "image_fin": 67, "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=bmtnaau1923-01.2.45.5", "titre_corps": "ALL ARTISTS", "titre_sommaire": "ALL ARTISTS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 67, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.67", "debut_caractere": 156, "fin_caractere_exclue": 1407, "texte": "o ALL ARTISTS o\nREVOLUTIONARIES .\nTHE great Dancer is reported to\nhave said to an interviewer that\n\" All artists are at heart Revolutionists n.\nThey certainly are.\nThey revolt against compromise\nagainst disorder against the undisci-\nplined —1 against all that looks like\nliberty and is no such thing.\nAs for any artist being in sympathy\nwith Bolshevism, Communism, French\nRevolutionism, that is all well-known\nto be moonshine. An artist has one\nthought only, ....his art his work\nand then as an after thought, his bread\nand butter. But, to get the means\nto be able to lodge like a prince at\nthe Ritz, no artist, (since he is that\nand no Prince), is really more admired\nby the world for his compromise,\nhowever it may sometimes seem at the\nmoment.\nThe friends of a great artist have,\nsince compromise became an art, some-\ntimes felt exasperated that he would\nnot compromise and so win a monetary\nwordly success and do them credit.\nSo far as we have noted in the long\nstory of the centuries there were always\nplenty of good artists who flashed out\nswaggerly in their silks and tie wigs\nand chariots and entertainments, and\nas many as good who did not.\nTake a glance a long one\nat the History of the Stage it is\nall re-told there : ...same game as today."}]}, {"article_id": "bm-bmtnaau-1923-01-c149", "article_bluemountain": "bmtnaau_1923_01#c149", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "49", "page_fin": "49", "image_debut": 67, "image_fin": 67, "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=bmtnaau1923-01.2.45.6", "titre_corps": "THE ACTORS' DICTIONARY", "titre_sommaire": "THE ACTORS' DICTIONARY", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 67, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.67", "debut_caractere": 1409, "fin_caractere_exclue": 2568, "texte": "THE ACTORS' DICTIONARY.\nPUPPETS are in danger of losing\nthe little something they possess.\nIn some lands they are being n taken\nup n: not by artists; that wouldn't\nmatter, but by others.\nSometimes to use as political propa-\nganda ; sometimes for a fad ; sometimes\nfor money-making; always the wrong\nuse is made of them in France, Eng-\nland and America. As was to be\nexpected. Diavolo!\nTheir chief use is to the actor ; as\na medium for studying the art of acting.\nThen to amuse children; or to help\nout the recital of a good play.\nBut since actors never make use of\nthem as the writer makes use of the\nDictionary; since children rarely are\nallowed to go to even a Puppet\nplayhouse; and since good plays, when\nwritten, are seldom of interest to anyone,\nthe need for the Puppet is gone.\nA false need is put in its place, and\nto gratify this a false kind of puppet\nis manufactured.\nPossibly the best use is that which\nthe Americans make of this trifle :\nthey aim at making money out of it.\nThey search for the latest thing in\npuppets, ....and get it.\nMeantime a few people will regret\never having mentioned the word n Pup-\npet n, if this is all that is to happen."}]}, {"article_id": "bm-bmtnaau-1923-01-c150", "article_bluemountain": "bmtnaau_1923_01#c150", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "49", "page_fin": "49", "image_debut": 67, "image_fin": 67, "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=bmtnaau1923-01.2.45.7", "titre_corps": "FOREIGNERS", "titre_sommaire": "FOREIGNERS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 67, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.67", "debut_caractere": 2570, "fin_caractere_exclue": 3339, "texte": "FOREIGNERS\nLONDON and Manchester are again\nwelcoming the foreigners. Russians\nand Austrians are gentlemen who make\ngood music, and why shouldn't London\nand Manchester afford them ? It will\nbe foreign money which will pay for\nthem, and why not ?\nThe Arts and the Theatres may\nsome day become once more of real\nimportance are they at present ?\nIf we think they are, that is another\nmatter, for we think a lot of silly\nsentimental things. If we think that\nEnglishmen and Scotchmen and Irishmen\nin the House of Lords and the House\nof Commons are preferable to foreign-\ners what of that ? Our opinion\nis shared by a majority, .... and the\nsame majority, if consulted, would vote\nfor all English, Scotch and Irish poets,\nmusicians, plays, and operas.\nBut still what of that ?"}]}, {"article_id": "bm-bmtnaau-1923-01-c151", "article_bluemountain": "bmtnaau_1923_01#c151", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "49", "page_fin": "50", "image_debut": 67, "image_fin": 68, "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=bmtnaau1923-01.2.45.8", "titre_corps": "A CORRECTION", "titre_sommaire": "A CORRECTION", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 67, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.67", "debut_caractere": 3341, "fin_caractere_exclue": 6196, "texte": "A CORRECTION.\nWHEN the International Theatre\nExhibition was in London many\nof the play-writers and the actors,\ninstead of being glad of the little\nsuccess achieved by the men who had\nbrought gifts and given them gratis to\nthe Theatre, were heard grumbling and\nsneering.\nSome even wrote churlishly in the\npapers and some saw that things were\nwritten.\nThe principal cry raised was that\nGordon Craig had brought about an\nExhibition of Theatrical Art with the\ntwo principal parts left out of it, ....i. e.\nActor and Play-writer.\nHe therefore wishes us to state that\nhe fought for both but was overborne.\nWe will quote from Mr Craig's first\narticle in n The Times n, January 6th\n1922,... written five months before\nthere was any thought (outside of his\nown head), of such an exhibition being\nheld in London, It was an article on\nthe preliminary Exhibition to be held\nin Amsterdam.\nn I have not been told whether two\nof the principal figures in our theatre\nworld will be exhibiting—l mean the\ndramatist and the performer. If not,\nwe must not jeer at Amsterdam, for\nwe know quite well that the dramatist\nand the performer are nightly exhibiting\nin every city of the world. For my\npart, if I were ever to direct such an\nInternational Exhibition I should try to\nmake it a sine qua non that the most\nfamous professional dramatists and per-\nformers should show the world what\nthey would like to give it, if quite\nfree n. *\nPlain enough words these.\nMr Craig was not called to direct\nthe London Exhibition; in his own\nwords, n there were better directors on\nthe spot. fl so it is the Committee\n(several actors were upon it and some\nmanagers) you must blame if actors and\nplay-writers were excluded.\nAmongst those on the Committee\nwere :\nMr Oscar Asche.\nMr Granville Barker.\nMr Charles B. Cochran.\nMiss Edith Craig.\nMr John Drinkwater.\nSir Johnston Forbes Robertson.\nSir Martin Harvey.\nMr Barry Jackson.\nMr Alfred Lugg.\nMr Walter Payne.\nMr Nigil Playfair.\nMiss Ellen Terry.\nMiss Sibyl Thorndyke.\nMiss Irene Vanbrugh.\nMr Fisher White.\nAnd Mr Bernard Shaw attended the\nmeetings.\nThat makes 3 dramatists, 10 actors\nand actresses, 6 managers.\nWe know quite well that Mr Craig\nmeant what he wrote in n The Times n.\nNow then, ....why didn't actors and\nplay-writers support his proposition when\nit was made, if what they wanted was\nfor actors and dramatists to lend a hand\nand share in the fun ? And why\ndidn't the dramatists' and actors' repre-\nsentatives on the Committee see that\nthey were brought into it if they wanted\nto be in it ? And why do they direct\ntheir complaints against the one man\nwho wrote and fought on their behalf ?\nThe South Kensington Museum is\nnot permitted to give performances.\nWell, what of that ? Couldn't a\nTheatre have eagerly collaborated ?\nSomething very good could have been\narranged. What was Sir Gerald Du\nMaurier doing ? ....where was Miss"}, {"page_pdf": 68, "page_imprimee": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.68", "debut_caractere": 0, "fin_caractere_exclue": 348, "texte": "Viola Tree? ....where, oh where Miss\nPhyllis Neilson Terry ? We looked\nfor these on the opening day ; the crowd\nwas waiting for them; they waited to\nsee them enjoying this victory for the\ntheatrical art even as we have enjoyed\nseeing their victories. They waited in\nvain, ....for these and a number of the\nother actors and actresses ....well,well I"}]}, {"article_id": "bm-bmtnaau-1923-01-c152", "article_bluemountain": "bmtnaau_1923_01#c152", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "50", "page_fin": "50", "image_debut": 68, "image_fin": 68, "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=bmtnaau1923-01.2.45.9", "titre_corps": "THANK GOD I AM NOT AS OTHER MEN : How David Belasco sees himself", "titre_sommaire": "THANK GOD I AM NOT AS OTHER MEN : How David Belasco sees himself", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 68, "page_imprimee": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.68", "debut_caractere": 350, "fin_caractere_exclue": 714, "texte": "THANK GOD I AM\nNOT AS OTHER MEN.\nHOW DAVID BELASCO\no SEES HIMSELF o\nn I am not in the class of those who\nn think that they can improve the\nn handiwork of the Almighty n.\n{David Belasco t U. S. A. 1923).\nSJ That's all right for a beginning :\nbut we want to see it dawning on Mr\nBelasco that he is still in the class of\nthose who spoil the handiwork of the\nAlmighty."}]}, {"article_id": "bm-bmtnaau-1923-01-c153", "article_bluemountain": "bmtnaau_1923_01#c153", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "50", "page_fin": "50", "image_debut": 68, "image_fin": 68, "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=bmtnaau1923-01.2.45.10", "titre_corps": "A WORD OF APPRECIATION", "titre_sommaire": "A WORD OF APPRECIATION", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 68, "page_imprimee": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.68", "debut_caractere": 716, "fin_caractere_exclue": 1023, "texte": "A WORD OF APPRECIATION.\nIN the work done for the Internati-\nonal Theatre Exhibition in England,\nthere have been many who have given\nsterling service to our cause and their\nnames are well known.\nThe name we would like to single\nout for the highest praise is that of\nMr. MARTIN HARDIE,\nthe Honorary Secretary."}]}, {"article_id": "bm-bmtnaau-1923-01-c154", "article_bluemountain": "bmtnaau_1923_01#c154", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "50", "page_fin": "50", "image_debut": 68, "image_fin": 68, "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=bmtnaau1923-01.2.45.11", "titre_corps": "RADIO", "titre_sommaire": "RADIO", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 68, "page_imprimee": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.68", "debut_caractere": 1025, "fin_caractere_exclue": 3505, "texte": "RADIO\nw TS Radio an enemy of the Theatre ?,n\n1 asks Mr. Charles D. Isaacson,\nseriously; and, waiting two moments\nfor an answer, gets it... gets it in that\ntime because he radios it to himself.\nn Fighting, as I constantly am, for a\nbetter art in the Theatre, n he says\nn I say the Radio cannot transplant the\nliving Theatre. n\nBut it all depends upon what Mr.\nIsaacson means by the living Theatre.\nIf he means the thing that is living\nand breathing and very much in evi-\ndence to-day, then we are sorry to\nhear that the Radio cannot transplant\nthat. But we hope, nay, are rather\ninclined to prophesy, that it will help\nto transplant that. Still as we cannot\ncall a spade a spade in this instance,\nRadio being more* like a breath of\nwind than a gardening implement,\nRadio will not precisely n transplant, n\nRadio will blow upon it and, let us\nhope, exterminate it.\nWe feel satisfied that Radio or, as\nit is called in England, Broadcasting\nis bound to finish off what the Ci-\nnema began. Mr Isaacson's n living\nTheatre, H that is to say the Theatre\nof London, Paris and New York and\nmost other places, is merely a take-it-\neasy Theatre. The moment an ener-\ngetic Cinema or Radio catches sight\nof a take-it-easy Theatre it swallows it\nup, gobbles it down.\nWhether we like the Cinema, or like\nBroad-casting better or not so well, is\nnot the question. What we dislike is\na sleepy, dawdling Theatre. Not to\nbe destroyed by Radio, it will have\nto jump up and run for its life.... and\nit will do anything but jump up.... it\nprefers to be walked on.\nIn the Cinema you can see a play\nand not hear it ; in Radio you can\nhear a play and not see it; but in\nthe Theatre proper you can go to\nsleep and not know it.\nWhen Mr. Barker wrote his book\nattacking the English actors, Miss\nNeilson-Terry in the n Pall Mall Ga-\nzette n asked, n Why cannot people\nleave us alone? They do nothing but\nabuse us. n If people do abuse the\nActors and Actresses it is because they\nwont stop flirting with Cinema, Radio,\nand any money attraction, and because\nthey leave their Theatre to act gladly for\nthe Cinema and recite for the Radio\nwhich will pay them. When actors\ncease those tricks and stay in the\nTheatre, stop intrigue, stop being unin-\nformed, wake up, learn not only their\nbusiness but what the whole Theatre\nexists for, then people like Mr Barker\nwill not write books 11 abusing n them.\n€| Then we shall have the excellent\nCinema and Radio for their own peo-\nple : our own dear Theatre for our\npeople."}]}, {"article_id": "bm-bmtnaau-1923-01-c155", "article_bluemountain": "bmtnaau_1923_01#c155", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "50", "page_fin": "50", "image_debut": 68, "image_fin": 68, "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=bmtnaau1923-01.2.46", "titre_corps": "INCORRECT : FROM THE SHEFFIELD DAILY TELEGRAPH. AUGUST 9 1923", "titre_sommaire": "INCORRECT : FROM THE SHEFFIELD DAILY TELEGRAPH. AUGUST 9 1923", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 68, "page_imprimee": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.68", "debut_caractere": 3507, "fin_caractere_exclue": 4144, "texte": "INCORRECT.\nFROM THE SHEFFIELD DAILY TELEGRAPH. AUGUST 9 1923.\n\" |\\/[R CRAIG maintains that ...the play is not the main\nIVI thing, nor the acting; the scene is the main thing\n€J And in the same article, seven lines further down :\n\" According to Mr Craig's gospel the business of the play\nis to live up to the scenery, not for the scenery to afford\natmosphere for the play \".\nCjj So incorrect, as our readers know, are these two\nstatements that they may be dubbed falsehoods.\nNeither in his last book, nor in any book, does Mr Craig\nmaintain any such rubbish. The \" Sheffield Daily Telegraph \"\nshould be above such perversion of the truth."}]}, {"article_id": "bm-bmtnaau-1923-01-c155a", "article_bluemountain": "bmtnaau_1923_01#c155a", "volume": "bmtnaau_1923_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "50", "page_fin": "50", "image_debut": 68, "image_fin": 68, "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=bmtnaau1923-01.2.47", "titre_corps": "FOLLOW THE LEADERS", "titre_sommaire": "FOLLOW THE LEADERS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 68, "page_imprimee": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.68", "debut_caractere": 4146, "fin_caractere_exclue": 5253, "texte": "FOLLOW THE LEADERS,\nWE are winning—and don't forget\nit for a moment.\nIt was in 1908 that n The Mask, B\nrepresenting Mr Gordon Craig for En-\ngland, Miss Isadora Duncan for Ame-\nrica, M. Adolphe Appia for Switzer-\nland, Herr Reinhardt for Germany,\nM. Stanislawsky for Russia, Signor To-\nscanini for Italy, Mr W. B. Yeats for\nIreland, Madame Yvette Guilbert, for\nFrance, the late Wyspiansky for Poland,\nand the theatre artists of Holland, of\nSpain, of Austria, stood firm,—if alone\nin this— and cried out the words\nn The Artist as Leader and no\nother• w\nTo this declaration we still adhere.\nA few of you have hesitated and\nshuffled, but most have been true and\nremain so.\nThose who have shuffled can now\nlook around and see if what we said\nwas not true and destined to prevail.\nThe Artist has been leading for\nsome years now,—no longer alone.\nMany have followed and more are\nfollowing every month. All over Europe\nand America men have been stirred\nand things are moving.\nPatience, more confidence more\nendurance—more good humour ; more\nloyalty to your leaders ; —more adhesion\nto them—and you will win with us."}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.1", "texte": "THE MASK\nAN ILLUSTRATED\nJOURNAL OF THE ART\nOF THE THEATRE\nVOLUME NINE\n19 2 3\nADDRESS: BOX 444.\nFLORENCE\n; ITALY.\nPRICE TEN SHILLINGS POST FREE.\n{ASPECIAL BOUND EDITION IS ALSO\nISSUED, PRICE TWENTY SHILLINGS, POST FREE.)\nORDER, GIVING THIS ADDRESS, THROUGH ANY BOOK SELLER."}, {"page_pdf": 4, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.4", "texte": "| THE MASK I\n11 WHY THE MASK | j\ni| BECAUSE THE THEATRE j\nII IS STILL FAST\n11 ASLEEP |\n11 AND IN LOVE VHTH |\n11 WELL ORGANIZED\n11 SHORT HOURS\nE AND LAZY DREAMS, j\nI 1 EASY AND QUICK |\nII RETURNS AND '\n11 INTRIGUE. |\n:V? !\nI THE\n| MASK\nNEEDED ONCE\n\\notice.\\\\\nWITH THE NEW If\nYEAR BEGINS A If\nI NEW VOLUME jj\n|VOLUME X.j\nITS FOUR PARTS I\nWILL BE ISSUED 1\n| JANUARY j1\nI APRIL, OCTOBER 81\n|| AND JULY OF 1924. ||\nim I\nS 1 TODAY THE STAGE f j\n11 PUFFS & BLOWS 11\nli ATTEMPTING TO ||\n11 ORGANIZE THE | 1\n|| OVER-ORGANIZED. ||\nI STOP ORGANIZING\nI SACK THE ORGANIZERS j |\n| I FOLLOW THE ARTISTS g\n1 AND LEND A HAND 11\nli WHILE THEY 9\nCREATE li\nAND STILL\nNEEDED\n11 ONLY A POSITIVE |\n] | NEED FOR THE MASK\n| HAS CALLED IT\nI AGAIN |\nI INTO EXISTENCE. I |\nTHE STAGE IS | |\nORGANIZING ITSELF |\nOUT OF\nEXISTENCE\nI STOP ORGANIZING |\nII THE THEATRE J\nCREATE FIRST. ! |"}, {"page_pdf": 6, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.6", "texte": "THE ANFITEATRO FLAVIO, ROMA, called IL COLOSSEO.\nFrom an Etching by G. B. Piranesi. {1720-1778). The Original Plate measures 28 1/2 x 19 11/16 inchss.\nPlate I.\n\nTHE MASK. 1923"}, {"page_pdf": 7, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.7", "texte": "THE MASK\nA JOURNAL OF THE ART\nOF THE THEATRE\no VOLUME NINE: 1923 o\nADDRESS OF \"THE MASK\"\nBOX 444. FLORENCE, ITALY"}, {"page_pdf": 9, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.9", "texte": "THE MASK\n\nLITERARY CONTENTS.\nAUTHOR. PAGE.\nA. B. C. . . . Acting, A Plea for more Breadth in it . . 20\nAmbrose, G. B. . Real Acting . . . . . . . . 12\nBacon, J. Somers . . An old Problem Solved ...... 17\nBalance, John. . . Exhibitions and Books . . . . . 8\nJ. B Big Talk 9\nBull, John . . The Theatre and the State , . . . . 25\nCarrie, Allen . . . Francesco Clerico, A Note on a Portrait . . . 20\nOn Martial, Havell and Callot ..... 26\nCraig, E. Gordon . . A Message, 1919 . . . . . . . 3\nA Word to initiate Volume IX. . . ... 5\nOn the 154 Sonnets of Shakespeare . . . . 18\nS Editor. (J. S.) . . A word about Lambranzi. . . . . . 21\nForeword ......... 1\nn Incorrect n ........ 29\nI Introduction, Volume IX . . . . . 1\n| Theatre Men in Europe ...... 23\nWhat and Who \" The Mask \" don't in believe. . 3\nI Florian, Francois M. . Notes on a Journey 28\nI Klaassen, Jan . . . The International Theatre Exhibition in Amsterdam . 9\nj Nathan, George Jean . Pantaloons A'posture. . . . . . . 15\nf Smith, C. G. . . . An old Book. Note on a Book of Rules ... 25\nI Charing Cross Road in 1975 . . . . 7\n[ j English Contrariness . . . • • • 6\n! llrban, Felix . . , La Salle de Spectacles des Tuileries . . . . 22\nUnsigned Contributions . Among the Visitors . . • . - . . 11\nAmsterdam, London, America . . . . 11\nInternational Theatre Exhibition in London . . . 10\nTheatre of Sabbioneta, translation .... 24\nXX)/C REVIEWS.\nTITLE. AUTHOR. PAGE.\ns.\nBeggar's Opera, The Frank Kidson ... 37\nBritish Drama, A Short History of . . . . Benjamin Brawley 39\nChinese Theatre, The ...... Tchov-kia-kien . . 33\nChinese Drama, Studies in the .... Kate Buss. ... 35\nChronisten der Mode . . . . ■ . Oskar Fischel ... 36\nContinental Stage Craft . . . • . Kenneth Macgowan . . 35\nElizabethans Drama. . • . . . . . Janet Spens ... 39"}, {"page_pdf": 10, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.10", "texte": "TITLE. AUTHOR. PAGE.\nEnglish Pageantry'. . . . . . . Robert Withington . . 38\nExemplary Theatre, The. . . . . H. Granville Barker . . 38\nGreek Theatre and its Drama, The. . . . Roy C. Flickenger . . 38\nLady into Fox ....... David Garnett ... 37\nModerne Buhnenbild, Das . . . . . Oskar Fischel ... 39\nNo Plays of Japan, The. ..... Arthur Waley ... 34\nOld Drama and the New, The .... William Archer. . . 40\nOn the Site of the Globe Play house of Shakespeare George Hubbard . . 34\nPlays ......... Gordon Bottomley . . 39\nRussian Theatre under the Revolution, The . . Oliver Sayler ... 36\nScenes & Machines on the English Stage during the\nRenaissance ....... Lily B Campbell . . 33\nSeneca and Elizabethan Tragedy . . . . F. L. Lucas ... 39\nShakespeare to Sheridan. . . . . Alwin Thaler ... 37\nTheatre of Tomorrow, The ..... Kenneth Macgowan . . 35\nThings that have interested me ... Arnold Bennett ... 36\nTwentieth Century Theatre, The .... William Lyon Phelps. . 38\nWorld in Falseface, The . . . . George Jean Nathan . . 36\nMagazines . . . 40\n•\nTHE PENNY GAFF. LETTERS. FOREIGN NOTES. EDITORIALS.\n\nILLUSTRATIONS.\nPlate 1. The Colosseum, Roma . . . Piranesi .... Face Title Page\nn 2. Arlecchino . . . . . G. M. Mitelli . . \" Page 1\n\" 3. The Guildhall Courtyard, 191 1 . G. Torrance Stephenson \" \"8\n\" 4. Francesco Clerico. . . . Anon .... 11 \"20\n\" 5. Teatro Olimpico, Sabbioneta . Vincenzo Scamozzi . \" \"24\n\" Atto Primo ; \"La Schiava n, 1602 . The Book of Pietro Bartoli . \"13\nDesign from Lambranzi, 1716 . . . Anon . . . . . \"21\nFrontispiece of nLa Supplica 8 . . . Anon . . . . . \"12\nPlan of la Salle de Spectacles des Tuileries Maximilien Brebion. . \"22\nHead and Tail Pieces, from old designs and from woods cuts by C. Borrow & E. Carrick."}, {"page_pdf": 12, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.12", "texte": "ARLECCHINO, by G. M. Mitelli. (4634-1718).\nPlate 2.\n\nTHE MASK. 1923."}, {"page_pdf": 13, "page_imprimee": "1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.13", "texte": "THE MASK\n\nFOREWORD\n\nAFTER THE PRACTISE THE THEORY\nIN 1908 we announced our object:\n!! To bring before an intelligent pub-\nlic many ancient and modern aspects\nof the Theatre's Art which have too\nlong been disregarded or forgotten.\n\" To announce the existence of a\nvitality which already begins to reveal\nitself in a beautiful and definite form\nbased upon an ancient and noble tra-\ndition 11.\nWith all apologies for not shifting\nour ground, our object, if you like it,\nshall be the same today.\nWE still hold to our first maxim, \" After the prac-\ntise the theory \" : we can but still champion the\nArtist, and see in him and in his real supremacy the hope\nof our little stage world : we still claim Leadership for\n\nContinued on page 2\n\n1923\nVOLUME NINE\nWE recommence after an interval\nwith a whole Volume and may\nbegin by announcing that on the whole\nthe success of the First Phase of the\nNew Movement in the European Thea-\ntre is assured, although in a few lands\nnot yet even understood.\nSince 1908 we have worked for the\nsuccess of the Movement as a whole,\nnot for anything more parochial.\nO\nThis Movement began like all\nother movements; in a parting with\nlazy folk.\nLazy folk love repetition, easy times,\nshort hours, big pay, .... and time to\nair opinions, place to sow discord, and\nsupposedfy, .... revolution, and all\nthis was offered them by the theatres\nof yesterday.\nO\nThe theatres of today in England\nstill offer the same old opportunities\nfor laziness.\nThat is why the Movement goes on\nand shall go on.\nLazy folk are the curse of everyone\nand everything.\nBut besides these weaker members\nof the Theatre there are the stronger,\nmore promising, but almost as mis-\nchievous folk, the uninformed.\nThese are often taken to be the\nstrong-minded ones, ... the men and\nwomen who \" count n, ... the men and\nwomen of n character ,f. They are\nnot quite all that, but they are more\npromising.\nWith these the New Movement has\nnot yet parted, and will not if they\nwill hurry up a little, and become in-\nformed about the work they are con-\nnected with.\nThey have not yet realized that all\nover JEurope and America thousands of\nmen and women working in Thea-\ntres, ... actors, actresses, playwrights, pro-\nducers, musicians, scenographers, stage-\nmanagers and critics, have taken the\ntrouble to become informed as to the\nexact nature of the Theatre ... its aims, ...\nits hopes, ideals and possibilities.\nIt is these who belong closely to the\nNew Movement, and no others. They\nreceived no free pass into it; they en-\ntered it through their wish and ability\nto understand : they remain in it so\nlong as they understand.\nThis New Movement is towards a\nNew Theatre, a downright Theatrical\nStage in distinction to a merely Literary\nPlayhouse, or a Fashionable thing, or\n\nContinued on page 2"}, {"page_pdf": 14, "page_imprimee": "2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.14", "texte": "those who have proved themselves, by their gifts and\ndevelopment, the leaders in the various branches of the\nart; and we want now to see order coming into the\nranks : the leaders in front, and all the rest ranged\nbehind.\nt| To our regret many circumstances have hindered our\nsteady issue of volume after volume since 1919.\nBut this interval has not been unfruitful, nor for a\nday inactive.\nAll of our colleagues have been unremittingly at\nwork. Articles have been written ; papers have been\nwatched for erroneous statements or misleading reports\nrelative to the New Movement in the Theatre, and\nthese corrected by Letters made public by the courtesy\nof the various Editors. A large amount of research\nwork has been accomplished in Theatre history, so that\nwe have been strengthened in our knowledge and un-\nderstanding of the old traditions and laws of the Thea-\ntre ; information already acquired has been coordinated\nand edited : curious books and documents have been\ncollected from many sources to enrich the supply of\nmaterial treating of the Theatre in all ages and lands;\nand work has been done in connection with the Inter-\nnational Theatre Exhibition.\nThis Exhibition has proved that two publics, those\nof Holland and England, are very much alive to the\nvalue of mise-en-scene, ... mise-en-scene being the making\nvisible what is in the words of the dramatist.\nOur Exhibition, then, was made to serve the Drama\nand its parts.\noMORE THANo\nVISITED THE\nINTERNATIONAL\nTHEATRE EXHIBITION\nIN E NGLAND 19 2 2-19 2 3\n\nJ. S.\n\na Mechanic or Realistic substitute for\ngenuine Theatricals.\nThis Volume offers our readers a\nglance at a few of the results reached\nin the last twenty years. It records the\nproofs of experiments, as witnessed in\nthe International Theatre Exhibition; it\nrecords the growing desire for research\nand information in regard to Theatrical\nmatters as manifested in the considerable\noutput of Theatre books.\nThe three cities which offer most\nresistence to the progress of the Dra-\nmatic Art are : LONDON, PARIS,\nand NEW YORK.\nFraudulent makeshifts are pushed be-\nfore these three publics by influential\nand self-interested men of talent, and\nthe three cities are too easily taken in\nby these forgeries. n The Mask n will\nwatch and continue to report of them\nto that large public which supports the\nNew Movement.\n\n\"LES FRONDEURS\"\nGoethe's Conversations\nWith Eckermann.\n1827. Jan 3. At dinner we talked\nover Canning9s excellent speech for\nPortugal. n Some people, n said\nGoethe, n call this speech coarse ; hut\nthese people knoW n°l what they\nwant they have a morhid desire\nto be frondeurs against all greatness.\nIt is no opposition, it is mere fron-\ndation ; they must have something to\nhate. When Napoleon was alive they\nhated him, and he served as a good\nconduit-pipe. When it was all over\n>\nwith him, they grumbled at the Holy\nAlliance, and yet nothing greater or\nmore beneficial for mankind was ever\ndevised. Now it is Canning's turn. n"}, {"page_pdf": 15, "page_imprimee": "3", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.15", "texte": "1919\n1923\nA MESSAGE FROM GORDON CRAIG\nTHE FOUNDER OF \"THE MASK\"\nJ. S.\nWe issued this \" Message \\ th\" Credo \" \" Mask \\\nat the end of volume eight with our \" Announcement\"\nof the coming Volume. We feel that, after this interval, we\ncannot do better than reprint it, together with the new word\nMr Craig has sent us to initiate Volume Nine.\nWhat rouses my indignation every day is to see a masterpiece and a\nturpitude ranged side hy side. Little talents are cried up, great talents dis-\nparaged ; nothing could be more stupid, nor more immoral. \"\nCorrespondance de G. FLAUBERT, Serie Hi, p. 386.\nNEED THE MASK make any protestations of faith\nthis year ?... You know its beliefs. Do you think\nthey will change today?... Why should they?\nNothing is more easy than that it should remain staunch\nto its Cause.\nft is a Cause which, when it bears fruit, will bring a\nlittle benefit to everybody.\nBut as that Cause is always being misrepresented and\nbelittled by those curious folk who seem to want the world\nto stand still so that they may make a remark and ten per\ncent, let us once more rehearse the Creed.\nq THE MASK BELIEVES in The Theatre and in\nThe Drama whether written, acted, sun# or spoken.\nq THE MASK BELIEVES in it all.\nq THE MASK BELIEVES in the Acfor and in the Actress,\nq IT BELIEVES in the Marionnettes and in Masks.\nq*T BELIEVfc.S in Sceneries and Musics and in Dancing,\nin Dancers, Musicians, Scenographers and Dramatists.\nq BELIEVES in every blessed or cursed thing that ever\nwas, is or shall be in The Theatre.... if Theatrical.\nq BELIEVES in The Theatre of Europe and in the\nTheatre of America. Not alone in one local Theatrical\ngroup.\nq BELIEVES in, and venerates, the great Asiatic Theatre.\nq IT BELIEVES in the FUTURE OF THE THEA TRE\n....not alone in the future of a phase of the London, Paris,\nor Honolulu Theatre, but in the whole.\nfl IT LOVES AND ADORES all that can be called\nThe Theatre.\n\nContinued on page 4\n\nWHAT AND WHO\n\"THE MASK\"\nDON'T BELIEVE IN\nBooming rubbish for the eternal\nreason.\nBooming rubbish for the other reason.\nBaby-talk plays.\nWaiting till a Fraser dies to make\nhim exaggeratedly famous.\nFirst under-booming Fraser, then\nover-booming Fraser.\nBlake n quite mad n: Blake n grea-\ntest marvel on earth ff.\nMaking a jest of the Theatrical on\nthe stage of a Theatre.\nExposing the n make believe n of\nthe stage to raise a laugh that is\nNihilism in Hammersmith.\nDramatic critics who at heart despise\nand rather like the stage for what it\nbrings in.\nOver-slow discovery of obviously va-\nluable things.\nTaking the Theatre seriously instead\nof being serious.\nn Realism n.\nThe belief in Reality in Art: (there\nbeing no such thing).\nGrein .... not yet.\nThe acting which is praised for con-\nvincing a critic that it is not acting\nat all. ■\nThe A.rt which conceals Art, (i.e...\nRubbish.)\nPhantom Backers,... English, French\nand American.\nn Responsible \" Managers of London\nTheatres.\nBig talk and long discussions on\nShakespeare in the London Press,\nwhile Berlin, New York, Prague,\nParis, produces him rapidly and inces-\nsantly.\nCliques.\nScalping the Dramatic Censor.\nDramatic Colleges which fail to expe-\nriment."}, {"page_pdf": 16, "page_imprimee": "4", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.16", "texte": "q IT IS ENTRANCED by the 55 Theatrical. ?! Which\nsome day is to become the Theatrical without inverted commas.\nC| IT LOVES the dust , and the rags and the paint and\nthe daub and dirt of the Old Theatre.... its ancient 5me11....\nits strange air.... its queer ways ... ALL.\nHOW SHOULD\" THE MASK \" NOT LOVE IT ALL?\n€} As for those who misrepresent \" THE MASK, B tell them\nfrom me that we know our own Mother, and what she\nexpects of us, and that no one but she shall dictate to us\nour duty.\n€J THE THEATRE is our Mother. Its arms encircle the\nGlobe. It is not Parochial.... not hypocritical.... not pathetic. ..\nnot pious.... not puffed up.... starched or spotless. Not a piece\nof Virtue without any goodness, but Human.\nIts faults become ours.\nDo you suppose we shall not love these faults.... What?\nOr do you suppose either that we shall tolerate them in\nourselves for 10ng.... What?\nIf our Home is not quite as perfect as that of the other\nMuses it can be..,, and so it shall be.\nGive us time to put it in better order....\nGive us bricks to build the foundations of a new one.\nSend no more incompetents to our aid.... send no more\nadvice, no more weak-kneed patrons.... send us more solid\nassistance if you wi11.... reliable men and enough money....\nwe need both.\nAnd help us by routing misrepresentation.\n€J YOU, OUR READERS AND ENCOURAGERS,\nnail the lies to the doors of the liars....\nThe Tarradiddle that we want no Drama.\nThe Yarn that we want nothing but Scenery.\nThe Whopper that we despise the Actor.... that we wish\nto glorify the Producer 0n1y.... that our theories are rash inno-\nvations, are not based upon the oldest and best traditions....\nAnd that special fib of the fib-mongers, that we are exclusive,\nthat we want a precious Theatre de Luxe.... nail it up N\nWe exclude nothing except the non-Dramatic.... the\nnon-Theatrical; and the great traditions we reverence.\nWe include all and every good form of Theatre in our\nProgramme, we do not exclude the worst: already we have\nchanged some of the worst theatres into good ones.\nSo Trace the lies up and down the cities to the house-\ndoors of the liars and nail them there. Do that part of the\nwork for us and we will do the rest.\n€J And say besides that it was I who asked you to do so\non behalf of THE MASK and the Dramatic Genius of\nthe World.\n\nContinued on page 5\nONE\nOF THE MOST\nSTRIKING\nDIFFERENCES\nBETWEEN A\nCAT AND A LIE\nIS\nTHAT A CAT\nHAS ONLY\nNINE\nLIVES\nMARK TWAIN\no\nYESTERDAY MY ASS SAID TO\nME: \"THERE IS NO DOUBT\nTHAT YOUR STABLE IS ONE\nOF THE CORNERS OF HEA-\nVEN. THERE IS' NO WATER,\nNO GRASS, NO HAY, NO\nOATS. IT IS NO PLACE FOR A\nBEAST: 'TIS FOR AN ANGEL. \"\nO LIE NUMLER ONE NAILED. O\n\" MAN CARRIES UNDER HIS HAT A PRIVATE THEATRE, WHEREIN A GREATER DRAMA\nIS ACTED THAN EVEN ON THE MIMIC STAGE, BEGINNING AND ENDING IN ETERNITY ».\nCarlyle."}, {"page_pdf": 17, "page_imprimee": "5", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.17", "texte": "AND NOW ANOTHER WORD\nTO INITIATE VOLUME NINE\nWHEN in 1907 I be-\ngan to shape this\n\" Mask \" I wanted to cut\ndeeply into it certain lines\nwhich would give it a de-\nfinite and vivid expression.\nThis I did. These\nlines can to-day be traced,\nby any one sufficiently in-\nterested, by re-reading the\nessays in the first volume,\nissued in 1908 and 1909.\nThis expression on the face of \" The\nMask \" cried out very distinctly \" Let us\nwake up ! men of the European Theatre :\nlet us shake ourselves, and set about a spring-\ncleaning of the old house ; clear out the bric-\na-brac which has accumulated there for cen-\nturies ; start afresh to refurnish : and,\nwhere the building be at all insecure, break\ndown and rebuild it better. Let us come and,\nlearn and understand our house better, so\nthat our best and most ancient traditions shall\nnot be lost but shall be found good again to\nabide by \".\nThe Ancient the Ancient traditions,\n\" The Mask \" has repeated over and over\nagain ; Not the newer \" traditions \" thrust\nforward by restless revolutionaries these last\nhundred and fifty years or more (0, n tradi-\ntions \" made to meet the modest requirements\nof the flaccid minds of modern adventurers in\nour Theatrical realms.\nThose new \" traditions \", \" The Mask \"\ncried out, are too easy, too lax, and utterly\nunworthy of an ancient Theatrical art once\nbuilt up and designed so well by the old\nmasters.\nTo the Ancient Traditions, then!... and\nlet us spare ourselves no pains.\nSearch forward too, cried \" The Mask \",...\nforward to new thoughts, but with immense\ncaution,... for there's little that can be new.\nAnd all the time we search let us make sure\nthat we do not forget the most ancient and\nmost honourable traditions of the past. Carry\nthem in our heads better still, in our very\nbones.\nCrying out that, \" The Mask \" leapt for-\nward expecting many others to follow, and\ncatch up with it, meet at some hut half\nway up the mountain.\nSo far so good. The cry was heard. It\nroused hundreds of men to follow. The thea-\ntrical world was stirred ; it awoke : some of\nits men did wonders.\nBut, while they went forward, they nearly\nall forgot the warning, n Remember not to\nforget the Ancient Traditions ! remember,\nthere is little that can be new! \"\nWhen the rain shall fall upward from\nearth to heaven, and when the roots of the\nflowers shall twist up into the air, their blos-\nsoms open to the dust and in the earth, then\nand then only may we alter in our art.... and\nin the simple and natural rules of the game.\nOur art is to come down like the rain\nand grow up like the flowers : it is not to\nbe made as you plan a campaign or an elec-\ntion ; as you make clock-works, or manipulate\nmachines.\nWe are not to be organizers; we are to\nbe something more in the nature of gardeners.\nSpeed, push, and aplomb have nothing to do\nwith our task; it is patience and attention to\nour few small plants, our small patch of ground\nand our seeds (our own, not our neighbours')....\nand a clear mind about the winds and the\nrains and the forces outside ourselves, and\nsome consideration for our neighbour and his\ngarden, that we need.\nThose of you beginning, as actor, actress,\nscenic man or stage-manager, must go slowly\nand learn what you have to give to fit you\nto create:... if you can give nothing you can\ndecidedly count yourself and your work ended\nbefore you even begin.\nThey say that the times are not good for\n\n(i) What, Goldoniy Beaumarchais, Clair on, Dumesnil, Du-\ncts, Rancourt, Montansier revolutionary 9 Certainly, dange-\nrously so. IVhat, Sophie A mould, Rachel, Nov erre, Vestris,\nLa Guimard, Taglioni, Jagemann, Louis {the architect) and\nBellinit these and their schools restless revolutionaries 9...\nMais 0ut.... very clearly and most unfortunately.... t,\nTheir schools included such honourable names as Charles Kean,\nMacready, Scribe. Dumas Ills, Becque, Tchekov, Tel bin: Verdi,\nGamier, and a hundred others : all destructive.... entirely fatal.\n« Quite alarming !»....« and we thought these very people\nall so traditional».\nZ,oo£ carefully and you will see that all were in revolt\nagainst the design and plans of the old masters. Drama,\nacting, the architecture, the dance, all were being deliberately\nundermined; the most deadly revolution 9\nThe critics backed up this treasonable undertaking most\nmanfully. Dr. Marey in 1884 caps the whole crownless struc-\nture with his bright discovery. In 1 goo came resistence to this\nEuropean conspiracy. And some of you took it for Revolu-\ntion 11! You recall that old Music Hall song, « <2«r Lodger\nis a nice young man » / it ends « Ma-ma told me so ». And so\nwas it with the resistence of 1900. Mama told you it was\nRevolution; —it ivas no such thing. The resistence of 1900\nwhich is now called the New Movement was the first step of\na return to order."}, {"page_pdf": 18, "page_imprimee": "6", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.18", "texte": "any Art; a double, triple, reason for every\none to wake up and learn his lesson.\n€J And you, in London, do you think all\nthis that I write mere words ? 1 know many\nof you in England do, and 1 am sorry for\nthis. I know you don't in America, France,\nGermany, Holland, Italy, and Russia; and I\nam honoured by that.\nYou in London, couldn't you too possi-\nbly consider the practicality (if no more than\nthat) of waking up so as to begin to see\nthrough your own eyes and your own mind,\nand not any longer with and through the mind\nof Piccadilly Circus and Chelsea, the Bedford\nTavern and the Press Agent, the organizing\nmuse, machines, and the rest of Little London?\nPardon me, but you are certainly odd to\nforget there is a greater London and a still\ngreater world and that the Parish is always\nrather comic: and you a dramatist and\nan actor —■!!\nYou push handsomely through Society,\ndown the High street; you elbow with Pu-\nritanical fire in and out of the Sunday School;\nyou fret and fume with spirit till you arrive\nat the Pump, every now and again stopping\nas though you heard a voice calling from the\ndistance; then you shudder and go on with\nyour big-little talk to drown it, until you\nreach your destination, the Parochial Play-\nhouse ; and there you bring about what others\nin the Parish call 15 big ideas \".... and which,\nwe note, are not your own. You mount a\nplay or six plays ; \" such as Dryden or Ad-\ndison could have written n ; you are \"greater\nthan Polkovsky \", cries the Pump, \" more\nvital than Lippmanstein \" echoes the Steeple,\nand so on and on and over the edge you go.\n€J The times are rather difficult, was there\never a time that was n0t...? But it is always\na more difficult time than before when in-\ntrigue is allowed to interfere with progress as\nmuch as it does today.\n\" The Mask \" wants a Theatre based on\nfriendship a friendship based on an under-\nstanding of and affection for the Theatrical\nart in distinction to the Theatrical profession.\nThe several cliques and most of the indi-\nviduals in the English Theatrical world seem\nvery contented to see their Theatre based\nupon offensive Intrigue. A few foreigners\naccept the same basis. But the others and\nI think these are the men who count want\nto see Intrigue carried out of the place and\nput in its right place a grave, for no reason\nbut that it is worthless and its corpse very\nunpleasant.\nHere there is a lead from \" The Mask \".\nWho will follow it?\n\nENGLISH CONTRARINESS\n\" Mr Dash's designs for stage scenery are so bare that it would be expecting too much\nof any actor to ask. him to perform in them. They are forbidding, bleak. cold and\nintellectual. All is so severe and plain that,\" ... etc., etc. Daily Press, London.\nWE sometimes are very stupid in\nEngland in the things we say\nabout Stage Scenery. I was reminded\nof this very sharply today on opening\nan old volume of R The Sphere n and\nseeing a design for the Guildhall court\nyard as prepared for the visit of King\nGeorge in 1911. The date of \" The\nSphere w is July 1, 1911.\nHere is a serious place prepared for\na serious but gay ceremony; pre-\npared for n a scene ff ; for the n scene n\nis not there until the actors are there,...\nand that is the whole point.\nWhat do we see in the design for\nwhat we may call the n Scenery n ?\nTwo plain roofs, * two side pieces\nabsolutely plain in form, two side paths\nfree of all obstructions such as posts,\ngarlands, etc., a central path and two\ngrand stands one on each side of the\ncentral path. All is as bare as it can\nbe. Doubtless some touches of colour\nand some few lines are added before\nall is ready. But the form is severe,\nsimple and direct.\nTo animate all this the scene enters it.\nThe grand stands become crowded\nwith the aristocracy of Great Britain;\non the side paths well-known personages\nmove here and there great persons\n\n* See Plate 2,"}, {"page_pdf": 19, "page_imprimee": "7", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.19", "texte": "in the service of the King, ...and soon\nthe whole thing wakes up to a climax.\nThe King himself appears; with him\nthe Queen and members of his house-\nhold. The cheers, the rattle of the\nhorses' hoofs, the music, add more life\nto all this: the scene at last exists. And\nnot before.\n€J Now if you ask some one of the\nspectator-actors in all this either one\nof those in the two grand-stands, on\nthe pathways, or in the roadway ....for\nthe people crowd round and form a\nbackground ....if you ask one of this\nthrong what is the scene of a play in a\nTheatre they will tell you it is the\nscenery.\nAnd when you ask them if plain\nsevere scenery or gaudy scenery is best\nfor an inspiring gay situation in Drama\nthey will scout the idea that the plain\nscenery is enough. They will even be\ncontemptuous or crack jokes about\nwill it.\nC| This suggests that it may be a mistake\nto ask spectators anything more\nespecially when they have not analyzed\ntheir experience in a* theatre; and that\nis as it should be. They are not\nexpected to analyze a scene and we\nshould not ask them....\nYet we do so and when we do\nnot there are some egotistical people in\nbox and stall who will push forward\nand proffer their opinion, nay, even\ncome down with their opinion as though\nuttering Gospel. If no one attends\nthey will spend odd quarters of an\nhour here and there pressing their opi-\nnion on all they meet until at last\nw public opinion 11 has been informed\nknows for they are very influencial\ntalkers, these very thoughtless\nthinkers.\nThis is possibly one of the explana-\ntions how it comes about that our stage\nsceneries are generally wrong,\nYet here is n The Sphere n showing\nus the proof that when serious men set\nto work to devise a background even\na built-up-scene, as it is called, for a\nserious but gay ceremony, they simplify\nand avoid all the elaboration they can\nand put no n life n into it,\nThey know. They know that\nthe life of the scene is to come into\nit later.\nTheatre scenic artists forget this as a\nrule, and so do stage-managers ; and\nactors, thus anticipated by talking-sce-\nneries, come into a scene which is\nalready too full of life and discover\nthat there is nothing left for them to\ndo. This they do to perfection.\n\nTHE CHARING CROSS\nROAD IN 1975.\nC. G.\nI had written the above Note upon\nthis reproduction in w The Sphere ?!\nwith the reproduction in black and white\nin front of me.\ni then suggested to the Editor of\nn The Mask that he should write to\nMr Clement Shorter to ask if he would\nallow the design to be reproduced, and\nMr. Shorter with great courtesy imme-\ndiately sent the original drawing from\nwhich this block was made.\nWhen this was shown to me I had\na feeling of delight. The repro-\nduction was interesting ...the original\nwas more than that. On the back of\nthe drawing was written 4 G. Torrance\nStephenson * and his address.\nThe fact of it being in my house,\nin my room where I keep several\ndrawings by Bibiena, Galliari and some\nunknown men of the 17th century\nbrought about the delusion that I had\nacquired one more interesting, and cer-\ntainly charming, item for my collection.\nI let myself dream a little. I ima-\ngined myself some fifty years hence\nstopping to look in one of the many\nportfolios of sketches which stand out-\nside or inside the old shops in the\nCharing Cross Road.\nThis drawing would be amongst a\nheap of others inside the shop, that is\ncertain. And I thought, suppose I were\nturning over the drawings and came\nacross this one, what I would think of\nit. (I suppose myself a collector of\nnothing but drawings and prints of ce-\nremonies and stage scenes).\nI should have seen that this design\nwas for some ceremony at some En-\nglish or French town ; ...but where ? I\nshould have asked myself. There's the\nbuilding at the back: I suppose it's\nEnglishj ...but it might be French;\n...the houses on each side look more\nEnglish than French, ...perhaps Scotch.\nIt's not London, anyhow; of that I\nshould have felt certain, for the thing\nis not huge, dark and soot-begrimed,\n...it's all gay and small; some provincial\ntown, certainly. The windows in the\nhouse o» the right look English right\nenough. Yes, it is England, ...and the\nbuilding at the back must surely be\nsome town hall or college.\nNever would I have guessed aright,\nthat it represented London and the\nGuildhall. But I would have bought\nthe charming drawing because it is so\ngood.\nRapidly done, there has been time\nfor the artist's gaiety to get on to the\npaper.\nI should have taken it home and\nlooked up the name in my Biographi-\ncal dictionaries. Should I have found\nhim ? I should have looked him up in\n4 Who's Who ', should 1 have found\nhim ?\nI will look him up now. I wonder\nshall I find him\nNo, he is not there; yet all the\nMr. and Mrs. Mulbray Stones are there,\n...and other great nobodies.\nHere is somebody an artist who\nwas living and working well spite of\nthe difficult requirements of the London\nPress of those years. I do not know\nhim, this is the first time I have\nheard his name. And, while he is no\nRubens, no Rembrandt, he is a good\nartist doing good work in 1911 and no\none seemingly caring to record his\nexistence.\nThere must be some hundreds of\nartists being ignored, except that\nMr, Bulloch, and the Editors of the\nn Sketch n and the n Illustrated London\nNews \" and other journals know them\nand pay them well. That for me is some\nsatisfaction. And to the Historian of\nour times let us hope their work is\nknown, ...their handwork, not alone\ntheir reproductions. For by merely\nlooking at the reproduction given here\nyou would not be able to suppose that\nthe whole drawing has great charm:\nand that it has charm 1 know, for I\nnow possess the original and can answer\nfor it.\nIt seems to me that a month or two\nspent at the publishing offices of 11 The\nSphere n, the n Sketch thew Graphic \"\nand the n Illustrated London News wby\nsome one with an eye to see, and\na certain flair for what's whaf in a\ndrawing, would yield, I believe, pretty\ngood results. (Though Mr. Shorter and\nMr. Bulloch will not thank me for the\nsuggestion!)\nWhy should we have to wait sixty\nto a hundred years before we discover\nwhat is now in front of us ?"}, {"page_pdf": 20, "page_imprimee": "8", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.20", "texte": "EXHIBITIONS AND BOOKS\nA NOTE\nBY JOHN BALANCE\nTHERE has never before been a\nperiod in the theatrical world of\nEurope and America when exhibitions\nof modern theatrical work, and books\non the modern Theatre have been so\nprevalent.\nThe exhibitions began slowly to form\nfrom 1900 onwards, or even before that:\nthere would be one e\\ery three or four\nyears. But between 1912 and 1914\nthey came fast and furious. Mannheim,\nZurich, Cologne, Warsaw, Dublin,...and\nit would have gone on but that the\nwar came and stopped it. The war\nbeing ended, it began again. It was\nnot merely a passing idea ; there was\nconviction behind the whole thing or it\nwould not have begun again. It began\nagain with Zurich in 1920, Torino in\n1921, and in London, where Lovat\nEraser's work was exhibited shortly after\nhis death (1).\nThen came the idea of an Interna-\ntional Exhibition. This originated with\nMr. Frans Mijnssen in Amsterdam.\nMr. Wijdeveld was called in, and con-\nsulted ; and, setting his immense energy\nand his brilliant vision at work, he\nmore or less alone, aided by the un-\ntiring application of Mr. Lensveld, the\nmost erudite of the Dutchmen concerned\nwith theatre technique, practically created\nthe whole thing.\nThe Albert and Victoria Museum at\nSouth Kensington followed after Am-\nsterdam's triumphant achievement, and,\ndoing what France and America were\ntalking of doing, did it straight away\nand transported all to London.\nIt is not the first time that England\nhas been quick and sure instead of\nn slow and sure n ; and this example\nshould encourage us to make the next\nnecessary theatrical move as swiftly and\nas surely.\nManchester, which was prepared, and\nalways neck to neck with London in\nbeing prepared to go one quicker than\nLondon if allowed to, ...and by that\nI mean if the code of good manners\npermits it, for there is never any shoving\nbefore London for n I bag first n in\nEngland, ...Manchester arranged to\ntake the whole thing on after London.\nGlasgow came next (2), then Bradford.\nand there was talk of it going to Ame-\nrica.\nMeantime there has been an important\nexhibition in 1922 in Torino, and one\nin Vienna. In Vienna was displayed\nmuch i7 th and 18th century work as\nwell as a little modern work.\nThese above-mentioned International\nExhibitions have been on a very large\nscale.\no THREE HUNDRED BOOKS, o\nNOW in the first of these post-war\nInternational Exhibitions, that held\nin Amsterdam, there was a very important\nsection devoted to the literature of the\nTheatre ; to the books which had come\nout in the last twenty or thirty years,\nbooks all dealing with that New Move-\nment with which n The Mask n is\nassociated.\nAnd it was something of a discovery\nfor enquirers to find that about three\nhundred books had been issued on the\ntheatre, mainly concerned with this\nNew Movement, in these last twenty to\nthirty years.\nNot theoretical books, but technical\nand historical, and in foreign languages\nas well as in English, while some of\nthose in English are on the Theatres of\nforeign lands.\nThis collection of books which was\ngathered in Amsterdam was not carried\nto England ; but another collection was\nmade, a very fine collection too, which\ncontained fifty out of the three hundred\nmodern books, the rest being very va-\nluable and interesting books of the\nold-time theatre.\no A TIME OF PREPARATION, o\nNOW what is the significance of\nall these Books and Exhibitions ?\nExhibitions and books are not the be-all\nand the end-all of the dramatic world:\nthe play, the actor, the production,\nthese are the real things. But exhibi-\ntions and books have their uses ; they\nprepare the way, and they only come\nin such profusion as lately they have\ndone, when there has been need for\npreparing a new way.\nHow is it that no actor in England,\nGermany, or France, or for that matter\nin Italy, of exactly the eminence and\ndistinction of Irving or Salvini, ...how\nis it that no such actor has appeared ?\nAnd how is it that when the drama of\nIbsen, Strindberg, Brieux, Wilde and\nShaw appeared there was no modern\ntheatre in which to represent their plays,\nno modern setting for these particular\nstones, and nobody to wear them ?\nFor the dramas of these acknowledged\ngreat dramatists of the time have never\nreally been accepted : they have never\nbeen strung round the public's neck.\nAnd the reason is this: there was\nno theatre ready for them (1).\nIt is now an accepted truth that the\ntheatre precedes the drama: that it must\nbe ready and waiting ... awaiting the\narrival of the Drama : that the actor\nmust be ready too, And these exhi-\nbitions and books afford sure proof that\nwe are preparing the theatre for the\ndramatist.\nWhat the actor is doing to prepare\nhimself has not yet been everywhere\nquite clearly demonstrated. That it was\nfound unpractical for him to exhibit in\nLondon when the architectural and\nscenic designs and books were exhibited\nwas unfortunate, but it seems it could\nnot be helped (2).\nThis was chiefly due to the fact that\nthe Exhibition was held in the National\nMuseum at South Kensington where\nperformances are not permitted: but\nthere is nothing to prevent the actor\nfrom organizing an exhibition if any one\nactor has some clear idea how to set\noff performer against performer.\n- True, they show what they can do\nevery evening ; but some of the con-\nditions of the actor's calling are not\ntoday as propitious as the most ventur-\nsome would like, and these perhaps may\nfind away to show the public in some\n\n(1) Besides these larger friendly gathe-\nrings there have been numbers of smaller\nexhibitions of stage work in Europe and\nAmerica. I suppose some 30 to 40 have\nbeen held sinee 1902. J. B.\n(2) Over people visited the\nExhibition i7i England A\n(1) Bernard Shaw is played now here,\nnow there, in every kind of theatre on the\nContinent. He has found no one of these\ndevoting all its time to his work as did\nthe Moscow Art Theatre to the Tchekov\ndrama.\n(2) The following very significant pas-\nsage occurred in a long article by\nMr. Gordon Craig which appeared in the\nLondon « Times »/ January 6th 1922.\nThe Exhibition was held in London five\nmonths later, in June of the same year ;\n« I have not been told whether two of\nthe principal figures in our theatre world\nwill be exhibiting I mean the drama-\ntist and performer. If not we must not\njeer at Amsterdam, for we know that the\ndramatist and the performer are nightly\nexhibiting in every city of the world\nFor my part, if I were ever to direct\nsuch an International Exhibition I should\ntry to make it a sine qua non that the\nmost famous professional dramatists and\nperformers showed the world what they\nwould like to give it, if quite free ».\nMr. Craig was not given the direction\nof this Exhibition, but there were seve-\nral actors and actresses on the Committee.\nThey had probably not read this article.\nThey certainly seem to have taken no\nsteps to profit by the suggestion it con-\ntained Ed."}, {"page_pdf": 21, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.21", "texte": "THE GUILDHALL COURT YARD, LONDON, AS PREPARED FOR\nTHE VISIT OF H. M. KING GEORGE V. 1911.\nDrawing by G. Torrance Stephenson Reproduced by kind\nPermission of The Editor of \"The Sphere\". (See Page 6)\nPlate 3.\n\nTHE MASK. 1923."}, {"page_pdf": 23, "page_imprimee": "9", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.23", "texte": "exhibition many different interesting dis-\ncoveries that they have made in the\nlast twenty years, and are keeping\ndark from us at present because the\nmanagers won't let them display them\nin the nightly theatre.\nWhen such an exhibition does come\nalong, and if it is, we won't say up-to-date\nbut at least not behind the times, the\ncoming dramatist can rejoice for his day\nwill be dawning.\nMeantime some of us think that to\nconcern ourselves with Exhibitions and\nBooks, and the preparatory work of\nwhich they are both the instruments\nand the expression, is the best thing to\ndo while waiting the actor's pleasure,\nWe hope there will be no unne-\ncessary stage wait,\nn Beginners for the second Act,\nplease n I\n\nAMSTERDAM.\nA NOTE ON THE INTERNATIONAL THEATRE\nEXHIBITION\nBY JAN KLAASSEN.\nWE wish that we could have given our readers Mr Klaassens account of\nthis remarkable Exhibition, as also the following account of the Exhibition\nat South Kensington, immediately after the events themselves and when these\naccounts were sent to us. That unfortunately proved impossible. But n News\nis not merely what happened yesterday. It is any kind of tidings, fresh infor-\nmation, events reported, something told us we did not know before : and a\nfact, if it has any permanent value, can still be n news n a year later if it\nthrows fresh light on a subject or tells us something we did not already know.\nSo we feel tha{ the News of these two Exhibitions is as good today as ever\nfor all who realize how significant a part these great International Exhibitions\nare playing in the Theatre Movement of today. Ed.\nFRIENDS meeting: Friends not\nbent on business, nor on mischief\nbut on good: that sums up the Ams-\nterdam Exhibition of Theatrical Art\nand its value.\n* Its chief merit was that it was Inter-\nnational. It represented the European\nTheatre : it brought together not only\nthe works, but the men, of all the\ntheatres\nHad it been merely a display of what\nHolland alone could do, it would have\nstill been very interesting. Being Inter-\nnational, it became exactly ten times as\ninteresting. Ten nations were repre-\nsented : Holland, Austria, Belgium, En-\ngland, France, Germany, Russia, Scan-\ndinavia, Switzerland, America. A re-\npresentative of five of these nations\nspoke in the small Theatre downstairs.\nProfessor Strnad spoke, and M. Wij-\ndeveld, and M. Lensveld. Mr. Gordon\nCraig spoke as an Englishman, and\nM. Jacques Copeau as a Frenchman,\nand, though I understood Mr. Craig\nwell, I know little French and had to\nrely on a Dutch critic to tell me what\nM. Copeau said. It appeared that he\nsaid more or less what Mr. Craig said;\nand when I told Mr. Craig this, (for\nhe too knows little French), he declared\nthat that in itself was the best of news,\nbecause n our coming together at this\nExhibition was not that we might all\ndisagree with each other but exactly\nthat we might come to agreement n.\nOur land, upon which we have been\nsowing new seed, is the Theatre. The\nsowers and husbandmen are the men\nof the Theatre, of the New Move-\nment. The authoritative critics are the\nwatchmen.\nIn every land there is one or more\nof these, but one anyhow. And\none is enough ...when he is George\nJean Nathan of the United States, or\nMijnheer Buning of Holland. In Ger-\nmany we have Professor Fischel.\nWhat sort of men are these critics ?\n...Well, they are of the oldest and best\ntype. They are direct, bold, clever.\nIt is they who should support the hus-\nbandman, defend his crops from the\nfoxes and the crows. They are con-\ncerned solely with the long slow way\nof nature which repeats itself in art.\nThey care nothing for the hot-houce\nmethod of forcing. This is the affair\nof the business man of the Theatre\nthe impresario. There are always hun-\ndreds of his way of looking at the\nTheatre.\nMy summing up of this Exhibition\nis that it has shown us clearly who are\nthe men who bring the richest things\nto the Theatre, and who are the Cri-\ntics who will inform the Public cor-\nrectly about them. It has shown that\nthese are one and all friends, bound\ntogether not alone by the sentiment\nwhich clings to a theatre and all its\nassociations, but by a better understand-\ning of what is wrong with the stage and\nof how gradually to put it right.\nIt has shown what kind of followers\nthese men have, where they live, and\nwhat are the powers of each. It has\nshown that in many lands the stage is\nable to avail itself of certain thinkers\nand artists and their new ideas. It has\nalso shown that in some lands the stage,\nwhile eager to avail itself of these ad-\nvantages, has not quite made up its\nmind to do so in the most simple, the\nmost ordinary and straightforward way.\nIt has shown us that organization has\nbegun on the one and only honourable\nbasis that of a firm friendship.\n\nBIG TALK.\nJ. B.\nBIG talk is always cheerful; I\nlike it for that reason. I use it\nfor the same reason,... when I use it.\nSo evidently does a certain tall clean-\nshaven American who hung about the\nExhibition Rooms in Amsterdam on the\nlast days.\nThere was Mr Carlton Miles;\nhe doesn't waste time in talk; he does\nthings. There was Mr Cheney; he\ndoes things too. And there were Mr\nClarke and Mr Larkin; they write and\ndraw. But this other Mr P.... (I know\nhis name begins with P but the rest of\nit escapes me), .... he does nothing but\ntalk.\nHe was going to take the Show over\nto the States; right away; he had\ncollected a lot of money for the purpose\nalready, so he said. Perhaps he had.\nWhat did he do with it all ?\nHe was taking Craig over too\nhe was even taking himself. He assu-\nred one of the Committee he was going\nto do all this, and rehearsed the sums\nhe had collected.\nO\nTHERE is a county or corner in\nAmerica which breeds talkers so\nbig that they may even be called boasters.\nOf course America is not a conti-\nnent of Boasters ; but this corner of the\ncontinent is so flourishing, (like all else\nover there), that the boasters come out\nin hoards and are almost a nuisance to\nthe level-headed practical men of action\nthere.\nMr P.... has taken himself over, I\nhear;,., but he left the Exhibition be-\nhind."}, {"page_pdf": 24, "page_imprimee": "10", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.24", "texte": "THE INTERNATIONAL THEATRE\nEXHIBITION IN LONDON\nAT THE VICTORIA AND ALBERT MUSEUM.\nTN June 1922 the International Theatre\n** Exhibition, which had been inaugu-\nrated in Amsterdam in January, was open-\ned at the Victoria and Albert Museum,\nSouth Kensington.\nA Note as to the Movement of which\nit was the outcome, and the purpose which\nhad animated that Movement, was written\nfor the illustrated Programme by Mr.\nGordon Craig, and is reprinted here :\nTWENTY to thirty years ago some\nof us in the European Theatre\nfelt that we could bring to the enter-\ntainment of the people something they\nmight like to have.\nEntertainment can grow as dull as any-\nthing else, and we thought that here and\nthere the Theatre was showing signs of\ngrowing dull. So we set to work.\nThe drawings, models, plans, masks,\nand marionettes shown here are the\nresult of our labour.\nOut of about 900 pieces exhibited\nhere, at least two-thirds have been\ncarried out in large on the stages in\nAmerica, Austria, Belgium, England,\nFrance, Germany, Holland, Italy, Po-\nland, Russia, and Switzerland. In most\nof these lands the play-writer and the\nactor have welcomed our ideas for\nit is ideas which we have brought to\nthe Theatre, not merely sceneries and\npictures.\nA new way of looking at an old\nthing this was our principal idea, and\nthis idea has freshened up that part of\nentertainment which was growing dull.\nOurs was no hideous R revolution R,\n—no pompous R reform 11. We just\nmade some most ordinary and desi-\nrable changes.\nWe based our changes on some of\nthe oldest and best traditions known to\nmankind, though we rejected that an-\ncient and, for some unknown reason,\nrespected Tradition which orders you to\nR do as was done last time n.\nWe began to build our Theatres diffe-\nrently, we set our stages with different\nscenes, and we acted our old and new\nplays differently not in every land\nor in every city, but in nearly every\nland or in most cities.\nAnd this Exhibition is held in London\nso that England may prepare to do not\nmerely what other lands have already\ndone but much more.\nOVER 350,000 PEOPLE VISITED\nTHE EXHIBITION IN ENGLAND\n1922-1923*\nTHEATRE EXHIBITION\nBANQUET IN LONDON.\nTn connection vith the inaugural cere-\nmony a banquet was held on June 2nd\nat the Hotel Cecil.\nAfter Lord Howard de Walden, who\npresided, had give?i the health of His\nMajesty the King, Mr Granville Barker\nproposed the toast of« The Victoria and\nAlbert Museum and read a long and\nvaluable paper on the value of education\nto the theatre, his remarks being largely\ndirected at Mr Fisher, the Education\nMinister; he made use of the phrase\nvery often heard from the lips of Irving\nabout the dignity of the profession.\nAs some of the speeches were fully\nreported at the time we do not offer\nfurther details here. We think, however,\nit may interest our readers to have a\ncopy of what was witheld from the pu-\nblic ; that is to say, Mr Gordon Craig's\nspeech at the Banquet. in which he re-\nplied to the toast of « The Exhibitors »,\nproposed by Mr Alfred Lugg.\nThe speech was delivered without pre-\nparation.\nMR GORDON CRAIG'S SPEECH.\nLORD Howard de Walden, ladies\nand gentlemen, I have really no\nright to be here, for I am not an\neducated person, and I know nothing\nabout Education. Mr Barker and Mr\nFisher have spoken very admirably\nabout this same Education and its\nrelation to the Theatre. Mr Fisher\nmost kindly alluded to me as a scenic\nartist, but I am not a scenic artist.\n1 am here to thank you on behalf of\nthe scenic artists, and 1 do thank you\nfor them very much, but I am an Actor,\nand unless you accept me as such I\ncannot go on.\n{Applause; n Go on! R)\nn As an actor I am surprised to hear\nMr Barker talking of n the dignity of\nthe profession n, as though it were a\nmild and proper sort of thing, this\nacting and this theatre. They are\nwild things, unruly, not tame in the\nleast, and if the ladies will excuse me,\n1 would say n Damn the dignity of the\nprofession! n\nR When I heard the toast of His\nMajesty the King proposed and listened\nto the mild response I wondered how\nit was that everyone did not spring to\ntheir feet and cry out n The King ! R\nI can tell you this about the drama in\nEngland. Until men will leap to their\nfeet at such a toast we shall never have\na drama. The Drama is not made\nfrom mildness and charm and politeness.\nIt is because everyone in England is so\npolite that I shall be going back to\nItaly in four or five days. This is not\nthe atmosphere in which to create\ndrama, and it is drama that I wish to\ncreate. Drama cannot be created by\nbeing merely polite you must have\nfury.\nw The talk this evening has been far\ntoo much about Education and Deco-\nration. It is not the educator or the\ndecorator who creates drama. It is the\nactor and the fury of the actor. He\ncreates it by taking a story and inven-\nting what dialogue is necessary as he\ngoes along. You cry out, nlt is\nimpossible !ff But, ladies and gen-\ntlemen, it is not impossible. You think\nit is impossible because you will not\nstudy the subject and inquire into the\npast. If you did so you would find\nthat this creating of dramas by actors\nw7as done for some two to three hundred\nyears, with immense success. The actor\nwould take a story, such a story as\nthat of the jew who lent monies to the\nChristian, and he would create a drama\nfrom it. As it was done in the past\nit can be done again ; it rests with the\nactor to do it (1).\nR Mr Lugg, the Secretary of the\nActors* Association, who has just spoken,\nreferred to me in terms which give me\nthe utmost delight. English dramatic\nart I feel is a matter for Mr Lugg and\nthe Actors' Association rather than for\nthe educationalists. If you would all\nrally round him and his actors you\nwould have the National Theatre with\nyou (if you want one) in a very short\ntime hut you must support him.\nWhen this National Theatre comes to\nbe built you will have at the head of\nit Sir Johnstone Forbes Robertson, Sir\nArthur Pinero, Mrs Patrick Campbell,\nMr Granville Barker, Sir John Martin\nHarvey, Sir Harry Lauder {Here\nMr Craig let fall a long roll of names\nLaughter). What I had meant to\ndo was to read a list of some two\nhundred names of distinguished actors,\nfor all of whom a place should be\nfound in this National Theatre ....so\nlong as you do not put the name of\nCraig in that list.\n\" But it was not to speak of a\nNational Theatre or actors that I began.\nIt was to thank you on behalf of my\nfriends the artists; the artists have\ntaught me all I know of dramatic art,\nbut it is as an actor that I thank you\nfor them\n(1) See page 12 4t Peal Acting \""}, {"page_pdf": 25, "page_imprimee": "11", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.25", "texte": "AMONG THE VISITORS.\nHOW THE EXHIBITION APPEALED\nTO THE WOMEN WRITERS.\nALL over England, while the male\ncritics have studied the exhibits\nin their relation to the stage, the drama\nand the grown-up public, the ladies\nhave looked to see what it contain-\ned for the younger public..,, the chil-\ndren. And in each city some lady\nhas written something charming and to\nthe point.\nHere is such a Note written by a\nwoman who at Glasgow lingered in\nthe Room of the Models.\nTHE ROOM OF THE MODELS.\nWERE I the mother of many I\nwould take them all to this ma-\ngic room. Dolls* houses they would\ndoubtless dub these model theatres,\nand they would probably rejoice more\nin the n Wapping Ballet n set than in\nthe splendid austerities of Gordon\nCraig. But what games of make-be-\nlieve we could evolve! What dra-\nmas we would write! What fairy\nfantasies we could weave about these\nwondrous little pools of light shining so\nsteadfastly behind the puny stage sets.\nThe wistful colours would act as cor-\nrectives after the appalling crudities of\ntheir illustrated ABC's. The written\nglories of Grimm and Hans Anderson\nthey would see revealed before their\neyes, and for many a long day the\nradiant rubble of these little scenes\nwould flutter about and illumine the\ngrey background of their schoolroom.\n11 Luft me up—luft me up ! ! n\nLoudly the urchin's plea shrilled in\nour ears. His mother—a pleasant-\nfaced woman in a big grey shawl—\nheld him high in her arms that he\nmight feast his eyes on the miniature\nscene. He breathed deeply an ecs-\ntatic n Ooh! n and whimpered when\nshe set him down. Apologetically she\nlooked at us. w He's no seen the like\nafore. n Then she, too, indulged in\nan ecstatic sigh—n Eh, fegs, but they're\nawful bonny. n\nSo writes Ann Adair in the w Glas-\ngow Herald. n\nAnd here is another piece by a\nwoman, this time from London.\nFOR four weeks the Victoria and Al-\nbert Museum has been the scene of\na remarkable phenomenon. It was\nsymbolised to me yesterday by a child\nwho had accompanied his father to\nthe Theatre Exhibition that is being\nheld there. The father in his absorp-\ntion had forgotten his child and the\nchild had forgotten his father. It was\nearly in the day and visitors were\nfew and far between. The child was\nenjoying himself. With dancing mo-\ntion and waving hands uplifted, he\nwas giving himself the frequently re-\nnewed sensation of entering the dar-\nkened room wherein lay row upon\nrow of enchanting lighted stage scenes\nin miniature. He was moving rapidly\nin a circle—out of the British Room\ninto the Models Room, the German,\nthe Craig and Appia Rooms, and back\ninto the British. This circuit he re-\npeated so continuously and so swiftly\nthat it made me quite giddy to watch\nhim. He was not awed by the formal\narrangement of the exhibits, the vast\nrooms, nor the silence : not he! He\nwas not perplexed by what it ail\nmeant, but he was taking it all in—\nthrough his pores.\n11 The Museum has flung open its\nheavy doors to a living thing, to no\nless than the living spirit of a New\nTheatre. The child felt the spirit\nthough he knew nothing about it. n\nAnd this same writer, elaborating\non this theme of the living spirit per-\nvading the exhibition, continues :\nThe visitors feel it though many\nof them know nothing about it, and\nsome of them even resent it. The\nwarders feel it. At the end of the\nfirst week, the warder in charge of\nsome of the rooms in the Theatre\nExhibition confided in me: —n It gets\non your nerves sometimes, standing\nabout in them big galleries and no-\nthing doing. Us chaps have got our\nhands out for this job. Time passes\nso much more quickly. It's gone\nbeautiful this week ! n\nAnd here is another significant com-\nment :\nIwas standing idly near the cata-\nlogue stall one day, and was pon-\ndering upon the words n Towards a\nNew Theatre n displayed on the co-\nver of a large book by Gordon Craig,\nwhen I heard a lady addressing the\nvendor of catalogues in piercing tones.\nn 4 Towards a new theatre ? But\nwe've got too many already—and they\ndon't pay! * The catalogue vendor\nexplained that it was towards a thea-\ntre in the abstract.\ns 4 Theatre in the abstract ? * que-\nried the lady. 4I do not know what\nyou mean, * She picked up her cata-\nlogue and her change and went off\nmystified.\nR 4 A theatre not made with hands, '\nmurmured a voice at the catalogue\nstall. With this sentence ringing in\nmy ears I returned to the Craig draw-\nings, and where before I had been\npuzzled I seemed now to understand.\nI have made friends with the ven-\ndor of catalogues, and as I sit beside\nher have on occasion heard apprecia-\ntion and depreciation of the exhibi-\ntion, addressed to the chair.\nn One day an irate visitor deman-\nded of my friend if there were no\nphotos of actors and actresses—the\nold favourites.\n4 No, I am sorry. This exhibi-\ntion deals only with designs and mo-\ndels for the modern theatre,\nn I hate the modern theatre—it's\ndisgusting! Not even a sign of Ellen\nTerry in the whole show!*\nAt this my friend smiled sweetly.\nn4l am sorry you haven't been into\nRoom 11, * said she,\nn The point was lost upon the irate\nvisitor.\nn 4 But I kave.\\l've been everywhere.\nAnd it's all disgusting—it's horrible ! '\nn Flinging down his catalogue upon\nthe table, he made a dramatic exit. R\nIn Room II were all the designs\nthat Ellen Terry had to show. Her\npresence was so evident there that the\nabsense of her name in the catalogue\nwas immaterial.... for most. w\n\nAMSTERDAM\nLONDON\nAMERICA\n•J Never before was a Theatre Exhibi-\ntion so perfectly housed as it was in\nAmsterdam by Mr Wijdeveld. His was\na brilliant piece of work.\nNever before was a Theatre Exhi-\nbition so honourably housed as it was\nin London at the Victoria and Albert\nMuseum.\nCJ And America talked of having the\nwhole collection taken over there."}, {"page_pdf": 26, "page_imprimee": "12", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.26", "texte": "REAL ACTING.\nOR, CAN THE ACTOR CREATE?\nSOME EVIDENCE THAT HE CAN,\nCOLLECTED\nBY G. B. AMBROSE.\n\nREAL actors create. They take an\nold short story (as the play-wri-\nters do), or make a new short story ;\nyet not really like a short story, but\nmore like a telegraphic message of a\nseries of facts and events.\nThese facts and events must all be\nbrought to happen in one spot. No\ngood including this, for example :\nn Hamlet here goes to England. On\narriving goes to Stratford-on-Avon ;\nlays a wreath on Shakespeare's tomb n.\nAny wreath-laying must be done on\nthe stage and the scene must not change\nfrom Elsinore to England, nor be any\nspot other than the one spot selected\nfor the appearance of the first characters\nwhich come on.\nThe actors then invent their own\ndialogue.\nImpossible n, you say. n Already\ndone n I must reply : and what has\nbeen done once can be done again.\nI give you here for your eyes to see\nand for your common sense to reason\nabout, a page from an Italian book of\nabout eight pages in my possession.\n(see page 13). You will find a\ntranslation in the side column.\nThis is the first page of an Italian\nplot or scenario. Here is stated briefly\nall that is to happen at the beginning\nof Act I. The piece has 3 Acts and\na Prologue: the entire contents of\neach act gets on to one page, ....and\na page measures 6 A/4 inches by 4 A/4\ninches.\nThe book is rather a rare thing to\nfind, but, once found, is a proof that\nreal actors have had no more than this\non which to weave their dialogue.\nYou'll see some of the characters\nnamed on the page reproduced here :\nMagnijico who is Pantalont; Gratiano\nwho is the Doctor or il Dottore;\nBuratino, Zanni, Fulvio and Turchetta.\nMagnijico is a name Pantalone goes\nunder. He is a serious figure, not an\nold doddering ass like the Pantaloon\nof the pantomimes of 1880. Gratiano\nis il Dottore or Doctor, another serious\nfigure, .... the learned one. All is\nserious and distinguished, and over all\nof it sings and dances the comic muse.\nThe scene is a street in Naples.\nThe Properties, or Rohbe as they are\ncalled in the book, are a purse,\nTurkish dress for Zants Slave's dress\nfor Fulvio, and no more. Here you\nsee a Costume becoming a Property.\nAny Professor Brander Matthews,\nor even aw Times * critic puzzling\nseriously over this at home, becomes\nw il Dottore w as he argues with logic\nthat costume cannot possibly be Pro-\nperties nor the Property-man the proper\nmoral guardian of any of the costumes:\nhe would find it very unpractical....\nflippant.... n it can't prevail\nThe English Theatre Trade's Union\nwould find it utterly ....deplorably ....\nout of order that the costumier should\nbe ousted by the property man, ....\nwho would probably strike if asked to\ntouch anything in a department to\nwhich he did not belong.\nThe Italian actors of the. sixteenth\nand seventeenth centuries had no pa-\ntience with such noodles,... seeing what\nharm they could do. So the\ndid all the work of a theatre without\na huge staff of 136 workers, or even\n36 workers, or even. 6. Perhaps the\nbaggage man lent a hand as ever.\nThe reproduction of this rare leaf\nhas been put here so that any actors\n\nThe above illustration is the title page of the very rare book on the Stage by\nthe actor Barbieri. 1576-1641."}, {"page_pdf": 27, "page_imprimee": "13", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.27", "texte": "or critics, curious to have proof of the\ntruth of what we have been asserting\nsince 1908, can have it here.\nAnd how to set about it ? you ask.\nDo you remember Goethe's two\nlines ? ....badly translated they go like\nthis :\nw Strike up, my boy, no fear\nno hesitation ;\nTill you begin no chance of inspi-\nration n.\nWhat? at rehearsal ? with a\ncompany of fellow-actors who are all\nstrangers to each other ? NO ! and\nhere's the heart of the matter, .... (at\nwhich we find the worm nibbling\ntoday).... not strangers.... actual friends.\nTill you become — but fast\nand loyal friends and choose a\nleader who shall give the beat, the\nstroke, the direction, and abide by his\nruling, you'll not create again. You\ncan be no real afctors till you care to\nbe real friends.\nThis rare book has the title :\nLA SCHIAVA | COMEDIA NUOVA | E RIDI-\nCOLOSA. | NUOVAMENTE POSTA IN LUCE,\nAD IN- | STANTIA D'OGNI SPIRITO | GEN-\nTILE. | COLOPHON | IN PAVIA, j PER PIETRO\nBARTOLI. 1602. | CON LICEN2A DE' SUPE-\nRIOR!. |\nThese words are surrounded by a\nborder.\nTRANSLATION,\no ACT ONE o\n{Magnifico, i. e. Pantalone, and Gra-\ntiano, i. e. il Dottore, enter from\nthe street) (1).\nMagn. In the street (2) with.\nGra. (/ imagine two old men. Serious\ncomic actors, n Character w act-\nors. w Ed.)\nMagnifico asks him (Gratiano) for\nthe two hundred scudi which he is\nto have for the Merchandise that\nhe (Gratiano) has had : Gratiano\nsays that he must go to the Banco\nde i Grifoni (Bank of the Grifoni)\nwhere they will be given him, and\ngives him a token, then goes away.\nMagnifico remains and discourses of\nhaving turned his son Fulvio out of\nthe house for his bad behaviour; then,\nwanting to give orders to the Zanni\n{a servant) that he should go to the\nBank to collect the money he knocks\nat the House.\nZanni. (/ imagine Zanni to he Ar~\nlecchino as he generally is, a low\ncomedian,... a rascal hut capa-\nble. Ed.) (3).\n{He) comes to the window preten-\nding to sleep; in the end, after\nhaving jested a while, Magnifico\ntells him to go the Bank and touch\nthe little finger of the Banker (4) who\nwill give him two hundred scudi\nand that he bring them to the\nhouse : Zanni, who will do it, re-\ntires within, Magnifico goes along\nthe street.\nFulvio. (/ imagine the young leading\nman.... helpless but charming. Ed.)\n{He) discourses of the love he has\nfor the Slave of Buratino, and, how,\nowing to not having money, he will\nnot be able to have his pleasure in\nthis.\nZanni {comes cut) from the house to\ngo to the Bank : Fulvio begs him\nto be willing to help him ; Zanni\nasks what he wants; Fulvio says\nhe only wants him to take as much\nstuff in his father's house as he {Ful~\nvio) can procure two hundred scudi\nfor; Zanni says he by no means\nwishes to steal ; Fulvio threatens\nhim if he will not do as he wants ;\nZanni goes along the street, and\nFulvio follows him.\nBur at. From his House discourses on\nhis Profession, & praises his art\n(trade), then calls Turcheta from\nthe House.\nTurcheta (/ imagine the young lea->\n\nAtto Primo.\nMagi). I firsdacon.\nGrar. II Magnifico gli dinunda gliduoj cento fcudi, cfift\ndeue hauere per la Mercantia, che ha hauujo:\nOratlano dice, cße vadi ai Banco de i Grifoni, che gli fa-\nran no dati, & gli da vn fegno poi fj parte, Magnifico refta,\n& difcotrehauer mandate fuofi di Caia Fuluio fuo HgHo-\nperitfuo ma 1 gonerno, poi voler dar ordine a Zanni, chc\nvadi aJ Banco i pighargli denari batte a Cafa.\nZanni. Viene alia fineflra fingendo di dorm ire, in fine doppo\nhauer buriato vn pczzo:Magnifico gli dice, che vadial\nBanco de t Grifoni,& rocbj t!dittopicoloalls Bancheri,\nche gli dara doci cento fcudi eche gli portii Cafa: Zanni\nche (o fara, fi rifira dentro, Magnifico viper llrada.\nFuluio, trarta I'amor de h Schiaua de Buratino,& per nonhs«\nnet denari non potra hauer ilfuo content© in cjnefto.\nZanni di cafa per ar.dar ai Banco ? Fuluio !o prega a volerf®\nagiutare, Zanni gli adjmanda che cofa voole, Fuluio die©\ncon voler, che pigli tanta robba in cafa di fuo padre, che\njpofli caoarduoi-cehto fcudi, Zanui dice non voter rubbat\ni aaodo niuno; Fuluio gii minatia fe non fara a fuo (&odo,\nZanni ui per ftrada,& Fuluio lo feguita.\nBurar. Di Cafa difcorre foprsla fua Profellione , & foda Tarto\nfua. poi chiama di Cafa Turchera.\nTurcheta,& gli dice, che la vuol vender » lei piangendo lo pre-\nfta dar la a perfone da bene, accio i'honor fuo fijfeluoj\nuratino piange ancor lui poi eotrano in Cafa.\nZanni, che £ rifcofib gli Denari ai Banc©, io gli arriua\nadofio Fuluio.\nF&luio gli ie<fe gli &rtarf* preg* Zauns folcfgiicii dare, Zara-\nin\n\n(1) The translation follows as\" closely as\npossible the brevity of the originalsave\nthat a few unpunctnated sentences have\nbeen rendered more intelligible by stops,\nand, where necessary, an extra word or\ntwo has been added in italics, bracketted.\nSeveral Editorial comments have also\nbeen added in brackets,\n(2) The scene is a street in Naples\nwith Magnifico Pan ta tone's house on one\nsidei The two men enter foom another\nstreet; ..i.e., not from the house is the\npoint.\n(3) See Illustration facing Page 1 for\none of the Zanni; servants, low co-\nmedians.\n(4) Evidently a kind of counter sign,"}, {"page_pdf": 28, "page_imprimee": "14", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.28", "texte": "ding lady, bought from the Turks\nfor sale in Venice. Ed.).\n(Comes on and he) tells her that\nhe wants to sell her ; she, weeping,\nbegs him to give her to decent\npeople so that her honour may be\nsafe; Buratino weeps also; then\nthey enter the House.\nZanni, who has collected the money\nat the Bank (comes in); in this\n(moment) Fulvio comes upon him\n(from behind).\nFulvio sees the money, begs Zanni to\ngive it to him, Zanni\nMORE EVIDENCE\nTHAT THE ACTOR\no CAN CREATE o\nIN the foregoing reproduction and\ntranslation we have clear evidence\nthat the actor could and did create,\nand much more evidence may be brought\nin support and confirmation of this.\nA few more such proofs I would\nlike to offer here : especially as, in a\nrecent letter to a London newspaper,\nevidently taking part in some controversy\nwhich had been raging, Mr William\nFarren asserts that the actor \" never\ncreates \". He, no doubt, has a\nnumber of excellent reasons for saying\nso; but he gives us only one of these:\n\" The actor never does more than\nconvey what comes from another brain \" ■\nIt is a long time since I have seen\nthat written and signed by an actor,\nand it will be, I hope, a long time\nbefore I see it written again by anyone\nconnected with a Theatre.\nIt is noticeable that Mr Farren speaks\nof what an actor never does : he writes\nin the present tense. He does not say\nthat actors never did create, for he\nknows that they did.\nBetween 1 500 and 1900 it was the\ncustom for all good actors in many\nlands to create. I will not tire my\nreaders with a repetition of what has\nbeen printed in former pages of this\njournal. But I will give you two\nextracts, and also the names of a few\nof the most famous actors of Italy,\n(to take but one country), who most\nassuredly created their plays, inventing\nthe dialogue and the action of the\nplays, and led by a capo-comico, or\nhead-actor.\nThe names first :\nAngelo Beolco 1502-1542\nF. Andreini 1548-1624\nT. Martinelli . 1551-1630\nIsabella Andreini 1562-1604\nFlamminia (c) 1 565\nG. Tabarin (c) 1568\nGanassa (c) 1570\nPellesini (c) 1570\ndi Fonaris (c) 1570\nO. Nobili (c) 1570\nF. Scala (c) 1577\nSalimbeni (c) 1590\nD. Biancolelli 1637-1729\nCarlo Cantii (c) 1640\nThe Romagnesi family (c) 1640-1700\nAdami (c) 1660\nG. Pasquati (c) 1674\nG. Bianchi (c) 1676\nGherardi (c) 1676\nThe Riccoboni Family (c) 1678-1770\nMuzio (c) 1688\nVisentini (c) 1700\nSticotti (c) 1700\nCostantini (c) 1708\nN. Barbieri 1576-1641\nCecchini (c) 1610\nB. Bocchini (c) 1610\nGabrielli (c) 1625\nStefano Lolli (c) 1629\nTiberio Fiorilli (c) 1630\nVitali (c) 1720\nSacco (c) 1738\nBertinazzi (c) 1745\nRoti (c) 1770\nDel Buono (c) 1800\nPetito (c) 1852\nScarpetta (c) 1854-1919\nAnd now the two Extracts, the\ntestimony of actors :\nEvarista Gherardi in 1717 wrote:\n\" To be a good Italian actor means\n\" to be a man who possesses a rich\nn store of knowledge, who plays more\nn from fancy than from memory, who,\nn while he plays, invents all he says;\nn who seconds his colleague on the\nn stage, that is, matches his actions and\nn words so well with those of his\nn comrade, that he enters at once on\nn all the movements to which the other\nR invites him, and in such away as\nn to make everybody believe that all\nR has been settled beforehand n.\nTo which Mantzius, the Danish actor,\nadds : n We can well understand that\namateurs were insufficient for these\ntasks n.\nRiccoboni the Italian actor, in 1728\nwrote : w The actor who improvises,\nn acts with more animation and in a\nn more natural way than he who\n11 performs a part he has learned by\nn heart. People feel better, and con-\nn sequently say better, what they invent\nn than what they borrow from others\nn by means of the memory. But these\nn advantages are purchased at the price\nn of many difficulties ; clever actors are\n51 required, moreover actors of equal\nn talent; for the drawback of impro-\nR visation is, that the art of even the\nn best actor absolutely depends on his\nR fellow performer ; if he has to act\nn with a colleague who does not reply\nn exactly at the right moment, or who\nn interrupts him in the wrong place,\nR his words miss part of their effect,\nnor his spirit is gone. To an actor\nn who depends on improvisation, it is\nn not sufficient to have face, memory,\nn voice, even sentiment; if he is to\nR distinguish himself, he must possess a\nn lively and fertile imagination, a great\nn facility of expression, he must master\nn all the subtleties of language, possess\nn all the knowledge which is requireh\nn for the different situations in which\nn his part places him 11.\nThe many biographies and histories\nof the English stage give the names of\nthe British actors who developed this\nbranch of the theatrical calling.\nAs I read Mr Farren's letter over\nand over again, I am led to believe\nfrom it that some writer in this con-\ntroversy had been suggesting that an\nactor could be as n great n as Shake-\nspeare any day.\nThat we all know is twaddle. But\nI hope that actors will not a name,\neven a great one, drive them to take\nrefuge under any extinguishing modesty.\nFor the actors Andreini and Scala were\nbetter playwrights though not better\nplay-writers than Shakespeare, ....\nand, by the way, Andreini somewhat\nresembles him.\nAs you can see by his portrait in\n\" The Mask n Volume 6, face page 93.\nEVERY PRODUCTION OF\nGENIUS MUST BE THE\nPRODUCTION OF\nENTHUSIASM.\nDISRAELI.\nO\nCAPACITIES ARE PRESUPPO-\nSED: THEY ARE MEANT TO\nDEVELOP INTO CAPABILITIES,\nOR SKILLED DEXTERITIES.\nGOETHE."}, {"page_pdf": 29, "page_imprimee": "15", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.29", "texte": "PANTALOONS A-POSTURE\nBY GEORGE JEAN NATHAN\nTHUS dulcetly the mimes when lifted the curtain on\nMr. Cyril Harcourt's drama, w The Intruder : \"\nRENE LEVARDIER. I shall leave by the ten o'clock\ntrain for Fontinblow.\nPAULINE (his wife) What ! You are going to Fon-\ntaineblue to-night ?\nGEORGE GUERAND (her lover) But I did not be-\nlieve there was a night train to Fountainblah.\nFor a study of contemporaneous mummering, would\nthat an evening before this stage had been yours ! You\nwould have been fetched, I promise you. You would\nhave seen artist and artiste act the play almost entirely\nwith the eyebrows. You would have seen the leading\nlady interpret deep nervous emotion with he upper por-\ntion of her corset. You would have heard allusions to the\nPont Noof and you would have seen the actor who played\nthe thief adjust his hat to his hip and, with feet akimbo, defy\nthe hero who was standing beside him by addressing his\nremarks hotly to the head usher. You would have seen\nthe leading lady, grief stricken, sink into a chair, clasp 'ker-\nchief to mouth and move her head slowly from side to side\nlike Mr. Montague Glass ' Mozart Rabiner. You would\nhave seen the actor playing the husband halt long enough\nat the door on his exit to give the audience an eye : thus\nregistering suspicion. You would have seen the actor playing\nthe lover halt long enough at the door on his exit to give the\naudience the same eye : thus registering alarm. You would\nhave heard an allusion to the cohan-seerage and you\nwould have seen the actor playing the husband indicate\ndoubt by biting the right corner of his lower lip and the\nactor playing the lover indicate defiance by taking his hands\nout of his pockets.\nIn short, you would have been reminded d( the fire-\nside story of the local actor, who, at the last moment cal-\nled upon to substitute in a play adapted from a foreign\nsource, rushed upon the stage the opening night and\nproudly negotiated \" Oui, oui, monsieur \"as \" Owie. owie,\nmonster ! \"\nIn no other profession in the world, of course, is there\nso much incompetence as in acting. Not even in dra-\nmatic criticism. The reasons for this incompetence are fa-\nmiliar to the readers of Diderot, Coquelin, Lewes, *Walkley,\nGeorge Moore, Anatole France, Tree and such others as\nhave treated of the subject. But some of these reasons,\nthough familiar, are not as sound as they might be. Tree,\nfor example, himself an actor, argues, as did Coquelin\nbefore him, that the little knowledge which is supposed to\nbe dangerous in most walks of life is the desideratum of\nthe stage artist—the little French, German, Italian, mu-\nsic, etc. And then, following up this spruce brain ma-\nnoeuvre, the gentleman observes that where education tends\nto the repression of emotion, the actor lives and moves\nand has his being in its expression. Mr. Tree here ob-\nviously waxes ridiculous. To argue that education is not\nnecessary to an actor in that it will interfere with his\nexpression of the emotions, to argue that he may the bet-\nter express them if he does not know thoroughly what he\nis talking about, is to argue that Robert G. Ingersoll was\nless successful in impressing his audience than Robert\nDowning. A farce actor or a melodrama actor may, of\ncourse, be at once an ignoramus and a successful stage\nperformer. But small wonder (realizing most actors be-\nlieve with Mr. Tree) that such as Ibsen and Shakespeare\nand Hauptmann are so regularly murdered in their tracks !\nIndeed, no better proof of the vacuity of Mr. Tree's be-\nlief may be had than in Mr. Tree's own performances.\nEven where the actor is not possessed of thorough\neducation, his histrionic eminence in the comunity depends\nlargely upon his cajoling that community into believing he\nis possessed of such an education—as witness the case in\nour own community of Mrs. Fiske. Sarah Bernhardt is a\ngreat actress because she is an educated1 woman. (1) True,\nthe greater the idiot, the more vividly he may express\nsuch physical emotions related to amour and the chasing\nof a lady around the room as are part and parcel of the\nSardou species of drama ; but the mental emotions of the\nmodern dramaturg require certainly for their expression\nsomething other then mere ear-wiggling and leg work.\nThe difficulty with the actor, however, is not that he\n\nReprinted by kind permission of Mr. Nathan from « Mr.\nGeorge Jean Nathan Presents»; A. A. Knopf, New York, 1917.\n(1) Written previous to her death. Ed."}, {"page_pdf": 30, "page_imprimee": "16", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.30", "texte": "is not, generally, an educated person, but that, generally,\nhe has not even a vague smattering of the minor know-\nledges necessary to his art. The average actor or actress\non our own stage, for example, cannot pronounce correctly\nthree simple words in French, German or Italian, cannot\nplay, even amateurishly, the piano, does not know how to\nhandle the foil, cannot dance two steps of the minuet,\ncannot read even the first measure of so incomplex a com-\nposition as Lizt's Von der Wiege bis zum Grabe. n\nThe average actor thinks of his newly acquired role prin-\ncipally in terms of the clothes it will permit him to wear.\nTwenty years ago a dramatist could rely, in part at least,\nupon his actors. Glance at the plays of the period and\nyou will find trivial stage directions and scant instructions\nas to the costuming. To-day Shaw's stage directions to\nthe actors occupy as much space in a play manuscript as\ndoes the acting play itself. And Barrie's are often as\nlong as Shaw's.\nWalkley says that an actor must be impressed by the\noutward and visible signs of things rather than by the\nthings themselves. It is true that an actor is so impressed,\nbut this does not, assuredly, argue that he should be. What\nWalkley should have said was that a theatre audience is\nimpressed by the outward and visble signs of things rather\nthan by the things themselves and that, this being the case,\nthe actor—being by nature of his craft a lazy fellow—\ntakes the same easy course so to impress his audience.\nTo contend that this is, therefore, just what the actor\nought to do—and that is but fair to allow him to do it\n—is to contend that the best actor is that actor who in-\nterprets not the role written for him by the dramatist but\nthe audience's composite idea of the role written for him\nby the dramatist. And to make this contention is to speak\nin terms of mob popularity, which popularity is, of course,\never vitally at odds with art of any kind—even what\nMoore called the lowest of all the arts, acting. The plain\ntruth, patently enough, is that the actor bears the same\nrelation to an artist that the phonograph bears to Madame\nSembrich. The artist is contemptuous of the crowd. The\nonly actor in America who is contemptuous of the crowd\nis Mr. Arnold Daly. And Daly, by that mark, is the\nonly ac or in America who approaches the rank of an\nartist. And Daly, as actors are regarded by the theatre-\ngoing crowd, is not what is known to them as a successful\nactor.\nThe actor thinks in terms of what his audience will\nthink. Mr. William Faversham had once the impertinent\nintelligence to portray lago as he himself thought that\ncharacter should be portrayed and his audiences, who had\nbeen used to the rubberstamp notion of lago, felt them-\nselves slighted and would have nothing to do with the\ncharacterization. Other actors, playing like merchants the\nsafe side, merely sell to their audiences the characterizations\nof the roles and the appurtenances thereto that the audiences\nare accustomed to. Let an actor playing an English\ncharacter correctly recite the word specialty as speciality\nand, as was the case with Miss Grace George last season,\nthe audience will promptly snicker its distrust. Let an\nactor playing a judge enact the role in a make-up resem-\nbling Mr. Justice Freddie Kernochan in place of the customary\nmake-up resembling Russ Whytal and he will be a gloomy\nfailure in the audience's eye.\nI cannot believe, for all that has been said and said\neloquently to the contrary, that the numskull makes the best\nactor. It is to me inconceivable that Havelock Ellis, incog.,\ncould not have played the doctor in 1 Damaged Goods n\nvery much better and very much more convincingly than the\nactor who did play the part or that Finley Peter Dunne\ncouldn't have played the Irishman in H General John Regan n\nseveral times better than Mr. Charles Haw trey.\nYet, in spite of all these remarks, picture to yourself\nthe most intelligent and best actor in the whole world\nplaying John Gabriel Borkman. Picture this actor in the\nmidst of a superb performance. Picture him captivating the\nmost intelligent audience ever gathered into a theatre.\nPicture his keen strokes of characterization, his perfect\narticulation, his own clear mentality gleaming through the\nIbsen script. Then suddenly picture, in the very\nmidst of this remarkable impersonation of the role ; the\ngreat actor accidently splitting his pants I\nAnd, having succeeded in picturing this, you have\nsucceeded coordinately in picturing the tumbling to earth\nof every fine theory of the art of acting ever written\nincluding particularly this, my own.\nTHE Theatre has often been at variance with the\npulpit: they ought not to quarrel. How much is it\nto be wished that in both the celebration of nature and of\nGod were entrustd to none but men of noble minds.\nGoethe.\nTO make the common marvellous, as if it were a re-\nvelation, is the test of genius.\nLowell.\nA WISE scepticism is the first attribute of a good\ncritic.\nLowell.\nCRITICISM is as often a trade as a science, requiring, as\nit does, more health than wit, more labour than capa-\ncity, more practice than genius.\nLa Bruy&re.\nORDINARILY men entertain a very erroneous notion\nof criticism, and understand by it nothing more than\na certain shrewdness in detecting and exposing the faults\nof a work of art.\nSchlegel.\nTOO much is said about an actor's fire I It has been\ndisputed whether an actor can have too much fire.\nWhen those who hold this opinion adduce, byway of\nevidence, that an actor is vehement, or, at least, more ve-\nhement in the wrong place, perhaps, than circumstances\nrequire, those who maintain the contrary are justified in\nasserting that the actor manifests not too much fire, but too\nlittle sense.\nLessing."}, {"page_pdf": 31, "page_imprimee": "17", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.31", "texte": "AN OLD PROBLEM\nSOLVED\nWHAT TO DO WITH\nSHAKESPEARE\nBY J. SOMERS BACON.\nTHE question what to do with\nShakespeare still remains unsolved,\nand 1 propose to do my best to solve\nit now.\nWe of the n New Movement 9 in\nTheatre work, especially the scenic\nmen, are the culprets, so they say.\nBut it is not against any of us that\nthe prim and righteous and their friends\nshould level their accusations. No, they\nshould accuse Shakespeare and find and\nproclaim his faults.\nWell, some do this. They say he\nis too Theatrical.\nAs for that, we, being theatrical\nourselves, are happy to find old Shake-\nspeare a bit gaudy too, and to make\nas much of it as we possibly can.\nAnd surely when Shakespeare is\nmade much of and spoiled a little he\nis, perhaps, a little more easily managed\nthan if brought up and brought out\npuritanically. Yet when it comes to\nputting a play by Shakespeare on the\nstage the difficult part lies in managing\nthe play for it is so unruly, so\nhuge and sprawling.\nWhat to do no one has yet decided.\nWho is best fitted to decide ? A\nparson, a shipwright or a stage-manager?\nIn spite of the letter's shortcomings\nI really think that the most theatrical\nstage-manager is the one who can do\nthe trick best, a trick which no\none else can do: that is to say,\npreserve Shakespeare's plays for England.\nWhile it is quite true that Shake-\nspeare is not a good play-maker in the\nstrictest sense of the word, it's odd\nhow very theatrical he is, .... Poetical-\ntheatrical.\nTake the first scene in n Macbeth n.\nHere v/e have three old hags, Scotch\nwitches, imagining that they can run\ntheir neighbourhood by giving up all\nthat's bright and gay in life and con-\ncentrating with fury towards mischief\n.... dry old hags.\nThey meet over some pot of stew\nwhich they can't eat and some bootleg\nwhisky which they love, and make a\nlittle quiet, very concentrated and utterly\nmischievous prayer.\nHaving done this, they separate\nand in separating they ask when they\nshall meet again, and so on.\nNow any sensible modern play-writer\nwould have made them talk at least\nreasonably. Whereas their talk is\nunreasonable, highly coloured, as my-\nstifying as our critics find Craig's writings,\nsemi-musical, and, as I have always had\nto admit, very theatrical.\nThe English unprofessional producer\nwhen he comes to it determines to\nsimplify it, to discipline it and\nto organize and bring up politely what\nis utterly wild. I don't like the result.\nThis first scene then becomes dull, flat,\nbony.\nMr William Poel is not the first\nEnglishman who felt and thought in\nthis way nor Mr Archer the first\nEnglish critic. There have been thou-\nsands who felt as they do, saw what\nthey saw, that a Shakespeare play\nis a disorderly piece of workmanship,\nand needs bringing to earth, needs soap\nand water and scrubbing brush to wash\naway all its faults, especially theatricalism\nif it is theatricalism which is not\nwanted in the Theatre.\nThese gentlemen are not entirely to\nbe blamed for doing as they do, for\ncalling out against overloading the Drama\nwith scenery and music and 11 effects n,\nfor it is, I believe, their natural instinct\nto wish to preserve as much of Shake-\nspeare's words and noble sentiments\nand even more than these, as best\nthey can.\nYet what with protests here, scrub-\nbing there, and organization everywhere,\nthe plays are slowly being worn away\nand soon will be lost to us.\nThe words are already being lost,\n...rtheir sense was lost long ago ; their\nmusic going; the picture and the\nsituation no longer held worthy to stand\nalone, ....(and of course they should not\nstand alone) : the place rather in\nruins.\nI think that some serious steps might\nbe taken to decide if what I say be true\nor not, ....whether Shakespeare's plays\nare in ruins, and his theatre too: and,\nif this be true, to secure, (without the\ndelay of more than another twenty-five\nyears) some new house and keeper for\nthis unruly but possibly useful article\nknown as Shakespeare, or what's\nleft of him. I don't know if we can\nafford to keep the man, but I don't\nthink he should be n scrapped n together\nwith useless officials of Home and\nForeign Office.\nIf, on the other hand, we cannot\nhouse him in our own land, let us sell\nhim, .... let us ,f realize n upon him.\nWhat I mean is this. I do not\nseriously think that we as Englishmen\nought to waste him. I do really think\nthat there is one market for him or\nanother.\nIf he is not neat, funny or polite\nenough, or even sufficiently handsome,\nfor any Theatre public in England, he\nstill has his indisputable value as an n old\nMaster.R His thirty-seven plays after\nall are the only genuine Shakespeares\nwe possess or ever can possess. And\nI believe that we might turn these\nthirty-seven plays to profit. France, or\nGermany, and America would possibly\nbe willing to purchase twelve apiece.\nWe owe A.merica money. Could\nwe not sell the entire rights of the\nfollowing thirteen (as twelve) plays to\nAmerica for £ 856,000,000, thus\ncancelling the debt ?\nKing Lear.\nKing John.\nKing Richard 11.\nKing Henry VIII.\nKing Richard 111.\nAntony & Cleopatra.\nJulius Caesar.\nCymbeline.\nThe Taming of the Shrew.\nAil's Well that ends Well.\nMerchant of Venice.\nMacbeth.\nMuch Ado about Nothing.\nBy entire rights I mean publishing\nand acting rights, and the rights to call\nShakespeare an American.\nThen we might sell ten to Ger-\nmany with reserves.\nTwo Gentlemen of Verona.\nOthello.\nWinter's Tale.\nHamlet.\nTitus Andronicus.\nTimon of Athens.\nThe Tempest.\nTwelfth Night.\nComedy of Errors.\nMerry Wives of Windsor.\nTo Eastern peoples we might barter\neight of the plays for oil to the value\nof £ 600,000,000."}, {"page_pdf": 32, "page_imprimee": "18", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.32", "texte": "Coriolanus.\nRomeo & Juliet.\nTroilus & Cressida.\nLove's Labour Lost.\nA Midsummer night's Dream.\nAs you like it.\nMeasure for Measure.\nPericles.\nThis would leave us with six :\nHenry IV, Part I.\nHenry IV. Part 2.\nHenry V.\nHenry VI. Part 1.\nHenry VI. Part 2.\nHenry VI. Part 3.\nif it's not keeping too much.\nWe sell Gainsboroughs and Reynolds\nand other masterpieces of painting ....\nso why not these ?\nI put it to Mr Baldwin and the\nother ministers that here is away out\nof their difficulties.\nAll rights to print, publish or perform\nthe plays should be sold.\nThe thirteen named first should be-\ncome lock stock and barrel the entire\nright of the Americans, who should be\nallowed henceforth to erect statues to\ntheir national poet Shakespeare, to build\ntheatres to show his plays; all rights of\ntranslation should be made over to them\nby a new Act of Parliament.\nPerhaps sixty-five million is much to\nask for a single play. Were this to prove\nthe case there is Byron whom we never\nread, and whom we might throw in,\n.... entire Byronic rights ; and throw in\nten or twelve of the dissolute Elizabethan\nplaywrights. I believe that within five\nyeais we could ship over 856 dramas\nwithout much difficulty and with prac-\ntically no loss to ourselves, .... and with\n£ 856,000,000 gain.\nThere does not seem any need to point\nout that the Americans would know\nhow to farm out the masterpieces so as\nto yield a profit of some £ 15,000,000\nyearly. So that in less than eighty\nyears they would have repaid themselves,\nbroadcasting America's National Poet,\nand then the profit would begin.\nWith all the eager hands for ever\nstretching to us across the Atlantic ready\nto welcome and enrich any ordinary\nmodern poet who cares to go over and\nlecture, have we any doubt that a hearty\nwelcome awaits him who for a short\nwhile longer we may call our greatest\npoet ? ....and may we not wish him\nand his works God-speed and congra-\ntulate ourselves on a good bargain?\n....and, if we have an ounce of our\nnational capacity left, we really ought\nto be able to make that bargain.\nWould this not solve an awkward, not\nto say unfortunate, problem ?\n\nON THE 154 SONNETS OF SHAKESPEARE\nBY EDWARD GORDON CRAIG\nI think it is the Abb 6 d'Hebiin, (1684-1732), the sen-\n-1 timentalist, who was the first to state it as his belief\nthat Shakespeare wrote his Sonnets for money.\nUntil 1700 no one had doubted this; but about that\ntime sentimentalism began to see a larger sale in a volume\nof heart to heart sonnets, and the rumour spread that these\nby Shakespeare had positively been written to two persons.\nOn this rumour, rumour embroidered. The thing took\non mysteries, mysteries meant still greater sales—and this\nidea of a double-hearted Shakespeare with his two loves\n77 of comfort and despair n came to be accepted by all.\nBy all but d'Hebiin ; and in 1716, exactly a hundred\nyears after the death of Shakespeare, he decided to explode\nthis foolish notion. He is pitiless in his derision of the\nidea that Shakespeare's heart is laid bare in the sonnets.\n75 Double hearted Shakespeare n he cries, 75 why not treble\n—quadruple ? 77 11 Ah, ce petit homme infatigable ! Dans\ntoute I'histoire du genre humain ii n'y a jamais eu de\npoete qui a r£vel£ un fcel nombre d'ecartelures sur le divin\n£cusson 51 he writes in his n Essay on the Human Heart, n\n(Dijon) page 37 of the 1732 edition.\nHis book was published at his own expense but very\nfew copies seem to have been preserved, his house being\nburnt during the terrible fire of 1732 in which it appears\nhe lost his life—and most of the' copies of his book at the\nsame time. Since then no one has troubled to combat the\nsentimental sonnet notion, and now almost everyone has\nreturned to the belief that they do hold a profound my-\nstery, although a few have been of d'Heblin's opinion—\nas I am.\nThat Shakespeare wrote them for money seems to me\nobvious, and so tedious were it to go and search deeper\nbelow the perfect surface of these hundred and fifty four\ntrifles.\nWhen twenty-four years after his death they were\nreprinted they were bundled pell-mell anyhow in a volume\nregardless of any order.—What sequence can a number of\nsonnets have which are sent by a dozen men or so to as\nmany women.,., and from five or six women to no fewer\nmen.... ?\nI see one of these sad or smiling visitors seated in the\nthird-floor-back with Mr Shakespeare;—and: 17 I cannot\ntell him what I feel n she says.\nw Which is ?... 77\nn That I adore him, that I worship him, that—that—n\nand she cannot utter another word.—Yet before long sbe\nhas poured out her grief, H that some day he will grow\ncold. w\n77 Tomorrow at twelve will you come here. I will\nhave written something by then.... n\n77 Can it be.... eleven? n she asks.\nHe hesitates,— and then quickly, quietly,—71 At eleven. 77\nThat same evening before going to the Theatre\nShakespeare has penned three sonnets for her.\nII One of them might do—somehow n is his doubt\nas he reads : n One will do n is his certainty on reading\nthe last.\nAt 10.50 the next day a knock on his door—She\nis in before the answer is given to n Come* in. !!\nHe gives her the first. (It happened that later on it\ncame to be the very first in the book though it was the\nsixteenth he had written):\nFrom fairest creatures toe desire increase,\nThat thereby beauty's rose might never die,\nBut cfS the riper should by time decease,\nHis tender heir might bear his memory :\nBut thou, contracted to thine own bright eyes,\nFeed'st thy light's flame with self-substantial fuel,\nMaying a famine where abundance lies,\nThyself thy foe, to thy sweet self too cruel.\nThou that art now the world's fresh ornament\nAnd only herald to the gaudy spring,\nWithin thine own bud huriest thy eontent\nAnd, pitying churl, makcst waste in niggarding.\nPity the world, or else this glutton be,\nTo eat the world's due, by the grave and thee,"}, {"page_pdf": 33, "page_imprimee": "19", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.33", "texte": "She lingers after reading it—looking out of the window\nacross the roofs—it hangs loosely in her left hand.\nShakespeare, who has been into the next room leaving\nher alone, returns and sees her look.\nnNo ! n says he decisively,—\" This then. \" and he\noffers her another sheet of paper. She utters not a word\n—-takes the sonnet, and reads:\nAgainst that time,* if ever that time come,\nWhen I shall see thee frown on my defects,\nWhen as thy love hath cast his utmost sum,\nCall'd to that audit by advised respects ;\nAgainst that time when thou shalt strangely pass,\nAnd scarcely greet me with that sun, thine eye.\nWhen love, converted from the thing it Was,\nShall reasons find of settled gravity ;\nAgainst that time do / ensconce me here\nWithin the knowledge of mine own desert,\nAnd this my hand against myself uprear,\nTo guard the lawful reasons on thy part:\nTo leave poor me thou hast the strength of laws,\nSince why to love I can allege no cause.\nImmediately she is folding up the verse—and she is\nall flustered.\nShe folds and buries the sonnet in her bosom—timidly\nputs down on the table a little purse, sees that he sees it\n—and thanks him again and again pressing his hand—\nand more thanks—more. She is gone—the door is closed.\nThe purse contains the modern equivalent of £ 8.0.0.\nShakespeare moves towards the door—stops—stands awhile\npurse in hand—through his brain speed strange visiqns of\nman and woman—and streets—and forests—and a stream\n—and the wearing down of pebbles in a brook—cool—\nliquid—and one word concludes a11.... it issues from his\nlips—the door itself could barely have heard, so silent\nare the half-spoken thoughts which precede an action....\nMermaid ''.\nReaching for a hat and a cloak which hang at the\nside of the door he turns the handle—passes out on to\nthe narrow landing, shuts the door—locks it—key in poc-\nket—-twice slapped, he begins to descend.\nAs he issues from his front door a carriage is driving\naway. A head looks out and looks up at the third-floor\nwindows: the face is beautiful.\nP \\lT/£ were but now wagering how you make your\nVV money, Will, and here you come to resolve the\nmatter.... w\nn Not by gambling on other men's affairs. n\nThis historically authentic opening to a long day's ca-\nrouse at the Mermaid is vouched for by Prewter in his\nw The Muses Mayday\" (1595). (Howlett's reprint, 1641).\nBUT IT was not always a refined and noble lady who\ncame to demand a sonnet.... and it was not always\na purely cut sonnet that was supplied.\nSometimes it was something a good deal more Falsta-\nfian that came rapping at the door,—A little song, young\nman, if you please —and let there be ginger in it. n\nH Ginger, sir, it shall have. Is it to a favourite horse\nor—? n\nn Horse, my boy, Horse ?—it's a mare ! (roars of\nlaughter,) * as winsome a young filly as ever grazed but-\ntercups in a meadow. n One imagines they talked nonsense\nlike this,\nn A blonde or a.... ? \"\nn There are four of them (more roars) —\" three blondes\nand one as red as a carrot n howls his visitor. 11 How\nlong will you be about it ? he continues, sitting down\ngravely—but leaping up the next moment cries out \" bestir\n—bestir !—we want it in about two hours from now\nyou see there are four of u5.... all sea folk. n\n\" Two hours—that will make it 10 o'clock: be here\nat 9.30 and the verses will be ready,... Any names to\nbe introduced ? n asks William.\nYes,—Margery and Marian ; you better write 4em\ndown : here, I'll write 4 em up,—they aren't easy names\nto remember. Margery, Marian—l always have carried a\nbit of chalk—and Moll and Meg n ; and up on the wall\nof the lodgings were staring the four white names. The\nseaman pockets the bit o' chalk, gazing like a big fish at\nthe four names as though he had just painted the portraits\nof their owners.\nn The master is sweet on Moll, and Margery is really\nthe boatswain's girl.... but- he's too full o' poetry, the\nyoung parrot.... all this week its love and dove... : but\nmake it jolly—no poetry,... skip the poetry—jolly is the\ntune.... n and down goes the fat fellow and as he goes\ndown starts humming an old sea air without any words.\nShakespeare stands close to his door ajar—his ear cocked,\nand the verse is written as the old buffer descends:—five\nminutes to copy it down—and commentators to this day\nmake out that the English muses are not real people and\nthat they do not come on the wings of chance but come\ndeliberately like Oliver Cromwell's reforms and feed on air\nand virtue—and whisper quietly so that no one but a true\npuritanical poet can hear the noble things the puritanical\npoet pumps up three years after they have gone.\nAt 9.30 the fat man called for his verse and paid\nWilliam handsomely, three Elizabethan pounds f He was\na jolly old boy and it was an immense sum in those days\nfor a jingle—the equivalent of £ 24, of today's money ;\nand for this all Shakespeare gave him was :\nThe master, the swabber, the boatswain, and /,\nThe gunner, and his mate,\nLoved Moll, Meg, and Marian, and Margery,\nBui none of us cared for Kate ;\nFor she had a tongue with a tang,\nWould cry to a sailor, Go hang I\nShe loved not the savour of tar nor of pitch ;\nYet a tailor might scratch her where'er she did itch.\nThen, to sea, boys, and let her go hang I\nn By Davy, this'll swing well to the tune of \" Red\nroses and hose n cries the fat man, and down he goes,\nand down goes William after him: three landings, three\nturns:... there's a fog outside. B Goodbye n—one to the\nright, one to the left,... n Mermaid. n"}, {"page_pdf": 34, "page_imprimee": "20", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.34", "texte": "FRANCESCO CLERICO\nA NOTE ON A PORTRAIT\nBY ALLEN CARRIC.\nFRANCESCO CLERICO WAS ONE\nof the foremost Italian ballet mas-\nters of the 18th century. And this\nimage of him is one of the most spi-\nrited things of its kind that I know of.\nIt was engraved in 1795 and is by\nsome artist unknown to me.\nWhen Clerico was born or where\nI do not know, I am hoping that some\none in one of the museums may know\nthe facts of his existence and will let\nme know them.\nHe produced several ballets : in Pa-\ndo va in 1789; in Bologna in 1795;\nin Venice and Parma in 1797 ; and\nin Milano at the n Scala R in 1790\nand 1823.\nI am not an engraver, but I am\neager to find out who it was put in\nthe sweeping straggling eyebrow in\nthis plate. The nose, mouth and eye\nseem to me as well done as it is pos-\nsible to do them.\nThe whole thing is alive, and I\nhear a voice coming from the image\nwhich begins to say, n Signcre, my\nfather the Conte di Bozzola was one\nof the proudest men, but he was also\nvery human and I loved him dearly.\nWhen I was fourteen years of age he\ntook me around the lagoons in his gon-\ndola and I shall never forget when he\nlanded, leaving me in the boat which\npushed off and returned to Murano.\nn Come again soon n he called : but\nwhen I came I could not find him-\nand I was told 4He is dead. * Si-\ngnore, when I dance I remember these\ntwo days : the happy day between his\nknees in the gondola and the day I\ncould not find him. The tragedy and\ncomedy of my dances which you are\nkind enough to say pleases you springs\nfrom these two days. When I was\neighteen I was on my way to A>n-\ncona.... n—but I hear no more;—a\nshort circuit. I have probably erred\nin the name of the town,... taken the\nwrong turning, and the voice dies\naway\nPerhaps he said Ascona.\n\nACTING\nA PLEA FOR MORE\nBREADTH IN IT,\nBY A. B. C.\nIF a fault can be found in the\nmodern English actor, it is that he\ndoes not explain, does not express; he\nfails to express. He fears to repeat\nnowadays. The old actors came back\nand back to a thing they wished to\nmake clear.\nThe modern acior is inclined to slur.\nIf he wishes to express jealousy, he\nwill express it over and over again by\none note : Jealous, jealous, jealous\nhe strums on the piano with one finger.\nThe old actor would repeat six to ten\nto thirty different times in as many\ndifferent tones and gestures the one\nthought, and so at last we began to\nsee the idea building itself up in front\not us. Construction is what actors\nknew more or then than they do today.\nIn doing as they did they followed\na very old tradition.\nWhere the masters succeed, is in\nthat they will take no chances of\nfailure. A master will be expressing,\nclearly, or to some people confusedly,\none way or another way, every way,\nand will repeat and again and again\nrepeat in twenty different ways, the\nthing he sets out to tell us.\nTake the passage in Book II in Ovid's\nfl Metamorphosis 11 where the boy\nPhaeton asks his father Apollo to grant\nhim his wish to drive the steeds and\nchariot ot the sun. Then see how\nOvid as Apollo pleads, not once, twice,\nbut many times, for he is the actor and\nApollo his role; and, failing to turn\nthe boy, then describes the catastrophe.\nHow again and again he relates the\ndetails one on top of another, each\none enough, it would be supposed, to\nexpress his thought, But no! he\nmust add and add; for it is not\nanything trifling he wishes to say like\n\" Hullo Phillips, how are you? n ; it\nis almost the great catastrophe, ....\nalmost the annihilation of creation he\nhas to swerve near.\nAnd what but something near this\nis in R King Lear n, in n (Edipus n,\nin nearly all the great tragedies, so that,\npacked to the brim with grief and pain,\nthe creation for us does seem to totter\nduring the course of reading ?\nAnd it is because the modern actor\nshirks the thing, trembles to scale this\ntoppling ruin, fears to pile Pelion upon\nOssa, that he can never raise the\nstructure high enough or reveal it huge\nenough for the full purposes of Dramatic\nart; .... and so, when today we have\nTheatricals, they stand bare and trivial\nbeside the old Dramatic art.\nIt would seem essential that before\na great Tragedian can establish himself\nin England he must be laughed at....\nfor it is essential that he should exag-\ngerate furiously.... be pack full of\nmannerisms : for we must needs call his\n• mannerisms 9 that which is his alone\nand strange to us,\n(Oh, I know all about your Mos-\ncow Art Theatre..., that's the perfection\nof the familiar. Instead of the tragic\nthey give you the worried: a vast dif-\nference.\nAs we are an eccentric nation our\nchief actors needs must be to us the\nvery essence of eccentricity. Were we\na saner race it could be otherwise....\nlike the Russians for example. And\nwe reveal all the madman's ignorance\nof his state when we cry down the\nvery least signs of eccentricity in our\nactors. Rather we should hail these\nas long-looked-for signs of the coming\nmen.\nSomething like this must be in the\nminds of those critics who find the art\nof the circus clown so admirable The\ncircus clown with his joke to perform,\nhis point to be made to a circle of\npeople, diverse and dull, who sit around\nhim :—his method is not \\ery unlike\nOvid's.\nHe pushes the first point home with\nthe mallet of his craft:—quickly he\npushes it in once more, a third time he\nrams it into u5,.., big pauses between.\nIs the point home ?—yes, he has\nmade sure of this ; and now by a slight\nturn he proves this; by a gentle twist"}, {"page_pdf": 35, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.35", "texte": "Francesco Clerica\nBallet-Master.\n1795\nPlate 4.\n\nTHE MASK 1923."}, {"page_pdf": 37, "page_imprimee": "21", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.37", "texte": "DESIGN FROM LAMBRANZI\n\"BALLI TEATRALI\" 1716\nHPHIS same Lambranzi, who was he? Seldom has a\n* Dancer Writer (which was he?) eluded us as\nthis one.\nWe have searched for some word about him but no\none seems to know anything of him or his work. His\nbook appeared in 1716. Its title is, \" Nuova e curiosa\nscuola di balli teatrali \", and there is a portrait of the\nauthor in it.\nCan any reader give us the further information we\nrequire: When he was born?... died?... what he\ndid?... where he went, whether he wrote any other\nbooks besides this one ? Ed.\n\nhe causes the whole circle of specta*\ntors to utter a cry resembling pain—\nbut really of pleasure,\nI appeal for more and more appre-\nciation by actors of the values of exag-\ngeration, and less disdain for emphasis\nand fury in the actor, so that our\nTheatrical Art become stronger where\nit now lacks strength,.., in tragedy....\nin our immense and priceless English\ndrama.\nI would not ask our perfect actor\nSir Charles Hawtry to exaggerate or\nto let his fury loose,—nor his critics\nto abate a word of their praise for\nthis very lack of exaggeration, this\nsuave power of suggestion which, by\nraising an eyelid, he is able to employ.\nI would not look to see Sir .Gerald\ndu Maurier be anything or do anything\nmore than he is and does : and the\nmany other actors who belong to this\neyelid school, I for my part would not\nmiss one of them. The faultlessness\nof their miniature method must not be\ndisturbed—nor undervalued.\nBut this method is only one of the\nmethods. The Theatre knows it and\nshould recognize it more.\nTo be suave, to drawl, lisp and act\nthe oracle in a ' natural ' way when\nperforming Falstaff, Charles Surface,\nMercutio, Gratiano, Beatrice, Portia,\nthe Merry Wives of Windsor or any\nof the larger comic master-roles of the\n17th or 16th centuries would be fu-\ntile. These, like the great tragic roles,\nneed swing, fire, attack, and exagge-\nration The Theatrical.\nWhether it be possible for our young\nactors to attain this breadth while for-\nced to perform the modern cramping\ndramas—dramas which are mildly and\nsafely popular, is a question I cannot\nanswer, though 1 feel that they can do\nno such thing.\nBut our clowns have the breadth—\nour actor 6 of broad farce have it—and\nI think it is from these that the theatre\nto come can look to draw its represen-\ntative actors of the new generation,...\nif we are going to have some."}, {"page_pdf": 38, "page_imprimee": "22", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.38", "texte": "LA SALLE DE SPECTACLES DES TUILERIES.\nFELIX URBAN.\n\nBUILT in the Palace by Vigarani and Amandini, the\nItalians, both from Modena, it was opened on February\n7 th, 1662.\n\nThis plan shows its second slate when rebuilt by\nSoufflot and Gabriel and reopened January sih, 1764.\nPLAN by BREBION. (Archives Nationales.\nParis).\nTHIS Plan of the Theatre in the Tuileries shows us\nthe cramped theatre built up of light materials in-\nside the old walls: A. Salle du Theatre des machines,\nno longer being used in 1764 and, as we see, divided\nfrom the new theatre which is B. and C.\nB. the Sal!e du Theatre de l'Op£ra.\nC. The sc£ne du Theatre de l'Op£ra.\nD. & E. entrances from the Cour des Suisses and\nfrom the gardens of the Palace.\nIt seems that this is the theatre in which Voltaire\nwas crowned on Monday March 30th 1778. Mant-\nzius (0 asserts that it was on April Is and a Wednesday.\nThere are several engravings showing us the well-known\nevent; but these and a drawing all quarrel about the\ndecoration of the salle, the position of Voltaire, etc.\nSo like History not to know.\nThe building cost 409,555 livres, and the first per-\nformance was of Castor et Politic. It was called the\nn Salle provisoire des Tuileries. n\nLater on when Napoleon came to sweep away\npretty things and to substitute prettier, if nobler ones,\nin their place, he set Percier and Fontaine to work in\n1804. These architects took the old design of the\nItalians and adapted it with immense success. For this\ndesign see n The Mask, n volume 8, page 25, which\nshows the auditorium.\nThe salle marked A. they destroyed, having first\ncarefully taken the idea to use in their new salle which,\nit appears, filled the space B, and the stage C.\nIn 1873 the house-breakers began to demolish what\nremained of the place after the bombardment in 1871,\nand the pretty doings of the Comunists who, being on\nfire, and not knowing what to do with this Divine Ele-\nment, guessed that petrolium and gunpowder placed in\nthe basement and set light to would relieve them of\nsomething. It destroyed the building it also destroyed\ntheir own fire.\nBut of course if people wont allow man to create\nand wont give him the necessary little aids towards that\nend, which is a good one, he is apt to destroy. Why ?\nAsk me anotherqr rather, don't ask me anything,\nor I might hold forth upon the aristocracy once more.\nTo aid creative artists, instead of the old n aristo-\ncracy n the new aristocracy is already movingthe\nmen of business: the cloth merchants,—the timber mer-\nchants—the silk merchants,... all the merchants. All\nis as right as rain. The old incapable master of the\nhouse has given in.... we'd have betted he wouldn't\nbut he has..,, and the new master comes in.\nBut don't talk about Democracy for that's all Fudge.\nIt is a new aristocracy.\nAvanti la musica!\n(1) Dr Karl Mantzius, the Danish Theatre historian."}, {"page_pdf": 39, "page_imprimee": "23", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.39", "texte": "THEATRE MEN IN EUROPE\nBY THE EDITOR\nn HE IS BEST SERVED WHO HAS NO NEED TO PUT OTHER PEOPLE'S\nHANDS AT THE END OF HIS ARMS. » Rousseau.\nTHEORISTS are very valuable people—but people\nwho theorize on what they have practised are no\nless so.\nWe hold no brief for everyone in a Theatre who can\nmerely handle a pencil and brushes in the European Thea-\ntre. Some are able to do this only, and that alone en-\ntitles no one to produce a play. We admire them or\nqualify our admiration for them as scenic men,... but we\ndo not count them as more than that.\nAnd we have now and again thought that a useful\npurpose would be served by making a list of all the wor-\nkers in the European Theatrical world, and, after each\nname, stating what each can do.\nFor example, the list might read like this :\nWE should like to see a list of about a hundred such\nnames drawn up. We would like to know still further\ndetails as to what exactly Prof. Reinhardt can do ; what\nStanislawsky can do ; Antoine, Appia, Bakst, Gemier,\nRoller, Jessner, Pcelzig, Sievevt,... what these can do:\nand the Americans, and the Englishmen too.\nMost of us are irritated by reading in journals long and\ntedious comparisons drawn between men who are not oc-\ncupied at all in the same work.\nWe think Boom is a very brilliant if unheard of de-\nsigner who can probably do more than merely design:\nwe think Antoine a very brilliant stage manager:- we\nare bored when we come across a comparison of the\ntwo. One is a scenic man ; one is a stage manager and\nan actor.... until we hear authoritatively that each is more\nthan that.\nIf Antoine has designs, let them come out, and let us\ncompare them with those by Boom. If Boom can stage-\nmanage let us hear about it, and how he stage-manages.\nLet that and Antoine's stage-management be compared.\nNor can there be comparison made between Rein-\nhardt and Craig, Craig, so far as I know, being able to\ndo all that the German master does and a good deal more.\nAgain, Appia and Bakst. So far as anyone knows\nBaksfc has written no such books as has the Swiss genius:\nbut have either of them acted ?... can either of them\nstage-manage ? Perhaps ; only we ought to know it, and\nsoon.\nSomething authoritative about each man's abilities would\nprevent a lot of error from spreading, and save a great\ndeal of time at present wasted in big talk by Boom and\nhis friends. This big talk only serves to delay the deve-\nlopment of the modem Theatre.\nMr McGowan to some extent informs 12s who is who\nin his n Continental Stage Craft ** ; but it's a plainer list\nwhich is\" wanted. M. Parker's n Who's Who w gives us\nsome facts, and critics and others still remain in the dark\nabout these simple tacts, nWhat can each man do ?\nbecause, being so simple, it occurs to no one to trouble\nabout it.\nYet, these facts once truthfully stated, there would be\nfewer errors being repeated in books and journals.\nON TRUTH AND ERROR.\nTHE truth has always need of being repeated, because\nerror is ceaselessly and repeatedly preached to us, and\nnot only by some isolated voice but by the crowd. In\nthe newspapers, encyclopaedias, in the schools and univer-\nsities, everywhere error holds the first rank ; it is at ks\nease with the majority, who charge themselves with its\ndefence.\nGOETHE. n Conversations with\nEckermann n. 1823-1832.\n(i) We will not vouch for the correctness of this Table.\nFor example, M. Bakst may be a craftsma?i; IvL Antoine a\nplaywright. So difficult is it to state what these three men\nwhom we have chosen as examples can do and camiot do that\nour plea seems to be more than jzistified.\n\nName &\nNationality\nActor\nPlaywright\nDesigner\nStage-\nManager\nArchitect\nCraftsman\nLight Expert\nBakst, Hebrew :\nNo\nNo\nYes\nNo\nNo\n•\n•\nAntoine, French:\nYes\n•\nNo\nYes\nNo\n?\nNo\nStanislawsky, Rus-\nsian :\nYes\nNo\nNo\nYes\nNo\nNo\nNo (1)"}, {"page_pdf": 40, "page_imprimee": "24", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.40", "texte": "THE THEATRE OF SABBIONETA.\nSOME NOTES TRANSLATED FROM OLD ITALIAN WRITERS.\n\nSCAMOZZI, Palladio's pupil who\ncompleted the Teatro Olimpico\n(Vicenza) built another classical theatre\nin 1588 at Sabbioneta for the Duke\nVespasiano Gonzago but this does not\nnow exist. n\nJohn Henry Middleton. M. A.,\nLitt. D., F. S. A.y D. C. L., Slade\nProf, of Cambridge, Art Director of\nSouth Kensington Museum 1892-\n1896, in 11 The Encyclopaedia Bri-\ntannica w Vol. XXVI. Page 732.\nLatest Edition.\nO\nDUKE Vespasiano Gonzaga(Dec. 6,\n1532—Feb. 26, 1591) was born\nat Fondi, became n Signore di Sab-\nbioneta ,} in 1540, in 1555 n Mar-\nchese dl Sabbioneta e Principe di\nBozzolo, n in 1574 n Principe di Sab-\nbioneta e Marchese di Rivarolo R and,\nin 1577, full 51 Duca di Sabbioneta n.\n(Garollo). He set out to make a little\nmodel city of the place, with a Pa-\nlace, a Mint, a Theatre, a Printing\nPress, all in miniature.\nAT Vicenza, Palladio had raised a\nTheatre in ancient style, and the\nAccademia Olimpica had had the CEdi-\npus of Sophocles represented there. The\nsuccess was immense, and had its echo\namong the powerful and the letteraii\nin every part of Italy. It is presumable\nthat Vespasiano, going to or returning\nfrom Venice, had had occasion to see\nthe Olimpico of Vicenza, and since\nVincenzo Scamozzi da Vignola had\ncarried out the set (permanent) scene\nthere, he thought to select the cele-\nbrated architect to erect the Teairidio\nand the Odeo (1) of his capital,\nThe esteem which Vincenzo Sca-\nmozzi had acquired by the scenes of\nthe Teatro Olimpico, the finest flower\nof Italy having assembled at that spec-\ntacle, was the reason why in 1588 he\nwas called to Sabbioneta by the Duke\nVespasiano Gonzaga, that he might\nmake him a plan for a theatre in the\nancient style, as was that of Vicenza.\nAnd he set out from Vicenza the first\nday of May, and having arrived at\nSabbioneta the third of the same (month),\nhe was received by the ministers/ (the\nDuke being not then in the city, since,\njust on the first day of th,at month, he\ntoo had set forth) with great honour.\nHe saw the site and made the plan\nin two fogli rialc (I) which Signor\nMariette preserves in his rare cabinet,\nof the which, through his extreme\nkindness, I hold here a copy. Here\nis, however, the description which the\nsame Scamozzi made of the Teatro\nOlimpico a few years later, so that\nafter he had designed (or set in order)\nthe scenes of the Teatro Olimpico of\nVicenza he might raise from the foun-\ndations the Odeum and Theatre due\nto the excellency of the Lord Duke\nVespasiano Gonzaga in his city of Sab-\nbioneta, capable of holding a large\nnumber of persons, besides some rooms\nat either end, adapted to various uses,\nand with the orchestra, and the grades\nfor sitting upon.\nThe proscenium and the prospec-\ntives of the edifices represent a great\nPiazza, with a most noble street in\nthe middle and others on either side.\nHe remained there eight days to\nmake the designs, which lie consigned\nto the ministers of the Duke. (Jemanza).\nIN November and December of the\nsame year Vincenzo Scamozzi con-\nstructed the permanent scene ; a great\npiazza, with streets in the background\nand palaces and houses, a scene mi-\nserably destroyed at the beginning of\nthe last century. Dondi writes that\nScamozzi n was there in person to have\nit done.... and the stucco ornamenta-\ntion has been done by one Messer\nBernardino, a Venetian worker in stucco\nwith other companions, for the which\nsaid prospettiva (scene) the said Lord\nDuke donated to the said Scamotio\nScuti (scudi) a hundred and ten and\na silver cup. n\nIN the Carnival of 1 590 the Theatre\nA was inaugurated. To act there, there\nwas summoned by the Duke the company\nof Silvio de* Gambi, Ferrarese, to which\nVespasiano gave the name of n Ac-\ncademia dei Confidenti, n endowed it\nwith four hundred scudi a year and\nconceded to it the privilege of calling\nitself the court company, and of dis-\nplaying, wherever it should go to ap-\npear (i. e. to perform) the ducal coat\nof arms. We do not know what pro-\nductions may have been given.\nThe Theatre of Sabbioneta, isolated\non three sides, with three exterior fa-\ncades of architectural purity of style,\nis ornamented with niches, now strip-\nped of their statues and busts. The\nouter walls are decorated with stucco\nreliefs with Doric lisene and windows\nwith cornice, entablature and pediment.\nThe internal rectangle, forming the\nplatea, ends in a semi-ellipse in which\nrises, as in an amphitheatre, the gram\ndinata for the spectators.\nAt the end is the princely loggia\nwith wooden balustrade, and twelve\nCorinthian columns which sustain the\nelegant canopy upon which, correspon-\nding to the columns, stand twelve\ngracefully modelled statues. Four spaces\nare filled, and, in niches, are four\nvigorous busts of emperors. The semicir-\ncular wall at the end preserves, bru-\ntally injured by nails, the ochroid\ndecorations representing, life size, the\nRoman emperors dear to the Duke,\nset in light and graceful niches.\nBehind the wall two saloons form-\ned the Odeum.\nThe Olimpico of Sabbioneta is the\nsecond Theatre of the kind constructed\nim Italy. The third is the Farnese of\nParma, erected thirty years later.\nThe fabric did not undergo altera-\ntions. Only the ceiling was lowered\nand the walls covered with whitewash,\nbeneath which wait, to be restored to\nthe contemplation of the lovers of the\nbeautiful, the suggestive decorations of\nthe ignoto Bernardino Vicenzino (1).\n(i) The little Theatre and the Odeum.\n(l) A term indicative of the format of\nthe sheets of paper used.\n(i) The use here of the word ignoto\n(unknown) is a little obscure> since it\nPreceded an artisVs name, whereas it is\nusually only applied to some anonymous\nof unidentified authorship. Possibly our\nauthor means not known in the sense of\ntoo little knoivn or celebrated.\nTrans."}, {"page_pdf": 41, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.41", "texte": "DESIGN FOR THE TEATRO OLIMPICO OF SABBIONETA\nby Vincenzo Scamozzi, 1588. From the Drawing in the Uffizi Gallery, Firenze.\nPlate 5.\n\nTHE MASK. 1923."}, {"page_pdf": 43, "page_imprimee": "25", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.43", "texte": "THE THEATRE\nAND THE STATE.\nBY JOHN BULL.\nIT is reported though how true\nthe report may be, I will not vouch\nfor that Signor Mussolini's visit to\nMadame Eleonora Duse (1) to discuss\nwith her the best way to bring the Ita-\nlian stage into the service of the nation,\nwas anticipated by exactly three days\nby our then English Premier, who, it\nis reported, sent his representative,\na distinguished Minister, to call upon\nMiss Ellen Terry with precisely the\nsame idea as that with which Signor\nMussolini called three days later on\nMadame Eleonora Duse.\nIt is understood that the Minister\ncounselled caution to the great English\nactress.\nn I'll not trouble you with the old\ntalk which you may have already heard\nabout the Scotchman who came to\nLondon.... n.\nn What, the one which ends up\n* Bang went saxpence ' ? \" cried Miss\nTerry.\nn Precisely said the Minister\nv since you know it.... n.\nn Know it I n cried our Eilen,\n® Why, I'm half a Scotchman myself ;\nbut the other half is Irish n.\n11 Miss Terry n, responded the go-\nvernment representative earnestly, a it\nis to this other half I come to counsel\ncaution n. 11 If, nhe went on, awe\nare to awaken the English Theatre\nwe must dissemble. I think that is\nthe right phrase, Miss Terry. Nothing\nmust be done openly. To be open\nis to be rash, to be rash is to lose\nmoney. We must bang no sixpence\nover this affair. It is for this reason that\nI come to consult you. What in your\nopinion is the best thing to be done ? a\nHere Miss Terry, losing all that\ncontrol over herself which she had just\nbeen begged to maintain, cried out.\na Call my son and give him the power\nto establish a .... B.\na Unfortunately I do not know Mr\nTerry r\\ interposed the Minister.\ns My son is Gordon Craig n, said\nthe actress simply.\nR I have never heard of him n,\nreplied the Minister, looking quite\nuncomfortable. n Yet stay, .... Mr\nNorman Craig ....Mr Norman Craig n,\nhe mused, n Why, of course I've heard\nof him. I really must beg your pardon.\nOne of our best K.Cs, one of the most\nnotable members of Parliament, and\nindeed the very man to organize a\nBritish Theatre reasonably, and I dare\nsay economically. Perhaps, Miss Terry\nhe went on, a you would tell your son,\nMr Norman Craig, that our idea is to\nmake the English Theatre represent the\nspiritual life of the nation and that my\nnotion would be to see him organizing\na modest little theatre somewhere in\nthe very centre of Highgate. He might\ntake a Drill Hall, (Drill Halls are\ncheap just now), and get together a few\nenthusiasts who would be glad to work\nfor so good a cause for next to\nnothing. One thing he would have to\navoid a great danger. I refer to\nthe plays of Shakespeare. Shakespeare,\nmy dear Miss Terry, spells ruin n.\nw It spells ruin, because Shakespeare\nwas, if I may coin a phrase, too sudden,\ntoo like the lightning. A dangerous\nman, and his works are dangerous\nworks. Something more homely is\nwhat we need up at Highgate, some-\nthing rural, something any garden citizen\ncould take his neighbour to see. My\nold friend Barrie can be relied on to\nmake them cry; the only trouble is,\nwho the deuce shall make 'em laugh.\nCan you think of any one, Miss Terry?\na But time flies, and it was not to\nworry you with questions that I called\nto see you. While all that you have\ncounselled me shall not be overlooked,\nthere is one point which has escaped\nus. It is the little matter of finance.\nWe are quite prepared to support this\nTheatre in a manner not unworthy of\nthe British Empire which we represent;\nand so I promise that at least £260\nshall be put aside by the Treasury to\nsee this matter through to the bitter\nend. That an appeal to the nation\nfor voluntary subscriptions will be ne-\ncessary, I do not think is, as yet,\nevident. But should such an extremity\narise, you, Miss Terry, shall be authd-\nrized to make that appeal! ! We had\nfirst thought of asking Lord Howard\nde Walden to undertake this pleasurable\ntask, if I may coin another phrase,\nwhile he'd do it with a better grace\nyou will do it more natural B.\nWhether this interview really took\nplace, or not, and if these were the\nvery words, or even the gist, of the\nconversation, we have not been able\nto ascertain .... so we reprint the report\nof the interview with every reserve.\n(i) Reported Dec. 4, 1922.\n\nAN OLD BOOK:\nA NOTE ON A BOOK\nOF RULES\nBY C. G. SMITH.\nI WAS looking through a booklet called\n1 a Rules of the National Union of\nTheatrical Stage Employees—London,\n1901 n.\nDo the workmen's rules help on the\nperformance? I thought: I suppose so,\n1 guessed e\nI turned over the leaves. There\nwere 6! rules and nearly each rule\nwas subdivided into a few or many\nclauses. I counted ten clauses in one\nrule, eleven in two others, twenty in\na third, and so on.\nI came to H Rule 29, Working\nRules n. This rule had five clauses.\nClause one seemed all right. I may\nas well say thai at the first glance I\nthought most of the rules seemed sound\nand most of the clauses too.\nBut f was searching for some clause\nwhich I, as one of the hundred thou-\nsand artists who have to work in\ntheatres, felt might somehow or other\nspoil the work—my work:... the work\nof all of us.\nI found one in Rule 29. It was\nclause 2. Here it is:\na No member employed to help\na Work a show shall work during the\nw same performance in more than one\na of the following six departments:\nw Stage and Cellar, Flies, Properties,\n3 Gas, Limes or Electric\nI recalled a conversation I once had\nwith a clever sort of artist (in Liver-\npool I think it was) ; a man pack full\nof notions for * getting on with thingsn.\nHe had little patience with those men\nwho believe 1 that the Way f6 Md a\nthings w^l!Vjaffl cM$"}, {"page_pdf": 44, "page_imprimee": "26", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.44", "texte": "what has been done for the last thirty\nor forty years just because it has been\ndone year in and year out. He was\nfor a little progress all the time, for\nH getting on n : he said the whole\nessence of success in the thealwe was\nto strike sparks out of the whole\naffair,... play, acting, scene and all;\nand insisted that to do this hard and fast\nrules must not be followed for too long.\nWhy must a curtain roll up and\nroll down between Acts ? Why must\nfootlights be always used ? Why must\nHamlet always be in black crape and\njet ? Why must the Ghost always moan\nand spout? Why must limelights act\nas they do act ?—and on these and\nother little points he elaborated.\n1 won't linger here on his elabora-\ntions : suffice it to say he asked me at\nthe end this question : n Why cannot\nI and my fellow-actors and our fellow-\nworkers in cellar, on stage and in\nflies give each other a rest now and\nagain ?—Why cannot the property and\nscene-men after having made and set\ntheir scene and props climb up on to\nbridges and perches and light em them-\nselves ? Why not ? Why, in the name\nof all that's murky, why not? why\nall this watertight compartment business\nof only one job to one man,... more\nespecially since he grows to be quite\nout of sympathy with what t'other\nfellow is up to, and don't understand\nwhy he's turning on an amber light\njust on that spot, and why it's to be\nsoft until such and such a cue and\nfierce after the cue...? Our theatre\nain't a machine 11 he wound up.\nq Exactly; and 1 recalled this when I\ncame across clause 2 of Rule 29 in\nthe booklet I have mentioned; and\nthen I admit 1 did seriously come to\nask myself : 11 Are these Rules framed\nby one class, by one group of men in\nthe theatre, or by alb—including the\nactors and the craftsmen and the dra-\nmatists ? \"\nAnd as I read on further I am\nsorry to say I saw that they had been\nframed by one kind of Theatre man\nonly: the kind of absolutely honest\ngood workman who don't understand\nat all why Drama exists, what it has\ndone and may still do, and how it\ncan do it.\nI am convinced those Rules should\nbe revised, reframed, by the whole\nmind and hand of the Theatre,—not\nby the 11 hands 11 alone.\nA/fR Smith will not mind my adding\nd-Y-*- a tag to his article.\nHe lives in Chelsea,—goes to Cha-\nring & a\nday, of ce Jo rehearsal and Jo se^M\nthe stage is being got ready, and\nagain to the evening performance.\nThis he does year in and year out.\nHis attitude towards the stage is\ntherefore forced to be a narrower one\nthan if he were to be blessed with\nsome freedom and could travel. He\nwould then come to learn that there\nare a number of theatres which have\nrid themselves years ago of the incu-\nbus of Trades Unions, and that these\ntheatres make their own Rules.\nThe result of this ordinary freedom\nwhich allows the manager to control\nhis house is that it becomes a 1923\nhouse instead of Gn / 876 or an / 893\nhouse.\nAnd that is an advantage. Ed.\n\nON MARTIAL,\nHAVELL AND CALLOT\nBY ALLEN CARRIC.\nTPO those Artists who are Draughts-\nmen, who are fascinated by the\nTheatre, but who cannot Act, Stage-\nmanage, or give time to the study of\nthe Stage, yet who propose to reform it.\nDO you know w Le Monde Dra-\nmatique 11 ? It is nothing of\nvalue unless some young artist reading\nthis cares to make it so.\nPublished in 1835, seven volumes\nof this B Revue des spectacles anciens\nei mcdernes n had appeared by the\nyear 1837 : so says the Catalogue\nissued by M. Jorel of Paris, and, as\nthe B Referee B was won t to say,\nBHe ought to know w. M. jorel s\nlibrary is in Rue Bonaparte, No. 3.\nWere I in Paris I would ask M. Jorel\nto tell me who it was that published\n11 Le Monde Dramatique who wrote\nfor it, and who illustrated it, so that\nI could make it clearer how it is that\nthe B Revue n is so useless to us now.\nAnd as usual I judge with prejudice\nuppermost, ....prejudice made rampant\nby instinct, and instinct probably more\nreliable than all else: \" the howling\ndog knows what he sees 15.\nAnd I howl after having seen two\nillustrations.\n1 haven't a copy of the Revue w ;\nI have only these two lithographs,\nextracted by some one long ago and\nfound by me in the print shop in the\nRuie.de Seine.,. Asd ..they..are very bad.\nThey are supposed to represent ;\nB Le Theatre de Dijon n ; and B Le\nTheatre de la Koenigstadt at Berlin 11.\nThey are neither fine lithographs nor\nsharp exact documentary drawings:\nthey are just the USUAL unreliable\ntenth-rate pieces of work we so often\nfind in poor Guides, cheap school\nhistories, and always find in the Thea-\ntrical Journals, Reviews and Magazines.\nThe worst of artists were put on to\ndeal with the Theatres. These artists,\nwho could draw excellently, were seldom\nsufficiently interested in the Theatre in\nthose days; and slow, indeed, until\nquite recently, to consider it a subject\nat all worth while.\nBut nowadays that is all changing (1).\nVery many of those same artists are\nconsidering the Theatre very well worth\nwhile. I don't mean that they see in\nthe Theatre a means of getting to the\nfront or a means for money-making,\nthough there must be always a few\nwho look at all things very much from\nthat practical point of view. I mean\nthat they who were once more in love\nwith their own muse are taking up with\nours. And, as the eyes of many of\nthese young artists, mostly draughtsmen,\nare turned towards the Theatre, I would\nsuggest that they take care to avoid\nmuch future trouble to themselves by\nlooking no more into the Theatre but\nonly at it ; at the construction of\nthe building.\nIncidentally this would give pleasure\nto the many men whose lives and whose\nforefathers* lives have been devoted\nsolely to the Theatre, and who there-\nfore have more of the Theatric in them\nthan anyone whose Home it isr not.\nAnything less Theatric falls short,\nthat's the worst of it. and this is\nwhat too often happens when young\ndraughtsmen from even the best art\nschools, even one so talented as was\nFragonard, and as are a few others\ntoday, attempt to assume the Theatric\nair; for then what was an ordinary\nand natural Theatrical position in those\nof the family becomes a rather affected\npose known as the n Artistic 11-n Thea-\ntrical w.\nNowadays there must be at least\neight hundred draughtsmen of talent\ndiverting themselves and exercising their\ntalent by pretending to be theatre men.\nI mean it in no unkind spirit, but most\n\n(i) Js it a change for the worse 9\nsome t>laywriters seem to think so : they\ncomplain because we concern ourselves\nwith the appearance of things. Must we\nthen, to please them better, pass on to their\nconcern the writing of plays 9 We\nmight fail: shall we try to succeed 9\nWould that cause less complaint 9 .... or\nmore 9"}, {"page_pdf": 45, "page_imprimee": "27", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.45", "texte": "of these men could do far better were\nthey to stop over-decorating our stages,\nover 11 producing n and under stage-\nmanaging on them and turn once more\nto their drawing.\nIf there be one or two who, being\nreally entirely devoted to the theatre,\nmust work near it, if never in it, their\ntask is clear, and consists, to my mind,\nin depicting clearly, exactly, curiously,\ngrandly, or however they will, the\nbuildings which we call theatres, ....\nmaking records of the whole and the\nparts of those buildings, the exterior,\nthe interior, front, side, back, from far\noff as part of the street or piazza, from\nnear by showing some particular and\npeculiar detail. That would be really\nuseful to everyone and such drawings\nwould be valuable as documents in the\nfuture, and, if the man has talent,\nvaluable as works of art now and for\never.\n\nMARTIAL\nWE had in Paris somewhere about\n1863 a certain M. Martial.\nWith grace and with precision (he\nwas no great man) he etched all the\nimportant places of the several Arron-\ndissements : it might be a Theatre of\n1789 or a house where some Dramatic\nPoet had lived in 1670 \\ he jotted\ndown with care the facts about the\nplaces as conscienciously as he did\nthose of some ancient Hotel in which\nsome Emperor had dwelt in 1564.\nM. Martial was not another Mey-\nron, but he was a very good etcher\nand an exact draughtsman, who looked\ncarefully at Theatres and saw what\nthere was to record. Except for a\nfew interiors he seems to have confi-\nned himself to drawing the outsides.\nHis plate of 1863 showing us four\nTheatres, the Theatre Historique built\nby Dumas pere, the Theatre Imp£-\nriale, the Theatre des Folies Drama-\ntiques and La Gait 6,... what could be\nbetter ? His plate (1839) of the\nTheatre St Marcel,... what more is\nwanted ? I know of no one else who\nhas troubled to show us precisely what\nthat Theatre once looked like.... may\nbe you had never heard its name.\n\nHAVELL.\nIN England a little earlier, in 1826,\nMr Daniel Havell was engraving some\nfourteen of the London playhouses,\nwith a care and a charm which is as\na rule in England reserved only for\ndepicting churches and lordly man-\nsions. Others besides Havell now and\nagain gave time to our little house,\nbut only now and again.\nSo you see that there have been a\nfew men who thought it delightful and\nworth while even in that strange early\npart of the nineteenth century to de-\nvote themselves to the careful recor-\nding of the details of the exteriors of\nTheatres, without being swayed by a\npassing fit of curiosity and a burst of\negoism to push through and see the\nmanager and get a job on the stage ;\nand it would be a charming thing to\nfind a few men of today interested\nwith such a task,—and as free from\nthe desire to venture further.\n\nCALLOT.\n;\\JOW for a master,—and it's a mas-\nI N ier who counts.... Jacques Callot.\nYou see engravings of his stage work ?\nTut! he never did stage work.\nBesides doing marvellous things with\nBattles, Armies, Cities, people cif rank,\nhe flies over and over again to the\nTheatre.—But not to meddle with the\nstage, never that; he was too much\nof a swagger fellow to meddle; but to\nrecord what his friend Giulio Parigi\nthe scenic man is doing, or to show\nwhat a playhouse looked like in those\ndays, and what the actors looked\nlike, that he felt he might venture on.\nHe is particularly well-bred, and so he\nalways avoided fancying he could teach\nactors how to stand better than Parigi(l)\nand the stage manager and experience\nwere teaching them; he sticks, very\nsportsmanlike, to his needle and his\ncopper plate, and with this dart and\nbuckler he attacks and records the\nfacts and incidentally lives for ever.\nFor while everything he ever did is\ntouched with genius, nothing he ever\ndid holds more of that genius than his\ndearly doved theatre records.\nNow you who read this may be a\nMartial or a Havel!, or, wonder of\nwonders, a second Callot;—but you\nwill be less than the least of the three\nif, born to draw and born with the\nusual man's love of the Theatre, (and\nthat's other than a talent for the stage)\nyou follow the passing fashion, desert\nyour fine talents and blunder into our\ngarden.\nIf you love our garden enough to\nmake some records of it, we shall be\ntouched, and rest your true and faithful\nfriends, and shall find it a pleasant\nthing to record in cur own way that\nyou possessed grace.\nThis stage of ours is without doubt\na place worth recording and we will\nopen our gate to you and give you\nthe run of the place, Gentlemen.\nAnd, in years to come, your name\nwill so be often on the lips of those\nwho love fine drawings and those who\nadore the Theatre (I).\nTRULY UNHAPPY IS THE\nMAN WHO LEAVES UN-\nDONE WHAT HE CAN DO,\nAND UNDERTAKES WHAT HE\nDOES NOT; NO WONDER HE\nCOMES TO GRIEF.\nGOETHE.\nO\nA' TRULY GREAT GENIUS\nWILL BE THE FIRST TO\nPRESCRIBE LIMITS FOR ITS\nOWN EXERTIONS.\nBROUGHAM.\nO\nA MAN HEARS ONLY WHAT\nHE UNDERSTANDS.\nGOETHE.\n(i) It was tinder Parigi he studied\nand he had every excuse, had he consented\nto avail himself of it, to tell himself that\nhe could « raise the Theatre until it was\nfull of beauty and strength and wisdom »\nas a young draughtsman wrote me only\nlast week he was studying to do,\n(r) Whether all actors of today know\nof the existence of Callot is not the\nquestion all who truly love the thea-\ntre do know himy for all to whom the\nTheatre means more than what can be\ngot out of it take the trouble to look for\nits friends."}, {"page_pdf": 46, "page_imprimee": "28", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.46", "texte": "NOTES ON A JOURNEY\nBY FRANCOIS M. FLORIAN.\nI have just been visiting Roma, Milano, Paris and Lon-\ndon. I did pass a day in Manchester, but as my time\nin England was limited to fourteen days I thought it best\nto stay no longer in what struck me as quite the noisiest\ncity on earth after Geneva.\nAnd London is the most tranquil.\nn Are we growing excitable ? Tl was the heading of\nthe leader in one journal the week or day after the fracas\nat the Wembly stadium.... and I wished I could reply to\nLondon at large. 17 Not growing, you always were R.\nThere has arisen a certain false idea about the calm\nof the English. It is supposed to be natural. The truth\nis that the English is quite the most excitable race on\nearth ; and, knowing this, it is obliged to assume a\npretended calm which is quite foreign to its nature.\n1 was at Wembly and I round myself reminded of\ntwo immense crowds which lately packed Roma : the one\non the day Mussolini entered and became Head of the\nGovernment, and the other on the day Princess Yolande\nbecame a bride. But there was this difference. The En-\nglish crowd was closer packed, heavier ; and it seemed a\nlittle rougher.\nThe days when Mussolini entered Roma and the\nPrincess was wedded, there was not the faintest suggestion\nof panic or disorder. Nothing had broken down, to judge\nfrom the crowd. It did not push, smash or get out of\ncontrol for a moment. No policemen, mounted or unmoun-\nted, had to be called up to restore order. Everyone was\nin great excitement, but everyone controlled himself. No\none was still or calm, but no groups hustled or pushed.\nNo one had taken anyone's place; that, in an Italian\ncrowd, is out of the question ; the streets in Roma are\neveryone's property and nothing at all self-opinionated ever\nlives there over halt a minute. Everyone in the street is\nglad to see everyone else there, and utterly indifferent too.\nQuite natural fine manners control these Italian crowds of\n50,000 in Roma just as they do in some parts of the east.\nIn my land, but I am always too near to see in\nit anything but perfection—a crowd in the Place de la\nConcorde will joke possibly a little too much ; but then\nwe seldom have such gatherings as the glorious Wembly\nPark Cup Tie Final, and never any Princesses marrying,\nand of late no Dictators. We live and let live, and enjoy\nanything odd and fantastic.\nAnd that is, perhaps, why Wembly Park gave me\nsuch a thrill—and hew it was that I came to see that\nyou English are far more excitable people au fond than\nwe Latins.\nO\nAND I visited some playhouses. Here I really was\ndisappointed. Not with the players. Your come-\ndian Sir Gerald du M&urier seemed to me a very finished\nactor ; if I may say so, almost a Victorian actor.\nI had noticed one day standing on the steps of, I\nthink, the Edmund Kean Club (1) a very handsome figure\nof a somewhat aged mas, yet a man whose upright figure\nand curiously alert head struck me as remarkable. 51 Who\nis that ? n I asked after I had gone by. R Bancroft,—\nSquire Bancroft R said my friend. Rls he an actor ? R\nI asked in utter ignorance. R I should think he is R he re-\nplied. R Tell me about him, R I implored. But my friend\nis one of those charming Englishmen who know everybody\nand everything but yet who hesitate when asked for in-\nformation about anything and anyone.\nf? There's a book of Memoirs bv him R he was soon\nsaying. n Its name ? R I pleaded,—but its name had\nescaped him, We parted and I went into a bookshop\nin Whitehall and asked for and was able to buy the\nvery book.\nAnd, that same evening, I went to see Sir Gerald du\nMaurier act and to take notice of the quiet demeanour of\nhis audience. They and he seemed to me just what I\nhad been reading of all day in Mr. Bancroft's book (1). The\ntwo words which seem to me to describe this book and\nSir Gerald du Maurier are R Victorian R, n seriousness. R\n1 cannot recall any two men in any other Continental\nTheatre who have taken themselves and every detail of\ntheir career with so much seriousness—and this possibly\naccounts for the wrapt attention of the audience at the\nWyndham Theatre. To take oneself seriously is not so\npermissible in a Parisian as in a Londoner;— in Italy it\nis not dreamed of—in Germany not 4 ausgeschlossen and\nI find it very exhilerating and original. Another play-\nhouse I visited was the Lyric Opera House \"in Ham-\nmersmith where I should have enjoyed the delightful\nR Beggars' Opera 51 possibly more had I seen it earlier in\nthe run. But my excitable Englishmen were so familiar\nwith it that they could barely wait till a tune was ended\nand a joke cracked to applaud very loudly and to laugh\nvery merrily.\nI found no less excitable people at R The Immortal\nHour, R a piece I must admit I could not entirely follow.\nMy Sunday should, I am told since, have been spent\nout of London at the Hampton Palace, but I was not\nwarned in time so I spent Sunday in London.\nIt is an experience I never want to enjoy again, be-\ncause on Sunday all excitement seems suddenly to desert\nthese highly strung people, and a stranger would be led\nto suppose, by the gloom and the odd stillness which\nprevails, that something terrible was about to happen. It is\nonly when Monday morning comes that one realizes that\nsomething terrible has happened.—A day has been lost.\nAnd on the Monday I had to to Paris. I de-\ncided to enter my own city like a stranger. I dined that\nevening at the passable Restaurant des Beaux Arts in the\nRue Bonaparte, and after dinner I strolled up to the Cafe\nin the Place Saint Germain des Pr£s. There are four\nor five cafes there, so what I have to tell will not offend\nany—since all cannot be the one I visited.\nI sat awhile, and then, wondering what I should do,\nI decided to go to the Theatre du Vieux Colombier where\nM. Copeau always has „R the latest things, n as you En-\nglish say. But before going I must admit I needed to feel\nthat my intention was as good (and as English) as I sup-\nposed it to be. So I called the waiter, and feigning an\n\n(i) M* Plorian possibly means the Garrick Club, for to\naur knowledge no Edmund Kean Club exists. Ed.\n(i) Sir Squire was knighted after the book had appeared,\nwhich accounts for this slight slip by M, Pierian* Ed-"}, {"page_pdf": 47, "page_imprimee": "29", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.47", "texte": "execrable French I asked him, could he tell me of any\ntheatre,—any theatre, I emphasized—within walking [dis-\ntance of his caf£. n There are none n he answered, and\nwent inside.\nn So the Vieux Colombier is not what a waiter calls\na Theatre, n I thought ; and his decision decided me:\nI would not go—it is only a stone's throw from the place,\nbut since the waiter doesn't count it as a Theatre, and\nas his decision would haunt me if I went, I will give in\nas a Foreigner would,—l will admit that no Theatre is\nnear—I will smoke another cigar, and go home to my flat.\nOnce home I spent the evening thinking over my\ntravels.\nRoma had had dramatic surprises in the streets.—Mi-\n!ano dramatic performance in the R Scala. n—London,\never charming, had thoroughly roused and pleased me, and\nnow I was home, and M. Copeau's Theatre no theatre.\nFor the first time in my life I began to consider\nMo Copeau ; but what conclusion I came to about him\nand his no-theatre I must tell you in my next article.\nLondon, Roma, and Milano. The first two are homes\n—I had almost slipped and written hot-beds—of the aristo-\ncracy. Milano is the merchant town.—I was told in Mi-\nlano that the new Scala is pretty well supported by these\ngentlemen. It showed well when I was there. Signor To-\nscanini is admittedly a very great artist, and he has been\nplaced at the head of a very efficient company. Well, that\naccounts for Milano.\nIn Roma I was told that the aristocracy do very little\nto support anything—and that Politics have now taken the\nplace of other entertainments, and to talk politics involves\nhaving to dress and go out to dine with one another, and\nthat this is the most enjoyable of all dramatic pastimes,—\nthis and card-playing.\nAs I do not play cards, and dislike to hear the word\nPolitics—or to utter it—I left Roma after six days, went\nto Milano, and returned to Roma for the unforgettable\nmarriage celebrations of the Princess Yolande.\nAnd now if you ask me, n is there a theatre near Eu-\nrope ? R I must like the waiter in the cafe in the Place St\nGermain reply R not one. 11 My trip has been all enchant-\nment— everywhere I found good friends, perfect railway\naccomodation, good food and a cheery good nature around\nEurope :—but a Theatre—not one.\nI admit I had no time to see the Kamerny Company.\nIt was visiting Berlin or Madrid at' the moment. That\nCompany, from all I hear, is a 1923 Theatre.\nIs a 1923 Theatre a Theatre ? This I will discuss in\nmy next, but one, article.\n\nINCORRECT.\nBY THE EDITOR.\n\nTHERE are a mighty number of careless statements\nbeing made today. This is nothing peculiar to the\ncentury. But what is peculiar to it is, that there are many\nmore books and journals today than formerly which find it\nwell to print these statements as though they were the\ntruth—and worth the type-setter's pains.\nWhether this wholesale chatter dignified to the point\nof being called n fact n does real harm to our modern\nworld in general is not our concern ; where it affects the\nTheatre it is: so we propose to do something towards\nremedying it; and we want you, our readers, to help\nin this.\nWe expect most of our readers are able to discern\nthese errors, and it is on these we count; and they will\nhave seen how most of the statements made with such\ngrave assurance about our New* Movement are all non-\nsense.\nHere are some examples of what we mean. They\nare taken from four sources: Books. Lectures. Journals.\nIdle Talk.\nI. A BOOK\nIN n The Little Theatres in the United States n by Cons-\ntance D'Arcy Mackay the author states (1) :\nn The initial idea of the 4 Little Theatre ' came to us\nfrom Europe. Its inception goes back to 1887 when the\nfirst small experimental theatre was established in Paris by\nAndre Antoine. n\nThis is incorrect. Even if the first Little Theatre\nheard of by America was Antoine's theatre, it was yet\nnot the first. In Europe,... in Paris as well as in Italy\nand Germany, experiment has been unceasing. 7 here were\ndozens of little Theatres in Paris a century or so be-\nfore 1887.\nAgain, (page 4) n A critic has recently said, n writes\nMiss Mackay, that \" the Little Theatre is the one thing\nthat has happened in the history of the stage in the last\n35 years; 15 and she adds to this, n Indeed, the whole\n* new art * of the modern stage, lighting, colour, siyliza-\ntion, synchronization, has been made possible through the\nlittle Theatre, without the impetus of the Little Theatre\nthere would probably have been no Gordon Craig, no\nStanislawsky, no Reinhardt, n etc.\nThis is incorrect.\nThe Little Theatre is not 4 the one thing ' that has\nhappened in the history of the European stage in the last\n35 years. Neither do we think it the one thing which has\nhappened in America.\nThe whole new art,—lighting, colour, stylization, etc,\nwas not made possible in Europe by the Little Theatre.\nThe existence of Gordon Craig, Stanislawsky and\nReinhardt is not due to the Little Theatre:... True it\nmay be that Stanislawsky and Reinhardt began their work\nin and for Little Theatres, but not so Gordon Craig.\nOne of the facts she does not state is that Stanislawsky\nwas a wealthy man when he opened his Little Theatre....\n\n(i) Henry Holt Co, New York, igij."}, {"page_pdf": 48, "page_imprimee": "30", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.48", "texte": "it was not therefore quite the same as Antoine's venture\nor Reinhardt's. Gordon Craig has never, by the way, had\na theatre of his own. That also is never stated. One\nimagines by some of these books that he, like Antoine,\nStanislawsky and Reinhardt, found his countrymen eager\nabout experiment.... They were not.\nSpeaking further on of Gordon Craig's n Screens n\nMiss Mackaye says they are of plain cream c010ur.... and\ndoes not qualify the statement.\nThis also is incorrect, for his patent does not limit them\nto this.\nOn page 150 she refers the reader to Mr Huntly Car-\nter's book on n The Theatre of Max Reinhardt, n where\nshe says a full description of n how Mr Craig came to\noriginate this type of scenery n is to be found.\nThis is incorrect, for how Mr Craig came to originate\nhis R Screens n has not been fully described anywhere;\nbut the best words on the matter are naturally to be found\nin his own writings in n The Mask n and in w Towards\na New Theatre. n\nWriting of Professor Reinhardt Miss Mackay says on\npage II : n In Sumurun he showed how costume effects\ncould be marvellously heightened by the use of scenery\nwithout perspective. For with all his allegiance to the\nmodems, Max Reinhardt is first and foremost a superb\ncolourist, decorative rather than analytical, n and so\nforth.\nNov/ how long, shall we have to continue to tell our\nfriends,... writers and critics.... in the New Movement that\nProfessor Max Reinhardt is just a first-class director of a\ngood commercial play-house, and a good actor, but not an\nartist at all, not a H colourist n, and creates nothing.\nMiss Mackay says on page 243 that the Little Theatre\nof Denver failed. To publish this statement, by itself, in\n1917, was incorrect. It first failed, and then in 1915 it\npicked up again and n has now, (1917) been in existence\ntwo seasons and has prospered in good plays n (1).\nA SECOND BOOK\nAN old professor of some University in Columbia wri-\nting in an influential but half-asleep journal, about the\nwork of some wide-awake and influential stage-manager,\nsays, n There is no fear that his admirable principles\nwill prevail. w—This, after these principles have entirely\nwon out.\n€J It is a custom with some writers of books on the\nTheatre to class Reinhardt, Appia, Antoine, Jessner, Craig,\nand a few others, together. All five are not only utterly\ndifferent, but do different tasks. This careless classifica-\ntion creates a confusion in the minds of the readers, and\nthey pass along the confused nonsense to others.\nII. LECTURES.\nA young man, possibly 38 years of age, but somewhat\nof a beginner in the Theatre, gets a hearing before\na London audience and asserts solemnly that C....'. de-\nsigns for scenes are exaggeratedly large and could not pos-\nsibly be put on any stage. He is one of the pushful new\ncomers, and some of his work, bad as it is, is formed to\nsome extent on the study of C....\\ work. This fact\nshould teach him to observe truth when making statements\nabout his benefactor,\n(2) Another, about the same age, asserts that w C....\nis no longer really interested in the Theatre. He thinks\nhe is, but he isn't. n\nHe is one of the men, oddly enough, C. .. has always\nsingled out as one of the few English scenic men worth\nconsidering, and there are about eighteen to twenty.\n(3; An English play-writer and producer of plays, in\na Lecture delivered April Bth 1919 at the Royal Society\nof Arts in London, asserted that, n Mr has pro-\nduced few plays (fortunately, perhaps, for his methods\nof production would destroy the Dramatist and obliterate\nthe Actor) ; he has invented no system of lighting which\ncan be used with advantage (!)—and most of his scene\ndesigns are unrealizable (2) on the stage; if you recall\nhis drawings you will find he requires a proscenium 120\nfeet high (3), where an average height in theatres is 20 to\n25 feet (4). «\nThese statements are incorrect.\n(4) A professor of Cambridge University, England,\nlecturing in Manchester at the International Exhibition of\nTheatre Art, made several incorrect assertions, He was\ninstantly taken to task by a Lieutenant in the British Navy.\nThis put error to the right about, and one has to\nadmire the quick acknowledgement made by this professor\n(Columbia University, please copy), of his error, which he\nshowed was quite unintentional. The point is that someone\nwas alert to correct error, and that the Cambridge Pro-\nfessor had the good grace to put things right. (Columbia\nUniversity, again copy).\nIII. JOURNALS.\n(1) ]\\/|R Granville Barker, who, one could have sup-\n-IVJL posed, was aware that, in the success of the\nInternational Exhibition of Theatre Art, a good step had\nbeen taken towards a better Theatre for England, while\nstarting to praise what was being then received with a\nround of heartiest applause, soon broke off and began to\nfind fault with the models as being incorrectly made—out\nof scale.\nHe went out of his way to find this fault, for it did\nnot exist.\nWhen someone pointed this out to him, he did not\nshow the least sign of regret,... Won't do, Harley!\n(2) Mr Israel Zangwili, as chairman at a banquet\ngiven to Mr Grein (who will be remembered as being one\nof the first to be instrumental in bringing over an excellent\ncompany of German actors to England, in being helpful\nabout Sir Herbert Tree's visit to Berlin, and several other\nsimilar stage exploits), is reported to have said that he was\n\n(1) Hie Insurgent Theatre, T. Dickenson, 1917.\n(1) The speaker here forgot the words «by me ».\n(2) The speaker again forgot the words «by me ».\n(3) I have lately been curious, wrote a stage-worker to us\nlately, «to measure Mr ' designs as given in his book\nof forty drawings< and find that even measured literally the\nscene is never more than nine times the height of the drama-\ntic figure, and in the 7najority of drawings the proportion is\nvery much less (except in the case of two drawings which the\nauthor says are inte7ided more as book illustratio7is ».\n(4) The speaker was dreaming his little dream• Measure the\naverage of twelve well known theatres: Adelphi, 37 ft. Alham-\nbra, 40 ft. Charing Cross, 28 ft. Britannia, 38 ft. Co7nedyt\n28 ft. Covent Garden. 38 ft. Drury Lane, 41 ft. Efnpire,\n36 ft. Lyceum, 38 ft. Savoy, 35 ft. Parag 071, 34 ft. Hay mar-\nket, 24 ft. the average comes to 34 ft, 7101 20 or 23 ft. (We\nquote measurements from Buckle, 1888)."}, {"page_pdf": 49, "page_imprimee": "31", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.49", "texte": "\" indifferent, or even hostile \" to the mise-en-sc£ne men,\n(i. e. the Reinhardts, Stanislawskys, Antoines and others),\nbecause mise-en-sc£ne was solely concerned with surface\nmatters.\nHe then failed to point out that this was good, and\nsome one had to write on behalf of these mise-en-sc&ne\nmen to the \" Manchester Guardian n and explain the obvious:\ni. e. that outward and visible signs were to make evident\nthe inward and spiritual grace of the noble Dramas of Mr\nZangwill and his confreres.\nSit down, Zangwill, or rise with a better grace and\nnobler thoughts about those who can be of the utmost ser-\nvice to your line dramas, and have been serving drama for\nyears—doing nothing else.\n(3) In the \"Glasgow Herald \" (1922), a column of\nnotice on the International Exhibition of Theatre Art was\nspoiled by whoppers. Here are some of them.\n\"Mr (an Englishman) has somehow acquired\nin the public mind a wide-spread reputation as a pioneer\nin the Art of the Theatre. He is entirely a dreamer. \"\n(First whopper).\n11 So far as his designs go, almost all of them fail com-\npletely to satisfy the first simple condition of practicality.\"\n(Second whopper).\nOf another artist, an American: \" His designs for\n\" The Cenci \" are striking on paper, but it is doubtful if\nanything like the same effect can be achieved in practise.\"\n(Third whopper).\nThere were about eight more tarradiddles, but we won't\ntire you with reprinting them here.\n\" The Glasgow Herald \" is a grand old journal, (it's\nProprietor and Editor opened the Glasgow Theatre Exhi-\nbition, by the way,) and it should not allow itself to be\nimposed on by writers eager to detract from good British\nwork. There are four or five influential papers far too full\nof such intentional or unintentional misstatements.\nWe hope we shall not be obliged to point out which\njournals and reprint the misstatements.\nIV. LOOSE TALK.\nTHE loose talk is of two kinds: that which is merely\nmischievous, ....the idle tattle of those who wish always\nto seem to be informed, to be \" in the know ,f and there-\nfore talk carelessly themselves and circulate careless rumours\nabout important workers in the Movement and about events\nin the Movement itself: and there is the malicious talk\nof those unhappy creatures who, ever since Pope's day\nhave not ceased to\nDamn with faint praise, assent with civil leer,\nAnd without sneering teach the rest to sneer ;\nWilling to wound, and yet afraid to strike,\nJust hint a fault, and hesitate dislike.\nBut with this vast mob and its leaders we really can-\nnot concern ourselves. You, our readers, (some of our\nreaders....) can, and we hope you will never let an\noccasion slip. It helps to keep things lively.\nWe have given these examples out of very many in\nour possession If the errors are made through ignorance, then\nall is well ...and all the critics and public need do is to\ndemand sharply that, before making statements about the\nstage, and its workers and representatives the writers and\nspeakers should sharpen their wits at least until they become\ncorrect. If through malice, then something is rotten in the\nstate of England. They have rather too ugly a look.\nThat they are utterances of men whose lamps are dim,\nwho are sick, may be true. One should, and we could,\nforgive such a failing for such a reason.\nBut we do not intend to, because the Theatre may\nsuffer through if, let alone the men who are daily working\nfor its sake.\nBut there is the remedy for much of this loose state-\nment and talk which is such a curse to all endeavour, and\nyou can help us to apply it.\nWhen you read something of the kind which strikes\nyou as a huge big lie, enquire into it, and immediately\ncombat the person who is spreading the lie; be it an ac-\ncidental or a deliberate lie the result is the same.\nEspecially to every artist do we address ourselves.\nFight the battles for the other artists and they will fight\nfor you. Fail to do this, and you must not wonder if\nthe others do not respond in your time of need.\nThere is no call to discuss Art; leave Art out of the\nquestion, for it has nothing to do with it.\nGo for the liars who would sneakingiy cheat us out\nof the one thing we know our best men can do, write plays,\nproduce plays, act plays.\nIf the friend you stand up to protect can't write, pro-\nduce or act a play, admit it ; don't lie about it. See\nwhat it is they say he can't do which he can do, and\nthen show the critter who said he couldn't no mercy.\nA practical v/ord. Don't write long letters to papers.\nWhen writing, have your letter typed out and keep one\ncopy of it, sending the other to the paper in which you\nwant it published. When sending it, enclose what is called\na \" covering letter \", (a private and quite formal one) to\nthe Editor of whatever journal you write to. Let this\nconsist of live lines at most, to ask if he will have the\ncourtesy to allow you space in his journal for the accom-\npanying letter. (He often wont have that courtesy—he\nmore often will.)\nDon't write often, but when you write be sure of your\nfacts, and then hit hard.\nDon't bother about the words. If you can't write\npretty sentences, thank ycur stars and go ahead and write\nwhat is better—sense, and in as few words as possible.\nBut get your facts correct.\nYou will make some enemies by this, but you will\nbind your friend to you, your friend who is worth a hun-\ndred such enemies.\nWhen fifty friends shall act in this v/ay for each ether,\nour Theatre we all care about so much will be nearer by\nten thousand days than it is today.\nThat it is still rather far off today is mainly because\nof this failure on your part to attack for your friend's sake\nand his work's sake.\nWe know the excellent type of man who, rather than\nfight for a friend, will lie low and say nothing,... and thus,\nby siding with all sides, will make no enemies. Joseph\nSurface was not unlike him. \" Every body in the world\nspeaks well of him \" says Sir Peter Teazle, to which old\nOliver, that real little Englishman, replies, \" 1 am sorry to\nhear it; he has too good a character to be an honest\nfellow. Every body speaks well of him! Psha ! then he\nhas bowed as low to knaves and fools as to the honest\ndignity of genius and virtue \".\nSome people will not appreciate Sheridan's English at-\ntitude—we rather like it.\nAnd lastly, remember this: that your best friends in\nthe Theatre are not those with whom you share a lunch,\nbut they who have shared their work between you all.\n\nJ. S."}, {"page_pdf": 50, "page_imprimee": "32", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.50", "texte": "THE PENNY GAFF.\nTHE \"BAD MANNERS\" OF THE\nGALLERY BOYS.\nMiss Marie Tempest came back to\nLondon a few months since after\na long absense and produced a play\nwhich, according to several critics, was\nff shocking n, n dreadful, n and, according\nto the gallery boys, was n Rotten. n\nMr St. John Ervine, gallant as ever,\nattempted to prove in fl The Obser-\nver n that the gallery boys were wrong\nto shout out n rotten n ; and that,\nMiss Tempest being present, the boys\nshould have yelled out n divine. n\nBut who was it brought the play to\nLondon ? The boys evidently thought\nit was Miss Tempest's offering to\nthem.... and would do anything sooner\nthan deceive Miss Tempest.\nThey love Miss Tempest—who\ndoesn't ? Just as the gallery girls love\nSir Martin Harvey, and the rough\nand tumble pit of the old days loved\nMrs Glover and Mr Charles Kean.\nBut love is like that, if it be sincere;\nand to expect the pit and gallery to\nturn on an insipid politeness which\nwould be quite unnatural to them is\nto expect the fire to turn into water.\nIf a celebrated manager, actor or\nactress offers rubbish to us, the Gal-\nlery is within its rights to call it\nrubbish.... and to call clearly. Ma-\ndame Eleonora Duse has been, in the\nlast twelve years or so, howled down\nby the house,... not from any disrespect\nfor her powers, nor because the Italian\naudience is n brutal, n but because she\ntoo has stooped to inadequately bolster\nup a few rubbishy plays. Mr. Er-\nvine refers to the Italian audiences as\nbrutal. This is because' he does not\nknow them. They are not brutal, nor\nhypocritical, nor like rice pudding.\nThey are intelligent beyond all other\naudiences. They laugh at sentimenta-\nlity whether it parade on the stage or\nin the stalls, and they laugh at fine\nactresses who attempt clumsily to smug\ngle rubbish across the footlights and\nsell it for a high price.\nFine actresses should not do this;\nand when they do so, the gallery\ndislikes it ; for it prefers to see a fine\nactress in a fine play by a good\nauthor.\nThe London Gallery has this time\nbeen wrongly censured, Unless the\nTheatre has become a private house\nwhy should stalls and circles be ' anxious\nto do honour' to an actress who brings\nus a play which Mr Eryine describes as\n* dreadful * ? To applaud would have\nbeen to set the seal of London public\napproval on rubbish—a thing done\nweek by week by those who mistake\nthe parterre for their private drawing\nroom. Yet, when the gallery shows\ncourage, everyone lisps n What bad\nmanners! n A good deal more of\nsuch n bad manners n and our English\nTheatre might be purged of the sixthrate\ntheatricals which an artificial public now\nbooms as first-rate.... for such \"bad\nmanners \" are not bad manners at all.\nA damn bad play is bad manners....\nthe presumption in the stalls is bad\nmanners.\nTo stop the gallery from its ancient\nprivilege of honest expression of dis-\nlike of a vile play and wild enthus-\niasm for a good one is to ask the gal-\nlery to capitulate. The stalls applaud\nyou to your face, Miss Tempest, and\nthen go and tear you to pieces behind\nyour back. Is that what you like ?\nNo, any day you prefer the true ring\nof the voice of the gallery, its scorn\neven..,, for it has often offered you\nits enthusiasm and will do so again if\nyou do not join in the treason of rui-\nning the stage to gain some private\nends at the expense of the liberty of\npublic expression,\nHERE is an idea for the n Chel-\nsea Art Buns \" as a flippant\nyoungster in the King's Road calls\nthe students there.\nIf it be difficult to find a Gallery\nin which to exhibit your pictures, get\nthe local authorities to let you rig up\nsomething like the above sign-post\nacross the King's Road—not too far\nfrom the Six Bells.\nYou could hang up somte 24 large\ncanvasses,... and since \" The Times, \"\nn Morning Post n and ff Observer \"\nwill see that some one is on the spot\nto forbid the audience on the tops of\nthe busses to be at all expressive\neither for or against anything—you ought\nto be able to have an exemplary exhi-\nbition.... and the pictures could be\ncovered with a curtain on Sundays.\nIn Paris they do something very much\nlike this: and so they do anywhere\nand everywhere save where an English\ngroup is allowed to find it n irregular. n\n\nTO SILENCE A CAT-CALL.\n'THERE are some rather dull indi-\nA viduals who, when Mr Gordon\nCraig's work is under discussion, seem\nunable to do anything but reecho without\nceasing that cat-call, \" Craig wants to\ndestroy the actor n,\nWe therefore reprint these words\nof his from \" The Mask January\n1914, Vol. VI, No. 3, which quite\nsufficiently answer and refute them.\nn I announced (1) the return of\nthe Über-Marionette or Idol, and the\nexodus of the actor from the Theatre,\nand I repeat it.... the Über Marionnette\nis inevitable. The actor of sense will\nunderstand me. He knows. He is of\nmy family. No particular of my pro-\ngramme excludes him, even if it reor-\nganizes many of his present duties and\nprovides for all accidents waiting to\nscare him. When the time comes his\nplace is secure \".\nlf there be one of the said indi-\nviduals who has recovered his wits,\nlet him, then, try a new cry:\n\" Craig wants to awaken the actor n.\n(i) \" On the Art of the Theatre\n1905-191 /."}, {"page_pdf": 51, "page_imprimee": "33", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.51", "texte": "BOOK REVIEWS\n\nTHE CHINESE THEATRE by\nTchoi)-kia-kten I illustrated by A.\nJacovleff: John Lane. Price twenty-\none shillings net.\nTHIS particular book on n The\nChinese Theatre 8 is, for a num-\nber of reasons, quite one of the most\nimportant books on Theatricals issued\nfor a long time.—Important because\nauthoritative and brief, and because it\nstates quite clearly that that thing we Call\nthe human element is excluded as much\nas possible from the whole business :\n—important, for it emphasizes how\ngreat is the discipline which their good\nactors have to undergo :—important\nbecause the tradition is very faithfully\nkept in China ; because ail trifling rea-\nlities such as doors, chariots, horses,\nboats, threads, stones and such-like\n8 properties 8 are excluded, instead\nof this, the actor must pretend to be\nopening a door, pretend to be riding\nin a chariot, pretend* to be mounting a\nhorse or steering a boat? pretend to\nbe twisting a thread or throwing a\nstone, and must pretend as perfectly as\npossible,... must abide by the traditio-\nnal way of pretending, so that we\n8 feel the flowing waters and the rock-\ning of the boat, B—we8—we 8 see the\nhorse 8 that is not there. The author\ntells us this is so.\nThe artist who draws us some fifty\ninteresting pictures of the actor at work\nshows us that, on the other hand,\nother 8 properties 8 are lavishly em-\nployed. He shows us actors making\nup with grease paint,... not to make\nthemselves look like the Chinese folk\nwe meet every day in the Pekih\nstreets but to look precisely unlike\nthem,—to look like persons in the\nTheatre world, an unreal world.\nIn England we show in some play\n(say by Sir. A, W. Pinero) a man and a\nwoman who are pretending to be some-\none else—some other natural beings,\nsome every-day beings,... the man in\nthe street, we call him ; the woman in\nthe street, we call her.\nThis playful, vain endeavour has\nnot appealed to the Chinese mind...\nthe Chinese Finero.... the Chinese whose\nworks of art are so superb, so fault-\nless,—whose Theatre is, I dare say,\nas faultless. I was never there.\nAnd how is this at all surprising ?\n*—What is rather more surprising to\nmany of us is that which we do in an\nEnglish Theatre and dream it to be a\nwork af art.—What dreamers, what\nunpractical folk we English are.... we\nnatural people pretending to be na-\ntural,... is it not the acme of idiocy.\nIf we pretend, the very last we should\npretend is nature, and the very last\nthing we should pretend to be is natural.\nThe work has been well printed by\nKapp of Paris. It costs twenty-one shil-\nlings; some of the drawings are in themsel-\nves worth the twenty-one shillings. That\nof the 8 Actress in the part of an ac-\ncused woman before the Tribunal 8 is\na serious, fine thing. I look at it and\n8 Indeed, indeed it has taken discipline\nto come to this 8 I find myself saying.\nIt was a relief to find that the au-\nthor omits to even mention that 8 pro-\nperty man 8 or R prompter 8 who was a\nsensation to the yokels of London\nwhen 8 The Yellow Jacket 8 (a nice\nparody of the Chinese way) was per-\nformed there. To giggle at him—to\nfind him so clever— as was done at\nthat time, was to proclaim aloud that\nour theatre-goers had become 5i11y,... or\nhad never been anything else. Just so\nmight a Zulu stand agape before the\nbrass-buttoned peak-capped custodians\nwho are on duty in our National Gal-\nlery, and forget to look at the pic-\ntures there.\nThe Chinese use masks—painting\ntheir faces to seem like masks,—much\ndepending on the way the painting\nis done.\nThe paints, some dozens of them,\nare in pots and stand on cast-iron hea-\nters : some forty paint-brushes,—one\nfor each colour—are used for laying\nthe paint on. Bright intense colours are\nused: also black, brown and white.\nIncomprehensible is such a theatre\nto some of our English critics. One\nsuch wrote, relative to this very book,\n8 It leaves one, on the whole, with\nthe impression that the Chinese Thea-\ntre is a very infantile affair 8. That\nit is understood by many millions of\nChinese is only evidence to such critics\nthat the Chinese nation is an ass,... or\nat any rate, rather queer. That it is,\nat any rate, reverenced by many Eu-\nropean critics, goes without saying.\nThe Arts must vary in many of\ntheir moods—and ways—all over the\nearth; but there are some firm princi-\nples underlying each art, and, if not\nlearnt and held to by a nation, that\nnation can count its arts as pretty well\ndamned..., till it choose to relearn the\nrules.\nThere is always time to learn—and\nthere are always men prepared to\nuphold a grand tradition.\nThat in the Arts too many people of\nour English nation will always willingly\nswear to abide faithful for ever and ever\nto a petty tradition and giggle and\ngrimace before a grand one, is rather\ntoo terrible a subject to dwell 0n....\nBut to go on, to advance, and to\nestablish a grand tradition of our own\nwe need not first hark back to 400 B. C.\nand ape the ways of Greece, or go\nback to 712 A. D. and affect Chi-\nnoiserie.... All we need to do is to\nbe true to first principles, not false to\nthe Theatre because it pays better to\nbe true to Sir James SobstufF or Miss\nQuibble.\nWe want Drama, not baby-talk\nplays signifying nothing.\n\nSCENES AND MACHINES ON\nTHE ENGLISH STAGE DURING\nTHE RENAISSANCE: A Classi-\ncal Revival, by Lily B. Campbell.\nCambridge University Press 1923.\n(15 illustrations, pp. Xf 302)\nPrice /5/—.\nHISTORY being so often the de-\nlight of elderly men, I suppose\nthat in time I shall also come to see\nHistory as they see it. But at present\nI am all for shorter Histories. I am\nfor cutting out all talk in Histories.\nI would make little of much instead\nof much of little. And, this virtuous\nintention in my head, I popped into\nthe Biblioteca Reale today just to see\nwhether there were any short histo-\nries. I found a history of Italy in 42\nvolumes. Weil, Italy is a big subject;\nf can let the 42 volumes pass; such\nbrevity seems almost divine. But it\nwas theatre books I was after. I call-\ned for some relating to one section of\nthe stage work of the past. ...on sce-\nneries. They brought me 8 La Sce-\nnografia n, a small but fat book of\nabout 325 pages with about 165 plates.\nI began to give my morning to this.\n1 found a number of facts put down\nwhich were correct; almost as many\nwhich were not correct, some 30 to\n40 incorrect dates and a fair amount\nof waste letter-press. After three\nhours at this book I went home. 8 It\nis not so that I will write History\nwhen I come to it w I promised myself.\nThis was before lunch. After lunch\nI was toying with Miss Campbell's\nbook n Scenes and Machines 8 and I\nfelt far less virtuous : I had to write\nthis review; and I thought, * Well"}, {"page_pdf": 52, "page_imprimee": "34", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.52", "texte": "now, if ever 1 come to write a Hi-\nstory Book on one branch of Thea-\ntrical Craftsmanship may the Gods\ngrant that I do my work half as well\nas this lady has done hers Not that\nit is faultless, only mine would have\ntwice as many faults ... differen faults.\nI would try not to take 60 pages\nto show what could be revealed in 16.\nI would take eight to ten years or\nlonger over my first book. I would\nmake an Index to it which should be\nreally perfect. I would not mix up\npeople just because they were called\nby the same name; and unless I had\nvery serious proofs I would state no-\nthing as a fact which might later on\nprove to be all fancy.\nAs for illustrations, I should be fas-\ntidiously careful,\nAnd the only fault 1 can possibly\nfind with Miss Campbell's book is that\nan illustration or two might have been\nbelter chosen ; and the index is not\nquite correct, and the names now and\nagain wrong, and some of the state-\nments a little rash.\nThat said, the book is delightful,\nand certainly proves that n scenery was\nfrom the beginning of ihe revival of\nthe classical drama in Italy regarded\nas an accepted part of dramatic pro-\nduction B.\nWhat a strange world it is that we\nstill ask for 312 close-printed pages\nfrom a clever lady to prove that. That\nthere is need for another Moli&re is\nclear. We have not advanced in\ncommon-sense one step since 1673.\nWe assemble in our wigs, gowns and\nspectacles with solemn faces, we sit\ndown in circles, we say Hullo Agate!\nand what ho Ervinef We nod to\nArcher, we open manuscripts, we forget\nwhy we were born. Someone begins\nto read; we listen; we feel awkward,\nso we protest. We contradict; we\nrise up and storm: we cry out; ...all\nis in an uproar; ...all to prove that a\nmouse is actually, was originally, and\nmay very seriously be supposed in the\nfuture to be, a mouse.\nBut no one rises, reads, and dis-\ncusses more pleassantly or more ca-\npably than the author of n Scenes and\nMachines n. She credits our Inigo\nJones with far greater powers than he\npossessed and we shall not grumble\nat that. She is one of the first to talk to\nus of Sabbattini. She is gallant in her\nhopeless task, for her task is t© help\nto convince an absolutely indifferent\nlot of nobodies that to dress even the\ngrandest of naked human forms, the\nDrama, is, anyhow, permissable, leads\nto comfort and something more, and\ndoes not offend the eye.\nB No, no! n cry out the bewigged\nacademicians, the learned duffers \" no,\nno; ...the eye is a sensual agent: pluck\nout yours n, they howl; M ...pluck out\nyours\n\nON \"THE SITE OF THE GLOBE\nPLAYHOUSE OF SHAKE-\nSPEARE by George Hubbard. Cam-\nbridge University Press. 1923.Price7/6\nA good and very cheap book of\n44 pages instead of a long and\ntedious one of 444 : ...what a delight!\nWho says that brevity is none of my\nbusiness, and that if there had been\n444 pages I should have been obliged\nto read each page? I reply I could\nnot have read them.\nAnd there are twelve loose plates\nof plans of London, ...and here Mr\nHubbard has again shown his wit by\ngiving us only bits of the plans and\nby enlarging those bits. All concen-\ntrates on the matter he is concerned\nwith... the Globe Playhouse.\nThe book is handsomely printed\nand finely bound and has a large page\nof clear type.\nBut what a jest! ... for our author\nproves conclusively that we Londoners\nhave a rare number of sheep walking\naround reading and talking about\nShakespeare and dressed up to look like\nstudents, doctors, learned men, poets.\nDo not the aforesaid sheep assemble\nin front of the Pothouse of Messers\nBarclay, Perkins and Co Ltd, and,\nwith tears in their eyes and in true\nemulation of the inaccuracy of their\ndear Shakespeare, proclaim that his\nTheatre stood where it never stood ?\nR It is, dear be—and - a—bo—hop\nfriends, a duty we owe not alone to\nour bo—and—a—hop selves but to\nthe memory of tb at great if often\ninaccurate Dramatist whom we all\nlove, ...I allude to none other than\nMr. be—and—a—bo—hop William\nShakespeare; it is, I say, dear bo—\nand—a—hop friends, our beholden\nduty to erect here and now a—be—\nand—a—boo memorial tablet ... in the\nwrong spot 11.\nThus will the speech run some day\nin some farce entitled 11 The Thirteen\nWise Men of Gotham n.\nMay I be sitting next Mr Hubbard\non the first night.\n\nTHE NO PLAYS OF JAPAN by\nArthur Waley. A. A. Knopfl JVei»\nYork.\nTHESE great plays.\nThis great way of playing for a\ngreat audience!\nThere is nothing to be said in a\nbrief review about this sort of thing*\nso good it is. But it is a blessing for\nus that Mr. Waley has translated all\nthese nineteen plays ard a farcical inter-\nlude, and has given us ten designs to\nhelp us to understand it all a little\nbetter than we did. To understand it\nentirely one has to be born a Japanese\nand be still living in Japan,—in thai\nJapan which we suppose is still the\nJapan of the No-Drama.\nIf that land be gone, if it be turned\ninto a commercial affair instead of a\ncountry, the B No w had better be\nswept away as soon as possible. For\nthe n No w is the soul of Japan.\nWhat the n No H can be to us except\nsomething very sad, I, after many years*\nknowing of. it and knowing what it\nstood for, dare not trust myself to say,\nAs a mere hint as to how we should\nproduce plays, it is futile. As a de-\ncorative thing, it is worthless to us.\nMerely because it employs masks, it\nis, for us, nothing. Symbolical, I be-\nlieve. What of that, for us ? It deals\nwith heroes and great legends—where\nlies the content, for us?\nIn Italy, they will perhaps make,\none day, something heroic from the\ncoming of Mussolini. But that, too,\nwill take time. My friends who write\nplays and act them are not the un-\nborn babes of to-morrow. They are\nliving now. I cannot rejoice for them\nin the continued triumph of compro-\nmisers in nearly all other governments\nexcept Italy's: nor in that yellow-grey\nspirit of compromise in so many lands,\nwhich creeps out like a fog, at just\nthat slow pace, and just that colour,\nto envelop the little great leaders as\nthey are making their non-committal\nspeeches. That is what my friends\nthe play-writers and the actors have as\nmaterial to work on to-day. A rich\ntheme of nothing, in which nobodies\ndrift on and drift off the stage. For\nsuch a Drama is not brought into exis-\ntence by any one perfect writer or\nany two: or in England Mr. Max\nBeerbohm could give us our English\nDrama, and Anatole France could sup-\nply Paris.\nAnd when I turn from these w No B\nplays of Japan, to listen to the tone\nof voice of him we call our great Aris-\ntophanes, 1 am staggered by the mild-\nness of his laughter. Did he find the\nsituation only so mildly tragic that he\ncould be merely twinkling? Still, that\nis better than being prettily senti-\nmental.\nI would willingly tell you the price\nof this book, but there is no sign of\nthe price on it, on its cover, or on\nthe case in which it is packed. Yet"}, {"page_pdf": 53, "page_imprimee": "35", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.53", "texte": "one would have thought that Mr. A.\nKnopf could ha>e been called a prac-\ntical man.\n\nTWO GOOD BOOKS.\n\nTHE THEATRE OF TO-MOR-\nROW by Kenneth Macgowan. Boni\n& Liveright, New York•\nCONTINENTAL STAGE CRAFT\nby Kenneth Macgowan and Robert\nEdmond Jones. Harcourt, Brace &\nCo., NeV) York•\nPrice Jive dollars each.\nGOOD books, obviously. Good in\nspirit, and of good measure. The\nwriter, Mr. Macgowan, is the Editor\nof the w Theatre Arts Magazine n star-\nted by Mr. Sheldon Cheney, and still\nto the fore.\nR The Theatre ofTTo-morrowww is\nabout Theatre construction, Sceneries,\nLighting and Plays: there are seventy-\nfive excellent illustrations.\nOne of the longest reviews of this\nvolume which I came across was a\ncolumn and a half in the n Observer n\nby Mr. St. John Ervine.... and it\nseemed to me to be a very unfair at-\ntack and seemed also to state that the\nbook was something it is not.\n\" The new stagecraft began with\nthe problem of the setting.—lt ends\nwith the problem of the actor. B writes\nMr. Macgowan. Mr. Ervine writes,\nn One puts down Mr. Macgowan's\nbook in the belief that the Theatre of\nthe future is to be a combination of\ncinema and waxworks, in which plays\nwill, not be plays but a series of lime-\nlight views, and actors will not be ac-\ntors but a collection of stuffed dolls, if\nthey are even that... 11 and he conti-\nnues jeering at Mr. Macgowan and\ndisplaying the usual Ervine cynicism\n—an assumed cynicism by the way.\nThat is detestable.... that is little Lon-\ndon.... little, petty, and B superior. n\nErvine is presumably a very young\nman, and when he storms at something\ndangerous to the stage he may do good,\nbut to jeer at what is good, by mis-\nrepresenting it, is a pity.\nErvine is a writer of plays and a\ndramatic critic. He attacks Mr. Mac-\ngowan's book because he fears some-\nthing.\nWhat can he fear ? It would seem\nthat he fears what a few other play-\nwriters fear, and quite without any\nreason. He seems to fear that some\none might one day, before long, prove\nthat the stage can do without the play\nconcocters. We do not think it need\ndo that, we hope it cannot, we like\ntalk-plays as well as any ;—but attacks\nupon theatre men who are putting their\nstages in order might some day cause\nthem to put to the test an idea they\nhad long ago put aside as something\nwhich could wait—and they might test\nwhether the serious stage can dispense\nwith play-writers more often than it\ndoes now. Attacks like Ervine's carry\nin them something to justify such an\nexperiment.\nWhile this book by Mr. Macgowan\nis not faultless, it is worth reading.\nIt is not written to tell people that\nplays are useless, actors to be damned,\nscenic folk to be anathematised, ap-\nplause to be strictly forbidden, women\nswept off the boards, and Shakespeare\nhonoured. It is written to show that\nall these things and a hundred more\ncan all live side by side in a theatre\nif only the Ervines will be so kind as\nto put off their stage-papal manner, be\na little quieter, and cease to imagine\nthey represent more than a local branch\nof an up-to-date section of a very an-\ncient art of which the plans exist.\nErvine knows the Theatre as ill as\ndid Mr. Archer and Mr. Brander\nMatthews. None of these gentlemen\nhas ever taken the trouble to study\nthe nature of the Theatrical Art, whereas\nMr. Macgowan is studying it.\nWe then come to the second book,\nto which I was glad to see Mr. A.\nB. Walkley gave more than a column's\nnotice in the n Times n.\nWhen one considers the pace at\nwhich this book was produced one\nmarvels. It is the work of five months.\nIn ten weeks in Europe, the two\nauthors saw sixty performances. They\nadmit it!.... and six would perhaps\nhave revealed all that they needed to\nknow.\nThere are a number of good things in\nthis volume. The forty sketches by Mr.\nJones are all one wants—they could not\nbe more expressive,—one only wants\nmore of them.\nThe text is good, and not so good.\nIt's good when it records what is being\ndone:—not so good when it attempts\nto explain why.\nThere is rather too much about the\npainters, and too much about Reinhardt\nand Jessner having done such and such\na play—which others do for them.\nIf Mr. Macgowan has this fault to\nsome slight extent, he is not alone, and\nhe is far less to blame than some of\nour Europeans who have taught him\nthis trick.\nAgain, I cannot blame Mr. Mac-\ngowan for his historical inaccuracy\nwhen he asserts that n the names of\nthe flamboyant brothers Galli-Bibiena\nare the first great names to be met\nwith in the annals of scene-painting. B\nMr. Macgowan is, of course, quite\nwrong, for there were many great, if\nnot greater names before that of Bi-\nbiena, and Mr. Macgowan would have\nfound this out if only hi 3 publishers\nhad not ordered him to be so quick\nabout his work..,. I do not doubt\nthis.\nAnd so I can but praise what is\ngood in the book. What is bad is in\nthe theatres of which this book is the\nreporter. It reports an exaggerated use\nof black velvet, spot-lights and gloom.\nBut it reports very many good things\ntoo, and it is in these the reader will\nbe interested.\n\nSTUDIES IN THE CHINESE\nDRAMA by Kate Buss. Four Seas\nCo. Boston. U. S. A. Price 5\ndollars.\nI do not know when I have seen a\nprettier bound book than this, 6r a\nbetter printed one. The illustrations\nare first-class too. But it is not to\npraise these things at the expense of the\nauthor's work that I speak of them\nfirst.\nThe book itself is excellent, and all\nwho are interested in this Eastern\nTheatre will assuredly get a copy if\nthey can; ,;.but as there were only\n1000 copies printed and the type is\ndistributed they must hurry up or be\ntoo late.\nThe Chinese, says Miss Buss, hold\nas unimportant the building, scene and\nlighting of a Theatre: as important the\ncostume. Yet she explains that in\nPekin the Imperial Theatre has B three\nstages one above the other 11 and tells\nus more of these three stages. This\ndoes not strike us as proof that the\nconstruction of Theatres is considered\nas unimportant.\nOf its scenery she writes that the\nChinese consider it n silly and unne-\ncessary B, and that n the imagination\nthat has created in Chinese art so\nmuch chimerical humour of animal and\nflower and fetish can find a river\nwhere there is no water, and a moun-\ntain where none is painted n. This\nbeing so it seems to us that if the Chi-\nnese mind be at all logical, it should\nproceed along that mountain path and\nfind a hat where none is worn, shoes\nand embroideries where none are to\nbe seen... and actors where none have\nentered. Where should we get to,—\n.. , . the summit of the mountain\nperhaps."}, {"page_pdf": 54, "page_imprimee": "36", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.54", "texte": "THE WORLD IN FALSEFACE\nby George Jean Nathan. A. A. Knopf.\nNew York• Price dollars 2.50.\nIN this his latest book Nathan goes\noff the lines.... I mean the lines\nlaid down for him by the theatrical\nprofession,—and may he enjoy his little\nramble as well as the 4 profession '\nwill, if it buys his book. He writes\nof n Theatre and Drama B and of\nB Art and Criticism, n but he also\nstrays into B the world we live in w\nand touches on B men and women. B\nHis book is in four parts.\nPerhaps the most interesting passage\nto me is the last one in the book\ncalled nln memcriam B wherein he\ntoasts all the old drinks he has had in\nfourteen of the towns he has been in.\n—B The pale pink chianii in the\naround the corner from Dante's mo-\nnument in Florence. The worst of\nan address like that is that there are\ntwelve street corners at Dante's statue.\nI counted them yesterday.\nNathan has something to say this\ntime about the bribery of dramatic\ncritics in America. It is a very en-\ntertaining bock and one very curious\nremark in Part 2 must set everybody\ntalking.\n\nTHE RUSSIAN THEATRE UN-\nDER THE REVOLUTION, by\nOUber Sayler. Littles Brown & Co.,\nBoston, U. S. A. Price Dollars 2.50.\nMR. Sayler journeyed three quarters\nof the way reund the world, in\nwar-time, to visit a country where re-\nvolution and famine were raging, to\nlearn amongst other things whether the\ntheatre of that country still survived, and,\nif so, what it was doing. Some of\nthe news Mr. Sayler brought back was\nworth bringing.\nWhen Mr, Sayler reached Moscow\ntowards the end of 1917 he found\nStanislawsky's ® Seagull Theatre w as\nactive as ever:... more so, in fact,\nsince it had added two B Studio\nTheatres to its original foundationu\nHe found also the Kamerny Theatre\nwhich had arisen since 1914, that is,\nduring the war period. 'The Great\nState and Small State Theatres of\nMoscow and many others were vigo-\nrously at work, and the people so\ncrowding to the performances that even\nthe privilege of buying seats had to be\nballotted for. New productions might\nbe few, owing to financial straits; but\non how fine a repertory these Russian\ntheatres had to draw, how the ardent\nwork of former days was aiding them\no bridge over the present, and how\nenaciously they were holding on until\nthe dawn of better days, has been\nconvincingly shown in Mr. Sayler s\nbook.\nMoreover, the list given of entirely\nnew productions prepared between 1914\nand 1917 by the Kamerny alone tes-\ntifies to the brains and enthusiasm of\nthis theatre.\nThis revolutionary f! Kamerny n ope-\nned for its first performance on De-\ncember 25th 1914 with B Sakuntalan\nby Kalidasa. It proceeded with Synge's\nB Play Boy of the Western World, n\nCalderon's B Life is a Dream, B Gol-\ndoni's \" The Fan,\" and Kuzmin's n Pen-\ntecost al Toledo. B Its second season,\n1915 to 1916, included n The Marriage\nof Figaro B by Beaumarchais ; B The\nCarnival of Life B by Remy de Gour-\nmont; Rostand's B Cyrano de Bergerac B\nand Tor Her berg's n Two Worlds. B\nIts third season, 1916 to (917, began\nwith B The Merry Wives of Windsor B\nand proceeded with B Thamira of the\nCithern B by Annyensky, n The Sup-\nper of jokes Bby Sem Benelli, The\nVeil of Pierette n by Donanhy; *Un\nChapeau de Paille d'ltalie B by La-\nbiche, and the B Azure Carpetn by\nLiuboff Stolitsa. It also produced\nWilde's B Salome, B B L'Echange B by\nPaul Claude!, and Debussy's B Box of\nToys, B\nSuch varied activity, in face of dif-\nficulties so tremendous, may well give\nus to think.\nEngland and America offer excuses\nfor poor plays and lack of initiative,\n...ever the same old excuse, B lack of\nmoney B, B after-war conditions, B and\nso on: yet these glimpses of what the\nindomitable Russian theatre workers\nare doing might surely convince peo-\nple, as it does us, of the feebleness of\nsuch excuses; force us to admit that\nit is a more passionate thought about\nthe Theatre, a more sensible and se-\nrious attitude in regard to it, that we\nEnglish need if we are to rid our-\nselves of the reproach that B We possess\nthe greatest dramatist in the world and\nthe most contemptible theatre in Eu-\nrope B (1).\n(i) « England for the English» by\nGeorge Sampson. Cambridge University\nPress,\n\nTHINGS THAT HAVE INTE-\nRESTED ME. Second Series. Ar-\nnold Bennett. Chatto & Windus.\nPrice 7/6 nel.\nMR. Arnold Bennett is interested\nin the Theatre amongst other\nthings, ..•and so much so that one\nday, when the actors at the Court\nTheatre were speaking in the orthor-\ndox up-to-date realistic manner, (ie,\nso as not to be heard), Mr Bennett\nB hurried to dressing-rooms and re-\nmonstrated with the admirable chief\nactors B.\nIt would appear that the Court\nTheatre is too large, too small or too\nsomething else a place to make oneself\nheard in.... from the stage.\nThere should really be someone in\neach English theatre authorized to go\nround and speak to the actors, car-\npenters, limelightmen, prompter and\nthe rest, lest someone reading Mr\nBennett's book may take himself to\nbe equal in capacity and authority to\nMr Bennett and hurry round and\ngive his advice, Suppose six or eight\ndid this each night.\nMr Bennett writes of B Dramatic\nCritics B and of B The Dramatic Critic B,\nof n British Operatic Performances B\nand of B The Theatre Public B.\nThe Dramatic Critics he writes of are\nall British: the Theatre Public Bri-\ntish too. On B Playwrights n there\nis a three-page essay; it is on Bri-\ntish Playwrights. Of Synge he writes:\nB We had a great dramatist, Synge.\nHe went and died young. It was a\ngreater tragedy than any that his pen\nwrote. n\nThere are two other three-page\nessays on the Stage, one on B Theatre\nManagers B and one on B Theatre\nFinance B. This last begins, B More\nlies, polite lies are told about the\nTheatre than about any subject on\nearth This is probably one of the\ntruest statements ever made by anyone\non earth about the Theatre.\nMr Bennett is a very remarkable\nman, ...practical, one of Britain's fore-\nmost novelists, a playwriter, a journa-\nlist, an able-bodied seaman, and he ridi-\ncules the idea that the modern pre-\nsentation of the Greek play is worth\na row of pins. We think that here\nhe exaggerates. We hardly believe it\nto be worth one pin in the row.\n\nCHRONISTEN DER MODE by\nDr Oskar Fischel. Miiller & Co Ver-\nlag, Potsdam. 50 Marks. schlilsseU\nzahl 700.\nTHE book is in one volume and\ncovers 3000 years, and our only\nregret is that it does not cover them as\nclosely as the 19th century was covered\nby the same author in his delightful\nbook in three volumes which J. M.\nDent & Sons published in an English\ntranslation under the title of n Modes\nand Manners of the XIX Century\nHere we have 89 pages of text to"}, {"page_pdf": 55, "page_imprimee": "37", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.55", "texte": "cover 3000 years; in the earlier work\nthere were 500 pages devoted to 100\nyears. So that we should have liked\nit better had the author given us more\nfacts in chronological order and left\nus to elaborate on these.\nStill, his own elaborations are much\nbetter than ours could be; he describes\nthe spirit of the dress of the 3000\nyears, not of what dress was com-\nposed ; when each variation came along,\nwho brought it, on what date, and\nwhat was going on in the world at\nthat time. But the picture he draws\nis perfect so we need not cavil. And\nthe pictures he reproduces are selected\nwith considerable care. Consider what\ncare must be necessary to select 200\npictures to illustrate 3000 years full\nof costume.\n•These pictures he reproduces for us\nin a manner which impels our imme-\ndiate appreciation,\nDr Fischel is to be congratulated,\nand anyone who gets the book to be\nmore congratulated. For it is a piece\nof book work which we must admit\nastounds us.\nThe year is 1923 remember. The\nprinting of the text has been done by\nOffizin Maniche & Jahn A & G, Ru-\ndolstadt. Cliches and Copperplates,\n(and there are 107 copperplates) have\nbeen made by the firms of Richart\nLabisch & Co and Carl Sabo. The\nsix Lichtdruck in colour by Albert\nFrisch, Graphische Kunstaustadt, Ber-\nlin, and the binding by H. Fikenscher,\nLeipzig. A delicate green cloth is\nused to bind with, the lettering on it\nbeing in a rather darker shade of green,\nthe utmost intelligence being used to\nselect and execute this.\nThe copperplates amaze us, printed\non the same paper as the text; the\ncolourplates too.\nOur admiration is unbounded for\nfour sets of workmen, no matter in\nwhat land they be, who can work so\nwell under their respective heads, and\nall together under the guidance of Dr\nFischel, and produce a hook which one\nimagines might be made in a land and\na period where the wine and honey\nwere flowing copiously.\nNow if we would learn anything\nfrom this example we must not try to\nexplain it away. It is useless to say\nB Germany is a Republic now, any-\nthing can be done by a Republic B\nfor this has nothing to do with the\nquestion. In 1903 and 1906 we saw\nGermany, and it was as easily able to\ndo these things under Imperialism as\nit does today.\nNo, the answer to B how can they\ndo it ? B is this. They all are disci-\nplined; they all determine to do it ;\nthey iike to overcome difficulties for\ntheir own writers, artists and craftsmen,\nas for their own brewers, shipowners\nand other mighty and privileged ones.\nThis is the ordinary truth, and we\nonly hope that some day our English,\nFrench, American and Italian publi-\nshers, writers, artists and craftsmen\nmay be as lucky, in one thing, as the\nGermans are ...to live amongst a people\nwho have been shown that discipline\nis . necessary to all if we are all to\nhave a share in seeing our work well\nset out before the public ere we reach\nsixty years of age.\n\nTHE BEGGAR'S OPERA, Its\nPredecessors and Successors, by Frank\nKidsort. Cambridge University Press.\nPrice Five shillings net.\n11 nEAR : ear ur\nn suggestion to bring out the\nn book on the Theatre at the low\nn price of 5/-is utterly out of the\nB question. You must bear in mind\nB there are over 125 pages and 0 half-\nB tone pages of design. A paper co-\nB ver is not popular and so it will\nB have to be half cloth. A good pa-\nB per will have to be used for the\nB letter press and a fine art paper for\nB the illustrations. The book will there-\nn fore have to cost at least fifteen\nB shillings or a little more. 11\nThe writer of this letter was a pub-\nlisher who is asleep. The publisher\nwho is awake is Mr, C. F. Clay and\nthe Syndics of the Cambridge Uni-\nversity Press. They have done what\nwas B utterly out of the question 8,....\na book of 117 printed pages, 8 half-\ntones, finely printed on the best paper,\nbound in half-cloth, label (and an\nextra label inside to use when the first\none is worn out), gold-patterned sides,\n... and all used with delightful taste,\ncosting precisely 5 shillings.\nThis is the little book by Mr. Kidson\non B The Beggar's Opera. B\nIt is written excellently; it is full\nof ail the information one needs about\nthe author, his plot, the music and the\nlibretto: the productions, and the cri-\nticism received, and much about the\nearlier operas in England.\nIt is done very well and the ques-\ntion of paper and type are both as\ncarefully considered by the Cambridge\nPress as they are carelessly disregarded\nby most publishers.\nCheap common books must be is-\nsued for the lower classes, one sup-\nposes, and fine books for those who\nlike 4 em fine, cheap or costly ; but\nthose middle priced snobbish tasteless\nbooks turned out to-day by the thou-\nsands, these should be prohibited. The\nauthors and printers would then flou-\nrish ;—for it is these middle-class mush-\nlike books and book-makers who render\ngood authors and printers poor.\nWould to heaven that all the Uni-\nversities in England were given the\nsole right to issue books !—Autocratic ?\nwould it be that ? It seems to me\nthat it would be an ordinary act of\nplain common sense.\n\nLADY INTO FOX by David Gar-\nnett. Chatto & VYindus. Price 5/- net.\nHOW does Chatto & Windus ma-\nnage to get nearly all the good\nbooks ? ... like the devil with his good\ntunes it strikes us as uncanny.\nAnd here is a delightful book; a\nbook without a fault. I cannot find\none anyhow.\nIt is small, neat, and full of wit and\nbeauty, ...and even the last paragraph\nis probably right where it is, ... but\nto me there is little use for it after\nwhat has gone before and gone by so\ninevitably.\nThe woodcuts which illustrate the\nstory are genuine woodcuts and very\ngood.\n\nSHAKESPEARE TO SHERIDAN\nby Alwin Thaler Ph. D. Harvard\nUniversity Press. Price 5 dollars.\nTHIS book is very pleasantly writ-\nten, full of a great deal of good\ninformation about a period of which\nwe already have, by the way, suffi-\ncient material.\nThat is the worst thing I can say\nto the writer; and he doesn't want to\nhear the worst thing, but the best thing I\ncan say. So without any effort I can\nsay it is a most interesting book. If I\ntook in n Snappy Stories B I should stop\nfor a year and take in w Shakespeare\nto Sheridan, n for it has all the\nand is some story.\nI like my author very much because\nhe has some discontent in him. For\nexample, he is not content to fill up\nthis book of his on old things with\nold pictures. All the pictures are new.\nBy that 1 mean that they are new to\nthe public, and new to the writer of\nthis review who is familiar with a\nwidish range of such things.\nThere is one intensely interesting\ndesign,... that which shows Cuzzoni,\nand Farinelli, and Heydegger. On the\ndesign is written, B Drawn by Dorothy\nCountess of Burlington. B If this be\ntrue, I hope someone will search out,\nfind, collect together and reprint all the\ndrawings by the Countess Dorothy.\nShe had a touch of genius, and a very\ninteresting touch of it, at that."}, {"page_pdf": 56, "page_imprimee": "38", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.56", "texte": "This design is from an etching made\nfrom the original drawing, and is, with\nthe other thirty-eight illustrations, taken\nfrom the Harvard Theatre Collection,\nthe expert advice of Mr R. G. Shaw\nhaving been taken in their selection.\nAnd the list of illustrations is good,\ntelling one all one wants to know\nabout each plate. Sometimes half a\npage will be given to one entry.\nSince the book is so excellent perhaps\nthe publishers will not be offended if\nI deplore the heaviness of the volume,\nthe thickness of the paper, and the\ncover. Since lam speaking to one\nof the most representative of American\npresses, and an independent one; and\nsince Harvard is in the new country\nand not in our old one, may I not\nsay:—You should have printed on\npaper that cost half as much to buy:\nyou should have bound it in a strong\nwrapper and not put a black and gold\nccver on it, and then you could have\npublished two books for the same\nprice, instead of one.\nYou follow the English tradition of\nthick, heavy, luxurious paper, solid\nbinding in board and cloth. This tra-\ndition has prevented us in England\nfrom bringing out many good books.\nIn other lands on the European con-\ntinent we have what I think is a very\nmuch finer tradition. I think the French\nand Italian books are every bit as\nelegant as the others, distinctly more\npractical, and half-again as cheap.\nIt is delightful that Harvard does\nnot mark the review copies it sends\nout with any disfiguring rubber stamp.\nI wish all publishers would follow this\nexample.\n\nTHE EXEMPLARY THEATRE\nby H. Granville Barker. Chatto &\nV/indus. Price 9/— net.\nTHIS very able, if rather difficult,\nbook will be read by all true\nlovers of the Theatre and its Drama,\nand these, we believe, will be of our\nopinion when we state that we con-\nsider It the finest critical work of its\njudicial and high-intentioned author.\nMr Barker is, and always has been,\nan orthodox idealist as regards the\nBritish stage, and seldom has his rigid\nidealism been so neatly expressed as\nin the pages of n The Exemplary\nTheatre R.\nSome there are who will cavil at,\nif not quarrel with, Mr Barker for his\nattempt to improve the health, moral as\nwell as physical, of the British Stage\nby what his friend Mr Beerbohm de-\nscribes as n municipal pillules 11. But,\nfor our part, we can but whole-heart-\nedly, and for obvious reasons, admire\nthe admirable intentions of this con-\nsistent reformer, who, without the\nfaintest hope of success, without more\nthan a lick and a promise for the fu-\nture, dashes (in his well known pedes-\ntrian way) once more into the breach.\nIf some protest that this breach is the\nwrong one we can but remind them\nthat, whatever fault can be found, Mr\nBarker has been always supposed to\nbe practical to a fault, and in a re-\nformer it is surely no fault to be prac-\ntical.\nHe is young, too. To him toys\nappear sometimes to be treasures ...so\ndelighted is he to have discovered\nthese toys ...even eighteen years late.\nBut when he tells us of more weigh-\nty matters, ...when he speaks of\nthose things which R The Mask 11, for\nexample, has for many years been re-\nminding its readers are valuable, he\nassumes the gravest of airs and no\nfault can possibly be found with his\nmanner of repeating them.\nSe when we come to the end of\nthis book, we close it with a last and\nnot quite forlorn hope, that, in spite\nof pride and reason, and with the aid\nof the Drama League, the British Na-\ntional Theatre will soon come to be\nfounded in London, and that then Mr\nBarker will be chosen to be its exem-\nplary head.\n\nON PRODUCING IN LITTLE\nTHEATRES by Clarence Stratton.\nHem}? Holt Co. U. S. A. 1921.\nPrice dollars 2/90 net\nIT is too sweeping to speak of Ame-\nricans and then to praise or blame,\njust as it would be too sweeping to\ntalk of Europeans and praise or\nblame.\nBut this particular group of Ameri-\ncans treated of in Mr Stratton's book is\nshown to be very active in * trying\nthings out 11 in its Little Theatres.\nIn most of the pictures in the book,\nhowever, ...fifty-seven in ail... We find\nthat the things tried out are not suf-\nficiently original. Far too many de-\nsigns remind us of things already tried\nin other lands and found good, bad,\nor indifferent.\nAnd we wonder why these tests did\nnot suffice; why no one stops wasting\ntime and money re~iesting proved\nthings.\nStill, it is one of the many good\nbooks which anyone who is carefully\nfollowing the New Movement must\npossess.\n\nTHE GREEK THEATRE AND\nITS DRAMA by Roy C. Flicken-\nget, Ph. D. University of Chicago\nPress. 1918. Price Three dollars.\nENGLISH PAGEANTRY by Ro-\nbert Withington. Harvard University\nPress. 1918. Price three and a half\ndollars.\nTHE first book is well written and\nseems to have given the writer\nsome trouble: And it is illustrated.\nIn fact, Dr. Flickenger has been lavish\nwith his illustrations. He give us\neighty good ones. Now Mr. Withing-\nton in his n Pageantry R unluckily\nonly gives us thirteen, He might have\ngiven us eighty-one and so have\nbeaten the enthusiasm and love for\nhis subject which Flickenger reveals at\nonce, But Mr. Withington evidently\ndidn't want to reveal any ' enthusy-\nmusy f as Byron loved to call it, and,\nif he is a young man as his preface\nleads one to suppose, why the deuce\ndoesn't he go it a bit more ?\nn Pageantry n ;... what a theme ...and\nwhat an opportunity to spend money\nover eighty-one nice illustrations,\nand, as I say, we only got thirteen.\nWhat a delight an enthusiast would\nhave had (and given) had he been\ntempted to give us six extra plates in\ncolour. Why, I remember even old\nand sleepy Europe has done that for\nyears now.\n\nTHE TWENTIETH CENTURY\nTHEATRE by William Lyon Phelps,\nProfessor of English Literature at Yale.\nMacmillan Co, New York. Price\ndollars /,25,\nIT is a pity that the Macmillan Com-\npany disfigures the first page of its\nbooks by pricking them with a mes-\nsage to us by means of a patent lancet\nmachine. I hold this page up to the\nlight and can with utmost difficulty\nread R Advance copy. Not for A—\nL E. For Review R. There is no\nA.L.E. in our office, or amongst our\nreviewers, and we! rather suspected\nthe book was for Review. But why\nshould A.L. E. be so pointedly feared ?\nThe author is very sympathetic to\nthe Theatre and does not fail to say\nso. He says that he has received\nhappiness from it. There is such a\ndifferent tone to his confession from\nthose so often made by other writers\non the Theatre that one feels he is\na member of the good audience.\nTo me as a European he seems a\nlittle too tame for an American. But\nthen, it has always seemed to me that\nto be an American is to be born with"}, {"page_pdf": 57, "page_imprimee": "39", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.57", "texte": "the great chance, ...the chance * which\nLongfellow avoided and Whitman sei-\nzed, ... to dash along and stand for\nsomething positive. For my part, though\n1 may be wrong, I conceive Europeans\nto be more delighted by catching sight\nof a true American than what, without\nmeaning any discourtesy, I would call\na false one.\nIf I could write so good a book ;\nif I felt so young about things as Mr\nPhelps, I should throw up his profes-\nsorship of English at Yale University,\nand in three years I'd make my name\nheard all over America as standing\ndefinitely for all that is most rash and\nbest. But then I should be called\nNathan.\n\nDAS MODERNE B UHNENBILD,\nby Dr Oskctr Fischel. Verlag Was-\nmuth. Berlin. 1923.\nTHERE are 147 reproductions in\nblack and white and 8 in colour\ngiven in this work, and nearly all are\nfrom those drawings which were exhi-\nbited at the International Theatre Exhi-\nbition in Holland and England,\nDr Fischel has written 8 pages of\ntext stating well and with authority\nwhat the Theatre is, and how we can\ntake the more modern developments.\nThis has far greater need to be said\nin English and French than in German,\nfor the Germans have always under-\nstood modern things up to the point\nof trying what they were worth before\nhowling them down. Fortunately, as\nDr Fischel shows us, the howling\ndown is quite useless; and so the\nworld is not going to be cheated out\nof these things.\nThey have a certain worth; not one\nof these designs seems worth a single\nact from a play by Shakespeare, not\nmore than a dozen of the designs are\nas good as the work of Stringberg or\nSynge; but there are hardly ten that\nare not infinitely superior in quality to\nthe sentimental plays of the hour so\nloved by sentimental audiences with\nboth of which our modern stage is\ncursed,\n\nSENECA AND ELIZABETHAN\nTRAGEDY. F. L. Lucas, B. A,\nCambridge University Press. Price\n7/6 net.\nMR Lucas opens his first chapter\nby setting forth his argument :\n* In the realm of letters it has been\nSeneca's destiny, like Banquo's, to beget\nin his posterity a greatness denied\nhimself. Virgil, that imperial poet,\nwas the founder of a line of degene-\nrate literary faineants, the Epic poe-\ntasters of Silver Latin: but from\nSeneca, decadent Silver Latinist him-\nself, by a seeming freak of fortune\ncan be traced the direct descent of\nthe lordliest names in* the dramatic\nliterature of Western Europe. To\nestimate his influence and to trace the\nline of descent from him to the Eli-\nzabethans is the main purpose of this\nbook\nThe ground Mr Lucas covers is\nnot new; but as he is not too R lear-\nned \" his book will be of good use\nto those lacking classical knowledge,\nand he has been sufficiently succinct\nto compress a great deal into his 133\npages.\n\nELIZABETHAN DRAM A by Janet\nSpens. Methuen & Co. Price 5j— net.\nIT sets out to be a manual of Elizabe-\nthan drama for the use of univer-\nsity students, and will serve all who\nwish to gain some preliminary infor-\nmation as to this important period in\nthe history of the English Stage.\nIn the course of its 148 pages it\ntreats of the characteristics of Elizabe-\nthan Drama, its origins, arid the pre-\ndecessors of the Elizabethan Drama\nstrictly so-called. It points ' out that\nall tragedies previous to 1600 were\n* Revenge \" dramas and descended\nfrom the Greek, devotes a chapter to\nthis theme, and another to the Apo-\nchryphal plays and Munday, and goes\non to handle one by one Shakespeare's\ncontemporaries and successors. A use-\nful hook.\n\nA SHORT HISTORY OF THE\nBRITISH DRAM A. Benjamin Br aw-\nley. George Harrap& Co. Price 7 j6nct\nMR Brawley prefaces his work mo-\ndestly when he says that it\nw makes no special effort to be either\noriginal or profound. It aims simply\nto set forth in brief compass the main\nfacts that one might wish to have at\nhand in his first course in the English\nDrama \". And, just because the book\nis simple, n holds itself strictly to the\nhistory of the drama \", it is likely to\nbe of service to many, ...both to those\nwho wish to gain some clear outline\nof a subject wholly new to them, and\nto those who, already possessing a cer-\ntain amount of scrappy and discon-\nnected knowledge, would be glad to\ncoordinate it, pull it into line and\nshape.\nThe book is conveniently arranged\nfor students and is also furnished with\nan alphabetical index, and a helpful\nBibliography. Altogether a workman-\nlike little volume.\n\nPLA YS by Qordon Boitomley. n King\nLear s Wife and other Plays.n \" Grtiach\nand other Plays n. Constable & Co.\nTwo volumes. Price 7j6 each.\nIF Mr Bottomley had lived anywhere\nbut in England, (so that it was not\nin France or America), his first attempt\nto write a play would immediately have\nbeen encouraged by the Theatre.\nIn England the question whether\nor no a play is to reach across to the\nspectators and delight them depends\nupon whether or no the actors and\nthe stage-manager can fit the play to\ntheir own way of working.\nI have seen n The School for Scan-\ndal n fail to so reach across and delight,\nand \" King Lear w too.\nI have seen n The Lyons Mail a\nvery poor piece of writing, succeed\nimmensely.\nI have also seen \" The Lyons Mail \"\nfail utterly and n King Lear n almost\nsucceed.\nTherefore Mr Gordon Botioinley's\nPlays shall fail and shall succeed: now\nor in time to come. For, spite of\nall we can say about the comedians\nand their not yet having quite grasped\nwhat the artist means by ® conscience B,\none or more will in time come to enter\nin spirit into one of these plays with\na more than ordinary force and \"...hang\nthere like fruit my sou! till the tree\ndie\nBut until I see these plays acted, I,\nfor one, cannot say they are great\nacting plays ... although I see many\nobvious signs that they are. We can\nnone of us say that from reading a\nplay; we can only guess at best.\nI feel that were I a director of a\nTheatre I would ask Mr Gordon Bot-\ntomley to allow me to try and produce\none or two of these plays ....I would\ninvite Mr Ainley and Miss Nielson\nTerry to collaborate together to discover\naway to make these pieces very well\nworth hearing and seeing.\nWhat would be the result ? I ask\nmyself. Would Mr Ainley and Miss\nTerry show me clearly in less than\ntwo weeks* time that they thought me\na fool and the poet a fool, and his\nplays pretty but quite unfitted for the\nstage ?\nIf these two forced me to the opi-\nnion that they had found very little\nin the plays which lent itself to their\nway of speaking, moving, acting, ma-\nking their effects ...what then ? Would\nthe thing have to be given up ?"}, {"page_pdf": 58, "page_imprimee": "40", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.58", "texte": "I hope I could see their point.\nCould they, I wonder, see mine ?\n...which is, that they should find away\nof speaking, moving, acting and ma-\nking effective any play which is as\nobviously excellent as are these by Mr\nGordon Bottomley. And, if they could\nnot in the end find or try to find this\nway, would they allow me to find one ?\nAll these questions must prelude any\nfirst-class performance of Mr Bottomley *s\nPlays, for they are rather unusual and\nfull of fine things of a very delicate\nquality. If any actors and managers\ncare enough for these dramas, and can\nlend to them strength where perhaps\nthey need strengthening, I can imagine\nit would well repay them for their\ntrouble.\n\nTHE OLD DRAMA AND THE\nNEW by William Archer. Heinemann.\nPrice 10/6 net.\nDon Quixote, we take part\nagainst the puppets, and quite as im~\npertinently. Charles Lamb.\nn On the Artificial Comedy of\nthe last century. 11\nNOW imagine the Don turned Dra-\nmatic Critic, and you have Mr\nWilliam Archer. Imagine a book by\nDon Quixote on the Theatre with\nCervantes left out, and you have this\nnew book by Mr Archer.\nMr Archer would indict our very\ndreams.\n* We dare not n wrote Lamb, n con-\ntemplate an Atlantis, a scheme, out\nof which our coxcombical moral sense\nis for a little transitory ease excluded. n\nBut dear old Lamb could and did:\nMr Archer, IF he could,—wont.\nWas Don Quixote obstinate?\nFake care, Don Archer, take care\nthat you be not unknighted ; and Charles\nLamb become the one and only Don\nSancho of the Skies,\nYou are too careless of your com-\npany.... you frequent the dullest houses,\nnot the lowest. You have been seen\nrather too much of late with the dul-\nlest dramatists. Couldn't you manage\nto be caught drinking at a bar with a\ncouple of clowns ? That might lead,\nin time, to Parnassus. At present you\nare going straight into the place kept\nby Granville Barker, whatever that is.\nWe think it is a lodging house or a nice\nHotel or something hobnobby.\nWe have read your b00k.... very\nnearly every line ... and we think you\ndeserve to be reviewed by n The Mor-\nning Post. w\nThat is almost an unkind thing to\nsay, and if it be unkind we take it\nback.... but it would be an unkind\nthing to do to review this book of\nyours here. For n Maskreaders\nwould not spare you, and we not\nonly do spare you, but congratulate\nyou on such an able effort and hope\nthat we shall after fifty years* service\nbe able to write half as good a book.\nBut Mr. Archer reminds us of what\nSheridan wrote to his father-in-law\nMr Lumley: BWe dare not propose\na peep beyond the ankle on any\naccount; for the critics in the pit\nat a new play are much greater prudes\nthan the ladies in the boxes. n\nMr Archer is a Quixote, but he is\nalso what Quixote never was, a prude.\nLet us hope that no new critic-\nprude will ever appear to spoil the\nDrama in England.\n\nMAGAZINES\n\nThe Century. U. S. A. Once\ntheatrically alive, now theatrically dead\nand unaware.\n€$ Shadow-Land. U. S. A, Alive\nand quite aware of its snap.\n€f Vanity Fair. U. S. A. Alive\ntoo : getting better with every number:\nbeginning to toss its old readers in\nthe blanket: derisive of the young ass\nand his mate.\nEnglish Review, i. e. Theatre\nCraft. London. Going on as well as\nthe town will let it.\nSmart Set. U. S. A. Five pages\nof it interest us.\n*5 Print Collectors' Quarterly. Lon-\ndon. Wide awake, English. Nothing\nto do with the stage, yet now and\nagain containing articles useful to the\nstudent of the Theatre.\nCJ Chap Book. London. Always\nawake, always at attention; is not too\nlarge and costs only a shilling or one\nand sixpence: producing the best piece\nof work in its way in England. De-\nvoted to poetry and to engraving and\ndesign : not unmindful of the stage ;\n... and this gratuitous friendship is\nenjoyable.\nLa Ronda. Italy. Awake al-\nways interesting. We miss the work\nof L. M. So, we suppose, does n La\nRonda n.\nThe Dial. U. S. A. Snoring in\nits sleep.\nBroom. U. S. A. Is it worn\nout ? if so, why ?\n€J Theatre Arts Magazine. LJ. S. A.\nGrowing stronger, standing firmer,\naware that the Theatre is not a na-\ntional or a provincial thing, but is a\nsmall and interesting world of itself.\nWe wish it and its editors the best of\nluck in the future.\nif The Stage, London. Developing\nyearly.\n€| The Era. London. Should like\nto see it more often.\n€J The Theatre Magazine. U. S. A.\nA well printed piece of work ; often\ncontains useful photographs.\n€| Current Opinion. U. S. A. De-\nlightful as ever,\n€| Literary Digest. U. S. A. Ever\ndelightful,\nNotes & Queries for 1922 has\nbeen as good as ever it v/as and is\nof especial interest to readers of w The\nMask n for there has been many a\n11 Query n as to theatres and theatre\npeople lately, and the replies have\nbeen interesting.\nWe wonder if any of the n Mask w\nreaders can give further information as\nto the life of Anna Rencia or Renzi\nwho from 1641 to 1647 was singing\nin Venice and disappears in 1650 ?\nJohn Evelyn knew her, but that we\nalready knew; And who can tell us\nmore about the Private Theatres of\nEngland such as that owned by Sir\nWilliam Wynn at Wynnstay, 1770,\nand by the Margravine of Anspach at\nHammersmith about 1792, and by the\nEarl of Barrymore at Wargrave and\nin Savile Row. This last was called\nn Vari&es Amusantes n and was visited\nby Haydn in 1791. And who can\ngive the slightest clue as to what hap-\npened to the small theatre which was\nat No. 22 Piccadilly in 1780, and\nwhich was *an exact model of the\nsuperb Teatro Nuovo (now Comunale)\nat Bologna and the scenery the pain-\nting of the celebrated Bibiena n (An-\ntonio) ? This little playhouse was used\nfor marionettes.\nBesides these items n Notes & Que-\nries n asked about Fiorilli's visit to\nLondon which is referred to by John\nEvelyn in 1675, though Evelyn omits\nto give his name: about the private\ntheatre at Blenheim 1787 : about Bi-\nbiena's invitation to London and his\nnot going there; about the Royal Dra-\nmatic College in England, proposed in\n1858, brought into existence, and then\ndropped in 1877.\nThere was a Query about a certain\nSancta Stella who was a famous singer\nin the 18th century but no one\nseems to know anything about her today\nfor no answers were given.\nn Notes & Queries is published by\nThe Bucks Free Press, 20 High Street,\nHigh Wycombe, Bucks, England, from\nwhom you will order it, if you want\nto enjoy one of the few unspoiled ma-\ngazines of the day."}, {"page_pdf": 59, "page_imprimee": "41", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.59", "texte": "€J 9 Wendingen n. Amsterdam. The\nwork of an artist; and for this ordi-\nnary reason impossible for it to be\nanything but excellent. Very good re-\nproductions. Fail to get the 9 Theatre\nnumber 9 issued September, 1922 and\nits Marionnette number just out, 1923,\nand we are sure you will regret it.\nAddress, Keizergracht, 431, Amster-\ndam.\nGazette da Bon Ton, Paris. Is\nit still issued ? ...Was as good as\nn Wendingen n and at the other\npole.\n•J London Mercury. Costs half a\ncrown and is large, almost a book,\n...128 pages. When rarely we see it\nwe are always glad to see it. It looks\nvery rich and very prosperous. The\ncondition of the English Theatre does\nnot seem to concern it at all.\n\nLETTERS TO THE EDITOR\n\nTHE ROMAN MARIONNETTES.\nYours.\nH. J. MANNING.\nSir:\nIsaw with intense glee by the newspaper reports that the\nRoman marionnettes about which all London at first\nwent wild with admiration later on failed utterly over\nWilliam Shakespeare's n The Tempest *.\nThere are some things for every land, but The Tem-\npest by Roman Marionnettes is evidently not for n England n.\nSince England has taken the puppets on to her lap, if\nnot into her heart; and since she has never taken Shake-\nspeare or his n Tempest to either, one can but suppose\nthat the failure at the Scala was a good deal due to\nShakespeare—as usual.\nUnless, of course, all along, both the success of the\none and the failure of the other are due to the public.\nI saw that Mr. Fagan, who was responsible for the\nperformance—for no mere dolls of wood can be held\nresponsible—said in an Interview, that to him it was a\nvery interesting experiment, H because it will enable me n,\nhe went on, 11 to test Mr. Gordon Craig's article of faith\nthat the actor should be abolished and the super-marionnette\nput in his place \".—Which seems to me to be a very wild\nand wanton way for Mr. Fagan to speak.\nFor Mr Craig has never suggested that the actor should\nbe abolished so that a two-penny doll shall be put in his\nplace.\nBut it is like insularity to imagine he referred to Dr.\nPodrecca's little ideas when, if I mistake not, he was refer-\nring to the greater ideas of Sophocles. It is like insularity\nto see anything w super n about those natty little puppets\nfrom Rome. It is like insularity (and very obedient too)\nto rave over them at the orders of the admirable Cochran,\nto boom them as 11 incredible * beyond belief R, as\nw works of art * because they look like miniature men and\nwomen, and imitate the faults of actors, and strut and\ngenerally make a parody of life, poetry, mankind, and the\nstage.\nAll that is the mode. Actors nowadays will accept\ntheir £5 or £10 a week to make a parody of the thing\nwe love—the Theatrical; and now marionnettes are being\ndegraded in the same way.\nWho does it—and who is to blame ? Surely not Mr.\nCochran ? No, money does it and money is to blame.\nFor it is the mode, and managers and critics who will\ntruckle to the mode, are to be found by the hundred.\nThat the * Tempest 11 can be interpreted by marion-\nnettes, so that the performance will satisfy M. Anatole\nFrance, we have on record, for M. France has written to\nsay so. But, with marionnettes as with everything else, all\ndepends upon how a thing is done and who does it.\nManchester.\n\nMODERN PLAYS & PERFORMERS.\nYours.\nJ. S. RANKIN.\nSir:\nAN English Producer wishes to ask a question:\nCan anyone of the readers of * The Mask name\na modern English or American society-comedy or comic\nopera dealing with matters of to-day which, for strength\nand brilliance of treatment and sanity of thought can bear\ncomparison with w The School for Scandal w (Sheridan) ;\nn II Barbiere di Siviglia n (Rossini) and R The Beggar's\nOpera w (Gay) ?\nFailing to name any such piece with like stamina, can\nthe reader suggest why it is that today none are being\nmade ?\nPlays dealing with the peasantry are not hard to find.\nn The Playboy w and w Nan 9 are oatstanding examples.\nBut who can name the comedy of modern life which has\nthe same body and a like sparkle as the three pieces above\nnamed ?\nThe English critics of 9 The Observer 9, 9 The Man-\nchester Guardian 9 and 9 The Morning Post R have lately\nwritten a great deal about the English play-writer, and\nhow the producer swamps him. But what kind of a boat\nis it which gets swamped in the seas ? What producer\never swamped Sheridan, Rossini or Gay?\nThe truth is, that if an able-bodied piece come to be\nbrought to performance by an able-bodied company of\nactors and singers, no producer can swamp it.\nWhat, then, are our modern pieces, what our modern\nperformers, if they possess so little substance and stamina\nthat they can be, as they so often are, swamped by the\nproducer ? Surely, before so much outcry is raised against\nthe producer it would be well were these questions put\nforward and faced.\nBradford."}, {"page_pdf": 60, "page_imprimee": "42", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.60", "texte": "FOREIGN NOTES: 1423-1923\n\nJ. S.\nWE shall print the name of each town as spelt by its\ninhabitants not as spelt by visitors.\nLondon must remain London, not Londres or Londra.\nBut so also with Italian towns. Roma is Roma and not\nRome or Rom as spelt by English and Germans. Leghorn\nis an invention of the English; the place they refer to is\nLivorno. Mantova, Genova, Venezia or Wien, must\nnot become Mantua, Genoa, Venice or Venedig, and\nVienna. Our Foreign Notes will be of the year 1923,\nbut also of 1823, 1723, 1623 and 1523, one hundred\nto four hundred years ago, since past events have played\ntheir part in preparing the present, and the present has\nvital links, both in its weaknesses and achievements, with\nthe past.\n\nTEATRO ARGENTINA, ROMA IN 1750.\n\nROMA\n1923. Madame Eleonora Duse was acting here lately\nin Ibsen's n Ghosts n, D'Annunzio's w Citta Morta ff and\nPraga's 11 Porta Chiusa B. On the first night's performance\nSignor Mussolini paid a visit to the great actress before the\nplay began, and discussed with her the best means of\nbringing the Italian Theatre to represent the spiritual life\nof the nation (1).\n1823. The Teatro Valle was restored and reopened\nwith Jacopo Ferretti's n II Corsaro \", music by Filippo\nCelli. Leopardi, who was present, wrote afterwards, n The\nopera at the Valle which is comical proves that the\n* Turco \"in Italian (an opera by Rossini) is incomparably\nbetter. The theatre was empty, the cold was killing, and\nthe actors insufferable. Why! Parigi (a comedian of that\ntime) side by side with them would seem an angel, and\nbe assured, I do not exaggerate.\nAt the Argentina n Eufemio di Messina 11, was given,\nthe libretto by J. Ferretti, music by Michele Carafa, and\nscenes by A. Lorenzoni of Bologna. Of this Leopardi\nwrote to his brother: n Carafa's opera is nearly all stolen\nfrom Rossini, but so badly that neither the imitation nor\nwhat was original gave the least pleasure.... All the voices\nwere mediocre except the tenor David and the contralto\nSantina Ferlotti ....but even the most beautiful voice applied\nto a melody which signifies nothing cannot produce any\ngrand effect. The Romans praised the scenery and damned\nthe opera n.\n€| On February sth Leopardi saw the 9 Donna del\nLargo n. The music was by Rossini, which, he says,\nmade him cry. The performance lasted six hours.\n(i) Bee also page 25.\n\nBOLOGNA\n1923. Visitors to Bologna between May and October\nwill find an excellent performance of Burattini every\nevening in the open air by going to the Piazza dei\nMarchi.\nThe Teatro Comunale built by Antonio Bibiena in 1763\nhas a fine stage and auditorium and is worth seeing. The\nTeatro del Corso is another interesting theatre. It was\nrebuilt in 1805 for Napoleon's visit, and has since then\nbeen in part reconstructed.\n1723. Jan. 10th. In the Private Theatre in the House\nof Count Pirro Malvezzi there was recited a play called\nAndromaca 11, after which a farsetto was acted by three\nyoung men from the Collegio di San Luigi. On January\n27th the Cardinal Legato went to see it.\n1623. December 17th. Guarini's R Pastor Fido ®\nwas performed at the Teatro della Sala. Soon after the\nperformance, for unknown reasons, the theatre caught fire\nand in a short space of time was completely burnt. It\nwas originally built in 1615 by Gio. Gabrielle Guidotti.\n\nLIVORNO\n1823. July 25th. My Lord Byron embarked from\nhere for Greece to go for the last time once more a-roving.\n\nMOD E N A\n1823, The Teatro in Palazzo Rangoni was built, to\nhold 300 persons.\n\nRUSSIA 1923\nNICHOLAS Roerich would naturally find Pietro GOD-\nzaga, Venetian scenographer, 1750-1831, a wonderful\nscenic man, and so his short Note of enthusiastic appre-\nciation in the 11 Theatre Arts Magazine Volume 6,\nNo. 4. is nothing to be wondered at.\nFor Gonzaga went to Russia in 1791 and died there."}, {"page_pdf": 61, "page_imprimee": "43", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.61", "texte": "RUSSIA CONTINUED.\nHe wrote two books : 11 Light adapted to Theatre\ndecor B and w Theatre Optics w.\nBut what Roerich doesn't mention in his Note is that\nGonzaga shows the direct influence of Canaletto. And\nafter all, Gonzaga is not Italy's best scenographer.\nPossibly he was one of the forty best, but is rather\nmore of a picture painter on a large scale than a pure\nscenographer of the Theatre.\nIt is the Parigi who are the genuine scenographers:\nthe Bibienas too. The Burnacini, the Mauri, Torelli, Ser-\nvandoni, Scamozzi, and Peruzzi, ....these are the Italian\nnames in the first rank.\n\nBUD R I O\n1923. January 26th. There are seldom any dramatic\nperformances here, and so perhaps it is this fact which\nrenders the performances in the Teatrino of the Palazzo\nLazzone so remarkable in our eyes.\nReality on the stage is rare, but in RLa Donna n, a\npiece by Marco Pallanc, the actors brought us reality such\nas I have not seen before in London, Prague or Moscow.\nThe scene was modern; modern realism often offends one,\nbut this scene, (there was only one), was reality itself.\nI felt the air which floated in through the large French\nwindows leading on to the lawn, .... a lawn which I swear\nI took to be real. \\ have never, as I said, seen such\nrealism. The two principal actors, Signor Monza and\nSignorina Lampretto, were acting, I suppose. 1 tried to\ntell myself this when I saw the latter dying in the third\nand last act of this tragic little piece. But even now I\ncannot assure myself that it was acting.\nSignor Monza had a small part he could not have\nbeen more than half an hour on the stage yet I know\nhim as 1 know myself. I learnt his whole story, character,\nregrets and achievement. The play turns on these.\nA most ingenious method of illuminating the stage is\nused in Budrio, at least in the Palazzo Lazzone. There\nare seven discs of polished marble hung round the back of\nthe scene, each measuring about five feet in circumference,\nand in the centre of these and somehow concealed in them\n1 thought, (for 1 only had time to glance at them), were\nthree to four electric globes. I supposed the candle power\nto be about 3000 per disc. By some contrivance these\ndiscs or lamps are moved very easily to any defined spot\nand very swiftly, this in spite of the fact that they\nmust weigh a great deal.\nI asked the manager why marble was employed instead\nof light metal reflectors. He told me because of the n mo-\ndulazione n.\nBut if I cannot properly explain the secrets of their\nmechanism I can certainly not explain how it was that the\neffect produced was one of daylight, a daylight which in\nthe course of the two and a half hours' performance\nchanged as I have never yet known stage lighting to\nchange.\nI hope later to be able to report more of this remark-\nable company of performers.\n\nCON D E\n1723. In or near this town on January 25th there\nwas born Claire-Joseph-Hippolyte Leyris de la Tude, the\ndaughter of Francois Joseph D6sir£, a sergeant, and of\nMarie Claire Scanapiecq. She named herself more sim ply\nlater on : Hippolyte Clairon.\n\nFROM THE \"BALLI DI SFESSANIA\" BY JACQUES CALLOT\n\nFIRE N Z E\no « STILL THE OLD ENTANGLEMENT. * o\nMADAME Eleonora Duse, recently visiting Firenze,\nexpressed in a letter to one of the dramatic critics\nher regret not to be able to give a piece which she would\nhave personally wished to give, in the following words:\nn Ma non fu possibile conciliare le sciocche ragioni di me-\nstiere con le ragioni dell*Arte. H wlt was not possible to\nreconcile the foolish professional reasons with the reasons\nof Art. n\nNo, ..:not at the last moment:— and why at any mo-\nment serve two masters ? and that is what it comes to\nwhen one submits art for a moment to the interests of the\nBox Office, or allows B foolish professional reasons n to\nintrude for one moment upon one's conscience as an artist\nor shelve even by a hairsbreadth one's art ideals,\n1823. Francesco Cambi issued his n Riflessione sul\nTeatro Comico Moderno * in Firenze.\nR. Landini, a famous impersonator of the Mask of\nStenterello, was born.\n1723. The opera n Fiavio Anicio Olibrio * was gi-\nven in the summer at the Teatro della Pergola; libretto\nby Apostolo Zeno; music by Nicola Porpora.\n1623. February 4th The Company of Sant'Antonio\ngave a performance of n II Voto d'Oronto n by Cicognini,\nand the Accademia degli Infiammati were asked to repeat\nit at the Palazzo Pitti, in the presence of the Archdu-\nchess, the Princes, and the Infanta of Poland ; after this\na ballet was performed."}, {"page_pdf": 62, "page_imprimee": "44", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.62", "texte": "FIRENZE CONTINUED.\nFebruary 26ih. In the evening their Royal Highnes-\nses Ferdinand© II and his wife went to the n Sala dei\nForestieri n to hear an improvised comedy (Commedia\nall' improvviso) by some young gentlemen of Pisa, which\nthey did very well,\nOctober 23rd. H. R. H. the Duchess, to give plea-\nsure to her children and to H. R. H. ordered the co-\nmedians under Fritellino (Pier Maria Cecchini) and Fla-\nminia (Orsola Cecchini his wife) to perform before her in\nthe 9 Sala R wherein was standing the fixed M prospet-\ntiva. B They gave a ridiculous comedy which lasted an\nhour, beginning at II o'clock in the evening. Their Royal\nHighnesses were much pleased. They went to the theatre\nincognito and watched the performance from behind a\ngrating. After this, and during the year, their Royal\nHighnesses saw a great deal of Fritellino and his company.\nDecember 12th The Duke made a present of 100\nscudi to the Company of Fritellino, and some rare silken\ncloth embroidered with gold to Flaminia. To Fritellino\nand Cintio he gave a gold medallion each with the im-\npression of the Duke's head on one side, and, on the\nother, the crown and ball with the motto ® primo virtutis, R\n€| B La Celeste Guida overo L'Arcangelo Rafaello, w\na B sacra rappresentazione B, libretto by Jacopo Cicognini,\nmusic by Gio. Battista da Gagliano, was produced by the\ncompany B deirArcangelo Rafaello delta la Scala. 11 The\nlibretto was printed at Venezia in 1625.\nIn December La Regina Sant* Orsola n followed\nby B I Fiori di Calvario 11 were produced H nel Teatro\ndel Grand Duca di Toscana B before Vladislao Sigis-\nmondo Prince of Poland and Sweden. The libretto was\nby A. Salvadori and the music by Marco da Gagliano. The\nlibretto was published with a frontispiece and six plates\nengraved by Alfonso Parigi who very possibly designed\nthe scenes. Each plate measures 14 centim.X'l centim.\n€jj 51 1! Medoro w was produced at the Royal Palace\non the occasion of the election of the Emperor Ferdi-\nnand II of Austria. The libretto was by Andrea Salva-\ndore, the music by Marco da Gagliano. The libretto of\n5 operas was published by P. Cecconcelli, in Firenze.\n\nDESIGNED AND ENGRAVED ON WOOD BY W. H. BROOKE, 1831.\n\nSTRATFORD ON AVON.\n1923. Here things go on and on in much the same\nway as they went on in 1823,—in 1723, but quite other\nthan ihey went on a century before then.\nIt rains here,—drizzles—and theatricals drizzle too.\nThe Shakespeare Jubilee was a fizzle,... even Garrick,\nthe great Garrick, had to bring a little of his acting down\nhere in 1769 and display it in the streets. B The inha-\nbitants who could neither understand the projected cele-\nbration nor its details, viewed the business-—to be for\ntheir advantage—with open distrust and hostility n writes\nFitzgerald in his Life of David Garrick. slt was not a\npecuniary success ; but without Garrick would have been a\nmiserable failure. It cost him individually a great deal of\nmoney.... over £ 2000. n\nAnd the inhabitants today are as suspicious and as\ndull as those in 1769. There is never any money to be\nfound to do things properly with. When the gifted C. Lovat\nFraser came here to lend a hand—and he was all\ngood spirits and willingness—all the people did was to\ngrumble, and Fraser, who seldom had a hard word to say\nof anyone, found more to laugh at than usual. The Thea-\ntre itself has never been adequate. Salzburg does more\nand better to honour Mozart than Stratford to honour\nShakespeare. But then the inhabitants of Salzburg are not\npoverty-stricken or paralyzed by feeble intentions,—and\nthey have called Reinhardt to see to things, Stratford,\nit's true, calls Mr Adams and then ties him hand and foot\nwhile expecting impossibilities from him,... gives him a few\nhundred pounds to work with—and grumbles at the result\nwhile patronizing the young man's talent,\nAs ever in our Empire, India, Egypt, must be paid\nfor by Mr Adams and the 30,000 other artists, scientists\nand some 3,000,000 other kind of sound workers. Let\nIndia, Egypt and the whole world become and remain\nEnglish if you will, but first look after things at home,—\nnot forgetting Shakespeare, the Stage of the Empire... and\nthe musical glasses—the which I was almost forgetting.\n\nPLAN OF THE PRAGUE THEATRE. BUILT BY GIUSEPPE BIBIENA, 1723.\n\nPRAGUE 1123\n1723. For the coronation of Charles VI, Giuseppe\nBibiena constructed an amphitheatre to hold 80,000 per-\nsons, says the historian (3000 is a more likely reckoning).\nIt had a stage 39 metres broad and 63 metres deep.\nThe opera performed wTas n Costanza e Fortezza \"by Pairate,\nmusic by Fux. The scenes were by Giuseppe Bibiena.\n100 singers, 200 musicians and many dancers were called\nfrom all parts of Europe to perform at this festival, and it\nbecame celebrated as the standard of scenic production\nthroughout Europe.\n\nLUCCA.\n1823, On August 28th 11 Temistocle n was produced\nat the Teatro Giglio with music by Giovanni Paccini.\n1723. At the Teatro Pubblico two performances by\namateurs of n La Finta Pazza 11 and n Pazzo per Forza w\nby Capece were given. Giacinto Cattoli and his com-\npany performed from August 17th to the end of De-\ncember."}, {"page_pdf": 63, "page_imprimee": "45", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.63", "texte": "LUCCA CONTINUED.\n1623. From September 20th to December 21st the\nactors of the company known as 11 I Confidents n, directed\nby Flaminio Scala, were performing in the Sala della\nPodesta.\n\nPLAN OF TEATRO REGIO. TORINO. BUILT BY ALFIERI IN 1741.\n\nTORINO\n1823. There was given this year the opera s Rug-\ngiero n or B L/eroica gratitudine w, libretto by Pietro Meta-\nstasio, music by Antonio Gandini of Modena, ballet master\nGio. Galzerani, whose wife was prima-ballerina. The\nseason was closed with 11 Didone Abbandonata B Jan. 19\nby Metastasio, with music by Zaverio Mercadante, director\nof the Conservatorio di Napoli.\n1723. The Opera-Ballet B Artenice n was produced\nfor the first time at the Teatro Regio. The libretto was\nby Giovanetti and the music by Giovanni Antonio Giay,\nmaestro della capella. The first ballerina was De-Bargues,\nand the music for the ballets was by Razetti. This opera\nwas written expressly for the Teatro Regio. In the same\nyear 811 Trionfo della Fedelt& n by Giovanetti, with\nmusic by Fior& was also given.\n\nTEATRO CARLO FELICE, GENOVA, BUILT BY BARABINO IN 1826.\n\nGEN O V A\n1923. Nothing is made of the Teatro Carlo Felice\nhere. It is one of the largest and one of the most handsome\ntheatres in Italy: its position is central and imposing, and\nGenova is a wealthy commercial city,\nLike Manchester, the place seems to be unaware of\nthe importance to trade of a first class opera house and\ntheatres. It possesses the buildings,—the Paganini, the\nRegina Margherita and the Politeama are three large-sized\nplayhouses. The Agostino, once the most popular theatre\nin Genova, is now deserted except for occasional amateur\nperformances.\n\nTEATROPATRIOTICO, MILANO, NOW TEATRO DE' FILODRAMMATICI\n\nMILANO\n1923. Arturo Toscanini is still here, and his whole\nexistence is given to the Scala. He has brought about\nmany reforms,—aroused the singers, produced a superb\nchorus, availed himself of Fortuny's inventions for scenes\nand lighting, and it is immensely to the credit of the\nmerchants of Milano and of Signer Scandiani that the\nparamount importance of this conductor has been so sanely\nrealized and his efforts seconded by those in power\nThe Theatre was reconstructed a year or two ago for\nToscanini (instead of for speculators), at an expense of\n75,000. The Journals, and the Bankers and other\nwealthy men supplied the means.\nThe talent of Signor Scandiani is exceptional. I have\nnot known many directors possessed of such unique yet\nordinary gifts. Never in a hurry, never apparently anxious,\nalways seconding Toscanini and the art,—such a B business\nman wis an example to the 11 managers nof London. Whether\nany such man is to be found in any theatre in Paris or\nNew York has not yet become evident.\n1823. February 6th. Pacini's w Vestali B v/as pro-\nduced with success at the Teatro della Scala, with La-\nblanche singing.\nFrancesco Clerico's ballet B Adelaisa di Guezetino *\nwas given on June 7th. (see portrait plate 4). Music by\nBelloli, scenes by A. Sanquirico.\nThe company of the celebrated Moncalvo was acting\nall the summer at the Teatro Canobbiana. Eight dramas\nwere performed.\n♦December 26th. The first representation of Amleto\",\nmusic by Mercadante, libretto by Felice Romani, was\ngiven at La Scala by Giorgi, La Fabbrica, Monelli, and\nLablanche in the caste. On this occasion the vast central\nchandelier was hung, and used from then onwards. It\nwas designed by Sanquirico, the scenographer of La Scala,\nand carried out by Carlo Grassi the mechanic. It cost 17,991\nlire (Austrian).\n1723. 11 Arianna nell* Isola di Nasso *, Drama in\nmusic by Giovanni Porta, was given at the Teatro Du-\ncale with Marianna Laurenzani, Scalzi and Cignoni in\nthe cast. The scenes were by G. D. Barbieri and\nG. B. Medici, under the direction of Ferdinando Brivio\nand Giuseppe Milesi. The dancer was Caetano Gros-\nsatesta.\n1423. A stage was erected at the Porta Ticinese\nand a spectacle given of the historical and military feats\nof the old Gods."}, {"page_pdf": 64, "page_imprimee": "46", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.64", "texte": "SHOWING THE THEATRE DU MARAIS. PARIS, 1676. (BUILT 1623).\n\nPARIS\n1923. M. Silvain, the doyen of the Com£die Fran-\ncelebrated the forty-fifth anniversary of his entry into\nthe Maison de Moli&re, on February 19th. He has also\nbeen a professor at the Conservatoire for many years.\nWe wish the old place and the old man long life;\n—after all it is our favourite playhouse when Moli&re is\non the programme... but only then.\n€| M. Jean Jacques Olivier has translated Gozzi's\nn Turandot n into French and it was produced in February\nby M. Jacques Copeau at the Theatre Vieux-Columbier\nwith considerable success. It is spoken of as the best\npiece of work seen at this theatre.\nTHE French Cabinet, the municipal Courts and the\nPolice have all been obliged or pleased to make in-\nvestigations into how much n human flesh, 11 as the news\npaper puts it, or how little, should be exhibited on French\nStages. Practically it was coming to be quite the usual\nthing for pretty women to walk on to the stages naked\nsave for a little fringe, some beads a la Bakst, and a\nhead-dress.\nThen began much argument in Paris ahout it all.\nMile. Mistinguet and M. Antoine even entered into the\ndiscussion. Antoine says he prefers nudities on the stage\nto risqu£ songs. Mile. Mistinguet finds the nude only\nobjectionable on the stage when it moves about. Others\nfound other things to say.\nAs there is no firm reason to be rendered why some\nof us cannot abide a gaping pig, why others a harmless\nnecessary cat, so can I give no reason more than a lodged\nhate and an unreasonable loathing against the whole bu-\nsiness of flesh displayed in the Theatre.\nOne journal shed rather a new light on the whole\nmatter :—n Several eminent psychologists declare that, as -\nn a rule, it is the women in the theatre audiences rather\nn than the men who encourage the undress among the\n11 stage beauties, and enjoy seeing them carry it to a\nn shocking degree. In this they are in perfect agreement\nn with the opinion recently expressed by Miss Ann Pen-\n-11 nington the American dancer.\nn 4lt is women, * said Miss Pennington, * who love best\nB to see a trim ankle, a shapely calf, a perfect knee and\nB the rippling curves of the feminine back exhibited on the\n11 stage. It is wrong to blame men for stage nudity. The\nB women are the ones who insist upon it. B\nMiss Pennington may be right.... it seems all one to\nme. The stage I have always had intense admiration f0r...,\nand so it grieves me to see the stage allowing this sort of\ntom-foolery.\nAs for anyone stopping it except the dramatic authors,\nactors, dancers and others who belong to the stage, it is\nfarcical to think of. They could stop it tomorrow. Will\nthey ?... Have they that much sense ?\n1723. n In£s de Castro n, a tragedy by Lamotte, was\nproduced here on April 6th.\nEarly in December the Theatre Comedie Frangaise\nwas closed on account of the death of the Due d'Or-\nleans.\nLachapelte died on May 29th.\nMile. Lamotte made her debut at the Com6die Fran-\nsaise on October Ist.\nBremys died on November 25th.\nMoli&re's daughter, Madeleine, died, childless.\nMarmontel, oean Francois), was born.\n1623. The Theatre du Marais, situated in the Rue\nVille du Temple, was built this year.\n1623. Nicolo Barbieri detto Beltrame came to Paris.\nHis B Supplica *, one of the rarest of books by an actor\non the condition of the stage in the late 16th and early\n17th centuries was now being prepared by him, and was\npublished in 1634 at Venezia. (See page 12). In this\nvolume the publisher gave two and a half pages of his\nAnnouncements at the end, and it is interesting to come\nacross two of the items mentioned ; i. e. Saggi di Michel\nSigner di Montagna n, a quarto; and B Apologia di Rai-\nmondo di Sebouda del Medesimo n, a quarto. In 1518\nMontaigne went to Italy for his health, was in Roma\nwhere he stayed at an inn L'Orso n close by the Tor\ndi Nona where later, in 1660, one of the most famous\ntheatres of Roma was constructed—destroyed—reconstructed\n—and over and over again destroyed. This edition of\nMontaigne's work was probably the first to appear in the\nItalian language, this advertisement in the actor's book\npossibly the first announcement.\n\no BORDEAUX\n1823. Monsieur Goethals acquired a house in the Rue\nMably, No. 28, and M. Lafargue adapted it into a private\ntheatre which was called the R Salle de l'Ath6n£e *.\n\nMUNC H E N\n1823. On Tuesday, January 14th, the Hoftheater\nwas burnt down, and in this same year Leo Von Klenze\nstarted rebuilding it from the original plans by K. von\nFischer. It was completed in 1825.\n\nLONDON\n1823. William Hone published his * Ancient Myste-\nries described etc. 11, in London. It was an Bvo of 300\npages with 13 engravings on copper and wood.\nOn May Bth the opera * Clari n or * The Maid\nof Milan n, by Howard Payne and Bishop, was produced\nat Covent Garden Theatre. The air of * bjpme Sweet\nHome * comes into the opera."}, {"page_pdf": 65, "page_imprimee": "47", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.65", "texte": "LONDON CONTINUED.\nJohn Philip Kemble, after returning from a visit to\nItaly, died at Lausanne aged 66 on February 26th at a\nquarter past nine, and was buried on March Ist.\n€$ On May 13th at Covent Garden Macready first\nplayed Shylock.\nOn October 27th, at the Drury Lane Theatre,\nduring the performance of 11 The Cataract of the Ganges n,\na surprising effect was introduced, real water gushing out\nin place of an imitation of the water. Everyone was\nmore than thrilled. The notion was a poor one, but not\nnew, the kind of thing having been tried with success in\nthe seventeenth century in Roma by Bernini as a jest.\nAt Drury Lane it was done with becoming seriousness\nfitted to the time and place and circumstances, it having\ncost much money and the piece having been especially\nwritten to the water and some horses which floundered in\nthe water.\nNov. 14. Kean retired to the house built at his own\nexpense on a portion of his twenty acres of land in the Isle of\nBute, tired of his triumphs and everything else. From\nhere he wrote to Mr Phillips : 11 Dear Phillips, Mrs Kean\nwrote to Elliston on the Bth, telling him that I had not\nabove one week to live. All is well by my keeping\naway. Dam the Ganges, to prevent further overflow: send\nto hell the Prometheus that animated the statue: set fire\nto the Bun Row ; and then I will return—at any time\nvery reluctantly—for this is the most beautiful place in\nthe world. Write and send me play-bills every day.\nHow was the box-plan for the 17th ? I can get another\ndoctors's certificate if it is necessary. Yours sincerely,\nEdmund Kean. P. S. Written with the snuffers B.\n1723-24. The Drury Lane managers produced B Harle-\nquin Dr. Faustus B in rivalry of John Rich, who, the\nsame year (December), produced B Necromancer Harle-\nquin Executed B at Lincoln's Inn Fields.\nPantomime became a greater attraction than ordinary\nacting; drew £. 1000 a week as compared to £. 500\nof the talk plays of that time.\nHogarth designed and etched a plate showing the\npopularity of the Italian opera and pantomime.\n1623. Shakespeare's first Folio, containing 36 plays,\nwas printed R according to the original copies R by Isaac\nJaggard and Edward Blount at their establishment near\nSt Dunstan's church. It formed a volume of nearly\n1000 double-column On the title page was an\nengraved portrait of the author.\nAbout this time the Curtain Theatre was destroyed.\nWilliam Sands received a license for showing a\nmotion or marionette show called R Chaos of the World R\nand another called n The Creation of the World R.\nOn July 20th Sir John Astley sold to Henry\nHerbert for the sum of £. 150 a year, the office of\nMaster of the Revels. Herbert was knighted by the king\nat the same time. He was brother of George Herbert,\nthe poet.\n\nAMERICA\n1823. During this year the first theatre in New\nOrleans was being built. In 1824 it was opened.\n1823. Mrs Melmoth died in New York at the age of\nseventy-four. She made her d£but November 20th 1793 as\nn Euphrasia w in Murphy's n The Grecian Daughter\n1823. The Theatre in Chestnut Street, Philadelphia\nwas rebuilt and opened.\n\nEDITORIAL NOTES.\n\nAMERICAN CLAP-TRAP.\nWHEN we read in London Papers\nof Interviews with the American\nImpresario Mr Morris Gest we are\novercome with something which we\ncannot give an exact name to. It's\nnot all nausea, not all contempt, not\nall a roar of laughter, nor is all this\nproduced by thinking of Mr Gest.\nThe Interviewer makes us think that\nLondon Interviewers have lost all talent.\nEnter the Interviewer of the n Eve-\nning Glory n to the presence of Mr\nGest who is at the Savoy Hotel. The\nInterviewer does not even know what\nto do with his hands ; he begins to\nfumble at once. He allows Mr Gest\nto speak as though Mr Gest were Mr\nThomas Hardy or M. Anatole France.\nThe Interviewer seriously interviews him.\nHave the London papers lost all\ntheir sense of proportion ? Who the dic-\nkens is this Mr Morris Gest that our\n\nJ. S.\nABOVE all, there must he no suggestion of the\nTheatrical.\nThis is one of Stanislawsky's orders to his players\nwhen about to begin rehearsing \" The Blue Bird \" in Moscow.\nHis whole discourse, a very charming one, has been re-\nprinted in an American journal, from which we take the\nabove line.\nAnd that line reveals the mind of Stanislawsky better than\na ten years enquiry could do.\n\" No suggestion of the Theatrical \". The deuce !\nO\nI WILL give another toast at this table. \" Gentlemen,\nnothing but the Theatrical \".\nIf I have not carried my hearers with me, then they are\nnot of the Theatre.\nIn ■ The Blue Bird «, in ■ The Yellow Dwarf «,in \" The\nYoung Person in Pink \", in the plays of Tchekov, Gorki,\nGogol, Shakespeare, Sheridan, Moliere, and Conrad, be Thea-\ntrical and again Theatrical and nothing but Theatrical."}, {"page_pdf": 66, "page_imprimee": "48", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.66", "texte": "British Public wants to be told what\nhe is going to produce next season ?\nTo begin with Gest n produces n\nnothing : all he does is to buy and\nsell. B The next idea in theatrical\nWaiters n says this same Gest, is the\nreligious play. The masses are reli-\ngious and they want to see a play\nwhich embodies the instinct of religion B.\nThat's Gest's first speech.\nNow it would be quite worth hea-\nring what the next idea * is to be\nif Mr Gest knew it. He doesn't.\nBut that's nothing against him: he\nknows he doesn't know it. All he\nknows is he's going to boom religion\nin Theatres of the States.\nHe goes on : B / am going to produce\nin America The Miracle n, etc,\nNot one word does he say about\nMonsieur Max Bernhardt who is really\ngoing to produce the men who produce\nit. B Now is the chance for the\nTheatre to preach the gospel of faith\nin God and faith in human kind \"\nsays Gest; .... R have you got that\ndown ? R he probably added.\nHe then goes on talking about moral\nplays and how America is dead tired\nof B unpleasant plays n and n naugh-\ntiness What humbug!\nThe article is headed in big lines :\n* STAGE'S MISSION\nOF RELIGION \".\nIf these men, (and we say it with\nall seriousness), these impresarios, are\nallowed to ruin the stage by their\nblatant vulgarity and lowest shop me-\nthods, every artist worth his salt will\nleave the Theatre.\nYou must be rid of the whole pack\nof these cheap-jacks before our men\nand women will put the house in order.\nYet Ervine and Agate, Watson, God-\nfrey^urner, and other attitudinizing critics\nremain silent before such folk.\nDo you suppose we shall bring out\nideas worth anything while these fellows\nare arpund to spoil all that is worth\nwhile ?\nAnother piece of information Mr\nGest gave the Interviewer soon after\nhis reference to God and the Church\nwas : * You must serve up your moral\nwith something that tastes good. That\nis why in n The Miracle n I am\ngoing to engage the most beautiful\nwomen. I want the most beautiful wo-\nman I can find in England and I want\nbeautiful women of other nationalities n.\nLet us add what he forgot to mention,\nwhich is, that he wants these beautiful\nEnglishwomen for Professor Max Rein-\nhardt's production of 11 The Miracle n.\n....Reinhardt who, during the war,\nlent his organizing power to destroying\nEnglishmen. That is who and what\nMr Gest wants n beautiful English\nwomen n to serve. And now as we\ngo to press we hear he has secured one.\nNo, no England, if you play games\nlike this and can find no one to protest\nyou'd better close up your Dramatic\nworld. There being money behind\nGest, one critic protested. But\nwhere is the Actors Association ?\n\nTHE ACTORS' ASSOCIATION.\nMR. Balance, in his Note on Exhi-\nbitions and Books, (page 5) sug-\ngests that the actors should get together\nand give an exhibition of their work to\nshow what they are doing to prepare\nfor the coming of the new Drama, just\nas the scenographers, architects and\nstage-managers have been showing us re-\ncently what they have done, and are doing.\nAre the actors disunited ? If so,\nwhy ? Indeed, if the actors of England\nare disunited, they have no reason to\nbe so, since there exists a centre ——\nThe Actors' Association. But what\ndoes it do ? And what is it, this\nassociation ?\nThere is, of course, Mr. Lugg the\nsecretary, who is giving his whole life\nto the work: « a young man, ener-\ngetic, devoting himself to one thing\ninstead of six: broad-minded; never\nidle for a moment from one year's end\nto another. Why should there be any\nexcuse for the actors in England being\ndisunited ? Is there, perhaps, the best\nof excuses; a reason ?\nIs it that the Actors' Association is\nheading towards nowhere —: with a\nrudder, but without a destination?\nSome feel that Mr. Lugg would be\njust as well fitted to improve the lot\nof the stone-breakers or any other\nunfortunates.\nThis union of actors, what exactly\nis it ? Is it a union in the sense of a\nTrade Union or some Missionary Union?\nWe fear it is; and if so, it does not\nappeal to us. We do not look on the\nprofession at all as a trade or a mission,\nalthough we suppose trade is a pretty\ngood thing, and we know missions are\ngood. But it does not seem to us that\nit was necessary to band together to\nsay n We won't do this w or B We\nwill be master in our own house B or\nnwe will be good n. It seems to us\na matter of course that any association\nof actors should be founded on a far\nsterner and a far more ideal basis than\nthis association seems to be, if it is to\nawaken the admiration of the entire\nprofession and attract every actor and\nactress to its banner.\nI doubt very much if any of the\nactors and actresses in the association\nhave any notion what their profession\nhas stood for these last 500 years.\nI doubt whether they know why it\nexists to-day, except to bring them an\nengagement. Of course, they like their\nwork and do it well. But an asso-\nciation of Actors should know more\nthan this ; should have some old ideal\nto keep moving towards. It costs\nnothing and at the end of 50 years if\nan advance has been made, every man\nis the gainer.\nWe have found good actors, while\nsympathetic towards Mr. Lugg, and\nwhile considering him as a man of\nenergy and fine character, regretting\nthis: that he does not come to\nrealize that though the Actors' Asso-\nciation is quite right to help its members\nto get their minimum wage, this should\nbe secondary, and only after it has\nwarned them first that the Stage expects\nthem to make the maximum effort in\ntheir work, and to remember that their\nwork is all being done not only\nfor their own individual gain and com-\nfort, but also for the ultimate good of\nthe Drama, and its house the\nTheatre.\n\nOUR FRIEND CLUNN LEWIS.\nOLD Mr Clunn Lewis the English\nPuppet man is not St Francis of\nAssisi. St Francis learned and taught\nto beg, ....and taught that it was a\nshame to fear to beg, n In the name\nof God give B was his formula:\n....a demand one would imagine terrible\nto refuse.\nMr Lewis cannot go around and\nbeg ....in anyone's name. No one there-\nfore fears to refrain from giving him\nhis tiny Theatre or enough to rest a\nlittle more comfortably on.\nHis could but be a feeble appeal\ndid he ever have to beg. * In the\nname of England give 11 No,\nthat demand has been made so often\n....and turned down. 11 In the name\nof Satan, give B. Ah ha I we might\nleave it at that, since neither the name\nof God nor of old England moves\nthese folk who will not stop and think\nnor dare to feel.\nMr Clunn Lewis has his puppets\nnow at 140 Maple Road, Penge,\nLondon, S. E.\nThere may be a few among our\nreaders who will understand why we\ngive this address, ...and who will not\nlet their opportunity pass unperceived.\nAn old Chinese sage once wrote:\nI expect to pass through this world\nbut once. Any good therefoie that I"}, {"page_pdf": 67, "page_imprimee": "49", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.67", "texte": "can do, or any kindness that I can\nshow to any fellow creature, let me\ndo it now* 1 will not defer or neglect\nit... for I shall not pass this way again n.\n\no ALL ARTISTS o\nREVOLUTIONARIES .\nTHE great Dancer is reported to\nhave said to an interviewer that\n\" All artists are at heart Revolutionists n.\nThey certainly are.\nThey revolt against compromise\nagainst disorder against the undisci-\nplined —1 against all that looks like\nliberty and is no such thing.\nAs for any artist being in sympathy\nwith Bolshevism, Communism, French\nRevolutionism, that is all well-known\nto be moonshine. An artist has one\nthought only, ....his art his work\nand then as an after thought, his bread\nand butter. But, to get the means\nto be able to lodge like a prince at\nthe Ritz, no artist, (since he is that\nand no Prince), is really more admired\nby the world for his compromise,\nhowever it may sometimes seem at the\nmoment.\nThe friends of a great artist have,\nsince compromise became an art, some-\ntimes felt exasperated that he would\nnot compromise and so win a monetary\nwordly success and do them credit.\nSo far as we have noted in the long\nstory of the centuries there were always\nplenty of good artists who flashed out\nswaggerly in their silks and tie wigs\nand chariots and entertainments, and\nas many as good who did not.\nTake a glance a long one\nat the History of the Stage it is\nall re-told there : ...same game as today.\n\nTHE ACTORS' DICTIONARY.\nPUPPETS are in danger of losing\nthe little something they possess.\nIn some lands they are being n taken\nup n: not by artists; that wouldn't\nmatter, but by others.\nSometimes to use as political propa-\nganda ; sometimes for a fad ; sometimes\nfor money-making; always the wrong\nuse is made of them in France, Eng-\nland and America. As was to be\nexpected. Diavolo!\nTheir chief use is to the actor ; as\na medium for studying the art of acting.\nThen to amuse children; or to help\nout the recital of a good play.\nBut since actors never make use of\nthem as the writer makes use of the\nDictionary; since children rarely are\nallowed to go to even a Puppet\nplayhouse; and since good plays, when\nwritten, are seldom of interest to anyone,\nthe need for the Puppet is gone.\nA false need is put in its place, and\nto gratify this a false kind of puppet\nis manufactured.\nPossibly the best use is that which\nthe Americans make of this trifle :\nthey aim at making money out of it.\nThey search for the latest thing in\npuppets, ....and get it.\nMeantime a few people will regret\never having mentioned the word n Pup-\npet n, if this is all that is to happen.\n\nFOREIGNERS\nLONDON and Manchester are again\nwelcoming the foreigners. Russians\nand Austrians are gentlemen who make\ngood music, and why shouldn't London\nand Manchester afford them ? It will\nbe foreign money which will pay for\nthem, and why not ?\nThe Arts and the Theatres may\nsome day become once more of real\nimportance are they at present ?\nIf we think they are, that is another\nmatter, for we think a lot of silly\nsentimental things. If we think that\nEnglishmen and Scotchmen and Irishmen\nin the House of Lords and the House\nof Commons are preferable to foreign-\ners what of that ? Our opinion\nis shared by a majority, .... and the\nsame majority, if consulted, would vote\nfor all English, Scotch and Irish poets,\nmusicians, plays, and operas.\nBut still what of that ?\n\nA CORRECTION.\nWHEN the International Theatre\nExhibition was in London many\nof the play-writers and the actors,\ninstead of being glad of the little\nsuccess achieved by the men who had\nbrought gifts and given them gratis to\nthe Theatre, were heard grumbling and\nsneering.\nSome even wrote churlishly in the\npapers and some saw that things were\nwritten.\nThe principal cry raised was that\nGordon Craig had brought about an\nExhibition of Theatrical Art with the\ntwo principal parts left out of it, ....i. e.\nActor and Play-writer.\nHe therefore wishes us to state that\nhe fought for both but was overborne.\nWe will quote from Mr Craig's first\narticle in n The Times n, January 6th\n1922,... written five months before\nthere was any thought (outside of his\nown head), of such an exhibition being\nheld in London, It was an article on\nthe preliminary Exhibition to be held\nin Amsterdam.\nn I have not been told whether two\nof the principal figures in our theatre\nworld will be exhibiting—l mean the\ndramatist and the performer. If not,\nwe must not jeer at Amsterdam, for\nwe know quite well that the dramatist\nand the performer are nightly exhibiting\nin every city of the world. For my\npart, if I were ever to direct such an\nInternational Exhibition I should try to\nmake it a sine qua non that the most\nfamous professional dramatists and per-\nformers should show the world what\nthey would like to give it, if quite\nfree n. *\nPlain enough words these.\nMr Craig was not called to direct\nthe London Exhibition; in his own\nwords, n there were better directors on\nthe spot. fl so it is the Committee\n(several actors were upon it and some\nmanagers) you must blame if actors and\nplay-writers were excluded.\nAmongst those on the Committee\nwere :\nMr Oscar Asche.\nMr Granville Barker.\nMr Charles B. Cochran.\nMiss Edith Craig.\nMr John Drinkwater.\nSir Johnston Forbes Robertson.\nSir Martin Harvey.\nMr Barry Jackson.\nMr Alfred Lugg.\nMr Walter Payne.\nMr Nigil Playfair.\nMiss Ellen Terry.\nMiss Sibyl Thorndyke.\nMiss Irene Vanbrugh.\nMr Fisher White.\nAnd Mr Bernard Shaw attended the\nmeetings.\nThat makes 3 dramatists, 10 actors\nand actresses, 6 managers.\nWe know quite well that Mr Craig\nmeant what he wrote in n The Times n.\nNow then, ....why didn't actors and\nplay-writers support his proposition when\nit was made, if what they wanted was\nfor actors and dramatists to lend a hand\nand share in the fun ? And why\ndidn't the dramatists' and actors' repre-\nsentatives on the Committee see that\nthey were brought into it if they wanted\nto be in it ? And why do they direct\ntheir complaints against the one man\nwho wrote and fought on their behalf ?\nThe South Kensington Museum is\nnot permitted to give performances.\nWell, what of that ? Couldn't a\nTheatre have eagerly collaborated ?\nSomething very good could have been\narranged. What was Sir Gerald Du\nMaurier doing ? ....where was Miss"}, {"page_pdf": 68, "page_imprimee": "50", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.68", "texte": "Viola Tree? ....where, oh where Miss\nPhyllis Neilson Terry ? We looked\nfor these on the opening day ; the crowd\nwas waiting for them; they waited to\nsee them enjoying this victory for the\ntheatrical art even as we have enjoyed\nseeing their victories. They waited in\nvain, ....for these and a number of the\nother actors and actresses ....well,well I\n\nTHANK GOD I AM\nNOT AS OTHER MEN.\nHOW DAVID BELASCO\no SEES HIMSELF o\nn I am not in the class of those who\nn think that they can improve the\nn handiwork of the Almighty n.\n{David Belasco t U. S. A. 1923).\nSJ That's all right for a beginning :\nbut we want to see it dawning on Mr\nBelasco that he is still in the class of\nthose who spoil the handiwork of the\nAlmighty.\n\nA WORD OF APPRECIATION.\nIN the work done for the Internati-\nonal Theatre Exhibition in England,\nthere have been many who have given\nsterling service to our cause and their\nnames are well known.\nThe name we would like to single\nout for the highest praise is that of\nMr. MARTIN HARDIE,\nthe Honorary Secretary.\n\nRADIO\nw TS Radio an enemy of the Theatre ?,n\n1 asks Mr. Charles D. Isaacson,\nseriously; and, waiting two moments\nfor an answer, gets it... gets it in that\ntime because he radios it to himself.\nn Fighting, as I constantly am, for a\nbetter art in the Theatre, n he says\nn I say the Radio cannot transplant the\nliving Theatre. n\nBut it all depends upon what Mr.\nIsaacson means by the living Theatre.\nIf he means the thing that is living\nand breathing and very much in evi-\ndence to-day, then we are sorry to\nhear that the Radio cannot transplant\nthat. But we hope, nay, are rather\ninclined to prophesy, that it will help\nto transplant that. Still as we cannot\ncall a spade a spade in this instance,\nRadio being more* like a breath of\nwind than a gardening implement,\nRadio will not precisely n transplant, n\nRadio will blow upon it and, let us\nhope, exterminate it.\nWe feel satisfied that Radio or, as\nit is called in England, Broadcasting\nis bound to finish off what the Ci-\nnema began. Mr Isaacson's n living\nTheatre, H that is to say the Theatre\nof London, Paris and New York and\nmost other places, is merely a take-it-\neasy Theatre. The moment an ener-\ngetic Cinema or Radio catches sight\nof a take-it-easy Theatre it swallows it\nup, gobbles it down.\nWhether we like the Cinema, or like\nBroad-casting better or not so well, is\nnot the question. What we dislike is\na sleepy, dawdling Theatre. Not to\nbe destroyed by Radio, it will have\nto jump up and run for its life.... and\nit will do anything but jump up.... it\nprefers to be walked on.\nIn the Cinema you can see a play\nand not hear it ; in Radio you can\nhear a play and not see it; but in\nthe Theatre proper you can go to\nsleep and not know it.\nWhen Mr. Barker wrote his book\nattacking the English actors, Miss\nNeilson-Terry in the n Pall Mall Ga-\nzette n asked, n Why cannot people\nleave us alone? They do nothing but\nabuse us. n If people do abuse the\nActors and Actresses it is because they\nwont stop flirting with Cinema, Radio,\nand any money attraction, and because\nthey leave their Theatre to act gladly for\nthe Cinema and recite for the Radio\nwhich will pay them. When actors\ncease those tricks and stay in the\nTheatre, stop intrigue, stop being unin-\nformed, wake up, learn not only their\nbusiness but what the whole Theatre\nexists for, then people like Mr Barker\nwill not write books 11 abusing n them.\n€| Then we shall have the excellent\nCinema and Radio for their own peo-\nple : our own dear Theatre for our\npeople.\n\nINCORRECT.\nFROM THE SHEFFIELD DAILY TELEGRAPH. AUGUST 9 1923.\n\" |\\/[R CRAIG maintains that ...the play is not the main\nIVI thing, nor the acting; the scene is the main thing\n€J And in the same article, seven lines further down :\n\" According to Mr Craig's gospel the business of the play\nis to live up to the scenery, not for the scenery to afford\natmosphere for the play \".\nCjj So incorrect, as our readers know, are these two\nstatements that they may be dubbed falsehoods.\nNeither in his last book, nor in any book, does Mr Craig\nmaintain any such rubbish. The \" Sheffield Daily Telegraph \"\nshould be above such perversion of the truth.\n\nFOLLOW THE LEADERS,\nWE are winning—and don't forget\nit for a moment.\nIt was in 1908 that n The Mask, B\nrepresenting Mr Gordon Craig for En-\ngland, Miss Isadora Duncan for Ame-\nrica, M. Adolphe Appia for Switzer-\nland, Herr Reinhardt for Germany,\nM. Stanislawsky for Russia, Signor To-\nscanini for Italy, Mr W. B. Yeats for\nIreland, Madame Yvette Guilbert, for\nFrance, the late Wyspiansky for Poland,\nand the theatre artists of Holland, of\nSpain, of Austria, stood firm,—if alone\nin this— and cried out the words\nn The Artist as Leader and no\nother• w\nTo this declaration we still adhere.\nA few of you have hesitated and\nshuffled, but most have been true and\nremain so.\nThose who have shuffled can now\nlook around and see if what we said\nwas not true and destined to prevail.\nThe Artist has been leading for\nsome years now,—no longer alone.\nMany have followed and more are\nfollowing every month. All over Europe\nand America men have been stirred\nand things are moving.\nPatience, more confidence more\nendurance—more good humour ; more\nloyalty to your leaders ; —more adhesion\nto them—and you will win with us.\n\nAll rights reserved, September 1923.\nGerente responsabile Ferdinando Baggiam\nTipografia Giuntina, Firenze."}, {"page_pdf": 70, "page_imprimee": "52", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau1923-01.1.70", "texte": "THE MASK\nBOX 4 4 4.\nFLORENCE\nITALY."}]}