{"numero_id": "bm-bmtnaau-1927-10-01", "volume": "bmtnaau_1927-10_01", "ocr_sha256": "5c402eb53beb59b077418bb72745a4c0b544a504272db725d68217082f5f3e6f", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1927/10_01/bmtnaau_1927-10_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1927/10_01/bmtnaau_1927-10_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01", "articles": [{"article_id": "bm-bmtnaau-1927-10-01-c002", "article_bluemountain": "bmtnaau_1927-10_01#c002", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 1", "page_fin": "couv. 1", "image_debut": 1, "image_fin": 1, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.2.2", "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": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.1", "debut_caractere": 305, "fin_caractere_exclue": 863, "texte": "Notes on some rare theatre\nPLANS by Bruno Brunelli, Gordon Craig,\nW. J. Lawrence. Alfred Mortier, Allardyce Ni-\ncoll, and others.\nA NOTE ON DRAMATIC CENSORSHIP\nby Barrett H. Clark.\nMACHINE. Slave or Master? and its relation\nto Youth and the Artist, by Gordon\nCraig.\nKEEPING IN TOUCH AND BEING OUT OF\nTouch, by Hadrian Jazz Gavotte,\nTHE WHICH ONE, and should he M o'er*\nweigh a whole theatre of others by Edwin\nWitherspoon.\nALSO ARTICLES, NOTES AND RE-\nVIEWS ON The English Stage, the Gate\nTheatre. London, Asking Alms for Shakespeare,\nand many other matters,"}]}, {"article_id": "bm-bmtnaau-1927-10-01-c003", "article_bluemountain": "bmtnaau_1927-10_01#c003", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 1", "page_fin": "couv. 1", "image_debut": 1, "image_fin": 1, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.2.3", "titre_corps": "ILLUSTRATIONS", "titre_sommaire": "ILLUSTRATIONS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.1", "debut_caractere": 865, "fin_caractere_exclue": 1126, "texte": "ILLUSTRATIONS\nEIGHT NEWLY DISCOVERED AND INVALUABLE\nPLANS OF EARLY ITALIAN THEATRES,\nWHICH CONSTITUTE AN ASTOUNDING CONTRIBU-\nTION TO THE HISTORY OF THEATRE ARCHITECTURE.\nALSO TWO FINE DESIGNS FOR STAGE SCENES BY FRANCESCO SALVIATI,\no AND OTHER ILLUSTRATIONS. o"}]}, {"article_id": "bm-bmtnaau-1927-10-01-c004", "article_bluemountain": "bmtnaau_1927-10_01#c004", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.2.4", "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": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.2", "debut_caractere": 527, "fin_caractere_exclue": 1354, "texte": "LITERARY CONTENTS.\nOUR HOUSE J. S. ..... Page 133\nSOME OLD THEATRE PLANS, WITH ACCOMPA-\nNYING COMMENTS BY. . . . . . E. G. C. 13k\nEditor, The . . . . .134\nBruno Brunelli !■. . • . . 139\nEdward A. Carrick . . . . 14p\nGordon Craig . . 4 . . 14|\nW. J. Lawrence. . . . . I4|\nAlfred Mortier . . . . . 14|\nAllardyce Nicoll. . . . .141'\nARIOSTO'S HOUSE IN FERRARA . . . . A. C. . . . . . .147\nMACHINE E. G. C 152\nTHE ENGLISH PEOPLE & SHAKESPEARE . . John 152\nA NOTE ON DRAMATIC CENSORSHIP . . . Barrett H. Clark 154\nAND YET... ..... . . , . Yoo No Hoo, 157\nCOLORIFIC MUSIC. . . . . . . J. B., & W. Hooper. . . .158\nKEEPING IN TOUCH ....... Ha Irian Jazz Gavotte . . • ,160\nTHE WHICH ONE. ....... Edwin Witherspoon . . '161\nTHE ENGLISH STAGE....... C. G Smith . . . i . 162\nCORRESPONDENCE. FOREIGN NOTES. BOOK REVIEWS. EDITORIAL NOTES."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c005", "article_bluemountain": "bmtnaau_1927-10_01#c005", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.2.5", "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": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.2", "debut_caractere": 1356, "fin_caractere_exclue": 2229, "texte": "ILLUSTRATIONS.\nTWO DESIGNS FOR STAGE SCENES. . . . Francesco Salviati . Plate 18, Face 134\nPLAN OF TEATRO DEGLI 1NTRONATI, Siena . . Unsigned . . n 19, w 140\nPLAN OF TEATRO SS. GIOVANNI & PAOLO, Venezia Tomaso Belli . . 11 20, Follow 140\nPLAN OF TEATRO TOR D1 NONA, Roma, C t ontana . . \"21, ■ 140\ni( n n h « \"... \" * 22, ' 14CI\nINTERIOR VIEW, TEATRO TOR DI NONA . ■ . ■ 23, ■ 14d\nSECTION & PLAN, TEATRO TOR Dl NONA . . Unsigned . . ■ 24, \" I4Q\nPLAN OF AN UNKNOWN THEATRE, Roma . . Carlo Fontana . . \" 25, \" 140\n■ ■ «» » . ■ . . ■ 26, « 140\nPLAN OF TEATRO TOR DI NONA . . . A Tracing from C. Fontana, . . 136\nPLAN OF AIN UNKNOWN THEATRE IN ROMA . ■ ■ ■ . 1 . 138\nPLAN OF TEATRO TOR DI NONA .... From Felice Giorgi . . , .141\nARIOSTO'S HOUSE IN FERRARA .... Anon 1431\n' 'A - I\n1\nHead and Tail Pieces and Vignettes, by Callot, E. G. C., and from other old and modern Designs."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c006", "article_bluemountain": "bmtnaau_1927-10_01#c006", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[132]", "page_fin": "[132]", "image_debut": 4, "image_fin": 4, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.2.6", "titre_corps": "TWO DESIGNS FOR STAGE SCENES", "titre_sommaire": "TWO DESIGNS FOR STAGE SCENES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "[132]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 129, "texte": "TWO DESIGNS FOR STAGE SCENES\nby Francesco Salviati. (1510-1563).\nFrom the Collection of drawings in the British Museum.\nPlate 18."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c007", "article_bluemountain": "bmtnaau_1927-10_01#c007", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[133]", "page_fin": "[133]", "image_debut": 5, "image_fin": 5, "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=bmtnaau192710-01.2.7", "titre_corps": "OUR HOUSE : SOME FRESHLY DISCOVERED THEATRE PLANSNOW BROUGHT FOR THE FIRST TIME TO THE SERVICE OF THE STUDENT AND HISTORIAN", "titre_sommaire": "OUR HOUSE : SOME FRESHLY DISCOVERED THEATRE PLANSNOW BROUGHT FOR THE FIRST TIME TO THE SERVICE OF THE STUDENT AND HISTORIAN", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "[133]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.5", "debut_caractere": 74, "fin_caractere_exclue": 1290, "texte": "NOW BROUGHT FOR THE FIRST TIME TO THE\nSERVICE OF THE STUDENT AND HISTORIAN.\nJ. S.\nIN our last number we issued a plan of the Teatro La Pergola, Firenze,\nand also promised our readers some valuable and hitherto unpublished\ntheatre plans in this number, a promise which we now fulfil, together\nwith news of where and how the plans were found.\nWe owe the discovery of these documentary treasures to Mr. E. A.\nCarrick, ever on the alert, as are all who have been trained in a good school,\nto seek out or pick up something which may serve the cause of the thea-\ntre or add to the patrimony of the theatre historian; and to the helpful\ncourtesy of Mr. T. Heslewood and of Mr. Arthur Bolton F. S. A. curator\nof the Soane museum, London, who aided him in locating and bringing\nthem to light.\nThe plates are rendered yet more useful by the notes and comments\ncontributed by writers so well qualified to appreciate their value as Count\nBruno Brunelli, Mr. Gordon Craig, Mr. W. j. Lawrence, M. Alfred\nMortier and Prof. Allardyce Nicoll.\nWe feel that the publication of these plans worthily closes the thir-\nteenth volume of \" The Mask \", and we hope to continue to bring our rea-\nders items of no less value in volume fourteen."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c008", "article_bluemountain": "bmtnaau_1927-10_01#c008", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "134", "page_fin": "147", "image_debut": 6, "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=bmtnaau192710-01.2.8", "titre_corps": "SOME OLD THEATRE PLANS : WITH ACCOMPANYING COMMENTS AND HISTORICAL NOTES FROM INTERNATIONAL SOURCES", "titre_sommaire": "SOME OLD THEATRE PLANS : WITH ACCOMPANYING COMMENTS AND HISTORICAL NOTES FROM INTERNATIONAL SOURCES", "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": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.6", "debut_caractere": 0, "fin_caractere_exclue": 130, "texte": "SOME OLD THEATRE PLANS.\nWITH ACCOMPANYING COMMENTS AND\nHISTORICAL NOTES FROM INTERNATIONAL SOURCES.\n\nWHERE THE PLANS\nARE PRESERVED"}, {"page_pdf": 6, "page_imprimee": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.6", "debut_caractere": 2479, "fin_caractere_exclue": 2828, "texte": "A WORD ABOUT THE MS.\n\nWE give eight of the designs, and these\nare reproduced for the first time.\nAccording to the report sent us from\"\nLondon the manuscript consisted of 39\nsheets, but sheet 3 has been at some time\nor other torn out *— a corner of the de-\nsign which was on this sheet being left\nto prove this.\nThe MS is in the form of an album mea-"}, {"page_pdf": 7, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 3204, "texte": "suring 50 X41 % centimetres and is bound\nin red-brown leather stamped with gold.\nOn the back of the book is a label\non which is written in brown ink: \" Tea-\ntro di Tor di Nona del C. Carlo Fontana\ndi Roma, Firenze, Siena, Fano \".\nIn the top right corner of the second\nleaf is written in pen with brown ink ap-\nparently by Fontana \" Diseg ni No. 36 per\nil Teatro di Tor di Nona fatti da me\nCarlo Cav. Fontana L'anno —- *\\ No\nyear is given, but a flourish of the pen\nby the same hand in the same ink.\nMost of the plans are pasted on the\nstrong pages of old paper of which the\nvolume is composed.\nThe Tor di Nona plans are 31 in\nnumber and are all drawn on a paper\nwhich has a water mark which should\nsome day be carefully compared with the\nmark on the paper of the Juvarra MSS\nin the Torino Library 6).\nThese 31 designs show plans, part\nplans, sections and views of the Teatro\nTor di Nona together with the building\n(a prison) it stood on, and the surrounding\nhouses. One of these plans (Fig. I)\nshows a connecting bridge with a house\non the opposite side of the Strada maestra\ndell' Orso.\nWe reproduce four of these designs\nin Plates 21, 22, 23, and 24. There\nis also a Plan of the Teatro degli Intronati\nSiena (Plate 19), one of the Teatro San\nGiov. e Paolo, Venezia (Plate 20) and one\nof the Teatro la Pergola, Firenze (reprodu-\nced in the last number of \"The Mask \")\nand two unknown Roman theatres (Plates\n25 & 26).\nThe scholars who would be able to tell\nus most about these plans are Italians who\nfor the most part live and work in Italy and\nhave little opportunity of visiting London.\nTo some few scholars, both in Italy and\nelsewhere, we sent advance prints of these\nplans, inviting their comments, and from some\nof these we have received useful Notes which\nare published, with the plans, for the as-\nsistance of our readers. Count Bruno\nBrunelli of Padova is well known for the\nearnestness with which he collects and studies\ntheatre books and records. He has pub-\nlished a valuable work, \" I Teatri di\nPadova \" and other studies, and has also\ncontributed on previous occasions to \" The\nMask\". Mr. W. J. Lawrence began\nstudying theatrical history, 'dramatic litera-\nture and the art of the stage at the age\nof fourteen... in 1876... and is, he writes,\nstill hard at it. He has written much on\ntheatrical subjects, among his books being\n\" The Elizabethan Playhouse and other\nStudies \", \" The Physical Conditions of\nthe Elizabethan Public Playhouse\" and\n\" Pre-Restoration Stage Studies \".\nM. Alfred Mortier has published,\namong other works, a valuable study of\nthe Italian actor, Ruzzante, and has also\ncontributed to \" The Mask *\\\nDr. Allardyce Nicoll has recently added\nto his already considerable contributions to\nthe literature of the Theatre a large and\nuseful volume \" The Development of the\nTheatre \".\nMr. Gordon Craig needs no word\nof introduction to any reader of \" The\nMask \".\n(I) Fontana was Juvarra's master.\n\nEDITOR.\n\nA LIST OF THE DESIGNS\nIT will be well to describe briefly these 36\nI drawings in the order in which they ap-\npear in the volume at the Soane Museum.\nROMA.\nDesign /. Teatro Tor di Nona. Un-\nfinished plan. The drawing consists of a\nfew lines in sepia and pencil resembling"}, {"page_pdf": 8, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.8", "debut_caractere": 82, "fin_caractere_exclue": 2845, "texte": "the tenth design (see Plate 21 & 22) and\nnot the fourth design (see Fig. 1).\nThere is an inscription on the drawing\naltra pianta per lo spartimento delli pal-\nchetii a ierreno — C. Fontana \".\nDesign 2. 1 eatroTor di Nona. Clean-\nly drawn plan in sepia resembling lower\npart of Design No. 6 (see Plate 24).\nMagnet form of auditorium as distinct from\nthe horse shoe form (plate 25) or the tra-\npeze of which Plates 19 &20 give us exam-\nples. On the design is written \" Altro\ncontorno del Teatro e sua sciena. C. Fon-\ntana \". There is a good deal more writ-\nten on this design which was not copied out.\nDesign 3. Teatro Tor di Nona. A\npencil sketch very faintly drawn showing\nplan of the auditorium not in detail. No\nwriting.\nDesign 4. Teatro Tor di Nona.\nLarge plan in many colours showing po-\nsition of the theatre (see plate 21), the\nbanks of the river Tevere and the pala-\nces and houses around the theatre. Fi-\ngure 1 gives the central part of the design\nand is taken from a tracing of the original.\nOf considerable interest is the indi-\ncation of a bridge linking the auditorium\nof the Theatre with a house on the op-\nposite side of the strada deH'Orso. On the\ndesign is written '' Pianta del Teatro di Tor\ndi Nona con palco e contra palco, scale e\ncasamente pialle e strode contigue — tutto\nper ordine di magi 11 mo Palamirino G0Tl<*\ndi Roma. C. Fontana.\nDesign 5. Teatro Tor di Nona. A\nplan of the auditorium resembling Design\nNo. 6, only giving the entire floor ; the\nstaircases identical with designs Nos. 6 & 4.\n(Plate 21 and Fig. 1). Drawn in sepia\nwith pink and yellow wash.\nDesign 6. Teatro For di Nona.\n(Plate 24). A design of section and plan\ndrawn in sepia ink with palchi (or boxes)\nshaded in bigio with wash of pale yellow\nindicating walls and pale crimson marking\nthe curve of the palchi. On the design\nwe read \" Profilo stahilito del Teatro di\nTor di Nona \". See what Sig nor Bru-\nnelli says of this (pg. 139).\nDesign 7. Teatro Tor di Nona. A\ncareful pencil drawing giving a perspective\nview of the auditorium looking towards\nthe stage almost identical with Design No. 8\n(Plate 23).\nDesign 8. Teatro Tor di Nona.\n(Plate 23). A pen drawing in sepia with\nthe inscription \" Profilo in Scurcio del\nTeatro sud. C. Fontana\nDesign 9. Teatro Tor di Nona. A\npencil and pen drawing (sepia) of the\nsame plan as Designs Nos. 5 & 6, but\nwith only the curve and divisions of the\nboxes indicated.\nDesign 10. Tor di Nona. (Plate\n21). The plate shows the right half of\nthis design, which is a large folding page.\nPlan of the Theatre and surrounding pa-\nlaces and houses, river Tevere and streets.\nA design in pencil, pen, sepia, with washes\nin grey green, the river in blue. At the\nleft hand edge of the drawing is a large\nscroll on which nothing is written. The"}, {"page_pdf": 9, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 3238, "texte": "three streaks in the road Strada dell'Orso\nwhich runs parallel with the length of the\ntheatre show where three hinged plans, or\npart plans, were pasted to the original\ndrawing.\nOn the design is written '4 Pensieri\ngeometrici e del Teatro a\npalchetti. C. Fontana. Palchetti No. 33\na braccia (?) 7 Vuno da metd a stin-\ndono braccia (?) 231.\nLinea che circui sul elippisi (?) stende\nda ABC braccia (?) 232.\nSara dimbucco braccia (?) 62 dal\npalco al ultimo palchetto braccia (?) 88.\nSara largo nel mezzo vano brac-\ncia (?) 84.\nDa ACD linea della sciena fino\nalii.... braccia (?) 118.\nQuando si voglia solevare la scurita (?)\ndella scaletta e salelto si potra fare al\ncortiletto pentile.\nSi potra alsare tre piane delle stanze\nsopra il piano del Teatro a braccia (?)\n1iS I'una fa braccia (?) 54.\nLi palchetti a ... . con la pend. . ..\nbraccia (?) 55.\nVi si potra fare anche un aliro piano\npiu di palchetti e la pend. . .\nThis is all we have been able to de-\ncipher from the indistinct writing.\nDesign 11. Teatro Tor di Nona. A-\nnother plan of the auditorium somewhat\nlike No. 1.\nDesign 12. Teatro Tor di Nona.\nThe design shows section of auditorium\nand stage and is a large folded page.\nAlmost indentical with upper part of Design\nNo. 6 (Plate 24) but with one more box at\nthe top of corner nearest the proscenium\narch. A fine drawing full of detail in sepia\nand bigio. On the left hand a description.\nDesign 13. An unknown Theatre in\nthe Corso. (Plate 26). Drawing in sepia\nand mauve of plan of theatre showing walls\nof palace within or upon which it was\nproposed to erect toe theatre. On the\nplan is written \" Case de' letterali al\nCorso prima che si fabbr il Palazzo\nsi propose detto siio per Teatro C. Foritana\nand the measurements \" Vano magre -\ncio (?) 76. Dall antisciena al circolo (?)\nbraccia (?) 85. In bucco braccia (?) 50.\nLoco per sciena braccia (?) 100.\n. Design 14. Featro Tor di Nona. A\ndesign showing plan of one side of the\nstage with detailed position of wings or\nside scenes and the lines of sight from the\ndifferent boxes. Indications of a domed\nauditorium are to be seen.\nDesign 15. Teatro Tor di Nona.\nElaborated drawing of notions in design\nNo. 14. Ad esign in sepia, mauve and green.\nDesign 1 6. Teatro Tor di Nona. A\nfew slight pencil notes for a plan of horse-\nshoe auditorium.\nDesign 17. Teatro Tor di Nona.\nPart plan or the stage showing a few of\nthe boxes and part of the orchestra working\nout questions of line of sight.\nDesigns 18 to 29. Featro Tor di\nNona. Eleven plans and one section of\nthe different floors of the house which is\nseen at back of auditorium in Figure 1.\nand Plate 21. These are related closely\nto Design No. 33. Plate 22.\nDesign 30. Teatro Tor di Nona. A\ndrawing of the ground plan of the old\nPrison known as Tor di Nona before the\nTheatre by Fontana was built into the\nupper part of the structure. The plan is\nsigned Carlo Fontana but is obviously\nmuch earlier. It is much the same plan\nas we see in dotted line plan in Plate 22.\nThere is an inscription which speaks\nof the \" Featro Vecchio \" or old Thea-\ntre, that theatre which Giorgi (1793)\ngives as his first plate in his book and\nwhich he states was built in 1660 but\nwhich we can believe was much earlier.\nDesign 31. An unknown Theatre"}, {"page_pdf": 10, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.10", "debut_caractere": 166, "fin_caractere_exclue": 2634, "texte": "(Plate 23 and Fi gure 2). Large folding page\nwith design drawn in sepia: wriiten on the\nback (S Teatro T.UGVO Pianta per aliro per\nRoma signed in front Carlo Fontana.\nFIRENZE.\nDesign 32. Teatro La Pergola. A\nlarge and very finely drawn plan of the\nwell known Theatre. Not signed. Repro-\nduced in \" The Mask\" July 1927.\nROMA.\nDesign 33. Teatro Tor di Nona.\n(Plate 22). Drawing in two tones of\nsepia of plan for the .Teatro. Is practi-\ncally the same plan as Giorgi believes\nwas made by Specchi, Fontana's pupil,\nand which forms Plate 2 of Giorgi's\nbook (1795). '*1 The design has three\nhinged over pla'is showing different floors.\nHere we count 33 boxes. In Specchi's (?)\nplan we can find 35, and there are\nother slight differences. The design is\nsigned \" C. Fontana \".\nVENEZIA.\nDesign 34. Teatro di San Gio-\nvanni e Paolo (Plate 20). Design on\nfolded page in sepia and yellow wash on\na thinnish paper. Note that it is not\nsigned by Carlo Fontana but by Tomaso\nBelli. On the design is written : —In\nthe Pit; \" Disegno dello Pianta del Tea-\ntro di San Giovanni e Paolo di Venezia\ndel Cmo Grimani tolto in pianta da me\nTomaso Belli ingegnere dell Ca\nTeatro di Sto Giovanni Grisostomo. Et e\ntolta in Pianto fatto come sto di presente\net se non si fose nottate ogni misura, si\npuo pigliare con il compaso, alio scolaro\nesendo ogni cosa a misura,\nLarghezza del audienza 37 d3.\nAudienza larga piede 37 d3.\n29 Boxes are numbered.\nBehind the Pit is written: \"\nsto parte vi e un atrio dove intrano le\npersone con Boletini\".\nWritten by the section of boxes * \" Al~\ntezza del audienza da tera cioe dal piano\nin sotto il sofitopiede 31%.\nCordoni di Palchi. Pd 3 : Zar-\ngeza di Palchi di mezzo pJ 5. largeza\ndi Palchi pd 4.\nIn between the pillars on the stage is\nwritten \" Palchi Prosceni\nThe writing on the stage reads: Lun-\nghezza piede 64. Bocha della scena in\nlarghezza piede 28%. La sua altezza\ne quanto e alto il sofitto del udienza nelle\nimboccatura e alle seconde colonne e alto\npiede 24 esendo il sofito del procenio piu\nhaso dalla parte di dentro che non al\npunto. Canale per le lume.\nLi primi tela che ci adopporano sono\nlungi piede 11 e largi 8 d 5.\nROMA.\nDesign 35, Teatro Tor di Nona.\nSepia and pencil sketch very slightly drawn\nshowing two curves for the horse-shoe\nauditorium.\n\n(I) AdemoHo states that iiv's theatre was the one\nbuilt in 1671. There were in all seven Theatres of this\nname Tor di Nona built on this site, the last being rechris-\ntened Apollo in 1861."}, {"page_pdf": 11, "page_imprimee": "139", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 601, "texte": "SIENA.\nDesign 36. Teatro degli Intronati\n(Plate 19). Plan of the theatre erected\ninside the Palazzo del Consiglio. A draw-\ning in sepia with washes of yellow and\nblue, the walls thickly painted in blood\nred. The writing reads as follows ;\nOn the stage : \" Teatro di Siena di\nnuovo\" in Carlo Fontana's hand. In\nthe pit: \" Conirapalco No. 500 persons.\nIn the Strade or gangways 100 persons\non each side. On the gradini or steps\n150 persons on each side. In the Box-\nes: 101 palchetti a 5 per Parchetto =\n535 (persons). The total number of per-\nsons seated and standing could be 1535.\n\nNOTES AND COMMENTS"}, {"page_pdf": 30, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.30", "debut_caractere": 2430, "fin_caractere_exclue": 2442, "texte": "GORDON CRAIG"}]}, {"article_id": "bm-bmtnaau-1927-10-01-c009", "article_bluemountain": "bmtnaau_1927-10_01#c009", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "134", "page_fin": "134", "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=bmtnaau192710-01.2.8.1", "titre_corps": "WHERE THE PLANS ARE PRESERVED", "titre_sommaire": "WHERE THE PLANS ARE PRESERVED", "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": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.6", "debut_caractere": 101, "fin_caractere_exclue": 130, "texte": "WHERE THE PLANS\nARE PRESERVED"}]}, {"article_id": "bm-bmtnaau-1927-10-01-c010", "article_bluemountain": "bmtnaau_1927-10_01#c010", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "134", "page_fin": "134", "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=bmtnaau192710-01.2.8.1.1", "titre_corps": "AN INTRODUCTORY WORD", "titre_sommaire": "AN INTRODUCTORY WORD", "signature_source": "E. G. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 6, "page_imprimee": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.6", "debut_caractere": 132, "fin_caractere_exclue": 2477, "texte": "AN INTRODUCTORY WORD\nE. G. C.\nTHIS remarkable collection of early Thea-\ntre plans has been under everyone's\nnose for 105 years, yet in all that time\nno one has lighted on them. So they\nhave lain quietly on the shelves of the\nSoane Museum, Lincoln's Inn Fields, Lon-\ndon, and there Mr. Edward A Carrick\nfound them for us this summer.\nHow they came to leave Italy, I do\nnot know ; but in 1818 they passed from\nthe possession of one of the Adam bro-\nthers into the hands of Sir J. Soane for\nthe stupendous sum of £3.3.0. Natu-\nrally, but quite uselessly, one guesses how\nthey got to England. At first 1 supposed\nthey had been bought by David Garrick\nin Firenze or Roma when he visited\nItaly in 1763-4, for I imagined he alone\nwould have been aware of the value of such\nplans ; but I suppose now that it was the\narchitects, the Adam Brothers, and not\nthe actor, who found them.\nBut it was useful of Mr. Carrick to\nrefind them, and it was at the suggestion\nof Mr. Heslewood that he looked in at\nthe Soane Museum.\nIf you want to find anything in Lon-\ndon about the Theatre in general, the\nstage in particular, and Henry Irving most\nparticularly, you had better waste no time\nthinking of your best way or about the\nstreets, for there are some 40,000 of them\nto choose from : far better is it to ask\nMr. Heslewood. He doesn't know every-\nthing but knows nearly everything about\nIrving, and his information about the Thea-\ntre in general is as vast as it is unsuspec-\nted. It is his hobby, and it is hidden\nunder a passion for acting, which is so\nunlike most people who hide the passions\nunder the hobbies. His hint to go in and\nlook for clues about the Italian Theatre in\nthe Soane was acted on by Mr. Carrick\naccompanied by Mr. Heslewood, and the\nvery courteous guardian of the Soane trea-\nsures, Mr. Arthur Boden, F. S. A. was ap-\nproached. The museum is a model of\nperfect conservation, and the understanding\nof each item in the collection by the curator\nincreases its value very considerably. Those\nwho possess Mr. Boden's beautifully illus-\ntrated books on the Adam Brothers know\nhow good they are.\nBut to understand thoroughly the wide\nrange of his scholarship and the care he\ntakes of the treasures a visit to the Soane\nis necessary.\nIt is through his courtesy that the pho-\ntographs were made and the plans allowed\nto reach their special public."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c011", "article_bluemountain": "bmtnaau_1927-10_01#c011", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "134", "page_fin": "135", "image_debut": 6, "image_fin": 7, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.2.8.2", "titre_corps": "A WORD ABOUT THE MS", "titre_sommaire": "A WORD ABOUT THE MS", "signature_source": "EDITOR", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 6, "page_imprimee": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.6", "debut_caractere": 2479, "fin_caractere_exclue": 2828, "texte": "A WORD ABOUT THE MS.\n\nWE give eight of the designs, and these\nare reproduced for the first time.\nAccording to the report sent us from\"\nLondon the manuscript consisted of 39\nsheets, but sheet 3 has been at some time\nor other torn out *— a corner of the de-\nsign which was on this sheet being left\nto prove this.\nThe MS is in the form of an album mea-"}, {"page_pdf": 7, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 2932, "texte": "suring 50 X41 % centimetres and is bound\nin red-brown leather stamped with gold.\nOn the back of the book is a label\non which is written in brown ink: \" Tea-\ntro di Tor di Nona del C. Carlo Fontana\ndi Roma, Firenze, Siena, Fano \".\nIn the top right corner of the second\nleaf is written in pen with brown ink ap-\nparently by Fontana \" Diseg ni No. 36 per\nil Teatro di Tor di Nona fatti da me\nCarlo Cav. Fontana L'anno —- *\\ No\nyear is given, but a flourish of the pen\nby the same hand in the same ink.\nMost of the plans are pasted on the\nstrong pages of old paper of which the\nvolume is composed.\nThe Tor di Nona plans are 31 in\nnumber and are all drawn on a paper\nwhich has a water mark which should\nsome day be carefully compared with the\nmark on the paper of the Juvarra MSS\nin the Torino Library 6).\nThese 31 designs show plans, part\nplans, sections and views of the Teatro\nTor di Nona together with the building\n(a prison) it stood on, and the surrounding\nhouses. One of these plans (Fig. I)\nshows a connecting bridge with a house\non the opposite side of the Strada maestra\ndell' Orso.\nWe reproduce four of these designs\nin Plates 21, 22, 23, and 24. There\nis also a Plan of the Teatro degli Intronati\nSiena (Plate 19), one of the Teatro San\nGiov. e Paolo, Venezia (Plate 20) and one\nof the Teatro la Pergola, Firenze (reprodu-\nced in the last number of \"The Mask \")\nand two unknown Roman theatres (Plates\n25 & 26).\nThe scholars who would be able to tell\nus most about these plans are Italians who\nfor the most part live and work in Italy and\nhave little opportunity of visiting London.\nTo some few scholars, both in Italy and\nelsewhere, we sent advance prints of these\nplans, inviting their comments, and from some\nof these we have received useful Notes which\nare published, with the plans, for the as-\nsistance of our readers. Count Bruno\nBrunelli of Padova is well known for the\nearnestness with which he collects and studies\ntheatre books and records. He has pub-\nlished a valuable work, \" I Teatri di\nPadova \" and other studies, and has also\ncontributed on previous occasions to \" The\nMask\". Mr. W. J. Lawrence began\nstudying theatrical history, 'dramatic litera-\nture and the art of the stage at the age\nof fourteen... in 1876... and is, he writes,\nstill hard at it. He has written much on\ntheatrical subjects, among his books being\n\" The Elizabethan Playhouse and other\nStudies \", \" The Physical Conditions of\nthe Elizabethan Public Playhouse\" and\n\" Pre-Restoration Stage Studies \".\nM. Alfred Mortier has published,\namong other works, a valuable study of\nthe Italian actor, Ruzzante, and has also\ncontributed to \" The Mask *\\\nDr. Allardyce Nicoll has recently added\nto his already considerable contributions to\nthe literature of the Theatre a large and\nuseful volume \" The Development of the\nTheatre \".\nMr. Gordon Craig needs no word\nof introduction to any reader of \" The\nMask \".\n(I) Fontana was Juvarra's master.\n\nEDITOR."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c012", "article_bluemountain": "bmtnaau_1927-10_01#c012", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "135", "page_fin": "139", "image_debut": 7, "image_fin": 11, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.2.8.3", "titre_corps": "A LIST OF THE DESIGNS", "titre_sommaire": "A LIST OF THE DESIGNS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 7, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.7", "debut_caractere": 2934, "fin_caractere_exclue": 3204, "texte": "A LIST OF THE DESIGNS\nIT will be well to describe briefly these 36\nI drawings in the order in which they ap-\npear in the volume at the Soane Museum.\nROMA.\nDesign /. Teatro Tor di Nona. Un-\nfinished plan. The drawing consists of a\nfew lines in sepia and pencil resembling"}, {"page_pdf": 8, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.8", "debut_caractere": 82, "fin_caractere_exclue": 2845, "texte": "the tenth design (see Plate 21 & 22) and\nnot the fourth design (see Fig. 1).\nThere is an inscription on the drawing\naltra pianta per lo spartimento delli pal-\nchetii a ierreno — C. Fontana \".\nDesign 2. 1 eatroTor di Nona. Clean-\nly drawn plan in sepia resembling lower\npart of Design No. 6 (see Plate 24).\nMagnet form of auditorium as distinct from\nthe horse shoe form (plate 25) or the tra-\npeze of which Plates 19 &20 give us exam-\nples. On the design is written \" Altro\ncontorno del Teatro e sua sciena. C. Fon-\ntana \". There is a good deal more writ-\nten on this design which was not copied out.\nDesign 3. Teatro Tor di Nona. A\npencil sketch very faintly drawn showing\nplan of the auditorium not in detail. No\nwriting.\nDesign 4. Teatro Tor di Nona.\nLarge plan in many colours showing po-\nsition of the theatre (see plate 21), the\nbanks of the river Tevere and the pala-\nces and houses around the theatre. Fi-\ngure 1 gives the central part of the design\nand is taken from a tracing of the original.\nOf considerable interest is the indi-\ncation of a bridge linking the auditorium\nof the Theatre with a house on the op-\nposite side of the strada deH'Orso. On the\ndesign is written '' Pianta del Teatro di Tor\ndi Nona con palco e contra palco, scale e\ncasamente pialle e strode contigue — tutto\nper ordine di magi 11 mo Palamirino G0Tl<*\ndi Roma. C. Fontana.\nDesign 5. Teatro Tor di Nona. A\nplan of the auditorium resembling Design\nNo. 6, only giving the entire floor ; the\nstaircases identical with designs Nos. 6 & 4.\n(Plate 21 and Fig. 1). Drawn in sepia\nwith pink and yellow wash.\nDesign 6. Teatro For di Nona.\n(Plate 24). A design of section and plan\ndrawn in sepia ink with palchi (or boxes)\nshaded in bigio with wash of pale yellow\nindicating walls and pale crimson marking\nthe curve of the palchi. On the design\nwe read \" Profilo stahilito del Teatro di\nTor di Nona \". See what Sig nor Bru-\nnelli says of this (pg. 139).\nDesign 7. Teatro Tor di Nona. A\ncareful pencil drawing giving a perspective\nview of the auditorium looking towards\nthe stage almost identical with Design No. 8\n(Plate 23).\nDesign 8. Teatro Tor di Nona.\n(Plate 23). A pen drawing in sepia with\nthe inscription \" Profilo in Scurcio del\nTeatro sud. C. Fontana\nDesign 9. Teatro Tor di Nona. A\npencil and pen drawing (sepia) of the\nsame plan as Designs Nos. 5 & 6, but\nwith only the curve and divisions of the\nboxes indicated.\nDesign 10. Tor di Nona. (Plate\n21). The plate shows the right half of\nthis design, which is a large folding page.\nPlan of the Theatre and surrounding pa-\nlaces and houses, river Tevere and streets.\nA design in pencil, pen, sepia, with washes\nin grey green, the river in blue. At the\nleft hand edge of the drawing is a large\nscroll on which nothing is written. The"}, {"page_pdf": 9, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 3238, "texte": "three streaks in the road Strada dell'Orso\nwhich runs parallel with the length of the\ntheatre show where three hinged plans, or\npart plans, were pasted to the original\ndrawing.\nOn the design is written '4 Pensieri\ngeometrici e del Teatro a\npalchetti. C. Fontana. Palchetti No. 33\na braccia (?) 7 Vuno da metd a stin-\ndono braccia (?) 231.\nLinea che circui sul elippisi (?) stende\nda ABC braccia (?) 232.\nSara dimbucco braccia (?) 62 dal\npalco al ultimo palchetto braccia (?) 88.\nSara largo nel mezzo vano brac-\ncia (?) 84.\nDa ACD linea della sciena fino\nalii.... braccia (?) 118.\nQuando si voglia solevare la scurita (?)\ndella scaletta e salelto si potra fare al\ncortiletto pentile.\nSi potra alsare tre piane delle stanze\nsopra il piano del Teatro a braccia (?)\n1iS I'una fa braccia (?) 54.\nLi palchetti a ... . con la pend. . ..\nbraccia (?) 55.\nVi si potra fare anche un aliro piano\npiu di palchetti e la pend. . .\nThis is all we have been able to de-\ncipher from the indistinct writing.\nDesign 11. Teatro Tor di Nona. A-\nnother plan of the auditorium somewhat\nlike No. 1.\nDesign 12. Teatro Tor di Nona.\nThe design shows section of auditorium\nand stage and is a large folded page.\nAlmost indentical with upper part of Design\nNo. 6 (Plate 24) but with one more box at\nthe top of corner nearest the proscenium\narch. A fine drawing full of detail in sepia\nand bigio. On the left hand a description.\nDesign 13. An unknown Theatre in\nthe Corso. (Plate 26). Drawing in sepia\nand mauve of plan of theatre showing walls\nof palace within or upon which it was\nproposed to erect toe theatre. On the\nplan is written \" Case de' letterali al\nCorso prima che si fabbr il Palazzo\nsi propose detto siio per Teatro C. Foritana\nand the measurements \" Vano magre -\ncio (?) 76. Dall antisciena al circolo (?)\nbraccia (?) 85. In bucco braccia (?) 50.\nLoco per sciena braccia (?) 100.\n. Design 14. Featro Tor di Nona. A\ndesign showing plan of one side of the\nstage with detailed position of wings or\nside scenes and the lines of sight from the\ndifferent boxes. Indications of a domed\nauditorium are to be seen.\nDesign 15. Teatro Tor di Nona.\nElaborated drawing of notions in design\nNo. 14. Ad esign in sepia, mauve and green.\nDesign 1 6. Teatro Tor di Nona. A\nfew slight pencil notes for a plan of horse-\nshoe auditorium.\nDesign 17. Teatro Tor di Nona.\nPart plan or the stage showing a few of\nthe boxes and part of the orchestra working\nout questions of line of sight.\nDesigns 18 to 29. Featro Tor di\nNona. Eleven plans and one section of\nthe different floors of the house which is\nseen at back of auditorium in Figure 1.\nand Plate 21. These are related closely\nto Design No. 33. Plate 22.\nDesign 30. Teatro Tor di Nona. A\ndrawing of the ground plan of the old\nPrison known as Tor di Nona before the\nTheatre by Fontana was built into the\nupper part of the structure. The plan is\nsigned Carlo Fontana but is obviously\nmuch earlier. It is much the same plan\nas we see in dotted line plan in Plate 22.\nThere is an inscription which speaks\nof the \" Featro Vecchio \" or old Thea-\ntre, that theatre which Giorgi (1793)\ngives as his first plate in his book and\nwhich he states was built in 1660 but\nwhich we can believe was much earlier.\nDesign 31. An unknown Theatre"}, {"page_pdf": 10, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.10", "debut_caractere": 166, "fin_caractere_exclue": 2634, "texte": "(Plate 23 and Fi gure 2). Large folding page\nwith design drawn in sepia: wriiten on the\nback (S Teatro T.UGVO Pianta per aliro per\nRoma signed in front Carlo Fontana.\nFIRENZE.\nDesign 32. Teatro La Pergola. A\nlarge and very finely drawn plan of the\nwell known Theatre. Not signed. Repro-\nduced in \" The Mask\" July 1927.\nROMA.\nDesign 33. Teatro Tor di Nona.\n(Plate 22). Drawing in two tones of\nsepia of plan for the .Teatro. Is practi-\ncally the same plan as Giorgi believes\nwas made by Specchi, Fontana's pupil,\nand which forms Plate 2 of Giorgi's\nbook (1795). '*1 The design has three\nhinged over pla'is showing different floors.\nHere we count 33 boxes. In Specchi's (?)\nplan we can find 35, and there are\nother slight differences. The design is\nsigned \" C. Fontana \".\nVENEZIA.\nDesign 34. Teatro di San Gio-\nvanni e Paolo (Plate 20). Design on\nfolded page in sepia and yellow wash on\na thinnish paper. Note that it is not\nsigned by Carlo Fontana but by Tomaso\nBelli. On the design is written : —In\nthe Pit; \" Disegno dello Pianta del Tea-\ntro di San Giovanni e Paolo di Venezia\ndel Cmo Grimani tolto in pianta da me\nTomaso Belli ingegnere dell Ca\nTeatro di Sto Giovanni Grisostomo. Et e\ntolta in Pianto fatto come sto di presente\net se non si fose nottate ogni misura, si\npuo pigliare con il compaso, alio scolaro\nesendo ogni cosa a misura,\nLarghezza del audienza 37 d3.\nAudienza larga piede 37 d3.\n29 Boxes are numbered.\nBehind the Pit is written: \"\nsto parte vi e un atrio dove intrano le\npersone con Boletini\".\nWritten by the section of boxes * \" Al~\ntezza del audienza da tera cioe dal piano\nin sotto il sofitopiede 31%.\nCordoni di Palchi. Pd 3 : Zar-\ngeza di Palchi di mezzo pJ 5. largeza\ndi Palchi pd 4.\nIn between the pillars on the stage is\nwritten \" Palchi Prosceni\nThe writing on the stage reads: Lun-\nghezza piede 64. Bocha della scena in\nlarghezza piede 28%. La sua altezza\ne quanto e alto il sofitto del udienza nelle\nimboccatura e alle seconde colonne e alto\npiede 24 esendo il sofito del procenio piu\nhaso dalla parte di dentro che non al\npunto. Canale per le lume.\nLi primi tela che ci adopporano sono\nlungi piede 11 e largi 8 d 5.\nROMA.\nDesign 35, Teatro Tor di Nona.\nSepia and pencil sketch very slightly drawn\nshowing two curves for the horse-shoe\nauditorium.\n\n(I) AdemoHo states that iiv's theatre was the one\nbuilt in 1671. There were in all seven Theatres of this\nname Tor di Nona built on this site, the last being rechris-\ntened Apollo in 1861."}, {"page_pdf": 11, "page_imprimee": "139", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 581, "texte": "SIENA.\nDesign 36. Teatro degli Intronati\n(Plate 19). Plan of the theatre erected\ninside the Palazzo del Consiglio. A draw-\ning in sepia with washes of yellow and\nblue, the walls thickly painted in blood\nred. The writing reads as follows ;\nOn the stage : \" Teatro di Siena di\nnuovo\" in Carlo Fontana's hand. In\nthe pit: \" Conirapalco No. 500 persons.\nIn the Strade or gangways 100 persons\non each side. On the gradini or steps\n150 persons on each side. In the Box-\nes: 101 palchetti a 5 per Parchetto =\n535 (persons). The total number of per-\nsons seated and standing could be 1535."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c013", "article_bluemountain": "bmtnaau_1927-10_01#c013", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "136", "page_fin": "136", "image_debut": 8, "image_fin": 8, "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=bmtnaau192710-01.2.8.3.1", "titre_corps": "Plan of the Teatro Tor di Nona, Roma, Signed C, FONTANA", "titre_sommaire": "Plan of the Teatro Tor di Nona, Roma, Signed C, FONTANA", "signature_source": "C. Fontana", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 8, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.8", "debut_caractere": 0, "fin_caractere_exclue": 80, "texte": "Figure I. Design No. 4.\nPlan of the Teatro Tor di Nona, Roma, Signed C, FONTANA."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c014", "article_bluemountain": "bmtnaau_1927-10_01#c014", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "138", "page_fin": "138", "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=bmtnaau192710-01.2.8.3.2", "titre_corps": "Plan of an unknown Theatre in Roma", "titre_sommaire": "Plan of an unknown Theatre in Roma", "signature_source": "C. FONTANA", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 10, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.10", "debut_caractere": 0, "fin_caractere_exclue": 164, "texte": "Figure 2. Design No. 31.\nPlan of an unknown Theatre in Roma, (the same as\nPlate 25. but showing the lines of the neighbouring streets\nand houses. Signed C. FONTANA."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c015", "article_bluemountain": "bmtnaau_1927-10_01#c015", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "139", "page_fin": "142", "image_debut": 11, "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=bmtnaau192710-01.2.8.4", "titre_corps": "NOTES AND COMMENTS", "titre_sommaire": "NOTES AND COMMENTS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 11, "page_imprimee": "139", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.11", "debut_caractere": 583, "fin_caractere_exclue": 601, "texte": "NOTES AND COMMENTS"}]}, {"article_id": "bm-bmtnaau-1927-10-01-c016", "article_bluemountain": "bmtnaau_1927-10_01#c016", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "139", "page_fin": "140", "image_debut": 11, "image_fin": 12, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.2.8.4.1", "titre_corps": "BRUNO BRUNELLI", "titre_sommaire": "BRUNO BRUNELLI", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 11, "page_imprimee": "139", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.11", "debut_caractere": 603, "fin_caractere_exclue": 4032, "texte": "BRUNO BRUNELLI\nnpHE plan of the Pergola theatre published\nX in the last number of \" The Mask \" is\nof the Setlecento. it would be profitable to\ncompare it with the print which adorns the\nlibretto of the Ipermestra (1658) in which\nis shown the primitive form of the theatre.\nNot having this libretto in my theatre library\n1 can but suggest the comparison to others.\nThe theatre \" La Pergola \", after the 1652\nconstruction, underwent several restorations\nwhich modified the form both of the sala\nand of the stage. In 1683 it was reopened\nafter a period of inactivity, with notable mo-\ndifications in the platea and in the boxes,\naccording to the plans of the architect Fran-\ncesco Sengher. But new modifications followed\nin 1718, with the enlargement of the stage,\nthe construction of a new stairway for the\nconvenience of those who ascended from the\ncortile (lobby) to the highest tier of boxes,\nand with the addition of ample adjacent pre-\nmises ; works which were finally brought to\ncompletion in 1729.\nSome student of ancient Florentine topo-\ngraphy will be able to determine to what year\nthe plan really refers.\nAs for the plans of the other theatres,\ncourteously submitted for my examination, I\nhold them to be a series of plans of theatres\nerected or projected by the architect Carlo\nFontana whose activities were manifested,\nespecially in Roma, towards the end of the\n17th century. The signature of the architect\nappended to each sheet would be a suffi-\nciently certain indication.\nThe plan of the theatre of Siena (Plate 19)\nis interesting. It certainly represents the teatro\ndegli Intronati as it was rebuilt in masony\nafter 1668 when the two Academies of the\n\" Intronati \" and the \" Fiiomati \" again re-\nunited. The indication upon the plan, Teatro\ndi Siena di muro notifies in fact that this is\nthe first Sienese theatre built in masonry, while\nthe teatro degli Intronati was first built of\nwood.\nThe theatre of S. Giovanni e Paolo di\nVenezia (Plate 20), built near the Fondamenta\nNuove, opened in 1639, had been rebuilt\nby Giovanni Grimani a few years after the\nopening. In this theatre, as Martinoni (1763)\nwrote later in his additions to Sansovino,\nspectacular melodramas were represented at\nthe beginning of the 18th century. About\nthe middle of the settecento it was demolished\nsubsequent to the collapse of the roof. This\nis probably the theatre as in the reconstruc-\ntion ordered by Grimani.\nOn the design numbered Plate 22 is\nwritten Studij per il leatro di Tor di Nona,\n(studies for the theatre of Tor di Nona);\nhence this is a project for construction.\nThe first theatre of Tor di Nona was set\nin a different position in relation to the Tevere,\nand this explains why the designer traced\nbeneath the plan the outline of the buildings\nwhich were to be demolished so as to give\nthe new form to the theatre. This plan\ngreatly resembles that which Felice Giorgi in\nhis \" Descrizione istorica del Teatro di Tor\ndi Nona \" (Rome, Gannetti, 1 793) attributes\nto Alessandro Specchi; but the design, in-\nstead, proves the correctness of Paolo\nLandriani (Storia e descrizione de'principali\nteatri antichi e modemi, per cura del dottor\nGiulio Ferrario, Milano, Ferrario, 1830,\np. 69) when he attributes the theatre of Tor\ndi Nona to Carlo Fontana.\nPlates 23 and 24 confirm Landriani's\nconjecture that the theatre contained six rows\nof palchetti. And the section of the theatre,\nwhich bears the inscription Profilo stabilito"}, {"page_pdf": 12, "page_imprimee": "140", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.12", "debut_caractere": 0, "fin_caractere_exclue": 1547, "texte": "del Teatro di Tor di Nona proves that Fon-\ntana s project was carried out.\nThe other plan of the same theatre (Plate\n21) was probably a project afterwards aban-\ndoned.\nOther two projects not put into execution\nwere certainly the two designs Plates 25 and 26.\nAt the end of the 17th century the conte\nD Alibert was supervising the Roman musical\nperfoimances; the Tor di Nona was a theatre\nso much frequented that D'Ahbert thought to\nerect others, and evidently commissioned the\narchitect Fontana to sketch various projects\nfor theatres. Finally in 1718 he is able to\nactuate his design completely with the erection\nof a theatre bearing his name, but constructed\nwith the money of others, says Ademollo.\nIn design Plate 26 I have been able to\nread this indication: Cose antiche de letterati\nal Cosso prima che si fahbricasse il Palazzo\nsi propose detio silo per teatro: (Ancient\nhouses of lellerati (men of letters) before building\nthe Palace the said site was proposed for\nTheatre). VTich seems to me to designate\nthis plan to be a project for a theatre to be\nbuilt at the expense of academicians, but\nthat it was not carried out and yielded the\nplace to the construction of a palace.\nThis collection of projects reveals in any\ncase a little known branch of the activities\nof Carlo Fontana, who left such extensive\ntraces of his work as an architect in the Ro-\nman churches and piazzas, but who was not\nknown as a builder of theatres. Which\nproves yet once more how many regions yet\nremain to be explored in the field of the\nhistory of the theatre."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c017", "article_bluemountain": "bmtnaau_1927-10_01#c017", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "140", "page_fin": "140", "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=bmtnaau192710-01.2.8.4.2", "titre_corps": "EDWARD A. CARRICK", "titre_sommaire": "EDWARD A. CARRICK", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 12, "page_imprimee": "140", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.12", "debut_caractere": 1549, "fin_caractere_exclue": 2865, "texte": "EDWARD A. CARRICK\nIT was while walking round Lincoln's Inn\nFields with Mr. Tom Heslewood, in search\nof some old landmarks, that he suggested\nthat 1 might find some designs of old Lon-\ndon Theatres in the famous collection made by\nSir John Soane early in the 19th Century, so\nwe went into the Soane Museum and asked\nMr. Bolton, the Curator, if he knew whether\nthere was anything of the kind among the\ncollected MSS and Drawings. Mr. Bolton\ncould not recall anything : but later, when\nthe Italian Theatre was mentioned, he remem-\nbered that he had \" a book on the Tor di\nNona Theatre in Rome I asked if I might\nlook at it, and when it was brought and I\nsaw that it contained not only original draw-\nings of the Teatro di Tor di Nona but\nplans of three very important theatres of Ve-\nnezia, Firenze and Siena, I realized that here\nwas something which students of the history\nof the Theatre, and especially the Italian\nTheatre, would be glad to know of, and had,\nin fact, for years been looking for. Mr. Bol-\nton was very pleased to think that I had\nfound more than I had expected and gra-\nciously allowed me to have photographs taken,\nand it is owing to his generosity in permit-\nting this to be done that it has been possible\nfor them to be reproduced in \" The Mask \"•\nThus it was I came to \" discover \" this\ntreasure."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c018", "article_bluemountain": "bmtnaau_1927-10_01#c018", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "140", "page_fin": "140", "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=bmtnaau192710-01.2.8.4.3", "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": 12, "page_imprimee": "140", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.12", "debut_caractere": 2867, "fin_caractere_exclue": 4331, "texte": "MANY famous historians such as Pompeo\nMoimenti, Tadeo Wiel, Galvani Tas-\nsini and others have written volumes about\nthe Theatres of Venezia, but none have been\nable to discover any kind of plan showing\nthe form of their 17th Century Theatres. At\nthe State Archives in Venezia they said that\nsearches for them had often been made but\nthat now it was presumed that none existed.\nIn Firenze, though the Accademia degli\nImmobili still exists and possesses the Ar-\nchives of the Teatro della Pergola from 1652\nto the present day, among all the documents\nit would seem that an early plan of the thea-\ntre has not been found ; and it is the same\nwith Siena.\nThe plans of the Teatro di Tor di Nona\nin Roma are all of the greatest interest, and\nby the aid of two volumes, one by Felice\nGiorgi (!) and the other by A. Ademollo (2)\nthe student will now be able to get his facts\nabout this theatre somewhat straighter. Gior-\ngi's book, which was published in 1795,\ngives a full description and a sketchy history\nof the Theatre together with plans of each\nof the six buildings, five of which were erected\non the one site since 1660. As many of the\nhistorical facts will be of interest to those\nwho have not a copy of the book, I have\ncopied out some of these and strung them\ntogether.\n(1) r4 Descrizione Istorica del Teatro di Tor di Nona di\nFelice Giorgi Architetto Camerale etc, 9 Plates, Cannetti,\nRoma, 1795.\n(2) A. Ademollo, 44 I Teatri di Roma nel Secolo XVII\nRoma, 1888."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c019", "article_bluemountain": "bmtnaau_1927-10_01#c019", "volume": "bmtnaau_1927-10_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": 13, "image_fin": 13, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.2.8.4.4", "titre_corps": "DESIGN No. 36. PLAN OF THE TEATRO DEGLI INTRONAT1, SIENA", "titre_sommaire": "DESIGN No. 36. PLAN OF THE TEATRO DEGLI INTRONAT1, SIENA", "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": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 206, "texte": "DESIGN No. 36. PLAN OF THE TEATRO DEGLI INTRONAT1, SIENA.\nOriginally built in wood in 1560 it was rebuilt of brick in 1670. Size of original\ndrawing 51.5 x31 cm. Compare the design by F. C. Motta.\nPlate 19."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c020", "article_bluemountain": "bmtnaau_1927-10_01#c020", "volume": "bmtnaau_1927-10_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": 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=bmtnaau192710-01.2.8.4.5", "titre_corps": "DESIGN No. 34. – PLAN AND SECTION OF THE TEATRO DI SAN GIOVANNI E PAOLO, VENEZIA", "titre_sommaire": "DESIGN No. 34. – PLAN AND SECTION OF THE TEATRO DI SAN GIOVANNI E PAOLO, VENEZIA", "signature_source": "Tomaso Belli", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 15, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 308, "texte": "DESIGN No. 34. - PLAN AND SECTION\nOF THE TEATRO DI SAN GIOVANNI E PAOLO, VENEZIA.\nSigned by the architect of the theatre Tomaso Belli and built 1638-39. Note the very curious, deep,\nditch (not for the orchestra) between the orchestra and first row of stalls. Size of original\ndrawing, 59 x 44.6 cm.\nPlate 20."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c021", "article_bluemountain": "bmtnaau_1927-10_01#c021", "volume": "bmtnaau_1927-10_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": 17, "image_fin": 17, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.2.8.4.6", "titre_corps": "DESIGN No. 10. – PLAN OF THE TEATRO DI TOR DI NONA, ROMA", "titre_sommaire": "DESIGN No. 10. – PLAN OF THE TEATRO DI TOR DI NONA, ROMA", "signature_source": "C. Fontana", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 17, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 130, "texte": "DESIGN No. 10. - PLAN OF THE TEATRO DI TOR DI NONA, ROMA.\nPart of a large plan measuring 93.5X 38 cm. Signed C. Fontana.\nPlate 21."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c022", "article_bluemountain": "bmtnaau_1927-10_01#c022", "volume": "bmtnaau_1927-10_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": 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=bmtnaau192710-01.2.8.4.7", "titre_corps": "DESIGN No. 33. – PLAN OF THE TEATRO TOR DI NONA, ROMA", "titre_sommaire": "DESIGN No. 33. – PLAN OF THE TEATRO TOR DI NONA, ROMA", "signature_source": "C. Fontana", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 19, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 114, "texte": "DESIGN No. 33. - PLAN OF THE TEATRO TOR DI NONA, ROMA.\nof original drawing 39 x31 cm. Signed C. Fontana.\nPlate 22."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c023", "article_bluemountain": "bmtnaau_1927-10_01#c023", "volume": "bmtnaau_1927-10_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=bmtnaau192710-01.2.8.4.8", "titre_corps": "DESIGN No. 8. – INTERIOR VIEW OF THE TEATRO DI TOR DI NONA, ROMA", "titre_sommaire": "DESIGN No. 8. – INTERIOR VIEW OF THE TEATRO DI TOR DI NONA, ROMA", "signature_source": "C. Fontana", "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=bmtnaau192710-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 139, "texte": "DESIGN No. 8. - INTERIOR VIEW OF THE TEATRO DI TOR DI NONA, ROMA.\nSize of the original drawing 41.3 x 29.5 cm. Signed C. Fontana.\nPlate 23."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c024", "article_bluemountain": "bmtnaau_1927-10_01#c024", "volume": "bmtnaau_1927-10_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": 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=bmtnaau192710-01.2.8.4.9", "titre_corps": "DESIGN No. 6. – SECTION AND PLAN OF THE TEATRO DI TOR DI NONA, ROMA", "titre_sommaire": "DESIGN No. 6. – SECTION AND PLAN OF THE TEATRO DI TOR DI NONA, ROMA", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 120, "texte": "Plate 24.\nDESIGN No. 6. - SECTION AND PLAN OF THE TEATRO DI TOR DI NONA, ROMA.\nof original drawing 41.4 x 29.3 Unsigned."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c025", "article_bluemountain": "bmtnaau_1927-10_01#c025", "volume": "bmtnaau_1927-10_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": 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=bmtnaau192710-01.2.8.4.10", "titre_corps": "DESIGN No. 31. – PLAN OF AN UNKNOWN THEATRE IN ROMA", "titre_sommaire": "DESIGN No. 31. – PLAN OF AN UNKNOWN THEATRE IN ROMA", "signature_source": "Carlo Fontana", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.25", "debut_caractere": 0, "fin_caractere_exclue": 146, "texte": "DESIGN No. 31. - PLAN OF AN UNKNOWN THEATRE IN ROMA.\nPart of a large plan measuring 81x53 cm. Signed Carlo Fontana. (See also Figure 2).\nPlate 25."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c026", "article_bluemountain": "bmtnaau_1927-10_01#c026", "volume": "bmtnaau_1927-10_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": 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=bmtnaau192710-01.2.8.4.11", "titre_corps": "DESIGN No. 13. – PLAN OF AN UNKNOWN THEATRE IN ROMA", "titre_sommaire": "DESIGN No. 13. – PLAN OF AN UNKNOWN THEATRE IN ROMA", "signature_source": "Carlo Fontana", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 27, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 146, "texte": "DESIGN No. 13. - PLAN OF AN UNKNOWN THEATRE IN ROMA.\nPart of a large plan measuring 81x53 cm. Signed Carlo Fontana. (See also Figure 2).\nPlate 26."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c027", "article_bluemountain": "bmtnaau_1927-10_01#c027", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "141", "page_fin": "142", "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=bmtnaau192710-01.2.8.4.12", "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": 29, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.29", "debut_caractere": 182, "fin_caractere_exclue": 2495, "texte": "FROM some very early date there stood on\nthis site, which is on the hank of the Tevere\nexactly opposite the Castello di Sant'Angelo,\nthe prisons of Tor di Nona. On the acces-\nsion of Pope Innocenzo X, new prisons were\nbuilt elsewhere and those of the Tor di Nona\nabandoned. But they were soon put to a\nnew use and in 1660, says Giorgi, the first\ntheatre was constructed. He gives a plate\nshowing the plan of the theatre which is here\nreproduced ( Figure3). Although this was a\nlarger theatre than any of the others in Roma\nat that time it was before long found to\nbe far too small, as it became the most po-\npular of them all; so it was proposed to en-\nlarge it and at the same time to change its\nform.\nLiving in Roma at that time was a weal-\nthy man who was passionately fond of buil-\nding theatres, the Conte Aliberti; he did not\nhesitate a minute to undertake the new project\nand had the work started at once, this time\nturning the theatre so that it ran parallel with\nthe Strada del Orso as seen in t* igure 1. A\nplan of this second theatre is also given in\nGiorgi's book and below it is written : \" Plan\nof the second theatre, turned lengthwise on\nthe site, and it is believed built by the Ar-\nchitect Alessandro Specchi \". (I> This theatre,\nlike the first, became so popular that Pope Cle-\nmente XI, fearing for the bad influence it\nwould have on the people, issued an order\nfor its demolition in 1690. <2) It is this se-\ncond theatre that Fontana's plans and sections\ndepict.\nIn 1735 by order of the the Ar-\nchitect Cavaliere Gregorini was commissioned\nto rebuild the theatre, but he passed it on to\nhis best pupil Cavaliere Passalaqua who put\nit up in sixteen days! Its popularity then\nwent down owing to the fact of other thea-\ntres having been built, one by the Cavaliere\n\n(1) According to Ademollo the first public theatre in\nRoma dates from 1600 though nothing is known of its name\nor position ; the others referred to by Giorgi are still un-\nknown.\n(1) Ademollo dates the building of this second theatre as\n1671 and I think it will be found that he is correct. Specchi\nwas one of Fontana's pupils and his supposed plan in Gior-\ngi's book is almost a facsimile of Plate 22 which is by Mon-\ntana.\n(2) In the Library at Genova I found 31 pages of MS all\nof greatest interest relating to this demolition."}, {"page_pdf": 30, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.30", "debut_caractere": 0, "fin_caractere_exclue": 2428, "texte": "Fuga for the Conte Aliberti and called the\nTeatro d'Aliberti (l), and another by the Mar-\nchese Teodoli called the Teatro del Torre\nArgentina (2). The Tor di Nona now passed\ninto several hands and one night it caught\nfire and in three hours was gutted. Then a\ncertain Abbate Ricca took upon himself to\nrebuild it the fourth time. He had a number of\ndesigns put before him and at last selected\nthat of the Architect Natale Marini who pro-\nposed building it once again of wood. Wood\nhad been used when erecting the three ear-\nlier theatres. But the whole idea failed for\nRicca could get no support. This coming to\nthe ears of another Architect, Giuseppe Tar-\nquini, he, together with a relative, a head\nmason named Angelo Luigione, undertook to\nset about the work, and in 1780, using his\nown plans, he built it at his own expense.\nThis time more solid materials were used.\nA dome was built over the Auditorium and\nthere was a spiral stairway behind the stage\nto allow horses to mount to it from the street.\nTarquini published a book describing this\ntheatre entitled \" Notizie, e documenti della\nNusva Fabrica del Teatro di Tor di Nona \".\nCasaletti: Roma (1780).\nBut this building having been badly con-\nstructed began to break up bit by bit, until\non the night of November 18th 1785 it fell\ninto ruins. In the same year the ' Architect\nGiuseppe Barbieri finding a rich contractor\nby the name of Antonio Cioli, made some\nreally elaborate plans with the intention of\nrebuilding the place. But just when work\nwas about to start the Contractor died and\nthe beautiful project had to be abandoned\nand what was left of the theatre continued\nto crumble until hardly a piece of value re-\nmained. In 1789 Cardinal Fabrizio Ruffo\npersuaded the Architect Felice Giorgi to\nerect a new building which he did, and of\nwhich he gives two plans and two sections\nin his book. The decorations were by Gio-\nvanni Battista Maderna and this building was\nchristened \" Teatro di Apollo \" .\nIn 1820, Count Torlonia being owner of\nthe property, he had it rebuilt for the last time\nby his Architect Giuseppe Veladier.\nAt the end of the last century when the\nnew embankment was built along the Tevere\nthe theatre was pulled down and now not a\nsign remains.\n\n(1) Some say this was built by Francesco Bibiena.\n(2) Giorgi does not mention the Teatro Capranica, also\nbuilt at that time.\n(3) Another authority says that it only received the name\nof Apollo in 1861."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c028", "article_bluemountain": "bmtnaau_1927-10_01#c028", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "141", "page_fin": "141", "image_debut": 29, "image_fin": 29, "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=bmtnaau192710-01.2.8.4.12.1", "titre_corps": "Figure 3. The First Theatre erected in the building known as the Prisons of Tordinona", "titre_sommaire": "Figure 3. The First Theatre erected in the building known as the Prisons of Tordinona", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 29, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.29", "debut_caractere": 0, "fin_caractere_exclue": 180, "texte": "Figure 3.\nThe First Theatre erected in the building known as the Prisons of Tordinona.\nReproduced from \"Descrizione Istorica del Teatro di Tor di Nona\" di Felice Giorgi. Roma 1795."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c029", "article_bluemountain": "bmtnaau_1927-10_01#c029", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "142", "page_fin": "147", "image_debut": 30, "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=bmtnaau192710-01.2.8.5", "titre_corps": "GORDON CRAIG", "titre_sommaire": "GORDON CRAIG", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 30, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.30", "debut_caractere": 2430, "fin_caractere_exclue": 2442, "texte": "GORDON CRAIG"}]}, {"article_id": "bm-bmtnaau-1927-10-01-c030", "article_bluemountain": "bmtnaau_1927-10_01#c030", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "142", "page_fin": "144", "image_debut": 30, "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=bmtnaau192710-01.2.8.5.1", "titre_corps": "TO THE EDITOR OF \"THE MASK\"", "titre_sommaire": "TO THE EDITOR OF \"THE MASK\"", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 30, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.30", "debut_caractere": 2444, "fin_caractere_exclue": 4296, "texte": "TO THE EDITOR OF \"THE MASK\"\n\nQIR\nvi So far as ! know nothing approaching\nsuch a discovery has been made for years. If\nthe plan of the Fii enze theatre had been dis-\ncovered by some one in Firenze there would\nhave been quite a flutter; but to come across\nthe Fir enze, Siena, Venezia and Roma plans\nand those of those four most celebrated Thea-\ntres is sensational.\nIt is like \" The Mask \" to make nothing\nof it, for what else, sir, you make of it.\nA noise ? assuredly not : money ? you'll lose\nnot make it. Reputation ? well yes : for,\nhaving published these plans which were\nlying at the service of the historians for the\nlast hundred years had they spotted them,\nyou will gain reputation for \" The Mask\".\nI do not know how many people read you,\nbut at least four thousand of your readers\nwill appreciate the energy and discernment\nof Mr. Edward Carrick in finding, and your\naction in publishing, these plans.\nYet I can't say I do; all I appreciate,\nand to the full, is the lack of energy and dis-\ncernment of the many students of London\nwho all these years failed to come across, or\ncoming across to appreciate, these plans.\nFor they are of real importance to Venezia,\nand Siena, to Firenze and to Roma. They\nare of even more value to the students of\nthe Italian Theatre.\nWe have to realize that no plan existed,\nor rather no plan had been found, let alone\nin England but in Europe, of this Teatro In-\ntronati. None had been seen, or at any rate\npublished, of this Teatro San Giov. e Paolo,\nand none of La Pergola, Firenze\nAll that the famous Italian historians of\nthese three cities could do was to guess at\nthe precise form of these places. Now\nthey can speak with assurance. Ameri-\ncan and English readers will hardly realize\nunless they have lived in Italy for some time\nhow serious is the whole question of Theatre\n\n(1) See The Mask. July, 1927."}, {"page_pdf": 31, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.31", "debut_caractere": 0, "fin_caractere_exclue": 4569, "texte": "to the Italian. It takes two thousand persons\nof all sorts to fill a fair-sized theatre and\nthere is hardly one who lacks the seriousness,\nthe passionate seriousness, hardly one who\nfails to express this, to tell the actors by the\nonly means at his command, acute silence and\nattention and immediate response, that he is\nfollowing the action step by step.\n\" Rather good, that\" is the phrase one\nhears in a London Theatre after a piece of\nfirst-class emotional acting, and it won't do.\nWhy? simply for the old commonsense reason\nthat the theatre is one of the few places\nwhere emotion is to be let loose. A church\nis another. Don't tell me that that affecta-\ntion of pretending to be superior to all emo-\ntion, to never lose the head, is ever fitting —\nfor it's out of place in a Theatre.\nAn assumption of calm and indifference\nis, may be, superb in an Englishman in pre-\nsence of disaster ; in a Theatre all assumption\nby the spectators is out of place for it's the\nhome of assumption. Any acting is to be left\nto the actors. And it's because so much of\nit goes on in the stalls, the boxes, the dress-\ncircle, gallery and pit that the situation is\nslowly being reversed in our Theatres, — the\nactors are ceasing to assume to act and the\naudiences are doing more of it every evening.\nGoing to a Theatre is a performance, ...arri-\nving an entrance, watching the show a display,\ncriticising it a pretence : where does the poor\nactor come in?... where is his chance ? So,\nwhile these plans will please every Italian who\nloves and goes to the Theatre, they will not\nplease many English or French theatre-goers.\nFor they will not be able to be clever\nor effective about them: they will not be able\nto score a point. The Italians won't want\nto. If the real men and women of England\never went to a Theatre I could not write\nthis... but the real men and women have not\nthe Theatre sense. I think the French no\nlonger possess it — I doubt if they ever\nhad it. The Russians have it but it's a some-\nwhat complicated instrument, their Thea-\ntre sense. The Germans have it about as\nlittle as we — but they are so that they\nshow they have the will to watch.\nI don't enjoy myself in a house full of\nsuch theatre-goers, nor in a Theatre packed\nwith English Theatre goers : certainly not in\nFrance either. In Russia I feel rather too\nhearty and not heady enough. Only in an\nItalian playhouse am I quite free, entirely se-\nrious, and able to enjoy the evening.\nA thief had stolen a horse — and in the\nearly morning the owner and his family came\nto the stables and began to cry aloud \"Oh\nmy poor horse — you wretched ostler —\nyou great blockhead\" and his neighbours\nblamed the owner for not having double doors;\nand the policeman who came up blamed the\npeople for not being awake at night — all\nblamed each other, and everyone blamed the\nostler. \" And isn't the thief to get any of the\nblame?\" he cried.\nAnd so while one can blame pit and gal-\nlery and circles for having so dull a Theatre\nsense, perhaps some blame is due to the\nactor.\nAnd now that he has been mentioned let\nus all raise our indignant voices and ask the\nactors how much they are interested in these\ndusty old plans of these four Theatres.\nWhat actors will see them ? Some of\nthe older ones and the beginners perhaps —\nbut I doubt if more than three in all England\nwill see them, or, seeing them, care one straw\nabout looking at them a second time. But\nthis is not so strange, for, in the great Tal-\nma's time, which of the actors ever stopped\nto consider the plans, sections and elevations\nof their house ? Perhaps Talma alone did that.\nWhy should they ?\nWell, it seems to me that the whole his-\ntory of the Theatre lies in such plans as these\nif one can read the lines. The problems which\ncentury after century trouble us so that we\nlose our lives and fortune after fortune puz-\nzling and muddling, can, for the most part, be\nsolved by studying the construction of the thea-\ntres of the last three hundred years.\nUnless in the end they do that what are\nsuch plans for ?\nThey are pretty things — and they, are\ncurious too : I like them for all kinds of in-\ndefinite reasons, but I have one prime rea-\nson for valuing them, and that is that they\nresolve nearly all the problems of the stage,\nits actors, its plays and operas, its spectators\nand its sound sense.\nI do not know whether the Colleges and\nSchools trouble to instruct the pupils about\nthe construction of theatres in all lands and\nof all periods, but 1 think that should be the\nfirst thing a student should be put to study.\nThis is why I think \" The Mask\" does"}, {"page_pdf": 32, "page_imprimee": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.32", "debut_caractere": 0, "fin_caractere_exclue": 464, "texte": "one more service to the cause it has at heart\nin bringing such things to its public.\nI should have liked to say something about\nthese particular plans reproduced here; but\nthough I fancy I know a little about them,\nthat little is merely the evidence I always\nlook for to support my own special fancy\nabout the stage — that special fancy being\nto have a theatre of my own, I have already\nsaid what that is too many times to bore\nanyone again with it.\n\nGordon Craig."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c031", "article_bluemountain": "bmtnaau_1927-10_01#c031", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "144", "page_fin": "145", "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=bmtnaau192710-01.2.8.5.2", "titre_corps": "W. J. LAWRENCE", "titre_sommaire": "W. J. LAWRENCE", "signature_source": "W. J. Lawrence", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 32, "page_imprimee": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.32", "debut_caractere": 466, "fin_caractere_exclue": 4413, "texte": "W. J. LAWRENCE\n\nSIR\nA part from the fact that it is impolitic\nfor one like myself who is purely a stage\nhistorian to embroil himself with pre-\nsent day controversies, I see no means of\ndemonstrating that the new-found plans throw\nany light on the sanity or stability of the\nsomewhat complex new movement. The\nutility of historical research as a source of\nlatter-day scenic inspiration can only be shown\nby approach from another angle. How much\nof Reinhardt's earlier work was mere eclec-\nticism — the revivifying and harmonisation of\nobsolete conventions — can only be grasped\nby those possessing a full knowledge of the\nhistory of stage mounting. But for the re-\nsearch of others, this eclecticism would have\nbeen impossible.\nSo, too, as I have been informed more\nthan once, the publication of my study of the\nold proscenium doors in my book, \" The\nElizabethan Playhouse and Other Studies\n(First Series, April 1912) — a study printed\nsome years previously in the German maga-\nzine, Anglia — occasioned the revival of the\ndoors in connexion with the apron stage.\nThe provision of the doors, for special use,\nat the Birmingham Repertory Theatre in 1913,\nwas, at any rate, due to this inciting cause.\nSo that the work of the theatrical researcher\nhas some utility beyond the merely ornamental.\nWhat you now tell me about the finding\nof these theatre plans necessitates the with-\ndrawal of my former conjecture that the plan\nof the Teatro della Pergola was doubtless\nthe original. All these plans were certainly\nmade when the building of the Teatro Tor\ndi Nona was contemplated, and represented\nthe specified theatres in their contemporary\n(but not necessarily original) state. Any\ntheatre plan showing an orchestral box below\nthe parapetto of the stage must necessarily\nhave been made after 1630, since it was at\nthat period the orchestral box was first insti-\ntuted in the Venetian Opera Houses. Hence,\nthe plan of the Teatro Intronati, Siena, cannot\nrepresent that House as Bartolemmo Nerone\n(otherwise II Riccio) built it in 1560, more\nespecially as it shows a magnet-shaped audi-\ntorium. No house of that shape was known\nof, I think, until three quarters of a century later.\nFrom the historical standpoint, plate No 20,\n(Venezia) is undoubtedly the most interesting\nof the series, since it supplements our\nknowledge concerning the early Venetian ope-\nras-houses. Iam assuming, of course, that the\nplan shows the San Giovanni e Paolo much\nas it was originally, (1639). The plans are\nof the period of 1675, and much alteration\nof the old Venetian house cannot have taken\nplace in thirty odd years. The indications\nare that the earliest type of modern Italian\nauditorium was lyre-shaped. Alphonse Gosset\nsays that the horse-shoe shape came in with\nthe Teatro Tor di Nona, and —at least —\nthe new-found designs do not contradict him.\nIn the Venetian design, it looks to me as\nif there were boxes between the columns\nof the deep proscenium arch : if so, a long-\nfollowed precedent was then set. Full measu-\nrements should be published, especially as the\nwriting on the plan is so small. What, for in-\nstance, was the length and slope.of the stage?\nThe plans of the Teatro Tor di Nona\nshould be compared with the plan of the same\nhouse given in G. M. Dumont, \" Details\nD'Architecture\", (Paris, 1763-66, folio). Any\ndiscrepancy would show what alterations, if\nany, had been made in the interim.\nThe system of oblique wings to be noted\nin several of the plans was, I think, pecu-\nliarly Italian. (By oblique wings, I mean\nwings not set parallel to the curtain line). It\nnever reached England.\nPlans 23 and 24 are interesting as showing\nthe precise arrangement of the various rows\nof boxes in Italy in the seventeenth century.\nThis system, too, never reached England.\nNote the following extract from John Macky's\n\" Journey through England in Familiar Let-\nters \" published in 1714. Macky was, I\nthink, a Scot, one to whom England was a\nforeign country: —"}, {"page_pdf": 33, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.33", "debut_caractere": 0, "fin_caractere_exclue": 2172, "texte": "\" The Th eatres differ from those abroad:\nin that those at Venice, Paris, Brussels,\nGenoa and other parts, you know, are com-\nposed of rows of small shut boxes, three or\nfour stories' in a semi-circle, with a Parterre\nbelow; whereas here the Parterre, commonly\ncalled the Pit, contains the gentlemen on\nbenches ; and on the first story of boxes sit\nladies of quality; in the second the Citizens'\nwives and daughters, and in the third the\ncommon people and footmen; so that between\nthe actes you are as much diverted by viewing\nthe beauties of the audience, as whiie they\nact with the subject of the play; and the\nwhole is illuminated to the greatest advan-\ntage Whereas abroad, the stage being only\nilluminated and the lodge or boxes close, you\nlose the pleasure of seeing the company; and\nindeed the English have reason in this for\nno nation in the world can show such an\nassembly of shining beauties there\".\nThis openness of the auditorium has al-\nways been characteristic of the English thea-\ntre. When theatres first began to be provided\nwith movable scenery at the Restoration (in\n1661), though the revolution in the actors'\nregions was great, little change took place in\nthe arrangement of the auditorium. The\nthree open galleries of Shakespeare's day\nstill maintained. Continental influence came\nmuch later: it altered the shape of the house,\nwhich was originally rectangular, and added\na few private boxes. England arrived at the\nmodern auditorium before Italy. In Italy, the\nancient amphitheatrical arrangement held good\nuntil 1618, and was not wholly superseded\neven then. In England, the theatre with a\npit and three galleries dates from 1576.\nOwing to extreme pressure of work, I\nhave not been able to write a formal article\nfor \" The Mask \" on these plans, but you\nare at liberty, of course, to quote or sum-\nmarise any details 1 have given in this\nletter.\nSincerely yours,\n. PS.I find I am wrong in stating that the\nItalian auditorium (with five rows of boxes)\nwas never introduced into England. Late in\nthe 18th century the Pantheon (Opera House)\nin Oxford St. was so constructed. But of\ncourse I was thinking only of when\n1 wrote.\nW. J. L.\n\nW. J. Lawrence."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c033", "article_bluemountain": "bmtnaau_1927-10_01#c033", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "145", "page_fin": "145", "image_debut": 33, "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=bmtnaau192710-01.2.8.5.3", "titre_corps": "ALFRED MORTIER", "titre_sommaire": "ALFRED MORTIER", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 33, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.33", "debut_caractere": 2174, "fin_caractere_exclue": 3074, "texte": "ALFRED MORTIER\n| consider the plans which you have been\na. so courteous in sending •to me as of the\nmost vital architectural interest. It would be\nimpossible to praise too highly the zeal and\ndiligence which you devote to increasing the\ncommon patrimony of all the seekers in this\nfield. One of the most ridiculous vanities of\nour age is to believe that it has invented\neverything, and that the riches of the past\nare negligible. But the designs which you\nhave brought to light could, it seems to me,\ninspire a modern architect with some inte-\nresting ideas, seeing that the ancient Italian\nbuilders had much meditated upon and expe-\nrimented with the question of the form of the\ntheatric structure in relation with the best\nacoustics. Acoustics remains an ever present\nproblem and one of serious difficulty. For\nthis reason 1 consider that your designs will\nbe of benefit to contemporary architects."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c034", "article_bluemountain": "bmtnaau_1927-10_01#c034", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "145", "page_fin": "147", "image_debut": 33, "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=bmtnaau192710-01.2.8.5.4", "titre_corps": "ALLARDYCE NICOLL", "titre_sommaire": "ALLARDYCE NICOLL", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 33, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.33", "debut_caractere": 3076, "fin_caractere_exclue": 4272, "texte": "ALLARDYCE NICOLL\n\nWHAT wonderful work The Mask is\ndoing S Continually it is discovering\nsomething new. Not content with the mag-\nnificent maps of London, Paris and Roma,\nnot content with the hundreds of rare plans\nand sketches which it has published, it now\ncomes forward with this veritable treasure-\ntrove, this series of hitherto unknown plans\nof early Italian theatres.\nI have been asked by the Editor to say\nsomething about them, but, were it not that\na request from 7/is Mis to me a com-\nmand, I should hesitate to undertake this task.\nNot only do I lack the leisure at present to\nmake a detailed study of these plans in the\nlight of other records of the period, but I\nshould have preferred to have had the op-\nportunity of seeing the originals and of de-\nciphering the notes which the artist has freely\ncontributed to his sketches. However, the\nEditor tells me that it will be sufficient if I\nsay something general, and if I, in any way,\ncall attention to the value of this newly dis-\ncovered material. So be it.\nThese plans are an education in them-\nselves, for they indicate clearly enough that\nhigh spirit of artistic questing which inspired\nthe Italian architects of the seicenio. They"}, {"page_pdf": 34, "page_imprimee": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.34", "debut_caractere": 0, "fin_caractere_exclue": 4676, "texte": "are all (1 take it on the authority of the\nEditor) by C arlo Fontana (!\\ and what would\nstrike us at once is the variety of styles\nexhibited, the evident desire on the part of\nthe architect to try new experiments in the\nsearch for the ideal. Indeed, these eight\nplans sum up, as it were, the endeavours of\na whole school of theatre artists who were\npassing from tentative reconstructions of clas-\nsical antiquity ? into the modern age. The\nstage arrangements had practically settled\nthemselves by the early XVII century, the\nobliquely set side-wings carrying the eye back\ngradually to a final back-cloth or back-shut-\nter ; but the auditorium still presented difficul-\nties.\nThe first models were taken from the\nsemicircle of a Roman caiea, the seats being\narranged in amphithealrica! fashion, and often\nending, as in the famous Teairo\nin a row of columns. The idea of galleries\ncame later. Hitherto it had been thought\nthat one of the very Erst plans of this type\nis that given by Andrea Pozzo in his\nspeltiva de Pittori cd Archiletii (1692), de-\nsigned apparently several years previous to\npublication. One of the most interesting fea-\ntures of the plans now reproduced, in The\nMasfy is that this gallery arrangement is\nclearly indicated at a date anterior to that of\nPozzo's. In Pozzo's plan the auditorium still\nretains its semicircular arrangement, but the\nmajority of Italian theatre-architects were seek-\ning for a more commodious \" house \" than\nthis would allow; moreover the exigencies\nof the ground space they had to fill frequently\nforbad the utilization of the semicircle. The\nTeatro Intronati, Siena (Plate 19) shows the\nsimplest adaptation, the original semicircle being\ncarried forwards in two lines running at right\nangles to the diameter. This style was that\nadapted in the Teatro Fcrnese at Parma, but\nit proved inconvenient for spectators in the\nsidegalleries. One way of escape lay in ma-\nking part of the gallery project, and this is\ndone in the plan for the Teatro SS. Giovanni\ne Paolo at Venezia (Plate 20). Then came the\ndesign for a theatre at Roma (PI. 26), where\nthe sides, still retaining their straight lines,\nare made to run outwards at oblique angles\nto the diameter of the semicircle. Although\nthis form was adopted in the Teatro Falcone\n: at Geneva begun by G. A. Falcone in 1650\n1 and completed by Fontana; (see E. Gordon\n! Craig, Eooks end Theatres, p. 34), it always\n: remained an unusual one. I expect that this\n: of Roma was for some projected or realised\ni private theatre; at any rate I have been\nunable to identify it. The opposite of the\n: shape chosen here is that of the \" horse-\nshoe \", very popular and adopted in the Teatro\nlor di Nona (Plates 21 & 24); with slight\nmodifications it reappears in the Teatro alia\nScala at Milan and in the \" Vecchio Teatro \"\nat Naples. The interest of Plates 21 and 24\n(to be taken with Fig. I.) is that they show\nthe Tor di Nona as that was built in 1660.\nPlate 21 gives us the general outlines of the\nhouse with a sketch of its surroundings;\nPlates 23 and 24 show clearly the arrangement\nof the galleries. No less than six there are\nof these (there are only five in the Pozzo\nengraving) in a \" horse-shoe \" or \" magnet\"\nformation. With the indication of interior\nembellishments and of the orchestra well,\nthese plans contribute much to our know-\nledge of these early theatres. The later Tor\ndi Nona (built in 1671 and destroyed 26\nyears later) appears here also (Plate 22).\nThis design makes us pause, for it is\nfundamentally the same as that generally at-\ntributed to Alessandro Specchi. Here an\novoid auditorium is used, somewhat after the\nstyle of the theatre at Jmoia. If we may\nargue from this book of sketches, then Carlo\nFontana was its architect.\nPlate 22 shows a theatre very similar in\noutline to the earlier Tor di Nona; Fig. 2\nindicates plainly enough that it was not this\nhouse. The ground plan reminds us of the\nsurroundings of the Teatro della Valle, but\nthat, it seems, was a much later building.\nA careful examination of the original should\nresult in a definite identification.\nThese are things of the past, it is true,\nbut they have a value both for the present\nand for the future. In the first place they are\nan admonition, particularly to theatre-workers\nin England. Experimentation alone can lead,\ntowards the greater development of any art;\nthe mentally inert following of what has gone\nbefore spells artistic death. This experimenta-\ntion still goes on elsewhere, but we seem here\ncontent to muddle on with what we have,\ncasting our eyes no further back than towards\nthe remnants the last generation has left to us,\nO 7\n\n(i) All are in a volume bearing Fontana's name. Ed."}, {"page_pdf": 35, "page_imprimee": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.35", "debut_caractere": 0, "fin_caractere_exclue": 1132, "texte": "and seeking nothing in the future. A study\nof Fontana s designs could teach us much.\nNor is this all.\nWe may not perhaps care for these plans,\nwe may desire our new theatres to be dif-\nferent from these theatres of the seventeenth\ncentury—and this would be a perfectly iust\naim; but these early efforts have often things\nto tell us, little ideas which may be re-created\nin the imagination and thus lead towards some-\nthing fresh and beautiful. The greater artists\nhave always been willing to gain inspiration\nfrom the past, for they know that the past is\nthe treasure-house from which their own\nstrength is taken ; only die lesser artists fear\nthe past lest it be greater than themselves;\nonly those who are not artists at ail scofriagly\nneglect the past, for they have no ideas of\nbeauty, in the past, in the present or in the\nfuture.\nIt is for these reasons that we must ad-\nmire and applaud the efforts of The Mask-\nit has ideals (which indicate the future) ; it\nhas a present beauty ; and it strives to keep\nalive our interest in the past. From The\nMask, as well as from Fontana and his\npeers, we have much to learn.\n20. IX. 27."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c035", "article_bluemountain": "bmtnaau_1927-10_01#c035", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "147", "page_fin": "147", "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=bmtnaau192710-01.2.8.5.4.1", "titre_corps": "DEVICE OF THE TEATRO DEGLI INTRONATI SIENA", "titre_sommaire": "DEVICE OF THE TEATRO DEGLI INTRONATI SIENA", "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": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.35", "debut_caractere": 1134, "fin_caractere_exclue": 1176, "texte": "DEVICE OF THE TEATRO\nDEGLI INTRONATI\nSIENA"}]}, {"article_id": "bm-bmtnaau-1927-10-01-c036", "article_bluemountain": "bmtnaau_1927-10_01#c036", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "147", "page_fin": "147", "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=bmtnaau192710-01.2.9", "titre_corps": "ARIOSTO'S HOUSE IN FERRARA : A PLAN AND ELEVATION TAKEN FROM AN EARLY EDITION OF THE POET'S \"ORLANDO FURIOSO\"", "titre_sommaire": "ARIOSTO'S HOUSE IN FERRARA : A PLAN AND ELEVATION TAKEN FROM AN EARLY EDITION OF THE POET'S \"ORLANDO FURIOSO\"", "signature_source": "A. C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 35, "page_imprimee": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.35", "debut_caractere": 1178, "fin_caractere_exclue": 2158, "texte": "ARIOSTO'S HOUSE\nIN FERRARA\nA PLAN AND ELEVATION\nTAKEN FROM AN EARLY EDITION OF\nTHE POET'S \"ORLANDO FURIOSO\"\nA. C.\nTHE poet-dramatist's house was in the Via di Mirasole,\nHe bought the site in 1526-1528 and then built a modest\nenough dwelling which he hoped to enlarge and make most\nmagnificent; — if he had believed it easy to for 111 are le case\ncome i versi \"it proved in practice less easy; and people were\nlate in offering to build it for him. Today they would tumble\nover each other in the effort to be the first to do so.\nThe plan and elevation here given is taken from the 1772\nedition of his \" Orlando Furioso \" issued in four volumes by\nZatta in Venezia, Ariosto lived here a long time after leaving\nthe old family house established in 1352 in the Via S. Maria\ndi Bocclie in which lie had often played his own comedies\nwith his brothers and friends.\nIt was in this house in Via di Mirasole that the poet\ndied on June 6, 1533; it had a garden and a small wood of\nelm trees."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c038", "article_bluemountain": "bmtnaau_1927-10_01#c038", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "148", "page_fin": "152", "image_debut": 36, "image_fin": 40, "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=bmtnaau192710-01.2.10", "titre_corps": "MACHINE", "titre_sommaire": "MACHINE", "signature_source": "E. G. C.", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 36, "page_imprimee": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.36", "debut_caractere": 0, "fin_caractere_exclue": 4335, "texte": "MACHINE.\n\nBYRON AND MACHINE.\nLORD Byron made but three speeches in\nthe House of Lords. The first was on\nFebruary 27th 1812 when he spoke against\na Bill increasing punishments for frame breaking.\nTrade was bad and stocking-weavers had\nbeen losing work; discontent was growing\nand was being fanned into a revolt through\nthe introduction of a machine.... a wide frame\nwhich threatened a further diminution in the\ndemand for manual labour. Riots were or-\nganized and the machines were destroyed.\nByron naturally was for the men and against\nthe machines. Two days earlier he wrote a\nletter to Lord Holland in which he expressed\nhis attitude towards the whole question, a part\nof which I will quote :—\nTo Lord Holland.\n8 Si James Street. Feb. 25 1812.\nMy Lord\nBy the ad option of a certain kind of frame,\none man performs the work of seven—nx are thus thrown\nout of business. But it is to be observed that the work\nthus done, is far inferior in quality, hardly marketable at\nheme, and hurried over with a view to exportation.\nSurely, my Lord, however we may rejoice in any improve-\nments in mechanism, the maintenance and woll-doing of\nthe industrious poor is an object of greater consequence to\nthe community than the enrichment of a few monopolists\nby any improvement in the implements of trade, which\ndeprives the workman of his bread, and renders the lab-\nourer 44 unworthy of his hire\nMy own motive for opposing the biil is founded on\nUs palpable injustice, and its certain inefEcacy. I have seen\nthe state of these miserable men, and it is a disgrace to a\ncivilized country. i heir excesses may be condemned, but\ncannot be subject of wonder. The effect of the present\nbill would be to drive theoi into actual rebellion. The\nfew words I shall venture to offer cn Thursday will be\nfounded upon these opinions formed from my own obser-\nvations on the spot I have the honour to be,\nwith great respect, my Lord, your Lord?-hip's.\nMost obedient and obliged servant, BYRON.\nP. S. — I am a little apprehensive that your Lordship\nwill think me too lenient towards these men, and half a\nframe-breaker myself Oh\nA MACHINE AGE.\nTHERE was a \" Machine Age Exposition\nheld from May 16th to May 28th in New\nYork. \" The Little Review \" issued a Ca-\ntalogue of this show. Wei! printed, it con-\ntained many a good cliche and a few\nidiotic \" Costumes \" for Machine Theatricals,\nand reached me together with a prospectus\nof the Mimeograph—a machine.\nPeople who sell machines are apt to spread\nit around that this is a Machine Age. It\nisn't, but that is of no importance. \" Are\nyou machine wise? \" they ask you on their\nposters, leaflets, prospectuses. Listen to this\nfrom one of them : —\nWISDOM IS IN DOING, MORE THAN IN\nSAYING. ARE YOU MACHINE WISE?\nUMMii Niiaiminii i i miRMiHrirr i mmaiiiMii miimiim ■ ■■ ai nunan 11 nan iMOMnin ii i niHHHaianaiaoMwa\n* 61T is a self-evident fact that no man\n* should be permitted to do a piece of\nwork which a machine can do\nBut here is a machine that does im-\nportant work that could hardly be done\nat all without its help. Its ability to\nturn out thousands of well printed letters,\nforms, bulletins, designs, etc., in every\nhour of the working day, has made the\nMimeograph an indispensible factor in\nmany business and educational activities,\nwhere it is helping to beat down opera-\nting costs and to speed up general effi-\nciency. in the day of the triumphant\nmachine it pays to be machine wise \".\niwsmHBMHMRMaMPnuBMnmMnaMHHBnttaaMBMKBwaBSKMHMaKMHMBBMWHMawKHMaaanBaHHnaMnBa\nAND ALL TO WHAT END?\nA BOVE this announcement is a picture of\nii the Mimeograph with a background of\nowls—symbolical of wisdom—which seems\nsuperfluous since an owl is not a machine—\nis only a bird, not a manufactured talking\nbird but one made by nature.\nThe inventors or manufacturers don't claim\nthat their machine will benefit humanity be-\ncause it will help to \" turn out thousands of\nwell printed letters, forms, bulletins, de-\nsigns \" by, say, Thomas Hardy, Maxim\nGorki, Mussolini and Augustus John : nothing\nsatisfactory like that. No, it is willing, this\nheadlong machine, to assist every Jack man\nof us to turn out all our useless litter of\nletters, forms, bulletins and designs. That's\nwhere machines run away and make a hash\nof the mind of whole nations of men.\n\n(i) Page 68-69. \" Lord Byron and His Letters \" by V. H.\nCollins. 1927."}, {"page_pdf": 37, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.37", "debut_caractere": 0, "fin_caractere_exclue": 4269, "texte": "These machines turn out a lot of some-\nthing—that is the point the advertisers of most\nmachines make. They grow almost hysterical\nas they realise what a lot of time they can\nsave, what a lot of copies of something (rub-\nbish or good stuff, all's one with the machine)\ncan be turned out—rolled off — churned up\nand belched forth.\nThere is of course any amount of fun in\nall this. The mere notion of gulling thou-\nsands of people into buying a machine has\nalways appealed to the rich sense of grim\nhumour which the world has developed with\nsuch rapidity in the last few centuries. The\nquality of this humour is hideous to touch,\nto hear, to see, to smell and to taste. It is\nso very grim; it is so grim that it topples\noff the jolly hillock where humour once basked\nin the sun of its own happiness and utters its\ngurgles from a pozzo nero.\nStill, it is humour, if only for the fact that\nit cannot possibly be anything else. And this\nhumour of course is more apparent in the\nannouncements of some big and successful firm\nthan in those which dribble out in the amateur\nway. I need not illustrate this.\nSENTIMENTALITY RAMPANT.\nAnd now a few small groups of men\nand women (presumably connected\nsomehow with the arts) are at it.\nThey do not give us the grim horror of\nthat colourful humour which the big firms\nindulge in; they go in for sentimentality.\nThere is nothing in this latest manifesto\nneed terrify you, and I strongly advise you\nto secure a copy if you can (I).\nThese groups are at roots only too sen-\ntimental —there lies their weakness; a weak-\nness with an assumed, rather fierce, expression,\nThe most sentimental of persons is the\nhefty, brisk machine lover of today, but when\nyou meet him you find he is a dear, good,\nclever fellow.\nThe whole notion of hitching their wagon\nto a machine may possibly spring from a noble\ndesire to alleviate the sufferings of the world\nand to awaken the world: to start afresh :\nbut behind the notion is the sly appreciation\nof the fact that it's a practical idea, anyhow,\nseeing that machines are so popular and that\nif we artists get the people and the manufac-\nturers to suppose that we artists are all for\nmachines a certain sympathy, false if not ge-\nnuine, will then spring up twixt them and us.\nAn eighth part of the notion is utter humbug,\nand a hundredth part is sheer rascality.\nARTISTS AND MACHINE\nBUT the sentimentality which is at the roots\nof the idea—let's consider that first.\nLiberty ! Liberte! Freiheit! Liberia 1 Svo-\nboda!\nThis word (one of the cutest in the dictio-\nnary fo man), has been whispered, buzzed out,\nshouted, yelled, screamed these last hundred\nyears until the very air is humming with it.\nIt is a terrible machine-made word ....and\nit is only a word. He who has the thing\nitself has it and says nothing. The man who\nis quite free does not exist, but any man may\nhave a taste of the thing.\nThose who have defined it have proved\nthis, that the thing itself is anything but au-\ntomatic, it's horribly human ; no sooner is it\nhere than it pops up over there; lost to us\nfor ever, it suddenly arrives and makes us\nlaugh. We laugh instead of naming it.\nNot so those who love cliches best.\nFreiheit! - Liberta! La Liberie ! Svoboda!\n- Freedom !—My God, what a mouthful, what\na headache of a word,—how the machines\nhammer it out.\nThese artists who have given themselves\nup lock stock and barrel to their great grand-\npapa the MACHINE, have done so because\nthey felt in sympathy with a new instrument.\nThey think to pick it up later and use it.\nThey will not do that because it will use\nthem, and its way of using them will be to\ngrind them to fine white powder which it will\nsell labelled ' Poudre d'Amour '.\nFor all this these fellows are heroic.\nSome Artists have that particular tolly,\nthe heroic, strong in them. Frightened, may\nbe, of a mouse or a gun, they will fling them-\nselves into an abyss or into a forlorn cause\nwithout a moment's hesitation.\nCaution be damned ;—besides, why not\nrisk that quicker death with a smattering of\nglory in it rather than starve slowly . ..as so\nmany unsuccessful artists in so many epochs\nhave done and done properly. Not now, you\nsay, in this enlightened age. Ah you rascal,\n\n(i) Machine-age Exposition Catalogue. 119 West 57th\nStreet. New York. Price 50 cents."}, {"page_pdf": 38, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.38", "debut_caractere": 0, "fin_caractere_exclue": 4305, "texte": "you know quite well that light costs money,\nvery much money today, and there is never\nany over after you've paid for your electric\ninstallation to spare on tbe enlightenment of\nlazy artists.\nBut not only is it in heroic despair that\nmany an artist today is jumping into a sock-\nweaving machine; many do not jump there\nat all; many are happier to cry Liberty on\nthe edge and buy a new pair of machine-\nmade socks.\nVery clever are these artists: they under-\nstand the machine; they know its power; they\nwill very very wisely adapt themselves to it.\nA gain not always from cunning motives\nbut as a rule from sentimental ones. They\nwill harness the machine and through it they\nwill bring light to the world at last. The\nFuturists were out and out sentimentalists and\ndreamers.\nVain, lovely and stupid dream. They\nwill but make a pale world paler when they\nare powdered on to its face.\nThen there is that cute notion of winning\nthe sympathy, the lasting friendship of the\npeople by appearing to love this little dam-\nnation ; and after all 1 mean no disrespect to\nthe brute but it is only a little damnation\nwhen all's said and done. It will pass.\nThen there is the love of machines by\nthose who can no longer love that which is\nless regular. Whether it be fear or ennui\nthat has turned them from their old loves,\nsomeone will some day explain—alas, at\nlength. But 1 never knew a hearty lover\nprefer a cog wheel even to a coquette.\nThe humbug of the thing (and there is\nvery little humbug in it as 1 have already\nsaid) lies in the evasion of the whole com-\nmon sense of art. These artists are machine-\ndrunk ; their commonsense is slobbering.\nWe ask them the time ; they grin, hiccup,\nand show us the works of their watches.\nAs for the rascality that is in this pre-\ntended devotion to machines, it lies not with\nthe artists ; the rascals are those who exploit\nthe artists for the old and wearisome reasons.\nMACHINE AS SERVANT.\nTHE machine when not grown tp monstrous\nproportions can be, is, a useful thing. I\nhave a small one for sharpening my pencils.\nMy admiration for its powers urges me to\ndeclare that it is made by Guhl and Har-\nbeck of Hamburg and is called \" Jupiter \"I.\nThe pencil is cut in a lying down posi-\ntion. Those other still smaller machines for\ncutting pencils into which you have to put\nyour pencil from the top are but playthings.\nMy little machine measures 14 inches in\nlength and 6 in breadth, so you see it de-\nserves its name \" Jupiter \" 1.\nI use a number of pencils, daily sharpen-\ning ten or twelve of them or even more be-\nfore I sit down to write* or draw.\nThe mechanical noise of the wheel going\nround gives me a reminder of the year 1 am\nliving in. I really think a hint is enough,\nit is the only machine I use, except that for\nblowing the air and the papers about in the\nheat of summertime, and the electric light\nmachine, the central heater, my watch and\nthe old-fashioned train(I). At present I have\nno automobile, no aeroplane. I do hire an\nautomobile when in a hurry and when 1 can\ncatch one, and how valuable it proves to\nus all everyone knows, yet how great a nui-\nsance it is no one fails by now to suspect.\nMACHINE AS DESTROYER.\nIN America alone 137,017 persons were killed\nby automobiles between January 1st 1919\nand January 1st 1927, while the total deaths\nof American men in the war amounted to\n120,050. Add to the 137,017 machine\ndeaths some 3,500,000 injuries due to automo-\nbile accidents, and the pretty little sentimen-\ntality of these machine lovers does take on a\ntouch of something rather queer. No ? If\nthis number of people had been murdered\nthe world would have admitted that it was\nall up with society: but as Machine did it\nit's quite all right.\nMACHINE: SLAVE OR MASTER.\nI will admit that 1 hanker after a gramophone\nfor 1 can prevent it splitting my ears.\n1 want one because i have a big garden\nand in the summer I want to hear the voice\nof Chaliapine singing far off behind the sugar\n\n(i) Trains seem to be trying to over reach themselves.\nSixty miles an hour is surely sufficiently fast for any of us :\ngoing seventy to seventy-five miles an hour they are apt to\nbump into bridges on the way to Deal or slip over precipices\nwhen going down Mont Blanc. The papers are full of their\ndoings, but no one invents a machine to prevent them over-\ndoing it."}, {"page_pdf": 39, "page_imprimee": "151", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.39", "debut_caractere": 0, "fin_caractere_exclue": 4615, "texte": "canes on my topmost terrace. If I had to\nsee the machine, to have it on the table,\nin the room, I should not want to hear Cha-\nliapine at all. I should become quite old-\nfashioned and then grumpy and then die.\nAnd there we have it:—if you can keep\nmachines at a distance and in their place\nthey are quite an addition ; but if they come\nplaying the cockawhoop over us, smashing\npeople by the thousand, deafening us, spoiling\nour music, our fields, our hills, and the sea\nshore, we had better have done with them\nlest they attempt to do any more for us.\nI don't want an automobile on the pre-\nmises, because 1 have no use for one ; and\nif just because 1 have money I should buy\none without having a need for it I should\nassuredly become its slave. It would worry\nme. I should invent reasons for using it,\nreasons which do not exist.\nI should then become what is called\n\" machine wise \"; that is to say, quite daft.\nAnd so it is with all these machines.\nI once had a printing machine, two printers,\nsome type setters and so forth. I had need\nof it, but only for half a day ; the other half\nday I had no use for it. I had to invent an\noccupation to keep it out of mischief.\nThis made me pause; I wondered, think-\ning of this time-saving device.\nAnd many a modern newspaper with\nits destructive power has been invented sole-\nly to keep the damn machines going. No\none wanted so many daily rags; but the\nmachine ordered it and \" quick, you bounders\nor I'll smash you \" was its grunt. The boun-\nders obeyed like sheep.\nSCURRY.\nA Flying machine to bring the good news\nfrom Ghent a bit quicker than Roland\nand his rider managed it, is a great idea:\nbut to have ten thousand such machines and\nnot know how to occupy them is to be obliged\nto cause them to take the bad news to Cal-\ncutta—and then comes the riot.\n1 do not mention the hideous noises of\nmachines, their curiously unpleasant way of\nshivering : their sickly smell: nor will I stop\nto dwell upon the amateurishness of some of\nthe more famous machines, like public trains\nand public motor cars, for example.\nThese defects are unnoticed except by\nthe ordinary human beings who live the old\nhuman life, the country people.... about\n1,500,000,000 people out of . the entire po-\npulation of the world; they must be in the\nmajority by about 10,000 to one. But then\nthat one is a fine rogue who thinks he is\ncute and advanced.\nNoisy machines are but bad machines,\nI admit, but the small pampered group\ncalled \" the public \" hungers and thirsts for\nrapidity and the poor helpless mechanic does\nhis worst to oblige. He hurries up as fast as he\ncan and turns out bosh, and the public gets in\nand goes twice up and down the Champs Ely-\nsees, pays 3d, gets out and grumbles. It is for\nthese darlings that brilliant mechanical minds\nare forced to hurry and to spoil their work (1).\nSt. Martin !\nFALSE FREEDOM.\nSAYS Signer Prampolini, in the Catalogue,\n\"we futurists \", \" noi Futuristi\", \" were the\nfirst to understand the marvellous mystery of\ninspiration which machines possess \". And\nafter all if Marinetti in 1909 ordered the Futu-\nrists \" to chant the vibrant nocturnal fervour of\nthe arsenals and ship yards ....the bridges, stea-\nmers .... locomotives.... aeroplanes ....and auto-\nmobiles \"he only reaffirmed what Walt Whit-\nman had already done—done while chanting\nother things of lilac and of friends lest any\nshould suppose him in love with me rely a\npatch in the whole garment ... as the unwary\ndid suppose and does still suppose.\nAnd now Signer Prampolini writes that\n\" We today—without ignoring the attempts \"\nof the past etc., \" intend to and\nsynihetize all that has been expressed\" .... \"\norder to \" do something or other not clearly\nstated. He then plunges after the others into\nthe machine, still crying aloud the phrases of\nhis master's manifestos, still putting on heroic\nside. Goodby ....goodby, Prampolini.\n\n(i) There is some fortunate architecture come into this\nCatalogue. I have sent the brochure to a friend but I recall\nthat it contained pleasant French, German, Dutch, and Scan-\ndinavian buildings refreshing to see. How they got there one\ndoes not know. But still the manifesto accompanies it and\ninsists 011 \" mobility ' \\ u movement \" action\", as somehow\npushing in. This is an error : for movement belongs to one\nart alone—to the Dance, and it oveiflows into the Theatre.\nInto architecture it enters unexpectedly at times when the\nearth opens and swallows up a house or when busy money-\nmakers arrange for Houses to collapse : otherwise movement\nhas no place in architecture.\nAbout the only sensible piece of writing in the booklet\nis signed j. h."}, {"page_pdf": 40, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.40", "debut_caractere": 0, "fin_caractere_exclue": 2812, "texte": "REVOLT, BUT WITH DISCIPLINE.\nAND why that exaggerated cry of —\nwhy then the excessive show of indepen-\ndence, and the unnecessary Manifesti.\nRevolt without discipline—revolt from\nintolerable restraint—revolt from unendurable\nconditions—revolt from a slow death : may\nbe these are good reasons for revolt. But\nbecause this revolt is without discipline it is\nworthless.\nFascism was revolt with discipline ; was\nhuman,—man against machinery ; and therein\nlies all the difference.\nToday my dog still is a greater thing from\ntip to tail than any machine you can pro-\nduce.\nYOUTH AND THE MACHINE.\nSO much for what I, and probably you, think\nabout the machine; and all 1 have said\nis said because 1 know that you and I and\neveryone else want to taste life more not\nless ; and I know that the machine destroys\nthe taste of life.\nBut now hear what youth thinks of it all\ntoday, and then look back and see what\nyoung Byron thought of machines.\nAt Bagshot on June 30th i 927 a jour-\nnalist arrived at the camp organized by the\nY.M.C.A. in order to discover how the hun-\ndred and fifty lads collected there from all\nparts of the world would be feeling once\nthey got together and could compare notes\nabout putting the world right.\nHe tells us that after talking with them\nthey agreed that it is absurdly wrong, this\nworld ; but they couldn't agree as to how to\nget it right again.\n(You remember the story told by Tol-\nstoi....).\nThe journalist was present at half a do-\nzen discussions between these youths.\nOne from Germany asked a French lad\n(each was the spokesman of his group) What\nwould you do if the situation of 1914 arose\nagain ?\"; and the Frenchman, hesitating,\nadmitted that when a situation had reached\nthe 1914 point, individuals became back num-\nbers and the Government's decision to go\nahead and butcher was irrisistible and had to\nbe obeyed.\nA young American thought Christianity\nought to be able to do something: a\nScottish fellow suggested that Governments\nO D\nwere to blame for everything, and a Scandi-\nnavian argued that each land had the Go-\nvernment it deserved.\nSome others put all the blame on the\nPress.\nThe general feeling, reported our journa-\nlist, was that youth is in the hands of ma-\nchinery over which it has no control, and\nthat while they sit round their campfire to-\nnight with real good feeling and heaps of\nideals and will and heart, in the tomorrow,\nif called to, they may be flung at each other\nand seventy-five of them be throttling the\nvery life out of the other seventy-five\nfriends.\nThe passion for the order found in Nature\nis one thing: a passion for system devised\nby the mechanical mind is another.\nTo hold the mechanical mind in its place\nand not allow it to ramp about destroying\nlife is the task before the serious legislator\nof the immediate future.\n\nE. G. C. August. 1927."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c040", "article_bluemountain": "bmtnaau_1927-10_01#c040", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "154", "page_fin": "156", "image_debut": 42, "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=bmtnaau192710-01.2.12", "titre_corps": "A NOTE ON DRAMATIC CENSORSHIP", "titre_sommaire": "A NOTE ON DRAMATIC CENSORSHIP", "signature_source": "BARRETT H. CLARK", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 42, "page_imprimee": "154", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.42", "debut_caractere": 0, "fin_caractere_exclue": 4862, "texte": "A NOTE ON DRAMATIC CENSORSHIP\nBY BARRETT H. CLARK.\n\nC.\nI Write as an artist, who has not accepted her hospitality,\nsees America : and I write as an artist who kn°Ms\nwhat the American artist has to put up with.\nI am told that in America there has always been a large,\nlucky, influential, dollarish group greatly concerned with\nthe imaginary troubles of others. It has filled its spare\ntime (twenty-four hours a day) attempting to cure these\ntroubles.\nIt seems that the group found that good drink Mas\na trouble so it gave its day of twenty four hours to\nclearing away all the good drink a™d substituting bad\ndrink in place of it in order that the trouble might cease.\nThis unfortunately gave birth to a new trouble, and\nthen a regular litter of little troubles.\nThus a group is now finding that good Drama is a\nsore trouble to many so it wishes to stamp out good drama\nand supply the troubled one with bad drama.\nMr. Clark's short essay will do much to prevent\nthai, but the influential group will prevail in time. The\ndollar is still worth 4/1. Lucky group.\nMr. Clark says that America is the wealthiest nation\nin the world. Hmmm.... I cannot say whether he is com\nreel. It hugs its dollars so closely today it may well be\nthe Wealthiest. When it was poorer it fussed less about\nits wealth.\nAir. Clark says that some writers lie and that when\nhe catches one at it it depresses him. His brochure of\n37 nicely printed pages (0 is mostly about sex and the\ndust that is being raised in America about sex plays.\nWhat he says is Worth reading.\nFor that reason \" The Mask \" has obtained permis-\nsion to reprint it here.\nHe doesn't like Corns to ck or thai sort of Censor.\nI am glad of his way of thinking about the matter :\nbut I don't Wont problem plays to come back cigain :\nTd prefer Comsiock to that : for it would mean unleash-\ning three hundred incompetent play writers and allowing\nthem to air all their grievances on stages.\nWe don't want any more grievances aired on the\nstage—do we ? We had that a while ago, It nearly k*l~\nled the stage. A grievance and a tragedy are two different\nthings.\n\nI am setting down(I) a few ideas so trite that\nno one else has in the recent discussions\non censorship had the courage to state them.\nMy object is to try to clarify the issue. What\nare we discussing ? Essentially, the right of\nthe dramatist to use whatever material he likes.\nHow far can, may, and ought he to go in his\ntreatment of situation and character ? Ought\nhe, when he ventures to depict abnormal\ntypes or set before us extreme cases of human\nturpitude, to be held responsible to society,\nand be prevented if need be by the law ?\nYou will find sober critics, even those\nwho do not believe in censorship (like Mr.\nNathan) drawing the line somewhere. They\nwill tell you that \" certain subjects \" should\nnot be dragged into plays, and go so far as\nto maintain that it may be harmful to reveal\ncertain sorts of moral degeneration. But\nanyone who knows his history of art will rea-\nlize that any artist (provided he produces\na work of art) may, ought, can, and does take\nhis material where he finds it. A priori, the\nwhole world and everything in it, is open to\nthe artist. ! therefore respectfully claim that\nthere is literally nothing the dramatist may\nnot treat, and despite all the censorship that\nhuman ingenuity and jealousy and impotent\nrage can devise, nothing that he not treat\nif he wants to. Whether or not he treats it\nwell, depends on himself. We are not dis-\ncussing esthetics. Do you imagine for an\ninstant that a first-rate dramatist asks him-\nself, \" How far will they let me go? How\nmuch of the whole truth as I see it, will the\npolice allow me to tell ? No. He looks\nupon that part of life which he knows and\nexhibits it as well as he can. If he is a great\nartist, he is scarcely if at all concerned with\nmorals in the fundamental sense of \" cus-\ntoms This is why nearly every great dra-\nmatist has been condemned by his contempo-\nraries. You remember when Ibsen and Shaw\nwere first introduced among us? William Winter,\nof respected memory, became positively foul-\nmouthed and libellous in describing their\nplays. You recall what Anthony Com-\nstock said about Mrs. Warren s Profession ?\nThese men, remembered chiefly for their stu-\npidity and their savagery, were angry when\nIbsen and Shaw upset their little notions about\nthings. What Winter's background was 1\ncannot say, but let me quote what Comstock\nsays about himself. 1 take the following from\nMr. Broun's and Miss Leech's recent book:\n\" When 1 was a boy \", writes Comstock,\n\" I used to construct in the woods.... a stone-\ntrap. This was formed by taking a large flat\nstone and setting it up on one edge.... and\n\n(1) Copyright 1921, hy Barrett H. Clark. Revised\nspecially for \" The Mask \" and Printed here hy per-\nmission of Glenn Hughes, Editor of the University of\nWashington Chaphooks."}, {"page_pdf": 43, "page_imprimee": "155", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.43", "debut_caractere": 0, "fin_caractere_exclue": 4668, "texte": "fastening it there by means of three notched\nsticks. The edge of one directly under the\ncenter of the stone was baited with a sweet\napple. The rabbit or squirrel nibbling the\napple would spring the trap and be crushed\nto death \". This was one of the reformer's\ninnocent recreations as a boy. He took his\npleasure throughout life by baiting traps and\nwatching the stone fall on his victims.\nToday we are not so seriously concerned\nover attacks on society and our political sys-\ntem. Sex is the great bugbear of the refor\nmers. Certain persons have taken upon them-\nselves the task of \" cleaning up the stage\nas they phrase it, of establishing juries and\ncensors to pass upon those plays which, in\nsomebody's opinion, might possibly arouse\n\" impure \" thoughts in the minds of the young.\nNow please stop a moment to consider this,\njust what does it mean? Those of you v/ho\nbelieve that plays like The Captive, or De-\nsire Under the Elms, or Sex, are conducive\nto immorality, presumably have some notion\nof what you mean. It is stoutly maintained\nthat the spectacle of immorality—meaning\nsexual \" irregularity \"—arouses in the minds\nof the immature a desire to imitate what they\nsee enacted on the stage. 1 don't think any\nadvocate of censorship or police interference\nhas ever admitted that he was himself sus-\nceptible to the allurements of sex as exhibi-\nted in plays. No, the reformers are sure of\nthemselves. But at the same time they are\nnot sure of other people. Now, may 1 ask\nhow they dare presume that if they are proof\nagainst such allurements, others are not so ?\nUnless these advocates of suppression will\nadmit that having passed beyond the age\nwhen sex interests them, they are none the\nless interested in its effect on those young\nenough to enjoy it! In this case, I can only\nsay they would make interesting patients for\nDr. Freud.\nBut the fact remains that these people,\nin spite of their own immunity from sex con-\ntamination, regard themselves capable of jud-\nging what will arouse \" impure \" thoughts in\nthe minds of the young. Well, I suppose it\nmust be admitted that the young have always\nhad \" impure \" thoughts; only we differ on\nwhat may be regarded as \" impure \". If the\nreformers say that certain plays do this, all\nwe can be sure of (because no one can tell\njust what any other person thinks and feels)\nis that they do it to the reformers. For this\n1 am perfectly willing to take their word.\nLet us go a step further. • When the cen-\nsorship advocates say \" impure \", they mean\nthoughts and desires connected with sex.\nWhen is a sex thought \" pure \" ? Generally,\nmorally speaking, when the object of such a\nthought is the husband or wife of the person\nwho thinks it. Right. But suppose an actor\nand an actress impersonating Mr. and Mrs.\nJones in a play, enact an erotic scene. This\nis quite all right—in life, in the privacy of\nthe home. But what of the effect on the\naudience ? Mr. Smith, sitting in the front\nrow, thinks that Mrs. Jones, on the stage,\nhas lovely shoulders, and his guilty thoughts\nwander far from the shoulders of his own\nwife, Mrs. S mith. An impure thought has\nbeen aroused in Mr. Smith. But this, bad\nas it is, does not concern the reformers, be-\ncause Mr. Smith is not an immature young\nperson who never thought about sex or had\nan \" impure \" sex impulse. But supposing\nMiss Smith, his daughter, goes to see the\nplay, admires the handsome Mr. Jones, and\nperhaps all unconsciusly imagines she would\nlike to be kissed by him? Vicious thoughts\nof this kind will lead, it may be, to vicious\nactions, and the play will have started the\ngirl on the downward path. The situation just\ndescribed is taken from a so-called \" clean \"\nplay. Here is no immorality, though it is\nof course possible to think \" impure \" thoughts\nabout a husband and wife. But take the play\nin which the hero is not married to the he-\nroine. Little Miss Smith, in the audience,\nsees a situation enacted which in life is con-\nsidered \" immoral \", for we are now assuming\nthat the leading man is in love with the lea-\nding lady. True, in most cases, the drama-\ntist shows that being in love with one's\nneighbor's wife leads to uncomfortable com-\nplications and usually precipitates punishment.\nAnd yet, an \" immoral \" situation has been\nexposed to the innocent mind of Miss Smith.\nIt is this sort of play that the reformers\nobject to, because young\" people have no\nconsciousness of sin, and because until the\nday of their marriage they have no sex im-\npulse whatsoever. Wherefore, plays that\nexhibit sinfulness, irregularities of conduct, in\na word, plays that arouse \" impure \" thoughts\nshould be prohibited or, after production, be\nstopped by the police.'"}, {"page_pdf": 44, "page_imprimee": "156", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.44", "debut_caractere": 0, "fin_caractere_exclue": 4380, "texte": "To begin with, I challenge anyone to\nprove that any play has ever harmed anyone's\nmorals; I challenge anyone to prove that any\nyoung person has ever been aroused sexually\nthrough a play who has not already been\naroused by any of the innumerable sex sti-\nmuli outside the theatre. And even if such\nproof could be established, what of it ? God\nhelp the person who has never been so sti-\nmulated.\nWith shame I confess it: I think it a fine\nthing for young people to have sex emotions,\nand I know of very few things (besides living\nitself) that arouse them in a better way than\nthe theatre. Sex is a very interesting thing ;\nI am inclined to believe also that it has its\nuses. With more shame, 1 confess 1 find it\nextremely difficult to draw the line between\nthe various kinds of sex impulses and thoughts.\nI am indeed unable to make a nice distinc-\ntion between a \" pure \" and an \" impure\nsex thought. 1 may even add that 1 have a\nsneaking suspicion that all sex thoughts have\nsomething beautiful about them, except per-\nhaps the twisted impulses in the breasts of\nthose who presume to dictate to the young\nwhich are the pure and which the impure.\nBut the reformer is not concerned over\nthe pure and the impure ; it seems that to\nhim all sex is impure, dangerous, filthy, abo-\nminable. Life itself is a vast and complica-\nted snare with sex as the sweet apple, and\nthe police, the vice society, and censorship\nas the stone trap to crush us all to death.\nIt is not the stage that demands supervision,\nit is all of life. The dramatist will treat life\nas he sees it. Therefore it would be far more\nlogical to attack and suppress all sex stimu-\nlants. And what are these ? First, our bo-\ndies, when they are beautiful (and often when\nthey are not); pictures, books, poetry, soft\nspring nights, moonlight, holding hands, whis-\npered nothings between a boy and a girl;\nalas, nearly everything in life that is pleasant\nand thrilling. How small the drama looks\nbeside these things ! How infinitely petty is\nthe best lovemaking of a matinee idol com-\npared to the love scene we enact ourselves,\nwithout an audience.\nMy point here is simply that any effort\nto curb the dramatist in his treatment of sex\nis useless toward suppressing the sex impulse,\nbecause- plays are but one of ten thousand\nmeans of arousing \" impure \" thoughts. In\nother words, it is a hopeless task. Your ge-\nnuine advocate of censorhip (I except the\nsincere but misguided people who advocate\nsome supervision in order to avoid censorship)\nis then shortsighted and stupid, and it is rea-\nsonable to suppose that the censor he would\nimpose would be just as stupid and as shorts\nsighted.\nMy second point is that to temporise with\nthese advocates is both undignified and (tem-\nporarily) dangerous. 1 say \" temporarily \"\nbecause in the long run the artist will win\nout. But it may be that new dramatists will\nfor a time avoid treating certain aspects of\nlife, and be thereby deprived of a part of\ntheir natural inheritance. I believe further that\nall compromise with the reformers is unwise;\nthey are as unscrupulous as they are ignorant.\nPlay juries, extra-legal control of the stage,\nand the rest—these are only petty makeshifts.\nDo you want censorship, or do you not? It\nis foolish for us who love the theatre to con-\ndescend to argue the matter with those who\nhate and detest it.\nReally, it seems to me that the whole\nquestion is just this : do you care more about\nthe art of the theatre than you do about sa-\nving other people's souls? Granted, that is,\nthat people's souls can be saved by not seeing\n\" impure \" plays ? If you do, then you must\noppose all censorship. If, on the other hand,\nyou think that the remote possibility of pre-\nventing some young person from falling into\nsin is worth more than a beautiful play, you\nbelong among the reformers.\nPersonally, I am willing to let the young\npeople save their own souls ; I, for one, am\nhaving enough trouble to live my own life as\nwell as 1 can without bothering other people\nabout their salvation: but if it came to an issue,\nI can only say that I would take a chance on\nmy salvation, and let the dramatist do as he\nlikes. Personally, I am ready to deliver my\nimmortal soul into the hands of Sophocles\nand Shakespeare and Moliere and Ibsen,\nrather than into the hands of the leaders of\nthe Inquisition, Anthony Comstock, and his\nmilitant legions of the present day."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c041", "article_bluemountain": "bmtnaau_1927-10_01#c041", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "154", "page_fin": "154", "image_debut": 42, "image_fin": 42, "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=bmtnaau192710-01.2.12.1", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "C", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 42, "page_imprimee": "154", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.42", "debut_caractere": 52, "fin_caractere_exclue": 2093, "texte": "C.\nI Write as an artist, who has not accepted her hospitality,\nsees America : and I write as an artist who kn°Ms\nwhat the American artist has to put up with.\nI am told that in America there has always been a large,\nlucky, influential, dollarish group greatly concerned with\nthe imaginary troubles of others. It has filled its spare\ntime (twenty-four hours a day) attempting to cure these\ntroubles.\nIt seems that the group found that good drink Mas\na trouble so it gave its day of twenty four hours to\nclearing away all the good drink a™d substituting bad\ndrink in place of it in order that the trouble might cease.\nThis unfortunately gave birth to a new trouble, and\nthen a regular litter of little troubles.\nThus a group is now finding that good Drama is a\nsore trouble to many so it wishes to stamp out good drama\nand supply the troubled one with bad drama.\nMr. Clark's short essay will do much to prevent\nthai, but the influential group will prevail in time. The\ndollar is still worth 4/1. Lucky group.\nMr. Clark says that America is the wealthiest nation\nin the world. Hmmm.... I cannot say whether he is com\nreel. It hugs its dollars so closely today it may well be\nthe Wealthiest. When it was poorer it fussed less about\nits wealth.\nAir. Clark says that some writers lie and that when\nhe catches one at it it depresses him. His brochure of\n37 nicely printed pages (0 is mostly about sex and the\ndust that is being raised in America about sex plays.\nWhat he says is Worth reading.\nFor that reason \" The Mask \" has obtained permis-\nsion to reprint it here.\nHe doesn't like Corns to ck or thai sort of Censor.\nI am glad of his way of thinking about the matter :\nbut I don't Wont problem plays to come back cigain :\nTd prefer Comsiock to that : for it would mean unleash-\ning three hundred incompetent play writers and allowing\nthem to air all their grievances on stages.\nWe don't want any more grievances aired on the\nstage—do we ? We had that a while ago, It nearly k*l~\nled the stage. A grievance and a tragedy are two different\nthings."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c042", "article_bluemountain": "bmtnaau_1927-10_01#c042", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "154", "page_fin": "156", "image_debut": 42, "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=bmtnaau192710-01.2.12.2", "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": 42, "page_imprimee": "154", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.42", "debut_caractere": 2095, "fin_caractere_exclue": 4862, "texte": "I am setting down(I) a few ideas so trite that\nno one else has in the recent discussions\non censorship had the courage to state them.\nMy object is to try to clarify the issue. What\nare we discussing ? Essentially, the right of\nthe dramatist to use whatever material he likes.\nHow far can, may, and ought he to go in his\ntreatment of situation and character ? Ought\nhe, when he ventures to depict abnormal\ntypes or set before us extreme cases of human\nturpitude, to be held responsible to society,\nand be prevented if need be by the law ?\nYou will find sober critics, even those\nwho do not believe in censorship (like Mr.\nNathan) drawing the line somewhere. They\nwill tell you that \" certain subjects \" should\nnot be dragged into plays, and go so far as\nto maintain that it may be harmful to reveal\ncertain sorts of moral degeneration. But\nanyone who knows his history of art will rea-\nlize that any artist (provided he produces\na work of art) may, ought, can, and does take\nhis material where he finds it. A priori, the\nwhole world and everything in it, is open to\nthe artist. ! therefore respectfully claim that\nthere is literally nothing the dramatist may\nnot treat, and despite all the censorship that\nhuman ingenuity and jealousy and impotent\nrage can devise, nothing that he not treat\nif he wants to. Whether or not he treats it\nwell, depends on himself. We are not dis-\ncussing esthetics. Do you imagine for an\ninstant that a first-rate dramatist asks him-\nself, \" How far will they let me go? How\nmuch of the whole truth as I see it, will the\npolice allow me to tell ? No. He looks\nupon that part of life which he knows and\nexhibits it as well as he can. If he is a great\nartist, he is scarcely if at all concerned with\nmorals in the fundamental sense of \" cus-\ntoms This is why nearly every great dra-\nmatist has been condemned by his contempo-\nraries. You remember when Ibsen and Shaw\nwere first introduced among us? William Winter,\nof respected memory, became positively foul-\nmouthed and libellous in describing their\nplays. You recall what Anthony Com-\nstock said about Mrs. Warren s Profession ?\nThese men, remembered chiefly for their stu-\npidity and their savagery, were angry when\nIbsen and Shaw upset their little notions about\nthings. What Winter's background was 1\ncannot say, but let me quote what Comstock\nsays about himself. 1 take the following from\nMr. Broun's and Miss Leech's recent book:\n\" When 1 was a boy \", writes Comstock,\n\" I used to construct in the woods.... a stone-\ntrap. This was formed by taking a large flat\nstone and setting it up on one edge.... and\n\n(1) Copyright 1921, hy Barrett H. Clark. Revised\nspecially for \" The Mask \" and Printed here hy per-\nmission of Glenn Hughes, Editor of the University of\nWashington Chaphooks."}, {"page_pdf": 43, "page_imprimee": "155", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.43", "debut_caractere": 0, "fin_caractere_exclue": 4668, "texte": "fastening it there by means of three notched\nsticks. The edge of one directly under the\ncenter of the stone was baited with a sweet\napple. The rabbit or squirrel nibbling the\napple would spring the trap and be crushed\nto death \". This was one of the reformer's\ninnocent recreations as a boy. He took his\npleasure throughout life by baiting traps and\nwatching the stone fall on his victims.\nToday we are not so seriously concerned\nover attacks on society and our political sys-\ntem. Sex is the great bugbear of the refor\nmers. Certain persons have taken upon them-\nselves the task of \" cleaning up the stage\nas they phrase it, of establishing juries and\ncensors to pass upon those plays which, in\nsomebody's opinion, might possibly arouse\n\" impure \" thoughts in the minds of the young.\nNow please stop a moment to consider this,\njust what does it mean? Those of you v/ho\nbelieve that plays like The Captive, or De-\nsire Under the Elms, or Sex, are conducive\nto immorality, presumably have some notion\nof what you mean. It is stoutly maintained\nthat the spectacle of immorality—meaning\nsexual \" irregularity \"—arouses in the minds\nof the immature a desire to imitate what they\nsee enacted on the stage. 1 don't think any\nadvocate of censorship or police interference\nhas ever admitted that he was himself sus-\nceptible to the allurements of sex as exhibi-\nted in plays. No, the reformers are sure of\nthemselves. But at the same time they are\nnot sure of other people. Now, may 1 ask\nhow they dare presume that if they are proof\nagainst such allurements, others are not so ?\nUnless these advocates of suppression will\nadmit that having passed beyond the age\nwhen sex interests them, they are none the\nless interested in its effect on those young\nenough to enjoy it! In this case, I can only\nsay they would make interesting patients for\nDr. Freud.\nBut the fact remains that these people,\nin spite of their own immunity from sex con-\ntamination, regard themselves capable of jud-\nging what will arouse \" impure \" thoughts in\nthe minds of the young. Well, I suppose it\nmust be admitted that the young have always\nhad \" impure \" thoughts; only we differ on\nwhat may be regarded as \" impure \". If the\nreformers say that certain plays do this, all\nwe can be sure of (because no one can tell\njust what any other person thinks and feels)\nis that they do it to the reformers. For this\n1 am perfectly willing to take their word.\nLet us go a step further. • When the cen-\nsorship advocates say \" impure \", they mean\nthoughts and desires connected with sex.\nWhen is a sex thought \" pure \" ? Generally,\nmorally speaking, when the object of such a\nthought is the husband or wife of the person\nwho thinks it. Right. But suppose an actor\nand an actress impersonating Mr. and Mrs.\nJones in a play, enact an erotic scene. This\nis quite all right—in life, in the privacy of\nthe home. But what of the effect on the\naudience ? Mr. Smith, sitting in the front\nrow, thinks that Mrs. Jones, on the stage,\nhas lovely shoulders, and his guilty thoughts\nwander far from the shoulders of his own\nwife, Mrs. S mith. An impure thought has\nbeen aroused in Mr. Smith. But this, bad\nas it is, does not concern the reformers, be-\ncause Mr. Smith is not an immature young\nperson who never thought about sex or had\nan \" impure \" sex impulse. But supposing\nMiss Smith, his daughter, goes to see the\nplay, admires the handsome Mr. Jones, and\nperhaps all unconsciusly imagines she would\nlike to be kissed by him? Vicious thoughts\nof this kind will lead, it may be, to vicious\nactions, and the play will have started the\ngirl on the downward path. The situation just\ndescribed is taken from a so-called \" clean \"\nplay. Here is no immorality, though it is\nof course possible to think \" impure \" thoughts\nabout a husband and wife. But take the play\nin which the hero is not married to the he-\nroine. Little Miss Smith, in the audience,\nsees a situation enacted which in life is con-\nsidered \" immoral \", for we are now assuming\nthat the leading man is in love with the lea-\nding lady. True, in most cases, the drama-\ntist shows that being in love with one's\nneighbor's wife leads to uncomfortable com-\nplications and usually precipitates punishment.\nAnd yet, an \" immoral \" situation has been\nexposed to the innocent mind of Miss Smith.\nIt is this sort of play that the reformers\nobject to, because young\" people have no\nconsciousness of sin, and because until the\nday of their marriage they have no sex im-\npulse whatsoever. Wherefore, plays that\nexhibit sinfulness, irregularities of conduct, in\na word, plays that arouse \" impure \" thoughts\nshould be prohibited or, after production, be\nstopped by the police.'"}, {"page_pdf": 44, "page_imprimee": "156", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.44", "debut_caractere": 0, "fin_caractere_exclue": 4380, "texte": "To begin with, I challenge anyone to\nprove that any play has ever harmed anyone's\nmorals; I challenge anyone to prove that any\nyoung person has ever been aroused sexually\nthrough a play who has not already been\naroused by any of the innumerable sex sti-\nmuli outside the theatre. And even if such\nproof could be established, what of it ? God\nhelp the person who has never been so sti-\nmulated.\nWith shame I confess it: I think it a fine\nthing for young people to have sex emotions,\nand I know of very few things (besides living\nitself) that arouse them in a better way than\nthe theatre. Sex is a very interesting thing ;\nI am inclined to believe also that it has its\nuses. With more shame, 1 confess 1 find it\nextremely difficult to draw the line between\nthe various kinds of sex impulses and thoughts.\nI am indeed unable to make a nice distinc-\ntion between a \" pure \" and an \" impure\nsex thought. 1 may even add that 1 have a\nsneaking suspicion that all sex thoughts have\nsomething beautiful about them, except per-\nhaps the twisted impulses in the breasts of\nthose who presume to dictate to the young\nwhich are the pure and which the impure.\nBut the reformer is not concerned over\nthe pure and the impure ; it seems that to\nhim all sex is impure, dangerous, filthy, abo-\nminable. Life itself is a vast and complica-\nted snare with sex as the sweet apple, and\nthe police, the vice society, and censorship\nas the stone trap to crush us all to death.\nIt is not the stage that demands supervision,\nit is all of life. The dramatist will treat life\nas he sees it. Therefore it would be far more\nlogical to attack and suppress all sex stimu-\nlants. And what are these ? First, our bo-\ndies, when they are beautiful (and often when\nthey are not); pictures, books, poetry, soft\nspring nights, moonlight, holding hands, whis-\npered nothings between a boy and a girl;\nalas, nearly everything in life that is pleasant\nand thrilling. How small the drama looks\nbeside these things ! How infinitely petty is\nthe best lovemaking of a matinee idol com-\npared to the love scene we enact ourselves,\nwithout an audience.\nMy point here is simply that any effort\nto curb the dramatist in his treatment of sex\nis useless toward suppressing the sex impulse,\nbecause- plays are but one of ten thousand\nmeans of arousing \" impure \" thoughts. In\nother words, it is a hopeless task. Your ge-\nnuine advocate of censorhip (I except the\nsincere but misguided people who advocate\nsome supervision in order to avoid censorship)\nis then shortsighted and stupid, and it is rea-\nsonable to suppose that the censor he would\nimpose would be just as stupid and as shorts\nsighted.\nMy second point is that to temporise with\nthese advocates is both undignified and (tem-\nporarily) dangerous. 1 say \" temporarily \"\nbecause in the long run the artist will win\nout. But it may be that new dramatists will\nfor a time avoid treating certain aspects of\nlife, and be thereby deprived of a part of\ntheir natural inheritance. I believe further that\nall compromise with the reformers is unwise;\nthey are as unscrupulous as they are ignorant.\nPlay juries, extra-legal control of the stage,\nand the rest—these are only petty makeshifts.\nDo you want censorship, or do you not? It\nis foolish for us who love the theatre to con-\ndescend to argue the matter with those who\nhate and detest it.\nReally, it seems to me that the whole\nquestion is just this : do you care more about\nthe art of the theatre than you do about sa-\nving other people's souls? Granted, that is,\nthat people's souls can be saved by not seeing\n\" impure \" plays ? If you do, then you must\noppose all censorship. If, on the other hand,\nyou think that the remote possibility of pre-\nventing some young person from falling into\nsin is worth more than a beautiful play, you\nbelong among the reformers.\nPersonally, I am willing to let the young\npeople save their own souls ; I, for one, am\nhaving enough trouble to live my own life as\nwell as 1 can without bothering other people\nabout their salvation: but if it came to an issue,\nI can only say that I would take a chance on\nmy salvation, and let the dramatist do as he\nlikes. Personally, I am ready to deliver my\nimmortal soul into the hands of Sophocles\nand Shakespeare and Moliere and Ibsen,\nrather than into the hands of the leaders of\nthe Inquisition, Anthony Comstock, and his\nmilitant legions of the present day."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c044", "article_bluemountain": "bmtnaau_1927-10_01#c044", "volume": "bmtnaau_1927-10_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": 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=bmtnaau192710-01.2.13", "titre_corps": "TO ISADORA", "titre_sommaire": "TO ISADORA", "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": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.45", "debut_caractere": 0, "fin_caractere_exclue": 10, "texte": "TO ISADORA"}]}, {"article_id": "bm-bmtnaau-1927-10-01-c045", "article_bluemountain": "bmtnaau_1927-10_01#c045", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "157", "page_fin": "157", "image_debut": 47, "image_fin": 47, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.2.14", "titre_corps": "AND YET.", "titre_sommaire": "AND YET.", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 47, "page_imprimee": "157", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.47", "debut_caractere": 0, "fin_caractere_exclue": 3825, "texte": "AND\nYET...\nI believe that not too seldom but too often\nhave writers in The Mask, held forth—\nyes, held forth is the phrase— unto the faithful\n; and the unfaithful alike, saying to them \" Don't\ngive in you critters—stick to it—never say die\".\nAnd yet.,...\nWhat are the conditions, what the precise\npoint in the torture, strain, foolery, whatever\nj you like to call the artist's trials, when you\ni permit yourself to say \"I want to die\"?\nYou have not failed, have vou ?— I do\naf\nnot suppose that; but anyhow, battles are\nlost in the same spirit as that in which they\nare won, says someone—was it not Whitman?\nYou are rather a success. You, for\nexample, have twenty-five years of active\nservice to your credit; have been hailed by\ntwo continents as a marvellous performer—\nhave heard thunders of applause (it's thunde-\nring as 1 write this by the way; —it is Sep-\ntember 15th and some bad news has appeared\nin the papers about one of our most loved\nartists) ; you have had three or four motor\ncars in your life, about half a million of\nmoney to play with, all the adoration you\nwanted, ...losses and gains, sorrows and joys\n....and yet you say you \" want to die \".\nBut I have been looking through the\nwrong window, one of the first-floor-front.\nUp high er then,— let us peer through a sky-\nlight on the fifth-floor-back.\nYou are quite as great a success only\nnot a sensational one. You are a success\nbecause you are an artist. You are painting\npictures which no one wants, but then that\nis nothing new: for they never did want\nthem.\nNever has the public — nor the patron\nof these last hundred years or so, wanted\nwhat you can do. Hardly ever is more\ncorrect. 1 recall two or perhaps three in-\nstances, but these were within an ace of\nbeing tragedies. Somehow the thing was\naverted.\nBut your pictures are not wanted, and\nyou have no talent for advertising your goods.\nYou are rather shy.\nBut you have lived fifty years now, so\nyou have passed the gnawing periods and\nyou don't give a damn; patron or no patron,\nyou have found a way how to get enough\nto live on. You sell pot-boilers for a living,\nfrom which you amass £ 150 a year: you do\nyour pot-boilers in three weeks, and after\nthat you do as you like.\nBut you are a sound enough being, for\nyou don't desire motorcars nor expensive\napartments nor swagger food — nor anything\nif it comes to that.\nMidway between your attic and the luxury-\nloving artists on the first floor there is living\nsome one more moderate than either of you\ntwo extremes; he is on the third floor front.\nHe writes: he manages to do something\nelse for a living —he photographs pictures,\nprints, manuscripts in the museums.\nHe makes £ 500 a year—isn't married —\nwrites when he chooses ; is altogether a fine\nartist, writes with genius, and is entirely\nmaster of his fate.\nThat's the artist 1 like.\nI love the others, all right — but it's the\nsensible man on the third floor, the moderate\none every way, calm and never to be per-\nturbed, whom I admire.\nThe notion that a hectic existence is\ninevitable to a genius, that a sensational\ncareer is agreable or necessary, and a tragic\ndeath like Eleonora Dose's a sine qua non,\nis absolute bunkum\nThe hectic sensation and tragedy go not\nwith the artist but with those who are ambi-\ntious beyond their powers : who are discon-\ntent, who have been fools enough to accept\nthe applause of the crowd and who have\nenjoyed playing to the crowd and on the\ncrowd; in short, who, though great artists,\nhave estimated themselves and their persona-\nlities as more than their art.\n■\nThey set an example not to be follow-\ned, for it is possible to fight for twenty\nyears, thirty years, forty years as did William\nBlake and not give in; but you had best\nnever flaunt along ; never forget that you are\npractically nobody, and if possible die singing.\nAnd yet...... YOO IVO HOO,"}]}, {"article_id": "bm-bmtnaau-1927-10-01-c049", "article_bluemountain": "bmtnaau_1927-10_01#c049", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "158", "page_fin": "160", "image_debut": 48, "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=bmtnaau192710-01.2.15", "titre_corps": "COLORIFIC MUSIC", "titre_sommaire": "COLORIFIC MUSIC", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "158", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.48", "debut_caractere": 0, "fin_caractere_exclue": 3653, "texte": "COLORIFIC MUSIC\n\nAND ITS EARLY PROTAGONISTS\nJ. B.\nIT was, I think, in 1910, that I heard Scria-\nbin in Moscow playing certain musics on\nhis piano. Baltruschitis had taken me to see\nhim. Scriabin was trying to work cut, or had\nalready worked out, some scientific artistic\nproblem about the relationship of colour and\nsound.\nHe struck a note and turned on a switch\n44 Blue \", he struck another and turned off\nhis blue and turned on 44 Red ; and now\nM. E. Fromaigeot is talking and writing of\nthe 44 Mystery of coloured hearing.\nIn 1908 I believe Lady Archibald Camp-\nbell was concerning herself with colours and\nsounds, and in 1925 44 Music in coloured\nlight \" by A. Lazlo appeared in Leipzig ;\nand Dr. Anchutz is another of those who\nare studying along these lines.\nBut somewhat earlier—in 1776 — appeared\na book by a certain W. Hooper M. D. in\nwhich is a chapter called 44 Colorific Music \".\nI give it here and you can judge for your-\nselves whether it is in any way related with\nthe recent (150 years too late) discoveries.\nRATIONAL ! RECREATIONS, | In which the\nPRINCIPLES of | NUMBERS AND j NATURAL\nPHILOSOPHY | Are clearly and copiously\nelucidated | BY A SERIES OF j EASY, EN-\nTERTAINING, INTERESTING | EXPERIMENTS |\nAmong which are j All those commonly per-\nformed with the Cards. ( By W. HOOPER,\nM.D. ! VOL. II. | LONDON | Printed for L.\nDavis, Holborn; J. Robson, New Bond-\nStreet ; j B. Law, Avemary-Lane ; and G.\nRobinson, Pater-noster-row. i MDCCLXXIV.\n\nRECREATIONS XLII.\nColorific Music.\nFATHER Castel, a Frenchman, in a curious\nbook he has published on Chromatics,\nsupposes the note ut to answer to blue in\nthe prismatic colours, the note re to yellow,\nand mi to red. The other tones he refers\nto the intermediate colours, from whence he\nconstructs the following gamut of colorific\nmusic.\nUt * Blue\nUt sharp Sea-green\nRe Bright -green\nRe sharp Oiive green\nMi Yellow\nFa Aurora\nFa sharp Orange\nSol Red\nSol sharp Crimson\nLa Violet\nLa sharp Blue violet\nSi Sky blue\nUt Blue\n€f This gamut, according to his plan, is\nto be continued in the same manner for the\nfollowing octave, except that the colours are\nto be more vivid.\nHe supposes that these colours, by stri-\nking the eyes in the same succession as the\nsounds, to which he makes them analogous,\ndo the ear, and in the same order of time,\nthey will produce a correspondent sensation\nof pleasure in the mind, it is on these ge-\nneral principles, which F. Castel has inge-\nniously dilucidated in his treatise, that he has\nendeavoured, though with little success, to\nestablish his ocular harpsichord.\nThe construction of this instrument, as\nhere explained, will show that the effects\nproduced by colours by no means answer\nthose of sounds, and that the principle rela-\ntion there is between them, consists in the\nduration of the time that they respectively\naffect the senses.\nBetween two circles of pasteboard, of ten\ninches diameter, AB and CD (Plate XIV.\nFig. 2.) enclose a hollow pasteboard cylinder,\neighteen inches long. Devide this cylinder\ninto spaces half an inch wide, by a spiral\nline that runs round it from top to bottom,\nand devides its surface into six equal parts\nby parallel lines drawn between its two\nextremities, as is expressed in the figure.\nLet the circle AB, at top, be open, and\nlet that at bottom, CD, be closed, and sup-\nported by an axis or screw, of half an inch\ndiameter, which must turn freely in a nut\nplaced at the bottom of a box we shall pres-\nently describe. To the axis just mentioned\nadjust a wooden wheel G, of two inches and\na half in diameter, and that has twelve or\nfifteen teeth, which take the endless screw H.\nLet the cylinder be enclosed in a box ILMN"}, {"page_pdf": 49, "page_imprimee": "159", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.49", "debut_caractere": 57, "fin_caractere_exclue": 2299, "texte": "(Fig. 3.) whose base is square and at whose\nbottom there is a nut, in which the axis F\nturns. Observe that the endless screw H,\nshould come out of the box, that it may re-\nceive the handle O, by which the cylinder\nis to be turned.\nThis box being closed all round, place\nover it a tin covering A, which must be\nperforated in different parts ; from this cover\nthere must hang three or four lights, so pla-\nced so that they may strongly illumine the\ninside of the cylinder. In one side of this\nbox (which should be covered with pasteboard)\ncut eight apertures a, b, c, d, e,\nf, g, h, of half an inch wide,\nand one third of an inch high;\nthey must be directly over\neach other, and the distance\nbetween them must be exa ctly\ntwo inches, it is by these\nopenings, which here corres-\npond to the musical notes,\nthat the various colours ana-\nlogous to them, are to appear;\nand which being placed on\nthe pasteboard cylinder, as\nwe have shown, are reflected\nby means of light placed\nwithin it.\nIt is easy to conceive,\nthat when the handle O, is\nturned; the Cylinder in con-\nsequence rising half an inch,\nif it be turned five times round,\nit will successively show, at\nthe openings made in the side\nof the box, all those that are\nin the cylinder itself, and\nwhich are ranged according\nto direction of the inclined\nlines drawn on it. It is there-\nfore according to the duration\nof the notes which are to\nbe expressed, that the aper-\ntures on the cylinder are to\nbe cut. Observe that the\nspace between two of the pa-\nrallel lines drawn vertically on\nthe cylinder, is equal to one\nmeasure of time, therefore for\nevery turn of the cylinder, there\nare six measures, and thirty\nmeasures for the air that is to\nbe played by the instrument.\nThe several apertures being made in the\nside of the cylinder, in conformity to the\nnotes of the tune that is to be expressed, they\nare to be covered with double pieces of very\nthin paper, painted on both sides with the\ncolours that are to represent the musical\nnotes.\nThis Recreation might be executed in a\ndifferent manner, and with a much greater\nextent; but as the entertainment would not\nequal the trouble and expense, we have\nthought it sufficient to give the above piece,\nby which the reader will&e enabled to judge"}, {"page_pdf": 50, "page_imprimee": "160", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 463, "texte": "how far the analogy supposed by F. Castel\nreally exists.\nThis article is taken from M. Guyot, who\nthough he commends the good father's in-\ngenuity and industry, attributes but little\nmerit to his scheme not having seen. Not\nhaving seen F. Castel's book, we cannot pre-\ntend to judge of the merit of his plan. It is\nevident, however, from the foregoing Recrea-\ntion, that there is a much stronger relation\nbetween sounds and colours than M. Guyot\nseems to imagine."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c050", "article_bluemountain": "bmtnaau_1927-10_01#c050", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "158", "page_fin": "158", "image_debut": 48, "image_fin": 48, "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=bmtnaau192710-01.2.15.1", "titre_corps": "AND ITS EARLY PROTAGONISTS", "titre_sommaire": "AND ITS EARLY PROTAGONISTS", "signature_source": "J. B", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "158", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.48", "debut_caractere": 17, "fin_caractere_exclue": 1462, "texte": "AND ITS EARLY PROTAGONISTS\nJ. B.\nIT was, I think, in 1910, that I heard Scria-\nbin in Moscow playing certain musics on\nhis piano. Baltruschitis had taken me to see\nhim. Scriabin was trying to work cut, or had\nalready worked out, some scientific artistic\nproblem about the relationship of colour and\nsound.\nHe struck a note and turned on a switch\n44 Blue \", he struck another and turned off\nhis blue and turned on 44 Red ; and now\nM. E. Fromaigeot is talking and writing of\nthe 44 Mystery of coloured hearing.\nIn 1908 I believe Lady Archibald Camp-\nbell was concerning herself with colours and\nsounds, and in 1925 44 Music in coloured\nlight \" by A. Lazlo appeared in Leipzig ;\nand Dr. Anchutz is another of those who\nare studying along these lines.\nBut somewhat earlier—in 1776 — appeared\na book by a certain W. Hooper M. D. in\nwhich is a chapter called 44 Colorific Music \".\nI give it here and you can judge for your-\nselves whether it is in any way related with\nthe recent (150 years too late) discoveries.\nRATIONAL ! RECREATIONS, | In which the\nPRINCIPLES of | NUMBERS AND j NATURAL\nPHILOSOPHY | Are clearly and copiously\nelucidated | BY A SERIES OF j EASY, EN-\nTERTAINING, INTERESTING | EXPERIMENTS |\nAmong which are j All those commonly per-\nformed with the Cards. ( By W. HOOPER,\nM.D. ! VOL. II. | LONDON | Printed for L.\nDavis, Holborn; J. Robson, New Bond-\nStreet ; j B. Law, Avemary-Lane ; and G.\nRobinson, Pater-noster-row. i MDCCLXXIV."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c051", "article_bluemountain": "bmtnaau_1927-10_01#c051", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "158", "page_fin": "160", "image_debut": 48, "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=bmtnaau192710-01.2.15.2", "titre_corps": "RECREATIONS XLII", "titre_sommaire": "RECREATIONS XLII", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 48, "page_imprimee": "158", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.48", "debut_caractere": 1464, "fin_caractere_exclue": 3653, "texte": "RECREATIONS XLII.\nColorific Music.\nFATHER Castel, a Frenchman, in a curious\nbook he has published on Chromatics,\nsupposes the note ut to answer to blue in\nthe prismatic colours, the note re to yellow,\nand mi to red. The other tones he refers\nto the intermediate colours, from whence he\nconstructs the following gamut of colorific\nmusic.\nUt * Blue\nUt sharp Sea-green\nRe Bright -green\nRe sharp Oiive green\nMi Yellow\nFa Aurora\nFa sharp Orange\nSol Red\nSol sharp Crimson\nLa Violet\nLa sharp Blue violet\nSi Sky blue\nUt Blue\n€f This gamut, according to his plan, is\nto be continued in the same manner for the\nfollowing octave, except that the colours are\nto be more vivid.\nHe supposes that these colours, by stri-\nking the eyes in the same succession as the\nsounds, to which he makes them analogous,\ndo the ear, and in the same order of time,\nthey will produce a correspondent sensation\nof pleasure in the mind, it is on these ge-\nneral principles, which F. Castel has inge-\nniously dilucidated in his treatise, that he has\nendeavoured, though with little success, to\nestablish his ocular harpsichord.\nThe construction of this instrument, as\nhere explained, will show that the effects\nproduced by colours by no means answer\nthose of sounds, and that the principle rela-\ntion there is between them, consists in the\nduration of the time that they respectively\naffect the senses.\nBetween two circles of pasteboard, of ten\ninches diameter, AB and CD (Plate XIV.\nFig. 2.) enclose a hollow pasteboard cylinder,\neighteen inches long. Devide this cylinder\ninto spaces half an inch wide, by a spiral\nline that runs round it from top to bottom,\nand devides its surface into six equal parts\nby parallel lines drawn between its two\nextremities, as is expressed in the figure.\nLet the circle AB, at top, be open, and\nlet that at bottom, CD, be closed, and sup-\nported by an axis or screw, of half an inch\ndiameter, which must turn freely in a nut\nplaced at the bottom of a box we shall pres-\nently describe. To the axis just mentioned\nadjust a wooden wheel G, of two inches and\na half in diameter, and that has twelve or\nfifteen teeth, which take the endless screw H.\nLet the cylinder be enclosed in a box ILMN"}, {"page_pdf": 49, "page_imprimee": "159", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.49", "debut_caractere": 57, "fin_caractere_exclue": 2299, "texte": "(Fig. 3.) whose base is square and at whose\nbottom there is a nut, in which the axis F\nturns. Observe that the endless screw H,\nshould come out of the box, that it may re-\nceive the handle O, by which the cylinder\nis to be turned.\nThis box being closed all round, place\nover it a tin covering A, which must be\nperforated in different parts ; from this cover\nthere must hang three or four lights, so pla-\nced so that they may strongly illumine the\ninside of the cylinder. In one side of this\nbox (which should be covered with pasteboard)\ncut eight apertures a, b, c, d, e,\nf, g, h, of half an inch wide,\nand one third of an inch high;\nthey must be directly over\neach other, and the distance\nbetween them must be exa ctly\ntwo inches, it is by these\nopenings, which here corres-\npond to the musical notes,\nthat the various colours ana-\nlogous to them, are to appear;\nand which being placed on\nthe pasteboard cylinder, as\nwe have shown, are reflected\nby means of light placed\nwithin it.\nIt is easy to conceive,\nthat when the handle O, is\nturned; the Cylinder in con-\nsequence rising half an inch,\nif it be turned five times round,\nit will successively show, at\nthe openings made in the side\nof the box, all those that are\nin the cylinder itself, and\nwhich are ranged according\nto direction of the inclined\nlines drawn on it. It is there-\nfore according to the duration\nof the notes which are to\nbe expressed, that the aper-\ntures on the cylinder are to\nbe cut. Observe that the\nspace between two of the pa-\nrallel lines drawn vertically on\nthe cylinder, is equal to one\nmeasure of time, therefore for\nevery turn of the cylinder, there\nare six measures, and thirty\nmeasures for the air that is to\nbe played by the instrument.\nThe several apertures being made in the\nside of the cylinder, in conformity to the\nnotes of the tune that is to be expressed, they\nare to be covered with double pieces of very\nthin paper, painted on both sides with the\ncolours that are to represent the musical\nnotes.\nThis Recreation might be executed in a\ndifferent manner, and with a much greater\nextent; but as the entertainment would not\nequal the trouble and expense, we have\nthought it sufficient to give the above piece,\nby which the reader will&e enabled to judge"}, {"page_pdf": 50, "page_imprimee": "160", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.50", "debut_caractere": 0, "fin_caractere_exclue": 463, "texte": "how far the analogy supposed by F. Castel\nreally exists.\nThis article is taken from M. Guyot, who\nthough he commends the good father's in-\ngenuity and industry, attributes but little\nmerit to his scheme not having seen. Not\nhaving seen F. Castel's book, we cannot pre-\ntend to judge of the merit of his plan. It is\nevident, however, from the foregoing Recrea-\ntion, that there is a much stronger relation\nbetween sounds and colours than M. Guyot\nseems to imagine."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c052", "article_bluemountain": "bmtnaau_1927-10_01#c052", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "159", "page_fin": "160", "image_debut": 49, "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=bmtnaau192710-01.2.15.2.1", "titre_corps": "DIAGRAM FOR THE CONSTRUCTION OF THE OCULAR HARPSICHORD", "titre_sommaire": "DIAGRAM FOR THE CONSTRUCTION OF THE OCULAR HARPSICHORD", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 49, "page_imprimee": "159", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.49", "debut_caractere": 0, "fin_caractere_exclue": 55, "texte": "DIAGRAM FOR THE CONSTRUCTION OF THE OCULAR HARPSICHORD."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c053", "article_bluemountain": "bmtnaau_1927-10_01#c053", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "160", "page_fin": "160", "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=bmtnaau192710-01.2.15.2.1.1", "titre_corps": "PLATE XIV. p. 166. Page 159)", "titre_sommaire": "PLATE XIV. p. 166. Page 159)", "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": "160", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.50", "debut_caractere": 465, "fin_caractere_exclue": 1047, "texte": "PLATE XIV. p. 166. Page 159).\nFig. I. A ray of light largely reflected into\nthe spectrum PT, the divisions of whose co-\n. lours correspond to the divisions of a chord\nfor the notes of the octave.\nFig. 2. & 3. The machine for exhibiting\ncolorific music. The shaded parts in Fig. 2.\nrepresent the* colours. F. is the screw on\nwhich it turns, G a wheel that is moved by\nthe endless screw H.\nHg. 3. Is the case that contains the cy-\nlinder. The eight shaded parts in the middle\nare the holes through which the colours on\nthe cylinder are seen; O the handle that\nturns the endless screw."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c055", "article_bluemountain": "bmtnaau_1927-10_01#c055", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "160", "page_fin": "160", "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=bmtnaau192710-01.2.17", "titre_corps": "KEEPING IN TOUCH", "titre_sommaire": "KEEPING IN TOUCH", "signature_source": "HADRIAN JAZZ GAVOTTE", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 50, "page_imprimee": "160", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.50", "debut_caractere": 1049, "fin_caractere_exclue": 3454, "texte": "KEEPING IN TOUCH\nBY HADRIAN JAZZ GAVOTTE\n\" pvON'T you feel you are rather out of\n1 J touch with things living so far away \"?\nsaid Sir j. J. to me in the August of 1922,\nand in the evening he told me about London—\nLondon in 1913 before the war. Talk of\nLady this, Lady that, Baroness So and Mrs.\nSuch: of these and of Covent Garden Theatre,\nand of teas, and of quarrels between him\nand—some others.\nI listened with care and reverence to these\nthings of the great world. I listened for\nan hour; and 1 found myself saying to my-\nself, \" Yes - you are losing touch with a very\ngreat world indeed \".\nSince then I've been thinking, it over\nmore and more carefully in my off moments,\nand I really believe I am getting out of\ntouch, ....with some eight thousand things which\nmatter to eight hundred thousand people.\nThere is Yorkshire, for example,—its\nhams, its moors, its moods and strange fine\npeople.\nSeven thousand are in touch with its\nhams, five thousand with its moors, five with\nits moods, nine with its people.\nThere is Lancashire ;—anc! to cut it short\nthere are the forty-four counties of England\n(not Counting Wales) and I'm almost out of\ntouch with them all.\nAs you are too. And you are living in\nLondon close to these places,... close yet out\nof touch. You are far away from Liguria,\nthe province I live in .... far away and out of\ntouch\nBut the daily and weekly papers from\nall parts of the world reach me, thirty or\nforty a week. You get as many I dare say.\nWell, let us admit that we are both out oi\ntouch with the three thousand journals we\ndon't get.\nWe two, you and 1, are in touch with\n\" The Mask \" ; but think of the thousands\nright in the centres of London and Paris who\nare out of touch with \" The Mask \".\nAre you perhaps absolutely in rapport\nwith what is going on in the world of in-\nvention ?—1 don't mean the social gossip of\nour capitals but with engineers and scientists\nwho invent new wonders to keep the world\nin touch with something it might otherwise\nmiss ? You know an engineer, two scientists,\nand they have no time to tell you what's\ngoing on so 1 fear you're out of touch there.\nSo am 1.\nDoes the King of England, does the\nPope, know of the remarkable book you\nhave just written, published, and which is\nnow \" remaindered \" ? Never heard of it;\n—so you see the King and the Pope are\nboth out of touch. After all 1 don't think\nit much matters whether one is in touch\nor no. '"}]}, {"article_id": "bm-bmtnaau-1927-10-01-c057", "article_bluemountain": "bmtnaau_1927-10_01#c057", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "161", "page_fin": "162", "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=bmtnaau192710-01.2.18", "titre_corps": "THE WHICH ONE", "titre_sommaire": "THE WHICH ONE", "signature_source": "EDWIN WITHERSPOON", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 51, "page_imprimee": "161", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.51", "debut_caractere": 0, "fin_caractere_exclue": 4453, "texte": "THE WHICH ONE\n\n\" . . . . though it maizes the unskilful laugh, cannot\nbut the judicious grieve ; the censure of the which\none, must, in your allowance, o erweigh a whole theatre\nof others Hamlet : Act. III. Sc. 2.\nHAMLET told the actors at Elsinore that\nthey should take heed of the censure\nof the one rather than the plaudits of the\nmany, but if Hamlet had been an actor I very\nmuch doubt if he would have taken much heed\nof him. F or the censorious one has such an\nawkward way of selecting the wrong time\nand place for his cruel kindness.\nIf an actor has time to suffer quietly and\nrecover at home after a dressing-down admi-\nnistered by the which one, well and good ;\nbut if he has no time allowed him, if the\nwhich one gives it him in front of 3000\nspectators, then (if i am to be an actor) the\nidiotic plaudits of the many for my money. I\nconsider the other fellow a blighter.\nHow I come to be so critical of myself —for\n1 am a censorious which one — I will tell you.\nI was supposing myself to be a rather\nclever clown, (one of those quiet philosophi-\ncal, not unintellectuai clowns) and I supposed\nmyself repeating for the tenth or hundredth\ntime my quiet quirks from the little raised\nstage which runs in front of my booth.\n1 was getting along rather well when I\ncaught sight of '' the which one \". That\navis was an unusual looking man. He had\nstopped as he walked brushing the outer edge\nof the crowd of about thirty spectators, and\nhe had turned towards my platform, and it\nseemed to me that he showed signs of ap-\nproval ; I mean he had stopped short and he\nwas listening.... it was something.\nHe had a broad well shaped forehead,\ncalm and lively eyes, a well shaped mouth\nand firm chin; 1 noted all this as I went on\nwith my patter. ...I went on with it without\ninterfering at all with my speculation as to\nwho this one could be. 1 guessed him a\nwriter, perhaps a writer on science, yet he\nhad the kindly look of a musician. Perhaps\nI thought of musicians because 1 was telling\nthe spectators that love could be but a silly\nsort of thing if it could feed on music ....it\nprobably was this which put me in mind of\nmusicians, for the notion only lasted a mo-\nment, and when I next looked in his direction the\nkindliness was gone : he now wore the severe\nlook of a doctor, as of one about to operate.\nThen he cut. 1 did not cry out, but I\nfelt I had winced. His expression had said\nNo good \". He then turned and disap-\npeared and I never saw him again.\nHe was the only one that had turned\naway; at the moment he turned I said some-\nthing about beer so as to try and hold him, and\nthe crowd had roared with spluttering joy.\nTheir gurgling was agony to me,—it seems\nto be my own cry, mirthless and terrible : it\nmade me feel sick and faint. I finished\nthe show somehow, and counted up my mo-\nney, in my tent—1 heard the everlasting sound\nof feet which crunched, slipped, plodded or\ntoddled by outside and the cries of rival\nshowmen announcing new lions ; and still I sat\non and on. I was thinking only of this one face\nwhich had been so cruel.... \" the which one \".\nI came at last, but only after an hour and\na quarter of pain, to tell myself that anyhow\nhe was quite unaware that I had noticed his\ncoming, his pausing, and his going, and that\nhis censure had been quite unintentional—\nnot intended to stab me— ; but to arrive at\neven this vague and flimsy bit of hope I had\nto pass through a most wretched time—one\nof the most miserable hours in my life,\nI think he will never know that I had\nread the expression of his face, which said\nthe verdict is—no go \".\nAfter this experience how am I to be expected\nto gush over Shakespeare's and Hamlet's ad-\nvice to the players ? 1 think it fatal advice :\nfor ever since the day when\nstopped before my show, I have lost courage\nand in a week from now I am to retire: I\nam a failure as an actor.\nIt's easy enough for you who read those\nseven .words to keep up your spirits, for you\nare ignorant of what they. mean. I assure\nyou it is misery to me to write them. For\nI was a man of talent, I was slowly deve-\nloping that talent; all was, I can say, going\nstrong ; until he came, the which one whose\ncensure I am to allow to over-weigh the\ngood opinion of the thousand jackasses who\nhave in the last eleven years always found\nmy work good.\nI don't blame them, though now I know\nthey were perfect fools to deceive me, to\nlaugh at nothing, to clap their hands, and,\nwhat is worse, to waste their money on me."}, {"page_pdf": 52, "page_imprimee": "162", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.52", "debut_caractere": 0, "fin_caractere_exclue": 190, "texte": "The censure of \" the which one \" is all\nright, laddy, but don't you take any notice of it.\n1 was supposing myself a clown when\nthis occurred to me, and I merely a critic.\n\nEDWIN WITHERSPOON."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c059", "article_bluemountain": "bmtnaau_1927-10_01#c059", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "162", "page_fin": "162", "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=bmtnaau192710-01.2.19", "titre_corps": "THE ENGLISH STAGE", "titre_sommaire": "THE ENGLISH STAGE", "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": 52, "page_imprimee": "162", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.52", "debut_caractere": 192, "fin_caractere_exclue": 4104, "texte": "THE ENGLISH STAGE\nC. G. SMITH.\nTHE English Stage is still where it was\nsome twenty-five years ago; still hesita-\nting as to whether it should or it shouldn't.\nExamples of its fear : —\nMrs. Patrick Campbell ; should she or\nshould she not be permitted to inspire a\ntheatre or two towards something worth while\n— or isn't it safer to let her wander into the\nprovinces ?\nMr. Fred Terry: — isn't he best out of\nthe way at Liverpool or York ?\nIs not Sir J. Martin Harvey far safer\nworking up at Huddersfield and Wigan ? —\nMr. Barker — ah! Barker! ! yes, clever\nfellow: is \"well off now: let bin stay in\nGloucestershire or wherever he is. Craig ?\n— in Italy : ail the better. Poei ? — what,\nthe old Elizabethan chap ? No good anyhow.\nBasil Dean? ...let him go and waste his\ntime and make money with the Movies:\ndon't need him. Miss Gertrude Kingston ?\n....and so on and on through the whole list\nof people with brains and talent.\nWho says all this ? ...who is head of\nour English Theatre ? Is there any head ? it\ndoesn't look like it. What group, then, rules\nthe roost ? Why is it so inane as to suppose\nthat the English stage can afford to say\n\" Let the talents go hang — Call in the\nAmericans : let the theatres to anyone, every-\none, never mind who : — let us get on\nFor von cannot get on without the talents.\nAll you do is to roll back — downhill.\nThe British Stage is certainly rolling\ndown, and the full honour of this is presumably\ndue to some one or some group.\nThey tell us that it is due to Sir Gerald\nDu Marnier; to Miss Baylis; Miss Thorndike;\nMr. Oscar Asche; to Messrs Moss, Boss,\nStoll, Butt and Co; to Mr. Gulliver; Miss\nMary Moore and her group ; to Mr. Play fair\nand his group; or to The British Drama\nLeague : these, one is told, have ail entrenched\nthemselves in London and are letting this\nhappen.\nThey put it down to these because they\npoint out that most of these are \" intelligent \"\npeople who are somewhere at the head of the\nprofession, and that it must be due to their\nshort-sighted and narrow-minded policy that\nthe slow destruction of the English Theatre\nis carried out with such grim precision.\nThey are there — that's sure enough.\nA large and presumably able group of\nmen and women, somewhat disunited, produ-\ncing, acting, making money, or \"a little less\nmoney \" or a little more; without a compass\nto guide them; with many a disjointed notion\nof many an ideal to be followed and power-\nless to follow one. This is the advance\nguard of the Theatre Profession in London.\nIt seems to be at sixes and sevens.\nSome leader is needed if the British\nStage is to avail itself of its immense re-\nsources. At present these resources are being\nsquandered. The British Stage is like old\nPekin, pillaged each year by everyone and\nanyone. There is no one, it seems, but will\nsell the place —on the plea of \" expediency \".\nOur resources in money, men and energy\nare immense. These are all being wasted.\nEnergy is put into all kinds of attempts to\nforward some rather good notion or other. Ail\ncomes to nothing in twelve months or sooner.\n©\nBasil Dean at Drury Lane, for example.\nIt was an error to place him there: but it\nwas sheer weakness not to stand by it and\nkeep him there and test the experiment tho-\nroughly once the step had been taken. To\nbe rid of him in the way it was done was a\ndirty trick.\nThe Stratford-upon-Avon affair is being\nquite thoroughly mishandled — because the\npowers that be (or pretend to be) are unable\nto tell Stratford what it has to do or to see\nit done.\nEveryman Theatre! ...a fantastic error to\nstart it, but once started it should have been\ncarried through.\nCompetent men (if not men of talent)\nare pushed into places they cannot fill;\nand, when there, the support they relied on\nis pulled away from under their feet.\nWhen is this inane and mischievous po-\nlicy going to give place to a decent one —\nthe policy, of supporting all the brains and\n.1 . 1 .\nthe talents ?"}]}, {"article_id": "bm-bmtnaau-1927-10-01-c060", "article_bluemountain": "bmtnaau_1927-10_01#c060", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "163", "page_fin": "163", "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=bmtnaau192710-01.2.20", "titre_corps": "CORRESPONDENCE", "titre_sommaire": "CORRESPONDENCE", "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": "163", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.53", "debut_caractere": 0, "fin_caractere_exclue": 1257, "texte": "CORRESPONDENCE.\n\nE. LYLIE.\nSIR:\nIf you want to know what the educational world of\ntoday regards as being as simple as A, B. C. just look\nat the enclosed cutting from the catalogue of the leading\nfirm of publishers with a fine handsome new building in\nHolborn. You might think that \" C for Cat \" is simple,\nbut the modern child is supposed to want something more\noriginal and so Is given apparently, <( C for Lemon \"\nwhich the teacher may explain is sometimes called \" Ci-\ntron \".\nQ seems at first glance to stand for \" Cubes \" but as\nthat cannot be we may conclude that it is meant to be\n\" Q for Quadrangles '' though why the quadrangles should\nall be square even a three-year-o!d may be .excused from\nwondering. I showed one child the \" U for Urn ;\nhe used his eyes and said very wisely U for Egg-cup\nAfter this I fear that my A. B. C. is not nearly com-\nplicated enough to please them. They don't think that\nthey are learning anything unless they are taken through\ntortuous ways. Faithfully\n\nED.\nWE reproduce twelve of the twenty five letters, Ois\nfor order but what is this order ? ft is cal-\nled the Kindern Alphabet set ; why not the Chil-\ndren's Alphabet ? Kindern is the German word for Chil-\ndren wis it not ? Is Holborn being quite fair to\n•tself ?"}]}, {"article_id": "bm-bmtnaau-1927-10-01-c062", "article_bluemountain": "bmtnaau_1927-10_01#c062", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "163", "page_fin": "163", "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=bmtnaau192710-01.2.20.2", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "E. LYLIE", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 53, "page_imprimee": "163", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.53", "debut_caractere": 17, "fin_caractere_exclue": 992, "texte": "E. LYLIE.\nSIR:\nIf you want to know what the educational world of\ntoday regards as being as simple as A, B. C. just look\nat the enclosed cutting from the catalogue of the leading\nfirm of publishers with a fine handsome new building in\nHolborn. You might think that \" C for Cat \" is simple,\nbut the modern child is supposed to want something more\noriginal and so Is given apparently, <( C for Lemon \"\nwhich the teacher may explain is sometimes called \" Ci-\ntron \".\nQ seems at first glance to stand for \" Cubes \" but as\nthat cannot be we may conclude that it is meant to be\n\" Q for Quadrangles '' though why the quadrangles should\nall be square even a three-year-o!d may be .excused from\nwondering. I showed one child the \" U for Urn ;\nhe used his eyes and said very wisely U for Egg-cup\nAfter this I fear that my A. B. C. is not nearly com-\nplicated enough to please them. They don't think that\nthey are learning anything unless they are taken through\ntortuous ways. Faithfully"}]}, {"article_id": "bm-bmtnaau-1927-10-01-c064", "article_bluemountain": "bmtnaau_1927-10_01#c064", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "163", "page_fin": "163", "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=bmtnaau192710-01.2.20.3", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "ED", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 53, "page_imprimee": "163", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.53", "debut_caractere": 994, "fin_caractere_exclue": 1257, "texte": "ED.\nWE reproduce twelve of the twenty five letters, Ois\nfor order but what is this order ? ft is cal-\nled the Kindern Alphabet set ; why not the Chil-\ndren's Alphabet ? Kindern is the German word for Chil-\ndren wis it not ? Is Holborn being quite fair to\n•tself ?"}]}, {"article_id": "bm-bmtnaau-1927-10-01-c066", "article_bluemountain": "bmtnaau_1927-10_01#c066", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "163", "page_fin": "163", "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=bmtnaau192710-01.2.21", "titre_corps": "FOREIGN NOTES", "titre_sommaire": "FOREIGN NOTES", "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": "163", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.53", "debut_caractere": 1259, "fin_caractere_exclue": 4752, "texte": "FOREIGN NOTES.\n\nTHE GATE THEATRE, LONDON\nC. L.\nTHE Gate Theatre, after various delays, is now getting\nto work in its new home in No. 16a Villiers Street.\nThe new building has been taken on a long lease, and\nwill seat about 250 people.\nThe stage has been enlarged, its equipment improved\nand an entirely new lighting system has been installed.\nIn the new \" Gate as in the old, there is a Coffee\nBar and Foyer always open to Members of the Stu-\ndio after 4.30 p. m., and where playgoers meet and\ntalk theatre before and after the performance. Theatrical\nmagazines—The Mask being always prominent—weekly\nreviews and new books about the theatre and its allied arts are\non hand for the use of Members. Writing materials will be\navailable, and refreshments, are sold at very moderate prices.\nThe production of plays is entirely under the direc-\ntion of Peter Godfrey, whose work during the past two\nyears has brought London at last into practical contact\nwith the new art of the theatre as practised on the Con-\ntinent and in America since the war, and whose avowed\npurpose is that of \" developing artists in the theatre by\ngiving them the chance of experimenting freely before an\naudience interested in the advancement of ihe theatre \".\nThe following is an extract from an \" Open Letter to\nmembers of the Studio \" issued by the managers, Mr. Peter\nGodfrey and Miss Velona Pilcher.\nMEMBERS have no doubt observed from the Papers that\nthe Gate has been going through a series of calamities\n— calamities so continuous as to be almost comic. Our trou-\nbles began on the day when the District Surveyor called at\nthe new playhouse in Villiers Street and condemned it unless\na cement floor was put in. So the stage and seats, all ready for\nthe opening night, had to be pulled down ; the work wasted ;\nthe wood scrapped ; and a cement floor—on which all struc-\ntures shall be of fireproof material —is now hardenin g. The\nworst therefore is over.\nThe letter further points out, that owing to all these\nexigencies, for a time at least,—\n41 The circumstances of The Gate will be very straitened\nindeed, and conditions of existence strained. Members will\nunderstand that the expansive and expensive changes deman-\nded by the Authorities were not included in the modest budget\nwith which the new playhouse was planned. Fortunately,\nous credit is good. We need not ask for money. But may\nwe not ask Members of the Studio to take an honest interest\nin a difficult endeavour? Will our audience play it's part in\nour performance? Promptly take the Prompter's signal and\nsave the show ? The cue is simply this-That old Members be\neager in getting new Members and all Members be early in\nbuying their seats \"\nADMISSION to the Gate Theatre Studio is open only\nto Subscribers (that is Members of the Studio and\ntheir Guests), but the terms are so moderate that you really\nget something for nothing at the Gate.\nYou remember the old saying: —\n\" Your mother and your sisters are waiting at the gate\nEnter not them Portials—pause, before it is TOO LA TE \".*\nbut, if you want to enter them, make haste and write\nto The Secretary, 16a Villiers St. Strand, —and all cheques\nshould be made payable to The Gate Theatre.\nDon't for God's sake forget that. Write the cheque\nnow. Write it for £ 100 and you'll feel awfully fresh\nand jolly. Whet's £ 100 to you?\nYou needn't go and see the plays, you know. Who\non earth ever wants to see or hear a play ? You say\nyou do — I don't believe you. It's English we are talk-\ning, you know"}]}, {"article_id": "bm-bmtnaau-1927-10-01-c067", "article_bluemountain": "bmtnaau_1927-10_01#c067", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "163", "page_fin": "163", "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=bmtnaau192710-01.2.21.1", "titre_corps": "THE GATE THEATRE, LONDON", "titre_sommaire": "THE GATE THEATRE, LONDON", "signature_source": "C. L", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 53, "page_imprimee": "163", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.53", "debut_caractere": 1275, "fin_caractere_exclue": 4752, "texte": "THE GATE THEATRE, LONDON\nC. L.\nTHE Gate Theatre, after various delays, is now getting\nto work in its new home in No. 16a Villiers Street.\nThe new building has been taken on a long lease, and\nwill seat about 250 people.\nThe stage has been enlarged, its equipment improved\nand an entirely new lighting system has been installed.\nIn the new \" Gate as in the old, there is a Coffee\nBar and Foyer always open to Members of the Stu-\ndio after 4.30 p. m., and where playgoers meet and\ntalk theatre before and after the performance. Theatrical\nmagazines—The Mask being always prominent—weekly\nreviews and new books about the theatre and its allied arts are\non hand for the use of Members. Writing materials will be\navailable, and refreshments, are sold at very moderate prices.\nThe production of plays is entirely under the direc-\ntion of Peter Godfrey, whose work during the past two\nyears has brought London at last into practical contact\nwith the new art of the theatre as practised on the Con-\ntinent and in America since the war, and whose avowed\npurpose is that of \" developing artists in the theatre by\ngiving them the chance of experimenting freely before an\naudience interested in the advancement of ihe theatre \".\nThe following is an extract from an \" Open Letter to\nmembers of the Studio \" issued by the managers, Mr. Peter\nGodfrey and Miss Velona Pilcher.\nMEMBERS have no doubt observed from the Papers that\nthe Gate has been going through a series of calamities\n— calamities so continuous as to be almost comic. Our trou-\nbles began on the day when the District Surveyor called at\nthe new playhouse in Villiers Street and condemned it unless\na cement floor was put in. So the stage and seats, all ready for\nthe opening night, had to be pulled down ; the work wasted ;\nthe wood scrapped ; and a cement floor—on which all struc-\ntures shall be of fireproof material —is now hardenin g. The\nworst therefore is over.\nThe letter further points out, that owing to all these\nexigencies, for a time at least,—\n41 The circumstances of The Gate will be very straitened\nindeed, and conditions of existence strained. Members will\nunderstand that the expansive and expensive changes deman-\nded by the Authorities were not included in the modest budget\nwith which the new playhouse was planned. Fortunately,\nous credit is good. We need not ask for money. But may\nwe not ask Members of the Studio to take an honest interest\nin a difficult endeavour? Will our audience play it's part in\nour performance? Promptly take the Prompter's signal and\nsave the show ? The cue is simply this-That old Members be\neager in getting new Members and all Members be early in\nbuying their seats \"\nADMISSION to the Gate Theatre Studio is open only\nto Subscribers (that is Members of the Studio and\ntheir Guests), but the terms are so moderate that you really\nget something for nothing at the Gate.\nYou remember the old saying: —\n\" Your mother and your sisters are waiting at the gate\nEnter not them Portials—pause, before it is TOO LA TE \".*\nbut, if you want to enter them, make haste and write\nto The Secretary, 16a Villiers St. Strand, —and all cheques\nshould be made payable to The Gate Theatre.\nDon't for God's sake forget that. Write the cheque\nnow. Write it for £ 100 and you'll feel awfully fresh\nand jolly. Whet's £ 100 to you?\nYou needn't go and see the plays, you know. Who\non earth ever wants to see or hear a play ? You say\nyou do — I don't believe you. It's English we are talk-\ning, you know"}]}, {"article_id": "bm-bmtnaau-1927-10-01-c068", "article_bluemountain": "bmtnaau_1927-10_01#c068", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "164", "page_fin": "178", "image_debut": 54, "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=bmtnaau192710-01.2.22", "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": 54, "page_imprimee": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.54", "debut_caractere": 0, "fin_caractere_exclue": 5724, "texte": "BOOK REVIEWS.\n\nTHE UNPUBLISHED LETTERS\nOF CHARLES DICKENS TO\nMARK LEMON. Halion & Trus-\ncott Smith Ltdy Price 42/-.\nCHARLES DICKENS AND\nOTHER VICTORIANS by Q.\nCambridge University Press. Price\n10/6 net„\nWHEN CRUMMLES PL A YED,\nwith an Introduction by F. /. Harvey\nDarton. Chapman & Hall Ltd, Price\n3/6 net.\nWHAT a delight it must have been\nto have lived in Cambridge as\na young student a year or so ago (when\nit was rather less rainy too) and to\nhave been privileged to listen to the\nhappy lectures of this boyish, spirited\nprofessor, Sir Arthur Quiller Couch.\nThese lectures, now published in a\nbook, form one of the most pleasant\nbooks you will ever want to read. It\nwill please you to see how simply and\nhow humanly the professor addresses\nthe students assembled courageously to\nlisten to a dry talk on English Lite-\nrature. You can imagine how surprised\nand happy these fellows became on\nperceiving that the talk was to be\nbrilliant and young, easy to follow,\nand sufficiently profound after alb\nSome will hardly suppose that to\ntalk of Mr. Micawber and of Fagin\ncan fail to bore : others will wonder\nwhat brightness can come out of the\nconsideration of Charles Dickens, the\nrather vulgar, very sentimental writer\nwho found it intolerable to go on\nliving with his wife :—and who became\ndespite of that once so horribly popular.\nBut now everything is against a\nfervid revival of the old interest in\nDickens.\nIt doesn't matter in the very least,\nbecause even the sea has lost greatly\nin popularity these last twenty years\nor so. It is only the pyjamas by the\nsea which count,— these the clou to\nthe whole reason of nature and life,\nLet us add some machinery har-\nnessing the waves and I think I shall\nbe just.\nDickens and the sea, and Tennyson,\nand Byron and Benvenuto Cellini are\nall a little out of date, 44 Benvenuto\nwas, it is to be feared, rather medio-\ncre as an artist \" wrote a critic only\nlast month. Shakespeare is not quite\nas excellent as he ought to be, think\nthose who sit round the fire on winter\nevenings cutting out all that is really\nnot quite good: Leonardo da Vinci\nis terribly over-rated one is told ; I\nhad to stop reading Robinson Crusoe\n(and I am rather a gcod reader) to a\nfriend who wasn't listening. It is true\nthat Crusoe is best read to oneself,\nso possibly mine was the error here.\nI had to stop reading a play by\nG. B. S. ...and to myself tco; truly the\nworld must be coming to an end.\nYes —an end of a chapter, and\nthere are probably three thousand\nmore chapters, everyone of which will\nbut be the old story rewritten.\nDicken's devotion to the stage was\na life-long devotion. Once he had\nwished to be an actor and wrote to\nBartley the stage-manager of Covent\nGarden Theatre and very nearly became\na professional actor.\nLater in life he became a very\nserious Amateur stage-manager : and\nthe sumptuous volume edited by Mr.\nWalter Dexter containing the letters from\nDickens to Lemon tells us all about\nthis.\nft is indeed a very sumptuous book,\nprinted in a large type with original\ntouches all over the composition, on\nexcellent thick paper, (thick paper is\nseldom good but this is) and bound\ngorgeously in crimson cloth and real\nvellum backs and corners.\nTo me as a student of Theatrical\nhistory it is something to be grateful\nfor, the production of this series of\nletters with some of the letters inserted\nin facsimile, so precisely in facsimile\nthat I took one to be a loose letter\ninserted by the bookseller or pub-\nlisher, and began to read it as such.\nIt is also illustrated by reproduc-\ntions of the Programmes of the Dickens\nPrivate Theatricals.\nYou can judge of the crowd he\ncollected as co-workers when you\nglance at these programmes and find\nthere the names of John Tenniel,\nCharles Knight, Douglas jerroid, John\nForster, R. H. Home, Wilfcie Collins,\nJohn Leech, Mrs. Cowden Clarke and\nGeorge Cruickshaok.\nAnd for scene-painting he had the\nwork of Thomas Greve* Mr. Telbin,\nClarkson Stanfield R. A., Mr. Ro-\nberts R. A,, Pitt, Absolon and Louis\nHaghe, all doing a scene apiece for\none night's performance. What a jolly\nfellow Dickens must have been.\nThe book is rather a rare one for\nony 525 copies have been printed,\nso if y. u, gentle reader, are in Ame-\nrica I advise you to hurry up and\nwrite for one at once to Halton &\nTruscott Smifh Ltd. whose address is\n57 Haymarket, London. It costs forty\ntwo shillings and is worth twice that sum.\nSome of our more famous publi-\nshers will have to wake up, for some\not the lesser known publishers are\ndoing better work than they: and if\nbefore long we forget Messrs Dash\nand Sons and have only room in our\nlibraries to house the noble books of\nthe Nonesuch Press and these rich\nvolumes of Messrs Halton 6c Tiuscott\nSmith and Mr. Peter Davies and the\nother new-comers, it will be no one's\nfault but that of Messrs Dash and Sons.\n44 When Crummies Played \" is a\nlittle inoffensive volume but is unwor-\nthy of the great house of Chapman\nand Hall. It might easily have been\nprinted on better paper and with\nbetter illustrations and for 2/6. ie, one\nshilling less.\nYes, the old Firms must wake up.\n\nANNALS OF THE NEW YORK\nSTAGE by George C. D. Odell.\n2 Volumes. Columbia University\nPress, New York• Milford, Oxford\nUniversity Press, London. Price 45 -\nnet each volume.\nIIWIMIIHHM—B—IMIIM ■nil !!!■■ I—IIII Hill——E» «|l H—mnail II Ml II HI II ■llfliiriWIllllLl.l.WII.IBa kWlWIWIHHI\nAT last a really good report has\nbeen made of the half of the\nannals of the New York stage; — I\nsay half, for the Lyric stage would\nseem to have been ignored by Mr.\nOdell or by America, as the first al-\nlowed his pen 44 to glide happily\nalong \" or the second went to sle^p.\nOne can see at once that Mr. Odell\nhas been very happy, for it is an easily\nwritten book."}, {"page_pdf": 55, "page_imprimee": "165", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 6674, "texte": "It was, he tells us, intentional when\nhe 44 discarded the mechanism of foot-\nnotes, bibliographies and other scho-\nlarly impedimenta \" : he has tried hard\nto make the two large volumes enjoya-\nble reading. That he fails to succeed\nis not because he does not do every-\nthing he possibly can do to lighten the\nordeal. And it really is a good big\ncrdeal to face these volumes smiling.\nMr. Odell smiles to help us: he\nchortles now and again : he even digs\nus, on rare occasions, in the ribs. He\nis cheerful to jauntiness —as indeed\nwho would not be who sat down to\nrecord the almost daily doings of all\nthe performers, entertainers, and cu-\nriosities which came upon the New\nYork Stage in those days.\nThe record is an amazing one.\nMr Odell has more than adequately\nrepaid the debt of pleasure which he\ntells us he incurred in many happy days\nof playgoing. Nothing could be more\nhonourably done.\nPersonally I enjoy a History which\nis full of the discarded 44 footnotes,\nbibliographies and other scholarly im-\npedimenta I prefer a more sober,\nif duller, report—unless it be written\nby Charles Lamb, and then sobriety is\nout of the question.\nBut there was a great danger in\ndealing with these Annals in any but\nMr. Odeli's lively way, for the facts,\nanecdotes, achievement and failures at\nhis disposal are such poor spirited\nthings, he had no choice but to burn\nthem up with a chuckle or two. One\nis all through chilled by the realiza-\ntion that some of the very worst ta-\nlent Europe could produce went over\nto America—and when it was first\nclass, as in the case of Edmund Kean,\nsomething went wrong with the recep-\ntion of it. The Americans were rude.\nThe plays and actors which Ame-\nrica itself produced, were but very\npoor imitations of what it took to be\nthe best European goods. The record\nso far—presumably other volumes are\nto appear—consists of 1086 pages of\namazingly well collected and well or-\ndered facts not worth recording.\nIt is as though some one should\ndeal exhaustively with the Annals of\nthe Coatbridge Theatres. Possibly\nMrs. Siddons once visited Coatbridge\nbut what else worth while is to be\nrecorded? Never mind, says the his-\ntorian, record it all\nIt is right that the record should\nhave been made in the case of New\nYork City. The book will of course\nbe of invaluable service. Mr. Odell\neven records the concerts and some-\ntimes is at his happiest when doing so.\nOf a conceit in 1794 he writes:\n44 I suppose youthful ears could not\nconsume quite a dollar s worth of\nmusic. Furthermore Iam Willing to\nbelieve that Phillips knew whether or\nnot his name was written with one I\nor two; the newsprints of the time\nstaggered in uncertainly as to the\ndoubling of the liquid. I also blindly\ngrope. In the same way all my mind\nis clouded with a doubt as between\nDu Champ and du Camp, in para-\ngraphs immediately forthcoming. O re a\"\nder, that Eighteenth Century spelling\nand o the dubiety it entails in aw\nthors and editors I Alack / Alack /\n, The two volumes bring the reader\nup to the year 1821, and, by the\nhelp of a very thorough index to each\nvolume, we can find everything we\nlook for in an instant.\nMany interesting illustrations enrich\nthe work, some of which have been\ndrawn from the collection at Harvard\nUniversity, though why the Frontis-\npiece of 44 The Fool's Opera \" is in-\ncluded when no mention of Opera or\nthis opera is in the index, and only\nthe slightest allusion made to the said\nbook, leaves me puzzled.\nAnd I am unsatisfied when, on turn-\ning to discover who was Charles Ci-\nceri, I am not enlightened as to what\nrelation he was to the L. L. Charles\n(1782 1868) (0 the last of the\ngreat scenepainters of Italy. He can\nhardly be the Ciceri for this man in\nAmerica was painting scenes for 44 Tam-\nmany \" in 1764 and the great Ci-\nceri was then but eleven to twelve\nyears old.\nWe are told what he did, but not\na word as to who he was, when\nborn, where he went to when he dis-\nappears suddenly from Mr. Odeli's\nbook on page 225 of the second\nvolume.\nI have said that Mr. Odell ignores\nOpera or the Lyric Stage; or can it\nbe possible that Opera was only first\nrecognized when in 1815 Italian Opera\nfirst came to America ?\nThen it wasn't Mr. Odell who\nignored Opera; it was America; — an\nastounding fact if a fact.\nWe shall probably get Opera treated\nin the next volume, for by then 1825\nwill have been reached.\nAmerica is a large place; — one is\nforced to be always telling oneself this\nlest one should become at all critical\nof the smallness of the American mind\nwhen dealing with the arts.\nI admire immensely their artists:\nwhy can't America admire them and\nsupport them ? why imitate England'3\nworst fault, —it's ancient indifference to\nthe well-being of too many of her\nartists.\nWhy, one asks, and one sees the\nanswer to that riddle in this book:—\nthey are too stupid as a nation to\nknow the value of art to the life of\nthe nation.\nI never felt this so clearly as when\nreading this admirable work by Mr.\nOdeil.\n(i) Bapst's dates.\n\nV ARTE DELL9 ARCHITETTO\nFILIPPO JUVARA IN PIEMON-\nTE by Aagusto Telluccini. CruJo &\nC. Torino. No price given.\n■UIJ \\T I IHI ■ HI ■IIWIBJIMHIIIIIN\nTHIS celebrated architect was one\nof the best pen-draughtsmen of\nthe 18th century : and when he wrote\nhis name with his pen he wrote it\n44 Juvarra Why then does Sighor\nTelluccini drop an R and awaken thereby\na lack of confidence in me ?\nBut I am not going to trouble\nabout that since all I have to do is\nto express wonder and gratitude for\nany book which may appear about\nJuvarra. There have been next to\nnone, and this one as a beginning is\nall to the good.\nJuvarra was born at a time when\nscenography was getting rather too\nstrong a hold on the architects—indeed\non everyone. And so, while Juvarra\nwas primarily an architect—and I think\na poor one —- he was far more of a\nscenographer and obviously a magnifi-\ncent one.\nHe was born about 1676 says Si-\ngnor Telluccini; at Messina, say two\nwho knovv*. at Parma, say two others\nwho know t in 1673, in 1676, in\n1684 and in 1685, so say nine who\nknow—all disagreeing.\nBut can they all know ? Evidently\nsome of them don't. Have any of\nthem by luck hit on the right date\nand spot ?\nSignor Telluccini should . be read\nattentively, for, since 1907 when he\npublished his first 44 Contributo alia\nbiografia di Filippo Juvara 44 in Mes-\nsina he has been at work learning\n. more.\nTo give more than twenty years off\nand on to a work is the way to do it.\nNowadays if we give six months to\nsuch a work we feel we are not quite\npractical.\nJuvarra died in 1736 \" aged 63\nsays one authority ; 44 aged about 58 *\nsays another; \"aged 51 \" says a\nthird.\nI like the one who says 44 aged about\n58 \" for ever if incorrect it's courteous;"}, {"page_pdf": 56, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 6649, "texte": "and it's his pupil Zacchell! who said\nit, and I think he is likely to have\nknown; still it really doesn't much\nmatter; except to me. I am a stick-\nler for dates. So long as I know\nwhen an artist was born, which day,\nwhich hour, if possible where and\nwhen and exactly when he died and\nwhere then I really trouble no more\nabout him except to know what he\ndid at twenty, on which day and\nwhere, and what at twenty-five, and\nso on tin we come to the end.\nThis is what Signer Telluccini tries\nto do with Juvarra, and succeeds so\nwell in doing, until he comes to the\ntheatrical work of this essentially thea-\ntrical person. Then he seems to me\nto fail.\nBut because of this 1 will not com-\nplain ; he gives us so many splendid\nplates showing his work, which is all\nas stagy as it can be; and I for one\nam quite enchanted, and await expec-\ntantly the book on Juvarra Scerio-\ngrapher.\n\nEUROPEAN DRAMATISTS by\nArchibald Henderson, Ph. D. D. Ap~\npleton & Co. {revised edition). Price\n151- net.\nTHE Review of Reviews has said\nof this book that it is 44 brilliant\nanalysis and masterly criticism \" while\nthe Pall Mall Gazette tells us that\n44 Mr. Henderson is one of the most\nvivacious of the younger writers of\ntoday, and here he is at his liveliest \".\nOthers even go further in their praise,\nSo I think we had better leave it at\nthat, and take it to be a just and\nfair tribute to ability.\n\nTHE ART OF PANTOMIME\nby Charles Aubert. Henry Holt &\nCo. (Price not given).\n\\YTUO was Charles Aubert ? His\nV ¥ translator Mrs Sears does not\ntell us. Who was or is Charles Au-\nbert ? we repeat, hoping for some sort of\nreply from Miss Sibyl Baker, Director,\nCommunity Centre Department Public\nSchool of the District of Columbia :\nfor she has written an Introduction to\nthe book. No reply.\nNot content to read the book with-\nout some slight knowledge of the\nauthor, what he is, what he did be-\nsides write, and when he lived and\ndied, I turn to ten. twelve, fifteen\nbooks in search of his name Not\none word can I find in any of these\nbooks, At last in an old bundle of\ncatalogues of trench books 1 find\nthis :*—t4 Aubert (Charles) Pantomimes\nModernes illustrations de Kauffmann\nParis Flammarion, s, d, in 12 br.\ncouv, ill. 5.00 frs. 44 which is not\nmuch. I do not mean that 5 francs\nis little; I mean the information is\nmeagre.\nBut while it is not the habit for\nLibrarians who sell books to inform\nus of authors' lives, it is courteous of\na translator to do something. Mrs Sears\nignores Aubert ; Miss Baker almost\ndoes so.\nMiss Baker says we shall find the\nbook valuable.\nI regret that I cannot agree with her.\nIt is the wrong way to instruct\nwould-be actors to give them 196\ndiagrams of heads, hands, skeletons\nand so forth in the belief that one\ncan catch the nearest way,\nA very clever actor might find such\na book useful ; for clever artists often\nlike best those stupid books which\nteach nothing ; it is from that nothing\nthey can so often extract more than\nanyone else ever dreamed was therein.\nTo the beginner this book might be\nfatal, and so our advice to .all teachers\nof pantomime and gesture is, if they\nbuy it, to beware of it.\n\nTHE LION AND THE FOX by\nP. V/yndham Lewis. Grant Richards\nLtd. Price 16/-net.\nI hope that Mr. P. Wyndham Lewis\nthe author of 44 Tarr \" is not going\nto write a series of books like this\nthat 1 am to attempt to review ; for\nthough I could devote some years of\nmy life to studying P. W. Lewis the\nScholar, I should prefer not to, If\nthe 44 Works\" are to be written of\ncourse we shall have to study our\nLewis seriously, and I dread io think\nhow my young life will be wasted.\nI think of the dozens of gay young\nwriters of the eighteen thirties and for-\nties who gave their lives to the works\nof Carlyle,—-who had to give them\nto this foxey Lion ; — who hated to\ndo it but who got over the first ago-\nnies, and then rather Irked it and finally\ncould use no other. Thus we lost\ndozens of creative artists because one\nbig burly Scotsman yelled out 44 You\nthere—stop and look at me\nI shall be like that if Mr. Lewis\ngoes on : I shall not like it, but, un-\nless 1 am to be out of it, 1 shall\nacquire the habit; and when in 1957\nor 1960 I find people calling on me to\nexplain certain obscure passages in one\nof the early volumes of the works of\nLewis, I shall know what it has all\nmeanthow little and how much—\nI shall taste my reward—I shall play\nthe little lion when they are present,\nand laugh like a fox when they go.\nBut if Mr. Lewis will let me off\naltogether by exercising his creative facul-\nties; if he will write ether novels, other\nshort stories, and, when not urged to write,\nturn from his pen to his brush and\nwill paint some good pictures just tj\nshow us how to do it, I shall be\nmore grateful than I can express.\nIn Mr. P. Wyndham Lewis we are\npresented with a temperament forcing it-\nself to think, ....nay, more, to think\nand think until there creeps over his\nface and figure that same strange, rather\ngrand, but certainly queer, expression\nwhich we see on the face of a mon-\nkey who is rolling a nut round and\nround, passing it from cheek to cheek.\nThere are other thinking men who\nwrite their thoughts down at length,\n—Mr. J. S. Eliot for example : Mr.\nLeo Stein: and I'm not sure that\nthis same thinking don't become them\nfar better than it does Mr. P.\nWyndham Lewis.—for they can do\nnothing else.\n44 * Ta r ' is a thunderbolt 44 wrote the\n44 Weekly Despatch \" when that novel\nappeared ; and the 44 Manchester Guar-\ndian \" added that 44 it is a blow struck\nfor seriousness in art and life\nI don't know anything about that ;\nI only saw that it was a piece of\ngood, work full of temperament. It\nstirred the reader.\nI wish I could say the same of\n\" The Lion and the Fox \" ; but 1\nwill say it bores me—1 must also\nadmit thatB being out of the secret\n(a secret 1 shall glide into after the\nappearance of Mr. Lewis's tenth work\nof this kind appears) I am unable as\nyet to do it justice, or, what is in mo-\ndern criticism (vide the modern jour-\nnalism) far more to the point, unable\nas yet to do myself justice.\nSo, being in this pickle, the only\nthing left me is to do Mr. Lewis\ninjustice.\nThe book is about Shakespeare —\na Shakespeare who sat thinking and\nthinking and thinking ....you know\nthe kind of man: elbow of right\narm on books ; one foot crossed over\nthe other and peaked on its toe:\nfinger of right hand making gimlet\nhole in right temple : smug but ne-\nvertheless thinking, and thinking it out.\nIt is about this man that Mr. Lewis\ntakes us to task ;—44 Til tell all about\nShakespeare \" he says. He doesn't\nwrite the stupid statement as 1 have\njust written it, but he tells us that\n44 Shakespeare was \" and 44 Shakes-"}, {"page_pdf": 57, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 6412, "texte": "peare had \" and 44 Shakespeare is \"\nand, what is more \" Shakespeare would\nhave \", 44 could not \" and 44 did\nYou'll find it all on pages II. 15.\n43. 145. 160. 170. 171. 179. 183.\n184. 209. 213. 245. 255. 259.\n261. 262. 290. 291 and at least\nfifty more pages which I did not stop\nto note.\nNow when any clever man can\nbe brought to such a pass as to\nattempt to say what Shakespeare is,\nwas, had and did, let alone would\nhave and cGuld have done, it must, as\nI hope I have modestly shown, flum-\nmox me, until it be certain sure that\nI am to be of Mr. L ewis's intimate\nliterary group twenty-five years from\nnow and to wobble my head wisely\nand confound the ignorant and, I\nhope, amaze, indeed, the very faculty\nof eyes and ears of the middle of the\ntwentieth century.\nThe author of 44 Tarr was so di-\nrect and simple :—whereas in this\nLion and Fox book he goes round and\nround and is very elaborate. It's a fine\nshow : or rather it's fine without ha-\nving a scrap of show about it. It's\nlike a performance in a theatre where\nwe see a man of undoubted earnest-\nness and ability struggling to play a\nrole which he was never born to\nplay and in which he will never please\nus however long he continue to\nplay it. We know hirn : we know he\nis all that is admirable—and we sit\nperspiring with anxiety. Yet he comes\nthrough with it-—disastrously well. We\nmumble into our programmes 44 won-\nderful performance—wondeiful and\nwe snatch ourselves out of our seats\nand bolt for the fresh air of St. Mar-\ntin's Lane.\nAs 1 read Mr, Lewis's explanation\nof Othello and lago I can but rea-\nlize one truth: which is that we\nneed no explanation: that we need\nvery much to see again such a per-\nformance as Irving gave of lago and\nSalvini gave of Othello, and then and\nthen alone we have it and never till\nthen —if in reading the tragedy we\nhave not already seen these two\nfigures.\nI find Mr. Lewis's prose a little\nhard to read: such a passage as\n44 From the treacherous polished sur-\nface of Arnold's prose (its body clou-\nded for its reception) I will now\nexpiscate that laughing idea which we\nhave been preparing to examine \" ;\nsuch a passage as this troubles me\nand I am in no mood for laughing\nideas of any kind, however deftly\nMr. Lewis may expiscate them.\nBut 1 am -entranced when some-\ntimes the fog lifts and I am told that\n44 people are inclined to forget, per-\nhaps, that the art of the drama and\nall its purgational Greek rules of jea-\nlous gods (and envious audiences), of\nrevenge for grandure, and of well-\nturned and melodious death, is a\ngame \" ; only I could wish that this\nhad been told me in the plain words\nthat men use on ordinary occasions.\nBriefly, I wish Mr. Lewis had put\nall he had to say into sixty or se-\nventy pages instead of running on into\nthree hundred and twenty six of\nthem.\nHis ability to do this is what so many\nwill admire and I must deplore. What\na word, 44 deplore \"!— what a supe-\nrior horror in the mere sound, and\nhow can one use it when there ail\nthe time stands the author of so many\ncreative things before one—if afar off\nin the distance.\nFor when one is in Loudon and\nnearer fo Lewis one sees how 44 the\nimportance of Wyndham Lewis in\ncontemporary England cannot be over-\nestimated Of course one realizes\nthat here is 44 a writer of extraordinary\nforce ?.nd distinction ■\" and one is\nprepared to suppose that he sheds\n44 a new and illuminating light\nwhen ever he writes or speaks on any\nsubject.\nIt is Mr. Osbert Sitweli who says\nso, and one can surely agree with\nhim even if one is puzzled trying to\nconceive of a light which is not illu-\nminating.\n\nTHE PL A YGOER 'S HAND\nBOOK TO THE ENGLISH RE-\nNAISSANCE DRAMA by Agnes\nMure Mackenzie. M. A,, D. Lift,\nJonathan Cape. Price 5/- net.\nNO one could quarrel with the\nprice, and it's as nice a looking\nbook as anyone could wish for ; exter-\nnally it is like the golden casket in\nthe 44 Merchant of Venice 44 I'll\nread the writing \" one says : one does,\nand, at the end, one is apt to feel,\nas one goes off, that the labour\nhas been lost.\nTo begin with one tries to read it\nlike a play-goer, like a professional\nman of the theatre, and like an ama-\nteur; never is one ceitain which is\nbeing addressed.\nIt's a 44 Play goer's Handbook it\nsays so ; but it also is announced as\n4 4 for the man of the theatre whether\nprofessional or amateur \".\nI am quite at sea: and it's a\nbit chilly at sea when one has lost\none's way.\nThough the writer protests that she\nis one of the humble people, there is\nvery little in her. book which makes\ngood her boast.\nYou can see that she means well;\nbut something—I do not know what\nit is—sticks in her throat just as she\nis about to say 44 Arnen\nI think the trouble chiefly lies in\nher attempt to explain more than she\nquite understands, and to address three\ndifferent groups simultaneously.\nOf the Elizabethan audiences she\nwrites 44 They relished John Lyly's\nsentences as we delight in Mademoi-\nselle Lenglen\nShe has several Appendixes : nice\nthings as a rule, but hers are not.\nHer Appendix II is the prospectus\nof the British Drama League.\nHer Appendix 111 is that of the\nPhoenix Society.\n1 turned to Appendix IV fully\nexpecting to find an advertisement of\nthe Old Vic,\nI begin to wonder if it is not full\ntime to cease the writing of these\nalmost useless books about the Drama.\n\nTHE BOOK OF PLAY PRO-\nDUCTION FOR LITTLE THEA-\nTRES, SCHOOLS AND COL-\nLEGES by Milton Smith. Appleton\n& Co. Price 10;6 net.\nr\"PHlS is the book I should recom-\nA mend as one of the very best of\nits kind becaure the author uses his\ncommon sense, speaks clearly about\npractical things, and is positively\nhelpful.\nTheories do not fog him ; he picks\nhis way through them and comes out\nwith something to the good.\nBut then Mr. Smith has worked\nhard—has produced plays and taught\nhundreds of teachers and directors who\nhave gone to Columbia University to\navail themselves of his co?jrse.\nin teaching he has not lost the\nenjoyment of experimenting, so his\nbook is fresh and lively.\nIt is a small encyclopaedia of infor-\nmation as to how actually to produce\na play with a theatre and without a\ntheatre and is illustrated by little dia-\ngrams.\nThe book will give no aspiring\nproduces*\" or performer a free pas* to\nanything but hard work; but once\nhard at work it will help.\nThe author is so sincere and so bent\non being practical.\nI like his seriousness, which some-\ntimes even approaches anxiety lest he\nhas forgotten to tell you what must"}, {"page_pdf": 58, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 6761, "texte": "be done or lest you have not under-\nstood what you must do.\nSo, for me, Mr. Milton Smith and\nhis book are two good signs that the\nfuture of the New Movement is in\nsome places in the very best of\nhands\n\nWHAT ISN'T WRONG WITH\nTHE DRAMA, by H. F. Rubin-\nstein. Ernest Benn Ltd. (No price\ngiven) o\nTHE HOUSE, A Play in Three\nActs by H. F. Rubinstein. (Contem-\nporary British Dramatists. Vol. XLIV.\nErnest Benn Ltd. (No price given).\nAS a piece of good book-work this\nseries of 44 Contemporary British\nDramatists \", for printing, paper, bind-\ning, and arrangement of the page,\nseems to me excellent.\nThere is to me the perfect series of\nEnglish Comedies of the 18th century\nissued by the Oxford University Press\nat 1 /- a volume; but these are the\nold plays, not new ones; and the\nway they are set up and printed is\nperfect because that is all one wants\nin a 44 book of the words : one shil-\nling But with modern plays, with\nthe authors to pay, first for rights to\npublish, then for tiie acting rights, then\nfor cinema rights and the rights for\nbroadcasting ' tis different: and I sup-\npose that authors of plays are to be\ncongratulated not only on having at\nlast won the fight for all their rights\nbut for being privileged in this matter\nof the pretty printing of Ernest Benn\nLtd. even if their plays are never\nacted.\nBy the way, I wish that these and\na few other publishers would print\nsomewhere on their series what price\ntheir little volumes cost. 1 am always\nhaving to hunt for this and 1 never\nfind it. I take it to be about 2/- or\n2/6, the price Messrs Heinemann and\nCo issue their series of Plays by Pi-\nnero, Maugham, Davies, Chambers; or\n3/6, the price of the British Drama\nLeague Series.\n44 What isrit wrong with the Drama*'\nis a most interesting address delivered\nbefore the Interlude Theatre Guild last\nJanuary. It is full of neat things and\nof good suggestions. I take it that it\nis easier to say what isn't wrong with\nthe Drama than what isn't wrong with\nthe Theatre.\nSo little is radically wrong with the\nDrama while our booksellers can show\nfive hundred scripts of all kinds of\nacted Drama since the earliest days ;\nwhereas so much is wrong with the\nStage, if not supported and if not\nsickened by its own fever for com-\nmercialism. It is probably for this\nreason that the New Movement in the\nTheatre has for the last twenty yeais\nlaid such stress upon the need for the\nstage people to wake up and put their\nTheatre in order. It knows that the\nDrama was and generally is all right.\nAs with architecture and music, examples\nexist of perfect Drama, and so there\nis no cause to fear we shall lose sight\nof what the modern men have to aim\nat and achieve to reach th§ standard.\nBut it is good to find in this booklet\nby Mr. Rubinstein a strong plea for\nmore Tragedy. It is O'Neiil's pi ea :\nit is Ervine's plea ; every genuine dra-\nmatist who isn't a satirist must feel as\nthese men do. What Mr. Rubinstein\nsays is what the Theatre itself and\nthe public ought to be saying, and I\nhope will be saying soon now that some\none has stated it clearly.\nI will not spoil his address by\nattempting to compress it here; you\nmust without fail read it for yourself.\nBut one point in his argument is that\nthe plain man who goes to the theatre\noften goes solely because he supposes\nthat a 44 good laugh \" will buck him\nup \" ; whereas he had far better seek\nfor his happiness in the effect upon\nhim of a tragedy. So says Mr. Ru-\nbinstein, and he speaks for certain\ntemperaments. Many people will call\nhim unpractical—but these are solely\nthinking of percentages.\nIt is rather a large flock numbering\nabout 200,000 persons,—the curious\nones, the fairly well off, the bored yet\nup-and-doing-nothing flock,\nThese 200,000 people are always\nthere—on the spot; they miss nothing\nwhich soim wiseacre decides is worth\nwhile—and he always decides wrongly.\nHe is ever guided by the stupidest\nmotive.'\nIt was this large flock which nearly\nsuffocated the airman Lindbergh when\nhe arrived in Paris and afterwards\nin London. Not that it cares two\npence about him or his powers, but\nout of curiosity it collects to gape\nand shriek.\nIt was these superficial 200,000\npeople who packed the streets round\nWestminster when some years ago the\nWoman's Movement was at its height :\nthey did not care one scrap whether\nthe women won or lost, but they\nwanted to see, to gasp, to feel a thrill.\nHad anyone asked a constable on the\nday the women tried to rush the\nCommons who it was formed that\nhuge crowd he would have replied\n44 Mostly made up of the curious\".\nThis crowd, Mr. Rubinstein believes\nshould be made to understand their\nmedicine as well as take it. I be-\nlieve in the older method of hiding\nthe pill in the jam. A little jam\nhelps a little—all jam ? No, no Nan-\nnette !\n1 am not of Mr. Rubinstein's opi-\nnion that ** Mr. Barker's 4 The Secret\nLife *, a tragedy de luxe, couid hardly\nhave been written in contemplation of\na production this side of the 21st\ncentury \" ; but then I am not of Mr.\nRubinstein's second opinion that the\nsame play is 44 suitable for a Sunday\nmorning Theatre \" : indeed I find it a\nlittle difficult to reconcile the two state-\nments.\nBut I will not find any more fault\nwith what strikes me as an excellent\naddress. And I refuse to say harsh\nthings about Mr. Rubinstein's play\n44 The House for it has so much\nthat is clever about it, and Tcheho-\nvian. It is not written like the old-\nfashioned dramas were written and is\nnot as direct as is the modern Strind-\nberg, a dramatist the author very pro-\nperly admires. During Act one of\nthis play one is absolutely in the dark\nas to the author's intention or what\nthe characters are driving at. That is\nbecause to understand any good play\none must have it acted for one.\nIf the interest in what is going to\nhappen quickens slightly as Act two\nbegins, our hopes are quite soon extin-\nghished; nothing much happens, and\nI am not quite sure at the end what\nit was all about.\nThe acted drama is the book of\nthose who cannot read ; and a writ-\nten drama is the performance for\nthose who can't bear the theatre.\nI want to see Mr. Rubinstein acted,\nbut I was told last week by one who\nknows, that every theatre in London\nis going to be sold to a Swiss-\nAmerican group for patent medicine\nadvertisers. ...Is it true, I wonder ?\n\nFIRE AS AN AGENT IN HU-\nMAN CULTURE by Walter Hough.\nGovernment Printing Office. Washing-\nton, Price 50 cents.\nTHE Smithsonian Institute issues\nanother of its reliable and useful\nworks; quite a large book of 256 pa-\nges, with an excellent index (where I\nspotted an omission, ie, 1he Lyceum\nTheatre) and 41 first class plates,\nThe subject is not an uninteresting\none, but the author manages to make\nit entertaining as well as learned, and\nto the historian of the theatre it will\nprove of value."}, {"page_pdf": 59, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.59", "debut_caractere": 0, "fin_caractere_exclue": 6715, "texte": "THE ETHICAL AND RELI-\nGIOUS VALUE OF THE DRA-\nMA by Ramsden Balmforth. George\nAllen Gr Unwin Ltd. Price 7/6 net.\nTHE Ethical and Religious Values\nof the Drama are ail very well\nprovided the expression of them be\nspiritually gay: but while they remain\ngloomy, distressing, and melancholic to\nhear and to see and to think upon,\nthey will defeat their own aim which\nis a grand aim.\n1 he author of this book is from\nthe outset concerned overmuch with\nProblems.\nNow the problem is the very devil.\nProblems are the tares in our wheat,\nand to run after o!d Nick holding up\nhis apron for him full of the §eeds of\nthese things, and to positively help him\nto sow them, is. not a little foolish.\nThis is what the writers of problem\nplays doi and to see this author so\nconcerned with these problems is grie-\nvous. .\nmost things else which are so\nworth while, Belief is a form of mad-\nness or it is not belief: the moment\nyou lean towards reason and begin io\nmumble why and how and when in\nregard to belief you cease to be mad ;\nso much you gain, I admit ; but you\niose the whole world.\nT he author mumbles very sanely, and\nmumbles more sense than is usual\nwhen those topics are being mouthed.\nIf he misses the whole point of the\nRelig ous value of the Drama it is be-\ncause the thing can only be sung or\nspoken by musician or by poet.\nSo this is a book fall of fog and\nsorrows: save where is retold the story\nof Shaw's 44 St Joan \" and here the\nbook sparkles and the story touches\nthe spot. But then (iiKe Shaw in his\nepilogue) Mr. Ba!mforth begins to\npuzzle and to twist up his forehead\nand io oite tne end of his pen 44 and\nthere is no health m him\nin taik of such matters there must\noe no doubts, Life comes—passes —\ngoes—e basta.\n\\Ve can observe it, enter the stream\nof it, spiash and enjoy ; but never\nmust we be sorry for ourselves because\nwe are not bosses of the stream and\ngH some of the water in our mouths\nwnen we don't expect it.\nNo one is, no one will be, boss\nox the stream ; let it content us that\nthis is so and cease from this restless\nfutile attempt to know and so become\nmore than we had ever hoped to be.\nit is because the Wells, Shaws!\nr-jT, 1 • '\ni oisiois, and so many modern writers\ncannot cease their restless, vain attempt\nto solve the insoluble that there are so\nmany people who regret nearly all they\nhave ever written.\nWhen Shakespeare and Goethe get\ndrawn int) the discussion—whoever\ngets drawn in—they get snuffed out\nlike a candle and we put down their\nfoolish books and go off to bed shaking\nour heads.—Isn't it }\n\nTHEATRE PRACTICE by Stark\nYoung. Charles Scribner & Sons.\nPrice 7jo net.\nrH13 book would have long ago been\nreviewed in these columns but\neveryone else had said alt that there\nwas to say in praise of it and 1 had\nno fault to find.\nIt i3 well above the average, and\nO '\ncontains many a pleasant phrase, but\nis more than often rather too vague.\nFor all this it is one of the best of\nits kmd that has come from America.\n\nT--— TI—IN—DIHIUWIH \\mm mtim IJ.\nTHE IVES T END OF YESTER-\nDAY AND TODAY. E. Bed-\nford Chancellor. The Architectural\nPress. London. Price 25j- net.\n|T is now twenty years since Mr. Be-\n1 resford Chancellor gave us his first\nbook on London. At that time it\nwas no more fashionable to devote\noneself to a limited task and keeo at\nit year in and year out than it is now.\nihen as now, if you could write at all,\nyou were at liberty to write about\nany and everything provided you were\nignorant of your subject, hew young\nmen ever dreamed that or themselves,\nin those days, and so there rose uo a\ngroup of famous plodders who wrote\non heminism, on new worlds, on the Fa-\nbian society, on Music, on the Theatre,\non Utopia and whatever first came into\ntheir heads. These encyclopedic heads\nwanted to reform everything by writing\nbooks : and none seems to have sup-\nposed that there were any difficulties\nin their way.\nMr. Chancellor is typical of the\nother kind of young man of 1905\nand gave all his time to the study of\none thing ; the streets, the squares and\nthe houses of London. Whatever he\nhas to tell us of them is therefore to\nbe listened to with attention, and what\nhe has to show us (for he illustrates\nhis book profusely) will rivet that at-\ntention. Often he places some picture\nshowing a street of the London of\n1800 by the side of another showing it\nin ! 900 ; and that so rivets my atten-\ntion that 1 become grave. Held in\nthis manner, I am reminded of that\noia Egyptian custom of bringing round\na mummy at the beginning of a feast*\nToday at our London public din-\nners and luitcheons 1 would have\nMr. Chancellor s book taken round,\n1 would show the guests one of these\ndouble visions: they could then ruminate\nupon wnat is the difference twixt being\nquick and bemg dead : wliere lies the\ndistinction between a dead and a live\nstreet.\nSome of our London streets have\ndied.\nHere in their latest pictures they\nremain just where they were— a thea-\ntre, a public-house, a mansion just\nwnere it was; and the light in it\ngone out.\nAfter all , says the Optimist,\nLiere s not so great a difference be-\ntween the Regent Street of today and\ntuat oi yesterday. And there is hardly\nany difference in its shape ; the eyes,\nnsw*se, mouth, and chin, the neck,\nand snouiders, tne waist, hips, knees\nand ieet are all in place—and dead.\nHis Majesty s 1 heatre is where\nHer Majesty s I heatre stood, but it\nmight be a hotel, for it is the exact\nfacsimile of a hotel near by. In the old\ndays it was obviously a fine theatre.\nBut i see that you are all tuckm#\n•i• • O\ninto the joint and have forgotten the\nprelude to the feast—so as Mr. Chan-\ncellor s book is far more happy than\nterrifying, I too will be gay and pass\nthe mustard.'\nAnd it is an enchanting book, this\ngossiping attempt to draw attention\nto tae lesser known points \", points\nwmch charm everyone who is lucky\nenough to remark one of them. The\ncunous thing is that we seldom see\nthem because ours is a utilitarian life ;\nwe go from here to there for a pur*\npose ; we do not linger to have a\nlook at the lovely things which lie\nbetween the two ports.\nt here will not be a student of the\ntheatres of Europe who will care to\nbe left in ignorance of this book and\nhe won't be disappointed.\nThere are, to begin with,, three\ndouble page plans of London; dated\n1792, 1834 and 1927: several views\nof theatres inside and outside ; and\ndotted through the book is information,\nmost valuable :o us all, relating to\nhomes or the Drama.\nIf only • publishers and booksellers\nwould invent some way, think of some\nnew scheme, by which they could tell\nus when they have issued a book on\nthese subjects which are of so much\nimportance to* us and which we need\nto be told of, things would be better—\nand other things would wake up."}, {"page_pdf": 60, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.60", "debut_caractere": 0, "fin_caractere_exclue": 7091, "texte": "But the people who want to hear\nof books on the Theatrel or which\ntouch on the Theatre, seldom are told.\nIt is a fault which needs correcting.\nAnother fault is that such books are\ntoo often too expensive.\nThere should be students' editions\nissued on thin paper, unbound, at half\nprice. What student wants a thick\npaper book taking up an unnecessary\namount of shelf room and annoying\nbecause of its swell get up ? We beg\npublishers to overhaul their old ideas\nand experiment with some new com-\nmonsense ideas. Let them study the\nNonesuch Press a little.\nThere are some firms which do\nthis tentatively; but what we need is\nto see some more decision shown by\nall publishers in the matter of paper,\nof binding and of price. For the fact\nthat rough (or smoothed out) blotting\npaper is wretched, the use of wood-\npulp in its manufacture is presumably\nresponsible : the bindings are too heavy,\ntoo important looking, and paper bindings\nare the best as half a dozen nations have\nproved, and the French have proved\nmost conclusively; for their paper bind-\nings sometimes even outlast our card\nand cloth bindings : and as for price,\nit would become less automatically if\nthe bad and doubtless costly paper\nand costly bindings were dropped.\n\nLES GRANDS COMEDIENS DU\nXVII SIECLE by Georges Mongte~\ndienm Edition 44 Le LivreParis,\nPrice 18 francs,\nWUMiimfmjMBiMH *■■! I nil ■■■II ■IUIIIII mm, N—IFINWMU am O\nOF the French actors of the time\nof Charlemagne (768-770) we\nhave not as many records as some of us\nwould like io have. I suppose we should\nlike to have some hooks about these\nperformers, but I am not persuaded we\nshould understand. For what do we\nunderstand of the Greek stage, and\nwe have dozens of books about it.\nThe reports handed down to us have\nbeen hesitating and whispered so faintly\nperhaps we haven't quite heard aright.\nWe are told that the actors wore\nmasks and could not show any facial\nexpression; stood on stilts and so\ncould not easily move ; that they had to\n44 clump about the stage in the un-\ngainliest fashion \" as Mr. Robert\nW, Lowe, that excellent student of\nthe English Drama, once wrote ; that\nthe stage was only of secondary im-\nportance, the orchestra being more\nimportant; that the first tragedy re-\npresented in Athens by Thespis was\nperformed on a wagon and that the\ngreatest ancient dramatic writers were\n/Eschylus, Sophocles, and Euripides.\nLittle of which is true.\nAnd it seems to me that we never\nshall understand anything about the\nstage until we cease to consider those\nGreek actors 44 ungainly \" and those\nmiddle-agers dark and their wits dull.\nYou may raise your eyebrows and\nthink to yourself that I am a very\nstupid fellow if I do not know that\ntoday everyone knows better than that.\nBut, perhaps you will allow that\nI too may have felt as you feel: 1 too\nmay have supposed everyone knew and\ndiscovered that very few do and these\nseldom have time to pass their ordinary\nknowledge on to the many and some\nhave even ceased to care about doing so.\nAnd so we find floundering there\neven learned persons like Sir Edmund\nGosse, who 44 distinguishes \" 44 the ma-\nterial side\" of a masque by Inigo\nJones and Ben Jonson from 44 it's spi-\nritual or poetic side I suggest that\nis floundering. He draw3 a distinction\nwhere none exists. As well call Jonson's\nlovely lines 44 material \" because the\ntypesetter and printer with the aid of\nsome base metal and some black ink\nhave turned them into print, — touchable,\nvisible, in short to be logically horrible.\nThe notion of dividing this from\nthat is an excellent one, but is so apt\nto give unintentional offence. As one\nwho respects 44 the material side \"\nof the 1 heatrical craft for the sterling\naid it has always given to 44 the spiri~\ntual or poetic side \" in its great need,\nI like to see people working to estab-\nlish a sounder understanding of the\n44 material \" in the Theatre. It is out\nof fashion nowadays to kick your\nmenials who cook your food; and\nthe Dramatise who shows the least\ncontempt for the craftsmen of a theatre\ncommits an efror.\nSo until we have all thoroughly\ncome to understand and value what is\nto be valued and honoured in the\n44 material side \" of even the stran-\ngest masque we cannot possibly begin\nto value what is in its spirit.\nAnd so I turn to M. Mongr6dien's\nbook to learn something about 44 la\ngrande coquette Mademoiselle du Pare\nfor I suspect that, until I do so, I shall\nnever understand what led the Greek\nactor to 44 conceal \" his expressive face\nunder a mask. If only Lowe had\nstudied the Greek theatre under\nMademoiselle du Pare!\nIt's Mr. Lowe who says the Greek\nactor 44 concealed \" it. Till I have\nread all about Mademoiselle du Pare\nhow shall I know whether concealing\nor revealing was uppermost in the\nmind of the Grecian actor 1 whether\nhe believed (and from experience) that\nthe face was an inadequate, a too\npulpy—instrument for expression in\nany art and that a carved mask was\nsomewhat better.\nM. has done his work\nso well that we fee! almost stifled\nafter we have lived with his French\nComediens of the XIII si&cle to the\nend of his book, 44 What a fuss,\nwhat dust ! \" we are on the verge of\nsaying, when we stop in time, remem-\nbering that to bring about a renais-\nsance in our own drama we must first\nrealise how dusty is one playhouse,\nhow spiritual and clean another : and\nso dull we are—you will surely admit\nit ?—it takes us several centuries of\nexperience to recognize dust from\nspirit.\nEven there—even at recognition—\nsome of us are disagreed, saying that\nit is from the dust the spirit shines\njust as it is rising.\nSo this 44 Comediens du XVII Siecle \"\nis the book to place side by side\nwith Haigh's 44 Attic Theatre\n\nTHE GENTLE ART OF THEA-\nTRE GOING by John Drinkwater,\nRobert Holden & Co, Price 6/- net.\n*The gentle art. This phrase, long a\nfavourite with anglers as an affec-\ntionate description of their pursuit, was\ncleverly used by Whistler in his title\nThe Gentle Art of Making Enemies,\nThe oxymoron was what made it effec-\ntive ; but the journalist, aware that\nWhistler made a hit4 with the gentle,\nart, and failing to see how he did it-\nhas now, by rough handling on inappro-\npriate occasions, reduced it to a BAT-\nTERED ORNAMENT cf. IRRELE-\nVANT ALLUSION). Thug: We have\nnot the smallest doubt that this is what\nwill actually happen. & without any\nundue exercise in the gentle art of in-\ntelligent anticipation, we may discuss the\nsituation, In a Committee the gentle art\nof procrastination may prove very deadly\nto progress.\nModern English Usage by H, W,\nFowler, 1926 {Oxford),\nTHERE is no genlle art of theatre\ngoing: but let us get on.\nMr. Drinkwater is one of the few\nmen in the Theatrical profession who\nshould have been provided with a\nTheatre these last fifteen years. He\nhas been wasted and is being wasted.\nWhether he be a great playwright or a\nfine actor or a good producer or merely\nan able, all round, man is nothing for\nus to waste years discussing. Say\nwhat you will, the fact remains that\nhe is one of the few men in England\nwho is playwright, actor and produ-\ncer : and a professional. He has not\npushed his way into the Theatre—-he"}, {"page_pdf": 61, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.61", "debut_caractere": 0, "fin_caractere_exclue": 6850, "texte": "was born in it. He belongs to it.\nLike Granviiie Barker, another profes-\nsional. And so in both of these uien\nis something which seems to disdain\nto push—it is unnecessary, and so it\nis not disdain.\nif England is so rich in talent that\nit can afford to waste its able men,\nEngland is to be congratulated—but\nnothing can ever condone such waste.\nAs a theatre-goer I am not very\ngreatly taken by the works of either\nBarker or Drinkwater. I find they\nbore me and they interest me : They\nare serious and I like that, but they\nnever touch me, rouse me or please\nme. They leave me cold and unen-\ntertained. I speak as a real playgoer.\nWhen I read their plays I discern no-\nbility in them, but it is the nobility\nof rather harrassed men. I find them\nobstinately noble; not inhuman, but\nnot quite human. How can they, 1\nask myself, be that when the one\nthing needful to them, a theatre, is\nrefused them but given to a hundred\nothers who don't know what to do\nwith such a thing.\nSo really it is not a little strange\nif, when put to writing books about\nPlaygoing and Exemplary Theatres,\nthey write them not as well as the\nordinary trained journalist would do,\n....he who, when Dramatic critic,\nshould write such books and is too\nblind to do so, not seeing it is his\none great chance.\nMr. Drinkwater's book is not on\nPlaygoing or playgoers. He has not\ncome near enough to the genuine\nplaygoer to be able to report correctly\nof him.\nA playgoer is a habitue of a play-\nhouse or theatre—he is not merely\none who likes plays and players of\nthe more intellectual kind. Playgoing\nis one of his bad habits; it is not\nto him a pseudo-nobility. It's like drin-\nking, like smoking, it's a jolly old\nvice.\nNow conceive how repugnant and\ndifficult it must have been to Mr.\nDrinkwater to write on a jolly old\nvice. Difficult to him because, until\nhe had proved it a grand and noble\nthing, he could not possibly be brought\nto pen a line about it.\nThe habitual playgoer likes the\nOpera, and he likes the Ballet; he\nlikes the Melodrama and the Music\nHall when it takes on the aspect of\nTheatre and when he can see his\nfellow-playgoers there. Till then he\ndoes not go: for, though quite fond\nof all plays, operas, dramas, actors,\nsceneries and the rest, above all things\nthe playgoer loves the auditorium, the\nfront of the house, the parterre, bal-\nconies, his fellow man.\nThai's the attraction—to be there\nwith others—his special set ; and the\ngood playgoer's set is the world.\nWith the world Mr. Drinkwater\nmay not allow himself contact. His\nworld is not the old world ; it is,\nowing to the extraordinary tyranny\nunder which he suffers, a localized\nmakeshift. Mr. Drinkwater is not of\nBrixton, of Peckham, of Kensington\nor even of Birmingham ; he is of the\nCage, and the tragedy is he is begin-\nning to smile at the bars.\nif not caged, how is it he refuses\nto escape when he might ? No, he\nprefers to suffer nobly and says 44 Great\nart is for the few, but for a few suf-\nficiently numerous and powerful to\nestablish it in the life of the com-\nmunity So says the active young\njackal in the Gardens where we keep\nhim. \" Liberty \" says the dear jackal,\n44 is for the few \" : 44 but \", and\nhere he sniffs the air as he hears the\ncads from eighty other cages, 44 but\nfor a few sufficiently numerous—and\npowerful — to establish it in the life of\nthe community \". Then he goes inside\nhis hutch and lies down and dreams\nof forests and open spaces.\nIt is a heartrending cry, this 44 suf-\nficiently numerous and powerful \"\n(powerful !) 44 to establish it.... life.,\ncommunity\nGreat art, like liberty, is only for\nthose who have it : millions of people\nor one person —and certainly one per-\nson is few enough. Great art is in\neveryone: ability to create it or to\nenjoy it; but great art has to be in\nthem or goodnight.\nNow great Theatre is not utterly\nunlike great Art although not an-art\nat all. Great and genuine Theatre\nis an event, an experience, another\nsort of world, and good theatregoers\nare habitues of this other world—\nenjoying the same experience over and\nover again and always (they hope)\nwill it be slightly varied, if only it\nbe an electrical experience—what joy.\nThis they dare hardly to hope today.\nIt is essentially linked with the ima-\nginative faculty, this experience, al-\nthough Mr. Drinkwater in his most\ndepressed mood says 44 we can some-\nhow get on without the imagina-\ntion \". So says poor Jackal —44 Yes\n—on thinking it over we can get on\nwithout leaping the rocks—Now\nand again Mr. Drinkwater does flare\nup and it becomes him. 44 We (play-\ngoers) can have the artist in the Thea-\ntre, or we can keep him out ; but we\nhave to learn that it is as an artist,\nthat is to say as an original mind\nbeyond our legislation, that he will\nstay if he is to stay at all \".\n1 would fain see Mr. Drinkwater\nflare lip more often with such boldness\nand get himself out of that cage. But\neven to breathe fire at the playgoer is\nnot to entertain him—and the power\nto entertain, to soothe and rouse and\nsoothe again the savage beast, is what\nthe Theatre -man, be he playwright,\nactor or producer, has to do.\nThis bad habit of playgoing is not\nto be cured any more than is the bad\nhabit of acting well to be cured.\nIn England something obviously\nhas gone wrong with the works of the\nTheatre : people have been tinkering\nwith those bad habits — trying to re-\nform them. They attempt to make,\nto plan what once they couldn't help\nmaking spontaneously. And it won't\ndo. Once you wish to correct those\nhabits you get a Macready and a Drink-\nwater : great men in their way—and\ntheir way is a right noble one—but\nthe way is not the way of all art.\n\nTHE COMMON TOUCH by\nJames Agate. Chapman & Hall.\nPrice 7/6 net.\nON the wrapper of this book is the\nfollowing assertion :—44 The title\nwell describes the gentle irony and\nhuman sympathy which animates all\nthis author's work. The fact that\nMr. Agate is now broadcasting regu-\nlarly has largely added to his public.,\nwho will, no doubt, be glad to pre-\nserve in more permanent form the im-\npress of his companionable tempera-\nment \".\nCan you beat it ? I can't, so let\nus leave it at that.\nBut there is one error in the book\nwhere the author asserts that on the\nfirst night of 44 Hernani \" the young\ni heophiie Gautier wore a brilliant\nscarlet waistcoat to symbolise the de-\nfiant challenge of the new Romanti-\ncism \". He wore a pink doublet ;\nand for quite another reason ; Gautier\ncorrected the Brothers de Goncourt on\nthis very point as those who have\nread their Journal will know..\nEveryone who writes a book about\nParis borrows this waistcoat and all of\nthem borrow the wrong one, notGautier's\nat all, some old red thing; and this is\nthe second or third time this journal\nhas corrected them.\n4* A propos of the book \" Victor\nHugo, related by a witness of his Life\nGautier maintained that it was not a\nred waistcoat, but a pink doublet,"}, {"page_pdf": 62, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.62", "debut_caractere": 0, "fin_caractere_exclue": 6701, "texte": "that he wore at the first performance\nof ' Hernani * and when the whole\ntable laughed, he added 44 Bui it is\na very important point. The scarlet\nWaistcoat would have indicated a\nshade of Republican policy. Well,\nthere was not a trace of that sort of\nthing, we were purely mediaeval, all\nof us— Victor Hugo like the rest—\nno one would have understood what\nWas meant by a Republican. Peirus\nBortl was the only one with any\ntendencies of the We were ell\nagainst the Bourgeoisie end on the\nside of Monchangy. We represented\nthe Machicoulis—nothing more. Why !\nwhen I sang the praises of antiquity in\nmy preface to Mademoiselle de Maum\npin I nearly caused a schism ] !\nJournal. Edmond and Jules de\nGoncourt. July 20. 1863.\nThe Republican spirited scarlet waist-\ncoat is the common tcuch right enough :\nthe mistake at out it is quite common\ntoo ; and if only Geufier had been\na hit commoner he too would have\nbeen the earth and all the waistcoats\nin it and, which is n oie—a little prig,\nmy son.\n\nTHE CHILD'S PATH 7O FREE-\nDOM by Norman Macmunn. /. Cur-\nwen Sons. Price 5/- net.\nTHE AUTOBIOGRAPHY OF\nK1NGSLEY FA IP BRIDGE. Oxford\nUniversity Press. Price 6j- net.\nBOTH these bccfes are the woik of\nmen who had a vision cf a wold,\nmade happier to live in through the\nletter training of children ; each set\nabout doing his part in his own way,\nand gave his life to his work until in\neach case that work was arrested by\na too-early death.\nNorman Macmunn, first as a master\nin schools directed by others, then in\nan experimental school of his own,\nformulated and tested methods of train-\ning boys under a system of complete\nindividual freedom, based largely upon\nthe realisation of the truths; 44 that\nchildren, like men of genius, do their\nwork in the spirit of play \" ; he was\nconfident that the new sort of leader\nneeded in schools is 44 that psychically\nfree man who sees the deeper yearn-\ning of the crowd to be freed for\nhigher things themselves, and knows\nfrom the inspiration of his own free-\ndom how to set to work\n44 The greatest of all our failures\"\nhe writes \" 44 has been the lamentable\nlack of creative leadership since the\nwar. Here is the true test of the\nWorld's education, and here the result\nis purely negative. The readiness of\nthe peoples to follow any great ima-\nginative leader is pathetically ob-\nvious .... there has apparently been\nno one with the capacity to lead peo-\nple where they really want to \"go.\nNorman Macmunn, at his own\nschool at Tiptree and later in Italy,\ngave his life, with pitifully inadequate\nfinancial support, to the attempt to\ncany cut his aims, and he embodied\nthe results of his practice in this little\nhook, from which all who care for\nself education or the education of others\nmay learn much.\nThe second volume, the 44 Auto-\nbiography of Kingsley Fsirbridpe\nshould be in the hands of all boy?\nand all concerned in the trainirp of\nboV5,\nThe writer grew up in an environ-\nment free and adventurous almost\nbeyond the conception of those ac-\ncustomed to she routine of countries\nlong civilized, and, from those early ad-\nventures, he learned self-reliance, self-\ndiscipline, and a steady and modest\ncourage which equipped him for the\ntask first Conceived as a hey of twelve\nin Rhodesia, of hringing farmers from\ncongested city areas to farm and cul-\ntivate the immense and fertile tracts\nof uninhabited country, and which de-\nveloped later into his scheme for bung-\ning the unwanted and neglected chil-\ndren of England to this wide colonial\nlife, and training them to it from their\nearliest years.\nWithout money, with nothing hut\nhis own faith and enthusiasm, he won\nthe cooperation, first of his re!!cw stu-\ndent? at Oxford, who 44 suhscrhed\nfive shilling each to the great project,\nthen of a wider number, and so the\nventure, based on nothing but the\ninspired faith of its founder, became\nthe Fairbridge Farm School in Wes-\ntern Australia * and has extended its\nsphere of usefulness year by year.\n\nTHE PEEP SHOW by Walter\nWilkinson. Geoffrey Bles. Price / 0/6.\nMR WILKINSON travelled with\nhis own handmade puppet show\nfrom Gloucestershire through Somer-\nsetshire and Devonshire, and sometimes\nnetted three shillings and tenpence at\na performance (mostly in pennies and\nhalfpennies) ; sometimes a bit more,\nand sometimes less. He met all kinds\nof people, friendly or the reverse, but\nmostly friendly, since puppets spread a\nfriendly influence around which few\ncan resist; and associated with aT\nkinds of other showmen and pedlars\nand ice-cream men; and, on wet days,\nsat in his tent and read Homer and\nmended his puppets* dresses and his\nown socks.\nAll the summer he kept this up :\nand he wrote a diary, and drew pic-\nlures of his puppets and himself on\ntheir peregrinations, and these, with a\nfew photographs, he now includes in\nhis attractive hook.\nWhen autumn came on he turned\nhomewards.\nHe had just come through Bath,\nhe tells us, and slept the night com-\nfortably in a haystack 44 somewhere\nhigh above the twinkling lights of\nBath\n44 This was the last adventure. AH\n44 next day 1 pulled over the lonely\n44 Cot swold Hills, travelling about\n44 twenty miles, and singing songs in\n44 praise of camping and tramping and\n44 the stirring' life we jolly showmen\n44 lead. I spent another day in getting\n44 to Stroud and that night a Sepfem-\n44 her frost stiffened the little tert,\n44 chilling me in the early hours.\n44 The next morning found us all\n44 back at the starting-point all in\n44 good going order. The tent was\n44 tern, the elegant tent-poles broken\n44 and replaced by ha7el sticks, the\n44 curtains of the show faded and its\npaint scratched, hut the showman in\n44 a sufficiently vigorous state of health\n44 to remedy these superficial ailments.\n44 There was a credit balance of five\npounds ; a wealth of experience had\n44 been gained ; three new puppets,\n44 various properties, some press noti-\n44 ces, innumerable gags and a com-\n\" p'ete new p?ay had been added to\n44 the show. And in the knapsack\n44 were half a brown loaf, some tc-\n44 matoes, a piece of cheese, a packet\n44 of tea, and a quarter of a pound of\n4* butter—all good commodities \".\nSo the story ends.\nWe like Mr. Wilkin son's hock;\nand wish him good luck the next time\nhe and his puppets take the road.\n\nTHE PLAYS OF RICHARD\nBR1NSLEY SHERIDAN, Edited\nwith an Introduction by lolo A. Wil-\nliams. Herbert Jenkins. Price 7/6 net.\nTHIS complete edition in a conve-\nnient form and at a low price is\nvery welcome and has an added value\nin that it 41 gives, for the first time,\nthe text of The School for Scandal\nas Sheridan approved it Moreover,\n44 Three songs in The Duenna, omitted\nwhen that play was first printed in an\nauthorised edition, are restored to the\ntext \" and 44 The Rivals is printed"}, {"page_pdf": 63, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.63", "debut_caractere": 0, "fin_caractere_exclue": 6709, "texte": "from the first edition, in which are\nmany passages which were afterwards\nexcised \".\n\nLE FESTE FIOREN TINE Attra-\nverso I Secoli by Pieiro Gori. Bern-\nporad & Son, Florence. Price 25\nlire.\nTHIS profusely illustrated volume of\n388 pages is devoted principally\nto the festivities and pageants with\nwhich, through many centuries, the\ncity of Florence was wont to cele-\nbrate June 24th. the day of its pa-\ntron Saint, John the Baptist.\nThe origin of these celebrations is\ntoo remote to be placed with any cer-\ntainty, but in very early times they\nhad already assumed grandiose propor-\ntions, and included all kinds of re-\npresentations and pageants, jousts and\nprocessions,—in fact spectacles and per-\nformances of every kind.\nThe author has gathered together a\nlarge amount of interesting and amus-\ning information on these festivities;\nand even those to whom Italian is an\nunknown language will gain from the\n222 illustrations, many of them repro-\nduced from old prints, some vivid\nimpressions of the variety and briliiance\nof these celebrations at a period when\nthe city was itself like a stage set for\npageantry, and when even the daily\ndress of the citizens lent colour and\nvariety to every corner of the scene.\n\nRECEIVE IT 50, by Basil Maine.\nNoel Douglas. Price 5/'- net.\nTHE author of this little book of\nimpressions, which he describes as\n44 a series of reactions to incidents of\nthe Theatre and the Concert hall \"\nis \"a well known musical and dra-\nmatic critic, an organist, a singer, a\nfilm petformer and an actor \" and is not\nmentioned in 44 Who's Who \" (1926),\n\" Who's who in Literature \" (1926),\n44 Who's Who in the Theatre\" (1925)\nor in \" The Film Year Book \" (1927).\nSo he is not so well known as he\ndeserves to be.\nAs he is an excellent critic he should\nbe read and is bound to be so before\nlong. The book is a small one of\n95 pages, and is printed in fairly\nlarge type. The chapters on 44 Pro-\nducing Shakespeare \", 44 The Revue\",\n44 Stage and Screen 44 Rhythm:\nBlack and White \", and \" Galli Curci\"\nare excellent.\nAs a sample of his goodness I\nquote from his chapter \" what is Bri-\ntish Music \".\nIT was at a British Music Society Con-\ngress when the question what is\nBritish Music first arose in my own\nmind; and it arose, I thinI? because\nof the constant reiteration of the words\n44 British Music Speaker after speaker\nreferred to this unknown quantity as if\nWe were all clear in our minds as to\nits exact significance. But the va-\nrious contexts in which the phrase\noccured revealed that there existed\nwidely differing preconceptions, so that\nit was almost impossible to arrive at\nany conclusion. 1 suppose that there\nwas common ground to be found some-\nwhere.\nPerhaps it was that all these spea-\nkers and all their hearers had a vague\nindefinite idea that British music is\nmusic composed by people born in the\nBritish Isles. But that is too simple\nto be true. Nothing could be more\nfallacious than to impose a geogra-\nphical definition upon artistic impulse.\nHe then tells us that \" we shall\nbe justified in describing any musical\nsetting of English words as an En-\nglish* work so long as it realizes and\ncompletes the potential idea of the\npoet *' ; but he reminds us that all\nEnglish poets do not confine themselves\nto writing about England and English\nthings.\n44 Shakespeare loved his England,\nand knevo it in every estate. He\n44 has immortalized for us Windsor,\n4 4 Eastcheap, Warwickshire, andEgdon\n44 Heath, but his imagination could not\nsS be imprisoned; it was constantly\nmaking its escape to find itself in\n\" Messina, Verona, Venice, Vienna,\n44 Denmark> Athens—anywhere solong\n44 as it could be free\nThe essay which appeals most to\nme is 14 On producing Shakespeare \",\nbut you must read the whole of it,\nIt is one of the best books of its\nkind which has appeared for a long\ntime.\n\nLISZT. WAGNER AND THE\nPRINCESS by William Wallace.\nKegan Paul, Trench, Trubner and\nCo. Ltd. Price 10j6 net.\nTHE writers of today who would\ninterest us to the extent of stir-\nring our emotion have a very difficult\ntask—for you and J, the readers, were\nborn sophisticated, non k vero ? We\nwere born old, born knowing, born\nwinking the other eye ; it's all the\nfault of the age ; nothing is what it\nseems.\nIf when I am writing or when you\nare reading this a pretty girl should\ncome and sit down beside us we\nshould be quite upset ; we could not\ngo on for we know she is not pretty,\nthat she is not what she seems; we\nknow that, and besides we were\nbora with very exaggeratedly sensitive\nnerves. So that if an ugly old man\nshould come instead of the pretty girl,\nwe should be equally upset. If the\npostman should ring and knock and\nbring us rubbishy catalogues and pro-\ngrammes for concerts we should go\nmad with annoyance; and if he should\nbring us a letter containing £ 1000..,.\nbut I was not prepared for this even-\ntuality ; I was supposing we really\ndisliked, distrusted, all things, nothing\nbeing what it seems to be, and I find\nmyself as Whitman says 44 on the verge\nof the usual mistake\nWe are glad to be so knowing—it\ntakes us away from that 44 sloppy sen-\ntimentality \" to which Mr. Wallace\nrefers in the first paragraph of the\nPreface to his most exciting narrative :\n—In recent years there has been a\nnoteworthy effort to get rid of the\nsloppy sentimentality with which the\nlives of public men have been delu-\nged. They have not been studied as\nhuman beings but as automaton\nHow an automaton could be sloppy\nor sentimental and a human being\nquite avoid being either is what puz-\nzles me in these lines of Mr. Wal-\nlace; but I take him in his Preface to\nmean that he is going to show us the\nhuman Liszt, Wagner and Princess\nWittgenstein as they really were, not\nas, let us say, Mr. Lytion Strachey\nshows us people, re., as he takes them\nto be, as seen by the artist in a thousand\naspects and recorded as he fancies;\nno statues, statuettes, pictures or songs\nof and about these people—bet a real\nsnapshot of them—and close up.\nIt must be admitted that Mr. Wal-\nlace does more than ti is. He reels\noff a moving series of these photo-\ngraphs; he gives us the real Liszt, and\nthe real Wagner at last—as the photo-\ngraph catches them. In the act of\nsnapping, the camera is apt to snap\nup many unconsidered trifles—but it\nmust be acknowledged that this pho-\ntographic book about Liszt has snap-\nped him twice, even ihree times, as\nhe was; and it seems to me that three\npoints made to three hundred misses\nconstitutes no bad average.\nLiszt had three ugly warts on his\nface; they have been caught and re-\ngistered faithfully. Wagner had an\nugly look in his eye quite often ; we\nhave it in Mr. Wallace's book. 1he\nPrincess, who was perfectly harmless,\nalways charming or something else is\neasily snapped."}, {"page_pdf": 64, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.64", "debut_caractere": 0, "fin_caractere_exclue": 6637, "texte": "I don't mean to say that ail we get\nare three warts, an ugly look and the\nusual. I mean decidedly more: I\nmean that we get one damn ugly pic-\nture after another.\nAccording to Mr. Wallace, Liszt,\nWagner and Princess were rather in-\nferior movie mediums—inferior in the\nsense that they were for ever striking\nexaggerated attitudes, and were lurid,\nugly customers.\nAccording to Mr. Wallace, Wagner\nwas a sponger, bleeding the sinister\nLiszt of his ill-gotten gains; at en-\nmity with the Princess who was at\nenemity with all the world. Mr. Wal-\nlace draws us a thrilling picture of\nthis sinister old pianist on his death-\nbed. He is dying in a Siegfrieds-\ntrasse Number one, deserted by al! but\nhis faithful Lina Schmalhausen who was\nforbidden to see him (but who did)\nby the Tigress Frau Ccsima Wagner\nwho had 44 assumed control \" and,\nhaving 44 abruptly dismissed \" all his\nnurses and pupils, had 44 given orders\nthat no one was to enter his room \".\nThen she left the house, and the\ndying abbe-pianist, the sinister Liszt,\nis alone to cough, to cry, to dream\nfeverishly and deliriously for a few\ndays while his cruel daughter Cosirna\nis entertaining royal guests at the Fest-\nwal playhouse on the hill.\nBut this only snaps his death. His\nlife was far more weird.\nI always loved Liszt—and of course\nWagner and the lovely Cosima. !\nonce spoke to a man who had sat\nnext to her at a supper table so I\ncame to know her ; for he talked to\nme about this for two hours until I\nbegan to see this dear lady through\nthe mind's eye.\nBut that was all my eye —one\nshouldn't trust one's fancy, nor one's\nfriends when they speak for two hours\nabout one lady;—one should trust\none's movies and one's William Wal-\nlace—they cannot lie.\nIn this book of movie impressions\nthe best part is when the author\nshows us the hero and heroine being\n44 cut dead\nWe see them walking, her arm on\nhis, under the trees of the Konigplatz\nin Weimar. Suddenly enter Herr und\nFrau Slackenstein—there is a pause ;\nthe Princess's fingers tighten on the\nblack sleeve of the sinister pianist,\nwho starts,—then draws himself up,\nregisters will power, shoulders hunch-\ned, nostrils slightly distended, mouth\ntwitching, eyes searching to left and\nright for something—a slight thrill or\ntwiddle in the piano music, and then\nMr. and Mrs. Slackenhausen sweep\nby sneering—ha ha ha laughs Mrs.\nS : he he he titters Mr. 5. 44 Ta&leau !\nv/vant ! There's a picture for you\nSo successful is this 44 dead-cut \"\nscene that Mr. Wallace gives it us\nfour or five times in the course of his\nthrilling show.\nHow it mattered to Liszt and his\nPrincess—one sees ! They blanch, they\nwilt, they cower : they have felt the\nlash of public indignation. Here at\nlast we have the real Listz and none\nof your 44 sloppy sentimentality \". And\nHerr Siegfried Wagner is still li-\nving.\nHad this book been written of my\nfather and grandfather I should have\ninstructed my butler to kick Mr. Wal-\nlace when convenient—for course\nthe whole thing is a lie from first\nto last.\nWhy is it a lie when many of the\nfacts are correct? because the inter-\npreter has made damnable faces all\nthe time he was interpreting. He has\ngunned, smirked, leered, sniggered, frow-\nned, trumped, and all with the very\nfinest intentions—that of feeding a star-\nving cynical group of very mangy\npuppies with the offal they are never\ntired of licking, swallowing, vomiting\nup and swallowing again.\nSo much for the influence of the\nCinema on modern literary gents. But\na new era is coming, I hear. It will\ndo well to hurry up.\n\nTHE DE-ASSIFICA TION OF\nMUSIC by Carroll Brent Chilton,\nPrice / dollar post free. St. Mark's\nChapel. 288 East 1 Oth St. New\nYork.\nBUT why have I delayed so long\nin speaking of Mr, Chilton's pamph -\nlet issued in 1922, 44 A Magazine of\none number bent to a purpose,\nwhich is to draw your attention to\nthe only sane way a music roll shouM\nunwind.\nSo simple, and none $ut Mr. Chil-\nton had thought of it.\n1. You read a book a line at a\ntime from left to right.\n2. You read music proper as you\nread a book, line after line from left\nto right.\n3. You can also read a 41 roll \" of\nmusic in a pianola from left to right\nIF YOU WILL do as Mr. Chilton\nsuggests.\nBut if you follow the ordinary mu-\nsic roll which rolls up from below you\nmight as well read a book that way,\nand for you books might be specially\nprinted that way. But why do it ?\nSimple ideas like this surely have\nmillions of dollars in them for the\nman who will exploit them, and Mr.\nChilton's idea will be exploited. I hear\nfrom Germany that someone is 14 after \"\nit already.\n\nTHE DEVELOPMENT OF THE\nTHEATRE by Dr. AUardyce Nicoll\nM. A., with 271 Illustrations. G. G.\nHarrap & Co. Price £ 2.2.0. net.\nHOW happy I should be to pos-\nsess Dr. Nicolli's talent for dealing\nwith Historical material in so skilful\na way.\nHe is never too ponderous nor is\nhe too light: considering he is not a\npractitioner in stage matters he often\ncomes very close to the right under-\nstanding of most facts relating to our\ncraft. And he is fair in his estimate\nof the different books which have ap-\npeared, and when in doubt he is cor-\nrect in his attitude. Only is he a\nlittle unfair on the well known work\nby Karl Mantzius. He finds it 44 lack-\ning in exact scholarship \" and at the\nsame time is too kind to 44 the ac-\ncurate account \" contained in Ferrari's\n44 La Scenografia \" which is a very\ninaccurate book.\nMantzius was not a born Histo-\nrian ; he was an actor, and a stage\nmanager of the Royal Theatre, Co-\npenhagen, and for some years was\neven director of that immense play-\nhouse. And for such a busy man to\nhave found the time and have called\nforth sufficient ability to produce the\nsix volumes we possess is not a little\nextraordinary. That he derived much\nfrom other books is clear, and he\nprobably inherited much material from\nhis Father ; how else could he have\nwritten such a work in his spare mo-\nments, a work which deals with the\nstage from earliest days in China\nand India and Greece to the middle\nof the 19th century in Europe ? For\nmy part, after some preliminary studies\nin the difficult task of Historical scho-\nlarship, I have come to the conclusion\nthat it is far more profitable to us all\nif, after having worked through the\nentire history of the stage, we seiect\nsome one or two misty points and\ndevote our whole time to clearing these\nup. That seems to me should be the\naim of 44 exact scholarship.\nAnd I would here put in a plea\nthat students of the history of the\nstage should devote time—much time\n— to producing a small but really ori-\nginal booklet or two of fifty or sixty\npages apiece, and no longer attempt to\ncover the whole field in a book of"}, {"page_pdf": 65, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.65", "debut_caractere": 0, "fin_caractere_exclue": 6500, "texte": "about three hundred pages. For it\ncannot be done quite well enough in\nthree hundred pages, whereas I sup-\npose you can barely fill fifty pages\nwith what you wiil be able to disco-\nver about Zan Polo the actor, Bal-\ndazzare Lancia the scenographer, Sancta\nStella the singer or the illusive Gaspare\nVigarani. *\nLet three or four daring students\nnow studying under Dr. Nicoll in\nLondon or Professor Baker in Yale take\nthese four names and search to find\nthe hidden facts about these fine artists\nand I\" for one will be extremely grateful\nto them. And, what is more, I shall\nbe astounded if they fill more than four\npages on the four people after a year's\nsearch.\nAll said and done, Dr. Niccli's\nbook is a rich treasury of facts about\nthe Theatre of Europe and quite the\nbest of its kind in existence.\n\nTECHNIQUE IN DRAMATIC\nART by Halii am Bosworth. Mac-\nmill an Co. Price / 0/6.\nTHE other day, having a garden\nand having after much trouble\nand some pain collected some hundred\nseeds from three large artichoke plants,\nI paused to think what it was 1\nought to do and when I ought to do\nit so as to have eighty or ninety tali\nartichokes by next June.... which is\nabout the month they flower.\nThe artichoke is a handsome power-\nful plant, and even if you cannot eat the\nchoke, the arti part of it is superb to\nlook at.\nSo I turned to my three books on\n\" Gardening in the twentieth Century\n\" Gardening for Idiots \" and a third\nwhose title escapes me—, and not\none of them troubled to explain when\n1 should sow the seed, or which month\nI could plant out and how I shouli\nset about it.\nThe writers of those books had\nforgotten that 1 was one of the igno-\nrant idiots they had set out to help ;\nthey seemed to me to be talking on\nand on about everything 1 didn't want\nto know.\nI then gave up the artichoke idea,\nI saw that I had wall-flower seed and\n\"love in the mist\" and carnations: these\nlatter I had much trouble to secure\nfrom the beds because 1 think worms,\ninsects or something had been eating\nthem.\nI turned to my three books: not a\nword about when and how to sow\nthe seeds of these three plants, not a\nwhisper about worms.\nSo much for Gardens: new for\nTheatre.\nMr. Bosworih's \" Technique in Dra-\nmatic Art \" is the equivalent of Pic-\nkering's \" Gardening for Idiots \" : yet\nthough I am just the idiotic young\nwould-be actor Mr. Bosworth is writing\nfor, I soon discover that he has quite\nforgotten how idiotic and how ignorant\nI am. He is far too difficult, and he\nmakes me feel quite anxious.\nHow ought I to come on to the\nstage first of all in any play, in every\nplay ? I would rather ask how am I to\nbring myself to fee! — for that is the\nfirst thing I need to discover — quite\nat ease?\nTrue, I find something about en-\ntrances and exits, but I fee! more ill\nat ease than when I sought for the\nhelp. This help has fallen on me,\nnot picked me up.\n1 tested several like attempts to\nhelp and 1 must say I was a wreck\nat the end. I couldn't carry a ban-\nner properly if I relied at all on Mr.\nBosworth. Yet he is clever and tho-\nroughly versed in the business of the\nstage. Only why doesn't he help?\nTo help us, all we need are two or\nthree words, from a man of twenty-\nfive years experience who cannot waste\nhis words.\nSo if you want help and if you\nare a beginner you had better go to\nthe masters who anyhow have a way\nof making all things seem less dif-\nficult.\n\nTHERE'S A MOON TONIGHT:\nA romantic comedy in three acts, a\nprologue and an epilogue, by Alfred\nKreymborg. Samuel French Ltd.\nPrice $ 1.25.\nACTORS,—though here right away\nI break down, for what I mean\nby actors is not what you mean— :\nI mean men who can act; you probably\nmean men socially charming, noble\nhumbugs, incapable of acting.\nHowever charming or noble, no\nman can play the fool as it's intended\nto be played. It needs concentrating\non—and sufficient contempt for your\npublic. Actors all over the world\ntoday mentally lick the boots of the\nPublics. Thats Garrickism : for, though\nwe all (all but Horace Walpole) must\nadmire our David Garrick, if only for the\nbig name he made for himself, we are\nbound to arrive at this conclusion at\nthe end of years of comparison of\nGarrick with ail the other actors and\nto find him a toady—a boot licker.\nI always have wished that men of\ngenius like Kean could and would be\norderly— then we should have had\nmore of his kind and even a Club\nnamed after him. We should have\nhad actors and it was to actors 1\nwas about to refer, ccnnecting them\nwith the plays of Alfred Kreymborg,\nwhen I recalled that the actors were\nso unfortunately full of Garrickism, and\nthat Garrick could have made nothing\nof these plays.\nThis play in the light of the moon\nis a charming thing made to be acted\n—it is more or less unreadable.\nIt is essentially a play for actors\n....actors as I pronounce the word :\nand so it is quite a silly thing to have\nbrought out the book bound hand-\nsomely and to have charged one and a\nquarter dollars for a copy. Twenty-\nfive cents should be the price—so that\nreal actors can get hold of it and cram\nit in their pockets. Thinner paper\nsmaller type, paper cover, and half\nthe size would have done the trick\nquite well. Samuel French once upon\na time issued all our plays; and 1 be-\nlieve they cost 6d.\nNo one bought a copy to read for\npleasure ; one bought copies when one\nhad to learn a role.\nSo should it be now.\nMr. T. R. Edwards, the managing\nDirector of French (Incorporated), pos-\nsibly has some foresight. He should\nget hold of the market again; he\nshould rob Benn Brothers and Black-\nwell of the power to issue better and\ncheaper plays. He should take a care-\nful look .at the I/- plays issued by\nthe Oxford University Press. The\nPlaywriters should to a man ail stand\nby French—for French is, it seems to\nme, the rightful heir to the idea of\nold Samuel French who hailed from\nNew York some time in 1854, bought\nup Lacy's business in London in 1872,\ntook No. 89 Strand as his office,\nand settled in London where he died\nin 1898. His list contained 2005\nplays, 1485 of which Lacy had pub-\nlished between 1848 and 1873.\nFrench by name, American by\nchance, English by choice, Samivel is\nthe man for my money. But he must\ngo back to his staid and shrewd old\nways—they are far more long-sighted,\nwiser than this present policy of is-\nsuing bound volumes in place of wor-\nking brochures.\nAnd it is all in the interests of the\nplaywriters to help towards getting\nthis done.\nI do not know what sums the wri-\nters of plays receive for such books\nbut 1 take it that French (Incorpora-"}, {"page_pdf": 66, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.66", "debut_caractere": 0, "fin_caractere_exclue": 6606, "texte": "tad) has to pay them more than he\ncan afford, so he has to charge more\nfor the books.\nIt is an utterly wrong plan to work on.\nAll the authors want—really want—\nis to get a play of theirs acted—is it\nnot so ?\nPublish the play then—but so cheaply\nand in so work-like a form—in bro-\nchure—that it is plainly seen to be a\nbooklet for workers, not a book for\nthe public.\nLet the author take 5 °/0 or 3 0 |0,\nbut then let him insist on plain cheap-\nly printed professional looking book-\nlets or brochures for stuffing in the\npocket.\nLet the author risk that. He may\nlose* £10 but he chances winning\nthousands if his play be good for acting,\nas is 44 There's a moon tonight\nThis Samuel French—to turn once\nmore to him. Would you believe it,\nbut I found no mention of him in the\nHistories of the American Sta ge. It\nwas not in 44 The Romance of the\nAmerican Theatre \" Crawford, i 923 :\n\" A History of the Theatre in Ame-\nrica Hornbiow, i9S9;or in \"A\nHistory of the American Drama \",\nQuinn, 1923.\n\nGLOSSARY OF STAGE LIGHTING\nby Stanley R. McCandless.\nTheatre Arts Inc. New York. Price\n35 cents.\nGordon Craig.\nTHE idea of this brochure is a\nhappy one ; the idea is to be of\nservice : to do a small thing well, to\nlake an atom of theatre work and\nperfect it. Instead of parade —instead\ncf showing how not to write on 41 The\nTheatre of the Universe\" as many\npeople are doing today, this young\nauthor gives us a little help. Bully\nfor him.\nUnfortunately, while it will be cer-\ntain to help any one who has to study\nhow to light an American stage, it\nwill not serve our European men quite\nso well, for it lacks too many of our\nterms. But then it's writ by an Ame-\nrican for Americans.\nit tells us simply what is an am-\npere and what a volt is. It defines the\nterms 44 plug \", M balcony spot spot-\nlight \" 44 foot lights \" and so forth.\nAnd scanning the brochure I thought\nonce more of an old project which\nlack of funds, time and collaborators\nhad made me lay aside. Which was\nthis:—to bring out a small dictionary\nof terms used in the Theatres of Eu-\nrope and America since the 17 th\ncentury. Besides having English terms\nI thought to include the American;\nbut besides these, and side by side, I\nintended to place their equivalents in\nFrench, Italian, German, Dutch, Scan-\ndinavian and Spanish.\nI still believe that there is a public\nlor such a book and that it consists\nof all the technicians, stage-managers and\nproducers in Europe and America. It\nwould be a book with a steady sale,\ntor not only would it help us all on\nthe modern stage but it would help\nstudents who perhaps do not know\nexactly what was a gar game in 1700,\nwhat a 44 telaio\" or what 44 Scene\nvedute in angolo \" may be.\nAs first-aid to anyone intending to\nfollow up this notion and carry the\nthing through I cannot do better than\nintroduce them to that little French\nbook 44 La Langue Th£atrale : voca-\nbulaire historique, descriptive et anec-\ndctique des Terrnes et des Choses du\nTheatre etc. by Alfred Bouchard,\nParis, 1878.\nThen there is the smaller Italian\nwork 44 Manuals della Lingua Tea-\ntrale *' by Papiol ; Socieia Editoriale\nMilanese. Milano 1909, and the large\n44 Dictionnaire du Theatre \" by Ar-\nthur Pougin; Firmin-Didot, Paris 1885,\nis of course to be consulted,\nBut with these three books you can\nonly make a beginning. You need\nthree or four more ; and I think you\nwill have to gather information from\nthe theatres themselves to make your\nbook complete.\nBut I am quite convinced of the\nvalue such a book would be to us\nail ; and I am ready to help in ma-\nking it, as 1 feel sure many professionals\nwould be, if someone would undertake\nto compile it with our assistance.\nThere are two groups of students\nwhich seem to me to be equally well\nequipt to undertake such a compila-\ntion : The Department of Drama, Yale\nUniversity, (of which Mr. McCand-\nless is an instructor) ; and Dr. Al-\nlardyce NicoU's group of students in\nthe University of London.\n\nTHE WOODCUT OF TODAY\nat Home and AbroadEdited by\nGeoffrey Holme. The Studio Ltd.\nPrice 7/6 net, in Wrapper. 10/6 net,\nin cloth.\nA volume, which adds one more to\nthat long series of fine picture\nbooks for which we are indebted to\nMr. Geoffrey Holme, his predecessors,\nand the Studio Press.\nThe book contains about two hun-\ndred illustrations, sixteen in colour,\nwith accompanying text by Malcolm\nC. Salaman relating to the Woodcr\nin Great Britain, France, Holland'\nItaly, Russia, Japan, the United States\nand other lands. *\nThose who have the good fortune#\nto possess 44 1he Modern Woodcut and\nLithograph \" issued by the Studio in\n1919 should not fail to secure this\nnew volume to set by its side.\n\nPRACTICALLY TRUE by Ernest\nThesiger. Heinemann. Price 8/6\nTHE THEA TRE IN LIFE by Nicho-\nlas Evreinoff. Harrap. Price 12/6 net.\nFORTY-SEVEN and forty-eight, these\nare the ages of Nicholas Evreinoff\nand Mr. Ernest Thesiger, both of\nthem theatre men. Evreinoff, the\nyounger by one year, is older in expe-\nrience. 44 Fie has been a circus per-\n44 former, an actor, a playwright and a\nil regisseur ; a flautist and a composer;\n44 a critic, a novelist and a historian ; a\n44 painter, a psychologist, a biologist, an\n44 archeologist and a philosopher ; a gra-\n44 ciuate in law, a government official, a\n\" teacher and a world traveller. And\n44 a tyro at none of these occupations \".\nThese are the words of Mr. Oliver\nSayler, who is helping to sell Russian\ngoods in America, i put it that way\nbecause that's the way it is. Keen\nabout Russian art Mr. Sayler may be,\nbut he is a good American : he does\nas he is told, and America tells its\nsons to do what they darn well like\nbut to make it pay anyhow.\nMr. Sayler, in his introduction of\nEvreinoff's book, cannot be accused of\nlaying it on thin : the author of 44 Gay\nDeath \" has to keep still while his\npublicity agent paints him an inch\nthick ail over; and what colour re-\nmains oyer in the pot is daubed on\nto the American people who have\n4< ad vanced incredibly in comprehen-\nsion and sympathy \" in the last ten\nyears. Glorious delusion ... for if any-\nthing the whole earth, as a people,\nhas retired gracefully further and fur-\nther, comprehending less and less and\nsympathising, thank heaven, not at all.\nSympathy ! !\nMr. i hesiger has no one to intro-\nduce him. He seems passionately fond\nof introducing himself, yet says not a\nword. As a rule : he says it in flo-\nwers. 44 I quickly bought a large\nbunch of violets....\" the 44 result of this\n44 small outlay (I have tried the same\n44 trick since with equal success) was\n44 a letter.... asking me to pay her a\n• • •»\nvisit\nSo I miss the bunch of violets on\nthe cover of this book which lacks"}, {"page_pdf": 67, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.67", "debut_caractere": 0, "fin_caractere_exclue": 7061, "texte": "oat. Introduction. But instead of this\n# have a dedication to E. P. T.,\nHje author's father.\nMr. Thesiger senior was (may be\nne stili is) C!erk Assistant in the House\nof Lords. 44 He knew nearly all the\nPeers of the Realm \"—44 knew practi-\ncally no one in what is called 4 The\nArtistic World ', and certainly no one\nwhose reputation was in the very\nleast shady\nWhich can only mean that he ne-\nver left his desk in the narrow little\nroom allotted to him in the Clerks*\nquarter of the House of Lords.\nThe notion of not knowing anyone\nin 44 The Artistic World \" seems to\nme a happy one. I am pretty exclu-\nsive myself—I will know no one else.\n1 make an exception in favour of those\nwhose reputations are shady rather\npreferring things in the round to\nquite a flatness; and when they are\ndamned outright by the intolerant I\ngreet them cordially. It seems to\nme to be almost a Hall mark.\nBut when I speak of 44 The Ar-\ntistic World \" I mean the artists and\nonly the artists. I do not mean the\nhangers-on — the artistic — the ama-\nteurs, ....those who have condescen-\nded to come over to us. Yes, but\nalas, to the flat, hail but farewell.\nMr. Ernest Thesiger is not flat, dull,\nand assuredly not unprofitable; and\nhis book is full of lively, kindly, char-\nming and cutting things.\nAfter having painted well for ten\nyears and sold successfully for two (he\nnetted £ 600 for sketches at two 44 one\nman shows \") Mr Thesiger became an\nactor at the age of thirty. And now\nat the age of forty-eight he gives us a\nvery readable book of recollections.\nHis passion seems to be to know\npeople—to be introduced—even to in-\ntroduce himself. Once people know\nhim a little, he feels sure that he can\nmake himself liked—and so it is. But\nhe also has an immense liking for the\nstage; on which, as you read his\nbook, you feel he is purposed to suc-\nceed.\nThe author of 44 Practically true\ngives his readers two or three portraits\nof himself, none of which looks more\nthan twenty to twenty-five years old.\nAnd as he also writes in the twenty-\nfive-year-old swing I get an impression\nof a very young man.\nHe seems to have known nearly\nall the people one has heard of in\nEngland. But though so closely in\ntouch with things and people some there\nare he never did get into touch with\nat all, notably the Shah of Persia, Val-\nliant, Cleo de Merode, Count Tolstoi\nor Giuseppe Verdi. On the other hand\nhe has known the Empress of Austria,\nQueen Alexandra, and several lesser\nroyalties and just missed having a little\nsupper or two with the Kaiser.\nAnd, as he explains in his book, he\nhas been an actor for eighteen years.\nI have always gathered that he is one\nof the very best actors on the English\nstage, even as 1 have always heard of\nSir Gerald du Maurier as one of our\ngreatest producers. Both are in any case,\nsocially, very much in the swim. Some\npeople there are in England who de-\ncry the age and who assert that the\nstandard in England, so far as the\narts and graces go, trails on the\nground.\nBut so long as such actors as Mr.\nThesiger and such producers as Sir\nGerald are on the spot to keep the\nflag flying, we can fee! assured that\nall is well with the British stage.\nWell, the book couldn't be more\nentertaining and often* is instructive;\nseldom fails to be amusing, and has\none line we can take quite seriously\nand which runs: 44 Really, actors\nought never to be knou)n, or even\nseen, off the stage \",\nLet us be glad that Mr. Thesiger\ndoesn't take himself seriously, for then\nwe should have missed a delightful\nbook.\nDelightful of course, and curious ;\nfor to me how queer it seems to\ncome across the only reference to Ir-\nving and find it missing fire— : All\nthat he says is 44 I remember thinking\nIrving very grotesque in it \", — in 44 The\nDead Heart \".\nSurely, ! say to myself, this first-\nclass actor saw the great actor more\nthan once ; but it would seem not.\nHis chapter on Mrs. Patrick Camp-\nbell is full of charm, all but the stcry\nabout Herbert Trench which merely\nreveals a glare of bad manners for\nwhich Mrs. Campbell is net noted,\nshe having the most charming man-\nners ; keeping no one waiting and\nsaying nothing unkind about anyone.\n1 wish 1 knew the author's motive\nfor repeating the story. It may be\ntaken to represent theatrical ways, yet\nit doesn't represent them; but it may\nalso be told to give pleasure to smart\nsociety whose manners may be just bad.\nI miss the point of it.\nApt is our author on Miss Thorn-\ndike's 44 iron constitution \" : on Mme.\nDelysia's generosity and loveableness:\nbut is he on Mr. Churchill's 44 fatuous\nremarks\"? Of Arnold Bennett he writes\n44 I couldn't bear anyone not to like\nArnold Bennett \" so I at once like\nArnold Bennett without knowing him.\nMr Thesiger is amusing: even his\npassion for knowing people is slyly\ncomic — is it at all grotesque ?\nWhat artist ever wanted or wants\nto know anyone ? Who is this same\nanyone, anyhow ? To be in the swim,\nwhat is that ? — to be in touch with\npeople in the swim ? To be in touch\nwith the sea — that I understand; but\nto bathe in it with two thousand five\nhundred otheis at the Lido or to dine\nwith one thousand four hundred others\nhardly strikes me as the ultimate, or even\nthe passing, ambition of the smallest\nartist.\nIt was Henry Irving's son, Harry\nIrving, who once delivered a lecture\nentitled 44 The Social Status of the\nActorWhat it was all about 1\nforget, and cannot refer to the subject,\nwhich was reprinted in his 44 Occasio-\nnal PapersBut it was a defence,\nand defences are always happy things:\nthe Irvings always defended the actors\nagainst the attacks, silent or voiced,\nmade upon them by the tolerant.\nIt was also a waste of time: for\nartists and actors have very happy lives\nand give a good deal of happiness to\nothers.\nBut I refer only to genuine artists\nborn to their trade. Now there is\nanother kind coming along — the ama-\nteur. All sorts of people are forsaking\ntheir old paths which one supposes led\nsomewhere and are trying a new one\n— a road which leads them nowhere.\nI disapprove, and for too many se-\nrious reasons to be gone into thoroughly\nhere. I like too well the idea of con-\ntinuity : as I like to see the crown pass\nfrom father to son, the titles, the estates,\nthe old traditions, too, so do I like to\nsee the palette, the pen, the mask and\nthe box of tricks of any trade passed\nfrom father to son — or from master\nto best apprentice.\nI like the secrets of the game to\nremain in families; and 1 am not at\nall partial to the vulgarization of even\na card trick so that after dinner every\nLord Pompsby can say 44 I' 11 show\nyou how Houdini did this\"; or Lady\nDot Andcarione can offer to give us\nher most perfect rendering in Dumb\nShow of the speech which begins 44 The\nquality of mercy.... \" to show how far\nlovelier was her voice than was that\nof Mary Anderson.\nThis vulgarization of something which\nis best left to the experts of the lower\nclasses is the work of England, of Ame-\nrica and of the Isle of Wight.\nIt is briefly a twopenny nuisance.\nBut when the upper classes insist —\nwhen they even offer their services\nprofessionally, when, in short, they"}, {"page_pdf": 68, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.68", "debut_caractere": 0, "fin_caractere_exclue": 3413, "texte": "become members of the lower classes,\n(for all artists are, as Mr. Thesiger\nsenior indicates, beneath, not level\nwith, the upper and middle, and I\nheartily praise God but humbly agree\nwith the clerk), then they should doff\ntheir old gold lace uniforms and their\ndarned side and be lost in the crowd\nof artists in the limelight.\nAnd another thing. — If the upper\nclasses of today are content to doff\ntheir uniforms or whatever it is makes them\nappear so awkwardly upper, to leave\ntheir old haunts and to descend to the far\ndifferent haunts of the artists, they should\nbe very careful to bring something with\nthem which the artists may at least need\nA finer set of manners, may be.\nI feel that Mr. Thesiger does try to\ndo that.\nMr. Thesiger was an amateur and\nis one no longer. He is essentially the\nprofessional: far more so than M. Evrei-\nnoff seems to be.\nBut 1 couldn't possibly say anything\nharsh about this Russian genius for there\nare plenty who will damn poor Evrei-\nnoff. Some have said the harshest\nthings possible : for example, that 44 his\nbook has been translated into the irri-\ntating conversational style made fashion-\nable by Mr. Craig \" : that his criticism is\n44 remarkably trivial \" ; that he is 44 in-\nsensitive \", his words mere 44 prattlings\".\nSuch critics have my sympathy. They\nstarted off in life so full of indepen-\ndence and I don't like to hear them\ntoday echoing what they have overheard\nin the lobby of the House of Lords.\n\nDESIGN IN THE THEATRE:\nSpecial Winter number of 44 The\nStudio \" 1927-28. Price, Wrappers\n7/6: Cloth 10/6.\nTHIS new Studio volume contains\nover 120 illustrations in colour and\nphotogravure, commentary by George\nSheringham and James Laver, and con-\nby Gordon Craig, Nigil Play-\nfair and Charles B. Cochran.\nMr. Gordon Craig has written a\ncharacteristic letter which is reproduced\nin facsimile and in which he tilts with\na touch of pleasant malice against the\nplaywright, at the same time indicating\nthe importance of the designer's function.\nThis Studio special number offers a\nrepresentative collection of drawings by\nthe leading English and Continental\ntheatre designers, as well as a number\nof designs by Irish and American artists.\nIt is a volume which will certainly\nbe welcome to the large public interested\nin the theatre.\n\nFOUR COMEDIES by CARLO\nGOLDONI, Edited by Clifford Rax.\nEdition limited to 500 copies. 12f 6\nnet. Postage 6d inland.\nHEROES OF THE PUPPET\nSTAGE by Madge Anderson. Publi-\nshed at 12/6 net; Some copies offered\n(new at 7/ 6, postage 9d inland.\nBoth obtainable from Foyle s, 119-125\nCharing Cross Road, London.\nGOLDONI is one of the most rea-\ndable as well as actable playwri-\nters. But you may not know Italian,\nand then you will need an English\nTranslation, and I realty cannot think\nyou will find a better one than this\nsold by Mr. Foyle.\nAll theatrical people will be delighted\nwith these 44 Four Comedies\" edited\nby Clifford Bax, especially that of 44 II\nl eatro Comico \" in which play all are\nactors, actresses, impresari, managers and\npatrons. And nowadays it is rather\nhard to get a picture of a Patron of\nthe Arts, especially a Patron of the\nTheatre Arts. Here we have him, —\nthe Otto Kahn of those days. True,\nhe is a Turk, but what would you :\nall patrons can't be white.\nMr Foyle's second special offer, the\n44 Heroes of the Puppet Stage \" is use-\nful and entertaining. It is a good book\nfor beginners and will not bore them."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c070", "article_bluemountain": "bmtnaau_1927-10_01#c070", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "164", "page_fin": "164", "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=bmtnaau192710-01.2.22.2", "titre_corps": "THE UNPUBLISHED LETTERS OF CHARLES DICKENTS TO MARK LEMONCHARLES DICKENS AND OTHER VICTORIANS by QWHEN CRUMMLES PLAYED", "titre_sommaire": "THE UNPUBLISHED LETTERS OF CHARLES DICKENTS TO MARK LEMONCHARLES DICKENS AND OTHER VICTORIANS by QWHEN CRUMMLES PLAYED", "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": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.54", "debut_caractere": 15, "fin_caractere_exclue": 5077, "texte": "THE UNPUBLISHED LETTERS\nOF CHARLES DICKENS TO\nMARK LEMON. Halion & Trus-\ncott Smith Ltdy Price 42/-.\nCHARLES DICKENS AND\nOTHER VICTORIANS by Q.\nCambridge University Press. Price\n10/6 net„\nWHEN CRUMMLES PL A YED,\nwith an Introduction by F. /. Harvey\nDarton. Chapman & Hall Ltd, Price\n3/6 net.\nWHAT a delight it must have been\nto have lived in Cambridge as\na young student a year or so ago (when\nit was rather less rainy too) and to\nhave been privileged to listen to the\nhappy lectures of this boyish, spirited\nprofessor, Sir Arthur Quiller Couch.\nThese lectures, now published in a\nbook, form one of the most pleasant\nbooks you will ever want to read. It\nwill please you to see how simply and\nhow humanly the professor addresses\nthe students assembled courageously to\nlisten to a dry talk on English Lite-\nrature. You can imagine how surprised\nand happy these fellows became on\nperceiving that the talk was to be\nbrilliant and young, easy to follow,\nand sufficiently profound after alb\nSome will hardly suppose that to\ntalk of Mr. Micawber and of Fagin\ncan fail to bore : others will wonder\nwhat brightness can come out of the\nconsideration of Charles Dickens, the\nrather vulgar, very sentimental writer\nwho found it intolerable to go on\nliving with his wife :—and who became\ndespite of that once so horribly popular.\nBut now everything is against a\nfervid revival of the old interest in\nDickens.\nIt doesn't matter in the very least,\nbecause even the sea has lost greatly\nin popularity these last twenty years\nor so. It is only the pyjamas by the\nsea which count,— these the clou to\nthe whole reason of nature and life,\nLet us add some machinery har-\nnessing the waves and I think I shall\nbe just.\nDickens and the sea, and Tennyson,\nand Byron and Benvenuto Cellini are\nall a little out of date, 44 Benvenuto\nwas, it is to be feared, rather medio-\ncre as an artist \" wrote a critic only\nlast month. Shakespeare is not quite\nas excellent as he ought to be, think\nthose who sit round the fire on winter\nevenings cutting out all that is really\nnot quite good: Leonardo da Vinci\nis terribly over-rated one is told ; I\nhad to stop reading Robinson Crusoe\n(and I am rather a gcod reader) to a\nfriend who wasn't listening. It is true\nthat Crusoe is best read to oneself,\nso possibly mine was the error here.\nI had to stop reading a play by\nG. B. S. ...and to myself tco; truly the\nworld must be coming to an end.\nYes —an end of a chapter, and\nthere are probably three thousand\nmore chapters, everyone of which will\nbut be the old story rewritten.\nDicken's devotion to the stage was\na life-long devotion. Once he had\nwished to be an actor and wrote to\nBartley the stage-manager of Covent\nGarden Theatre and very nearly became\na professional actor.\nLater in life he became a very\nserious Amateur stage-manager : and\nthe sumptuous volume edited by Mr.\nWalter Dexter containing the letters from\nDickens to Lemon tells us all about\nthis.\nft is indeed a very sumptuous book,\nprinted in a large type with original\ntouches all over the composition, on\nexcellent thick paper, (thick paper is\nseldom good but this is) and bound\ngorgeously in crimson cloth and real\nvellum backs and corners.\nTo me as a student of Theatrical\nhistory it is something to be grateful\nfor, the production of this series of\nletters with some of the letters inserted\nin facsimile, so precisely in facsimile\nthat I took one to be a loose letter\ninserted by the bookseller or pub-\nlisher, and began to read it as such.\nIt is also illustrated by reproduc-\ntions of the Programmes of the Dickens\nPrivate Theatricals.\nYou can judge of the crowd he\ncollected as co-workers when you\nglance at these programmes and find\nthere the names of John Tenniel,\nCharles Knight, Douglas jerroid, John\nForster, R. H. Home, Wilfcie Collins,\nJohn Leech, Mrs. Cowden Clarke and\nGeorge Cruickshaok.\nAnd for scene-painting he had the\nwork of Thomas Greve* Mr. Telbin,\nClarkson Stanfield R. A., Mr. Ro-\nberts R. A,, Pitt, Absolon and Louis\nHaghe, all doing a scene apiece for\none night's performance. What a jolly\nfellow Dickens must have been.\nThe book is rather a rare one for\nony 525 copies have been printed,\nso if y. u, gentle reader, are in Ame-\nrica I advise you to hurry up and\nwrite for one at once to Halton &\nTruscott Smifh Ltd. whose address is\n57 Haymarket, London. It costs forty\ntwo shillings and is worth twice that sum.\nSome of our more famous publi-\nshers will have to wake up, for some\not the lesser known publishers are\ndoing better work than they: and if\nbefore long we forget Messrs Dash\nand Sons and have only room in our\nlibraries to house the noble books of\nthe Nonesuch Press and these rich\nvolumes of Messrs Halton 6c Tiuscott\nSmith and Mr. Peter Davies and the\nother new-comers, it will be no one's\nfault but that of Messrs Dash and Sons.\n44 When Crummies Played \" is a\nlittle inoffensive volume but is unwor-\nthy of the great house of Chapman\nand Hall. It might easily have been\nprinted on better paper and with\nbetter illustrations and for 2/6. ie, one\nshilling less.\nYes, the old Firms must wake up."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c071", "article_bluemountain": "bmtnaau_1927-10_01#c071", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "164", "page_fin": "165", "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=bmtnaau192710-01.2.22.3", "titre_corps": "ANNALS OF THE NEW YORK STAGE by George C.D. Odell", "titre_sommaire": "ANNALS OF THE NEW YORK STAGE by George C.D. Odell", "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": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.54", "debut_caractere": 5079, "fin_caractere_exclue": 5724, "texte": "ANNALS OF THE NEW YORK\nSTAGE by George C. D. Odell.\n2 Volumes. Columbia University\nPress, New York• Milford, Oxford\nUniversity Press, London. Price 45 -\nnet each volume.\nIIWIMIIHHM—B—IMIIM ■nil !!!■■ I—IIII Hill——E» «|l H—mnail II Ml II HI II ■llfliiriWIllllLl.l.WII.IBa kWlWIWIHHI\nAT last a really good report has\nbeen made of the half of the\nannals of the New York stage; — I\nsay half, for the Lyric stage would\nseem to have been ignored by Mr.\nOdell or by America, as the first al-\nlowed his pen 44 to glide happily\nalong \" or the second went to sle^p.\nOne can see at once that Mr. Odell\nhas been very happy, for it is an easily\nwritten book."}, {"page_pdf": 55, "page_imprimee": "165", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.55", "debut_caractere": 0, "fin_caractere_exclue": 4960, "texte": "It was, he tells us, intentional when\nhe 44 discarded the mechanism of foot-\nnotes, bibliographies and other scho-\nlarly impedimenta \" : he has tried hard\nto make the two large volumes enjoya-\nble reading. That he fails to succeed\nis not because he does not do every-\nthing he possibly can do to lighten the\nordeal. And it really is a good big\ncrdeal to face these volumes smiling.\nMr. Odell smiles to help us: he\nchortles now and again : he even digs\nus, on rare occasions, in the ribs. He\nis cheerful to jauntiness —as indeed\nwho would not be who sat down to\nrecord the almost daily doings of all\nthe performers, entertainers, and cu-\nriosities which came upon the New\nYork Stage in those days.\nThe record is an amazing one.\nMr Odell has more than adequately\nrepaid the debt of pleasure which he\ntells us he incurred in many happy days\nof playgoing. Nothing could be more\nhonourably done.\nPersonally I enjoy a History which\nis full of the discarded 44 footnotes,\nbibliographies and other scholarly im-\npedimenta I prefer a more sober,\nif duller, report—unless it be written\nby Charles Lamb, and then sobriety is\nout of the question.\nBut there was a great danger in\ndealing with these Annals in any but\nMr. Odeli's lively way, for the facts,\nanecdotes, achievement and failures at\nhis disposal are such poor spirited\nthings, he had no choice but to burn\nthem up with a chuckle or two. One\nis all through chilled by the realiza-\ntion that some of the very worst ta-\nlent Europe could produce went over\nto America—and when it was first\nclass, as in the case of Edmund Kean,\nsomething went wrong with the recep-\ntion of it. The Americans were rude.\nThe plays and actors which Ame-\nrica itself produced, were but very\npoor imitations of what it took to be\nthe best European goods. The record\nso far—presumably other volumes are\nto appear—consists of 1086 pages of\namazingly well collected and well or-\ndered facts not worth recording.\nIt is as though some one should\ndeal exhaustively with the Annals of\nthe Coatbridge Theatres. Possibly\nMrs. Siddons once visited Coatbridge\nbut what else worth while is to be\nrecorded? Never mind, says the his-\ntorian, record it all\nIt is right that the record should\nhave been made in the case of New\nYork City. The book will of course\nbe of invaluable service. Mr. Odell\neven records the concerts and some-\ntimes is at his happiest when doing so.\nOf a conceit in 1794 he writes:\n44 I suppose youthful ears could not\nconsume quite a dollar s worth of\nmusic. Furthermore Iam Willing to\nbelieve that Phillips knew whether or\nnot his name was written with one I\nor two; the newsprints of the time\nstaggered in uncertainly as to the\ndoubling of the liquid. I also blindly\ngrope. In the same way all my mind\nis clouded with a doubt as between\nDu Champ and du Camp, in para-\ngraphs immediately forthcoming. O re a\"\nder, that Eighteenth Century spelling\nand o the dubiety it entails in aw\nthors and editors I Alack / Alack /\n, The two volumes bring the reader\nup to the year 1821, and, by the\nhelp of a very thorough index to each\nvolume, we can find everything we\nlook for in an instant.\nMany interesting illustrations enrich\nthe work, some of which have been\ndrawn from the collection at Harvard\nUniversity, though why the Frontis-\npiece of 44 The Fool's Opera \" is in-\ncluded when no mention of Opera or\nthis opera is in the index, and only\nthe slightest allusion made to the said\nbook, leaves me puzzled.\nAnd I am unsatisfied when, on turn-\ning to discover who was Charles Ci-\nceri, I am not enlightened as to what\nrelation he was to the L. L. Charles\n(1782 1868) (0 the last of the\ngreat scenepainters of Italy. He can\nhardly be the Ciceri for this man in\nAmerica was painting scenes for 44 Tam-\nmany \" in 1764 and the great Ci-\nceri was then but eleven to twelve\nyears old.\nWe are told what he did, but not\na word as to who he was, when\nborn, where he went to when he dis-\nappears suddenly from Mr. Odeli's\nbook on page 225 of the second\nvolume.\nI have said that Mr. Odell ignores\nOpera or the Lyric Stage; or can it\nbe possible that Opera was only first\nrecognized when in 1815 Italian Opera\nfirst came to America ?\nThen it wasn't Mr. Odell who\nignored Opera; it was America; — an\nastounding fact if a fact.\nWe shall probably get Opera treated\nin the next volume, for by then 1825\nwill have been reached.\nAmerica is a large place; — one is\nforced to be always telling oneself this\nlest one should become at all critical\nof the smallness of the American mind\nwhen dealing with the arts.\nI admire immensely their artists:\nwhy can't America admire them and\nsupport them ? why imitate England'3\nworst fault, —it's ancient indifference to\nthe well-being of too many of her\nartists.\nWhy, one asks, and one sees the\nanswer to that riddle in this book:—\nthey are too stupid as a nation to\nknow the value of art to the life of\nthe nation.\nI never felt this so clearly as when\nreading this admirable work by Mr.\nOdeil.\n(i) Bapst's dates."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c072", "article_bluemountain": "bmtnaau_1927-10_01#c072", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "165", "page_fin": "166", "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=bmtnaau192710-01.2.22.4", "titre_corps": "L'ARTE DELL' ARCHITETTO FILIPPO JUVARA IN PIEMONTE by Augusto Telluccini", "titre_sommaire": "L'ARTE DELL' ARCHITETTO FILIPPO JUVARA IN PIEMONTE by Augusto Telluccini", "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": "165", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.55", "debut_caractere": 4962, "fin_caractere_exclue": 6674, "texte": "V ARTE DELL9 ARCHITETTO\nFILIPPO JUVARA IN PIEMON-\nTE by Aagusto Telluccini. CruJo &\nC. Torino. No price given.\n■UIJ \\T I IHI ■ HI ■IIWIBJIMHIIIIIN\nTHIS celebrated architect was one\nof the best pen-draughtsmen of\nthe 18th century : and when he wrote\nhis name with his pen he wrote it\n44 Juvarra Why then does Sighor\nTelluccini drop an R and awaken thereby\na lack of confidence in me ?\nBut I am not going to trouble\nabout that since all I have to do is\nto express wonder and gratitude for\nany book which may appear about\nJuvarra. There have been next to\nnone, and this one as a beginning is\nall to the good.\nJuvarra was born at a time when\nscenography was getting rather too\nstrong a hold on the architects—indeed\non everyone. And so, while Juvarra\nwas primarily an architect—and I think\na poor one —- he was far more of a\nscenographer and obviously a magnifi-\ncent one.\nHe was born about 1676 says Si-\ngnor Telluccini; at Messina, say two\nwho knovv*. at Parma, say two others\nwho know t in 1673, in 1676, in\n1684 and in 1685, so say nine who\nknow—all disagreeing.\nBut can they all know ? Evidently\nsome of them don't. Have any of\nthem by luck hit on the right date\nand spot ?\nSignor Telluccini should . be read\nattentively, for, since 1907 when he\npublished his first 44 Contributo alia\nbiografia di Filippo Juvara 44 in Mes-\nsina he has been at work learning\n. more.\nTo give more than twenty years off\nand on to a work is the way to do it.\nNowadays if we give six months to\nsuch a work we feel we are not quite\npractical.\nJuvarra died in 1736 \" aged 63\nsays one authority ; 44 aged about 58 *\nsays another; \"aged 51 \" says a\nthird.\nI like the one who says 44 aged about\n58 \" for ever if incorrect it's courteous;"}, {"page_pdf": 56, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.56", "debut_caractere": 0, "fin_caractere_exclue": 875, "texte": "and it's his pupil Zacchell! who said\nit, and I think he is likely to have\nknown; still it really doesn't much\nmatter; except to me. I am a stick-\nler for dates. So long as I know\nwhen an artist was born, which day,\nwhich hour, if possible where and\nwhen and exactly when he died and\nwhere then I really trouble no more\nabout him except to know what he\ndid at twenty, on which day and\nwhere, and what at twenty-five, and\nso on tin we come to the end.\nThis is what Signer Telluccini tries\nto do with Juvarra, and succeeds so\nwell in doing, until he comes to the\ntheatrical work of this essentially thea-\ntrical person. Then he seems to me\nto fail.\nBut because of this 1 will not com-\nplain ; he gives us so many splendid\nplates showing his work, which is all\nas stagy as it can be; and I for one\nam quite enchanted, and await expec-\ntantly the book on Juvarra Scerio-\ngrapher."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c073", "article_bluemountain": "bmtnaau_1927-10_01#c073", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "166", "page_fin": "166", "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=bmtnaau192710-01.2.22.5", "titre_corps": "EUROPEAN DRAMATISTS by Archivald Henderson", "titre_sommaire": "EUROPEAN DRAMATISTS by Archivald Henderson", "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": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.56", "debut_caractere": 877, "fin_caractere_exclue": 1377, "texte": "EUROPEAN DRAMATISTS by\nArchibald Henderson, Ph. D. D. Ap~\npleton & Co. {revised edition). Price\n151- net.\nTHE Review of Reviews has said\nof this book that it is 44 brilliant\nanalysis and masterly criticism \" while\nthe Pall Mall Gazette tells us that\n44 Mr. Henderson is one of the most\nvivacious of the younger writers of\ntoday, and here he is at his liveliest \".\nOthers even go further in their praise,\nSo I think we had better leave it at\nthat, and take it to be a just and\nfair tribute to ability."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c074", "article_bluemountain": "bmtnaau_1927-10_01#c074", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "166", "page_fin": "166", "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=bmtnaau192710-01.2.22.6", "titre_corps": "THE ART OF PANTOMIME by Charles Aubert", "titre_sommaire": "THE ART OF PANTOMIME by Charles Aubert", "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": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.56", "debut_caractere": 1379, "fin_caractere_exclue": 3116, "texte": "THE ART OF PANTOMIME\nby Charles Aubert. Henry Holt &\nCo. (Price not given).\n\\YTUO was Charles Aubert ? His\nV ¥ translator Mrs Sears does not\ntell us. Who was or is Charles Au-\nbert ? we repeat, hoping for some sort of\nreply from Miss Sibyl Baker, Director,\nCommunity Centre Department Public\nSchool of the District of Columbia :\nfor she has written an Introduction to\nthe book. No reply.\nNot content to read the book with-\nout some slight knowledge of the\nauthor, what he is, what he did be-\nsides write, and when he lived and\ndied, I turn to ten. twelve, fifteen\nbooks in search of his name Not\none word can I find in any of these\nbooks, At last in an old bundle of\ncatalogues of trench books 1 find\nthis :*—t4 Aubert (Charles) Pantomimes\nModernes illustrations de Kauffmann\nParis Flammarion, s, d, in 12 br.\ncouv, ill. 5.00 frs. 44 which is not\nmuch. I do not mean that 5 francs\nis little; I mean the information is\nmeagre.\nBut while it is not the habit for\nLibrarians who sell books to inform\nus of authors' lives, it is courteous of\na translator to do something. Mrs Sears\nignores Aubert ; Miss Baker almost\ndoes so.\nMiss Baker says we shall find the\nbook valuable.\nI regret that I cannot agree with her.\nIt is the wrong way to instruct\nwould-be actors to give them 196\ndiagrams of heads, hands, skeletons\nand so forth in the belief that one\ncan catch the nearest way,\nA very clever actor might find such\na book useful ; for clever artists often\nlike best those stupid books which\nteach nothing ; it is from that nothing\nthey can so often extract more than\nanyone else ever dreamed was therein.\nTo the beginner this book might be\nfatal, and so our advice to .all teachers\nof pantomime and gesture is, if they\nbuy it, to beware of it."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c075", "article_bluemountain": "bmtnaau_1927-10_01#c075", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "166", "page_fin": "167", "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=bmtnaau192710-01.2.22.7", "titre_corps": "THE LION AND THE FOX by P. Wyndham Lewis", "titre_sommaire": "THE LION AND THE FOX by P. Wyndham Lewis", "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": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.56", "debut_caractere": 3118, "fin_caractere_exclue": 6649, "texte": "THE LION AND THE FOX by\nP. V/yndham Lewis. Grant Richards\nLtd. Price 16/-net.\nI hope that Mr. P. Wyndham Lewis\nthe author of 44 Tarr \" is not going\nto write a series of books like this\nthat 1 am to attempt to review ; for\nthough I could devote some years of\nmy life to studying P. W. Lewis the\nScholar, I should prefer not to, If\nthe 44 Works\" are to be written of\ncourse we shall have to study our\nLewis seriously, and I dread io think\nhow my young life will be wasted.\nI think of the dozens of gay young\nwriters of the eighteen thirties and for-\nties who gave their lives to the works\nof Carlyle,—-who had to give them\nto this foxey Lion ; — who hated to\ndo it but who got over the first ago-\nnies, and then rather Irked it and finally\ncould use no other. Thus we lost\ndozens of creative artists because one\nbig burly Scotsman yelled out 44 You\nthere—stop and look at me\nI shall be like that if Mr. Lewis\ngoes on : I shall not like it, but, un-\nless 1 am to be out of it, 1 shall\nacquire the habit; and when in 1957\nor 1960 I find people calling on me to\nexplain certain obscure passages in one\nof the early volumes of the works of\nLewis, I shall know what it has all\nmeanthow little and how much—\nI shall taste my reward—I shall play\nthe little lion when they are present,\nand laugh like a fox when they go.\nBut if Mr. Lewis will let me off\naltogether by exercising his creative facul-\nties; if he will write ether novels, other\nshort stories, and, when not urged to write,\nturn from his pen to his brush and\nwill paint some good pictures just tj\nshow us how to do it, I shall be\nmore grateful than I can express.\nIn Mr. P. Wyndham Lewis we are\npresented with a temperament forcing it-\nself to think, ....nay, more, to think\nand think until there creeps over his\nface and figure that same strange, rather\ngrand, but certainly queer, expression\nwhich we see on the face of a mon-\nkey who is rolling a nut round and\nround, passing it from cheek to cheek.\nThere are other thinking men who\nwrite their thoughts down at length,\n—Mr. J. S. Eliot for example : Mr.\nLeo Stein: and I'm not sure that\nthis same thinking don't become them\nfar better than it does Mr. P.\nWyndham Lewis.—for they can do\nnothing else.\n44 * Ta r ' is a thunderbolt 44 wrote the\n44 Weekly Despatch \" when that novel\nappeared ; and the 44 Manchester Guar-\ndian \" added that 44 it is a blow struck\nfor seriousness in art and life\nI don't know anything about that ;\nI only saw that it was a piece of\ngood, work full of temperament. It\nstirred the reader.\nI wish I could say the same of\n\" The Lion and the Fox \" ; but 1\nwill say it bores me—1 must also\nadmit thatB being out of the secret\n(a secret 1 shall glide into after the\nappearance of Mr. Lewis's tenth work\nof this kind appears) I am unable as\nyet to do it justice, or, what is in mo-\ndern criticism (vide the modern jour-\nnalism) far more to the point, unable\nas yet to do myself justice.\nSo, being in this pickle, the only\nthing left me is to do Mr. Lewis\ninjustice.\nThe book is about Shakespeare —\na Shakespeare who sat thinking and\nthinking and thinking ....you know\nthe kind of man: elbow of right\narm on books ; one foot crossed over\nthe other and peaked on its toe:\nfinger of right hand making gimlet\nhole in right temple : smug but ne-\nvertheless thinking, and thinking it out.\nIt is about this man that Mr. Lewis\ntakes us to task ;—44 Til tell all about\nShakespeare \" he says. He doesn't\nwrite the stupid statement as 1 have\njust written it, but he tells us that\n44 Shakespeare was \" and 44 Shakes-"}, {"page_pdf": 57, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.57", "debut_caractere": 0, "fin_caractere_exclue": 3573, "texte": "peare had \" and 44 Shakespeare is \"\nand, what is more \" Shakespeare would\nhave \", 44 could not \" and 44 did\nYou'll find it all on pages II. 15.\n43. 145. 160. 170. 171. 179. 183.\n184. 209. 213. 245. 255. 259.\n261. 262. 290. 291 and at least\nfifty more pages which I did not stop\nto note.\nNow when any clever man can\nbe brought to such a pass as to\nattempt to say what Shakespeare is,\nwas, had and did, let alone would\nhave and cGuld have done, it must, as\nI hope I have modestly shown, flum-\nmox me, until it be certain sure that\nI am to be of Mr. L ewis's intimate\nliterary group twenty-five years from\nnow and to wobble my head wisely\nand confound the ignorant and, I\nhope, amaze, indeed, the very faculty\nof eyes and ears of the middle of the\ntwentieth century.\nThe author of 44 Tarr was so di-\nrect and simple :—whereas in this\nLion and Fox book he goes round and\nround and is very elaborate. It's a fine\nshow : or rather it's fine without ha-\nving a scrap of show about it. It's\nlike a performance in a theatre where\nwe see a man of undoubted earnest-\nness and ability struggling to play a\nrole which he was never born to\nplay and in which he will never please\nus however long he continue to\nplay it. We know hirn : we know he\nis all that is admirable—and we sit\nperspiring with anxiety. Yet he comes\nthrough with it-—disastrously well. We\nmumble into our programmes 44 won-\nderful performance—wondeiful and\nwe snatch ourselves out of our seats\nand bolt for the fresh air of St. Mar-\ntin's Lane.\nAs 1 read Mr, Lewis's explanation\nof Othello and lago I can but rea-\nlize one truth: which is that we\nneed no explanation: that we need\nvery much to see again such a per-\nformance as Irving gave of lago and\nSalvini gave of Othello, and then and\nthen alone we have it and never till\nthen —if in reading the tragedy we\nhave not already seen these two\nfigures.\nI find Mr. Lewis's prose a little\nhard to read: such a passage as\n44 From the treacherous polished sur-\nface of Arnold's prose (its body clou-\nded for its reception) I will now\nexpiscate that laughing idea which we\nhave been preparing to examine \" ;\nsuch a passage as this troubles me\nand I am in no mood for laughing\nideas of any kind, however deftly\nMr. Lewis may expiscate them.\nBut 1 am -entranced when some-\ntimes the fog lifts and I am told that\n44 people are inclined to forget, per-\nhaps, that the art of the drama and\nall its purgational Greek rules of jea-\nlous gods (and envious audiences), of\nrevenge for grandure, and of well-\nturned and melodious death, is a\ngame \" ; only I could wish that this\nhad been told me in the plain words\nthat men use on ordinary occasions.\nBriefly, I wish Mr. Lewis had put\nall he had to say into sixty or se-\nventy pages instead of running on into\nthree hundred and twenty six of\nthem.\nHis ability to do this is what so many\nwill admire and I must deplore. What\na word, 44 deplore \"!— what a supe-\nrior horror in the mere sound, and\nhow can one use it when there ail\nthe time stands the author of so many\ncreative things before one—if afar off\nin the distance.\nFor when one is in Loudon and\nnearer fo Lewis one sees how 44 the\nimportance of Wyndham Lewis in\ncontemporary England cannot be over-\nestimated Of course one realizes\nthat here is 44 a writer of extraordinary\nforce ?.nd distinction ■\" and one is\nprepared to suppose that he sheds\n44 a new and illuminating light\nwhen ever he writes or speaks on any\nsubject.\nIt is Mr. Osbert Sitweli who says\nso, and one can surely agree with\nhim even if one is puzzled trying to\nconceive of a light which is not illu-\nminating."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c076", "article_bluemountain": "bmtnaau_1927-10_01#c076", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "167", "page_fin": "167", "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=bmtnaau192710-01.2.22.8", "titre_corps": "THE PLAYGOER'S HANDBOOK TO THE ENGLISH RENAISSANCE DRAMA by Agnes Mure Mackenzie", "titre_sommaire": "THE PLAYGOER'S HANDBOOK TO THE ENGLISH RENAISSANCE DRAMA by Agnes Mure Mackenzie", "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": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.57", "debut_caractere": 3575, "fin_caractere_exclue": 5280, "texte": "THE PL A YGOER 'S HAND\nBOOK TO THE ENGLISH RE-\nNAISSANCE DRAMA by Agnes\nMure Mackenzie. M. A,, D. Lift,\nJonathan Cape. Price 5/- net.\nNO one could quarrel with the\nprice, and it's as nice a looking\nbook as anyone could wish for ; exter-\nnally it is like the golden casket in\nthe 44 Merchant of Venice 44 I'll\nread the writing \" one says : one does,\nand, at the end, one is apt to feel,\nas one goes off, that the labour\nhas been lost.\nTo begin with one tries to read it\nlike a play-goer, like a professional\nman of the theatre, and like an ama-\nteur; never is one ceitain which is\nbeing addressed.\nIt's a 44 Play goer's Handbook it\nsays so ; but it also is announced as\n4 4 for the man of the theatre whether\nprofessional or amateur \".\nI am quite at sea: and it's a\nbit chilly at sea when one has lost\none's way.\nThough the writer protests that she\nis one of the humble people, there is\nvery little in her. book which makes\ngood her boast.\nYou can see that she means well;\nbut something—I do not know what\nit is—sticks in her throat just as she\nis about to say 44 Arnen\nI think the trouble chiefly lies in\nher attempt to explain more than she\nquite understands, and to address three\ndifferent groups simultaneously.\nOf the Elizabethan audiences she\nwrites 44 They relished John Lyly's\nsentences as we delight in Mademoi-\nselle Lenglen\nShe has several Appendixes : nice\nthings as a rule, but hers are not.\nHer Appendix II is the prospectus\nof the British Drama League.\nHer Appendix 111 is that of the\nPhoenix Society.\n1 turned to Appendix IV fully\nexpecting to find an advertisement of\nthe Old Vic,\nI begin to wonder if it is not full\ntime to cease the writing of these\nalmost useless books about the Drama."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c077", "article_bluemountain": "bmtnaau_1927-10_01#c077", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "167", "page_fin": "168", "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=bmtnaau192710-01.2.22.9", "titre_corps": "THE BOOK OF PLAY PRODUCTION FOR LITTLE THEATRES, SCHOOLS AND COLLEGES by Milton Smith", "titre_sommaire": "THE BOOK OF PLAY PRODUCTION FOR LITTLE THEATRES, SCHOOLS AND COLLEGES by Milton Smith", "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": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.57", "debut_caractere": 5282, "fin_caractere_exclue": 6412, "texte": "THE BOOK OF PLAY PRO-\nDUCTION FOR LITTLE THEA-\nTRES, SCHOOLS AND COL-\nLEGES by Milton Smith. Appleton\n& Co. Price 10;6 net.\nr\"PHlS is the book I should recom-\nA mend as one of the very best of\nits kind becaure the author uses his\ncommon sense, speaks clearly about\npractical things, and is positively\nhelpful.\nTheories do not fog him ; he picks\nhis way through them and comes out\nwith something to the good.\nBut then Mr. Smith has worked\nhard—has produced plays and taught\nhundreds of teachers and directors who\nhave gone to Columbia University to\navail themselves of his co?jrse.\nin teaching he has not lost the\nenjoyment of experimenting, so his\nbook is fresh and lively.\nIt is a small encyclopaedia of infor-\nmation as to how actually to produce\na play with a theatre and without a\ntheatre and is illustrated by little dia-\ngrams.\nThe book will give no aspiring\nproduces*\" or performer a free pas* to\nanything but hard work; but once\nhard at work it will help.\nThe author is so sincere and so bent\non being practical.\nI like his seriousness, which some-\ntimes even approaches anxiety lest he\nhas forgotten to tell you what must"}, {"page_pdf": 58, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.58", "debut_caractere": 0, "fin_caractere_exclue": 200, "texte": "be done or lest you have not under-\nstood what you must do.\nSo, for me, Mr. Milton Smith and\nhis book are two good signs that the\nfuture of the New Movement is in\nsome places in the very best of\nhands"}]}, {"article_id": "bm-bmtnaau-1927-10-01-c078", "article_bluemountain": "bmtnaau_1927-10_01#c078", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "168", "page_fin": "168", "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=bmtnaau192710-01.2.22.10", "titre_corps": "WHAT ISN'T WRONG WITH DRAMA by H. F. RubensteinTHE HOUSE by H.F. Rubinstein", "titre_sommaire": "WHAT ISN'T WRONG WITH DRAMA by H. F. RubensteinTHE HOUSE by H.F. Rubinstein", "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": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.58", "debut_caractere": 202, "fin_caractere_exclue": 6266, "texte": "WHAT ISN'T WRONG WITH\nTHE DRAMA, by H. F. Rubin-\nstein. Ernest Benn Ltd. (No price\ngiven) o\nTHE HOUSE, A Play in Three\nActs by H. F. Rubinstein. (Contem-\nporary British Dramatists. Vol. XLIV.\nErnest Benn Ltd. (No price given).\nAS a piece of good book-work this\nseries of 44 Contemporary British\nDramatists \", for printing, paper, bind-\ning, and arrangement of the page,\nseems to me excellent.\nThere is to me the perfect series of\nEnglish Comedies of the 18th century\nissued by the Oxford University Press\nat 1 /- a volume; but these are the\nold plays, not new ones; and the\nway they are set up and printed is\nperfect because that is all one wants\nin a 44 book of the words : one shil-\nling But with modern plays, with\nthe authors to pay, first for rights to\npublish, then for tiie acting rights, then\nfor cinema rights and the rights for\nbroadcasting ' tis different: and I sup-\npose that authors of plays are to be\ncongratulated not only on having at\nlast won the fight for all their rights\nbut for being privileged in this matter\nof the pretty printing of Ernest Benn\nLtd. even if their plays are never\nacted.\nBy the way, I wish that these and\na few other publishers would print\nsomewhere on their series what price\ntheir little volumes cost. 1 am always\nhaving to hunt for this and 1 never\nfind it. I take it to be about 2/- or\n2/6, the price Messrs Heinemann and\nCo issue their series of Plays by Pi-\nnero, Maugham, Davies, Chambers; or\n3/6, the price of the British Drama\nLeague Series.\n44 What isrit wrong with the Drama*'\nis a most interesting address delivered\nbefore the Interlude Theatre Guild last\nJanuary. It is full of neat things and\nof good suggestions. I take it that it\nis easier to say what isn't wrong with\nthe Drama than what isn't wrong with\nthe Theatre.\nSo little is radically wrong with the\nDrama while our booksellers can show\nfive hundred scripts of all kinds of\nacted Drama since the earliest days ;\nwhereas so much is wrong with the\nStage, if not supported and if not\nsickened by its own fever for com-\nmercialism. It is probably for this\nreason that the New Movement in the\nTheatre has for the last twenty yeais\nlaid such stress upon the need for the\nstage people to wake up and put their\nTheatre in order. It knows that the\nDrama was and generally is all right.\nAs with architecture and music, examples\nexist of perfect Drama, and so there\nis no cause to fear we shall lose sight\nof what the modern men have to aim\nat and achieve to reach th§ standard.\nBut it is good to find in this booklet\nby Mr. Rubinstein a strong plea for\nmore Tragedy. It is O'Neiil's pi ea :\nit is Ervine's plea ; every genuine dra-\nmatist who isn't a satirist must feel as\nthese men do. What Mr. Rubinstein\nsays is what the Theatre itself and\nthe public ought to be saying, and I\nhope will be saying soon now that some\none has stated it clearly.\nI will not spoil his address by\nattempting to compress it here; you\nmust without fail read it for yourself.\nBut one point in his argument is that\nthe plain man who goes to the theatre\noften goes solely because he supposes\nthat a 44 good laugh \" will buck him\nup \" ; whereas he had far better seek\nfor his happiness in the effect upon\nhim of a tragedy. So says Mr. Ru-\nbinstein, and he speaks for certain\ntemperaments. Many people will call\nhim unpractical—but these are solely\nthinking of percentages.\nIt is rather a large flock numbering\nabout 200,000 persons,—the curious\nones, the fairly well off, the bored yet\nup-and-doing-nothing flock,\nThese 200,000 people are always\nthere—on the spot; they miss nothing\nwhich soim wiseacre decides is worth\nwhile—and he always decides wrongly.\nHe is ever guided by the stupidest\nmotive.'\nIt was this large flock which nearly\nsuffocated the airman Lindbergh when\nhe arrived in Paris and afterwards\nin London. Not that it cares two\npence about him or his powers, but\nout of curiosity it collects to gape\nand shriek.\nIt was these superficial 200,000\npeople who packed the streets round\nWestminster when some years ago the\nWoman's Movement was at its height :\nthey did not care one scrap whether\nthe women won or lost, but they\nwanted to see, to gasp, to feel a thrill.\nHad anyone asked a constable on the\nday the women tried to rush the\nCommons who it was formed that\nhuge crowd he would have replied\n44 Mostly made up of the curious\".\nThis crowd, Mr. Rubinstein believes\nshould be made to understand their\nmedicine as well as take it. I be-\nlieve in the older method of hiding\nthe pill in the jam. A little jam\nhelps a little—all jam ? No, no Nan-\nnette !\n1 am not of Mr. Rubinstein's opi-\nnion that ** Mr. Barker's 4 The Secret\nLife *, a tragedy de luxe, couid hardly\nhave been written in contemplation of\na production this side of the 21st\ncentury \" ; but then I am not of Mr.\nRubinstein's second opinion that the\nsame play is 44 suitable for a Sunday\nmorning Theatre \" : indeed I find it a\nlittle difficult to reconcile the two state-\nments.\nBut I will not find any more fault\nwith what strikes me as an excellent\naddress. And I refuse to say harsh\nthings about Mr. Rubinstein's play\n44 The House for it has so much\nthat is clever about it, and Tcheho-\nvian. It is not written like the old-\nfashioned dramas were written and is\nnot as direct as is the modern Strind-\nberg, a dramatist the author very pro-\nperly admires. During Act one of\nthis play one is absolutely in the dark\nas to the author's intention or what\nthe characters are driving at. That is\nbecause to understand any good play\none must have it acted for one.\nIf the interest in what is going to\nhappen quickens slightly as Act two\nbegins, our hopes are quite soon extin-\nghished; nothing much happens, and\nI am not quite sure at the end what\nit was all about.\nThe acted drama is the book of\nthose who cannot read ; and a writ-\nten drama is the performance for\nthose who can't bear the theatre.\nI want to see Mr. Rubinstein acted,\nbut I was told last week by one who\nknows, that every theatre in London\nis going to be sold to a Swiss-\nAmerican group for patent medicine\nadvertisers. ...Is it true, I wonder ?"}]}, {"article_id": "bm-bmtnaau-1927-10-01-c079", "article_bluemountain": "bmtnaau_1927-10_01#c079", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "168", "page_fin": "168", "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=bmtnaau192710-01.2.22.11", "titre_corps": "FIRE AS AN AGENT IN HUMAN CULTURES by Walter Hough", "titre_sommaire": "FIRE AS AN AGENT IN HUMAN CULTURES by Walter Hough", "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": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.58", "debut_caractere": 6268, "fin_caractere_exclue": 6761, "texte": "FIRE AS AN AGENT IN HU-\nMAN CULTURE by Walter Hough.\nGovernment Printing Office. Washing-\nton, Price 50 cents.\nTHE Smithsonian Institute issues\nanother of its reliable and useful\nworks; quite a large book of 256 pa-\nges, with an excellent index (where I\nspotted an omission, ie, 1he Lyceum\nTheatre) and 41 first class plates,\nThe subject is not an uninteresting\none, but the author manages to make\nit entertaining as well as learned, and\nto the historian of the theatre it will\nprove of value."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c080", "article_bluemountain": "bmtnaau_1927-10_01#c080", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "169", "page_fin": "169", "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=bmtnaau192710-01.2.22.12", "titre_corps": "THE ETHICAL AND AND RELIGIOUS VALUE OF THE DRAMA by Ramsden Balmforth", "titre_sommaire": "THE ETHICAL AND AND RELIGIOUS VALUE OF THE DRAMA by Ramsden Balmforth", "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": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.59", "debut_caractere": 0, "fin_caractere_exclue": 2534, "texte": "THE ETHICAL AND RELI-\nGIOUS VALUE OF THE DRA-\nMA by Ramsden Balmforth. George\nAllen Gr Unwin Ltd. Price 7/6 net.\nTHE Ethical and Religious Values\nof the Drama are ail very well\nprovided the expression of them be\nspiritually gay: but while they remain\ngloomy, distressing, and melancholic to\nhear and to see and to think upon,\nthey will defeat their own aim which\nis a grand aim.\n1 he author of this book is from\nthe outset concerned overmuch with\nProblems.\nNow the problem is the very devil.\nProblems are the tares in our wheat,\nand to run after o!d Nick holding up\nhis apron for him full of the §eeds of\nthese things, and to positively help him\nto sow them, is. not a little foolish.\nThis is what the writers of problem\nplays doi and to see this author so\nconcerned with these problems is grie-\nvous. .\nmost things else which are so\nworth while, Belief is a form of mad-\nness or it is not belief: the moment\nyou lean towards reason and begin io\nmumble why and how and when in\nregard to belief you cease to be mad ;\nso much you gain, I admit ; but you\niose the whole world.\nT he author mumbles very sanely, and\nmumbles more sense than is usual\nwhen those topics are being mouthed.\nIf he misses the whole point of the\nRelig ous value of the Drama it is be-\ncause the thing can only be sung or\nspoken by musician or by poet.\nSo this is a book fall of fog and\nsorrows: save where is retold the story\nof Shaw's 44 St Joan \" and here the\nbook sparkles and the story touches\nthe spot. But then (iiKe Shaw in his\nepilogue) Mr. Ba!mforth begins to\npuzzle and to twist up his forehead\nand io oite tne end of his pen 44 and\nthere is no health m him\nin taik of such matters there must\noe no doubts, Life comes—passes —\ngoes—e basta.\n\\Ve can observe it, enter the stream\nof it, spiash and enjoy ; but never\nmust we be sorry for ourselves because\nwe are not bosses of the stream and\ngH some of the water in our mouths\nwnen we don't expect it.\nNo one is, no one will be, boss\nox the stream ; let it content us that\nthis is so and cease from this restless\nfutile attempt to know and so become\nmore than we had ever hoped to be.\nit is because the Wells, Shaws!\nr-jT, 1 • '\ni oisiois, and so many modern writers\ncannot cease their restless, vain attempt\nto solve the insoluble that there are so\nmany people who regret nearly all they\nhave ever written.\nWhen Shakespeare and Goethe get\ndrawn int) the discussion—whoever\ngets drawn in—they get snuffed out\nlike a candle and we put down their\nfoolish books and go off to bed shaking\nour heads.—Isn't it }"}]}, {"article_id": "bm-bmtnaau-1927-10-01-c081", "article_bluemountain": "bmtnaau_1927-10_01#c081", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "169", "page_fin": "169", "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=bmtnaau192710-01.2.22.13", "titre_corps": "THEATRE PRACTICE by Stark Young", "titre_sommaire": "THEATRE PRACTICE by Stark Young", "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": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.59", "debut_caractere": 2536, "fin_caractere_exclue": 2952, "texte": "THEATRE PRACTICE by Stark\nYoung. Charles Scribner & Sons.\nPrice 7jo net.\nrH13 book would have long ago been\nreviewed in these columns but\neveryone else had said alt that there\nwas to say in praise of it and 1 had\nno fault to find.\nIt i3 well above the average, and\nO '\ncontains many a pleasant phrase, but\nis more than often rather too vague.\nFor all this it is one of the best of\nits kmd that has come from America."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c082", "article_bluemountain": "bmtnaau_1927-10_01#c082", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "169", "page_fin": "170", "image_debut": 59, "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=bmtnaau192710-01.2.22.14", "titre_corps": "THE WEST END OF YESTERDAY AND TODAY. E. Beresford Chancellor", "titre_sommaire": "THE WEST END OF YESTERDAY AND TODAY. E. Beresford Chancellor", "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": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.59", "debut_caractere": 2954, "fin_caractere_exclue": 6715, "texte": "T--— TI—IN—DIHIUWIH \\mm mtim IJ.\nTHE IVES T END OF YESTER-\nDAY AND TODAY. E. Bed-\nford Chancellor. The Architectural\nPress. London. Price 25j- net.\n|T is now twenty years since Mr. Be-\n1 resford Chancellor gave us his first\nbook on London. At that time it\nwas no more fashionable to devote\noneself to a limited task and keeo at\nit year in and year out than it is now.\nihen as now, if you could write at all,\nyou were at liberty to write about\nany and everything provided you were\nignorant of your subject, hew young\nmen ever dreamed that or themselves,\nin those days, and so there rose uo a\ngroup of famous plodders who wrote\non heminism, on new worlds, on the Fa-\nbian society, on Music, on the Theatre,\non Utopia and whatever first came into\ntheir heads. These encyclopedic heads\nwanted to reform everything by writing\nbooks : and none seems to have sup-\nposed that there were any difficulties\nin their way.\nMr. Chancellor is typical of the\nother kind of young man of 1905\nand gave all his time to the study of\none thing ; the streets, the squares and\nthe houses of London. Whatever he\nhas to tell us of them is therefore to\nbe listened to with attention, and what\nhe has to show us (for he illustrates\nhis book profusely) will rivet that at-\ntention. Often he places some picture\nshowing a street of the London of\n1800 by the side of another showing it\nin ! 900 ; and that so rivets my atten-\ntion that 1 become grave. Held in\nthis manner, I am reminded of that\noia Egyptian custom of bringing round\na mummy at the beginning of a feast*\nToday at our London public din-\nners and luitcheons 1 would have\nMr. Chancellor s book taken round,\n1 would show the guests one of these\ndouble visions: they could then ruminate\nupon wnat is the difference twixt being\nquick and bemg dead : wliere lies the\ndistinction between a dead and a live\nstreet.\nSome of our London streets have\ndied.\nHere in their latest pictures they\nremain just where they were— a thea-\ntre, a public-house, a mansion just\nwnere it was; and the light in it\ngone out.\nAfter all , says the Optimist,\nLiere s not so great a difference be-\ntween the Regent Street of today and\ntuat oi yesterday. And there is hardly\nany difference in its shape ; the eyes,\nnsw*se, mouth, and chin, the neck,\nand snouiders, tne waist, hips, knees\nand ieet are all in place—and dead.\nHis Majesty s 1 heatre is where\nHer Majesty s I heatre stood, but it\nmight be a hotel, for it is the exact\nfacsimile of a hotel near by. In the old\ndays it was obviously a fine theatre.\nBut i see that you are all tuckm#\n•i• • O\ninto the joint and have forgotten the\nprelude to the feast—so as Mr. Chan-\ncellor s book is far more happy than\nterrifying, I too will be gay and pass\nthe mustard.'\nAnd it is an enchanting book, this\ngossiping attempt to draw attention\nto tae lesser known points \", points\nwmch charm everyone who is lucky\nenough to remark one of them. The\ncunous thing is that we seldom see\nthem because ours is a utilitarian life ;\nwe go from here to there for a pur*\npose ; we do not linger to have a\nlook at the lovely things which lie\nbetween the two ports.\nt here will not be a student of the\ntheatres of Europe who will care to\nbe left in ignorance of this book and\nhe won't be disappointed.\nThere are, to begin with,, three\ndouble page plans of London; dated\n1792, 1834 and 1927: several views\nof theatres inside and outside ; and\ndotted through the book is information,\nmost valuable :o us all, relating to\nhomes or the Drama.\nIf only • publishers and booksellers\nwould invent some way, think of some\nnew scheme, by which they could tell\nus when they have issued a book on\nthese subjects which are of so much\nimportance to* us and which we need\nto be told of, things would be better—\nand other things would wake up."}, {"page_pdf": 60, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.60", "debut_caractere": 0, "fin_caractere_exclue": 1229, "texte": "But the people who want to hear\nof books on the Theatrel or which\ntouch on the Theatre, seldom are told.\nIt is a fault which needs correcting.\nAnother fault is that such books are\ntoo often too expensive.\nThere should be students' editions\nissued on thin paper, unbound, at half\nprice. What student wants a thick\npaper book taking up an unnecessary\namount of shelf room and annoying\nbecause of its swell get up ? We beg\npublishers to overhaul their old ideas\nand experiment with some new com-\nmonsense ideas. Let them study the\nNonesuch Press a little.\nThere are some firms which do\nthis tentatively; but what we need is\nto see some more decision shown by\nall publishers in the matter of paper,\nof binding and of price. For the fact\nthat rough (or smoothed out) blotting\npaper is wretched, the use of wood-\npulp in its manufacture is presumably\nresponsible : the bindings are too heavy,\ntoo important looking, and paper bindings\nare the best as half a dozen nations have\nproved, and the French have proved\nmost conclusively; for their paper bind-\nings sometimes even outlast our card\nand cloth bindings : and as for price,\nit would become less automatically if\nthe bad and doubtless costly paper\nand costly bindings were dropped."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c083", "article_bluemountain": "bmtnaau_1927-10_01#c083", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "170", "page_fin": "170", "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=bmtnaau192710-01.2.22.15", "titre_corps": "LES GRANDS COMEDIENS DU XVII SIECLE by Georges Mongrédien", "titre_sommaire": "LES GRANDS COMEDIENS DU XVII SIECLE by Georges Mongrédien", "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": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.60", "debut_caractere": 1231, "fin_caractere_exclue": 5648, "texte": "LES GRANDS COMEDIENS DU\nXVII SIECLE by Georges Mongte~\ndienm Edition 44 Le LivreParis,\nPrice 18 francs,\nWUMiimfmjMBiMH *■■! I nil ■■■II ■IUIIIII mm, N—IFINWMU am O\nOF the French actors of the time\nof Charlemagne (768-770) we\nhave not as many records as some of us\nwould like io have. I suppose we should\nlike to have some hooks about these\nperformers, but I am not persuaded we\nshould understand. For what do we\nunderstand of the Greek stage, and\nwe have dozens of books about it.\nThe reports handed down to us have\nbeen hesitating and whispered so faintly\nperhaps we haven't quite heard aright.\nWe are told that the actors wore\nmasks and could not show any facial\nexpression; stood on stilts and so\ncould not easily move ; that they had to\n44 clump about the stage in the un-\ngainliest fashion \" as Mr. Robert\nW, Lowe, that excellent student of\nthe English Drama, once wrote ; that\nthe stage was only of secondary im-\nportance, the orchestra being more\nimportant; that the first tragedy re-\npresented in Athens by Thespis was\nperformed on a wagon and that the\ngreatest ancient dramatic writers were\n/Eschylus, Sophocles, and Euripides.\nLittle of which is true.\nAnd it seems to me that we never\nshall understand anything about the\nstage until we cease to consider those\nGreek actors 44 ungainly \" and those\nmiddle-agers dark and their wits dull.\nYou may raise your eyebrows and\nthink to yourself that I am a very\nstupid fellow if I do not know that\ntoday everyone knows better than that.\nBut, perhaps you will allow that\nI too may have felt as you feel: 1 too\nmay have supposed everyone knew and\ndiscovered that very few do and these\nseldom have time to pass their ordinary\nknowledge on to the many and some\nhave even ceased to care about doing so.\nAnd so we find floundering there\neven learned persons like Sir Edmund\nGosse, who 44 distinguishes \" 44 the ma-\nterial side\" of a masque by Inigo\nJones and Ben Jonson from 44 it's spi-\nritual or poetic side I suggest that\nis floundering. He draw3 a distinction\nwhere none exists. As well call Jonson's\nlovely lines 44 material \" because the\ntypesetter and printer with the aid of\nsome base metal and some black ink\nhave turned them into print, — touchable,\nvisible, in short to be logically horrible.\nThe notion of dividing this from\nthat is an excellent one, but is so apt\nto give unintentional offence. As one\nwho respects 44 the material side \"\nof the 1 heatrical craft for the sterling\naid it has always given to 44 the spiri~\ntual or poetic side \" in its great need,\nI like to see people working to estab-\nlish a sounder understanding of the\n44 material \" in the Theatre. It is out\nof fashion nowadays to kick your\nmenials who cook your food; and\nthe Dramatise who shows the least\ncontempt for the craftsmen of a theatre\ncommits an efror.\nSo until we have all thoroughly\ncome to understand and value what is\nto be valued and honoured in the\n44 material side \" of even the stran-\ngest masque we cannot possibly begin\nto value what is in its spirit.\nAnd so I turn to M. Mongr6dien's\nbook to learn something about 44 la\ngrande coquette Mademoiselle du Pare\nfor I suspect that, until I do so, I shall\nnever understand what led the Greek\nactor to 44 conceal \" his expressive face\nunder a mask. If only Lowe had\nstudied the Greek theatre under\nMademoiselle du Pare!\nIt's Mr. Lowe who says the Greek\nactor 44 concealed \" it. Till I have\nread all about Mademoiselle du Pare\nhow shall I know whether concealing\nor revealing was uppermost in the\nmind of the Grecian actor 1 whether\nhe believed (and from experience) that\nthe face was an inadequate, a too\npulpy—instrument for expression in\nany art and that a carved mask was\nsomewhat better.\nM. has done his work\nso well that we fee! almost stifled\nafter we have lived with his French\nComediens of the XIII si&cle to the\nend of his book, 44 What a fuss,\nwhat dust ! \" we are on the verge of\nsaying, when we stop in time, remem-\nbering that to bring about a renais-\nsance in our own drama we must first\nrealise how dusty is one playhouse,\nhow spiritual and clean another : and\nso dull we are—you will surely admit\nit ?—it takes us several centuries of\nexperience to recognize dust from\nspirit.\nEven there—even at recognition—\nsome of us are disagreed, saying that\nit is from the dust the spirit shines\njust as it is rising.\nSo this 44 Comediens du XVII Siecle \"\nis the book to place side by side\nwith Haigh's 44 Attic Theatre"}]}, {"article_id": "bm-bmtnaau-1927-10-01-c084", "article_bluemountain": "bmtnaau_1927-10_01#c084", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "170", "page_fin": "171", "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=bmtnaau192710-01.2.22.16", "titre_corps": "THE GENTLE ART OF THEATRE GOING by John Drinkwater", "titre_sommaire": "THE GENTLE ART OF THEATRE GOING by John Drinkwater", "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": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.60", "debut_caractere": 5650, "fin_caractere_exclue": 7091, "texte": "THE GENTLE ART OF THEA-\nTRE GOING by John Drinkwater,\nRobert Holden & Co, Price 6/- net.\n*The gentle art. This phrase, long a\nfavourite with anglers as an affec-\ntionate description of their pursuit, was\ncleverly used by Whistler in his title\nThe Gentle Art of Making Enemies,\nThe oxymoron was what made it effec-\ntive ; but the journalist, aware that\nWhistler made a hit4 with the gentle,\nart, and failing to see how he did it-\nhas now, by rough handling on inappro-\npriate occasions, reduced it to a BAT-\nTERED ORNAMENT cf. IRRELE-\nVANT ALLUSION). Thug: We have\nnot the smallest doubt that this is what\nwill actually happen. & without any\nundue exercise in the gentle art of in-\ntelligent anticipation, we may discuss the\nsituation, In a Committee the gentle art\nof procrastination may prove very deadly\nto progress.\nModern English Usage by H, W,\nFowler, 1926 {Oxford),\nTHERE is no genlle art of theatre\ngoing: but let us get on.\nMr. Drinkwater is one of the few\nmen in the Theatrical profession who\nshould have been provided with a\nTheatre these last fifteen years. He\nhas been wasted and is being wasted.\nWhether he be a great playwright or a\nfine actor or a good producer or merely\nan able, all round, man is nothing for\nus to waste years discussing. Say\nwhat you will, the fact remains that\nhe is one of the few men in England\nwho is playwright, actor and produ-\ncer : and a professional. He has not\npushed his way into the Theatre—-he"}, {"page_pdf": 61, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.61", "debut_caractere": 0, "fin_caractere_exclue": 5612, "texte": "was born in it. He belongs to it.\nLike Granviiie Barker, another profes-\nsional. And so in both of these uien\nis something which seems to disdain\nto push—it is unnecessary, and so it\nis not disdain.\nif England is so rich in talent that\nit can afford to waste its able men,\nEngland is to be congratulated—but\nnothing can ever condone such waste.\nAs a theatre-goer I am not very\ngreatly taken by the works of either\nBarker or Drinkwater. I find they\nbore me and they interest me : They\nare serious and I like that, but they\nnever touch me, rouse me or please\nme. They leave me cold and unen-\ntertained. I speak as a real playgoer.\nWhen I read their plays I discern no-\nbility in them, but it is the nobility\nof rather harrassed men. I find them\nobstinately noble; not inhuman, but\nnot quite human. How can they, 1\nask myself, be that when the one\nthing needful to them, a theatre, is\nrefused them but given to a hundred\nothers who don't know what to do\nwith such a thing.\nSo really it is not a little strange\nif, when put to writing books about\nPlaygoing and Exemplary Theatres,\nthey write them not as well as the\nordinary trained journalist would do,\n....he who, when Dramatic critic,\nshould write such books and is too\nblind to do so, not seeing it is his\none great chance.\nMr. Drinkwater's book is not on\nPlaygoing or playgoers. He has not\ncome near enough to the genuine\nplaygoer to be able to report correctly\nof him.\nA playgoer is a habitue of a play-\nhouse or theatre—he is not merely\none who likes plays and players of\nthe more intellectual kind. Playgoing\nis one of his bad habits; it is not\nto him a pseudo-nobility. It's like drin-\nking, like smoking, it's a jolly old\nvice.\nNow conceive how repugnant and\ndifficult it must have been to Mr.\nDrinkwater to write on a jolly old\nvice. Difficult to him because, until\nhe had proved it a grand and noble\nthing, he could not possibly be brought\nto pen a line about it.\nThe habitual playgoer likes the\nOpera, and he likes the Ballet; he\nlikes the Melodrama and the Music\nHall when it takes on the aspect of\nTheatre and when he can see his\nfellow-playgoers there. Till then he\ndoes not go: for, though quite fond\nof all plays, operas, dramas, actors,\nsceneries and the rest, above all things\nthe playgoer loves the auditorium, the\nfront of the house, the parterre, bal-\nconies, his fellow man.\nThai's the attraction—to be there\nwith others—his special set ; and the\ngood playgoer's set is the world.\nWith the world Mr. Drinkwater\nmay not allow himself contact. His\nworld is not the old world ; it is,\nowing to the extraordinary tyranny\nunder which he suffers, a localized\nmakeshift. Mr. Drinkwater is not of\nBrixton, of Peckham, of Kensington\nor even of Birmingham ; he is of the\nCage, and the tragedy is he is begin-\nning to smile at the bars.\nif not caged, how is it he refuses\nto escape when he might ? No, he\nprefers to suffer nobly and says 44 Great\nart is for the few, but for a few suf-\nficiently numerous and powerful to\nestablish it in the life of the com-\nmunity So says the active young\njackal in the Gardens where we keep\nhim. \" Liberty \" says the dear jackal,\n44 is for the few \" : 44 but \", and\nhere he sniffs the air as he hears the\ncads from eighty other cages, 44 but\nfor a few sufficiently numerous—and\npowerful — to establish it in the life of\nthe community \". Then he goes inside\nhis hutch and lies down and dreams\nof forests and open spaces.\nIt is a heartrending cry, this 44 suf-\nficiently numerous and powerful \"\n(powerful !) 44 to establish it.... life.,\ncommunity\nGreat art, like liberty, is only for\nthose who have it : millions of people\nor one person —and certainly one per-\nson is few enough. Great art is in\neveryone: ability to create it or to\nenjoy it; but great art has to be in\nthem or goodnight.\nNow great Theatre is not utterly\nunlike great Art although not an-art\nat all. Great and genuine Theatre\nis an event, an experience, another\nsort of world, and good theatregoers\nare habitues of this other world—\nenjoying the same experience over and\nover again and always (they hope)\nwill it be slightly varied, if only it\nbe an electrical experience—what joy.\nThis they dare hardly to hope today.\nIt is essentially linked with the ima-\nginative faculty, this experience, al-\nthough Mr. Drinkwater in his most\ndepressed mood says 44 we can some-\nhow get on without the imagina-\ntion \". So says poor Jackal —44 Yes\n—on thinking it over we can get on\nwithout leaping the rocks—Now\nand again Mr. Drinkwater does flare\nup and it becomes him. 44 We (play-\ngoers) can have the artist in the Thea-\ntre, or we can keep him out ; but we\nhave to learn that it is as an artist,\nthat is to say as an original mind\nbeyond our legislation, that he will\nstay if he is to stay at all \".\n1 would fain see Mr. Drinkwater\nflare lip more often with such boldness\nand get himself out of that cage. But\neven to breathe fire at the playgoer is\nnot to entertain him—and the power\nto entertain, to soothe and rouse and\nsoothe again the savage beast, is what\nthe Theatre -man, be he playwright,\nactor or producer, has to do.\nThis bad habit of playgoing is not\nto be cured any more than is the bad\nhabit of acting well to be cured.\nIn England something obviously\nhas gone wrong with the works of the\nTheatre : people have been tinkering\nwith those bad habits — trying to re-\nform them. They attempt to make,\nto plan what once they couldn't help\nmaking spontaneously. And it won't\ndo. Once you wish to correct those\nhabits you get a Macready and a Drink-\nwater : great men in their way—and\ntheir way is a right noble one—but\nthe way is not the way of all art."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c085", "article_bluemountain": "bmtnaau_1927-10_01#c085", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "171", "page_fin": "172", "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=bmtnaau192710-01.2.22.17", "titre_corps": "THE COMMON TOUCH by James Agate", "titre_sommaire": "THE COMMON TOUCH by James Agate", "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": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.61", "debut_caractere": 5614, "fin_caractere_exclue": 6850, "texte": "THE COMMON TOUCH by\nJames Agate. Chapman & Hall.\nPrice 7/6 net.\nON the wrapper of this book is the\nfollowing assertion :—44 The title\nwell describes the gentle irony and\nhuman sympathy which animates all\nthis author's work. The fact that\nMr. Agate is now broadcasting regu-\nlarly has largely added to his public.,\nwho will, no doubt, be glad to pre-\nserve in more permanent form the im-\npress of his companionable tempera-\nment \".\nCan you beat it ? I can't, so let\nus leave it at that.\nBut there is one error in the book\nwhere the author asserts that on the\nfirst night of 44 Hernani \" the young\ni heophiie Gautier wore a brilliant\nscarlet waistcoat to symbolise the de-\nfiant challenge of the new Romanti-\ncism \". He wore a pink doublet ;\nand for quite another reason ; Gautier\ncorrected the Brothers de Goncourt on\nthis very point as those who have\nread their Journal will know..\nEveryone who writes a book about\nParis borrows this waistcoat and all of\nthem borrow the wrong one, notGautier's\nat all, some old red thing; and this is\nthe second or third time this journal\nhas corrected them.\n4* A propos of the book \" Victor\nHugo, related by a witness of his Life\nGautier maintained that it was not a\nred waistcoat, but a pink doublet,"}, {"page_pdf": 62, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.62", "debut_caractere": 0, "fin_caractere_exclue": 989, "texte": "that he wore at the first performance\nof ' Hernani * and when the whole\ntable laughed, he added 44 Bui it is\na very important point. The scarlet\nWaistcoat would have indicated a\nshade of Republican policy. Well,\nthere was not a trace of that sort of\nthing, we were purely mediaeval, all\nof us— Victor Hugo like the rest—\nno one would have understood what\nWas meant by a Republican. Peirus\nBortl was the only one with any\ntendencies of the We were ell\nagainst the Bourgeoisie end on the\nside of Monchangy. We represented\nthe Machicoulis—nothing more. Why !\nwhen I sang the praises of antiquity in\nmy preface to Mademoiselle de Maum\npin I nearly caused a schism ] !\nJournal. Edmond and Jules de\nGoncourt. July 20. 1863.\nThe Republican spirited scarlet waist-\ncoat is the common tcuch right enough :\nthe mistake at out it is quite common\ntoo ; and if only Geufier had been\na hit commoner he too would have\nbeen the earth and all the waistcoats\nin it and, which is n oie—a little prig,\nmy son."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c086", "article_bluemountain": "bmtnaau_1927-10_01#c086", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "172", "page_fin": "172", "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=bmtnaau192710-01.2.22.18", "titre_corps": "THE CHILD'S PATH TO FREEDOM by Norman MacmunnTHE AUTOBIOGRAPHY OF KINGSLEY FAIRBRIDGE", "titre_sommaire": "THE CHILD'S PATH TO FREEDOM by Norman MacmunnTHE AUTOBIOGRAPHY OF KINGSLEY FAIRBRIDGE", "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": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.62", "debut_caractere": 991, "fin_caractere_exclue": 3934, "texte": "THE CHILD'S PATH 7O FREE-\nDOM by Norman Macmunn. /. Cur-\nwen Sons. Price 5/- net.\nTHE AUTOBIOGRAPHY OF\nK1NGSLEY FA IP BRIDGE. Oxford\nUniversity Press. Price 6j- net.\nBOTH these bccfes are the woik of\nmen who had a vision cf a wold,\nmade happier to live in through the\nletter training of children ; each set\nabout doing his part in his own way,\nand gave his life to his work until in\neach case that work was arrested by\na too-early death.\nNorman Macmunn, first as a master\nin schools directed by others, then in\nan experimental school of his own,\nformulated and tested methods of train-\ning boys under a system of complete\nindividual freedom, based largely upon\nthe realisation of the truths; 44 that\nchildren, like men of genius, do their\nwork in the spirit of play \" ; he was\nconfident that the new sort of leader\nneeded in schools is 44 that psychically\nfree man who sees the deeper yearn-\ning of the crowd to be freed for\nhigher things themselves, and knows\nfrom the inspiration of his own free-\ndom how to set to work\n44 The greatest of all our failures\"\nhe writes \" 44 has been the lamentable\nlack of creative leadership since the\nwar. Here is the true test of the\nWorld's education, and here the result\nis purely negative. The readiness of\nthe peoples to follow any great ima-\nginative leader is pathetically ob-\nvious .... there has apparently been\nno one with the capacity to lead peo-\nple where they really want to \"go.\nNorman Macmunn, at his own\nschool at Tiptree and later in Italy,\ngave his life, with pitifully inadequate\nfinancial support, to the attempt to\ncany cut his aims, and he embodied\nthe results of his practice in this little\nhook, from which all who care for\nself education or the education of others\nmay learn much.\nThe second volume, the 44 Auto-\nbiography of Kingsley Fsirbridpe\nshould be in the hands of all boy?\nand all concerned in the trainirp of\nboV5,\nThe writer grew up in an environ-\nment free and adventurous almost\nbeyond the conception of those ac-\ncustomed to she routine of countries\nlong civilized, and, from those early ad-\nventures, he learned self-reliance, self-\ndiscipline, and a steady and modest\ncourage which equipped him for the\ntask first Conceived as a hey of twelve\nin Rhodesia, of hringing farmers from\ncongested city areas to farm and cul-\ntivate the immense and fertile tracts\nof uninhabited country, and which de-\nveloped later into his scheme for bung-\ning the unwanted and neglected chil-\ndren of England to this wide colonial\nlife, and training them to it from their\nearliest years.\nWithout money, with nothing hut\nhis own faith and enthusiasm, he won\nthe cooperation, first of his re!!cw stu-\ndent? at Oxford, who 44 suhscrhed\nfive shilling each to the great project,\nthen of a wider number, and so the\nventure, based on nothing but the\ninspired faith of its founder, became\nthe Fairbridge Farm School in Wes-\ntern Australia * and has extended its\nsphere of usefulness year by year."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c087", "article_bluemountain": "bmtnaau_1927-10_01#c087", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "172", "page_fin": "172", "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=bmtnaau192710-01.2.22.19", "titre_corps": "THE PEEP SHOW by Walter Wilkinson", "titre_sommaire": "THE PEEP SHOW by Walter Wilkinson", "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": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.62", "debut_caractere": 3936, "fin_caractere_exclue": 6211, "texte": "THE PEEP SHOW by Walter\nWilkinson. Geoffrey Bles. Price / 0/6.\nMR WILKINSON travelled with\nhis own handmade puppet show\nfrom Gloucestershire through Somer-\nsetshire and Devonshire, and sometimes\nnetted three shillings and tenpence at\na performance (mostly in pennies and\nhalfpennies) ; sometimes a bit more,\nand sometimes less. He met all kinds\nof people, friendly or the reverse, but\nmostly friendly, since puppets spread a\nfriendly influence around which few\ncan resist; and associated with aT\nkinds of other showmen and pedlars\nand ice-cream men; and, on wet days,\nsat in his tent and read Homer and\nmended his puppets* dresses and his\nown socks.\nAll the summer he kept this up :\nand he wrote a diary, and drew pic-\nlures of his puppets and himself on\ntheir peregrinations, and these, with a\nfew photographs, he now includes in\nhis attractive hook.\nWhen autumn came on he turned\nhomewards.\nHe had just come through Bath,\nhe tells us, and slept the night com-\nfortably in a haystack 44 somewhere\nhigh above the twinkling lights of\nBath\n44 This was the last adventure. AH\n44 next day 1 pulled over the lonely\n44 Cot swold Hills, travelling about\n44 twenty miles, and singing songs in\n44 praise of camping and tramping and\n44 the stirring' life we jolly showmen\n44 lead. I spent another day in getting\n44 to Stroud and that night a Sepfem-\n44 her frost stiffened the little tert,\n44 chilling me in the early hours.\n44 The next morning found us all\n44 back at the starting-point all in\n44 good going order. The tent was\n44 tern, the elegant tent-poles broken\n44 and replaced by ha7el sticks, the\n44 curtains of the show faded and its\npaint scratched, hut the showman in\n44 a sufficiently vigorous state of health\n44 to remedy these superficial ailments.\n44 There was a credit balance of five\npounds ; a wealth of experience had\n44 been gained ; three new puppets,\n44 various properties, some press noti-\n44 ces, innumerable gags and a com-\n\" p'ete new p?ay had been added to\n44 the show. And in the knapsack\n44 were half a brown loaf, some tc-\n44 matoes, a piece of cheese, a packet\n44 of tea, and a quarter of a pound of\n4* butter—all good commodities \".\nSo the story ends.\nWe like Mr. Wilkin son's hock;\nand wish him good luck the next time\nhe and his puppets take the road."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c088", "article_bluemountain": "bmtnaau_1927-10_01#c088", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "172", "page_fin": "173", "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=bmtnaau192710-01.2.22.20", "titre_corps": "THE PLAYS OF RICHARD BRINSLEY SHERIDAN", "titre_sommaire": "THE PLAYS OF RICHARD BRINSLEY SHERIDAN", "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": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.62", "debut_caractere": 6213, "fin_caractere_exclue": 6701, "texte": "THE PLAYS OF RICHARD\nBR1NSLEY SHERIDAN, Edited\nwith an Introduction by lolo A. Wil-\nliams. Herbert Jenkins. Price 7/6 net.\nTHIS complete edition in a conve-\nnient form and at a low price is\nvery welcome and has an added value\nin that it 41 gives, for the first time,\nthe text of The School for Scandal\nas Sheridan approved it Moreover,\n44 Three songs in The Duenna, omitted\nwhen that play was first printed in an\nauthorised edition, are restored to the\ntext \" and 44 The Rivals is printed"}, {"page_pdf": 63, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.63", "debut_caractere": 0, "fin_caractere_exclue": 83, "texte": "from the first edition, in which are\nmany passages which were afterwards\nexcised \"."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c089", "article_bluemountain": "bmtnaau_1927-10_01#c089", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "173", "page_fin": "173", "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=bmtnaau192710-01.2.22.21", "titre_corps": "LE FESTE FIORENTINE by Pietro Gori", "titre_sommaire": "LE FESTE FIORENTINE by Pietro Gori", "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": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.63", "debut_caractere": 85, "fin_caractere_exclue": 1211, "texte": "LE FESTE FIOREN TINE Attra-\nverso I Secoli by Pieiro Gori. Bern-\nporad & Son, Florence. Price 25\nlire.\nTHIS profusely illustrated volume of\n388 pages is devoted principally\nto the festivities and pageants with\nwhich, through many centuries, the\ncity of Florence was wont to cele-\nbrate June 24th. the day of its pa-\ntron Saint, John the Baptist.\nThe origin of these celebrations is\ntoo remote to be placed with any cer-\ntainty, but in very early times they\nhad already assumed grandiose propor-\ntions, and included all kinds of re-\npresentations and pageants, jousts and\nprocessions,—in fact spectacles and per-\nformances of every kind.\nThe author has gathered together a\nlarge amount of interesting and amus-\ning information on these festivities;\nand even those to whom Italian is an\nunknown language will gain from the\n222 illustrations, many of them repro-\nduced from old prints, some vivid\nimpressions of the variety and briliiance\nof these celebrations at a period when\nthe city was itself like a stage set for\npageantry, and when even the daily\ndress of the citizens lent colour and\nvariety to every corner of the scene."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c090", "article_bluemountain": "bmtnaau_1927-10_01#c090", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "173", "page_fin": "173", "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=bmtnaau192710-01.2.22.22", "titre_corps": "RECEIVE IT SO, by Basil Maine", "titre_sommaire": "RECEIVE IT SO, by Basil Maine", "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": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.63", "debut_caractere": 1213, "fin_caractere_exclue": 3805, "texte": "RECEIVE IT 50, by Basil Maine.\nNoel Douglas. Price 5/'- net.\nTHE author of this little book of\nimpressions, which he describes as\n44 a series of reactions to incidents of\nthe Theatre and the Concert hall \"\nis \"a well known musical and dra-\nmatic critic, an organist, a singer, a\nfilm petformer and an actor \" and is not\nmentioned in 44 Who's Who \" (1926),\n\" Who's who in Literature \" (1926),\n44 Who's Who in the Theatre\" (1925)\nor in \" The Film Year Book \" (1927).\nSo he is not so well known as he\ndeserves to be.\nAs he is an excellent critic he should\nbe read and is bound to be so before\nlong. The book is a small one of\n95 pages, and is printed in fairly\nlarge type. The chapters on 44 Pro-\nducing Shakespeare \", 44 The Revue\",\n44 Stage and Screen 44 Rhythm:\nBlack and White \", and \" Galli Curci\"\nare excellent.\nAs a sample of his goodness I\nquote from his chapter \" what is Bri-\ntish Music \".\nIT was at a British Music Society Con-\ngress when the question what is\nBritish Music first arose in my own\nmind; and it arose, I thinI? because\nof the constant reiteration of the words\n44 British Music Speaker after speaker\nreferred to this unknown quantity as if\nWe were all clear in our minds as to\nits exact significance. But the va-\nrious contexts in which the phrase\noccured revealed that there existed\nwidely differing preconceptions, so that\nit was almost impossible to arrive at\nany conclusion. 1 suppose that there\nwas common ground to be found some-\nwhere.\nPerhaps it was that all these spea-\nkers and all their hearers had a vague\nindefinite idea that British music is\nmusic composed by people born in the\nBritish Isles. But that is too simple\nto be true. Nothing could be more\nfallacious than to impose a geogra-\nphical definition upon artistic impulse.\nHe then tells us that \" we shall\nbe justified in describing any musical\nsetting of English words as an En-\nglish* work so long as it realizes and\ncompletes the potential idea of the\npoet *' ; but he reminds us that all\nEnglish poets do not confine themselves\nto writing about England and English\nthings.\n44 Shakespeare loved his England,\nand knevo it in every estate. He\n44 has immortalized for us Windsor,\n4 4 Eastcheap, Warwickshire, andEgdon\n44 Heath, but his imagination could not\nsS be imprisoned; it was constantly\nmaking its escape to find itself in\n\" Messina, Verona, Venice, Vienna,\n44 Denmark> Athens—anywhere solong\n44 as it could be free\nThe essay which appeals most to\nme is 14 On producing Shakespeare \",\nbut you must read the whole of it,\nIt is one of the best books of its\nkind which has appeared for a long\ntime."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c091", "article_bluemountain": "bmtnaau_1927-10_01#c091", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "173", "page_fin": "174", "image_debut": 63, "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=bmtnaau192710-01.2.22.23", "titre_corps": "LISZT, WAGNER AND THE PRINCESS by William Wallace", "titre_sommaire": "LISZT, WAGNER AND THE PRINCESS by William Wallace", "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": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.63", "debut_caractere": 3807, "fin_caractere_exclue": 6709, "texte": "LISZT. WAGNER AND THE\nPRINCESS by William Wallace.\nKegan Paul, Trench, Trubner and\nCo. Ltd. Price 10j6 net.\nTHE writers of today who would\ninterest us to the extent of stir-\nring our emotion have a very difficult\ntask—for you and J, the readers, were\nborn sophisticated, non k vero ? We\nwere born old, born knowing, born\nwinking the other eye ; it's all the\nfault of the age ; nothing is what it\nseems.\nIf when I am writing or when you\nare reading this a pretty girl should\ncome and sit down beside us we\nshould be quite upset ; we could not\ngo on for we know she is not pretty,\nthat she is not what she seems; we\nknow that, and besides we were\nbora with very exaggeratedly sensitive\nnerves. So that if an ugly old man\nshould come instead of the pretty girl,\nwe should be equally upset. If the\npostman should ring and knock and\nbring us rubbishy catalogues and pro-\ngrammes for concerts we should go\nmad with annoyance; and if he should\nbring us a letter containing £ 1000..,.\nbut I was not prepared for this even-\ntuality ; I was supposing we really\ndisliked, distrusted, all things, nothing\nbeing what it seems to be, and I find\nmyself as Whitman says 44 on the verge\nof the usual mistake\nWe are glad to be so knowing—it\ntakes us away from that 44 sloppy sen-\ntimentality \" to which Mr. Wallace\nrefers in the first paragraph of the\nPreface to his most exciting narrative :\n—In recent years there has been a\nnoteworthy effort to get rid of the\nsloppy sentimentality with which the\nlives of public men have been delu-\nged. They have not been studied as\nhuman beings but as automaton\nHow an automaton could be sloppy\nor sentimental and a human being\nquite avoid being either is what puz-\nzles me in these lines of Mr. Wal-\nlace; but I take him in his Preface to\nmean that he is going to show us the\nhuman Liszt, Wagner and Princess\nWittgenstein as they really were, not\nas, let us say, Mr. Lytion Strachey\nshows us people, re., as he takes them\nto be, as seen by the artist in a thousand\naspects and recorded as he fancies;\nno statues, statuettes, pictures or songs\nof and about these people—bet a real\nsnapshot of them—and close up.\nIt must be admitted that Mr. Wal-\nlace does more than ti is. He reels\noff a moving series of these photo-\ngraphs; he gives us the real Liszt, and\nthe real Wagner at last—as the photo-\ngraph catches them. In the act of\nsnapping, the camera is apt to snap\nup many unconsidered trifles—but it\nmust be acknowledged that this pho-\ntographic book about Liszt has snap-\nped him twice, even ihree times, as\nhe was; and it seems to me that three\npoints made to three hundred misses\nconstitutes no bad average.\nLiszt had three ugly warts on his\nface; they have been caught and re-\ngistered faithfully. Wagner had an\nugly look in his eye quite often ; we\nhave it in Mr. Wallace's book. 1he\nPrincess, who was perfectly harmless,\nalways charming or something else is\neasily snapped."}, {"page_pdf": 64, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.64", "debut_caractere": 0, "fin_caractere_exclue": 3519, "texte": "I don't mean to say that ail we get\nare three warts, an ugly look and the\nusual. I mean decidedly more: I\nmean that we get one damn ugly pic-\nture after another.\nAccording to Mr. Wallace, Liszt,\nWagner and Princess were rather in-\nferior movie mediums—inferior in the\nsense that they were for ever striking\nexaggerated attitudes, and were lurid,\nugly customers.\nAccording to Mr. Wallace, Wagner\nwas a sponger, bleeding the sinister\nLiszt of his ill-gotten gains; at en-\nmity with the Princess who was at\nenemity with all the world. Mr. Wal-\nlace draws us a thrilling picture of\nthis sinister old pianist on his death-\nbed. He is dying in a Siegfrieds-\ntrasse Number one, deserted by al! but\nhis faithful Lina Schmalhausen who was\nforbidden to see him (but who did)\nby the Tigress Frau Ccsima Wagner\nwho had 44 assumed control \" and,\nhaving 44 abruptly dismissed \" all his\nnurses and pupils, had 44 given orders\nthat no one was to enter his room \".\nThen she left the house, and the\ndying abbe-pianist, the sinister Liszt,\nis alone to cough, to cry, to dream\nfeverishly and deliriously for a few\ndays while his cruel daughter Cosirna\nis entertaining royal guests at the Fest-\nwal playhouse on the hill.\nBut this only snaps his death. His\nlife was far more weird.\nI always loved Liszt—and of course\nWagner and the lovely Cosima. !\nonce spoke to a man who had sat\nnext to her at a supper table so I\ncame to know her ; for he talked to\nme about this for two hours until I\nbegan to see this dear lady through\nthe mind's eye.\nBut that was all my eye —one\nshouldn't trust one's fancy, nor one's\nfriends when they speak for two hours\nabout one lady;—one should trust\none's movies and one's William Wal-\nlace—they cannot lie.\nIn this book of movie impressions\nthe best part is when the author\nshows us the hero and heroine being\n44 cut dead\nWe see them walking, her arm on\nhis, under the trees of the Konigplatz\nin Weimar. Suddenly enter Herr und\nFrau Slackenstein—there is a pause ;\nthe Princess's fingers tighten on the\nblack sleeve of the sinister pianist,\nwho starts,—then draws himself up,\nregisters will power, shoulders hunch-\ned, nostrils slightly distended, mouth\ntwitching, eyes searching to left and\nright for something—a slight thrill or\ntwiddle in the piano music, and then\nMr. and Mrs. Slackenhausen sweep\nby sneering—ha ha ha laughs Mrs.\nS : he he he titters Mr. 5. 44 Ta&leau !\nv/vant ! There's a picture for you\nSo successful is this 44 dead-cut \"\nscene that Mr. Wallace gives it us\nfour or five times in the course of his\nthrilling show.\nHow it mattered to Liszt and his\nPrincess—one sees ! They blanch, they\nwilt, they cower : they have felt the\nlash of public indignation. Here at\nlast we have the real Listz and none\nof your 44 sloppy sentimentality \". And\nHerr Siegfried Wagner is still li-\nving.\nHad this book been written of my\nfather and grandfather I should have\ninstructed my butler to kick Mr. Wal-\nlace when convenient—for course\nthe whole thing is a lie from first\nto last.\nWhy is it a lie when many of the\nfacts are correct? because the inter-\npreter has made damnable faces all\nthe time he was interpreting. He has\ngunned, smirked, leered, sniggered, frow-\nned, trumped, and all with the very\nfinest intentions—that of feeding a star-\nving cynical group of very mangy\npuppies with the offal they are never\ntired of licking, swallowing, vomiting\nup and swallowing again.\nSo much for the influence of the\nCinema on modern literary gents. But\na new era is coming, I hear. It will\ndo well to hurry up."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c092", "article_bluemountain": "bmtnaau_1927-10_01#c092", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "174", "page_fin": "174", "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=bmtnaau192710-01.2.22.24", "titre_corps": "THE DE-ASSIFICATION OF MUSIC by Carrol Brent", "titre_sommaire": "THE DE-ASSIFICATION OF MUSIC by Carrol Brent", "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": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.64", "debut_caractere": 3521, "fin_caractere_exclue": 4553, "texte": "THE DE-ASSIFICA TION OF\nMUSIC by Carroll Brent Chilton,\nPrice / dollar post free. St. Mark's\nChapel. 288 East 1 Oth St. New\nYork.\nBUT why have I delayed so long\nin speaking of Mr, Chilton's pamph -\nlet issued in 1922, 44 A Magazine of\none number bent to a purpose,\nwhich is to draw your attention to\nthe only sane way a music roll shouM\nunwind.\nSo simple, and none $ut Mr. Chil-\nton had thought of it.\n1. You read a book a line at a\ntime from left to right.\n2. You read music proper as you\nread a book, line after line from left\nto right.\n3. You can also read a 41 roll \" of\nmusic in a pianola from left to right\nIF YOU WILL do as Mr. Chilton\nsuggests.\nBut if you follow the ordinary mu-\nsic roll which rolls up from below you\nmight as well read a book that way,\nand for you books might be specially\nprinted that way. But why do it ?\nSimple ideas like this surely have\nmillions of dollars in them for the\nman who will exploit them, and Mr.\nChilton's idea will be exploited. I hear\nfrom Germany that someone is 14 after \"\nit already."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c093", "article_bluemountain": "bmtnaau_1927-10_01#c093", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "174", "page_fin": "175", "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=bmtnaau192710-01.2.22.25", "titre_corps": "THE DEVELOPMENT OF THE THEATRE by Dr Allardyce Nicoll", "titre_sommaire": "THE DEVELOPMENT OF THE THEATRE by Dr Allardyce Nicoll", "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": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.64", "debut_caractere": 4555, "fin_caractere_exclue": 6637, "texte": "THE DEVELOPMENT OF THE\nTHEATRE by Dr. AUardyce Nicoll\nM. A., with 271 Illustrations. G. G.\nHarrap & Co. Price £ 2.2.0. net.\nHOW happy I should be to pos-\nsess Dr. Nicolli's talent for dealing\nwith Historical material in so skilful\na way.\nHe is never too ponderous nor is\nhe too light: considering he is not a\npractitioner in stage matters he often\ncomes very close to the right under-\nstanding of most facts relating to our\ncraft. And he is fair in his estimate\nof the different books which have ap-\npeared, and when in doubt he is cor-\nrect in his attitude. Only is he a\nlittle unfair on the well known work\nby Karl Mantzius. He finds it 44 lack-\ning in exact scholarship \" and at the\nsame time is too kind to 44 the ac-\ncurate account \" contained in Ferrari's\n44 La Scenografia \" which is a very\ninaccurate book.\nMantzius was not a born Histo-\nrian ; he was an actor, and a stage\nmanager of the Royal Theatre, Co-\npenhagen, and for some years was\neven director of that immense play-\nhouse. And for such a busy man to\nhave found the time and have called\nforth sufficient ability to produce the\nsix volumes we possess is not a little\nextraordinary. That he derived much\nfrom other books is clear, and he\nprobably inherited much material from\nhis Father ; how else could he have\nwritten such a work in his spare mo-\nments, a work which deals with the\nstage from earliest days in China\nand India and Greece to the middle\nof the 19th century in Europe ? For\nmy part, after some preliminary studies\nin the difficult task of Historical scho-\nlarship, I have come to the conclusion\nthat it is far more profitable to us all\nif, after having worked through the\nentire history of the stage, we seiect\nsome one or two misty points and\ndevote our whole time to clearing these\nup. That seems to me should be the\naim of 44 exact scholarship.\nAnd I would here put in a plea\nthat students of the history of the\nstage should devote time—much time\n— to producing a small but really ori-\nginal booklet or two of fifty or sixty\npages apiece, and no longer attempt to\ncover the whole field in a book of"}, {"page_pdf": 65, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.65", "debut_caractere": 0, "fin_caractere_exclue": 797, "texte": "about three hundred pages. For it\ncannot be done quite well enough in\nthree hundred pages, whereas I sup-\npose you can barely fill fifty pages\nwith what you wiil be able to disco-\nver about Zan Polo the actor, Bal-\ndazzare Lancia the scenographer, Sancta\nStella the singer or the illusive Gaspare\nVigarani. *\nLet three or four daring students\nnow studying under Dr. Nicoll in\nLondon or Professor Baker in Yale take\nthese four names and search to find\nthe hidden facts about these fine artists\nand I\" for one will be extremely grateful\nto them. And, what is more, I shall\nbe astounded if they fill more than four\npages on the four people after a year's\nsearch.\nAll said and done, Dr. Niccli's\nbook is a rich treasury of facts about\nthe Theatre of Europe and quite the\nbest of its kind in existence."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c094", "article_bluemountain": "bmtnaau_1927-10_01#c094", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "175", "page_fin": "175", "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=bmtnaau192710-01.2.22.26", "titre_corps": "TECHNIQUE IN DRAMATIC ART by Halliam Bosworth", "titre_sommaire": "TECHNIQUE IN DRAMATIC ART by Halliam Bosworth", "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": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.65", "debut_caractere": 799, "fin_caractere_exclue": 3362, "texte": "TECHNIQUE IN DRAMATIC\nART by Halii am Bosworth. Mac-\nmill an Co. Price / 0/6.\nTHE other day, having a garden\nand having after much trouble\nand some pain collected some hundred\nseeds from three large artichoke plants,\nI paused to think what it was 1\nought to do and when I ought to do\nit so as to have eighty or ninety tali\nartichokes by next June.... which is\nabout the month they flower.\nThe artichoke is a handsome power-\nful plant, and even if you cannot eat the\nchoke, the arti part of it is superb to\nlook at.\nSo I turned to my three books on\n\" Gardening in the twentieth Century\n\" Gardening for Idiots \" and a third\nwhose title escapes me—, and not\none of them troubled to explain when\n1 should sow the seed, or which month\nI could plant out and how I shouli\nset about it.\nThe writers of those books had\nforgotten that 1 was one of the igno-\nrant idiots they had set out to help ;\nthey seemed to me to be talking on\nand on about everything 1 didn't want\nto know.\nI then gave up the artichoke idea,\nI saw that I had wall-flower seed and\n\"love in the mist\" and carnations: these\nlatter I had much trouble to secure\nfrom the beds because 1 think worms,\ninsects or something had been eating\nthem.\nI turned to my three books: not a\nword about when and how to sow\nthe seeds of these three plants, not a\nwhisper about worms.\nSo much for Gardens: new for\nTheatre.\nMr. Bosworih's \" Technique in Dra-\nmatic Art \" is the equivalent of Pic-\nkering's \" Gardening for Idiots \" : yet\nthough I am just the idiotic young\nwould-be actor Mr. Bosworth is writing\nfor, I soon discover that he has quite\nforgotten how idiotic and how ignorant\nI am. He is far too difficult, and he\nmakes me feel quite anxious.\nHow ought I to come on to the\nstage first of all in any play, in every\nplay ? I would rather ask how am I to\nbring myself to fee! — for that is the\nfirst thing I need to discover — quite\nat ease?\nTrue, I find something about en-\ntrances and exits, but I fee! more ill\nat ease than when I sought for the\nhelp. This help has fallen on me,\nnot picked me up.\n1 tested several like attempts to\nhelp and 1 must say I was a wreck\nat the end. I couldn't carry a ban-\nner properly if I relied at all on Mr.\nBosworth. Yet he is clever and tho-\nroughly versed in the business of the\nstage. Only why doesn't he help?\nTo help us, all we need are two or\nthree words, from a man of twenty-\nfive years experience who cannot waste\nhis words.\nSo if you want help and if you\nare a beginner you had better go to\nthe masters who anyhow have a way\nof making all things seem less dif-\nficult."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c095", "article_bluemountain": "bmtnaau_1927-10_01#c095", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "175", "page_fin": "176", "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=bmtnaau192710-01.2.22.27", "titre_corps": "THERE'S A MOON TONIGHT by Alfred Kreymborg", "titre_sommaire": "THERE'S A MOON TONIGHT by Alfred Kreymborg", "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": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.65", "debut_caractere": 3364, "fin_caractere_exclue": 6500, "texte": "THERE'S A MOON TONIGHT:\nA romantic comedy in three acts, a\nprologue and an epilogue, by Alfred\nKreymborg. Samuel French Ltd.\nPrice $ 1.25.\nACTORS,—though here right away\nI break down, for what I mean\nby actors is not what you mean— :\nI mean men who can act; you probably\nmean men socially charming, noble\nhumbugs, incapable of acting.\nHowever charming or noble, no\nman can play the fool as it's intended\nto be played. It needs concentrating\non—and sufficient contempt for your\npublic. Actors all over the world\ntoday mentally lick the boots of the\nPublics. Thats Garrickism : for, though\nwe all (all but Horace Walpole) must\nadmire our David Garrick, if only for the\nbig name he made for himself, we are\nbound to arrive at this conclusion at\nthe end of years of comparison of\nGarrick with ail the other actors and\nto find him a toady—a boot licker.\nI always have wished that men of\ngenius like Kean could and would be\norderly— then we should have had\nmore of his kind and even a Club\nnamed after him. We should have\nhad actors and it was to actors 1\nwas about to refer, ccnnecting them\nwith the plays of Alfred Kreymborg,\nwhen I recalled that the actors were\nso unfortunately full of Garrickism, and\nthat Garrick could have made nothing\nof these plays.\nThis play in the light of the moon\nis a charming thing made to be acted\n—it is more or less unreadable.\nIt is essentially a play for actors\n....actors as I pronounce the word :\nand so it is quite a silly thing to have\nbrought out the book bound hand-\nsomely and to have charged one and a\nquarter dollars for a copy. Twenty-\nfive cents should be the price—so that\nreal actors can get hold of it and cram\nit in their pockets. Thinner paper\nsmaller type, paper cover, and half\nthe size would have done the trick\nquite well. Samuel French once upon\na time issued all our plays; and 1 be-\nlieve they cost 6d.\nNo one bought a copy to read for\npleasure ; one bought copies when one\nhad to learn a role.\nSo should it be now.\nMr. T. R. Edwards, the managing\nDirector of French (Incorporated), pos-\nsibly has some foresight. He should\nget hold of the market again; he\nshould rob Benn Brothers and Black-\nwell of the power to issue better and\ncheaper plays. He should take a care-\nful look .at the I/- plays issued by\nthe Oxford University Press. The\nPlaywriters should to a man ail stand\nby French—for French is, it seems to\nme, the rightful heir to the idea of\nold Samuel French who hailed from\nNew York some time in 1854, bought\nup Lacy's business in London in 1872,\ntook No. 89 Strand as his office,\nand settled in London where he died\nin 1898. His list contained 2005\nplays, 1485 of which Lacy had pub-\nlished between 1848 and 1873.\nFrench by name, American by\nchance, English by choice, Samivel is\nthe man for my money. But he must\ngo back to his staid and shrewd old\nways—they are far more long-sighted,\nwiser than this present policy of is-\nsuing bound volumes in place of wor-\nking brochures.\nAnd it is all in the interests of the\nplaywriters to help towards getting\nthis done.\nI do not know what sums the wri-\nters of plays receive for such books\nbut 1 take it that French (Incorpora-"}, {"page_pdf": 66, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.66", "debut_caractere": 0, "fin_caractere_exclue": 987, "texte": "tad) has to pay them more than he\ncan afford, so he has to charge more\nfor the books.\nIt is an utterly wrong plan to work on.\nAll the authors want—really want—\nis to get a play of theirs acted—is it\nnot so ?\nPublish the play then—but so cheaply\nand in so work-like a form—in bro-\nchure—that it is plainly seen to be a\nbooklet for workers, not a book for\nthe public.\nLet the author take 5 °/0 or 3 0 |0,\nbut then let him insist on plain cheap-\nly printed professional looking book-\nlets or brochures for stuffing in the\npocket.\nLet the author risk that. He may\nlose* £10 but he chances winning\nthousands if his play be good for acting,\nas is 44 There's a moon tonight\nThis Samuel French—to turn once\nmore to him. Would you believe it,\nbut I found no mention of him in the\nHistories of the American Sta ge. It\nwas not in 44 The Romance of the\nAmerican Theatre \" Crawford, i 923 :\n\" A History of the Theatre in Ame-\nrica Hornbiow, i9S9;or in \"A\nHistory of the American Drama \",\nQuinn, 1923."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c096", "article_bluemountain": "bmtnaau_1927-10_01#c096", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "176", "page_fin": "176", "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=bmtnaau192710-01.2.22.28", "titre_corps": "GLOSSARY OF STAGE LIGHTING by Stanley R. McCandless", "titre_sommaire": "GLOSSARY OF STAGE LIGHTING by Stanley R. McCandless", "signature_source": "Gordon Craig", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 66, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.66", "debut_caractere": 989, "fin_caractere_exclue": 3918, "texte": "GLOSSARY OF STAGE LIGHTING\nby Stanley R. McCandless.\nTheatre Arts Inc. New York. Price\n35 cents.\nGordon Craig.\nTHE idea of this brochure is a\nhappy one ; the idea is to be of\nservice : to do a small thing well, to\nlake an atom of theatre work and\nperfect it. Instead of parade —instead\ncf showing how not to write on 41 The\nTheatre of the Universe\" as many\npeople are doing today, this young\nauthor gives us a little help. Bully\nfor him.\nUnfortunately, while it will be cer-\ntain to help any one who has to study\nhow to light an American stage, it\nwill not serve our European men quite\nso well, for it lacks too many of our\nterms. But then it's writ by an Ame-\nrican for Americans.\nit tells us simply what is an am-\npere and what a volt is. It defines the\nterms 44 plug \", M balcony spot spot-\nlight \" 44 foot lights \" and so forth.\nAnd scanning the brochure I thought\nonce more of an old project which\nlack of funds, time and collaborators\nhad made me lay aside. Which was\nthis:—to bring out a small dictionary\nof terms used in the Theatres of Eu-\nrope and America since the 17 th\ncentury. Besides having English terms\nI thought to include the American;\nbut besides these, and side by side, I\nintended to place their equivalents in\nFrench, Italian, German, Dutch, Scan-\ndinavian and Spanish.\nI still believe that there is a public\nlor such a book and that it consists\nof all the technicians, stage-managers and\nproducers in Europe and America. It\nwould be a book with a steady sale,\ntor not only would it help us all on\nthe modern stage but it would help\nstudents who perhaps do not know\nexactly what was a gar game in 1700,\nwhat a 44 telaio\" or what 44 Scene\nvedute in angolo \" may be.\nAs first-aid to anyone intending to\nfollow up this notion and carry the\nthing through I cannot do better than\nintroduce them to that little French\nbook 44 La Langue Th£atrale : voca-\nbulaire historique, descriptive et anec-\ndctique des Terrnes et des Choses du\nTheatre etc. by Alfred Bouchard,\nParis, 1878.\nThen there is the smaller Italian\nwork 44 Manuals della Lingua Tea-\ntrale *' by Papiol ; Socieia Editoriale\nMilanese. Milano 1909, and the large\n44 Dictionnaire du Theatre \" by Ar-\nthur Pougin; Firmin-Didot, Paris 1885,\nis of course to be consulted,\nBut with these three books you can\nonly make a beginning. You need\nthree or four more ; and I think you\nwill have to gather information from\nthe theatres themselves to make your\nbook complete.\nBut I am quite convinced of the\nvalue such a book would be to us\nail ; and I am ready to help in ma-\nking it, as 1 feel sure many professionals\nwould be, if someone would undertake\nto compile it with our assistance.\nThere are two groups of students\nwhich seem to me to be equally well\nequipt to undertake such a compila-\ntion : The Department of Drama, Yale\nUniversity, (of which Mr. McCand-\nless is an instructor) ; and Dr. Al-\nlardyce NicoU's group of students in\nthe University of London."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c097", "article_bluemountain": "bmtnaau_1927-10_01#c097", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "176", "page_fin": "176", "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=bmtnaau192710-01.2.22.29", "titre_corps": "THE WOODCUT OF TODAY. Edited by Geoffrey Holme", "titre_sommaire": "THE WOODCUT OF TODAY. Edited by Geoffrey Holme", "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": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.66", "debut_caractere": 3920, "fin_caractere_exclue": 4616, "texte": "THE WOODCUT OF TODAY\nat Home and AbroadEdited by\nGeoffrey Holme. The Studio Ltd.\nPrice 7/6 net, in Wrapper. 10/6 net,\nin cloth.\nA volume, which adds one more to\nthat long series of fine picture\nbooks for which we are indebted to\nMr. Geoffrey Holme, his predecessors,\nand the Studio Press.\nThe book contains about two hun-\ndred illustrations, sixteen in colour,\nwith accompanying text by Malcolm\nC. Salaman relating to the Woodcr\nin Great Britain, France, Holland'\nItaly, Russia, Japan, the United States\nand other lands. *\nThose who have the good fortune#\nto possess 44 1he Modern Woodcut and\nLithograph \" issued by the Studio in\n1919 should not fail to secure this\nnew volume to set by its side."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c098", "article_bluemountain": "bmtnaau_1927-10_01#c098", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "176", "page_fin": "178", "image_debut": 66, "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=bmtnaau192710-01.2.22.30", "titre_corps": "PRACTICALLY TRUE by Ernest ThesigerTHE THEATRE IN LIFE by Nicholas Evreinoff", "titre_sommaire": "PRACTICALLY TRUE by Ernest ThesigerTHE THEATRE IN LIFE by Nicholas Evreinoff", "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": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.66", "debut_caractere": 4618, "fin_caractere_exclue": 6606, "texte": "PRACTICALLY TRUE by Ernest\nThesiger. Heinemann. Price 8/6\nTHE THEA TRE IN LIFE by Nicho-\nlas Evreinoff. Harrap. Price 12/6 net.\nFORTY-SEVEN and forty-eight, these\nare the ages of Nicholas Evreinoff\nand Mr. Ernest Thesiger, both of\nthem theatre men. Evreinoff, the\nyounger by one year, is older in expe-\nrience. 44 Fie has been a circus per-\n44 former, an actor, a playwright and a\nil regisseur ; a flautist and a composer;\n44 a critic, a novelist and a historian ; a\n44 painter, a psychologist, a biologist, an\n44 archeologist and a philosopher ; a gra-\n44 ciuate in law, a government official, a\n\" teacher and a world traveller. And\n44 a tyro at none of these occupations \".\nThese are the words of Mr. Oliver\nSayler, who is helping to sell Russian\ngoods in America, i put it that way\nbecause that's the way it is. Keen\nabout Russian art Mr. Sayler may be,\nbut he is a good American : he does\nas he is told, and America tells its\nsons to do what they darn well like\nbut to make it pay anyhow.\nMr. Sayler, in his introduction of\nEvreinoff's book, cannot be accused of\nlaying it on thin : the author of 44 Gay\nDeath \" has to keep still while his\npublicity agent paints him an inch\nthick ail over; and what colour re-\nmains oyer in the pot is daubed on\nto the American people who have\n4< ad vanced incredibly in comprehen-\nsion and sympathy \" in the last ten\nyears. Glorious delusion ... for if any-\nthing the whole earth, as a people,\nhas retired gracefully further and fur-\nther, comprehending less and less and\nsympathising, thank heaven, not at all.\nSympathy ! !\nMr. i hesiger has no one to intro-\nduce him. He seems passionately fond\nof introducing himself, yet says not a\nword. As a rule : he says it in flo-\nwers. 44 I quickly bought a large\nbunch of violets....\" the 44 result of this\n44 small outlay (I have tried the same\n44 trick since with equal success) was\n44 a letter.... asking me to pay her a\n• • •»\nvisit\nSo I miss the bunch of violets on\nthe cover of this book which lacks"}, {"page_pdf": 67, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.67", "debut_caractere": 0, "fin_caractere_exclue": 7061, "texte": "oat. Introduction. But instead of this\n# have a dedication to E. P. T.,\nHje author's father.\nMr. Thesiger senior was (may be\nne stili is) C!erk Assistant in the House\nof Lords. 44 He knew nearly all the\nPeers of the Realm \"—44 knew practi-\ncally no one in what is called 4 The\nArtistic World ', and certainly no one\nwhose reputation was in the very\nleast shady\nWhich can only mean that he ne-\nver left his desk in the narrow little\nroom allotted to him in the Clerks*\nquarter of the House of Lords.\nThe notion of not knowing anyone\nin 44 The Artistic World \" seems to\nme a happy one. I am pretty exclu-\nsive myself—I will know no one else.\n1 make an exception in favour of those\nwhose reputations are shady rather\npreferring things in the round to\nquite a flatness; and when they are\ndamned outright by the intolerant I\ngreet them cordially. It seems to\nme to be almost a Hall mark.\nBut when I speak of 44 The Ar-\ntistic World \" I mean the artists and\nonly the artists. I do not mean the\nhangers-on — the artistic — the ama-\nteurs, ....those who have condescen-\nded to come over to us. Yes, but\nalas, to the flat, hail but farewell.\nMr. Ernest Thesiger is not flat, dull,\nand assuredly not unprofitable; and\nhis book is full of lively, kindly, char-\nming and cutting things.\nAfter having painted well for ten\nyears and sold successfully for two (he\nnetted £ 600 for sketches at two 44 one\nman shows \") Mr Thesiger became an\nactor at the age of thirty. And now\nat the age of forty-eight he gives us a\nvery readable book of recollections.\nHis passion seems to be to know\npeople—to be introduced—even to in-\ntroduce himself. Once people know\nhim a little, he feels sure that he can\nmake himself liked—and so it is. But\nhe also has an immense liking for the\nstage; on which, as you read his\nbook, you feel he is purposed to suc-\nceed.\nThe author of 44 Practically true\ngives his readers two or three portraits\nof himself, none of which looks more\nthan twenty to twenty-five years old.\nAnd as he also writes in the twenty-\nfive-year-old swing I get an impression\nof a very young man.\nHe seems to have known nearly\nall the people one has heard of in\nEngland. But though so closely in\ntouch with things and people some there\nare he never did get into touch with\nat all, notably the Shah of Persia, Val-\nliant, Cleo de Merode, Count Tolstoi\nor Giuseppe Verdi. On the other hand\nhe has known the Empress of Austria,\nQueen Alexandra, and several lesser\nroyalties and just missed having a little\nsupper or two with the Kaiser.\nAnd, as he explains in his book, he\nhas been an actor for eighteen years.\nI have always gathered that he is one\nof the very best actors on the English\nstage, even as 1 have always heard of\nSir Gerald du Maurier as one of our\ngreatest producers. Both are in any case,\nsocially, very much in the swim. Some\npeople there are in England who de-\ncry the age and who assert that the\nstandard in England, so far as the\narts and graces go, trails on the\nground.\nBut so long as such actors as Mr.\nThesiger and such producers as Sir\nGerald are on the spot to keep the\nflag flying, we can fee! assured that\nall is well with the British stage.\nWell, the book couldn't be more\nentertaining and often* is instructive;\nseldom fails to be amusing, and has\none line we can take quite seriously\nand which runs: 44 Really, actors\nought never to be knou)n, or even\nseen, off the stage \",\nLet us be glad that Mr. Thesiger\ndoesn't take himself seriously, for then\nwe should have missed a delightful\nbook.\nDelightful of course, and curious ;\nfor to me how queer it seems to\ncome across the only reference to Ir-\nving and find it missing fire— : All\nthat he says is 44 I remember thinking\nIrving very grotesque in it \", — in 44 The\nDead Heart \".\nSurely, ! say to myself, this first-\nclass actor saw the great actor more\nthan once ; but it would seem not.\nHis chapter on Mrs. Patrick Camp-\nbell is full of charm, all but the stcry\nabout Herbert Trench which merely\nreveals a glare of bad manners for\nwhich Mrs. Campbell is net noted,\nshe having the most charming man-\nners ; keeping no one waiting and\nsaying nothing unkind about anyone.\n1 wish 1 knew the author's motive\nfor repeating the story. It may be\ntaken to represent theatrical ways, yet\nit doesn't represent them; but it may\nalso be told to give pleasure to smart\nsociety whose manners may be just bad.\nI miss the point of it.\nApt is our author on Miss Thorn-\ndike's 44 iron constitution \" : on Mme.\nDelysia's generosity and loveableness:\nbut is he on Mr. Churchill's 44 fatuous\nremarks\"? Of Arnold Bennett he writes\n44 I couldn't bear anyone not to like\nArnold Bennett \" so I at once like\nArnold Bennett without knowing him.\nMr Thesiger is amusing: even his\npassion for knowing people is slyly\ncomic — is it at all grotesque ?\nWhat artist ever wanted or wants\nto know anyone ? Who is this same\nanyone, anyhow ? To be in the swim,\nwhat is that ? — to be in touch with\npeople in the swim ? To be in touch\nwith the sea — that I understand; but\nto bathe in it with two thousand five\nhundred otheis at the Lido or to dine\nwith one thousand four hundred others\nhardly strikes me as the ultimate, or even\nthe passing, ambition of the smallest\nartist.\nIt was Henry Irving's son, Harry\nIrving, who once delivered a lecture\nentitled 44 The Social Status of the\nActorWhat it was all about 1\nforget, and cannot refer to the subject,\nwhich was reprinted in his 44 Occasio-\nnal PapersBut it was a defence,\nand defences are always happy things:\nthe Irvings always defended the actors\nagainst the attacks, silent or voiced,\nmade upon them by the tolerant.\nIt was also a waste of time: for\nartists and actors have very happy lives\nand give a good deal of happiness to\nothers.\nBut I refer only to genuine artists\nborn to their trade. Now there is\nanother kind coming along — the ama-\nteur. All sorts of people are forsaking\ntheir old paths which one supposes led\nsomewhere and are trying a new one\n— a road which leads them nowhere.\nI disapprove, and for too many se-\nrious reasons to be gone into thoroughly\nhere. I like too well the idea of con-\ntinuity : as I like to see the crown pass\nfrom father to son, the titles, the estates,\nthe old traditions, too, so do I like to\nsee the palette, the pen, the mask and\nthe box of tricks of any trade passed\nfrom father to son — or from master\nto best apprentice.\nI like the secrets of the game to\nremain in families; and 1 am not at\nall partial to the vulgarization of even\na card trick so that after dinner every\nLord Pompsby can say 44 I' 11 show\nyou how Houdini did this\"; or Lady\nDot Andcarione can offer to give us\nher most perfect rendering in Dumb\nShow of the speech which begins 44 The\nquality of mercy.... \" to show how far\nlovelier was her voice than was that\nof Mary Anderson.\nThis vulgarization of something which\nis best left to the experts of the lower\nclasses is the work of England, of Ame-\nrica and of the Isle of Wight.\nIt is briefly a twopenny nuisance.\nBut when the upper classes insist —\nwhen they even offer their services\nprofessionally, when, in short, they"}, {"page_pdf": 68, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.68", "debut_caractere": 0, "fin_caractere_exclue": 1449, "texte": "become members of the lower classes,\n(for all artists are, as Mr. Thesiger\nsenior indicates, beneath, not level\nwith, the upper and middle, and I\nheartily praise God but humbly agree\nwith the clerk), then they should doff\ntheir old gold lace uniforms and their\ndarned side and be lost in the crowd\nof artists in the limelight.\nAnd another thing. — If the upper\nclasses of today are content to doff\ntheir uniforms or whatever it is makes them\nappear so awkwardly upper, to leave\ntheir old haunts and to descend to the far\ndifferent haunts of the artists, they should\nbe very careful to bring something with\nthem which the artists may at least need\nA finer set of manners, may be.\nI feel that Mr. Thesiger does try to\ndo that.\nMr. Thesiger was an amateur and\nis one no longer. He is essentially the\nprofessional: far more so than M. Evrei-\nnoff seems to be.\nBut 1 couldn't possibly say anything\nharsh about this Russian genius for there\nare plenty who will damn poor Evrei-\nnoff. Some have said the harshest\nthings possible : for example, that 44 his\nbook has been translated into the irri-\ntating conversational style made fashion-\nable by Mr. Craig \" : that his criticism is\n44 remarkably trivial \" ; that he is 44 in-\nsensitive \", his words mere 44 prattlings\".\nSuch critics have my sympathy. They\nstarted off in life so full of indepen-\ndence and I don't like to hear them\ntoday echoing what they have overheard\nin the lobby of the House of Lords."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c099", "article_bluemountain": "bmtnaau_1927-10_01#c099", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "178", "page_fin": "178", "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=bmtnaau192710-01.2.22.31", "titre_corps": "DESIGN IN THE THEATRE", "titre_sommaire": "DESIGN IN THE THEATRE", "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": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.68", "debut_caractere": 1451, "fin_caractere_exclue": 2278, "texte": "DESIGN IN THE THEATRE:\nSpecial Winter number of 44 The\nStudio \" 1927-28. Price, Wrappers\n7/6: Cloth 10/6.\nTHIS new Studio volume contains\nover 120 illustrations in colour and\nphotogravure, commentary by George\nSheringham and James Laver, and con-\nby Gordon Craig, Nigil Play-\nfair and Charles B. Cochran.\nMr. Gordon Craig has written a\ncharacteristic letter which is reproduced\nin facsimile and in which he tilts with\na touch of pleasant malice against the\nplaywright, at the same time indicating\nthe importance of the designer's function.\nThis Studio special number offers a\nrepresentative collection of drawings by\nthe leading English and Continental\ntheatre designers, as well as a number\nof designs by Irish and American artists.\nIt is a volume which will certainly\nbe welcome to the large public interested\nin the theatre."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c100", "article_bluemountain": "bmtnaau_1927-10_01#c100", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "178", "page_fin": "178", "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=bmtnaau192710-01.2.22.32", "titre_corps": "FOUR COMEDIES by CARLO GOLDONIHEROES OF THE PUPPET STAGE by Madge Anderson", "titre_sommaire": "FOUR COMEDIES by CARLO GOLDONIHEROES OF THE PUPPET STAGE by Madge Anderson", "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": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.68", "debut_caractere": 2280, "fin_caractere_exclue": 3413, "texte": "FOUR COMEDIES by CARLO\nGOLDONI, Edited by Clifford Rax.\nEdition limited to 500 copies. 12f 6\nnet. Postage 6d inland.\nHEROES OF THE PUPPET\nSTAGE by Madge Anderson. Publi-\nshed at 12/6 net; Some copies offered\n(new at 7/ 6, postage 9d inland.\nBoth obtainable from Foyle s, 119-125\nCharing Cross Road, London.\nGOLDONI is one of the most rea-\ndable as well as actable playwri-\nters. But you may not know Italian,\nand then you will need an English\nTranslation, and I realty cannot think\nyou will find a better one than this\nsold by Mr. Foyle.\nAll theatrical people will be delighted\nwith these 44 Four Comedies\" edited\nby Clifford Bax, especially that of 44 II\nl eatro Comico \" in which play all are\nactors, actresses, impresari, managers and\npatrons. And nowadays it is rather\nhard to get a picture of a Patron of\nthe Arts, especially a Patron of the\nTheatre Arts. Here we have him, —\nthe Otto Kahn of those days. True,\nhe is a Turk, but what would you :\nall patrons can't be white.\nMr Foyle's second special offer, the\n44 Heroes of the Puppet Stage \" is use-\nful and entertaining. It is a good book\nfor beginners and will not bore them."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c101", "article_bluemountain": "bmtnaau_1927-10_01#c101", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "178", "page_fin": "178", "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=bmtnaau192710-01.2.23", "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": 68, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.68", "debut_caractere": 3415, "fin_caractere_exclue": 6622, "texte": "MAGAZINES.\n\nNOTES & QUERIES (Price 6d.)\ncontinues to be as refreshing as\nof old. A recent number containing an\narticle on Shakespeare's will ! by Wil-\nliam Poel, is of interest to all students\nof the Drama.\nTHE CALENDAR, in a new co-\nver, keeps lively and is as readable\nas ever. THE LIBRARY, edited by\nPaul Horgan, (New Mexico Military\nInstitute, Roswdl, New Mexico) consists\nof four brief but good pages spite of\nits long address. DRAMA, the jour-\nnal of the British Drama League\n(Price 6d.) and the THEATRE WORLD\n(price 6d.) run each other close, the\nlatter being better illustrated; and I\nsometimes find its letter-press more up\nto date and more lively than that of\nits elder brother ; but its advertisements\nleave something to be desired.\nTHE AMATEUR STAGE (price 6d.)\nis the best of the three in every way,\nand is a lesson to 44 Theatre World\"\nin what to advertise and what to\navoid advertising, it is a pleasure to\ncome across an article or two in its\npages by James M. Glover.\nTHE ARCHITECTURAL REVIEW\n(price 2/6 monthly) is the most mag-\nnificent magazine produced by Lon-\ndon for many a year, and it sets a\nstandard. It often contains illustrated\narticles of interest about the architecture\nof Theatres.\nTHE CURTAIN, (price 3d. monthly)\nis not as good as it should be, and\nTHE DRAMA, (American) combined\nwith 44 The Little Theatre Monthly \"\n(50 cents monthly) is far too full of\nthe kind of 44 news \" which is not\nparticularly bright.\n4 The Chicago Tribune ' and other\ndailies of America, all masterpieces of\nJournalism, should long ago have taught\n44 The Drama \" that, to tackle news,\nyou have to possess genius and unli-\nmited capital.\nSo that little papers, especially thea-\ntrical magazines, should modestly re-\nfrain from reporting the kind of things\nthey do report—and in small print,\ntoo and without headlines to awaken\nour interest and without a spark of\nstuff in them.\nThe news that 44 C. M. Patten will\nread\" The Little Poor Man \" at the\nMarch meeting at Los Angeles \" doesn't\nstrike us as any livelier than the fact\nreported that 44 a new circle was or-\nganized this winter at Ogden and that\nits president is Aionzo Morlay. Not\nonly do these people and facts mean\nnothing to us; the way the items are\nreported is shockingly dull.\nIf the Editor of 44 The Drama \"\nwould only scrap the lot he would\nsave some five or six pages which he\ncould fill up with something worth\nwhile. Why not ?\nThis that is so noticeable in the Ame-\nrican 44 Drama \" is only rather less\nnoticeable in our London 44 Drama\n44 Amateur Stage 44 The Curtain \"\nand 44 Theatre World That only\nwhich is really worth while should be\nreported and the rest put in the waste\npaper basket.\nWhen talent has made some mark,\nthat is time enough to report about it;\nbut when a couple of hundred expres-\nsionless facts are reported to us by the\ncolumn, then the whole of this Ama-\nteur activity or the Little Theatre\nMovement is not only rendered rather\nridiculous—but duller than it really is.\nAmong the well produced magazines\nof England, Messrs, Halton & Truscott\nSmith's 44 OLD FURNITURE \" seems\nto me to be especially good. Edited\nby E. F. Strange C. B. E.f it is\nnow in its second volume, and should\nbecome a famous success."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c102", "article_bluemountain": "bmtnaau_1927-10_01#c102", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "178", "page_fin": "178", "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=bmtnaau192710-01.2.23.1", "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": 68, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.68", "debut_caractere": 3427, "fin_caractere_exclue": 6622, "texte": "NOTES & QUERIES (Price 6d.)\ncontinues to be as refreshing as\nof old. A recent number containing an\narticle on Shakespeare's will ! by Wil-\nliam Poel, is of interest to all students\nof the Drama.\nTHE CALENDAR, in a new co-\nver, keeps lively and is as readable\nas ever. THE LIBRARY, edited by\nPaul Horgan, (New Mexico Military\nInstitute, Roswdl, New Mexico) consists\nof four brief but good pages spite of\nits long address. DRAMA, the jour-\nnal of the British Drama League\n(Price 6d.) and the THEATRE WORLD\n(price 6d.) run each other close, the\nlatter being better illustrated; and I\nsometimes find its letter-press more up\nto date and more lively than that of\nits elder brother ; but its advertisements\nleave something to be desired.\nTHE AMATEUR STAGE (price 6d.)\nis the best of the three in every way,\nand is a lesson to 44 Theatre World\"\nin what to advertise and what to\navoid advertising, it is a pleasure to\ncome across an article or two in its\npages by James M. Glover.\nTHE ARCHITECTURAL REVIEW\n(price 2/6 monthly) is the most mag-\nnificent magazine produced by Lon-\ndon for many a year, and it sets a\nstandard. It often contains illustrated\narticles of interest about the architecture\nof Theatres.\nTHE CURTAIN, (price 3d. monthly)\nis not as good as it should be, and\nTHE DRAMA, (American) combined\nwith 44 The Little Theatre Monthly \"\n(50 cents monthly) is far too full of\nthe kind of 44 news \" which is not\nparticularly bright.\n4 The Chicago Tribune ' and other\ndailies of America, all masterpieces of\nJournalism, should long ago have taught\n44 The Drama \" that, to tackle news,\nyou have to possess genius and unli-\nmited capital.\nSo that little papers, especially thea-\ntrical magazines, should modestly re-\nfrain from reporting the kind of things\nthey do report—and in small print,\ntoo and without headlines to awaken\nour interest and without a spark of\nstuff in them.\nThe news that 44 C. M. Patten will\nread\" The Little Poor Man \" at the\nMarch meeting at Los Angeles \" doesn't\nstrike us as any livelier than the fact\nreported that 44 a new circle was or-\nganized this winter at Ogden and that\nits president is Aionzo Morlay. Not\nonly do these people and facts mean\nnothing to us; the way the items are\nreported is shockingly dull.\nIf the Editor of 44 The Drama \"\nwould only scrap the lot he would\nsave some five or six pages which he\ncould fill up with something worth\nwhile. Why not ?\nThis that is so noticeable in the Ame-\nrican 44 Drama \" is only rather less\nnoticeable in our London 44 Drama\n44 Amateur Stage 44 The Curtain \"\nand 44 Theatre World That only\nwhich is really worth while should be\nreported and the rest put in the waste\npaper basket.\nWhen talent has made some mark,\nthat is time enough to report about it;\nbut when a couple of hundred expres-\nsionless facts are reported to us by the\ncolumn, then the whole of this Ama-\nteur activity or the Little Theatre\nMovement is not only rendered rather\nridiculous—but duller than it really is.\nAmong the well produced magazines\nof England, Messrs, Halton & Truscott\nSmith's 44 OLD FURNITURE \" seems\nto me to be especially good. Edited\nby E. F. Strange C. B. E.f it is\nnow in its second volume, and should\nbecome a famous success."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c103", "article_bluemountain": "bmtnaau_1927-10_01#c103", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "179", "page_fin": "179", "image_debut": 69, "image_fin": 69, "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=bmtnaau192710-01.2.24", "titre_corps": "EDITORIAL NOTES", "titre_sommaire": "EDITORIAL NOTES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 69, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.69", "debut_caractere": 0, "fin_caractere_exclue": 5697, "texte": "EDITORIAL NOTES\n\n& SHAKESPEARE\nTHE statement made by John Keats\nand reprinted by us on page 153\nis, after all, by John Keats.\nThat is why it seems to us to be\nworth the especial notice of our readers.\nIf it had been made by Lord B. or\nthe Bishop of C. it would, of course,\nhave carried rather more weight.\nThe reason why we do not care one\nfig for Shakespeare is that he is at\ntimes rather theatrical.\n\nNEXT DOOR TO SWINDLE.\nONCE upon a time, about the year\n1900, hardly any books were\nbeing published about the Theatre in\nLondon,\nThen came a change. Many books\nappeared. This went on for twenty\nyeafs. Now almost too many books\non the Theatre appear.\nToo many on Dramatic Theory,\ntoo many Dramas of today and on how\nto write them, too many on modern Sce-\nnic Innovations, and perhaps too many\non how to get up private Theatricals.\nThere is no more need for more\nbooks on these subjects except they\nbe by very first-class men ; and, alas,\nthey are still coming out signed by\njack, Tom and Harry.\nFor example, a book on Drama and\nhow to write plays by Bernard Shaw\nis still wanted. Dramatic Theory by\nGranville Barker would be welcome.\nAs for Scenery books, unless about\nthe Ancients, let us have no more of\nthem, for it is such a swindle as\na rule.\nSome bright lad who has once been\nan assistant to some well known artist,\nand who has probably been sacked or\nnever really made good, will have a\nnotion that he can put a book over\nanyway. He goes touting around and\ngets a hundred artists to promise to\nloan him two or three designs apiece.\nThe rights to produce these two or\nthree hundred designs he coolly sells to a\npublisher, getting pretty well paid for\nwhat isn't his property to sell. He\nwrites a bit about each design, perhaps\nten lines or less, comes out with a pre-\nface, and issues a bock not worth three\nshillings for about £ 2.\nThe book is for publication In Au-\nstria, let us say. Well and good.\nWe can appreciate the courtesy of\nany English artist who allows his work\nto be published there now and again\nfree of charge. But. what happens\nafter it has appeared there ? Sheets\nare hurried over to London to be pub-\nlished by Levi Brothers ; it goes off\nto America and is issued by Bunkum\n& Co : in fact the designs got for no-\nthing are traded around in a shameful\nmanner.\nTHAT IS THE KIND OF BOOK WE WARN\nEVERYONE AGAINST.\nArtists seem to like to give away\ntheir rights to men incompetent to\nwrite seriously about them, We can-\nnot think that in any case such things\nshould be given gratis. That the ar-\ntists are such fools that they never\nask for a penny in return merely\nmeans that they need to belong to the\nSociety of Authors and study awhile\nunder Professor Thring who would\nbegin by telling them never to give\ntheir work away.\nIf each artist asked a fee, as every\nman of sense would do, we should\nhave fewer such books — but the few\nwould stand a chance of being far better.\nThese 44 Editors \" write round to all\nthe artists begging for designs : if one\nprotests he receives a letter telling him\nin polite but decidedly chilly and poin-\nted phrases that he is the only one\nwho has even suggested such a thing\nas payment. If he replies that he\ndoesn't intend to allow his work to be\nused without payment he will receive\nfive or six letters arguing the ethics of\nthe point.\nSeldom do these nimble 44 editors \"\nbring out a book on the Theatre\nwork of one man: why is that ? He\nmight expect to receive some substan-\ntial payment.\nYet a book on the stage work of\nKlaus Richter, for example, is some-\nthing we should like to see and read.\nAnother on the sceneries of Karl\nWalser : a third on Emil Orlik's work,\nand a good big one on StenTs work.\nThere would be* some sense in such\nbooks IF the writer were not a cowboy\nor an engine-driver turned esthete,\nbut were a sound critic like Dr. Fis-\nchel or Dr. Greger or our old and\nlamented Cesare Levi.\nAmerica too has a few good men;\nSheldon Cheney and Barrett Clark are\namongst the best ; and such men should\nbe and can be iiusted to act towards\nartists properly or leave their work\nalone until they can make some kind\nof return for the use of it.™ Cowboys\nare not to be trusted; so no more\ncowboy editors, we beg.\n\nINCORRECT\n\"DAILY MAIL \" and\" DAILY\nEXPRESS\" PLEASE COPY.\nONCE more we earnestly beg some\nof the greatest journals of Lon-\ndon to revise their staff and indexes\nand the rest of their machinery in the\nsection Drama and Theatre.\nA while ago one of the million or\ntwo-million-copies-per day journals was\nreferring to Signora Duse as 44 the ce-\nlebrated operatic singer another was\nmixing up a well-known producer with\na well-known cinema manager; and\nrecently one of these refers to the\nburning of the Teatro Aifieri of Mi-\nlano when no such theatre exists there\nand the theatre burnt was in Torino.\nSuch errors are so easily avoided if\none's card index is in order; and, if\nit isn't, a card index can so easily be\nput in order and one's reference books\ncan so easily be referred to.\nWhy speak of Teatro Aifieri, Mi-\nlan when Teatro Aifieri, Turin is meant ?\n\nADDITIONAL NOTE TO \" A\nFORGOTTEN HARLEQUIN \"\nBY R. J. BROADBENT.\nO SEE \" THE MASK \" JULY I926. O\nI i. II.I.III«.I iMiinni immi ■'■mini n.i .its —i nimn imnmoma\nON December 27, 1836 the cele-\nbrated English Harlequin Ellar\nwas performing his old part at Co-\nvent Garden Theatre in Harlequin and\nGeorgey Barnwell or the London,\nPrentice to Clown of Mr. C. J. Smith\n(his first appearance in that character),\nColumbine, Mile. T. Schmidt, Pan-\ntaloon, Mr. Clarke.\nPresumably this was the same Tom\nEllar of whom Mr. R. J. Broadbent\nwrote in The Mask July 1926.\nOur information is from \" The Thea-\ntrical Observer and Daily Bills of the\nPlay \", No : 4689. Dec, 27, 1836."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c105", "article_bluemountain": "bmtnaau_1927-10_01#c105", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "179", "page_fin": "179", "image_debut": 69, "image_fin": 69, "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=bmtnaau192710-01.2.24.2", "titre_corps": "KEATS & SHAKESPEARE", "titre_sommaire": "KEATS & SHAKESPEARE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 69, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.69", "debut_caractere": 17, "fin_caractere_exclue": 401, "texte": "& SHAKESPEARE\nTHE statement made by John Keats\nand reprinted by us on page 153\nis, after all, by John Keats.\nThat is why it seems to us to be\nworth the especial notice of our readers.\nIf it had been made by Lord B. or\nthe Bishop of C. it would, of course,\nhave carried rather more weight.\nThe reason why we do not care one\nfig for Shakespeare is that he is at\ntimes rather theatrical."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c106", "article_bluemountain": "bmtnaau_1927-10_01#c106", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "179", "page_fin": "179", "image_debut": 69, "image_fin": 69, "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=bmtnaau192710-01.2.24.3", "titre_corps": "NEXT DOOR TO SWINDLE", "titre_sommaire": "NEXT DOOR TO SWINDLE", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 69, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.69", "debut_caractere": 403, "fin_caractere_exclue": 4176, "texte": "NEXT DOOR TO SWINDLE.\nONCE upon a time, about the year\n1900, hardly any books were\nbeing published about the Theatre in\nLondon,\nThen came a change. Many books\nappeared. This went on for twenty\nyeafs. Now almost too many books\non the Theatre appear.\nToo many on Dramatic Theory,\ntoo many Dramas of today and on how\nto write them, too many on modern Sce-\nnic Innovations, and perhaps too many\non how to get up private Theatricals.\nThere is no more need for more\nbooks on these subjects except they\nbe by very first-class men ; and, alas,\nthey are still coming out signed by\njack, Tom and Harry.\nFor example, a book on Drama and\nhow to write plays by Bernard Shaw\nis still wanted. Dramatic Theory by\nGranville Barker would be welcome.\nAs for Scenery books, unless about\nthe Ancients, let us have no more of\nthem, for it is such a swindle as\na rule.\nSome bright lad who has once been\nan assistant to some well known artist,\nand who has probably been sacked or\nnever really made good, will have a\nnotion that he can put a book over\nanyway. He goes touting around and\ngets a hundred artists to promise to\nloan him two or three designs apiece.\nThe rights to produce these two or\nthree hundred designs he coolly sells to a\npublisher, getting pretty well paid for\nwhat isn't his property to sell. He\nwrites a bit about each design, perhaps\nten lines or less, comes out with a pre-\nface, and issues a bock not worth three\nshillings for about £ 2.\nThe book is for publication In Au-\nstria, let us say. Well and good.\nWe can appreciate the courtesy of\nany English artist who allows his work\nto be published there now and again\nfree of charge. But. what happens\nafter it has appeared there ? Sheets\nare hurried over to London to be pub-\nlished by Levi Brothers ; it goes off\nto America and is issued by Bunkum\n& Co : in fact the designs got for no-\nthing are traded around in a shameful\nmanner.\nTHAT IS THE KIND OF BOOK WE WARN\nEVERYONE AGAINST.\nArtists seem to like to give away\ntheir rights to men incompetent to\nwrite seriously about them, We can-\nnot think that in any case such things\nshould be given gratis. That the ar-\ntists are such fools that they never\nask for a penny in return merely\nmeans that they need to belong to the\nSociety of Authors and study awhile\nunder Professor Thring who would\nbegin by telling them never to give\ntheir work away.\nIf each artist asked a fee, as every\nman of sense would do, we should\nhave fewer such books — but the few\nwould stand a chance of being far better.\nThese 44 Editors \" write round to all\nthe artists begging for designs : if one\nprotests he receives a letter telling him\nin polite but decidedly chilly and poin-\nted phrases that he is the only one\nwho has even suggested such a thing\nas payment. If he replies that he\ndoesn't intend to allow his work to be\nused without payment he will receive\nfive or six letters arguing the ethics of\nthe point.\nSeldom do these nimble 44 editors \"\nbring out a book on the Theatre\nwork of one man: why is that ? He\nmight expect to receive some substan-\ntial payment.\nYet a book on the stage work of\nKlaus Richter, for example, is some-\nthing we should like to see and read.\nAnother on the sceneries of Karl\nWalser : a third on Emil Orlik's work,\nand a good big one on StenTs work.\nThere would be* some sense in such\nbooks IF the writer were not a cowboy\nor an engine-driver turned esthete,\nbut were a sound critic like Dr. Fis-\nchel or Dr. Greger or our old and\nlamented Cesare Levi.\nAmerica too has a few good men;\nSheldon Cheney and Barrett Clark are\namongst the best ; and such men should\nbe and can be iiusted to act towards\nartists properly or leave their work\nalone until they can make some kind\nof return for the use of it.™ Cowboys\nare not to be trusted; so no more\ncowboy editors, we beg."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c107", "article_bluemountain": "bmtnaau_1927-10_01#c107", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "179", "page_fin": "179", "image_debut": 69, "image_fin": 69, "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=bmtnaau192710-01.2.24.4", "titre_corps": "INCORRECT", "titre_sommaire": "INCORRECT", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 69, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.69", "debut_caractere": 4178, "fin_caractere_exclue": 5032, "texte": "INCORRECT\n\"DAILY MAIL \" and\" DAILY\nEXPRESS\" PLEASE COPY.\nONCE more we earnestly beg some\nof the greatest journals of Lon-\ndon to revise their staff and indexes\nand the rest of their machinery in the\nsection Drama and Theatre.\nA while ago one of the million or\ntwo-million-copies-per day journals was\nreferring to Signora Duse as 44 the ce-\nlebrated operatic singer another was\nmixing up a well-known producer with\na well-known cinema manager; and\nrecently one of these refers to the\nburning of the Teatro Aifieri of Mi-\nlano when no such theatre exists there\nand the theatre burnt was in Torino.\nSuch errors are so easily avoided if\none's card index is in order; and, if\nit isn't, a card index can so easily be\nput in order and one's reference books\ncan so easily be referred to.\nWhy speak of Teatro Aifieri, Mi-\nlan when Teatro Aifieri, Turin is meant ?"}]}, {"article_id": "bm-bmtnaau-1927-10-01-c108", "article_bluemountain": "bmtnaau_1927-10_01#c108", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "179", "page_fin": "179", "image_debut": 69, "image_fin": 69, "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=bmtnaau192710-01.2.24.5", "titre_corps": "ADDITIONAL NOTE TO \"A FORGOTTEN HARLEQUIN\" BY R. J. BROADBENT", "titre_sommaire": "ADDITIONAL NOTE TO \"A FORGOTTEN HARLEQUIN\" BY R. J. BROADBENT", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 69, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.69", "debut_caractere": 5034, "fin_caractere_exclue": 5697, "texte": "ADDITIONAL NOTE TO \" A\nFORGOTTEN HARLEQUIN \"\nBY R. J. BROADBENT.\nO SEE \" THE MASK \" JULY I926. O\nI i. II.I.III«.I iMiinni immi ■'■mini n.i .its —i nimn imnmoma\nON December 27, 1836 the cele-\nbrated English Harlequin Ellar\nwas performing his old part at Co-\nvent Garden Theatre in Harlequin and\nGeorgey Barnwell or the London,\nPrentice to Clown of Mr. C. J. Smith\n(his first appearance in that character),\nColumbine, Mile. T. Schmidt, Pan-\ntaloon, Mr. Clarke.\nPresumably this was the same Tom\nEllar of whom Mr. R. J. Broadbent\nwrote in The Mask July 1926.\nOur information is from \" The Thea-\ntrical Observer and Daily Bills of the\nPlay \", No : 4689. Dec, 27, 1836."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c110", "article_bluemountain": "bmtnaau_1927-10_01#c110", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "180", "page_fin": "180", "image_debut": 70, "image_fin": 70, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.2.25", "titre_corps": "LAST WORDS", "titre_sommaire": "LAST WORDS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 70, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.70", "debut_caractere": 0, "fin_caractere_exclue": 7185, "texte": "LAST WORDS.\n\nASKING ALMS FOR SHAKESPEARE\nJ. S.\n£100,000 sent from America to the Strat-\nford Memorial Theatre is accepted\ncordially and makes everyone in England\ndelighted. It makes us bitterly miserable.\n£ 5,000,000 sent from America to\nbuild a dam is Egypt makes everyone in\nEngland furious : 44 Comes as Bombshell \"\n44 Grave View Taken\", 44 Very life of\nNation endangered\", 44 Violated Trea-\nties \", 44 Pact with Britain \" : Cables sent\nto Washington.\nEngland, in brief, is willing to sell\nShakespeare rights, unwilling to sell the\nrights to a bit of Egypt.\nIf you can afford to preserve the se-\ncond you can afford to preserve the first.\nAmerican headlines read : 44 Britain\nwill fight building Nile Dam no such\nheadlines appeared respecting the buil-\nding of the Shakespeare Theatre.\nYet whjr not ?\nWas the National Theatre in Ger-\nmany — that erected in Weimar to Goe-\nthe and Schiller, paid for by a friendly\nforeign power : or did Germany pay for\nit ?\nIt might be worth your while to as-\ncertain.\nWas the Comedie Francaise, — Mo-\nliere's Theatre in Paris, pai'd for by a fo-\nreign power or did France do it alone ?\nThe Abbey Theatre in Dublin, and\nthe Moscow Art Theatre, and the Scala\nin Milano, were these erected or re-erec-\nted by their nations after a begging party\nhad been arranged and did foreigners\npay for them ?\nWe think you will find it's not done.\nThen why did we do it ?\n\nOUR FRONTISPIECE\nO TWO DESIGNS FOR STAGE O\nO SCENES BY SALVIATI O\nTHE two designs for scenes by Fran-\ncesco Salviati (Rossi) 1510-1563,\n(Plate 18) are reproduced from drawings\nin sepia and wash\" in the British Museum,\nLondon.\nNothing about this important sceno-\ngrapher is to be found in 44 La Sceno-\ngrafia \" by -Ferrari, in \"Scenes and Ma-\nchines \" by Miss Lily Campbell, or in Dr.\nNicoll's recent work 44 The Development\nof the Theatre \".\nSalviati dates before Inigo Jones, the\nParigi family and Parigi's master Buon-\ntalenti, and is a contemporary of Lancia.\nVasari, Salviati's fellow-student un-\nder both Andrea del Sarto and Baccio\nBandinelli, gives us in his 44 Lives of the\nPainters \" the most information about\nhim, and his works for Cardinals, Popes\nand princes, iti Roma, in Firenze under\nthe Duke Cosimo I,, and in France at\nthe court of Francois I.\nFrancesco caine to be called 44 II\nCecchino del Salviati (1) or il Salviati \"\nor Cecchino Salviati, (2) or Francesco\nSalviati owing to the favour and protec-\ntion he received from Cardinal Salviati\nfor whom he executed various works.\nHe also worked for the Farnese family,\nand when Big. Pier Luigi Farnese, Lord\nof Nepi, was made Duke of Castro, Va-\nsari relates that not only 44 Francesco\ndevised a rich apparatus for his entry\ninto the city \", but 44 made some beau-\ntiful scenery for. a comedy \".\nFrancesco also worked in Firenze\nwhere he did much work for the Duke\nCosimo I., and ,4 one carnival year he did\nthe scenary for a comedy, judged supe-\nrior to any made in Firenze'up to that\ntime \" (1); and in France, where Francois\nI., had engaged some of the ablest 'ar-\ntists of Italy in the decoration of the Pa-\nlace of Fontainebleau ; but returned later\nto Roma.\nEmployed by Popes, Cardinals, and\nreigning princes, his versatility seems to\nhave been immense. 44 He studied and\nworked ceaselessly \" says Vasari, turn-\ning from portraits and great wall designs\nto make 44 a handsome design... to\nbe painted on a platter 44 as a present to\nhis wife and mother-in-law; \" or 44 a book\nof curious habits and dresses of men\nand horses for masques 44 for M. Jacopo\nSalviati ; and before his death 44 He had\nat the end practised mosaic, being a\nrestless man anxious to be accompli-\nshed in many things\". 44 Rich and co-\npious in invention and universal in every\nbranch of pictorial art, he would \" adds\nVasari, 44 have produced marvellous\nthings if he had found a prince to humour\nhim \".\nCompare the two scenic designs here\nreproduced with A. Parigi's setting for\n14 II Solimano \" (i62o) reproduced in Dr.\nNicoll's 44 Development of the Theatre\".\n(1) BRYAN'S* Dictionary of Painters\n& Engravers. 1903.\n(2) VASARI. Op. cit. y\n\no THE CRESSET PRESS o\nA newly established Press, 44 The\nCresset Press has chosen for its\nfirst venture this autumn a reprint of\nBacon's Essays, the main reason given\nfor the choice being that *4 no really\nworthy edition of the Essays has ever\nbeen produced since they were written\nOther announcements include a post-\nhumous translation, by Maurice Hew-\nlett, of the first twelve books of the\nIliad, to which Professor Lascelles Aber-\ncrombie is to write an introduction. The\nexistence of this work was known to but\na few intimate friends.\nThe programme also includes an il-\nlustrated collection of old English songs,\nwith the music, ranging from the 16th\nto the 19th century, which do not find a\nplace in most anthologies ; and reprints\nof two little old English treatises 011\nGardening and Fishing, the one, \" The\nNew Orchard and Garden \" and 44 The\nCountrie Housewife's Garden \" by Wil-\nliam Lawson ; the other \" Secrets of\nAngling \" by Gervase Markham and\n\" The Experienced Angler \" by Ro-\nbert Venables.\nIn short, the Cresset Press is making\na good beginning, and evidently purpo-\nses to render good service to book-\nlovers.\n(1) VASARI. Op, ctt.\n\no CONSTRUCTION. o\nO AFTER THE PRACTICE THE THEORY O\nthis matter of the merely\nmaterial, the building of theatres,\nthe scenical things, the preparation\nmade for the spectators, the mise en scene\nand the front of the house, it is curious\nto note that they who make light of\nthese things, who would somewhat con-\ntemptuously urge ns all to pass on over\nsuch triflings and 44 come to Hecuba \"\nthose who would open a theatre and\nring up the curtain without any proper\npreparation, have from the first avoided\nthe whole subject, shirking these trifles\nas though utterly worthless.\nWe must come back to this at every\nexamination of a dramatist's worth : —\nhow far did he learn the material side\nof the playhouse and its entertainment ?\nIt may be that they are possibly ve-\nry slight matters, but that they are ut-\nterly worthless and beneath the common-\nsense of the play writers who possess that\nrare commodity can hardly be supposed.\n\nG . P . HUNTLEY.\nA GENUINE ACTOR.\nm mini ■■Minn a . umjuiji\nTHE loss of G. P. Huntley is a real\n1 loss to the English Stage. He was\na personality — a genuine actor — and\na delightful fellow.\nWhy for the last six years he should\nhave been allowed to go to America one\nrealized when one read the obituary no-\ntices in the London dailies.\nAll they could think of to say to their\nMyriad of enlightened readers, wras, that\nhe owned race horses, had other hobbies,\nhad played inanities on the stage which\ndelighted; was popular, and an arch-\nmaster of 4 silly ass ' humour ; had a\njoke in his voice, and so on. Anything\nmore?.... they thought not.\nPoor Huntley.\nA fine artist, and an actor with a\ngenius all his own.\n...We will say that in our London\ndailies next time — next time we have a\nplainer and rather less enlightened public.\n\nA PRESENTATION PLATE TO\no 1927 SUBSCRIBERS. o\nWITH this number we issue to all\nsubscribers for 1927 a special Plate,\na design by Gordon Craig, dedicated to\nISADORA DUNCAN.\nTHE END\nO F\nVOLUME Xi 11"}]}, {"article_id": "bm-bmtnaau-1927-10-01-c111", "article_bluemountain": "bmtnaau_1927-10_01#c111", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "180", "page_fin": "180", "image_debut": 70, "image_fin": 70, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.2.25.1", "titre_corps": "ASKING ALMS FOR SHAKESPEARE", "titre_sommaire": "ASKING ALMS FOR SHAKESPEARE", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 70, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.70", "debut_caractere": 13, "fin_caractere_exclue": 1392, "texte": "ASKING ALMS FOR SHAKESPEARE\nJ. S.\n£100,000 sent from America to the Strat-\nford Memorial Theatre is accepted\ncordially and makes everyone in England\ndelighted. It makes us bitterly miserable.\n£ 5,000,000 sent from America to\nbuild a dam is Egypt makes everyone in\nEngland furious : 44 Comes as Bombshell \"\n44 Grave View Taken\", 44 Very life of\nNation endangered\", 44 Violated Trea-\nties \", 44 Pact with Britain \" : Cables sent\nto Washington.\nEngland, in brief, is willing to sell\nShakespeare rights, unwilling to sell the\nrights to a bit of Egypt.\nIf you can afford to preserve the se-\ncond you can afford to preserve the first.\nAmerican headlines read : 44 Britain\nwill fight building Nile Dam no such\nheadlines appeared respecting the buil-\nding of the Shakespeare Theatre.\nYet whjr not ?\nWas the National Theatre in Ger-\nmany — that erected in Weimar to Goe-\nthe and Schiller, paid for by a friendly\nforeign power : or did Germany pay for\nit ?\nIt might be worth your while to as-\ncertain.\nWas the Comedie Francaise, — Mo-\nliere's Theatre in Paris, pai'd for by a fo-\nreign power or did France do it alone ?\nThe Abbey Theatre in Dublin, and\nthe Moscow Art Theatre, and the Scala\nin Milano, were these erected or re-erec-\nted by their nations after a begging party\nhad been arranged and did foreigners\npay for them ?\nWe think you will find it's not done.\nThen why did we do it ?"}]}, {"article_id": "bm-bmtnaau-1927-10-01-c113", "article_bluemountain": "bmtnaau_1927-10_01#c113", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "180", "page_fin": "180", "image_debut": 70, "image_fin": 70, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.2.25.2", "titre_corps": "OUR FRONTISPIECE : TWO DESIGNS FOR STAGE SCENES BY SALVIATI", "titre_sommaire": "OUR FRONTISPIECE : TWO DESIGNS FOR STAGE SCENES BY SALVIATI", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 70, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.70", "debut_caractere": 1394, "fin_caractere_exclue": 4076, "texte": "OUR FRONTISPIECE\nO TWO DESIGNS FOR STAGE O\nO SCENES BY SALVIATI O\nTHE two designs for scenes by Fran-\ncesco Salviati (Rossi) 1510-1563,\n(Plate 18) are reproduced from drawings\nin sepia and wash\" in the British Museum,\nLondon.\nNothing about this important sceno-\ngrapher is to be found in 44 La Sceno-\ngrafia \" by -Ferrari, in \"Scenes and Ma-\nchines \" by Miss Lily Campbell, or in Dr.\nNicoll's recent work 44 The Development\nof the Theatre \".\nSalviati dates before Inigo Jones, the\nParigi family and Parigi's master Buon-\ntalenti, and is a contemporary of Lancia.\nVasari, Salviati's fellow-student un-\nder both Andrea del Sarto and Baccio\nBandinelli, gives us in his 44 Lives of the\nPainters \" the most information about\nhim, and his works for Cardinals, Popes\nand princes, iti Roma, in Firenze under\nthe Duke Cosimo I,, and in France at\nthe court of Francois I.\nFrancesco caine to be called 44 II\nCecchino del Salviati (1) or il Salviati \"\nor Cecchino Salviati, (2) or Francesco\nSalviati owing to the favour and protec-\ntion he received from Cardinal Salviati\nfor whom he executed various works.\nHe also worked for the Farnese family,\nand when Big. Pier Luigi Farnese, Lord\nof Nepi, was made Duke of Castro, Va-\nsari relates that not only 44 Francesco\ndevised a rich apparatus for his entry\ninto the city \", but 44 made some beau-\ntiful scenery for. a comedy \".\nFrancesco also worked in Firenze\nwhere he did much work for the Duke\nCosimo I., and ,4 one carnival year he did\nthe scenary for a comedy, judged supe-\nrior to any made in Firenze'up to that\ntime \" (1); and in France, where Francois\nI., had engaged some of the ablest 'ar-\ntists of Italy in the decoration of the Pa-\nlace of Fontainebleau ; but returned later\nto Roma.\nEmployed by Popes, Cardinals, and\nreigning princes, his versatility seems to\nhave been immense. 44 He studied and\nworked ceaselessly \" says Vasari, turn-\ning from portraits and great wall designs\nto make 44 a handsome design... to\nbe painted on a platter 44 as a present to\nhis wife and mother-in-law; \" or 44 a book\nof curious habits and dresses of men\nand horses for masques 44 for M. Jacopo\nSalviati ; and before his death 44 He had\nat the end practised mosaic, being a\nrestless man anxious to be accompli-\nshed in many things\". 44 Rich and co-\npious in invention and universal in every\nbranch of pictorial art, he would \" adds\nVasari, 44 have produced marvellous\nthings if he had found a prince to humour\nhim \".\nCompare the two scenic designs here\nreproduced with A. Parigi's setting for\n14 II Solimano \" (i62o) reproduced in Dr.\nNicoll's 44 Development of the Theatre\".\n(1) BRYAN'S* Dictionary of Painters\n& Engravers. 1903.\n(2) VASARI. Op. cit. y"}]}, {"article_id": "bm-bmtnaau-1927-10-01-c115", "article_bluemountain": "bmtnaau_1927-10_01#c115", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "180", "page_fin": "180", "image_debut": 70, "image_fin": 70, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.2.25.3", "titre_corps": "THE CRESSET PRESS : AFTER THE PRACTICE THE THEORY", "titre_sommaire": "THE CRESSET PRESS : AFTER THE PRACTICE THE THEORY", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 70, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.70", "debut_caractere": 4078, "fin_caractere_exclue": 5227, "texte": "o THE CRESSET PRESS o\nA newly established Press, 44 The\nCresset Press has chosen for its\nfirst venture this autumn a reprint of\nBacon's Essays, the main reason given\nfor the choice being that *4 no really\nworthy edition of the Essays has ever\nbeen produced since they were written\nOther announcements include a post-\nhumous translation, by Maurice Hew-\nlett, of the first twelve books of the\nIliad, to which Professor Lascelles Aber-\ncrombie is to write an introduction. The\nexistence of this work was known to but\na few intimate friends.\nThe programme also includes an il-\nlustrated collection of old English songs,\nwith the music, ranging from the 16th\nto the 19th century, which do not find a\nplace in most anthologies ; and reprints\nof two little old English treatises 011\nGardening and Fishing, the one, \" The\nNew Orchard and Garden \" and 44 The\nCountrie Housewife's Garden \" by Wil-\nliam Lawson ; the other \" Secrets of\nAngling \" by Gervase Markham and\n\" The Experienced Angler \" by Ro-\nbert Venables.\nIn short, the Cresset Press is making\na good beginning, and evidently purpo-\nses to render good service to book-\nlovers.\n(1) VASARI. Op, ctt."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c116", "article_bluemountain": "bmtnaau_1927-10_01#c116", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "180", "page_fin": "180", "image_debut": 70, "image_fin": 70, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.2.25.4", "titre_corps": "CONSTRUCTION", "titre_sommaire": "CONSTRUCTION", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 70, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.70", "debut_caractere": 5229, "fin_caractere_exclue": 6157, "texte": "o CONSTRUCTION. o\nO AFTER THE PRACTICE THE THEORY O\nthis matter of the merely\nmaterial, the building of theatres,\nthe scenical things, the preparation\nmade for the spectators, the mise en scene\nand the front of the house, it is curious\nto note that they who make light of\nthese things, who would somewhat con-\ntemptuously urge ns all to pass on over\nsuch triflings and 44 come to Hecuba \"\nthose who would open a theatre and\nring up the curtain without any proper\npreparation, have from the first avoided\nthe whole subject, shirking these trifles\nas though utterly worthless.\nWe must come back to this at every\nexamination of a dramatist's worth : —\nhow far did he learn the material side\nof the playhouse and its entertainment ?\nIt may be that they are possibly ve-\nry slight matters, but that they are ut-\nterly worthless and beneath the common-\nsense of the play writers who possess that\nrare commodity can hardly be supposed."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c118", "article_bluemountain": "bmtnaau_1927-10_01#c118", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "180", "page_fin": "180", "image_debut": 70, "image_fin": 70, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.2.25.5", "titre_corps": "G . P . HUNTLEY : A GENUINE ACTOR", "titre_sommaire": "G . P . HUNTLEY : A GENUINE ACTOR", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 70, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.70", "debut_caractere": 6159, "fin_caractere_exclue": 6987, "texte": "G . P . HUNTLEY.\nA GENUINE ACTOR.\nm mini ■■Minn a . umjuiji\nTHE loss of G. P. Huntley is a real\n1 loss to the English Stage. He was\na personality — a genuine actor — and\na delightful fellow.\nWhy for the last six years he should\nhave been allowed to go to America one\nrealized when one read the obituary no-\ntices in the London dailies.\nAll they could think of to say to their\nMyriad of enlightened readers, wras, that\nhe owned race horses, had other hobbies,\nhad played inanities on the stage which\ndelighted; was popular, and an arch-\nmaster of 4 silly ass ' humour ; had a\njoke in his voice, and so on. Anything\nmore?.... they thought not.\nPoor Huntley.\nA fine artist, and an actor with a\ngenius all his own.\n...We will say that in our London\ndailies next time — next time we have a\nplainer and rather less enlightened public."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c120", "article_bluemountain": "bmtnaau_1927-10_01#c120", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "180", "page_fin": "180", "image_debut": 70, "image_fin": 70, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.2.25.6", "titre_corps": "A PRESENTATION PLATE TO 1927 SUBSCRIBERS", "titre_sommaire": "A PRESENTATION PLATE TO 1927 SUBSCRIBERS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 70, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.70", "debut_caractere": 6989, "fin_caractere_exclue": 7185, "texte": "A PRESENTATION PLATE TO\no 1927 SUBSCRIBERS. o\nWITH this number we issue to all\nsubscribers for 1927 a special Plate,\na design by Gordon Craig, dedicated to\nISADORA DUNCAN.\nTHE END\nO F\nVOLUME Xi 11"}]}, {"article_id": "bm-bmtnaau-1927-10-01-c123", "article_bluemountain": "bmtnaau_1927-10_01#c123", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "181", "page_fin": "181", "image_debut": 71, "image_fin": 71, "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=bmtnaau192710-01.2.26", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 71, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.71", "debut_caractere": 0, "fin_caractere_exclue": 312, "texte": "The Incorporated Society\nof AUTHORS,\nPLAYWRIGHTS\n& COMPOSERS.\nn GOWER STREET.\nLONDON, W. C. i.\no\nTO NEW WRITERS.\nAdvice given on all matters\nconnected with the business\nside of Authorship, Serial\nRights, Dramatic Rights,\nStandingof Magazines, Agents,\nand Publishers.\nProspectus on application\nto the Secretary.\nO"}]}, {"article_id": "bm-bmtnaau-1927-10-01-c124", "article_bluemountain": "bmtnaau_1927-10_01#c124", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "181", "page_fin": "181", "image_debut": 71, "image_fin": 71, "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=bmtnaau192710-01.2.27", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 71, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.71", "debut_caractere": 314, "fin_caractere_exclue": 499, "texte": "r\nCANTAGALLI\nARTISTIC MAJOLICAS\nARCHITECTURAL\nDECORATIONS\nREPRODUCTIONS OF\nWORKS OF\nDELLA ROBBIA\nO\nMAN UFA CTOR Y\nFLORENCE\n(PORTA ROMANA)\no\nBRA NCH EST A BLISHMENT\nROME\nVIA BABUINO 182."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c125", "article_bluemountain": "bmtnaau_1927-10_01#c125", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "181", "page_fin": "181", "image_debut": 71, "image_fin": 71, "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=bmtnaau192710-01.2.28", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 71, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.71", "debut_caractere": 501, "fin_caractere_exclue": 929, "texte": "NOTES\nAND\nQUERIES\nA MEDIUM OF INTER-\nCOMMUNICATION FOR\nLITERARY MEN, GENE-\nRAL READERS, ETC.\nFOUNDED 1849.\n□\nWEEKLY.\nPRICE 6d. POST FREE 7d.\nANNUAL SUBSCRIPTION\n£ 1.15.4 post free.\n(Including two Indexes),\nU\nTHE MASK\n(Volume 9, 1923) says:\nu Notes <& Queries \" is published\nby the Bucks, Free Press, 20\nHigh Wycombe. Bucks. England,\nfrom whom you will order it if you\nwant to enjoy one of the few\nunspoiled magazines of the day."}]}, {"article_id": "bm-bmtnaau-1927-10-01-c126", "article_bluemountain": "bmtnaau_1927-10_01#c126", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "181", "page_fin": "181", "image_debut": 71, "image_fin": 71, "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=bmtnaau192710-01.2.29", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 71, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.71", "debut_caractere": 931, "fin_caractere_exclue": 1538, "texte": "AMATEV^STAGE.\nPUBLISHED MONTHL Y PRICE SIXPENCE\nA magazine making a serious endeavour to serve the\nwide field of amateur stage activity in Great Britain.\nThere is much good work, creative and not imitative,\ntaking place on that stage, and it is reflected in this\nmagazine. In the space of one year THE AMATEUR\nSTAGE has taken its place as one of the indispensable\ntheatrical periodicals. Therefore it appeals to YOU.\nThe annual subscription is 8f-, or y/- for six months.\nO\nOrder through any bookseller, or direct from the Publisher,\nTHE AMATEUR STAGE, NEW SCALA THEATRE,\nCHARLOTTE STREET, LONDON, W. i.\nwin"}]}, {"article_id": "bm-bmtnaau-1927-10-01-c127", "article_bluemountain": "bmtnaau_1927-10_01#c127", "volume": "bmtnaau_1927-10_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "182", "page_fin": "182", "image_debut": 72, "image_fin": 72, "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=bmtnaau192710-01.2.30", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 72, "page_imprimee": "182", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.72", "debut_caractere": 0, "fin_caractere_exclue": 871, "texte": "m\nSUBSCRIPTIONS\nIF YOU FIND ANY DIFFICULTY IN OBTAINING\nTHE MASK WRITE DIRECT TO THE MASK\nPUBLISHERS, BOX 444. FLORENCE, ITALY,\nAND WE WILL SUPPLY YOU IMMEDIATELY.\nSUBSCRIBE NOW FOR THE 1927 VOLUME.\nWHICH COMMENCES WITH THIS JANUARY NUMBER.\nANNUAL SUBSCRIPTION. POST FREE.\nPOPULAR EDITION.\nShillings. 10. Dollars. 2.50\nSPECIAL EDITION (WITH COVER FOR BINDING)\nShillings. 20.\nDollars. 5.00\nwwwuwwaa\nVOLUMES X (1924), XI (1925), AND XII (1926),\nARE NOW ON SALE. EACH VOLUME COSTS :\nPopular Edition. Four Quarterly parts 10/-: $ 2.50\nBound: 14/-: $ 3.50\nFine Paper Edition. Four Quarterly parts : 20/-: $ 5.00\nBound, half vellum: 25/-: $ 6.25\nPost free.\nI\nWm\n, jj\nf !:\n?\ntfSS\nsr\nJ;7\n11\n••T,\nml\nw\nw\n\"1\nA\nH\n1\n«\nr\n2SS\nTn\nranca\n<rFritellmo.\nFROM THE \" BALLI DI SFESSAN1A n BY JACQUES CALLOT.\nONE OF THE MANY DESIGNS REPRODUCED\nIN \" THE MASK \" IN 1923-1925.\n■M\nlifP\n■ \\m\nn\n*. 1\nn"}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.1", "texte": "THE MASK\n* * iff -: . 'i ' «It ■; .> '<■ •\nVOLUME TWELVE BIS. NUMBER FOUR\nOCTOBER - NOVEMBER - DECEMBER\n19 2 7\nANNUAL SUBSCRIPTION EDITION DE LUXE\nTEN SHILLINGS TWENTY SHILLINGS\n(POST FREE) (POST FREE)\n° |\\ A °\nTWO & A HALF DOLLARS FIVE DOLLARS\nFOR AMERICA FOR AMERICA\nADDRESS: BOX 444. FLORENCE. ITALY.\n\nNotes on some rare theatre\nPLANS by Bruno Brunelli, Gordon Craig,\nW. J. Lawrence. Alfred Mortier, Allardyce Ni-\ncoll, and others.\nA NOTE ON DRAMATIC CENSORSHIP\nby Barrett H. Clark.\nMACHINE. Slave or Master? and its relation\nto Youth and the Artist, by Gordon\nCraig.\nKEEPING IN TOUCH AND BEING OUT OF\nTouch, by Hadrian Jazz Gavotte,\nTHE WHICH ONE, and should he M o'er*\nweigh a whole theatre of others by Edwin\nWitherspoon.\nALSO ARTICLES, NOTES AND RE-\nVIEWS ON The English Stage, the Gate\nTheatre. London, Asking Alms for Shakespeare,\nand many other matters,\n\nILLUSTRATIONS\nEIGHT NEWLY DISCOVERED AND INVALUABLE\nPLANS OF EARLY ITALIAN THEATRES,\nWHICH CONSTITUTE AN ASTOUNDING CONTRIBU-\nTION TO THE HISTORY OF THEATRE ARCHITECTURE.\nALSO TWO FINE DESIGNS FOR STAGE SCENES BY FRANCESCO SALVIATI,\no AND OTHER ILLUSTRATIONS. o"}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.2", "texte": "THE MASK. OCTOBER-DECEMBER 1927\nNOTICE TO CONTRIBUTORSe The Editor is always glad to consider articles and illustrations fron\nexperts in theatre history and art, which result from special research or personal experience. Where stampe«\nand addressed envelopes are included, etfen/ ejforf will be made to return in due course rejected contributions\nbut in no circumstances can he hold himself responsible for safe custody or return. All articles should b\ntypewritten.\nAddress : The Editor : \" The Mask Box 444, Florence, Italy.\n\nLITERARY CONTENTS.\nOUR HOUSE J. S. ..... Page 133\nSOME OLD THEATRE PLANS, WITH ACCOMPA-\nNYING COMMENTS BY. . . . . . E. G. C. 13k\nEditor, The . . . . .134\nBruno Brunelli !■. . • . . 139\nEdward A. Carrick . . . . 14p\nGordon Craig . . 4 . . 14|\nW. J. Lawrence. . . . . I4|\nAlfred Mortier . . . . . 14|\nAllardyce Nicoll. . . . .141'\nARIOSTO'S HOUSE IN FERRARA . . . . A. C. . . . . . .147\nMACHINE E. G. C 152\nTHE ENGLISH PEOPLE & SHAKESPEARE . . John 152\nA NOTE ON DRAMATIC CENSORSHIP . . . Barrett H. Clark 154\nAND YET... ..... . . , . Yoo No Hoo, 157\nCOLORIFIC MUSIC. . . . . . . J. B., & W. Hooper. . . .158\nKEEPING IN TOUCH ....... Ha Irian Jazz Gavotte . . • ,160\nTHE WHICH ONE. ....... Edwin Witherspoon . . '161\nTHE ENGLISH STAGE....... C. G Smith . . . i . 162\nCORRESPONDENCE. FOREIGN NOTES. BOOK REVIEWS. EDITORIAL NOTES.\n\nILLUSTRATIONS.\nTWO DESIGNS FOR STAGE SCENES. . . . Francesco Salviati . Plate 18, Face 134\nPLAN OF TEATRO DEGLI 1NTRONATI, Siena . . Unsigned . . n 19, w 140\nPLAN OF TEATRO SS. GIOVANNI & PAOLO, Venezia Tomaso Belli . . 11 20, Follow 140\nPLAN OF TEATRO TOR D1 NONA, Roma, C t ontana . . \"21, ■ 140\ni( n n h « \"... \" * 22, ' 14CI\nINTERIOR VIEW, TEATRO TOR DI NONA . ■ . ■ 23, ■ 14d\nSECTION & PLAN, TEATRO TOR Dl NONA . . Unsigned . . ■ 24, \" I4Q\nPLAN OF AN UNKNOWN THEATRE, Roma . . Carlo Fontana . . \" 25, \" 140\n■ ■ «» » . ■ . . ■ 26, « 140\nPLAN OF TEATRO TOR DI NONA . . . A Tracing from C. Fontana, . . 136\nPLAN OF AIN UNKNOWN THEATRE IN ROMA . ■ ■ ■ . 1 . 138\nPLAN OF TEATRO TOR DI NONA .... From Felice Giorgi . . , .141\nARIOSTO'S HOUSE IN FERRARA .... Anon 1431\n' 'A - I\n1\nHead and Tail Pieces and Vignettes, by Callot, E. G. C., and from other old and modern Designs."}, {"page_pdf": 4, "page_imprimee": "[132]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.4", "texte": "TWO DESIGNS FOR STAGE SCENES\nby Francesco Salviati. (1510-1563).\nFrom the Collection of drawings in the British Museum.\nPlate 18.\n\nTHE MASK\n1927"}, {"page_pdf": 5, "page_imprimee": "[133]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.5", "texte": "THE MASK\n) 9 0 8 19 2 7\nOUR HOUSE\nSOME FRESHLY DISCOVERED THEATRE PLANS.\n\nNOW BROUGHT FOR THE FIRST TIME TO THE\nSERVICE OF THE STUDENT AND HISTORIAN.\nJ. S.\nIN our last number we issued a plan of the Teatro La Pergola, Firenze,\nand also promised our readers some valuable and hitherto unpublished\ntheatre plans in this number, a promise which we now fulfil, together\nwith news of where and how the plans were found.\nWe owe the discovery of these documentary treasures to Mr. E. A.\nCarrick, ever on the alert, as are all who have been trained in a good school,\nto seek out or pick up something which may serve the cause of the thea-\ntre or add to the patrimony of the theatre historian; and to the helpful\ncourtesy of Mr. T. Heslewood and of Mr. Arthur Bolton F. S. A. curator\nof the Soane museum, London, who aided him in locating and bringing\nthem to light.\nThe plates are rendered yet more useful by the notes and comments\ncontributed by writers so well qualified to appreciate their value as Count\nBruno Brunelli, Mr. Gordon Craig, Mr. W. j. Lawrence, M. Alfred\nMortier and Prof. Allardyce Nicoll.\nWe feel that the publication of these plans worthily closes the thir-\nteenth volume of \" The Mask \", and we hope to continue to bring our rea-\nders items of no less value in volume fourteen."}, {"page_pdf": 6, "page_imprimee": "134", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.6", "texte": "SOME OLD THEATRE PLANS.\nWITH ACCOMPANYING COMMENTS AND\nHISTORICAL NOTES FROM INTERNATIONAL SOURCES.\n\nWHERE THE PLANS\nARE PRESERVED\n\nAN INTRODUCTORY WORD\nE. G. C.\nTHIS remarkable collection of early Thea-\ntre plans has been under everyone's\nnose for 105 years, yet in all that time\nno one has lighted on them. So they\nhave lain quietly on the shelves of the\nSoane Museum, Lincoln's Inn Fields, Lon-\ndon, and there Mr. Edward A Carrick\nfound them for us this summer.\nHow they came to leave Italy, I do\nnot know ; but in 1818 they passed from\nthe possession of one of the Adam bro-\nthers into the hands of Sir J. Soane for\nthe stupendous sum of £3.3.0. Natu-\nrally, but quite uselessly, one guesses how\nthey got to England. At first 1 supposed\nthey had been bought by David Garrick\nin Firenze or Roma when he visited\nItaly in 1763-4, for I imagined he alone\nwould have been aware of the value of such\nplans ; but I suppose now that it was the\narchitects, the Adam Brothers, and not\nthe actor, who found them.\nBut it was useful of Mr. Carrick to\nrefind them, and it was at the suggestion\nof Mr. Heslewood that he looked in at\nthe Soane Museum.\nIf you want to find anything in Lon-\ndon about the Theatre in general, the\nstage in particular, and Henry Irving most\nparticularly, you had better waste no time\nthinking of your best way or about the\nstreets, for there are some 40,000 of them\nto choose from : far better is it to ask\nMr. Heslewood. He doesn't know every-\nthing but knows nearly everything about\nIrving, and his information about the Thea-\ntre in general is as vast as it is unsuspec-\nted. It is his hobby, and it is hidden\nunder a passion for acting, which is so\nunlike most people who hide the passions\nunder the hobbies. His hint to go in and\nlook for clues about the Italian Theatre in\nthe Soane was acted on by Mr. Carrick\naccompanied by Mr. Heslewood, and the\nvery courteous guardian of the Soane trea-\nsures, Mr. Arthur Boden, F. S. A. was ap-\nproached. The museum is a model of\nperfect conservation, and the understanding\nof each item in the collection by the curator\nincreases its value very considerably. Those\nwho possess Mr. Boden's beautifully illus-\ntrated books on the Adam Brothers know\nhow good they are.\nBut to understand thoroughly the wide\nrange of his scholarship and the care he\ntakes of the treasures a visit to the Soane\nis necessary.\nIt is through his courtesy that the pho-\ntographs were made and the plans allowed\nto reach their special public.\n\nA WORD ABOUT THE MS.\n\nWE give eight of the designs, and these\nare reproduced for the first time.\nAccording to the report sent us from\"\nLondon the manuscript consisted of 39\nsheets, but sheet 3 has been at some time\nor other torn out *— a corner of the de-\nsign which was on this sheet being left\nto prove this.\nThe MS is in the form of an album mea-"}, {"page_pdf": 7, "page_imprimee": "135", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.7", "texte": "suring 50 X41 % centimetres and is bound\nin red-brown leather stamped with gold.\nOn the back of the book is a label\non which is written in brown ink: \" Tea-\ntro di Tor di Nona del C. Carlo Fontana\ndi Roma, Firenze, Siena, Fano \".\nIn the top right corner of the second\nleaf is written in pen with brown ink ap-\nparently by Fontana \" Diseg ni No. 36 per\nil Teatro di Tor di Nona fatti da me\nCarlo Cav. Fontana L'anno —- *\\ No\nyear is given, but a flourish of the pen\nby the same hand in the same ink.\nMost of the plans are pasted on the\nstrong pages of old paper of which the\nvolume is composed.\nThe Tor di Nona plans are 31 in\nnumber and are all drawn on a paper\nwhich has a water mark which should\nsome day be carefully compared with the\nmark on the paper of the Juvarra MSS\nin the Torino Library 6).\nThese 31 designs show plans, part\nplans, sections and views of the Teatro\nTor di Nona together with the building\n(a prison) it stood on, and the surrounding\nhouses. One of these plans (Fig. I)\nshows a connecting bridge with a house\non the opposite side of the Strada maestra\ndell' Orso.\nWe reproduce four of these designs\nin Plates 21, 22, 23, and 24. There\nis also a Plan of the Teatro degli Intronati\nSiena (Plate 19), one of the Teatro San\nGiov. e Paolo, Venezia (Plate 20) and one\nof the Teatro la Pergola, Firenze (reprodu-\nced in the last number of \"The Mask \")\nand two unknown Roman theatres (Plates\n25 & 26).\nThe scholars who would be able to tell\nus most about these plans are Italians who\nfor the most part live and work in Italy and\nhave little opportunity of visiting London.\nTo some few scholars, both in Italy and\nelsewhere, we sent advance prints of these\nplans, inviting their comments, and from some\nof these we have received useful Notes which\nare published, with the plans, for the as-\nsistance of our readers. Count Bruno\nBrunelli of Padova is well known for the\nearnestness with which he collects and studies\ntheatre books and records. He has pub-\nlished a valuable work, \" I Teatri di\nPadova \" and other studies, and has also\ncontributed on previous occasions to \" The\nMask\". Mr. W. J. Lawrence began\nstudying theatrical history, 'dramatic litera-\nture and the art of the stage at the age\nof fourteen... in 1876... and is, he writes,\nstill hard at it. He has written much on\ntheatrical subjects, among his books being\n\" The Elizabethan Playhouse and other\nStudies \", \" The Physical Conditions of\nthe Elizabethan Public Playhouse\" and\n\" Pre-Restoration Stage Studies \".\nM. Alfred Mortier has published,\namong other works, a valuable study of\nthe Italian actor, Ruzzante, and has also\ncontributed to \" The Mask *\\\nDr. Allardyce Nicoll has recently added\nto his already considerable contributions to\nthe literature of the Theatre a large and\nuseful volume \" The Development of the\nTheatre \".\nMr. Gordon Craig needs no word\nof introduction to any reader of \" The\nMask \".\n(I) Fontana was Juvarra's master.\n\nEDITOR.\n\nA LIST OF THE DESIGNS\nIT will be well to describe briefly these 36\nI drawings in the order in which they ap-\npear in the volume at the Soane Museum.\nROMA.\nDesign /. Teatro Tor di Nona. Un-\nfinished plan. The drawing consists of a\nfew lines in sepia and pencil resembling"}, {"page_pdf": 8, "page_imprimee": "136", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.8", "texte": "Figure I. Design No. 4.\nPlan of the Teatro Tor di Nona, Roma, Signed C, FONTANA.\n\nthe tenth design (see Plate 21 & 22) and\nnot the fourth design (see Fig. 1).\nThere is an inscription on the drawing\naltra pianta per lo spartimento delli pal-\nchetii a ierreno — C. Fontana \".\nDesign 2. 1 eatroTor di Nona. Clean-\nly drawn plan in sepia resembling lower\npart of Design No. 6 (see Plate 24).\nMagnet form of auditorium as distinct from\nthe horse shoe form (plate 25) or the tra-\npeze of which Plates 19 &20 give us exam-\nples. On the design is written \" Altro\ncontorno del Teatro e sua sciena. C. Fon-\ntana \". There is a good deal more writ-\nten on this design which was not copied out.\nDesign 3. Teatro Tor di Nona. A\npencil sketch very faintly drawn showing\nplan of the auditorium not in detail. No\nwriting.\nDesign 4. Teatro Tor di Nona.\nLarge plan in many colours showing po-\nsition of the theatre (see plate 21), the\nbanks of the river Tevere and the pala-\nces and houses around the theatre. Fi-\ngure 1 gives the central part of the design\nand is taken from a tracing of the original.\nOf considerable interest is the indi-\ncation of a bridge linking the auditorium\nof the Theatre with a house on the op-\nposite side of the strada deH'Orso. On the\ndesign is written '' Pianta del Teatro di Tor\ndi Nona con palco e contra palco, scale e\ncasamente pialle e strode contigue — tutto\nper ordine di magi 11 mo Palamirino G0Tl<*\ndi Roma. C. Fontana.\nDesign 5. Teatro Tor di Nona. A\nplan of the auditorium resembling Design\nNo. 6, only giving the entire floor ; the\nstaircases identical with designs Nos. 6 & 4.\n(Plate 21 and Fig. 1). Drawn in sepia\nwith pink and yellow wash.\nDesign 6. Teatro For di Nona.\n(Plate 24). A design of section and plan\ndrawn in sepia ink with palchi (or boxes)\nshaded in bigio with wash of pale yellow\nindicating walls and pale crimson marking\nthe curve of the palchi. On the design\nwe read \" Profilo stahilito del Teatro di\nTor di Nona \". See what Sig nor Bru-\nnelli says of this (pg. 139).\nDesign 7. Teatro Tor di Nona. A\ncareful pencil drawing giving a perspective\nview of the auditorium looking towards\nthe stage almost identical with Design No. 8\n(Plate 23).\nDesign 8. Teatro Tor di Nona.\n(Plate 23). A pen drawing in sepia with\nthe inscription \" Profilo in Scurcio del\nTeatro sud. C. Fontana\nDesign 9. Teatro Tor di Nona. A\npencil and pen drawing (sepia) of the\nsame plan as Designs Nos. 5 & 6, but\nwith only the curve and divisions of the\nboxes indicated.\nDesign 10. Tor di Nona. (Plate\n21). The plate shows the right half of\nthis design, which is a large folding page.\nPlan of the Theatre and surrounding pa-\nlaces and houses, river Tevere and streets.\nA design in pencil, pen, sepia, with washes\nin grey green, the river in blue. At the\nleft hand edge of the drawing is a large\nscroll on which nothing is written. The"}, {"page_pdf": 9, "page_imprimee": "137", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.9", "texte": "three streaks in the road Strada dell'Orso\nwhich runs parallel with the length of the\ntheatre show where three hinged plans, or\npart plans, were pasted to the original\ndrawing.\nOn the design is written '4 Pensieri\ngeometrici e del Teatro a\npalchetti. C. Fontana. Palchetti No. 33\na braccia (?) 7 Vuno da metd a stin-\ndono braccia (?) 231.\nLinea che circui sul elippisi (?) stende\nda ABC braccia (?) 232.\nSara dimbucco braccia (?) 62 dal\npalco al ultimo palchetto braccia (?) 88.\nSara largo nel mezzo vano brac-\ncia (?) 84.\nDa ACD linea della sciena fino\nalii.... braccia (?) 118.\nQuando si voglia solevare la scurita (?)\ndella scaletta e salelto si potra fare al\ncortiletto pentile.\nSi potra alsare tre piane delle stanze\nsopra il piano del Teatro a braccia (?)\n1iS I'una fa braccia (?) 54.\nLi palchetti a ... . con la pend. . ..\nbraccia (?) 55.\nVi si potra fare anche un aliro piano\npiu di palchetti e la pend. . .\nThis is all we have been able to de-\ncipher from the indistinct writing.\nDesign 11. Teatro Tor di Nona. A-\nnother plan of the auditorium somewhat\nlike No. 1.\nDesign 12. Teatro Tor di Nona.\nThe design shows section of auditorium\nand stage and is a large folded page.\nAlmost indentical with upper part of Design\nNo. 6 (Plate 24) but with one more box at\nthe top of corner nearest the proscenium\narch. A fine drawing full of detail in sepia\nand bigio. On the left hand a description.\nDesign 13. An unknown Theatre in\nthe Corso. (Plate 26). Drawing in sepia\nand mauve of plan of theatre showing walls\nof palace within or upon which it was\nproposed to erect toe theatre. On the\nplan is written \" Case de' letterali al\nCorso prima che si fabbr il Palazzo\nsi propose detto siio per Teatro C. Foritana\nand the measurements \" Vano magre -\ncio (?) 76. Dall antisciena al circolo (?)\nbraccia (?) 85. In bucco braccia (?) 50.\nLoco per sciena braccia (?) 100.\n. Design 14. Featro Tor di Nona. A\ndesign showing plan of one side of the\nstage with detailed position of wings or\nside scenes and the lines of sight from the\ndifferent boxes. Indications of a domed\nauditorium are to be seen.\nDesign 15. Teatro Tor di Nona.\nElaborated drawing of notions in design\nNo. 14. Ad esign in sepia, mauve and green.\nDesign 1 6. Teatro Tor di Nona. A\nfew slight pencil notes for a plan of horse-\nshoe auditorium.\nDesign 17. Teatro Tor di Nona.\nPart plan or the stage showing a few of\nthe boxes and part of the orchestra working\nout questions of line of sight.\nDesigns 18 to 29. Featro Tor di\nNona. Eleven plans and one section of\nthe different floors of the house which is\nseen at back of auditorium in Figure 1.\nand Plate 21. These are related closely\nto Design No. 33. Plate 22.\nDesign 30. Teatro Tor di Nona. A\ndrawing of the ground plan of the old\nPrison known as Tor di Nona before the\nTheatre by Fontana was built into the\nupper part of the structure. The plan is\nsigned Carlo Fontana but is obviously\nmuch earlier. It is much the same plan\nas we see in dotted line plan in Plate 22.\nThere is an inscription which speaks\nof the \" Featro Vecchio \" or old Thea-\ntre, that theatre which Giorgi (1793)\ngives as his first plate in his book and\nwhich he states was built in 1660 but\nwhich we can believe was much earlier.\nDesign 31. An unknown Theatre"}, {"page_pdf": 10, "page_imprimee": "138", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.10", "texte": "Figure 2. Design No. 31.\nPlan of an unknown Theatre in Roma, (the same as\nPlate 25. but showing the lines of the neighbouring streets\nand houses. Signed C. FONTANA.\n\n(Plate 23 and Fi gure 2). Large folding page\nwith design drawn in sepia: wriiten on the\nback (S Teatro T.UGVO Pianta per aliro per\nRoma signed in front Carlo Fontana.\nFIRENZE.\nDesign 32. Teatro La Pergola. A\nlarge and very finely drawn plan of the\nwell known Theatre. Not signed. Repro-\nduced in \" The Mask\" July 1927.\nROMA.\nDesign 33. Teatro Tor di Nona.\n(Plate 22). Drawing in two tones of\nsepia of plan for the .Teatro. Is practi-\ncally the same plan as Giorgi believes\nwas made by Specchi, Fontana's pupil,\nand which forms Plate 2 of Giorgi's\nbook (1795). '*1 The design has three\nhinged over pla'is showing different floors.\nHere we count 33 boxes. In Specchi's (?)\nplan we can find 35, and there are\nother slight differences. The design is\nsigned \" C. Fontana \".\nVENEZIA.\nDesign 34. Teatro di San Gio-\nvanni e Paolo (Plate 20). Design on\nfolded page in sepia and yellow wash on\na thinnish paper. Note that it is not\nsigned by Carlo Fontana but by Tomaso\nBelli. On the design is written : —In\nthe Pit; \" Disegno dello Pianta del Tea-\ntro di San Giovanni e Paolo di Venezia\ndel Cmo Grimani tolto in pianta da me\nTomaso Belli ingegnere dell Ca\nTeatro di Sto Giovanni Grisostomo. Et e\ntolta in Pianto fatto come sto di presente\net se non si fose nottate ogni misura, si\npuo pigliare con il compaso, alio scolaro\nesendo ogni cosa a misura,\nLarghezza del audienza 37 d3.\nAudienza larga piede 37 d3.\n29 Boxes are numbered.\nBehind the Pit is written: \"\nsto parte vi e un atrio dove intrano le\npersone con Boletini\".\nWritten by the section of boxes * \" Al~\ntezza del audienza da tera cioe dal piano\nin sotto il sofitopiede 31%.\nCordoni di Palchi. Pd 3 : Zar-\ngeza di Palchi di mezzo pJ 5. largeza\ndi Palchi pd 4.\nIn between the pillars on the stage is\nwritten \" Palchi Prosceni\nThe writing on the stage reads: Lun-\nghezza piede 64. Bocha della scena in\nlarghezza piede 28%. La sua altezza\ne quanto e alto il sofitto del udienza nelle\nimboccatura e alle seconde colonne e alto\npiede 24 esendo il sofito del procenio piu\nhaso dalla parte di dentro che non al\npunto. Canale per le lume.\nLi primi tela che ci adopporano sono\nlungi piede 11 e largi 8 d 5.\nROMA.\nDesign 35, Teatro Tor di Nona.\nSepia and pencil sketch very slightly drawn\nshowing two curves for the horse-shoe\nauditorium.\n\n(I) AdemoHo states that iiv's theatre was the one\nbuilt in 1671. There were in all seven Theatres of this\nname Tor di Nona built on this site, the last being rechris-\ntened Apollo in 1861."}, {"page_pdf": 11, "page_imprimee": "139", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.11", "texte": "SIENA.\nDesign 36. Teatro degli Intronati\n(Plate 19). Plan of the theatre erected\ninside the Palazzo del Consiglio. A draw-\ning in sepia with washes of yellow and\nblue, the walls thickly painted in blood\nred. The writing reads as follows ;\nOn the stage : \" Teatro di Siena di\nnuovo\" in Carlo Fontana's hand. In\nthe pit: \" Conirapalco No. 500 persons.\nIn the Strade or gangways 100 persons\non each side. On the gradini or steps\n150 persons on each side. In the Box-\nes: 101 palchetti a 5 per Parchetto =\n535 (persons). The total number of per-\nsons seated and standing could be 1535.\n\nNOTES AND COMMENTS\n\nBRUNO BRUNELLI\nnpHE plan of the Pergola theatre published\nX in the last number of \" The Mask \" is\nof the Setlecento. it would be profitable to\ncompare it with the print which adorns the\nlibretto of the Ipermestra (1658) in which\nis shown the primitive form of the theatre.\nNot having this libretto in my theatre library\n1 can but suggest the comparison to others.\nThe theatre \" La Pergola \", after the 1652\nconstruction, underwent several restorations\nwhich modified the form both of the sala\nand of the stage. In 1683 it was reopened\nafter a period of inactivity, with notable mo-\ndifications in the platea and in the boxes,\naccording to the plans of the architect Fran-\ncesco Sengher. But new modifications followed\nin 1718, with the enlargement of the stage,\nthe construction of a new stairway for the\nconvenience of those who ascended from the\ncortile (lobby) to the highest tier of boxes,\nand with the addition of ample adjacent pre-\nmises ; works which were finally brought to\ncompletion in 1729.\nSome student of ancient Florentine topo-\ngraphy will be able to determine to what year\nthe plan really refers.\nAs for the plans of the other theatres,\ncourteously submitted for my examination, I\nhold them to be a series of plans of theatres\nerected or projected by the architect Carlo\nFontana whose activities were manifested,\nespecially in Roma, towards the end of the\n17th century. The signature of the architect\nappended to each sheet would be a suffi-\nciently certain indication.\nThe plan of the theatre of Siena (Plate 19)\nis interesting. It certainly represents the teatro\ndegli Intronati as it was rebuilt in masony\nafter 1668 when the two Academies of the\n\" Intronati \" and the \" Fiiomati \" again re-\nunited. The indication upon the plan, Teatro\ndi Siena di muro notifies in fact that this is\nthe first Sienese theatre built in masonry, while\nthe teatro degli Intronati was first built of\nwood.\nThe theatre of S. Giovanni e Paolo di\nVenezia (Plate 20), built near the Fondamenta\nNuove, opened in 1639, had been rebuilt\nby Giovanni Grimani a few years after the\nopening. In this theatre, as Martinoni (1763)\nwrote later in his additions to Sansovino,\nspectacular melodramas were represented at\nthe beginning of the 18th century. About\nthe middle of the settecento it was demolished\nsubsequent to the collapse of the roof. This\nis probably the theatre as in the reconstruc-\ntion ordered by Grimani.\nOn the design numbered Plate 22 is\nwritten Studij per il leatro di Tor di Nona,\n(studies for the theatre of Tor di Nona);\nhence this is a project for construction.\nThe first theatre of Tor di Nona was set\nin a different position in relation to the Tevere,\nand this explains why the designer traced\nbeneath the plan the outline of the buildings\nwhich were to be demolished so as to give\nthe new form to the theatre. This plan\ngreatly resembles that which Felice Giorgi in\nhis \" Descrizione istorica del Teatro di Tor\ndi Nona \" (Rome, Gannetti, 1 793) attributes\nto Alessandro Specchi; but the design, in-\nstead, proves the correctness of Paolo\nLandriani (Storia e descrizione de'principali\nteatri antichi e modemi, per cura del dottor\nGiulio Ferrario, Milano, Ferrario, 1830,\np. 69) when he attributes the theatre of Tor\ndi Nona to Carlo Fontana.\nPlates 23 and 24 confirm Landriani's\nconjecture that the theatre contained six rows\nof palchetti. And the section of the theatre,\nwhich bears the inscription Profilo stabilito"}, {"page_pdf": 12, "page_imprimee": "140", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.12", "texte": "del Teatro di Tor di Nona proves that Fon-\ntana s project was carried out.\nThe other plan of the same theatre (Plate\n21) was probably a project afterwards aban-\ndoned.\nOther two projects not put into execution\nwere certainly the two designs Plates 25 and 26.\nAt the end of the 17th century the conte\nD Alibert was supervising the Roman musical\nperfoimances; the Tor di Nona was a theatre\nso much frequented that D'Ahbert thought to\nerect others, and evidently commissioned the\narchitect Fontana to sketch various projects\nfor theatres. Finally in 1718 he is able to\nactuate his design completely with the erection\nof a theatre bearing his name, but constructed\nwith the money of others, says Ademollo.\nIn design Plate 26 I have been able to\nread this indication: Cose antiche de letterati\nal Cosso prima che si fahbricasse il Palazzo\nsi propose detio silo per teatro: (Ancient\nhouses of lellerati (men of letters) before building\nthe Palace the said site was proposed for\nTheatre). VTich seems to me to designate\nthis plan to be a project for a theatre to be\nbuilt at the expense of academicians, but\nthat it was not carried out and yielded the\nplace to the construction of a palace.\nThis collection of projects reveals in any\ncase a little known branch of the activities\nof Carlo Fontana, who left such extensive\ntraces of his work as an architect in the Ro-\nman churches and piazzas, but who was not\nknown as a builder of theatres. Which\nproves yet once more how many regions yet\nremain to be explored in the field of the\nhistory of the theatre.\n\nEDWARD A. CARRICK\nIT was while walking round Lincoln's Inn\nFields with Mr. Tom Heslewood, in search\nof some old landmarks, that he suggested\nthat 1 might find some designs of old Lon-\ndon Theatres in the famous collection made by\nSir John Soane early in the 19th Century, so\nwe went into the Soane Museum and asked\nMr. Bolton, the Curator, if he knew whether\nthere was anything of the kind among the\ncollected MSS and Drawings. Mr. Bolton\ncould not recall anything : but later, when\nthe Italian Theatre was mentioned, he remem-\nbered that he had \" a book on the Tor di\nNona Theatre in Rome I asked if I might\nlook at it, and when it was brought and I\nsaw that it contained not only original draw-\nings of the Teatro di Tor di Nona but\nplans of three very important theatres of Ve-\nnezia, Firenze and Siena, I realized that here\nwas something which students of the history\nof the Theatre, and especially the Italian\nTheatre, would be glad to know of, and had,\nin fact, for years been looking for. Mr. Bol-\nton was very pleased to think that I had\nfound more than I had expected and gra-\nciously allowed me to have photographs taken,\nand it is owing to his generosity in permit-\nting this to be done that it has been possible\nfor them to be reproduced in \" The Mask \"•\nThus it was I came to \" discover \" this\ntreasure.\n\nMANY famous historians such as Pompeo\nMoimenti, Tadeo Wiel, Galvani Tas-\nsini and others have written volumes about\nthe Theatres of Venezia, but none have been\nable to discover any kind of plan showing\nthe form of their 17th Century Theatres. At\nthe State Archives in Venezia they said that\nsearches for them had often been made but\nthat now it was presumed that none existed.\nIn Firenze, though the Accademia degli\nImmobili still exists and possesses the Ar-\nchives of the Teatro della Pergola from 1652\nto the present day, among all the documents\nit would seem that an early plan of the thea-\ntre has not been found ; and it is the same\nwith Siena.\nThe plans of the Teatro di Tor di Nona\nin Roma are all of the greatest interest, and\nby the aid of two volumes, one by Felice\nGiorgi (!) and the other by A. Ademollo (2)\nthe student will now be able to get his facts\nabout this theatre somewhat straighter. Gior-\ngi's book, which was published in 1795,\ngives a full description and a sketchy history\nof the Theatre together with plans of each\nof the six buildings, five of which were erected\non the one site since 1660. As many of the\nhistorical facts will be of interest to those\nwho have not a copy of the book, I have\ncopied out some of these and strung them\ntogether.\n(1) r4 Descrizione Istorica del Teatro di Tor di Nona di\nFelice Giorgi Architetto Camerale etc, 9 Plates, Cannetti,\nRoma, 1795.\n(2) A. Ademollo, 44 I Teatri di Roma nel Secolo XVII\nRoma, 1888."}, {"page_pdf": 13, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.13", "texte": "DESIGN No. 36. PLAN OF THE TEATRO DEGLI INTRONAT1, SIENA.\nOriginally built in wood in 1560 it was rebuilt of brick in 1670. Size of original\ndrawing 51.5 x31 cm. Compare the design by F. C. Motta.\nPlate 19.\n\nTHE MASK\n1927"}, {"page_pdf": 15, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.15", "texte": "DESIGN No. 34. - PLAN AND SECTION\nOF THE TEATRO DI SAN GIOVANNI E PAOLO, VENEZIA.\nSigned by the architect of the theatre Tomaso Belli and built 1638-39. Note the very curious, deep,\nditch (not for the orchestra) between the orchestra and first row of stalls. Size of original\ndrawing, 59 x 44.6 cm.\nPlate 20.\n\nTHE MASK\n1927"}, {"page_pdf": 17, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.17", "texte": "DESIGN No. 10. - PLAN OF THE TEATRO DI TOR DI NONA, ROMA.\nPart of a large plan measuring 93.5X 38 cm. Signed C. Fontana.\nPlate 21.\n\nTHE MASK\n1927"}, {"page_pdf": 19, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.19", "texte": "DESIGN No. 33. - PLAN OF THE TEATRO TOR DI NONA, ROMA.\nof original drawing 39 x31 cm. Signed C. Fontana.\nPlate 22.\n\nTHE MASK\n1927"}, {"page_pdf": 21, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.21", "texte": "DESIGN No. 8. - INTERIOR VIEW OF THE TEATRO DI TOR DI NONA, ROMA.\nSize of the original drawing 41.3 x 29.5 cm. Signed C. Fontana.\nPlate 23.\n\nTHE MASK\n1927"}, {"page_pdf": 23, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.23", "texte": "Plate 24.\nDESIGN No. 6. - SECTION AND PLAN OF THE TEATRO DI TOR DI NONA, ROMA.\nof original drawing 41.4 x 29.3 Unsigned.\n\nTHE MASK\n1927"}, {"page_pdf": 25, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.25", "texte": "DESIGN No. 31. - PLAN OF AN UNKNOWN THEATRE IN ROMA.\nPart of a large plan measuring 81x53 cm. Signed Carlo Fontana. (See also Figure 2).\nPlate 25.\n\nTHE MASK\n1927"}, {"page_pdf": 27, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.27", "texte": "DESIGN No. 13. - PLAN OF AN UNKNOWN THEATRE IN ROMA.\nPart of a large plan measuring 81x53 cm. Signed Carlo Fontana. (See also Figure 2).\nPlate 26.\n\nTHE MASK\n1927"}, {"page_pdf": 29, "page_imprimee": "141", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.29", "texte": "Figure 3.\nThe First Theatre erected in the building known as the Prisons of Tordinona.\nReproduced from \"Descrizione Istorica del Teatro di Tor di Nona\" di Felice Giorgi. Roma 1795.\n\nFROM some very early date there stood on\nthis site, which is on the hank of the Tevere\nexactly opposite the Castello di Sant'Angelo,\nthe prisons of Tor di Nona. On the acces-\nsion of Pope Innocenzo X, new prisons were\nbuilt elsewhere and those of the Tor di Nona\nabandoned. But they were soon put to a\nnew use and in 1660, says Giorgi, the first\ntheatre was constructed. He gives a plate\nshowing the plan of the theatre which is here\nreproduced ( Figure3). Although this was a\nlarger theatre than any of the others in Roma\nat that time it was before long found to\nbe far too small, as it became the most po-\npular of them all; so it was proposed to en-\nlarge it and at the same time to change its\nform.\nLiving in Roma at that time was a weal-\nthy man who was passionately fond of buil-\nding theatres, the Conte Aliberti; he did not\nhesitate a minute to undertake the new project\nand had the work started at once, this time\nturning the theatre so that it ran parallel with\nthe Strada del Orso as seen in t* igure 1. A\nplan of this second theatre is also given in\nGiorgi's book and below it is written : \" Plan\nof the second theatre, turned lengthwise on\nthe site, and it is believed built by the Ar-\nchitect Alessandro Specchi \". (I> This theatre,\nlike the first, became so popular that Pope Cle-\nmente XI, fearing for the bad influence it\nwould have on the people, issued an order\nfor its demolition in 1690. <2) It is this se-\ncond theatre that Fontana's plans and sections\ndepict.\nIn 1735 by order of the the Ar-\nchitect Cavaliere Gregorini was commissioned\nto rebuild the theatre, but he passed it on to\nhis best pupil Cavaliere Passalaqua who put\nit up in sixteen days! Its popularity then\nwent down owing to the fact of other thea-\ntres having been built, one by the Cavaliere\n\n(1) According to Ademollo the first public theatre in\nRoma dates from 1600 though nothing is known of its name\nor position ; the others referred to by Giorgi are still un-\nknown.\n(1) Ademollo dates the building of this second theatre as\n1671 and I think it will be found that he is correct. Specchi\nwas one of Fontana's pupils and his supposed plan in Gior-\ngi's book is almost a facsimile of Plate 22 which is by Mon-\ntana.\n(2) In the Library at Genova I found 31 pages of MS all\nof greatest interest relating to this demolition."}, {"page_pdf": 30, "page_imprimee": "142", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.30", "texte": "Fuga for the Conte Aliberti and called the\nTeatro d'Aliberti (l), and another by the Mar-\nchese Teodoli called the Teatro del Torre\nArgentina (2). The Tor di Nona now passed\ninto several hands and one night it caught\nfire and in three hours was gutted. Then a\ncertain Abbate Ricca took upon himself to\nrebuild it the fourth time. He had a number of\ndesigns put before him and at last selected\nthat of the Architect Natale Marini who pro-\nposed building it once again of wood. Wood\nhad been used when erecting the three ear-\nlier theatres. But the whole idea failed for\nRicca could get no support. This coming to\nthe ears of another Architect, Giuseppe Tar-\nquini, he, together with a relative, a head\nmason named Angelo Luigione, undertook to\nset about the work, and in 1780, using his\nown plans, he built it at his own expense.\nThis time more solid materials were used.\nA dome was built over the Auditorium and\nthere was a spiral stairway behind the stage\nto allow horses to mount to it from the street.\nTarquini published a book describing this\ntheatre entitled \" Notizie, e documenti della\nNusva Fabrica del Teatro di Tor di Nona \".\nCasaletti: Roma (1780).\nBut this building having been badly con-\nstructed began to break up bit by bit, until\non the night of November 18th 1785 it fell\ninto ruins. In the same year the ' Architect\nGiuseppe Barbieri finding a rich contractor\nby the name of Antonio Cioli, made some\nreally elaborate plans with the intention of\nrebuilding the place. But just when work\nwas about to start the Contractor died and\nthe beautiful project had to be abandoned\nand what was left of the theatre continued\nto crumble until hardly a piece of value re-\nmained. In 1789 Cardinal Fabrizio Ruffo\npersuaded the Architect Felice Giorgi to\nerect a new building which he did, and of\nwhich he gives two plans and two sections\nin his book. The decorations were by Gio-\nvanni Battista Maderna and this building was\nchristened \" Teatro di Apollo \" .\nIn 1820, Count Torlonia being owner of\nthe property, he had it rebuilt for the last time\nby his Architect Giuseppe Veladier.\nAt the end of the last century when the\nnew embankment was built along the Tevere\nthe theatre was pulled down and now not a\nsign remains.\n\n(1) Some say this was built by Francesco Bibiena.\n(2) Giorgi does not mention the Teatro Capranica, also\nbuilt at that time.\n(3) Another authority says that it only received the name\nof Apollo in 1861.\n\nGORDON CRAIG\n\nTO THE EDITOR OF \"THE MASK\"\n\nQIR\nvi So far as ! know nothing approaching\nsuch a discovery has been made for years. If\nthe plan of the Fii enze theatre had been dis-\ncovered by some one in Firenze there would\nhave been quite a flutter; but to come across\nthe Fir enze, Siena, Venezia and Roma plans\nand those of those four most celebrated Thea-\ntres is sensational.\nIt is like \" The Mask \" to make nothing\nof it, for what else, sir, you make of it.\nA noise ? assuredly not : money ? you'll lose\nnot make it. Reputation ? well yes : for,\nhaving published these plans which were\nlying at the service of the historians for the\nlast hundred years had they spotted them,\nyou will gain reputation for \" The Mask\".\nI do not know how many people read you,\nbut at least four thousand of your readers\nwill appreciate the energy and discernment\nof Mr. Edward Carrick in finding, and your\naction in publishing, these plans.\nYet I can't say I do; all I appreciate,\nand to the full, is the lack of energy and dis-\ncernment of the many students of London\nwho all these years failed to come across, or\ncoming across to appreciate, these plans.\nFor they are of real importance to Venezia,\nand Siena, to Firenze and to Roma. They\nare of even more value to the students of\nthe Italian Theatre.\nWe have to realize that no plan existed,\nor rather no plan had been found, let alone\nin England but in Europe, of this Teatro In-\ntronati. None had been seen, or at any rate\npublished, of this Teatro San Giov. e Paolo,\nand none of La Pergola, Firenze\nAll that the famous Italian historians of\nthese three cities could do was to guess at\nthe precise form of these places. Now\nthey can speak with assurance. Ameri-\ncan and English readers will hardly realize\nunless they have lived in Italy for some time\nhow serious is the whole question of Theatre\n\n(1) See The Mask. July, 1927."}, {"page_pdf": 31, "page_imprimee": "143", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.31", "texte": "to the Italian. It takes two thousand persons\nof all sorts to fill a fair-sized theatre and\nthere is hardly one who lacks the seriousness,\nthe passionate seriousness, hardly one who\nfails to express this, to tell the actors by the\nonly means at his command, acute silence and\nattention and immediate response, that he is\nfollowing the action step by step.\n\" Rather good, that\" is the phrase one\nhears in a London Theatre after a piece of\nfirst-class emotional acting, and it won't do.\nWhy? simply for the old commonsense reason\nthat the theatre is one of the few places\nwhere emotion is to be let loose. A church\nis another. Don't tell me that that affecta-\ntion of pretending to be superior to all emo-\ntion, to never lose the head, is ever fitting —\nfor it's out of place in a Theatre.\nAn assumption of calm and indifference\nis, may be, superb in an Englishman in pre-\nsence of disaster ; in a Theatre all assumption\nby the spectators is out of place for it's the\nhome of assumption. Any acting is to be left\nto the actors. And it's because so much of\nit goes on in the stalls, the boxes, the dress-\ncircle, gallery and pit that the situation is\nslowly being reversed in our Theatres, — the\nactors are ceasing to assume to act and the\naudiences are doing more of it every evening.\nGoing to a Theatre is a performance, ...arri-\nving an entrance, watching the show a display,\ncriticising it a pretence : where does the poor\nactor come in?... where is his chance ? So,\nwhile these plans will please every Italian who\nloves and goes to the Theatre, they will not\nplease many English or French theatre-goers.\nFor they will not be able to be clever\nor effective about them: they will not be able\nto score a point. The Italians won't want\nto. If the real men and women of England\never went to a Theatre I could not write\nthis... but the real men and women have not\nthe Theatre sense. I think the French no\nlonger possess it — I doubt if they ever\nhad it. The Russians have it but it's a some-\nwhat complicated instrument, their Thea-\ntre sense. The Germans have it about as\nlittle as we — but they are so that they\nshow they have the will to watch.\nI don't enjoy myself in a house full of\nsuch theatre-goers, nor in a Theatre packed\nwith English Theatre goers : certainly not in\nFrance either. In Russia I feel rather too\nhearty and not heady enough. Only in an\nItalian playhouse am I quite free, entirely se-\nrious, and able to enjoy the evening.\nA thief had stolen a horse — and in the\nearly morning the owner and his family came\nto the stables and began to cry aloud \"Oh\nmy poor horse — you wretched ostler —\nyou great blockhead\" and his neighbours\nblamed the owner for not having double doors;\nand the policeman who came up blamed the\npeople for not being awake at night — all\nblamed each other, and everyone blamed the\nostler. \" And isn't the thief to get any of the\nblame?\" he cried.\nAnd so while one can blame pit and gal-\nlery and circles for having so dull a Theatre\nsense, perhaps some blame is due to the\nactor.\nAnd now that he has been mentioned let\nus all raise our indignant voices and ask the\nactors how much they are interested in these\ndusty old plans of these four Theatres.\nWhat actors will see them ? Some of\nthe older ones and the beginners perhaps —\nbut I doubt if more than three in all England\nwill see them, or, seeing them, care one straw\nabout looking at them a second time. But\nthis is not so strange, for, in the great Tal-\nma's time, which of the actors ever stopped\nto consider the plans, sections and elevations\nof their house ? Perhaps Talma alone did that.\nWhy should they ?\nWell, it seems to me that the whole his-\ntory of the Theatre lies in such plans as these\nif one can read the lines. The problems which\ncentury after century trouble us so that we\nlose our lives and fortune after fortune puz-\nzling and muddling, can, for the most part, be\nsolved by studying the construction of the thea-\ntres of the last three hundred years.\nUnless in the end they do that what are\nsuch plans for ?\nThey are pretty things — and they, are\ncurious too : I like them for all kinds of in-\ndefinite reasons, but I have one prime rea-\nson for valuing them, and that is that they\nresolve nearly all the problems of the stage,\nits actors, its plays and operas, its spectators\nand its sound sense.\nI do not know whether the Colleges and\nSchools trouble to instruct the pupils about\nthe construction of theatres in all lands and\nof all periods, but 1 think that should be the\nfirst thing a student should be put to study.\nThis is why I think \" The Mask\" does"}, {"page_pdf": 32, "page_imprimee": "144", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.32", "texte": "one more service to the cause it has at heart\nin bringing such things to its public.\nI should have liked to say something about\nthese particular plans reproduced here; but\nthough I fancy I know a little about them,\nthat little is merely the evidence I always\nlook for to support my own special fancy\nabout the stage — that special fancy being\nto have a theatre of my own, I have already\nsaid what that is too many times to bore\nanyone again with it.\n\nGordon Craig.\n\nW. J. LAWRENCE\n\nSIR\nA part from the fact that it is impolitic\nfor one like myself who is purely a stage\nhistorian to embroil himself with pre-\nsent day controversies, I see no means of\ndemonstrating that the new-found plans throw\nany light on the sanity or stability of the\nsomewhat complex new movement. The\nutility of historical research as a source of\nlatter-day scenic inspiration can only be shown\nby approach from another angle. How much\nof Reinhardt's earlier work was mere eclec-\nticism — the revivifying and harmonisation of\nobsolete conventions — can only be grasped\nby those possessing a full knowledge of the\nhistory of stage mounting. But for the re-\nsearch of others, this eclecticism would have\nbeen impossible.\nSo, too, as I have been informed more\nthan once, the publication of my study of the\nold proscenium doors in my book, \" The\nElizabethan Playhouse and Other Studies\n(First Series, April 1912) — a study printed\nsome years previously in the German maga-\nzine, Anglia — occasioned the revival of the\ndoors in connexion with the apron stage.\nThe provision of the doors, for special use,\nat the Birmingham Repertory Theatre in 1913,\nwas, at any rate, due to this inciting cause.\nSo that the work of the theatrical researcher\nhas some utility beyond the merely ornamental.\nWhat you now tell me about the finding\nof these theatre plans necessitates the with-\ndrawal of my former conjecture that the plan\nof the Teatro della Pergola was doubtless\nthe original. All these plans were certainly\nmade when the building of the Teatro Tor\ndi Nona was contemplated, and represented\nthe specified theatres in their contemporary\n(but not necessarily original) state. Any\ntheatre plan showing an orchestral box below\nthe parapetto of the stage must necessarily\nhave been made after 1630, since it was at\nthat period the orchestral box was first insti-\ntuted in the Venetian Opera Houses. Hence,\nthe plan of the Teatro Intronati, Siena, cannot\nrepresent that House as Bartolemmo Nerone\n(otherwise II Riccio) built it in 1560, more\nespecially as it shows a magnet-shaped audi-\ntorium. No house of that shape was known\nof, I think, until three quarters of a century later.\nFrom the historical standpoint, plate No 20,\n(Venezia) is undoubtedly the most interesting\nof the series, since it supplements our\nknowledge concerning the early Venetian ope-\nras-houses. Iam assuming, of course, that the\nplan shows the San Giovanni e Paolo much\nas it was originally, (1639). The plans are\nof the period of 1675, and much alteration\nof the old Venetian house cannot have taken\nplace in thirty odd years. The indications\nare that the earliest type of modern Italian\nauditorium was lyre-shaped. Alphonse Gosset\nsays that the horse-shoe shape came in with\nthe Teatro Tor di Nona, and —at least —\nthe new-found designs do not contradict him.\nIn the Venetian design, it looks to me as\nif there were boxes between the columns\nof the deep proscenium arch : if so, a long-\nfollowed precedent was then set. Full measu-\nrements should be published, especially as the\nwriting on the plan is so small. What, for in-\nstance, was the length and slope.of the stage?\nThe plans of the Teatro Tor di Nona\nshould be compared with the plan of the same\nhouse given in G. M. Dumont, \" Details\nD'Architecture\", (Paris, 1763-66, folio). Any\ndiscrepancy would show what alterations, if\nany, had been made in the interim.\nThe system of oblique wings to be noted\nin several of the plans was, I think, pecu-\nliarly Italian. (By oblique wings, I mean\nwings not set parallel to the curtain line). It\nnever reached England.\nPlans 23 and 24 are interesting as showing\nthe precise arrangement of the various rows\nof boxes in Italy in the seventeenth century.\nThis system, too, never reached England.\nNote the following extract from John Macky's\n\" Journey through England in Familiar Let-\nters \" published in 1714. Macky was, I\nthink, a Scot, one to whom England was a\nforeign country: —"}, {"page_pdf": 33, "page_imprimee": "145", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.33", "texte": "\" The Th eatres differ from those abroad:\nin that those at Venice, Paris, Brussels,\nGenoa and other parts, you know, are com-\nposed of rows of small shut boxes, three or\nfour stories' in a semi-circle, with a Parterre\nbelow; whereas here the Parterre, commonly\ncalled the Pit, contains the gentlemen on\nbenches ; and on the first story of boxes sit\nladies of quality; in the second the Citizens'\nwives and daughters, and in the third the\ncommon people and footmen; so that between\nthe actes you are as much diverted by viewing\nthe beauties of the audience, as whiie they\nact with the subject of the play; and the\nwhole is illuminated to the greatest advan-\ntage Whereas abroad, the stage being only\nilluminated and the lodge or boxes close, you\nlose the pleasure of seeing the company; and\nindeed the English have reason in this for\nno nation in the world can show such an\nassembly of shining beauties there\".\nThis openness of the auditorium has al-\nways been characteristic of the English thea-\ntre. When theatres first began to be provided\nwith movable scenery at the Restoration (in\n1661), though the revolution in the actors'\nregions was great, little change took place in\nthe arrangement of the auditorium. The\nthree open galleries of Shakespeare's day\nstill maintained. Continental influence came\nmuch later: it altered the shape of the house,\nwhich was originally rectangular, and added\na few private boxes. England arrived at the\nmodern auditorium before Italy. In Italy, the\nancient amphitheatrical arrangement held good\nuntil 1618, and was not wholly superseded\neven then. In England, the theatre with a\npit and three galleries dates from 1576.\nOwing to extreme pressure of work, I\nhave not been able to write a formal article\nfor \" The Mask \" on these plans, but you\nare at liberty, of course, to quote or sum-\nmarise any details 1 have given in this\nletter.\nSincerely yours,\n. PS.I find I am wrong in stating that the\nItalian auditorium (with five rows of boxes)\nwas never introduced into England. Late in\nthe 18th century the Pantheon (Opera House)\nin Oxford St. was so constructed. But of\ncourse I was thinking only of when\n1 wrote.\nW. J. L.\n\nW. J. Lawrence.\n\nALFRED MORTIER\n| consider the plans which you have been\na. so courteous in sending •to me as of the\nmost vital architectural interest. It would be\nimpossible to praise too highly the zeal and\ndiligence which you devote to increasing the\ncommon patrimony of all the seekers in this\nfield. One of the most ridiculous vanities of\nour age is to believe that it has invented\neverything, and that the riches of the past\nare negligible. But the designs which you\nhave brought to light could, it seems to me,\ninspire a modern architect with some inte-\nresting ideas, seeing that the ancient Italian\nbuilders had much meditated upon and expe-\nrimented with the question of the form of the\ntheatric structure in relation with the best\nacoustics. Acoustics remains an ever present\nproblem and one of serious difficulty. For\nthis reason 1 consider that your designs will\nbe of benefit to contemporary architects.\n\nALLARDYCE NICOLL\n\nWHAT wonderful work The Mask is\ndoing S Continually it is discovering\nsomething new. Not content with the mag-\nnificent maps of London, Paris and Roma,\nnot content with the hundreds of rare plans\nand sketches which it has published, it now\ncomes forward with this veritable treasure-\ntrove, this series of hitherto unknown plans\nof early Italian theatres.\nI have been asked by the Editor to say\nsomething about them, but, were it not that\na request from 7/is Mis to me a com-\nmand, I should hesitate to undertake this task.\nNot only do I lack the leisure at present to\nmake a detailed study of these plans in the\nlight of other records of the period, but I\nshould have preferred to have had the op-\nportunity of seeing the originals and of de-\nciphering the notes which the artist has freely\ncontributed to his sketches. However, the\nEditor tells me that it will be sufficient if I\nsay something general, and if I, in any way,\ncall attention to the value of this newly dis-\ncovered material. So be it.\nThese plans are an education in them-\nselves, for they indicate clearly enough that\nhigh spirit of artistic questing which inspired\nthe Italian architects of the seicenio. They"}, {"page_pdf": 34, "page_imprimee": "146", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.34", "texte": "are all (1 take it on the authority of the\nEditor) by C arlo Fontana (!\\ and what would\nstrike us at once is the variety of styles\nexhibited, the evident desire on the part of\nthe architect to try new experiments in the\nsearch for the ideal. Indeed, these eight\nplans sum up, as it were, the endeavours of\na whole school of theatre artists who were\npassing from tentative reconstructions of clas-\nsical antiquity ? into the modern age. The\nstage arrangements had practically settled\nthemselves by the early XVII century, the\nobliquely set side-wings carrying the eye back\ngradually to a final back-cloth or back-shut-\nter ; but the auditorium still presented difficul-\nties.\nThe first models were taken from the\nsemicircle of a Roman caiea, the seats being\narranged in amphithealrica! fashion, and often\nending, as in the famous Teairo\nin a row of columns. The idea of galleries\ncame later. Hitherto it had been thought\nthat one of the very Erst plans of this type\nis that given by Andrea Pozzo in his\nspeltiva de Pittori cd Archiletii (1692), de-\nsigned apparently several years previous to\npublication. One of the most interesting fea-\ntures of the plans now reproduced, in The\nMasfy is that this gallery arrangement is\nclearly indicated at a date anterior to that of\nPozzo's. In Pozzo's plan the auditorium still\nretains its semicircular arrangement, but the\nmajority of Italian theatre-architects were seek-\ning for a more commodious \" house \" than\nthis would allow; moreover the exigencies\nof the ground space they had to fill frequently\nforbad the utilization of the semicircle. The\nTeatro Intronati, Siena (Plate 19) shows the\nsimplest adaptation, the original semicircle being\ncarried forwards in two lines running at right\nangles to the diameter. This style was that\nadapted in the Teatro Fcrnese at Parma, but\nit proved inconvenient for spectators in the\nsidegalleries. One way of escape lay in ma-\nking part of the gallery project, and this is\ndone in the plan for the Teatro SS. Giovanni\ne Paolo at Venezia (Plate 20). Then came the\ndesign for a theatre at Roma (PI. 26), where\nthe sides, still retaining their straight lines,\nare made to run outwards at oblique angles\nto the diameter of the semicircle. Although\nthis form was adopted in the Teatro Falcone\n: at Geneva begun by G. A. Falcone in 1650\n1 and completed by Fontana; (see E. Gordon\n! Craig, Eooks end Theatres, p. 34), it always\n: remained an unusual one. I expect that this\n: of Roma was for some projected or realised\ni private theatre; at any rate I have been\nunable to identify it. The opposite of the\n: shape chosen here is that of the \" horse-\nshoe \", very popular and adopted in the Teatro\nlor di Nona (Plates 21 & 24); with slight\nmodifications it reappears in the Teatro alia\nScala at Milan and in the \" Vecchio Teatro \"\nat Naples. The interest of Plates 21 and 24\n(to be taken with Fig. I.) is that they show\nthe Tor di Nona as that was built in 1660.\nPlate 21 gives us the general outlines of the\nhouse with a sketch of its surroundings;\nPlates 23 and 24 show clearly the arrangement\nof the galleries. No less than six there are\nof these (there are only five in the Pozzo\nengraving) in a \" horse-shoe \" or \" magnet\"\nformation. With the indication of interior\nembellishments and of the orchestra well,\nthese plans contribute much to our know-\nledge of these early theatres. The later Tor\ndi Nona (built in 1671 and destroyed 26\nyears later) appears here also (Plate 22).\nThis design makes us pause, for it is\nfundamentally the same as that generally at-\ntributed to Alessandro Specchi. Here an\novoid auditorium is used, somewhat after the\nstyle of the theatre at Jmoia. If we may\nargue from this book of sketches, then Carlo\nFontana was its architect.\nPlate 22 shows a theatre very similar in\noutline to the earlier Tor di Nona; Fig. 2\nindicates plainly enough that it was not this\nhouse. The ground plan reminds us of the\nsurroundings of the Teatro della Valle, but\nthat, it seems, was a much later building.\nA careful examination of the original should\nresult in a definite identification.\nThese are things of the past, it is true,\nbut they have a value both for the present\nand for the future. In the first place they are\nan admonition, particularly to theatre-workers\nin England. Experimentation alone can lead,\ntowards the greater development of any art;\nthe mentally inert following of what has gone\nbefore spells artistic death. This experimenta-\ntion still goes on elsewhere, but we seem here\ncontent to muddle on with what we have,\ncasting our eyes no further back than towards\nthe remnants the last generation has left to us,\nO 7\n\n(i) All are in a volume bearing Fontana's name. Ed."}, {"page_pdf": 35, "page_imprimee": "147", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.35", "texte": "and seeking nothing in the future. A study\nof Fontana s designs could teach us much.\nNor is this all.\nWe may not perhaps care for these plans,\nwe may desire our new theatres to be dif-\nferent from these theatres of the seventeenth\ncentury—and this would be a perfectly iust\naim; but these early efforts have often things\nto tell us, little ideas which may be re-created\nin the imagination and thus lead towards some-\nthing fresh and beautiful. The greater artists\nhave always been willing to gain inspiration\nfrom the past, for they know that the past is\nthe treasure-house from which their own\nstrength is taken ; only die lesser artists fear\nthe past lest it be greater than themselves;\nonly those who are not artists at ail scofriagly\nneglect the past, for they have no ideas of\nbeauty, in the past, in the present or in the\nfuture.\nIt is for these reasons that we must ad-\nmire and applaud the efforts of The Mask-\nit has ideals (which indicate the future) ; it\nhas a present beauty ; and it strives to keep\nalive our interest in the past. From The\nMask, as well as from Fontana and his\npeers, we have much to learn.\n20. IX. 27.\n\nDEVICE OF THE TEATRO\nDEGLI INTRONATI\nSIENA\n\nARIOSTO'S HOUSE\nIN FERRARA\nA PLAN AND ELEVATION\nTAKEN FROM AN EARLY EDITION OF\nTHE POET'S \"ORLANDO FURIOSO\"\nA. C.\nTHE poet-dramatist's house was in the Via di Mirasole,\nHe bought the site in 1526-1528 and then built a modest\nenough dwelling which he hoped to enlarge and make most\nmagnificent; — if he had believed it easy to for 111 are le case\ncome i versi \"it proved in practice less easy; and people were\nlate in offering to build it for him. Today they would tumble\nover each other in the effort to be the first to do so.\nThe plan and elevation here given is taken from the 1772\nedition of his \" Orlando Furioso \" issued in four volumes by\nZatta in Venezia, Ariosto lived here a long time after leaving\nthe old family house established in 1352 in the Via S. Maria\ndi Bocclie in which lie had often played his own comedies\nwith his brothers and friends.\nIt was in this house in Via di Mirasole that the poet\ndied on June 6, 1533; it had a garden and a small wood of\nelm trees."}, {"page_pdf": 36, "page_imprimee": "148", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.36", "texte": "MACHINE.\n\nBYRON AND MACHINE.\nLORD Byron made but three speeches in\nthe House of Lords. The first was on\nFebruary 27th 1812 when he spoke against\na Bill increasing punishments for frame breaking.\nTrade was bad and stocking-weavers had\nbeen losing work; discontent was growing\nand was being fanned into a revolt through\nthe introduction of a machine.... a wide frame\nwhich threatened a further diminution in the\ndemand for manual labour. Riots were or-\nganized and the machines were destroyed.\nByron naturally was for the men and against\nthe machines. Two days earlier he wrote a\nletter to Lord Holland in which he expressed\nhis attitude towards the whole question, a part\nof which I will quote :—\nTo Lord Holland.\n8 Si James Street. Feb. 25 1812.\nMy Lord\nBy the ad option of a certain kind of frame,\none man performs the work of seven—nx are thus thrown\nout of business. But it is to be observed that the work\nthus done, is far inferior in quality, hardly marketable at\nheme, and hurried over with a view to exportation.\nSurely, my Lord, however we may rejoice in any improve-\nments in mechanism, the maintenance and woll-doing of\nthe industrious poor is an object of greater consequence to\nthe community than the enrichment of a few monopolists\nby any improvement in the implements of trade, which\ndeprives the workman of his bread, and renders the lab-\nourer 44 unworthy of his hire\nMy own motive for opposing the biil is founded on\nUs palpable injustice, and its certain inefEcacy. I have seen\nthe state of these miserable men, and it is a disgrace to a\ncivilized country. i heir excesses may be condemned, but\ncannot be subject of wonder. The effect of the present\nbill would be to drive theoi into actual rebellion. The\nfew words I shall venture to offer cn Thursday will be\nfounded upon these opinions formed from my own obser-\nvations on the spot I have the honour to be,\nwith great respect, my Lord, your Lord?-hip's.\nMost obedient and obliged servant, BYRON.\nP. S. — I am a little apprehensive that your Lordship\nwill think me too lenient towards these men, and half a\nframe-breaker myself Oh\nA MACHINE AGE.\nTHERE was a \" Machine Age Exposition\nheld from May 16th to May 28th in New\nYork. \" The Little Review \" issued a Ca-\ntalogue of this show. Wei! printed, it con-\ntained many a good cliche and a few\nidiotic \" Costumes \" for Machine Theatricals,\nand reached me together with a prospectus\nof the Mimeograph—a machine.\nPeople who sell machines are apt to spread\nit around that this is a Machine Age. It\nisn't, but that is of no importance. \" Are\nyou machine wise? \" they ask you on their\nposters, leaflets, prospectuses. Listen to this\nfrom one of them : —\nWISDOM IS IN DOING, MORE THAN IN\nSAYING. ARE YOU MACHINE WISE?\nUMMii Niiaiminii i i miRMiHrirr i mmaiiiMii miimiim ■ ■■ ai nunan 11 nan iMOMnin ii i niHHHaianaiaoMwa\n* 61T is a self-evident fact that no man\n* should be permitted to do a piece of\nwork which a machine can do\nBut here is a machine that does im-\nportant work that could hardly be done\nat all without its help. Its ability to\nturn out thousands of well printed letters,\nforms, bulletins, designs, etc., in every\nhour of the working day, has made the\nMimeograph an indispensible factor in\nmany business and educational activities,\nwhere it is helping to beat down opera-\nting costs and to speed up general effi-\nciency. in the day of the triumphant\nmachine it pays to be machine wise \".\niwsmHBMHMRMaMPnuBMnmMnaMHHBnttaaMBMKBwaBSKMHMaKMHMBBMWHMawKHMaaanBaHHnaMnBa\nAND ALL TO WHAT END?\nA BOVE this announcement is a picture of\nii the Mimeograph with a background of\nowls—symbolical of wisdom—which seems\nsuperfluous since an owl is not a machine—\nis only a bird, not a manufactured talking\nbird but one made by nature.\nThe inventors or manufacturers don't claim\nthat their machine will benefit humanity be-\ncause it will help to \" turn out thousands of\nwell printed letters, forms, bulletins, de-\nsigns \" by, say, Thomas Hardy, Maxim\nGorki, Mussolini and Augustus John : nothing\nsatisfactory like that. No, it is willing, this\nheadlong machine, to assist every Jack man\nof us to turn out all our useless litter of\nletters, forms, bulletins and designs. That's\nwhere machines run away and make a hash\nof the mind of whole nations of men.\n\n(i) Page 68-69. \" Lord Byron and His Letters \" by V. H.\nCollins. 1927."}, {"page_pdf": 37, "page_imprimee": "149", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.37", "texte": "These machines turn out a lot of some-\nthing—that is the point the advertisers of most\nmachines make. They grow almost hysterical\nas they realise what a lot of time they can\nsave, what a lot of copies of something (rub-\nbish or good stuff, all's one with the machine)\ncan be turned out—rolled off — churned up\nand belched forth.\nThere is of course any amount of fun in\nall this. The mere notion of gulling thou-\nsands of people into buying a machine has\nalways appealed to the rich sense of grim\nhumour which the world has developed with\nsuch rapidity in the last few centuries. The\nquality of this humour is hideous to touch,\nto hear, to see, to smell and to taste. It is\nso very grim; it is so grim that it topples\noff the jolly hillock where humour once basked\nin the sun of its own happiness and utters its\ngurgles from a pozzo nero.\nStill, it is humour, if only for the fact that\nit cannot possibly be anything else. And this\nhumour of course is more apparent in the\nannouncements of some big and successful firm\nthan in those which dribble out in the amateur\nway. I need not illustrate this.\nSENTIMENTALITY RAMPANT.\nAnd now a few small groups of men\nand women (presumably connected\nsomehow with the arts) are at it.\nThey do not give us the grim horror of\nthat colourful humour which the big firms\nindulge in; they go in for sentimentality.\nThere is nothing in this latest manifesto\nneed terrify you, and I strongly advise you\nto secure a copy if you can (I).\nThese groups are at roots only too sen-\ntimental —there lies their weakness; a weak-\nness with an assumed, rather fierce, expression,\nThe most sentimental of persons is the\nhefty, brisk machine lover of today, but when\nyou meet him you find he is a dear, good,\nclever fellow.\nThe whole notion of hitching their wagon\nto a machine may possibly spring from a noble\ndesire to alleviate the sufferings of the world\nand to awaken the world: to start afresh :\nbut behind the notion is the sly appreciation\nof the fact that it's a practical idea, anyhow,\nseeing that machines are so popular and that\nif we artists get the people and the manufac-\nturers to suppose that we artists are all for\nmachines a certain sympathy, false if not ge-\nnuine, will then spring up twixt them and us.\nAn eighth part of the notion is utter humbug,\nand a hundredth part is sheer rascality.\nARTISTS AND MACHINE\nBUT the sentimentality which is at the roots\nof the idea—let's consider that first.\nLiberty ! Liberte! Freiheit! Liberia 1 Svo-\nboda!\nThis word (one of the cutest in the dictio-\nnary fo man), has been whispered, buzzed out,\nshouted, yelled, screamed these last hundred\nyears until the very air is humming with it.\nIt is a terrible machine-made word ....and\nit is only a word. He who has the thing\nitself has it and says nothing. The man who\nis quite free does not exist, but any man may\nhave a taste of the thing.\nThose who have defined it have proved\nthis, that the thing itself is anything but au-\ntomatic, it's horribly human ; no sooner is it\nhere than it pops up over there; lost to us\nfor ever, it suddenly arrives and makes us\nlaugh. We laugh instead of naming it.\nNot so those who love cliches best.\nFreiheit! - Liberta! La Liberie ! Svoboda!\n- Freedom !—My God, what a mouthful, what\na headache of a word,—how the machines\nhammer it out.\nThese artists who have given themselves\nup lock stock and barrel to their great grand-\npapa the MACHINE, have done so because\nthey felt in sympathy with a new instrument.\nThey think to pick it up later and use it.\nThey will not do that because it will use\nthem, and its way of using them will be to\ngrind them to fine white powder which it will\nsell labelled ' Poudre d'Amour '.\nFor all this these fellows are heroic.\nSome Artists have that particular tolly,\nthe heroic, strong in them. Frightened, may\nbe, of a mouse or a gun, they will fling them-\nselves into an abyss or into a forlorn cause\nwithout a moment's hesitation.\nCaution be damned ;—besides, why not\nrisk that quicker death with a smattering of\nglory in it rather than starve slowly . ..as so\nmany unsuccessful artists in so many epochs\nhave done and done properly. Not now, you\nsay, in this enlightened age. Ah you rascal,\n\n(i) Machine-age Exposition Catalogue. 119 West 57th\nStreet. New York. Price 50 cents."}, {"page_pdf": 38, "page_imprimee": "150", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.38", "texte": "you know quite well that light costs money,\nvery much money today, and there is never\nany over after you've paid for your electric\ninstallation to spare on tbe enlightenment of\nlazy artists.\nBut not only is it in heroic despair that\nmany an artist today is jumping into a sock-\nweaving machine; many do not jump there\nat all; many are happier to cry Liberty on\nthe edge and buy a new pair of machine-\nmade socks.\nVery clever are these artists: they under-\nstand the machine; they know its power; they\nwill very very wisely adapt themselves to it.\nA gain not always from cunning motives\nbut as a rule from sentimental ones. They\nwill harness the machine and through it they\nwill bring light to the world at last. The\nFuturists were out and out sentimentalists and\ndreamers.\nVain, lovely and stupid dream. They\nwill but make a pale world paler when they\nare powdered on to its face.\nThen there is that cute notion of winning\nthe sympathy, the lasting friendship of the\npeople by appearing to love this little dam-\nnation ; and after all 1 mean no disrespect to\nthe brute but it is only a little damnation\nwhen all's said and done. It will pass.\nThen there is the love of machines by\nthose who can no longer love that which is\nless regular. Whether it be fear or ennui\nthat has turned them from their old loves,\nsomeone will some day explain—alas, at\nlength. But 1 never knew a hearty lover\nprefer a cog wheel even to a coquette.\nThe humbug of the thing (and there is\nvery little humbug in it as 1 have already\nsaid) lies in the evasion of the whole com-\nmon sense of art. These artists are machine-\ndrunk ; their commonsense is slobbering.\nWe ask them the time ; they grin, hiccup,\nand show us the works of their watches.\nAs for the rascality that is in this pre-\ntended devotion to machines, it lies not with\nthe artists ; the rascals are those who exploit\nthe artists for the old and wearisome reasons.\nMACHINE AS SERVANT.\nTHE machine when not grown tp monstrous\nproportions can be, is, a useful thing. I\nhave a small one for sharpening my pencils.\nMy admiration for its powers urges me to\ndeclare that it is made by Guhl and Har-\nbeck of Hamburg and is called \" Jupiter \"I.\nThe pencil is cut in a lying down posi-\ntion. Those other still smaller machines for\ncutting pencils into which you have to put\nyour pencil from the top are but playthings.\nMy little machine measures 14 inches in\nlength and 6 in breadth, so you see it de-\nserves its name \" Jupiter \" 1.\nI use a number of pencils, daily sharpen-\ning ten or twelve of them or even more be-\nfore I sit down to write* or draw.\nThe mechanical noise of the wheel going\nround gives me a reminder of the year 1 am\nliving in. I really think a hint is enough,\nit is the only machine I use, except that for\nblowing the air and the papers about in the\nheat of summertime, and the electric light\nmachine, the central heater, my watch and\nthe old-fashioned train(I). At present I have\nno automobile, no aeroplane. I do hire an\nautomobile when in a hurry and when 1 can\ncatch one, and how valuable it proves to\nus all everyone knows, yet how great a nui-\nsance it is no one fails by now to suspect.\nMACHINE AS DESTROYER.\nIN America alone 137,017 persons were killed\nby automobiles between January 1st 1919\nand January 1st 1927, while the total deaths\nof American men in the war amounted to\n120,050. Add to the 137,017 machine\ndeaths some 3,500,000 injuries due to automo-\nbile accidents, and the pretty little sentimen-\ntality of these machine lovers does take on a\ntouch of something rather queer. No ? If\nthis number of people had been murdered\nthe world would have admitted that it was\nall up with society: but as Machine did it\nit's quite all right.\nMACHINE: SLAVE OR MASTER.\nI will admit that 1 hanker after a gramophone\nfor 1 can prevent it splitting my ears.\n1 want one because i have a big garden\nand in the summer I want to hear the voice\nof Chaliapine singing far off behind the sugar\n\n(i) Trains seem to be trying to over reach themselves.\nSixty miles an hour is surely sufficiently fast for any of us :\ngoing seventy to seventy-five miles an hour they are apt to\nbump into bridges on the way to Deal or slip over precipices\nwhen going down Mont Blanc. The papers are full of their\ndoings, but no one invents a machine to prevent them over-\ndoing it."}, {"page_pdf": 39, "page_imprimee": "151", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.39", "texte": "canes on my topmost terrace. If I had to\nsee the machine, to have it on the table,\nin the room, I should not want to hear Cha-\nliapine at all. I should become quite old-\nfashioned and then grumpy and then die.\nAnd there we have it:—if you can keep\nmachines at a distance and in their place\nthey are quite an addition ; but if they come\nplaying the cockawhoop over us, smashing\npeople by the thousand, deafening us, spoiling\nour music, our fields, our hills, and the sea\nshore, we had better have done with them\nlest they attempt to do any more for us.\nI don't want an automobile on the pre-\nmises, because 1 have no use for one ; and\nif just because 1 have money I should buy\none without having a need for it I should\nassuredly become its slave. It would worry\nme. I should invent reasons for using it,\nreasons which do not exist.\nI should then become what is called\n\" machine wise \"; that is to say, quite daft.\nAnd so it is with all these machines.\nI once had a printing machine, two printers,\nsome type setters and so forth. I had need\nof it, but only for half a day ; the other half\nday I had no use for it. I had to invent an\noccupation to keep it out of mischief.\nThis made me pause; I wondered, think-\ning of this time-saving device.\nAnd many a modern newspaper with\nits destructive power has been invented sole-\nly to keep the damn machines going. No\none wanted so many daily rags; but the\nmachine ordered it and \" quick, you bounders\nor I'll smash you \" was its grunt. The boun-\nders obeyed like sheep.\nSCURRY.\nA Flying machine to bring the good news\nfrom Ghent a bit quicker than Roland\nand his rider managed it, is a great idea:\nbut to have ten thousand such machines and\nnot know how to occupy them is to be obliged\nto cause them to take the bad news to Cal-\ncutta—and then comes the riot.\n1 do not mention the hideous noises of\nmachines, their curiously unpleasant way of\nshivering : their sickly smell: nor will I stop\nto dwell upon the amateurishness of some of\nthe more famous machines, like public trains\nand public motor cars, for example.\nThese defects are unnoticed except by\nthe ordinary human beings who live the old\nhuman life, the country people.... about\n1,500,000,000 people out of . the entire po-\npulation of the world; they must be in the\nmajority by about 10,000 to one. But then\nthat one is a fine rogue who thinks he is\ncute and advanced.\nNoisy machines are but bad machines,\nI admit, but the small pampered group\ncalled \" the public \" hungers and thirsts for\nrapidity and the poor helpless mechanic does\nhis worst to oblige. He hurries up as fast as he\ncan and turns out bosh, and the public gets in\nand goes twice up and down the Champs Ely-\nsees, pays 3d, gets out and grumbles. It is for\nthese darlings that brilliant mechanical minds\nare forced to hurry and to spoil their work (1).\nSt. Martin !\nFALSE FREEDOM.\nSAYS Signer Prampolini, in the Catalogue,\n\"we futurists \", \" noi Futuristi\", \" were the\nfirst to understand the marvellous mystery of\ninspiration which machines possess \". And\nafter all if Marinetti in 1909 ordered the Futu-\nrists \" to chant the vibrant nocturnal fervour of\nthe arsenals and ship yards ....the bridges, stea-\nmers .... locomotives.... aeroplanes ....and auto-\nmobiles \"he only reaffirmed what Walt Whit-\nman had already done—done while chanting\nother things of lilac and of friends lest any\nshould suppose him in love with me rely a\npatch in the whole garment ... as the unwary\ndid suppose and does still suppose.\nAnd now Signer Prampolini writes that\n\" We today—without ignoring the attempts \"\nof the past etc., \" intend to and\nsynihetize all that has been expressed\" .... \"\norder to \" do something or other not clearly\nstated. He then plunges after the others into\nthe machine, still crying aloud the phrases of\nhis master's manifestos, still putting on heroic\nside. Goodby ....goodby, Prampolini.\n\n(i) There is some fortunate architecture come into this\nCatalogue. I have sent the brochure to a friend but I recall\nthat it contained pleasant French, German, Dutch, and Scan-\ndinavian buildings refreshing to see. How they got there one\ndoes not know. But still the manifesto accompanies it and\ninsists 011 \" mobility ' \\ u movement \" action\", as somehow\npushing in. This is an error : for movement belongs to one\nart alone—to the Dance, and it oveiflows into the Theatre.\nInto architecture it enters unexpectedly at times when the\nearth opens and swallows up a house or when busy money-\nmakers arrange for Houses to collapse : otherwise movement\nhas no place in architecture.\nAbout the only sensible piece of writing in the booklet\nis signed j. h."}, {"page_pdf": 40, "page_imprimee": "152", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.40", "texte": "REVOLT, BUT WITH DISCIPLINE.\nAND why that exaggerated cry of —\nwhy then the excessive show of indepen-\ndence, and the unnecessary Manifesti.\nRevolt without discipline—revolt from\nintolerable restraint—revolt from unendurable\nconditions—revolt from a slow death : may\nbe these are good reasons for revolt. But\nbecause this revolt is without discipline it is\nworthless.\nFascism was revolt with discipline ; was\nhuman,—man against machinery ; and therein\nlies all the difference.\nToday my dog still is a greater thing from\ntip to tail than any machine you can pro-\nduce.\nYOUTH AND THE MACHINE.\nSO much for what I, and probably you, think\nabout the machine; and all 1 have said\nis said because 1 know that you and I and\neveryone else want to taste life more not\nless ; and I know that the machine destroys\nthe taste of life.\nBut now hear what youth thinks of it all\ntoday, and then look back and see what\nyoung Byron thought of machines.\nAt Bagshot on June 30th i 927 a jour-\nnalist arrived at the camp organized by the\nY.M.C.A. in order to discover how the hun-\ndred and fifty lads collected there from all\nparts of the world would be feeling once\nthey got together and could compare notes\nabout putting the world right.\nHe tells us that after talking with them\nthey agreed that it is absurdly wrong, this\nworld ; but they couldn't agree as to how to\nget it right again.\n(You remember the story told by Tol-\nstoi....).\nThe journalist was present at half a do-\nzen discussions between these youths.\nOne from Germany asked a French lad\n(each was the spokesman of his group) What\nwould you do if the situation of 1914 arose\nagain ?\"; and the Frenchman, hesitating,\nadmitted that when a situation had reached\nthe 1914 point, individuals became back num-\nbers and the Government's decision to go\nahead and butcher was irrisistible and had to\nbe obeyed.\nA young American thought Christianity\nought to be able to do something: a\nScottish fellow suggested that Governments\nO D\nwere to blame for everything, and a Scandi-\nnavian argued that each land had the Go-\nvernment it deserved.\nSome others put all the blame on the\nPress.\nThe general feeling, reported our journa-\nlist, was that youth is in the hands of ma-\nchinery over which it has no control, and\nthat while they sit round their campfire to-\nnight with real good feeling and heaps of\nideals and will and heart, in the tomorrow,\nif called to, they may be flung at each other\nand seventy-five of them be throttling the\nvery life out of the other seventy-five\nfriends.\nThe passion for the order found in Nature\nis one thing: a passion for system devised\nby the mechanical mind is another.\nTo hold the mechanical mind in its place\nand not allow it to ramp about destroying\nlife is the task before the serious legislator\nof the immediate future.\n\nE. G. C. August. 1927."}, {"page_pdf": 41, "page_imprimee": "153", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.41", "texte": "THE ENGLISH PEOPLE DO\nNOT CARE ONE FIG\nABOUT SHAKESPEARE,-\nONLY AS HE FLATTERS THEIR\nPRIDE AND THEIR PREJU-\nDICES. WE ARE NOT SURE\nTHAT THIS HAS NOT BEEN\nREMARKED BEFORE, THOUGH\nWE DO NOT REMEMBER\nWHERE; NEVERTHELESS\nIT IS OUR FIRM OPINION.\nJOHN KEA TS."}, {"page_pdf": 42, "page_imprimee": "154", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.42", "texte": "A NOTE ON DRAMATIC CENSORSHIP\nBY BARRETT H. CLARK.\n\nC.\nI Write as an artist, who has not accepted her hospitality,\nsees America : and I write as an artist who kn°Ms\nwhat the American artist has to put up with.\nI am told that in America there has always been a large,\nlucky, influential, dollarish group greatly concerned with\nthe imaginary troubles of others. It has filled its spare\ntime (twenty-four hours a day) attempting to cure these\ntroubles.\nIt seems that the group found that good drink Mas\na trouble so it gave its day of twenty four hours to\nclearing away all the good drink a™d substituting bad\ndrink in place of it in order that the trouble might cease.\nThis unfortunately gave birth to a new trouble, and\nthen a regular litter of little troubles.\nThus a group is now finding that good Drama is a\nsore trouble to many so it wishes to stamp out good drama\nand supply the troubled one with bad drama.\nMr. Clark's short essay will do much to prevent\nthai, but the influential group will prevail in time. The\ndollar is still worth 4/1. Lucky group.\nMr. Clark says that America is the wealthiest nation\nin the world. Hmmm.... I cannot say whether he is com\nreel. It hugs its dollars so closely today it may well be\nthe Wealthiest. When it was poorer it fussed less about\nits wealth.\nAir. Clark says that some writers lie and that when\nhe catches one at it it depresses him. His brochure of\n37 nicely printed pages (0 is mostly about sex and the\ndust that is being raised in America about sex plays.\nWhat he says is Worth reading.\nFor that reason \" The Mask \" has obtained permis-\nsion to reprint it here.\nHe doesn't like Corns to ck or thai sort of Censor.\nI am glad of his way of thinking about the matter :\nbut I don't Wont problem plays to come back cigain :\nTd prefer Comsiock to that : for it would mean unleash-\ning three hundred incompetent play writers and allowing\nthem to air all their grievances on stages.\nWe don't want any more grievances aired on the\nstage—do we ? We had that a while ago, It nearly k*l~\nled the stage. A grievance and a tragedy are two different\nthings.\n\nI am setting down(I) a few ideas so trite that\nno one else has in the recent discussions\non censorship had the courage to state them.\nMy object is to try to clarify the issue. What\nare we discussing ? Essentially, the right of\nthe dramatist to use whatever material he likes.\nHow far can, may, and ought he to go in his\ntreatment of situation and character ? Ought\nhe, when he ventures to depict abnormal\ntypes or set before us extreme cases of human\nturpitude, to be held responsible to society,\nand be prevented if need be by the law ?\nYou will find sober critics, even those\nwho do not believe in censorship (like Mr.\nNathan) drawing the line somewhere. They\nwill tell you that \" certain subjects \" should\nnot be dragged into plays, and go so far as\nto maintain that it may be harmful to reveal\ncertain sorts of moral degeneration. But\nanyone who knows his history of art will rea-\nlize that any artist (provided he produces\na work of art) may, ought, can, and does take\nhis material where he finds it. A priori, the\nwhole world and everything in it, is open to\nthe artist. ! therefore respectfully claim that\nthere is literally nothing the dramatist may\nnot treat, and despite all the censorship that\nhuman ingenuity and jealousy and impotent\nrage can devise, nothing that he not treat\nif he wants to. Whether or not he treats it\nwell, depends on himself. We are not dis-\ncussing esthetics. Do you imagine for an\ninstant that a first-rate dramatist asks him-\nself, \" How far will they let me go? How\nmuch of the whole truth as I see it, will the\npolice allow me to tell ? No. He looks\nupon that part of life which he knows and\nexhibits it as well as he can. If he is a great\nartist, he is scarcely if at all concerned with\nmorals in the fundamental sense of \" cus-\ntoms This is why nearly every great dra-\nmatist has been condemned by his contempo-\nraries. You remember when Ibsen and Shaw\nwere first introduced among us? William Winter,\nof respected memory, became positively foul-\nmouthed and libellous in describing their\nplays. You recall what Anthony Com-\nstock said about Mrs. Warren s Profession ?\nThese men, remembered chiefly for their stu-\npidity and their savagery, were angry when\nIbsen and Shaw upset their little notions about\nthings. What Winter's background was 1\ncannot say, but let me quote what Comstock\nsays about himself. 1 take the following from\nMr. Broun's and Miss Leech's recent book:\n\" When 1 was a boy \", writes Comstock,\n\" I used to construct in the woods.... a stone-\ntrap. This was formed by taking a large flat\nstone and setting it up on one edge.... and\n\n(1) Copyright 1921, hy Barrett H. Clark. Revised\nspecially for \" The Mask \" and Printed here hy per-\nmission of Glenn Hughes, Editor of the University of\nWashington Chaphooks."}, {"page_pdf": 43, "page_imprimee": "155", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.43", "texte": "fastening it there by means of three notched\nsticks. The edge of one directly under the\ncenter of the stone was baited with a sweet\napple. The rabbit or squirrel nibbling the\napple would spring the trap and be crushed\nto death \". This was one of the reformer's\ninnocent recreations as a boy. He took his\npleasure throughout life by baiting traps and\nwatching the stone fall on his victims.\nToday we are not so seriously concerned\nover attacks on society and our political sys-\ntem. Sex is the great bugbear of the refor\nmers. Certain persons have taken upon them-\nselves the task of \" cleaning up the stage\nas they phrase it, of establishing juries and\ncensors to pass upon those plays which, in\nsomebody's opinion, might possibly arouse\n\" impure \" thoughts in the minds of the young.\nNow please stop a moment to consider this,\njust what does it mean? Those of you v/ho\nbelieve that plays like The Captive, or De-\nsire Under the Elms, or Sex, are conducive\nto immorality, presumably have some notion\nof what you mean. It is stoutly maintained\nthat the spectacle of immorality—meaning\nsexual \" irregularity \"—arouses in the minds\nof the immature a desire to imitate what they\nsee enacted on the stage. 1 don't think any\nadvocate of censorship or police interference\nhas ever admitted that he was himself sus-\nceptible to the allurements of sex as exhibi-\nted in plays. No, the reformers are sure of\nthemselves. But at the same time they are\nnot sure of other people. Now, may 1 ask\nhow they dare presume that if they are proof\nagainst such allurements, others are not so ?\nUnless these advocates of suppression will\nadmit that having passed beyond the age\nwhen sex interests them, they are none the\nless interested in its effect on those young\nenough to enjoy it! In this case, I can only\nsay they would make interesting patients for\nDr. Freud.\nBut the fact remains that these people,\nin spite of their own immunity from sex con-\ntamination, regard themselves capable of jud-\nging what will arouse \" impure \" thoughts in\nthe minds of the young. Well, I suppose it\nmust be admitted that the young have always\nhad \" impure \" thoughts; only we differ on\nwhat may be regarded as \" impure \". If the\nreformers say that certain plays do this, all\nwe can be sure of (because no one can tell\njust what any other person thinks and feels)\nis that they do it to the reformers. For this\n1 am perfectly willing to take their word.\nLet us go a step further. • When the cen-\nsorship advocates say \" impure \", they mean\nthoughts and desires connected with sex.\nWhen is a sex thought \" pure \" ? Generally,\nmorally speaking, when the object of such a\nthought is the husband or wife of the person\nwho thinks it. Right. But suppose an actor\nand an actress impersonating Mr. and Mrs.\nJones in a play, enact an erotic scene. This\nis quite all right—in life, in the privacy of\nthe home. But what of the effect on the\naudience ? Mr. Smith, sitting in the front\nrow, thinks that Mrs. Jones, on the stage,\nhas lovely shoulders, and his guilty thoughts\nwander far from the shoulders of his own\nwife, Mrs. S mith. An impure thought has\nbeen aroused in Mr. Smith. But this, bad\nas it is, does not concern the reformers, be-\ncause Mr. Smith is not an immature young\nperson who never thought about sex or had\nan \" impure \" sex impulse. But supposing\nMiss Smith, his daughter, goes to see the\nplay, admires the handsome Mr. Jones, and\nperhaps all unconsciusly imagines she would\nlike to be kissed by him? Vicious thoughts\nof this kind will lead, it may be, to vicious\nactions, and the play will have started the\ngirl on the downward path. The situation just\ndescribed is taken from a so-called \" clean \"\nplay. Here is no immorality, though it is\nof course possible to think \" impure \" thoughts\nabout a husband and wife. But take the play\nin which the hero is not married to the he-\nroine. Little Miss Smith, in the audience,\nsees a situation enacted which in life is con-\nsidered \" immoral \", for we are now assuming\nthat the leading man is in love with the lea-\nding lady. True, in most cases, the drama-\ntist shows that being in love with one's\nneighbor's wife leads to uncomfortable com-\nplications and usually precipitates punishment.\nAnd yet, an \" immoral \" situation has been\nexposed to the innocent mind of Miss Smith.\nIt is this sort of play that the reformers\nobject to, because young\" people have no\nconsciousness of sin, and because until the\nday of their marriage they have no sex im-\npulse whatsoever. Wherefore, plays that\nexhibit sinfulness, irregularities of conduct, in\na word, plays that arouse \" impure \" thoughts\nshould be prohibited or, after production, be\nstopped by the police.'"}, {"page_pdf": 44, "page_imprimee": "156", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.44", "texte": "To begin with, I challenge anyone to\nprove that any play has ever harmed anyone's\nmorals; I challenge anyone to prove that any\nyoung person has ever been aroused sexually\nthrough a play who has not already been\naroused by any of the innumerable sex sti-\nmuli outside the theatre. And even if such\nproof could be established, what of it ? God\nhelp the person who has never been so sti-\nmulated.\nWith shame I confess it: I think it a fine\nthing for young people to have sex emotions,\nand I know of very few things (besides living\nitself) that arouse them in a better way than\nthe theatre. Sex is a very interesting thing ;\nI am inclined to believe also that it has its\nuses. With more shame, 1 confess 1 find it\nextremely difficult to draw the line between\nthe various kinds of sex impulses and thoughts.\nI am indeed unable to make a nice distinc-\ntion between a \" pure \" and an \" impure\nsex thought. 1 may even add that 1 have a\nsneaking suspicion that all sex thoughts have\nsomething beautiful about them, except per-\nhaps the twisted impulses in the breasts of\nthose who presume to dictate to the young\nwhich are the pure and which the impure.\nBut the reformer is not concerned over\nthe pure and the impure ; it seems that to\nhim all sex is impure, dangerous, filthy, abo-\nminable. Life itself is a vast and complica-\nted snare with sex as the sweet apple, and\nthe police, the vice society, and censorship\nas the stone trap to crush us all to death.\nIt is not the stage that demands supervision,\nit is all of life. The dramatist will treat life\nas he sees it. Therefore it would be far more\nlogical to attack and suppress all sex stimu-\nlants. And what are these ? First, our bo-\ndies, when they are beautiful (and often when\nthey are not); pictures, books, poetry, soft\nspring nights, moonlight, holding hands, whis-\npered nothings between a boy and a girl;\nalas, nearly everything in life that is pleasant\nand thrilling. How small the drama looks\nbeside these things ! How infinitely petty is\nthe best lovemaking of a matinee idol com-\npared to the love scene we enact ourselves,\nwithout an audience.\nMy point here is simply that any effort\nto curb the dramatist in his treatment of sex\nis useless toward suppressing the sex impulse,\nbecause- plays are but one of ten thousand\nmeans of arousing \" impure \" thoughts. In\nother words, it is a hopeless task. Your ge-\nnuine advocate of censorhip (I except the\nsincere but misguided people who advocate\nsome supervision in order to avoid censorship)\nis then shortsighted and stupid, and it is rea-\nsonable to suppose that the censor he would\nimpose would be just as stupid and as shorts\nsighted.\nMy second point is that to temporise with\nthese advocates is both undignified and (tem-\nporarily) dangerous. 1 say \" temporarily \"\nbecause in the long run the artist will win\nout. But it may be that new dramatists will\nfor a time avoid treating certain aspects of\nlife, and be thereby deprived of a part of\ntheir natural inheritance. I believe further that\nall compromise with the reformers is unwise;\nthey are as unscrupulous as they are ignorant.\nPlay juries, extra-legal control of the stage,\nand the rest—these are only petty makeshifts.\nDo you want censorship, or do you not? It\nis foolish for us who love the theatre to con-\ndescend to argue the matter with those who\nhate and detest it.\nReally, it seems to me that the whole\nquestion is just this : do you care more about\nthe art of the theatre than you do about sa-\nving other people's souls? Granted, that is,\nthat people's souls can be saved by not seeing\n\" impure \" plays ? If you do, then you must\noppose all censorship. If, on the other hand,\nyou think that the remote possibility of pre-\nventing some young person from falling into\nsin is worth more than a beautiful play, you\nbelong among the reformers.\nPersonally, I am willing to let the young\npeople save their own souls ; I, for one, am\nhaving enough trouble to live my own life as\nwell as 1 can without bothering other people\nabout their salvation: but if it came to an issue,\nI can only say that I would take a chance on\nmy salvation, and let the dramatist do as he\nlikes. Personally, I am ready to deliver my\nimmortal soul into the hands of Sophocles\nand Shakespeare and Moliere and Ibsen,\nrather than into the hands of the leaders of\nthe Inquisition, Anthony Comstock, and his\nmilitant legions of the present day."}, {"page_pdf": 45, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.45", "texte": "TO ISADORA"}, {"page_pdf": 47, "page_imprimee": "157", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.47", "texte": "AND\nYET...\nI believe that not too seldom but too often\nhave writers in The Mask, held forth—\nyes, held forth is the phrase— unto the faithful\n; and the unfaithful alike, saying to them \" Don't\ngive in you critters—stick to it—never say die\".\nAnd yet.,...\nWhat are the conditions, what the precise\npoint in the torture, strain, foolery, whatever\nj you like to call the artist's trials, when you\ni permit yourself to say \"I want to die\"?\nYou have not failed, have vou ?— I do\naf\nnot suppose that; but anyhow, battles are\nlost in the same spirit as that in which they\nare won, says someone—was it not Whitman?\nYou are rather a success. You, for\nexample, have twenty-five years of active\nservice to your credit; have been hailed by\ntwo continents as a marvellous performer—\nhave heard thunders of applause (it's thunde-\nring as 1 write this by the way; —it is Sep-\ntember 15th and some bad news has appeared\nin the papers about one of our most loved\nartists) ; you have had three or four motor\ncars in your life, about half a million of\nmoney to play with, all the adoration you\nwanted, ...losses and gains, sorrows and joys\n....and yet you say you \" want to die \".\nBut I have been looking through the\nwrong window, one of the first-floor-front.\nUp high er then,— let us peer through a sky-\nlight on the fifth-floor-back.\nYou are quite as great a success only\nnot a sensational one. You are a success\nbecause you are an artist. You are painting\npictures which no one wants, but then that\nis nothing new: for they never did want\nthem.\nNever has the public — nor the patron\nof these last hundred years or so, wanted\nwhat you can do. Hardly ever is more\ncorrect. 1 recall two or perhaps three in-\nstances, but these were within an ace of\nbeing tragedies. Somehow the thing was\naverted.\nBut your pictures are not wanted, and\nyou have no talent for advertising your goods.\nYou are rather shy.\nBut you have lived fifty years now, so\nyou have passed the gnawing periods and\nyou don't give a damn; patron or no patron,\nyou have found a way how to get enough\nto live on. You sell pot-boilers for a living,\nfrom which you amass £ 150 a year: you do\nyour pot-boilers in three weeks, and after\nthat you do as you like.\nBut you are a sound enough being, for\nyou don't desire motorcars nor expensive\napartments nor swagger food — nor anything\nif it comes to that.\nMidway between your attic and the luxury-\nloving artists on the first floor there is living\nsome one more moderate than either of you\ntwo extremes; he is on the third floor front.\nHe writes: he manages to do something\nelse for a living —he photographs pictures,\nprints, manuscripts in the museums.\nHe makes £ 500 a year—isn't married —\nwrites when he chooses ; is altogether a fine\nartist, writes with genius, and is entirely\nmaster of his fate.\nThat's the artist 1 like.\nI love the others, all right — but it's the\nsensible man on the third floor, the moderate\none every way, calm and never to be per-\nturbed, whom I admire.\nThe notion that a hectic existence is\ninevitable to a genius, that a sensational\ncareer is agreable or necessary, and a tragic\ndeath like Eleonora Dose's a sine qua non,\nis absolute bunkum\nThe hectic sensation and tragedy go not\nwith the artist but with those who are ambi-\ntious beyond their powers : who are discon-\ntent, who have been fools enough to accept\nthe applause of the crowd and who have\nenjoyed playing to the crowd and on the\ncrowd; in short, who, though great artists,\nhave estimated themselves and their persona-\nlities as more than their art.\n■\nThey set an example not to be follow-\ned, for it is possible to fight for twenty\nyears, thirty years, forty years as did William\nBlake and not give in; but you had best\nnever flaunt along ; never forget that you are\npractically nobody, and if possible die singing.\nAnd yet...... YOO IVO HOO,"}, {"page_pdf": 48, "page_imprimee": "158", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.48", "texte": "COLORIFIC MUSIC\n\nAND ITS EARLY PROTAGONISTS\nJ. B.\nIT was, I think, in 1910, that I heard Scria-\nbin in Moscow playing certain musics on\nhis piano. Baltruschitis had taken me to see\nhim. Scriabin was trying to work cut, or had\nalready worked out, some scientific artistic\nproblem about the relationship of colour and\nsound.\nHe struck a note and turned on a switch\n44 Blue \", he struck another and turned off\nhis blue and turned on 44 Red ; and now\nM. E. Fromaigeot is talking and writing of\nthe 44 Mystery of coloured hearing.\nIn 1908 I believe Lady Archibald Camp-\nbell was concerning herself with colours and\nsounds, and in 1925 44 Music in coloured\nlight \" by A. Lazlo appeared in Leipzig ;\nand Dr. Anchutz is another of those who\nare studying along these lines.\nBut somewhat earlier—in 1776 — appeared\na book by a certain W. Hooper M. D. in\nwhich is a chapter called 44 Colorific Music \".\nI give it here and you can judge for your-\nselves whether it is in any way related with\nthe recent (150 years too late) discoveries.\nRATIONAL ! RECREATIONS, | In which the\nPRINCIPLES of | NUMBERS AND j NATURAL\nPHILOSOPHY | Are clearly and copiously\nelucidated | BY A SERIES OF j EASY, EN-\nTERTAINING, INTERESTING | EXPERIMENTS |\nAmong which are j All those commonly per-\nformed with the Cards. ( By W. HOOPER,\nM.D. ! VOL. II. | LONDON | Printed for L.\nDavis, Holborn; J. Robson, New Bond-\nStreet ; j B. Law, Avemary-Lane ; and G.\nRobinson, Pater-noster-row. i MDCCLXXIV.\n\nRECREATIONS XLII.\nColorific Music.\nFATHER Castel, a Frenchman, in a curious\nbook he has published on Chromatics,\nsupposes the note ut to answer to blue in\nthe prismatic colours, the note re to yellow,\nand mi to red. The other tones he refers\nto the intermediate colours, from whence he\nconstructs the following gamut of colorific\nmusic.\nUt * Blue\nUt sharp Sea-green\nRe Bright -green\nRe sharp Oiive green\nMi Yellow\nFa Aurora\nFa sharp Orange\nSol Red\nSol sharp Crimson\nLa Violet\nLa sharp Blue violet\nSi Sky blue\nUt Blue\n€f This gamut, according to his plan, is\nto be continued in the same manner for the\nfollowing octave, except that the colours are\nto be more vivid.\nHe supposes that these colours, by stri-\nking the eyes in the same succession as the\nsounds, to which he makes them analogous,\ndo the ear, and in the same order of time,\nthey will produce a correspondent sensation\nof pleasure in the mind, it is on these ge-\nneral principles, which F. Castel has inge-\nniously dilucidated in his treatise, that he has\nendeavoured, though with little success, to\nestablish his ocular harpsichord.\nThe construction of this instrument, as\nhere explained, will show that the effects\nproduced by colours by no means answer\nthose of sounds, and that the principle rela-\ntion there is between them, consists in the\nduration of the time that they respectively\naffect the senses.\nBetween two circles of pasteboard, of ten\ninches diameter, AB and CD (Plate XIV.\nFig. 2.) enclose a hollow pasteboard cylinder,\neighteen inches long. Devide this cylinder\ninto spaces half an inch wide, by a spiral\nline that runs round it from top to bottom,\nand devides its surface into six equal parts\nby parallel lines drawn between its two\nextremities, as is expressed in the figure.\nLet the circle AB, at top, be open, and\nlet that at bottom, CD, be closed, and sup-\nported by an axis or screw, of half an inch\ndiameter, which must turn freely in a nut\nplaced at the bottom of a box we shall pres-\nently describe. To the axis just mentioned\nadjust a wooden wheel G, of two inches and\na half in diameter, and that has twelve or\nfifteen teeth, which take the endless screw H.\nLet the cylinder be enclosed in a box ILMN"}, {"page_pdf": 49, "page_imprimee": "159", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.49", "texte": "DIAGRAM FOR THE CONSTRUCTION OF THE OCULAR HARPSICHORD.\n\n(Fig. 3.) whose base is square and at whose\nbottom there is a nut, in which the axis F\nturns. Observe that the endless screw H,\nshould come out of the box, that it may re-\nceive the handle O, by which the cylinder\nis to be turned.\nThis box being closed all round, place\nover it a tin covering A, which must be\nperforated in different parts ; from this cover\nthere must hang three or four lights, so pla-\nced so that they may strongly illumine the\ninside of the cylinder. In one side of this\nbox (which should be covered with pasteboard)\ncut eight apertures a, b, c, d, e,\nf, g, h, of half an inch wide,\nand one third of an inch high;\nthey must be directly over\neach other, and the distance\nbetween them must be exa ctly\ntwo inches, it is by these\nopenings, which here corres-\npond to the musical notes,\nthat the various colours ana-\nlogous to them, are to appear;\nand which being placed on\nthe pasteboard cylinder, as\nwe have shown, are reflected\nby means of light placed\nwithin it.\nIt is easy to conceive,\nthat when the handle O, is\nturned; the Cylinder in con-\nsequence rising half an inch,\nif it be turned five times round,\nit will successively show, at\nthe openings made in the side\nof the box, all those that are\nin the cylinder itself, and\nwhich are ranged according\nto direction of the inclined\nlines drawn on it. It is there-\nfore according to the duration\nof the notes which are to\nbe expressed, that the aper-\ntures on the cylinder are to\nbe cut. Observe that the\nspace between two of the pa-\nrallel lines drawn vertically on\nthe cylinder, is equal to one\nmeasure of time, therefore for\nevery turn of the cylinder, there\nare six measures, and thirty\nmeasures for the air that is to\nbe played by the instrument.\nThe several apertures being made in the\nside of the cylinder, in conformity to the\nnotes of the tune that is to be expressed, they\nare to be covered with double pieces of very\nthin paper, painted on both sides with the\ncolours that are to represent the musical\nnotes.\nThis Recreation might be executed in a\ndifferent manner, and with a much greater\nextent; but as the entertainment would not\nequal the trouble and expense, we have\nthought it sufficient to give the above piece,\nby which the reader will&e enabled to judge"}, {"page_pdf": 50, "page_imprimee": "160", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.50", "texte": "how far the analogy supposed by F. Castel\nreally exists.\nThis article is taken from M. Guyot, who\nthough he commends the good father's in-\ngenuity and industry, attributes but little\nmerit to his scheme not having seen. Not\nhaving seen F. Castel's book, we cannot pre-\ntend to judge of the merit of his plan. It is\nevident, however, from the foregoing Recrea-\ntion, that there is a much stronger relation\nbetween sounds and colours than M. Guyot\nseems to imagine.\n\nPLATE XIV. p. 166. Page 159).\nFig. I. A ray of light largely reflected into\nthe spectrum PT, the divisions of whose co-\n. lours correspond to the divisions of a chord\nfor the notes of the octave.\nFig. 2. & 3. The machine for exhibiting\ncolorific music. The shaded parts in Fig. 2.\nrepresent the* colours. F. is the screw on\nwhich it turns, G a wheel that is moved by\nthe endless screw H.\nHg. 3. Is the case that contains the cy-\nlinder. The eight shaded parts in the middle\nare the holes through which the colours on\nthe cylinder are seen; O the handle that\nturns the endless screw.\n\nKEEPING IN TOUCH\nBY HADRIAN JAZZ GAVOTTE\n\" pvON'T you feel you are rather out of\n1 J touch with things living so far away \"?\nsaid Sir j. J. to me in the August of 1922,\nand in the evening he told me about London—\nLondon in 1913 before the war. Talk of\nLady this, Lady that, Baroness So and Mrs.\nSuch: of these and of Covent Garden Theatre,\nand of teas, and of quarrels between him\nand—some others.\nI listened with care and reverence to these\nthings of the great world. I listened for\nan hour; and 1 found myself saying to my-\nself, \" Yes - you are losing touch with a very\ngreat world indeed \".\nSince then I've been thinking, it over\nmore and more carefully in my off moments,\nand I really believe I am getting out of\ntouch, ....with some eight thousand things which\nmatter to eight hundred thousand people.\nThere is Yorkshire, for example,—its\nhams, its moors, its moods and strange fine\npeople.\nSeven thousand are in touch with its\nhams, five thousand with its moors, five with\nits moods, nine with its people.\nThere is Lancashire ;—anc! to cut it short\nthere are the forty-four counties of England\n(not Counting Wales) and I'm almost out of\ntouch with them all.\nAs you are too. And you are living in\nLondon close to these places,... close yet out\nof touch. You are far away from Liguria,\nthe province I live in .... far away and out of\ntouch\nBut the daily and weekly papers from\nall parts of the world reach me, thirty or\nforty a week. You get as many I dare say.\nWell, let us admit that we are both out oi\ntouch with the three thousand journals we\ndon't get.\nWe two, you and 1, are in touch with\n\" The Mask \" ; but think of the thousands\nright in the centres of London and Paris who\nare out of touch with \" The Mask \".\nAre you perhaps absolutely in rapport\nwith what is going on in the world of in-\nvention ?—1 don't mean the social gossip of\nour capitals but with engineers and scientists\nwho invent new wonders to keep the world\nin touch with something it might otherwise\nmiss ? You know an engineer, two scientists,\nand they have no time to tell you what's\ngoing on so 1 fear you're out of touch there.\nSo am 1.\nDoes the King of England, does the\nPope, know of the remarkable book you\nhave just written, published, and which is\nnow \" remaindered \" ? Never heard of it;\n—so you see the King and the Pope are\nboth out of touch. After all 1 don't think\nit much matters whether one is in touch\nor no. '"}, {"page_pdf": 51, "page_imprimee": "161", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.51", "texte": "THE WHICH ONE\n\n\" . . . . though it maizes the unskilful laugh, cannot\nbut the judicious grieve ; the censure of the which\none, must, in your allowance, o erweigh a whole theatre\nof others Hamlet : Act. III. Sc. 2.\nHAMLET told the actors at Elsinore that\nthey should take heed of the censure\nof the one rather than the plaudits of the\nmany, but if Hamlet had been an actor I very\nmuch doubt if he would have taken much heed\nof him. F or the censorious one has such an\nawkward way of selecting the wrong time\nand place for his cruel kindness.\nIf an actor has time to suffer quietly and\nrecover at home after a dressing-down admi-\nnistered by the which one, well and good ;\nbut if he has no time allowed him, if the\nwhich one gives it him in front of 3000\nspectators, then (if i am to be an actor) the\nidiotic plaudits of the many for my money. I\nconsider the other fellow a blighter.\nHow I come to be so critical of myself —for\n1 am a censorious which one — I will tell you.\nI was supposing myself to be a rather\nclever clown, (one of those quiet philosophi-\ncal, not unintellectuai clowns) and I supposed\nmyself repeating for the tenth or hundredth\ntime my quiet quirks from the little raised\nstage which runs in front of my booth.\n1 was getting along rather well when I\ncaught sight of '' the which one \". That\navis was an unusual looking man. He had\nstopped as he walked brushing the outer edge\nof the crowd of about thirty spectators, and\nhe had turned towards my platform, and it\nseemed to me that he showed signs of ap-\nproval ; I mean he had stopped short and he\nwas listening.... it was something.\nHe had a broad well shaped forehead,\ncalm and lively eyes, a well shaped mouth\nand firm chin; 1 noted all this as I went on\nwith my patter. ...I went on with it without\ninterfering at all with my speculation as to\nwho this one could be. 1 guessed him a\nwriter, perhaps a writer on science, yet he\nhad the kindly look of a musician. Perhaps\nI thought of musicians because 1 was telling\nthe spectators that love could be but a silly\nsort of thing if it could feed on music ....it\nprobably was this which put me in mind of\nmusicians, for the notion only lasted a mo-\nment, and when I next looked in his direction the\nkindliness was gone : he now wore the severe\nlook of a doctor, as of one about to operate.\nThen he cut. 1 did not cry out, but I\nfelt I had winced. His expression had said\nNo good \". He then turned and disap-\npeared and I never saw him again.\nHe was the only one that had turned\naway; at the moment he turned I said some-\nthing about beer so as to try and hold him, and\nthe crowd had roared with spluttering joy.\nTheir gurgling was agony to me,—it seems\nto be my own cry, mirthless and terrible : it\nmade me feel sick and faint. I finished\nthe show somehow, and counted up my mo-\nney, in my tent—1 heard the everlasting sound\nof feet which crunched, slipped, plodded or\ntoddled by outside and the cries of rival\nshowmen announcing new lions ; and still I sat\non and on. I was thinking only of this one face\nwhich had been so cruel.... \" the which one \".\nI came at last, but only after an hour and\na quarter of pain, to tell myself that anyhow\nhe was quite unaware that I had noticed his\ncoming, his pausing, and his going, and that\nhis censure had been quite unintentional—\nnot intended to stab me— ; but to arrive at\neven this vague and flimsy bit of hope I had\nto pass through a most wretched time—one\nof the most miserable hours in my life,\nI think he will never know that I had\nread the expression of his face, which said\nthe verdict is—no go \".\nAfter this experience how am I to be expected\nto gush over Shakespeare's and Hamlet's ad-\nvice to the players ? 1 think it fatal advice :\nfor ever since the day when\nstopped before my show, I have lost courage\nand in a week from now I am to retire: I\nam a failure as an actor.\nIt's easy enough for you who read those\nseven .words to keep up your spirits, for you\nare ignorant of what they. mean. I assure\nyou it is misery to me to write them. For\nI was a man of talent, I was slowly deve-\nloping that talent; all was, I can say, going\nstrong ; until he came, the which one whose\ncensure I am to allow to over-weigh the\ngood opinion of the thousand jackasses who\nhave in the last eleven years always found\nmy work good.\nI don't blame them, though now I know\nthey were perfect fools to deceive me, to\nlaugh at nothing, to clap their hands, and,\nwhat is worse, to waste their money on me."}, {"page_pdf": 52, "page_imprimee": "162", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.52", "texte": "The censure of \" the which one \" is all\nright, laddy, but don't you take any notice of it.\n1 was supposing myself a clown when\nthis occurred to me, and I merely a critic.\n\nEDWIN WITHERSPOON.\n\nTHE ENGLISH STAGE\nC. G. SMITH.\nTHE English Stage is still where it was\nsome twenty-five years ago; still hesita-\nting as to whether it should or it shouldn't.\nExamples of its fear : —\nMrs. Patrick Campbell ; should she or\nshould she not be permitted to inspire a\ntheatre or two towards something worth while\n— or isn't it safer to let her wander into the\nprovinces ?\nMr. Fred Terry: — isn't he best out of\nthe way at Liverpool or York ?\nIs not Sir J. Martin Harvey far safer\nworking up at Huddersfield and Wigan ? —\nMr. Barker — ah! Barker! ! yes, clever\nfellow: is \"well off now: let bin stay in\nGloucestershire or wherever he is. Craig ?\n— in Italy : ail the better. Poei ? — what,\nthe old Elizabethan chap ? No good anyhow.\nBasil Dean? ...let him go and waste his\ntime and make money with the Movies:\ndon't need him. Miss Gertrude Kingston ?\n....and so on and on through the whole list\nof people with brains and talent.\nWho says all this ? ...who is head of\nour English Theatre ? Is there any head ? it\ndoesn't look like it. What group, then, rules\nthe roost ? Why is it so inane as to suppose\nthat the English stage can afford to say\n\" Let the talents go hang — Call in the\nAmericans : let the theatres to anyone, every-\none, never mind who : — let us get on\nFor von cannot get on without the talents.\nAll you do is to roll back — downhill.\nThe British Stage is certainly rolling\ndown, and the full honour of this is presumably\ndue to some one or some group.\nThey tell us that it is due to Sir Gerald\nDu Marnier; to Miss Baylis; Miss Thorndike;\nMr. Oscar Asche; to Messrs Moss, Boss,\nStoll, Butt and Co; to Mr. Gulliver; Miss\nMary Moore and her group ; to Mr. Play fair\nand his group; or to The British Drama\nLeague : these, one is told, have ail entrenched\nthemselves in London and are letting this\nhappen.\nThey put it down to these because they\npoint out that most of these are \" intelligent \"\npeople who are somewhere at the head of the\nprofession, and that it must be due to their\nshort-sighted and narrow-minded policy that\nthe slow destruction of the English Theatre\nis carried out with such grim precision.\nThey are there — that's sure enough.\nA large and presumably able group of\nmen and women, somewhat disunited, produ-\ncing, acting, making money, or \"a little less\nmoney \" or a little more; without a compass\nto guide them; with many a disjointed notion\nof many an ideal to be followed and power-\nless to follow one. This is the advance\nguard of the Theatre Profession in London.\nIt seems to be at sixes and sevens.\nSome leader is needed if the British\nStage is to avail itself of its immense re-\nsources. At present these resources are being\nsquandered. The British Stage is like old\nPekin, pillaged each year by everyone and\nanyone. There is no one, it seems, but will\nsell the place —on the plea of \" expediency \".\nOur resources in money, men and energy\nare immense. These are all being wasted.\nEnergy is put into all kinds of attempts to\nforward some rather good notion or other. Ail\ncomes to nothing in twelve months or sooner.\n©\nBasil Dean at Drury Lane, for example.\nIt was an error to place him there: but it\nwas sheer weakness not to stand by it and\nkeep him there and test the experiment tho-\nroughly once the step had been taken. To\nbe rid of him in the way it was done was a\ndirty trick.\nThe Stratford-upon-Avon affair is being\nquite thoroughly mishandled — because the\npowers that be (or pretend to be) are unable\nto tell Stratford what it has to do or to see\nit done.\nEveryman Theatre! ...a fantastic error to\nstart it, but once started it should have been\ncarried through.\nCompetent men (if not men of talent)\nare pushed into places they cannot fill;\nand, when there, the support they relied on\nis pulled away from under their feet.\nWhen is this inane and mischievous po-\nlicy going to give place to a decent one —\nthe policy, of supporting all the brains and\n.1 . 1 .\nthe talents ?"}, {"page_pdf": 53, "page_imprimee": "163", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.53", "texte": "CORRESPONDENCE.\n\nE. LYLIE.\nSIR:\nIf you want to know what the educational world of\ntoday regards as being as simple as A, B. C. just look\nat the enclosed cutting from the catalogue of the leading\nfirm of publishers with a fine handsome new building in\nHolborn. You might think that \" C for Cat \" is simple,\nbut the modern child is supposed to want something more\noriginal and so Is given apparently, <( C for Lemon \"\nwhich the teacher may explain is sometimes called \" Ci-\ntron \".\nQ seems at first glance to stand for \" Cubes \" but as\nthat cannot be we may conclude that it is meant to be\n\" Q for Quadrangles '' though why the quadrangles should\nall be square even a three-year-o!d may be .excused from\nwondering. I showed one child the \" U for Urn ;\nhe used his eyes and said very wisely U for Egg-cup\nAfter this I fear that my A. B. C. is not nearly com-\nplicated enough to please them. They don't think that\nthey are learning anything unless they are taken through\ntortuous ways. Faithfully\n\nED.\nWE reproduce twelve of the twenty five letters, Ois\nfor order but what is this order ? ft is cal-\nled the Kindern Alphabet set ; why not the Chil-\ndren's Alphabet ? Kindern is the German word for Chil-\ndren wis it not ? Is Holborn being quite fair to\n•tself ?\n\nFOREIGN NOTES.\n\nTHE GATE THEATRE, LONDON\nC. L.\nTHE Gate Theatre, after various delays, is now getting\nto work in its new home in No. 16a Villiers Street.\nThe new building has been taken on a long lease, and\nwill seat about 250 people.\nThe stage has been enlarged, its equipment improved\nand an entirely new lighting system has been installed.\nIn the new \" Gate as in the old, there is a Coffee\nBar and Foyer always open to Members of the Stu-\ndio after 4.30 p. m., and where playgoers meet and\ntalk theatre before and after the performance. Theatrical\nmagazines—The Mask being always prominent—weekly\nreviews and new books about the theatre and its allied arts are\non hand for the use of Members. Writing materials will be\navailable, and refreshments, are sold at very moderate prices.\nThe production of plays is entirely under the direc-\ntion of Peter Godfrey, whose work during the past two\nyears has brought London at last into practical contact\nwith the new art of the theatre as practised on the Con-\ntinent and in America since the war, and whose avowed\npurpose is that of \" developing artists in the theatre by\ngiving them the chance of experimenting freely before an\naudience interested in the advancement of ihe theatre \".\nThe following is an extract from an \" Open Letter to\nmembers of the Studio \" issued by the managers, Mr. Peter\nGodfrey and Miss Velona Pilcher.\nMEMBERS have no doubt observed from the Papers that\nthe Gate has been going through a series of calamities\n— calamities so continuous as to be almost comic. Our trou-\nbles began on the day when the District Surveyor called at\nthe new playhouse in Villiers Street and condemned it unless\na cement floor was put in. So the stage and seats, all ready for\nthe opening night, had to be pulled down ; the work wasted ;\nthe wood scrapped ; and a cement floor—on which all struc-\ntures shall be of fireproof material —is now hardenin g. The\nworst therefore is over.\nThe letter further points out, that owing to all these\nexigencies, for a time at least,—\n41 The circumstances of The Gate will be very straitened\nindeed, and conditions of existence strained. Members will\nunderstand that the expansive and expensive changes deman-\nded by the Authorities were not included in the modest budget\nwith which the new playhouse was planned. Fortunately,\nous credit is good. We need not ask for money. But may\nwe not ask Members of the Studio to take an honest interest\nin a difficult endeavour? Will our audience play it's part in\nour performance? Promptly take the Prompter's signal and\nsave the show ? The cue is simply this-That old Members be\neager in getting new Members and all Members be early in\nbuying their seats \"\nADMISSION to the Gate Theatre Studio is open only\nto Subscribers (that is Members of the Studio and\ntheir Guests), but the terms are so moderate that you really\nget something for nothing at the Gate.\nYou remember the old saying: —\n\" Your mother and your sisters are waiting at the gate\nEnter not them Portials—pause, before it is TOO LA TE \".*\nbut, if you want to enter them, make haste and write\nto The Secretary, 16a Villiers St. Strand, —and all cheques\nshould be made payable to The Gate Theatre.\nDon't for God's sake forget that. Write the cheque\nnow. Write it for £ 100 and you'll feel awfully fresh\nand jolly. Whet's £ 100 to you?\nYou needn't go and see the plays, you know. Who\non earth ever wants to see or hear a play ? You say\nyou do — I don't believe you. It's English we are talk-\ning, you know"}, {"page_pdf": 54, "page_imprimee": "164", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.54", "texte": "BOOK REVIEWS.\n\nTHE UNPUBLISHED LETTERS\nOF CHARLES DICKENS TO\nMARK LEMON. Halion & Trus-\ncott Smith Ltdy Price 42/-.\nCHARLES DICKENS AND\nOTHER VICTORIANS by Q.\nCambridge University Press. Price\n10/6 net„\nWHEN CRUMMLES PL A YED,\nwith an Introduction by F. /. Harvey\nDarton. Chapman & Hall Ltd, Price\n3/6 net.\nWHAT a delight it must have been\nto have lived in Cambridge as\na young student a year or so ago (when\nit was rather less rainy too) and to\nhave been privileged to listen to the\nhappy lectures of this boyish, spirited\nprofessor, Sir Arthur Quiller Couch.\nThese lectures, now published in a\nbook, form one of the most pleasant\nbooks you will ever want to read. It\nwill please you to see how simply and\nhow humanly the professor addresses\nthe students assembled courageously to\nlisten to a dry talk on English Lite-\nrature. You can imagine how surprised\nand happy these fellows became on\nperceiving that the talk was to be\nbrilliant and young, easy to follow,\nand sufficiently profound after alb\nSome will hardly suppose that to\ntalk of Mr. Micawber and of Fagin\ncan fail to bore : others will wonder\nwhat brightness can come out of the\nconsideration of Charles Dickens, the\nrather vulgar, very sentimental writer\nwho found it intolerable to go on\nliving with his wife :—and who became\ndespite of that once so horribly popular.\nBut now everything is against a\nfervid revival of the old interest in\nDickens.\nIt doesn't matter in the very least,\nbecause even the sea has lost greatly\nin popularity these last twenty years\nor so. It is only the pyjamas by the\nsea which count,— these the clou to\nthe whole reason of nature and life,\nLet us add some machinery har-\nnessing the waves and I think I shall\nbe just.\nDickens and the sea, and Tennyson,\nand Byron and Benvenuto Cellini are\nall a little out of date, 44 Benvenuto\nwas, it is to be feared, rather medio-\ncre as an artist \" wrote a critic only\nlast month. Shakespeare is not quite\nas excellent as he ought to be, think\nthose who sit round the fire on winter\nevenings cutting out all that is really\nnot quite good: Leonardo da Vinci\nis terribly over-rated one is told ; I\nhad to stop reading Robinson Crusoe\n(and I am rather a gcod reader) to a\nfriend who wasn't listening. It is true\nthat Crusoe is best read to oneself,\nso possibly mine was the error here.\nI had to stop reading a play by\nG. B. S. ...and to myself tco; truly the\nworld must be coming to an end.\nYes —an end of a chapter, and\nthere are probably three thousand\nmore chapters, everyone of which will\nbut be the old story rewritten.\nDicken's devotion to the stage was\na life-long devotion. Once he had\nwished to be an actor and wrote to\nBartley the stage-manager of Covent\nGarden Theatre and very nearly became\na professional actor.\nLater in life he became a very\nserious Amateur stage-manager : and\nthe sumptuous volume edited by Mr.\nWalter Dexter containing the letters from\nDickens to Lemon tells us all about\nthis.\nft is indeed a very sumptuous book,\nprinted in a large type with original\ntouches all over the composition, on\nexcellent thick paper, (thick paper is\nseldom good but this is) and bound\ngorgeously in crimson cloth and real\nvellum backs and corners.\nTo me as a student of Theatrical\nhistory it is something to be grateful\nfor, the production of this series of\nletters with some of the letters inserted\nin facsimile, so precisely in facsimile\nthat I took one to be a loose letter\ninserted by the bookseller or pub-\nlisher, and began to read it as such.\nIt is also illustrated by reproduc-\ntions of the Programmes of the Dickens\nPrivate Theatricals.\nYou can judge of the crowd he\ncollected as co-workers when you\nglance at these programmes and find\nthere the names of John Tenniel,\nCharles Knight, Douglas jerroid, John\nForster, R. H. Home, Wilfcie Collins,\nJohn Leech, Mrs. Cowden Clarke and\nGeorge Cruickshaok.\nAnd for scene-painting he had the\nwork of Thomas Greve* Mr. Telbin,\nClarkson Stanfield R. A., Mr. Ro-\nberts R. A,, Pitt, Absolon and Louis\nHaghe, all doing a scene apiece for\none night's performance. What a jolly\nfellow Dickens must have been.\nThe book is rather a rare one for\nony 525 copies have been printed,\nso if y. u, gentle reader, are in Ame-\nrica I advise you to hurry up and\nwrite for one at once to Halton &\nTruscott Smifh Ltd. whose address is\n57 Haymarket, London. It costs forty\ntwo shillings and is worth twice that sum.\nSome of our more famous publi-\nshers will have to wake up, for some\not the lesser known publishers are\ndoing better work than they: and if\nbefore long we forget Messrs Dash\nand Sons and have only room in our\nlibraries to house the noble books of\nthe Nonesuch Press and these rich\nvolumes of Messrs Halton 6c Tiuscott\nSmith and Mr. Peter Davies and the\nother new-comers, it will be no one's\nfault but that of Messrs Dash and Sons.\n44 When Crummies Played \" is a\nlittle inoffensive volume but is unwor-\nthy of the great house of Chapman\nand Hall. It might easily have been\nprinted on better paper and with\nbetter illustrations and for 2/6. ie, one\nshilling less.\nYes, the old Firms must wake up.\n\nANNALS OF THE NEW YORK\nSTAGE by George C. D. Odell.\n2 Volumes. Columbia University\nPress, New York• Milford, Oxford\nUniversity Press, London. Price 45 -\nnet each volume.\nIIWIMIIHHM—B—IMIIM ■nil !!!■■ I—IIII Hill——E» «|l H—mnail II Ml II HI II ■llfliiriWIllllLl.l.WII.IBa kWlWIWIHHI\nAT last a really good report has\nbeen made of the half of the\nannals of the New York stage; — I\nsay half, for the Lyric stage would\nseem to have been ignored by Mr.\nOdell or by America, as the first al-\nlowed his pen 44 to glide happily\nalong \" or the second went to sle^p.\nOne can see at once that Mr. Odell\nhas been very happy, for it is an easily\nwritten book."}, {"page_pdf": 55, "page_imprimee": "165", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.55", "texte": "It was, he tells us, intentional when\nhe 44 discarded the mechanism of foot-\nnotes, bibliographies and other scho-\nlarly impedimenta \" : he has tried hard\nto make the two large volumes enjoya-\nble reading. That he fails to succeed\nis not because he does not do every-\nthing he possibly can do to lighten the\nordeal. And it really is a good big\ncrdeal to face these volumes smiling.\nMr. Odell smiles to help us: he\nchortles now and again : he even digs\nus, on rare occasions, in the ribs. He\nis cheerful to jauntiness —as indeed\nwho would not be who sat down to\nrecord the almost daily doings of all\nthe performers, entertainers, and cu-\nriosities which came upon the New\nYork Stage in those days.\nThe record is an amazing one.\nMr Odell has more than adequately\nrepaid the debt of pleasure which he\ntells us he incurred in many happy days\nof playgoing. Nothing could be more\nhonourably done.\nPersonally I enjoy a History which\nis full of the discarded 44 footnotes,\nbibliographies and other scholarly im-\npedimenta I prefer a more sober,\nif duller, report—unless it be written\nby Charles Lamb, and then sobriety is\nout of the question.\nBut there was a great danger in\ndealing with these Annals in any but\nMr. Odeli's lively way, for the facts,\nanecdotes, achievement and failures at\nhis disposal are such poor spirited\nthings, he had no choice but to burn\nthem up with a chuckle or two. One\nis all through chilled by the realiza-\ntion that some of the very worst ta-\nlent Europe could produce went over\nto America—and when it was first\nclass, as in the case of Edmund Kean,\nsomething went wrong with the recep-\ntion of it. The Americans were rude.\nThe plays and actors which Ame-\nrica itself produced, were but very\npoor imitations of what it took to be\nthe best European goods. The record\nso far—presumably other volumes are\nto appear—consists of 1086 pages of\namazingly well collected and well or-\ndered facts not worth recording.\nIt is as though some one should\ndeal exhaustively with the Annals of\nthe Coatbridge Theatres. Possibly\nMrs. Siddons once visited Coatbridge\nbut what else worth while is to be\nrecorded? Never mind, says the his-\ntorian, record it all\nIt is right that the record should\nhave been made in the case of New\nYork City. The book will of course\nbe of invaluable service. Mr. Odell\neven records the concerts and some-\ntimes is at his happiest when doing so.\nOf a conceit in 1794 he writes:\n44 I suppose youthful ears could not\nconsume quite a dollar s worth of\nmusic. Furthermore Iam Willing to\nbelieve that Phillips knew whether or\nnot his name was written with one I\nor two; the newsprints of the time\nstaggered in uncertainly as to the\ndoubling of the liquid. I also blindly\ngrope. In the same way all my mind\nis clouded with a doubt as between\nDu Champ and du Camp, in para-\ngraphs immediately forthcoming. O re a\"\nder, that Eighteenth Century spelling\nand o the dubiety it entails in aw\nthors and editors I Alack / Alack /\n, The two volumes bring the reader\nup to the year 1821, and, by the\nhelp of a very thorough index to each\nvolume, we can find everything we\nlook for in an instant.\nMany interesting illustrations enrich\nthe work, some of which have been\ndrawn from the collection at Harvard\nUniversity, though why the Frontis-\npiece of 44 The Fool's Opera \" is in-\ncluded when no mention of Opera or\nthis opera is in the index, and only\nthe slightest allusion made to the said\nbook, leaves me puzzled.\nAnd I am unsatisfied when, on turn-\ning to discover who was Charles Ci-\nceri, I am not enlightened as to what\nrelation he was to the L. L. Charles\n(1782 1868) (0 the last of the\ngreat scenepainters of Italy. He can\nhardly be the Ciceri for this man in\nAmerica was painting scenes for 44 Tam-\nmany \" in 1764 and the great Ci-\nceri was then but eleven to twelve\nyears old.\nWe are told what he did, but not\na word as to who he was, when\nborn, where he went to when he dis-\nappears suddenly from Mr. Odeli's\nbook on page 225 of the second\nvolume.\nI have said that Mr. Odell ignores\nOpera or the Lyric Stage; or can it\nbe possible that Opera was only first\nrecognized when in 1815 Italian Opera\nfirst came to America ?\nThen it wasn't Mr. Odell who\nignored Opera; it was America; — an\nastounding fact if a fact.\nWe shall probably get Opera treated\nin the next volume, for by then 1825\nwill have been reached.\nAmerica is a large place; — one is\nforced to be always telling oneself this\nlest one should become at all critical\nof the smallness of the American mind\nwhen dealing with the arts.\nI admire immensely their artists:\nwhy can't America admire them and\nsupport them ? why imitate England'3\nworst fault, —it's ancient indifference to\nthe well-being of too many of her\nartists.\nWhy, one asks, and one sees the\nanswer to that riddle in this book:—\nthey are too stupid as a nation to\nknow the value of art to the life of\nthe nation.\nI never felt this so clearly as when\nreading this admirable work by Mr.\nOdeil.\n(i) Bapst's dates.\n\nV ARTE DELL9 ARCHITETTO\nFILIPPO JUVARA IN PIEMON-\nTE by Aagusto Telluccini. CruJo &\nC. Torino. No price given.\n■UIJ \\T I IHI ■ HI ■IIWIBJIMHIIIIIN\nTHIS celebrated architect was one\nof the best pen-draughtsmen of\nthe 18th century : and when he wrote\nhis name with his pen he wrote it\n44 Juvarra Why then does Sighor\nTelluccini drop an R and awaken thereby\na lack of confidence in me ?\nBut I am not going to trouble\nabout that since all I have to do is\nto express wonder and gratitude for\nany book which may appear about\nJuvarra. There have been next to\nnone, and this one as a beginning is\nall to the good.\nJuvarra was born at a time when\nscenography was getting rather too\nstrong a hold on the architects—indeed\non everyone. And so, while Juvarra\nwas primarily an architect—and I think\na poor one —- he was far more of a\nscenographer and obviously a magnifi-\ncent one.\nHe was born about 1676 says Si-\ngnor Telluccini; at Messina, say two\nwho knovv*. at Parma, say two others\nwho know t in 1673, in 1676, in\n1684 and in 1685, so say nine who\nknow—all disagreeing.\nBut can they all know ? Evidently\nsome of them don't. Have any of\nthem by luck hit on the right date\nand spot ?\nSignor Telluccini should . be read\nattentively, for, since 1907 when he\npublished his first 44 Contributo alia\nbiografia di Filippo Juvara 44 in Mes-\nsina he has been at work learning\n. more.\nTo give more than twenty years off\nand on to a work is the way to do it.\nNowadays if we give six months to\nsuch a work we feel we are not quite\npractical.\nJuvarra died in 1736 \" aged 63\nsays one authority ; 44 aged about 58 *\nsays another; \"aged 51 \" says a\nthird.\nI like the one who says 44 aged about\n58 \" for ever if incorrect it's courteous;"}, {"page_pdf": 56, "page_imprimee": "166", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.56", "texte": "and it's his pupil Zacchell! who said\nit, and I think he is likely to have\nknown; still it really doesn't much\nmatter; except to me. I am a stick-\nler for dates. So long as I know\nwhen an artist was born, which day,\nwhich hour, if possible where and\nwhen and exactly when he died and\nwhere then I really trouble no more\nabout him except to know what he\ndid at twenty, on which day and\nwhere, and what at twenty-five, and\nso on tin we come to the end.\nThis is what Signer Telluccini tries\nto do with Juvarra, and succeeds so\nwell in doing, until he comes to the\ntheatrical work of this essentially thea-\ntrical person. Then he seems to me\nto fail.\nBut because of this 1 will not com-\nplain ; he gives us so many splendid\nplates showing his work, which is all\nas stagy as it can be; and I for one\nam quite enchanted, and await expec-\ntantly the book on Juvarra Scerio-\ngrapher.\n\nEUROPEAN DRAMATISTS by\nArchibald Henderson, Ph. D. D. Ap~\npleton & Co. {revised edition). Price\n151- net.\nTHE Review of Reviews has said\nof this book that it is 44 brilliant\nanalysis and masterly criticism \" while\nthe Pall Mall Gazette tells us that\n44 Mr. Henderson is one of the most\nvivacious of the younger writers of\ntoday, and here he is at his liveliest \".\nOthers even go further in their praise,\nSo I think we had better leave it at\nthat, and take it to be a just and\nfair tribute to ability.\n\nTHE ART OF PANTOMIME\nby Charles Aubert. Henry Holt &\nCo. (Price not given).\n\\YTUO was Charles Aubert ? His\nV ¥ translator Mrs Sears does not\ntell us. Who was or is Charles Au-\nbert ? we repeat, hoping for some sort of\nreply from Miss Sibyl Baker, Director,\nCommunity Centre Department Public\nSchool of the District of Columbia :\nfor she has written an Introduction to\nthe book. No reply.\nNot content to read the book with-\nout some slight knowledge of the\nauthor, what he is, what he did be-\nsides write, and when he lived and\ndied, I turn to ten. twelve, fifteen\nbooks in search of his name Not\none word can I find in any of these\nbooks, At last in an old bundle of\ncatalogues of trench books 1 find\nthis :*—t4 Aubert (Charles) Pantomimes\nModernes illustrations de Kauffmann\nParis Flammarion, s, d, in 12 br.\ncouv, ill. 5.00 frs. 44 which is not\nmuch. I do not mean that 5 francs\nis little; I mean the information is\nmeagre.\nBut while it is not the habit for\nLibrarians who sell books to inform\nus of authors' lives, it is courteous of\na translator to do something. Mrs Sears\nignores Aubert ; Miss Baker almost\ndoes so.\nMiss Baker says we shall find the\nbook valuable.\nI regret that I cannot agree with her.\nIt is the wrong way to instruct\nwould-be actors to give them 196\ndiagrams of heads, hands, skeletons\nand so forth in the belief that one\ncan catch the nearest way,\nA very clever actor might find such\na book useful ; for clever artists often\nlike best those stupid books which\nteach nothing ; it is from that nothing\nthey can so often extract more than\nanyone else ever dreamed was therein.\nTo the beginner this book might be\nfatal, and so our advice to .all teachers\nof pantomime and gesture is, if they\nbuy it, to beware of it.\n\nTHE LION AND THE FOX by\nP. V/yndham Lewis. Grant Richards\nLtd. Price 16/-net.\nI hope that Mr. P. Wyndham Lewis\nthe author of 44 Tarr \" is not going\nto write a series of books like this\nthat 1 am to attempt to review ; for\nthough I could devote some years of\nmy life to studying P. W. Lewis the\nScholar, I should prefer not to, If\nthe 44 Works\" are to be written of\ncourse we shall have to study our\nLewis seriously, and I dread io think\nhow my young life will be wasted.\nI think of the dozens of gay young\nwriters of the eighteen thirties and for-\nties who gave their lives to the works\nof Carlyle,—-who had to give them\nto this foxey Lion ; — who hated to\ndo it but who got over the first ago-\nnies, and then rather Irked it and finally\ncould use no other. Thus we lost\ndozens of creative artists because one\nbig burly Scotsman yelled out 44 You\nthere—stop and look at me\nI shall be like that if Mr. Lewis\ngoes on : I shall not like it, but, un-\nless 1 am to be out of it, 1 shall\nacquire the habit; and when in 1957\nor 1960 I find people calling on me to\nexplain certain obscure passages in one\nof the early volumes of the works of\nLewis, I shall know what it has all\nmeanthow little and how much—\nI shall taste my reward—I shall play\nthe little lion when they are present,\nand laugh like a fox when they go.\nBut if Mr. Lewis will let me off\naltogether by exercising his creative facul-\nties; if he will write ether novels, other\nshort stories, and, when not urged to write,\nturn from his pen to his brush and\nwill paint some good pictures just tj\nshow us how to do it, I shall be\nmore grateful than I can express.\nIn Mr. P. Wyndham Lewis we are\npresented with a temperament forcing it-\nself to think, ....nay, more, to think\nand think until there creeps over his\nface and figure that same strange, rather\ngrand, but certainly queer, expression\nwhich we see on the face of a mon-\nkey who is rolling a nut round and\nround, passing it from cheek to cheek.\nThere are other thinking men who\nwrite their thoughts down at length,\n—Mr. J. S. Eliot for example : Mr.\nLeo Stein: and I'm not sure that\nthis same thinking don't become them\nfar better than it does Mr. P.\nWyndham Lewis.—for they can do\nnothing else.\n44 * Ta r ' is a thunderbolt 44 wrote the\n44 Weekly Despatch \" when that novel\nappeared ; and the 44 Manchester Guar-\ndian \" added that 44 it is a blow struck\nfor seriousness in art and life\nI don't know anything about that ;\nI only saw that it was a piece of\ngood, work full of temperament. It\nstirred the reader.\nI wish I could say the same of\n\" The Lion and the Fox \" ; but 1\nwill say it bores me—1 must also\nadmit thatB being out of the secret\n(a secret 1 shall glide into after the\nappearance of Mr. Lewis's tenth work\nof this kind appears) I am unable as\nyet to do it justice, or, what is in mo-\ndern criticism (vide the modern jour-\nnalism) far more to the point, unable\nas yet to do myself justice.\nSo, being in this pickle, the only\nthing left me is to do Mr. Lewis\ninjustice.\nThe book is about Shakespeare —\na Shakespeare who sat thinking and\nthinking and thinking ....you know\nthe kind of man: elbow of right\narm on books ; one foot crossed over\nthe other and peaked on its toe:\nfinger of right hand making gimlet\nhole in right temple : smug but ne-\nvertheless thinking, and thinking it out.\nIt is about this man that Mr. Lewis\ntakes us to task ;—44 Til tell all about\nShakespeare \" he says. He doesn't\nwrite the stupid statement as 1 have\njust written it, but he tells us that\n44 Shakespeare was \" and 44 Shakes-"}, {"page_pdf": 57, "page_imprimee": "167", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.57", "texte": "peare had \" and 44 Shakespeare is \"\nand, what is more \" Shakespeare would\nhave \", 44 could not \" and 44 did\nYou'll find it all on pages II. 15.\n43. 145. 160. 170. 171. 179. 183.\n184. 209. 213. 245. 255. 259.\n261. 262. 290. 291 and at least\nfifty more pages which I did not stop\nto note.\nNow when any clever man can\nbe brought to such a pass as to\nattempt to say what Shakespeare is,\nwas, had and did, let alone would\nhave and cGuld have done, it must, as\nI hope I have modestly shown, flum-\nmox me, until it be certain sure that\nI am to be of Mr. L ewis's intimate\nliterary group twenty-five years from\nnow and to wobble my head wisely\nand confound the ignorant and, I\nhope, amaze, indeed, the very faculty\nof eyes and ears of the middle of the\ntwentieth century.\nThe author of 44 Tarr was so di-\nrect and simple :—whereas in this\nLion and Fox book he goes round and\nround and is very elaborate. It's a fine\nshow : or rather it's fine without ha-\nving a scrap of show about it. It's\nlike a performance in a theatre where\nwe see a man of undoubted earnest-\nness and ability struggling to play a\nrole which he was never born to\nplay and in which he will never please\nus however long he continue to\nplay it. We know hirn : we know he\nis all that is admirable—and we sit\nperspiring with anxiety. Yet he comes\nthrough with it-—disastrously well. We\nmumble into our programmes 44 won-\nderful performance—wondeiful and\nwe snatch ourselves out of our seats\nand bolt for the fresh air of St. Mar-\ntin's Lane.\nAs 1 read Mr, Lewis's explanation\nof Othello and lago I can but rea-\nlize one truth: which is that we\nneed no explanation: that we need\nvery much to see again such a per-\nformance as Irving gave of lago and\nSalvini gave of Othello, and then and\nthen alone we have it and never till\nthen —if in reading the tragedy we\nhave not already seen these two\nfigures.\nI find Mr. Lewis's prose a little\nhard to read: such a passage as\n44 From the treacherous polished sur-\nface of Arnold's prose (its body clou-\nded for its reception) I will now\nexpiscate that laughing idea which we\nhave been preparing to examine \" ;\nsuch a passage as this troubles me\nand I am in no mood for laughing\nideas of any kind, however deftly\nMr. Lewis may expiscate them.\nBut 1 am -entranced when some-\ntimes the fog lifts and I am told that\n44 people are inclined to forget, per-\nhaps, that the art of the drama and\nall its purgational Greek rules of jea-\nlous gods (and envious audiences), of\nrevenge for grandure, and of well-\nturned and melodious death, is a\ngame \" ; only I could wish that this\nhad been told me in the plain words\nthat men use on ordinary occasions.\nBriefly, I wish Mr. Lewis had put\nall he had to say into sixty or se-\nventy pages instead of running on into\nthree hundred and twenty six of\nthem.\nHis ability to do this is what so many\nwill admire and I must deplore. What\na word, 44 deplore \"!— what a supe-\nrior horror in the mere sound, and\nhow can one use it when there ail\nthe time stands the author of so many\ncreative things before one—if afar off\nin the distance.\nFor when one is in Loudon and\nnearer fo Lewis one sees how 44 the\nimportance of Wyndham Lewis in\ncontemporary England cannot be over-\nestimated Of course one realizes\nthat here is 44 a writer of extraordinary\nforce ?.nd distinction ■\" and one is\nprepared to suppose that he sheds\n44 a new and illuminating light\nwhen ever he writes or speaks on any\nsubject.\nIt is Mr. Osbert Sitweli who says\nso, and one can surely agree with\nhim even if one is puzzled trying to\nconceive of a light which is not illu-\nminating.\n\nTHE PL A YGOER 'S HAND\nBOOK TO THE ENGLISH RE-\nNAISSANCE DRAMA by Agnes\nMure Mackenzie. M. A,, D. Lift,\nJonathan Cape. Price 5/- net.\nNO one could quarrel with the\nprice, and it's as nice a looking\nbook as anyone could wish for ; exter-\nnally it is like the golden casket in\nthe 44 Merchant of Venice 44 I'll\nread the writing \" one says : one does,\nand, at the end, one is apt to feel,\nas one goes off, that the labour\nhas been lost.\nTo begin with one tries to read it\nlike a play-goer, like a professional\nman of the theatre, and like an ama-\nteur; never is one ceitain which is\nbeing addressed.\nIt's a 44 Play goer's Handbook it\nsays so ; but it also is announced as\n4 4 for the man of the theatre whether\nprofessional or amateur \".\nI am quite at sea: and it's a\nbit chilly at sea when one has lost\none's way.\nThough the writer protests that she\nis one of the humble people, there is\nvery little in her. book which makes\ngood her boast.\nYou can see that she means well;\nbut something—I do not know what\nit is—sticks in her throat just as she\nis about to say 44 Arnen\nI think the trouble chiefly lies in\nher attempt to explain more than she\nquite understands, and to address three\ndifferent groups simultaneously.\nOf the Elizabethan audiences she\nwrites 44 They relished John Lyly's\nsentences as we delight in Mademoi-\nselle Lenglen\nShe has several Appendixes : nice\nthings as a rule, but hers are not.\nHer Appendix II is the prospectus\nof the British Drama League.\nHer Appendix 111 is that of the\nPhoenix Society.\n1 turned to Appendix IV fully\nexpecting to find an advertisement of\nthe Old Vic,\nI begin to wonder if it is not full\ntime to cease the writing of these\nalmost useless books about the Drama.\n\nTHE BOOK OF PLAY PRO-\nDUCTION FOR LITTLE THEA-\nTRES, SCHOOLS AND COL-\nLEGES by Milton Smith. Appleton\n& Co. Price 10;6 net.\nr\"PHlS is the book I should recom-\nA mend as one of the very best of\nits kind becaure the author uses his\ncommon sense, speaks clearly about\npractical things, and is positively\nhelpful.\nTheories do not fog him ; he picks\nhis way through them and comes out\nwith something to the good.\nBut then Mr. Smith has worked\nhard—has produced plays and taught\nhundreds of teachers and directors who\nhave gone to Columbia University to\navail themselves of his co?jrse.\nin teaching he has not lost the\nenjoyment of experimenting, so his\nbook is fresh and lively.\nIt is a small encyclopaedia of infor-\nmation as to how actually to produce\na play with a theatre and without a\ntheatre and is illustrated by little dia-\ngrams.\nThe book will give no aspiring\nproduces*\" or performer a free pas* to\nanything but hard work; but once\nhard at work it will help.\nThe author is so sincere and so bent\non being practical.\nI like his seriousness, which some-\ntimes even approaches anxiety lest he\nhas forgotten to tell you what must"}, {"page_pdf": 58, "page_imprimee": "168", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.58", "texte": "be done or lest you have not under-\nstood what you must do.\nSo, for me, Mr. Milton Smith and\nhis book are two good signs that the\nfuture of the New Movement is in\nsome places in the very best of\nhands\n\nWHAT ISN'T WRONG WITH\nTHE DRAMA, by H. F. Rubin-\nstein. Ernest Benn Ltd. (No price\ngiven) o\nTHE HOUSE, A Play in Three\nActs by H. F. Rubinstein. (Contem-\nporary British Dramatists. Vol. XLIV.\nErnest Benn Ltd. (No price given).\nAS a piece of good book-work this\nseries of 44 Contemporary British\nDramatists \", for printing, paper, bind-\ning, and arrangement of the page,\nseems to me excellent.\nThere is to me the perfect series of\nEnglish Comedies of the 18th century\nissued by the Oxford University Press\nat 1 /- a volume; but these are the\nold plays, not new ones; and the\nway they are set up and printed is\nperfect because that is all one wants\nin a 44 book of the words : one shil-\nling But with modern plays, with\nthe authors to pay, first for rights to\npublish, then for tiie acting rights, then\nfor cinema rights and the rights for\nbroadcasting ' tis different: and I sup-\npose that authors of plays are to be\ncongratulated not only on having at\nlast won the fight for all their rights\nbut for being privileged in this matter\nof the pretty printing of Ernest Benn\nLtd. even if their plays are never\nacted.\nBy the way, I wish that these and\na few other publishers would print\nsomewhere on their series what price\ntheir little volumes cost. 1 am always\nhaving to hunt for this and 1 never\nfind it. I take it to be about 2/- or\n2/6, the price Messrs Heinemann and\nCo issue their series of Plays by Pi-\nnero, Maugham, Davies, Chambers; or\n3/6, the price of the British Drama\nLeague Series.\n44 What isrit wrong with the Drama*'\nis a most interesting address delivered\nbefore the Interlude Theatre Guild last\nJanuary. It is full of neat things and\nof good suggestions. I take it that it\nis easier to say what isn't wrong with\nthe Drama than what isn't wrong with\nthe Theatre.\nSo little is radically wrong with the\nDrama while our booksellers can show\nfive hundred scripts of all kinds of\nacted Drama since the earliest days ;\nwhereas so much is wrong with the\nStage, if not supported and if not\nsickened by its own fever for com-\nmercialism. It is probably for this\nreason that the New Movement in the\nTheatre has for the last twenty yeais\nlaid such stress upon the need for the\nstage people to wake up and put their\nTheatre in order. It knows that the\nDrama was and generally is all right.\nAs with architecture and music, examples\nexist of perfect Drama, and so there\nis no cause to fear we shall lose sight\nof what the modern men have to aim\nat and achieve to reach th§ standard.\nBut it is good to find in this booklet\nby Mr. Rubinstein a strong plea for\nmore Tragedy. It is O'Neiil's pi ea :\nit is Ervine's plea ; every genuine dra-\nmatist who isn't a satirist must feel as\nthese men do. What Mr. Rubinstein\nsays is what the Theatre itself and\nthe public ought to be saying, and I\nhope will be saying soon now that some\none has stated it clearly.\nI will not spoil his address by\nattempting to compress it here; you\nmust without fail read it for yourself.\nBut one point in his argument is that\nthe plain man who goes to the theatre\noften goes solely because he supposes\nthat a 44 good laugh \" will buck him\nup \" ; whereas he had far better seek\nfor his happiness in the effect upon\nhim of a tragedy. So says Mr. Ru-\nbinstein, and he speaks for certain\ntemperaments. Many people will call\nhim unpractical—but these are solely\nthinking of percentages.\nIt is rather a large flock numbering\nabout 200,000 persons,—the curious\nones, the fairly well off, the bored yet\nup-and-doing-nothing flock,\nThese 200,000 people are always\nthere—on the spot; they miss nothing\nwhich soim wiseacre decides is worth\nwhile—and he always decides wrongly.\nHe is ever guided by the stupidest\nmotive.'\nIt was this large flock which nearly\nsuffocated the airman Lindbergh when\nhe arrived in Paris and afterwards\nin London. Not that it cares two\npence about him or his powers, but\nout of curiosity it collects to gape\nand shriek.\nIt was these superficial 200,000\npeople who packed the streets round\nWestminster when some years ago the\nWoman's Movement was at its height :\nthey did not care one scrap whether\nthe women won or lost, but they\nwanted to see, to gasp, to feel a thrill.\nHad anyone asked a constable on the\nday the women tried to rush the\nCommons who it was formed that\nhuge crowd he would have replied\n44 Mostly made up of the curious\".\nThis crowd, Mr. Rubinstein believes\nshould be made to understand their\nmedicine as well as take it. I be-\nlieve in the older method of hiding\nthe pill in the jam. A little jam\nhelps a little—all jam ? No, no Nan-\nnette !\n1 am not of Mr. Rubinstein's opi-\nnion that ** Mr. Barker's 4 The Secret\nLife *, a tragedy de luxe, couid hardly\nhave been written in contemplation of\na production this side of the 21st\ncentury \" ; but then I am not of Mr.\nRubinstein's second opinion that the\nsame play is 44 suitable for a Sunday\nmorning Theatre \" : indeed I find it a\nlittle difficult to reconcile the two state-\nments.\nBut I will not find any more fault\nwith what strikes me as an excellent\naddress. And I refuse to say harsh\nthings about Mr. Rubinstein's play\n44 The House for it has so much\nthat is clever about it, and Tcheho-\nvian. It is not written like the old-\nfashioned dramas were written and is\nnot as direct as is the modern Strind-\nberg, a dramatist the author very pro-\nperly admires. During Act one of\nthis play one is absolutely in the dark\nas to the author's intention or what\nthe characters are driving at. That is\nbecause to understand any good play\none must have it acted for one.\nIf the interest in what is going to\nhappen quickens slightly as Act two\nbegins, our hopes are quite soon extin-\nghished; nothing much happens, and\nI am not quite sure at the end what\nit was all about.\nThe acted drama is the book of\nthose who cannot read ; and a writ-\nten drama is the performance for\nthose who can't bear the theatre.\nI want to see Mr. Rubinstein acted,\nbut I was told last week by one who\nknows, that every theatre in London\nis going to be sold to a Swiss-\nAmerican group for patent medicine\nadvertisers. ...Is it true, I wonder ?\n\nFIRE AS AN AGENT IN HU-\nMAN CULTURE by Walter Hough.\nGovernment Printing Office. Washing-\nton, Price 50 cents.\nTHE Smithsonian Institute issues\nanother of its reliable and useful\nworks; quite a large book of 256 pa-\nges, with an excellent index (where I\nspotted an omission, ie, 1he Lyceum\nTheatre) and 41 first class plates,\nThe subject is not an uninteresting\none, but the author manages to make\nit entertaining as well as learned, and\nto the historian of the theatre it will\nprove of value."}, {"page_pdf": 59, "page_imprimee": "169", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.59", "texte": "THE ETHICAL AND RELI-\nGIOUS VALUE OF THE DRA-\nMA by Ramsden Balmforth. George\nAllen Gr Unwin Ltd. Price 7/6 net.\nTHE Ethical and Religious Values\nof the Drama are ail very well\nprovided the expression of them be\nspiritually gay: but while they remain\ngloomy, distressing, and melancholic to\nhear and to see and to think upon,\nthey will defeat their own aim which\nis a grand aim.\n1 he author of this book is from\nthe outset concerned overmuch with\nProblems.\nNow the problem is the very devil.\nProblems are the tares in our wheat,\nand to run after o!d Nick holding up\nhis apron for him full of the §eeds of\nthese things, and to positively help him\nto sow them, is. not a little foolish.\nThis is what the writers of problem\nplays doi and to see this author so\nconcerned with these problems is grie-\nvous. .\nmost things else which are so\nworth while, Belief is a form of mad-\nness or it is not belief: the moment\nyou lean towards reason and begin io\nmumble why and how and when in\nregard to belief you cease to be mad ;\nso much you gain, I admit ; but you\niose the whole world.\nT he author mumbles very sanely, and\nmumbles more sense than is usual\nwhen those topics are being mouthed.\nIf he misses the whole point of the\nRelig ous value of the Drama it is be-\ncause the thing can only be sung or\nspoken by musician or by poet.\nSo this is a book fall of fog and\nsorrows: save where is retold the story\nof Shaw's 44 St Joan \" and here the\nbook sparkles and the story touches\nthe spot. But then (iiKe Shaw in his\nepilogue) Mr. Ba!mforth begins to\npuzzle and to twist up his forehead\nand io oite tne end of his pen 44 and\nthere is no health m him\nin taik of such matters there must\noe no doubts, Life comes—passes —\ngoes—e basta.\n\\Ve can observe it, enter the stream\nof it, spiash and enjoy ; but never\nmust we be sorry for ourselves because\nwe are not bosses of the stream and\ngH some of the water in our mouths\nwnen we don't expect it.\nNo one is, no one will be, boss\nox the stream ; let it content us that\nthis is so and cease from this restless\nfutile attempt to know and so become\nmore than we had ever hoped to be.\nit is because the Wells, Shaws!\nr-jT, 1 • '\ni oisiois, and so many modern writers\ncannot cease their restless, vain attempt\nto solve the insoluble that there are so\nmany people who regret nearly all they\nhave ever written.\nWhen Shakespeare and Goethe get\ndrawn int) the discussion—whoever\ngets drawn in—they get snuffed out\nlike a candle and we put down their\nfoolish books and go off to bed shaking\nour heads.—Isn't it }\n\nTHEATRE PRACTICE by Stark\nYoung. Charles Scribner & Sons.\nPrice 7jo net.\nrH13 book would have long ago been\nreviewed in these columns but\neveryone else had said alt that there\nwas to say in praise of it and 1 had\nno fault to find.\nIt i3 well above the average, and\nO '\ncontains many a pleasant phrase, but\nis more than often rather too vague.\nFor all this it is one of the best of\nits kmd that has come from America.\n\nT--— TI—IN—DIHIUWIH \\mm mtim IJ.\nTHE IVES T END OF YESTER-\nDAY AND TODAY. E. Bed-\nford Chancellor. The Architectural\nPress. London. Price 25j- net.\n|T is now twenty years since Mr. Be-\n1 resford Chancellor gave us his first\nbook on London. At that time it\nwas no more fashionable to devote\noneself to a limited task and keeo at\nit year in and year out than it is now.\nihen as now, if you could write at all,\nyou were at liberty to write about\nany and everything provided you were\nignorant of your subject, hew young\nmen ever dreamed that or themselves,\nin those days, and so there rose uo a\ngroup of famous plodders who wrote\non heminism, on new worlds, on the Fa-\nbian society, on Music, on the Theatre,\non Utopia and whatever first came into\ntheir heads. These encyclopedic heads\nwanted to reform everything by writing\nbooks : and none seems to have sup-\nposed that there were any difficulties\nin their way.\nMr. Chancellor is typical of the\nother kind of young man of 1905\nand gave all his time to the study of\none thing ; the streets, the squares and\nthe houses of London. Whatever he\nhas to tell us of them is therefore to\nbe listened to with attention, and what\nhe has to show us (for he illustrates\nhis book profusely) will rivet that at-\ntention. Often he places some picture\nshowing a street of the London of\n1800 by the side of another showing it\nin ! 900 ; and that so rivets my atten-\ntion that 1 become grave. Held in\nthis manner, I am reminded of that\noia Egyptian custom of bringing round\na mummy at the beginning of a feast*\nToday at our London public din-\nners and luitcheons 1 would have\nMr. Chancellor s book taken round,\n1 would show the guests one of these\ndouble visions: they could then ruminate\nupon wnat is the difference twixt being\nquick and bemg dead : wliere lies the\ndistinction between a dead and a live\nstreet.\nSome of our London streets have\ndied.\nHere in their latest pictures they\nremain just where they were— a thea-\ntre, a public-house, a mansion just\nwnere it was; and the light in it\ngone out.\nAfter all , says the Optimist,\nLiere s not so great a difference be-\ntween the Regent Street of today and\ntuat oi yesterday. And there is hardly\nany difference in its shape ; the eyes,\nnsw*se, mouth, and chin, the neck,\nand snouiders, tne waist, hips, knees\nand ieet are all in place—and dead.\nHis Majesty s 1 heatre is where\nHer Majesty s I heatre stood, but it\nmight be a hotel, for it is the exact\nfacsimile of a hotel near by. In the old\ndays it was obviously a fine theatre.\nBut i see that you are all tuckm#\n•i• • O\ninto the joint and have forgotten the\nprelude to the feast—so as Mr. Chan-\ncellor s book is far more happy than\nterrifying, I too will be gay and pass\nthe mustard.'\nAnd it is an enchanting book, this\ngossiping attempt to draw attention\nto tae lesser known points \", points\nwmch charm everyone who is lucky\nenough to remark one of them. The\ncunous thing is that we seldom see\nthem because ours is a utilitarian life ;\nwe go from here to there for a pur*\npose ; we do not linger to have a\nlook at the lovely things which lie\nbetween the two ports.\nt here will not be a student of the\ntheatres of Europe who will care to\nbe left in ignorance of this book and\nhe won't be disappointed.\nThere are, to begin with,, three\ndouble page plans of London; dated\n1792, 1834 and 1927: several views\nof theatres inside and outside ; and\ndotted through the book is information,\nmost valuable :o us all, relating to\nhomes or the Drama.\nIf only • publishers and booksellers\nwould invent some way, think of some\nnew scheme, by which they could tell\nus when they have issued a book on\nthese subjects which are of so much\nimportance to* us and which we need\nto be told of, things would be better—\nand other things would wake up."}, {"page_pdf": 60, "page_imprimee": "170", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.60", "texte": "But the people who want to hear\nof books on the Theatrel or which\ntouch on the Theatre, seldom are told.\nIt is a fault which needs correcting.\nAnother fault is that such books are\ntoo often too expensive.\nThere should be students' editions\nissued on thin paper, unbound, at half\nprice. What student wants a thick\npaper book taking up an unnecessary\namount of shelf room and annoying\nbecause of its swell get up ? We beg\npublishers to overhaul their old ideas\nand experiment with some new com-\nmonsense ideas. Let them study the\nNonesuch Press a little.\nThere are some firms which do\nthis tentatively; but what we need is\nto see some more decision shown by\nall publishers in the matter of paper,\nof binding and of price. For the fact\nthat rough (or smoothed out) blotting\npaper is wretched, the use of wood-\npulp in its manufacture is presumably\nresponsible : the bindings are too heavy,\ntoo important looking, and paper bindings\nare the best as half a dozen nations have\nproved, and the French have proved\nmost conclusively; for their paper bind-\nings sometimes even outlast our card\nand cloth bindings : and as for price,\nit would become less automatically if\nthe bad and doubtless costly paper\nand costly bindings were dropped.\n\nLES GRANDS COMEDIENS DU\nXVII SIECLE by Georges Mongte~\ndienm Edition 44 Le LivreParis,\nPrice 18 francs,\nWUMiimfmjMBiMH *■■! I nil ■■■II ■IUIIIII mm, N—IFINWMU am O\nOF the French actors of the time\nof Charlemagne (768-770) we\nhave not as many records as some of us\nwould like io have. I suppose we should\nlike to have some hooks about these\nperformers, but I am not persuaded we\nshould understand. For what do we\nunderstand of the Greek stage, and\nwe have dozens of books about it.\nThe reports handed down to us have\nbeen hesitating and whispered so faintly\nperhaps we haven't quite heard aright.\nWe are told that the actors wore\nmasks and could not show any facial\nexpression; stood on stilts and so\ncould not easily move ; that they had to\n44 clump about the stage in the un-\ngainliest fashion \" as Mr. Robert\nW, Lowe, that excellent student of\nthe English Drama, once wrote ; that\nthe stage was only of secondary im-\nportance, the orchestra being more\nimportant; that the first tragedy re-\npresented in Athens by Thespis was\nperformed on a wagon and that the\ngreatest ancient dramatic writers were\n/Eschylus, Sophocles, and Euripides.\nLittle of which is true.\nAnd it seems to me that we never\nshall understand anything about the\nstage until we cease to consider those\nGreek actors 44 ungainly \" and those\nmiddle-agers dark and their wits dull.\nYou may raise your eyebrows and\nthink to yourself that I am a very\nstupid fellow if I do not know that\ntoday everyone knows better than that.\nBut, perhaps you will allow that\nI too may have felt as you feel: 1 too\nmay have supposed everyone knew and\ndiscovered that very few do and these\nseldom have time to pass their ordinary\nknowledge on to the many and some\nhave even ceased to care about doing so.\nAnd so we find floundering there\neven learned persons like Sir Edmund\nGosse, who 44 distinguishes \" 44 the ma-\nterial side\" of a masque by Inigo\nJones and Ben Jonson from 44 it's spi-\nritual or poetic side I suggest that\nis floundering. He draw3 a distinction\nwhere none exists. As well call Jonson's\nlovely lines 44 material \" because the\ntypesetter and printer with the aid of\nsome base metal and some black ink\nhave turned them into print, — touchable,\nvisible, in short to be logically horrible.\nThe notion of dividing this from\nthat is an excellent one, but is so apt\nto give unintentional offence. As one\nwho respects 44 the material side \"\nof the 1 heatrical craft for the sterling\naid it has always given to 44 the spiri~\ntual or poetic side \" in its great need,\nI like to see people working to estab-\nlish a sounder understanding of the\n44 material \" in the Theatre. It is out\nof fashion nowadays to kick your\nmenials who cook your food; and\nthe Dramatise who shows the least\ncontempt for the craftsmen of a theatre\ncommits an efror.\nSo until we have all thoroughly\ncome to understand and value what is\nto be valued and honoured in the\n44 material side \" of even the stran-\ngest masque we cannot possibly begin\nto value what is in its spirit.\nAnd so I turn to M. Mongr6dien's\nbook to learn something about 44 la\ngrande coquette Mademoiselle du Pare\nfor I suspect that, until I do so, I shall\nnever understand what led the Greek\nactor to 44 conceal \" his expressive face\nunder a mask. If only Lowe had\nstudied the Greek theatre under\nMademoiselle du Pare!\nIt's Mr. Lowe who says the Greek\nactor 44 concealed \" it. Till I have\nread all about Mademoiselle du Pare\nhow shall I know whether concealing\nor revealing was uppermost in the\nmind of the Grecian actor 1 whether\nhe believed (and from experience) that\nthe face was an inadequate, a too\npulpy—instrument for expression in\nany art and that a carved mask was\nsomewhat better.\nM. has done his work\nso well that we fee! almost stifled\nafter we have lived with his French\nComediens of the XIII si&cle to the\nend of his book, 44 What a fuss,\nwhat dust ! \" we are on the verge of\nsaying, when we stop in time, remem-\nbering that to bring about a renais-\nsance in our own drama we must first\nrealise how dusty is one playhouse,\nhow spiritual and clean another : and\nso dull we are—you will surely admit\nit ?—it takes us several centuries of\nexperience to recognize dust from\nspirit.\nEven there—even at recognition—\nsome of us are disagreed, saying that\nit is from the dust the spirit shines\njust as it is rising.\nSo this 44 Comediens du XVII Siecle \"\nis the book to place side by side\nwith Haigh's 44 Attic Theatre\n\nTHE GENTLE ART OF THEA-\nTRE GOING by John Drinkwater,\nRobert Holden & Co, Price 6/- net.\n*The gentle art. This phrase, long a\nfavourite with anglers as an affec-\ntionate description of their pursuit, was\ncleverly used by Whistler in his title\nThe Gentle Art of Making Enemies,\nThe oxymoron was what made it effec-\ntive ; but the journalist, aware that\nWhistler made a hit4 with the gentle,\nart, and failing to see how he did it-\nhas now, by rough handling on inappro-\npriate occasions, reduced it to a BAT-\nTERED ORNAMENT cf. IRRELE-\nVANT ALLUSION). Thug: We have\nnot the smallest doubt that this is what\nwill actually happen. & without any\nundue exercise in the gentle art of in-\ntelligent anticipation, we may discuss the\nsituation, In a Committee the gentle art\nof procrastination may prove very deadly\nto progress.\nModern English Usage by H, W,\nFowler, 1926 {Oxford),\nTHERE is no genlle art of theatre\ngoing: but let us get on.\nMr. Drinkwater is one of the few\nmen in the Theatrical profession who\nshould have been provided with a\nTheatre these last fifteen years. He\nhas been wasted and is being wasted.\nWhether he be a great playwright or a\nfine actor or a good producer or merely\nan able, all round, man is nothing for\nus to waste years discussing. Say\nwhat you will, the fact remains that\nhe is one of the few men in England\nwho is playwright, actor and produ-\ncer : and a professional. He has not\npushed his way into the Theatre—-he"}, {"page_pdf": 61, "page_imprimee": "171", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.61", "texte": "was born in it. He belongs to it.\nLike Granviiie Barker, another profes-\nsional. And so in both of these uien\nis something which seems to disdain\nto push—it is unnecessary, and so it\nis not disdain.\nif England is so rich in talent that\nit can afford to waste its able men,\nEngland is to be congratulated—but\nnothing can ever condone such waste.\nAs a theatre-goer I am not very\ngreatly taken by the works of either\nBarker or Drinkwater. I find they\nbore me and they interest me : They\nare serious and I like that, but they\nnever touch me, rouse me or please\nme. They leave me cold and unen-\ntertained. I speak as a real playgoer.\nWhen I read their plays I discern no-\nbility in them, but it is the nobility\nof rather harrassed men. I find them\nobstinately noble; not inhuman, but\nnot quite human. How can they, 1\nask myself, be that when the one\nthing needful to them, a theatre, is\nrefused them but given to a hundred\nothers who don't know what to do\nwith such a thing.\nSo really it is not a little strange\nif, when put to writing books about\nPlaygoing and Exemplary Theatres,\nthey write them not as well as the\nordinary trained journalist would do,\n....he who, when Dramatic critic,\nshould write such books and is too\nblind to do so, not seeing it is his\none great chance.\nMr. Drinkwater's book is not on\nPlaygoing or playgoers. He has not\ncome near enough to the genuine\nplaygoer to be able to report correctly\nof him.\nA playgoer is a habitue of a play-\nhouse or theatre—he is not merely\none who likes plays and players of\nthe more intellectual kind. Playgoing\nis one of his bad habits; it is not\nto him a pseudo-nobility. It's like drin-\nking, like smoking, it's a jolly old\nvice.\nNow conceive how repugnant and\ndifficult it must have been to Mr.\nDrinkwater to write on a jolly old\nvice. Difficult to him because, until\nhe had proved it a grand and noble\nthing, he could not possibly be brought\nto pen a line about it.\nThe habitual playgoer likes the\nOpera, and he likes the Ballet; he\nlikes the Melodrama and the Music\nHall when it takes on the aspect of\nTheatre and when he can see his\nfellow-playgoers there. Till then he\ndoes not go: for, though quite fond\nof all plays, operas, dramas, actors,\nsceneries and the rest, above all things\nthe playgoer loves the auditorium, the\nfront of the house, the parterre, bal-\nconies, his fellow man.\nThai's the attraction—to be there\nwith others—his special set ; and the\ngood playgoer's set is the world.\nWith the world Mr. Drinkwater\nmay not allow himself contact. His\nworld is not the old world ; it is,\nowing to the extraordinary tyranny\nunder which he suffers, a localized\nmakeshift. Mr. Drinkwater is not of\nBrixton, of Peckham, of Kensington\nor even of Birmingham ; he is of the\nCage, and the tragedy is he is begin-\nning to smile at the bars.\nif not caged, how is it he refuses\nto escape when he might ? No, he\nprefers to suffer nobly and says 44 Great\nart is for the few, but for a few suf-\nficiently numerous and powerful to\nestablish it in the life of the com-\nmunity So says the active young\njackal in the Gardens where we keep\nhim. \" Liberty \" says the dear jackal,\n44 is for the few \" : 44 but \", and\nhere he sniffs the air as he hears the\ncads from eighty other cages, 44 but\nfor a few sufficiently numerous—and\npowerful — to establish it in the life of\nthe community \". Then he goes inside\nhis hutch and lies down and dreams\nof forests and open spaces.\nIt is a heartrending cry, this 44 suf-\nficiently numerous and powerful \"\n(powerful !) 44 to establish it.... life.,\ncommunity\nGreat art, like liberty, is only for\nthose who have it : millions of people\nor one person —and certainly one per-\nson is few enough. Great art is in\neveryone: ability to create it or to\nenjoy it; but great art has to be in\nthem or goodnight.\nNow great Theatre is not utterly\nunlike great Art although not an-art\nat all. Great and genuine Theatre\nis an event, an experience, another\nsort of world, and good theatregoers\nare habitues of this other world—\nenjoying the same experience over and\nover again and always (they hope)\nwill it be slightly varied, if only it\nbe an electrical experience—what joy.\nThis they dare hardly to hope today.\nIt is essentially linked with the ima-\nginative faculty, this experience, al-\nthough Mr. Drinkwater in his most\ndepressed mood says 44 we can some-\nhow get on without the imagina-\ntion \". So says poor Jackal —44 Yes\n—on thinking it over we can get on\nwithout leaping the rocks—Now\nand again Mr. Drinkwater does flare\nup and it becomes him. 44 We (play-\ngoers) can have the artist in the Thea-\ntre, or we can keep him out ; but we\nhave to learn that it is as an artist,\nthat is to say as an original mind\nbeyond our legislation, that he will\nstay if he is to stay at all \".\n1 would fain see Mr. Drinkwater\nflare lip more often with such boldness\nand get himself out of that cage. But\neven to breathe fire at the playgoer is\nnot to entertain him—and the power\nto entertain, to soothe and rouse and\nsoothe again the savage beast, is what\nthe Theatre -man, be he playwright,\nactor or producer, has to do.\nThis bad habit of playgoing is not\nto be cured any more than is the bad\nhabit of acting well to be cured.\nIn England something obviously\nhas gone wrong with the works of the\nTheatre : people have been tinkering\nwith those bad habits — trying to re-\nform them. They attempt to make,\nto plan what once they couldn't help\nmaking spontaneously. And it won't\ndo. Once you wish to correct those\nhabits you get a Macready and a Drink-\nwater : great men in their way—and\ntheir way is a right noble one—but\nthe way is not the way of all art.\n\nTHE COMMON TOUCH by\nJames Agate. Chapman & Hall.\nPrice 7/6 net.\nON the wrapper of this book is the\nfollowing assertion :—44 The title\nwell describes the gentle irony and\nhuman sympathy which animates all\nthis author's work. The fact that\nMr. Agate is now broadcasting regu-\nlarly has largely added to his public.,\nwho will, no doubt, be glad to pre-\nserve in more permanent form the im-\npress of his companionable tempera-\nment \".\nCan you beat it ? I can't, so let\nus leave it at that.\nBut there is one error in the book\nwhere the author asserts that on the\nfirst night of 44 Hernani \" the young\ni heophiie Gautier wore a brilliant\nscarlet waistcoat to symbolise the de-\nfiant challenge of the new Romanti-\ncism \". He wore a pink doublet ;\nand for quite another reason ; Gautier\ncorrected the Brothers de Goncourt on\nthis very point as those who have\nread their Journal will know..\nEveryone who writes a book about\nParis borrows this waistcoat and all of\nthem borrow the wrong one, notGautier's\nat all, some old red thing; and this is\nthe second or third time this journal\nhas corrected them.\n4* A propos of the book \" Victor\nHugo, related by a witness of his Life\nGautier maintained that it was not a\nred waistcoat, but a pink doublet,"}, {"page_pdf": 62, "page_imprimee": "172", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.62", "texte": "that he wore at the first performance\nof ' Hernani * and when the whole\ntable laughed, he added 44 Bui it is\na very important point. The scarlet\nWaistcoat would have indicated a\nshade of Republican policy. Well,\nthere was not a trace of that sort of\nthing, we were purely mediaeval, all\nof us— Victor Hugo like the rest—\nno one would have understood what\nWas meant by a Republican. Peirus\nBortl was the only one with any\ntendencies of the We were ell\nagainst the Bourgeoisie end on the\nside of Monchangy. We represented\nthe Machicoulis—nothing more. Why !\nwhen I sang the praises of antiquity in\nmy preface to Mademoiselle de Maum\npin I nearly caused a schism ] !\nJournal. Edmond and Jules de\nGoncourt. July 20. 1863.\nThe Republican spirited scarlet waist-\ncoat is the common tcuch right enough :\nthe mistake at out it is quite common\ntoo ; and if only Geufier had been\na hit commoner he too would have\nbeen the earth and all the waistcoats\nin it and, which is n oie—a little prig,\nmy son.\n\nTHE CHILD'S PATH 7O FREE-\nDOM by Norman Macmunn. /. Cur-\nwen Sons. Price 5/- net.\nTHE AUTOBIOGRAPHY OF\nK1NGSLEY FA IP BRIDGE. Oxford\nUniversity Press. Price 6j- net.\nBOTH these bccfes are the woik of\nmen who had a vision cf a wold,\nmade happier to live in through the\nletter training of children ; each set\nabout doing his part in his own way,\nand gave his life to his work until in\neach case that work was arrested by\na too-early death.\nNorman Macmunn, first as a master\nin schools directed by others, then in\nan experimental school of his own,\nformulated and tested methods of train-\ning boys under a system of complete\nindividual freedom, based largely upon\nthe realisation of the truths; 44 that\nchildren, like men of genius, do their\nwork in the spirit of play \" ; he was\nconfident that the new sort of leader\nneeded in schools is 44 that psychically\nfree man who sees the deeper yearn-\ning of the crowd to be freed for\nhigher things themselves, and knows\nfrom the inspiration of his own free-\ndom how to set to work\n44 The greatest of all our failures\"\nhe writes \" 44 has been the lamentable\nlack of creative leadership since the\nwar. Here is the true test of the\nWorld's education, and here the result\nis purely negative. The readiness of\nthe peoples to follow any great ima-\nginative leader is pathetically ob-\nvious .... there has apparently been\nno one with the capacity to lead peo-\nple where they really want to \"go.\nNorman Macmunn, at his own\nschool at Tiptree and later in Italy,\ngave his life, with pitifully inadequate\nfinancial support, to the attempt to\ncany cut his aims, and he embodied\nthe results of his practice in this little\nhook, from which all who care for\nself education or the education of others\nmay learn much.\nThe second volume, the 44 Auto-\nbiography of Kingsley Fsirbridpe\nshould be in the hands of all boy?\nand all concerned in the trainirp of\nboV5,\nThe writer grew up in an environ-\nment free and adventurous almost\nbeyond the conception of those ac-\ncustomed to she routine of countries\nlong civilized, and, from those early ad-\nventures, he learned self-reliance, self-\ndiscipline, and a steady and modest\ncourage which equipped him for the\ntask first Conceived as a hey of twelve\nin Rhodesia, of hringing farmers from\ncongested city areas to farm and cul-\ntivate the immense and fertile tracts\nof uninhabited country, and which de-\nveloped later into his scheme for bung-\ning the unwanted and neglected chil-\ndren of England to this wide colonial\nlife, and training them to it from their\nearliest years.\nWithout money, with nothing hut\nhis own faith and enthusiasm, he won\nthe cooperation, first of his re!!cw stu-\ndent? at Oxford, who 44 suhscrhed\nfive shilling each to the great project,\nthen of a wider number, and so the\nventure, based on nothing but the\ninspired faith of its founder, became\nthe Fairbridge Farm School in Wes-\ntern Australia * and has extended its\nsphere of usefulness year by year.\n\nTHE PEEP SHOW by Walter\nWilkinson. Geoffrey Bles. Price / 0/6.\nMR WILKINSON travelled with\nhis own handmade puppet show\nfrom Gloucestershire through Somer-\nsetshire and Devonshire, and sometimes\nnetted three shillings and tenpence at\na performance (mostly in pennies and\nhalfpennies) ; sometimes a bit more,\nand sometimes less. He met all kinds\nof people, friendly or the reverse, but\nmostly friendly, since puppets spread a\nfriendly influence around which few\ncan resist; and associated with aT\nkinds of other showmen and pedlars\nand ice-cream men; and, on wet days,\nsat in his tent and read Homer and\nmended his puppets* dresses and his\nown socks.\nAll the summer he kept this up :\nand he wrote a diary, and drew pic-\nlures of his puppets and himself on\ntheir peregrinations, and these, with a\nfew photographs, he now includes in\nhis attractive hook.\nWhen autumn came on he turned\nhomewards.\nHe had just come through Bath,\nhe tells us, and slept the night com-\nfortably in a haystack 44 somewhere\nhigh above the twinkling lights of\nBath\n44 This was the last adventure. AH\n44 next day 1 pulled over the lonely\n44 Cot swold Hills, travelling about\n44 twenty miles, and singing songs in\n44 praise of camping and tramping and\n44 the stirring' life we jolly showmen\n44 lead. I spent another day in getting\n44 to Stroud and that night a Sepfem-\n44 her frost stiffened the little tert,\n44 chilling me in the early hours.\n44 The next morning found us all\n44 back at the starting-point all in\n44 good going order. The tent was\n44 tern, the elegant tent-poles broken\n44 and replaced by ha7el sticks, the\n44 curtains of the show faded and its\npaint scratched, hut the showman in\n44 a sufficiently vigorous state of health\n44 to remedy these superficial ailments.\n44 There was a credit balance of five\npounds ; a wealth of experience had\n44 been gained ; three new puppets,\n44 various properties, some press noti-\n44 ces, innumerable gags and a com-\n\" p'ete new p?ay had been added to\n44 the show. And in the knapsack\n44 were half a brown loaf, some tc-\n44 matoes, a piece of cheese, a packet\n44 of tea, and a quarter of a pound of\n4* butter—all good commodities \".\nSo the story ends.\nWe like Mr. Wilkin son's hock;\nand wish him good luck the next time\nhe and his puppets take the road.\n\nTHE PLAYS OF RICHARD\nBR1NSLEY SHERIDAN, Edited\nwith an Introduction by lolo A. Wil-\nliams. Herbert Jenkins. Price 7/6 net.\nTHIS complete edition in a conve-\nnient form and at a low price is\nvery welcome and has an added value\nin that it 41 gives, for the first time,\nthe text of The School for Scandal\nas Sheridan approved it Moreover,\n44 Three songs in The Duenna, omitted\nwhen that play was first printed in an\nauthorised edition, are restored to the\ntext \" and 44 The Rivals is printed"}, {"page_pdf": 63, "page_imprimee": "173", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.63", "texte": "from the first edition, in which are\nmany passages which were afterwards\nexcised \".\n\nLE FESTE FIOREN TINE Attra-\nverso I Secoli by Pieiro Gori. Bern-\nporad & Son, Florence. Price 25\nlire.\nTHIS profusely illustrated volume of\n388 pages is devoted principally\nto the festivities and pageants with\nwhich, through many centuries, the\ncity of Florence was wont to cele-\nbrate June 24th. the day of its pa-\ntron Saint, John the Baptist.\nThe origin of these celebrations is\ntoo remote to be placed with any cer-\ntainty, but in very early times they\nhad already assumed grandiose propor-\ntions, and included all kinds of re-\npresentations and pageants, jousts and\nprocessions,—in fact spectacles and per-\nformances of every kind.\nThe author has gathered together a\nlarge amount of interesting and amus-\ning information on these festivities;\nand even those to whom Italian is an\nunknown language will gain from the\n222 illustrations, many of them repro-\nduced from old prints, some vivid\nimpressions of the variety and briliiance\nof these celebrations at a period when\nthe city was itself like a stage set for\npageantry, and when even the daily\ndress of the citizens lent colour and\nvariety to every corner of the scene.\n\nRECEIVE IT 50, by Basil Maine.\nNoel Douglas. Price 5/'- net.\nTHE author of this little book of\nimpressions, which he describes as\n44 a series of reactions to incidents of\nthe Theatre and the Concert hall \"\nis \"a well known musical and dra-\nmatic critic, an organist, a singer, a\nfilm petformer and an actor \" and is not\nmentioned in 44 Who's Who \" (1926),\n\" Who's who in Literature \" (1926),\n44 Who's Who in the Theatre\" (1925)\nor in \" The Film Year Book \" (1927).\nSo he is not so well known as he\ndeserves to be.\nAs he is an excellent critic he should\nbe read and is bound to be so before\nlong. The book is a small one of\n95 pages, and is printed in fairly\nlarge type. The chapters on 44 Pro-\nducing Shakespeare \", 44 The Revue\",\n44 Stage and Screen 44 Rhythm:\nBlack and White \", and \" Galli Curci\"\nare excellent.\nAs a sample of his goodness I\nquote from his chapter \" what is Bri-\ntish Music \".\nIT was at a British Music Society Con-\ngress when the question what is\nBritish Music first arose in my own\nmind; and it arose, I thinI? because\nof the constant reiteration of the words\n44 British Music Speaker after speaker\nreferred to this unknown quantity as if\nWe were all clear in our minds as to\nits exact significance. But the va-\nrious contexts in which the phrase\noccured revealed that there existed\nwidely differing preconceptions, so that\nit was almost impossible to arrive at\nany conclusion. 1 suppose that there\nwas common ground to be found some-\nwhere.\nPerhaps it was that all these spea-\nkers and all their hearers had a vague\nindefinite idea that British music is\nmusic composed by people born in the\nBritish Isles. But that is too simple\nto be true. Nothing could be more\nfallacious than to impose a geogra-\nphical definition upon artistic impulse.\nHe then tells us that \" we shall\nbe justified in describing any musical\nsetting of English words as an En-\nglish* work so long as it realizes and\ncompletes the potential idea of the\npoet *' ; but he reminds us that all\nEnglish poets do not confine themselves\nto writing about England and English\nthings.\n44 Shakespeare loved his England,\nand knevo it in every estate. He\n44 has immortalized for us Windsor,\n4 4 Eastcheap, Warwickshire, andEgdon\n44 Heath, but his imagination could not\nsS be imprisoned; it was constantly\nmaking its escape to find itself in\n\" Messina, Verona, Venice, Vienna,\n44 Denmark> Athens—anywhere solong\n44 as it could be free\nThe essay which appeals most to\nme is 14 On producing Shakespeare \",\nbut you must read the whole of it,\nIt is one of the best books of its\nkind which has appeared for a long\ntime.\n\nLISZT. WAGNER AND THE\nPRINCESS by William Wallace.\nKegan Paul, Trench, Trubner and\nCo. Ltd. Price 10j6 net.\nTHE writers of today who would\ninterest us to the extent of stir-\nring our emotion have a very difficult\ntask—for you and J, the readers, were\nborn sophisticated, non k vero ? We\nwere born old, born knowing, born\nwinking the other eye ; it's all the\nfault of the age ; nothing is what it\nseems.\nIf when I am writing or when you\nare reading this a pretty girl should\ncome and sit down beside us we\nshould be quite upset ; we could not\ngo on for we know she is not pretty,\nthat she is not what she seems; we\nknow that, and besides we were\nbora with very exaggeratedly sensitive\nnerves. So that if an ugly old man\nshould come instead of the pretty girl,\nwe should be equally upset. If the\npostman should ring and knock and\nbring us rubbishy catalogues and pro-\ngrammes for concerts we should go\nmad with annoyance; and if he should\nbring us a letter containing £ 1000..,.\nbut I was not prepared for this even-\ntuality ; I was supposing we really\ndisliked, distrusted, all things, nothing\nbeing what it seems to be, and I find\nmyself as Whitman says 44 on the verge\nof the usual mistake\nWe are glad to be so knowing—it\ntakes us away from that 44 sloppy sen-\ntimentality \" to which Mr. Wallace\nrefers in the first paragraph of the\nPreface to his most exciting narrative :\n—In recent years there has been a\nnoteworthy effort to get rid of the\nsloppy sentimentality with which the\nlives of public men have been delu-\nged. They have not been studied as\nhuman beings but as automaton\nHow an automaton could be sloppy\nor sentimental and a human being\nquite avoid being either is what puz-\nzles me in these lines of Mr. Wal-\nlace; but I take him in his Preface to\nmean that he is going to show us the\nhuman Liszt, Wagner and Princess\nWittgenstein as they really were, not\nas, let us say, Mr. Lytion Strachey\nshows us people, re., as he takes them\nto be, as seen by the artist in a thousand\naspects and recorded as he fancies;\nno statues, statuettes, pictures or songs\nof and about these people—bet a real\nsnapshot of them—and close up.\nIt must be admitted that Mr. Wal-\nlace does more than ti is. He reels\noff a moving series of these photo-\ngraphs; he gives us the real Liszt, and\nthe real Wagner at last—as the photo-\ngraph catches them. In the act of\nsnapping, the camera is apt to snap\nup many unconsidered trifles—but it\nmust be acknowledged that this pho-\ntographic book about Liszt has snap-\nped him twice, even ihree times, as\nhe was; and it seems to me that three\npoints made to three hundred misses\nconstitutes no bad average.\nLiszt had three ugly warts on his\nface; they have been caught and re-\ngistered faithfully. Wagner had an\nugly look in his eye quite often ; we\nhave it in Mr. Wallace's book. 1he\nPrincess, who was perfectly harmless,\nalways charming or something else is\neasily snapped."}, {"page_pdf": 64, "page_imprimee": "174", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.64", "texte": "I don't mean to say that ail we get\nare three warts, an ugly look and the\nusual. I mean decidedly more: I\nmean that we get one damn ugly pic-\nture after another.\nAccording to Mr. Wallace, Liszt,\nWagner and Princess were rather in-\nferior movie mediums—inferior in the\nsense that they were for ever striking\nexaggerated attitudes, and were lurid,\nugly customers.\nAccording to Mr. Wallace, Wagner\nwas a sponger, bleeding the sinister\nLiszt of his ill-gotten gains; at en-\nmity with the Princess who was at\nenemity with all the world. Mr. Wal-\nlace draws us a thrilling picture of\nthis sinister old pianist on his death-\nbed. He is dying in a Siegfrieds-\ntrasse Number one, deserted by al! but\nhis faithful Lina Schmalhausen who was\nforbidden to see him (but who did)\nby the Tigress Frau Ccsima Wagner\nwho had 44 assumed control \" and,\nhaving 44 abruptly dismissed \" all his\nnurses and pupils, had 44 given orders\nthat no one was to enter his room \".\nThen she left the house, and the\ndying abbe-pianist, the sinister Liszt,\nis alone to cough, to cry, to dream\nfeverishly and deliriously for a few\ndays while his cruel daughter Cosirna\nis entertaining royal guests at the Fest-\nwal playhouse on the hill.\nBut this only snaps his death. His\nlife was far more weird.\nI always loved Liszt—and of course\nWagner and the lovely Cosima. !\nonce spoke to a man who had sat\nnext to her at a supper table so I\ncame to know her ; for he talked to\nme about this for two hours until I\nbegan to see this dear lady through\nthe mind's eye.\nBut that was all my eye —one\nshouldn't trust one's fancy, nor one's\nfriends when they speak for two hours\nabout one lady;—one should trust\none's movies and one's William Wal-\nlace—they cannot lie.\nIn this book of movie impressions\nthe best part is when the author\nshows us the hero and heroine being\n44 cut dead\nWe see them walking, her arm on\nhis, under the trees of the Konigplatz\nin Weimar. Suddenly enter Herr und\nFrau Slackenstein—there is a pause ;\nthe Princess's fingers tighten on the\nblack sleeve of the sinister pianist,\nwho starts,—then draws himself up,\nregisters will power, shoulders hunch-\ned, nostrils slightly distended, mouth\ntwitching, eyes searching to left and\nright for something—a slight thrill or\ntwiddle in the piano music, and then\nMr. and Mrs. Slackenhausen sweep\nby sneering—ha ha ha laughs Mrs.\nS : he he he titters Mr. 5. 44 Ta&leau !\nv/vant ! There's a picture for you\nSo successful is this 44 dead-cut \"\nscene that Mr. Wallace gives it us\nfour or five times in the course of his\nthrilling show.\nHow it mattered to Liszt and his\nPrincess—one sees ! They blanch, they\nwilt, they cower : they have felt the\nlash of public indignation. Here at\nlast we have the real Listz and none\nof your 44 sloppy sentimentality \". And\nHerr Siegfried Wagner is still li-\nving.\nHad this book been written of my\nfather and grandfather I should have\ninstructed my butler to kick Mr. Wal-\nlace when convenient—for course\nthe whole thing is a lie from first\nto last.\nWhy is it a lie when many of the\nfacts are correct? because the inter-\npreter has made damnable faces all\nthe time he was interpreting. He has\ngunned, smirked, leered, sniggered, frow-\nned, trumped, and all with the very\nfinest intentions—that of feeding a star-\nving cynical group of very mangy\npuppies with the offal they are never\ntired of licking, swallowing, vomiting\nup and swallowing again.\nSo much for the influence of the\nCinema on modern literary gents. But\na new era is coming, I hear. It will\ndo well to hurry up.\n\nTHE DE-ASSIFICA TION OF\nMUSIC by Carroll Brent Chilton,\nPrice / dollar post free. St. Mark's\nChapel. 288 East 1 Oth St. New\nYork.\nBUT why have I delayed so long\nin speaking of Mr, Chilton's pamph -\nlet issued in 1922, 44 A Magazine of\none number bent to a purpose,\nwhich is to draw your attention to\nthe only sane way a music roll shouM\nunwind.\nSo simple, and none $ut Mr. Chil-\nton had thought of it.\n1. You read a book a line at a\ntime from left to right.\n2. You read music proper as you\nread a book, line after line from left\nto right.\n3. You can also read a 41 roll \" of\nmusic in a pianola from left to right\nIF YOU WILL do as Mr. Chilton\nsuggests.\nBut if you follow the ordinary mu-\nsic roll which rolls up from below you\nmight as well read a book that way,\nand for you books might be specially\nprinted that way. But why do it ?\nSimple ideas like this surely have\nmillions of dollars in them for the\nman who will exploit them, and Mr.\nChilton's idea will be exploited. I hear\nfrom Germany that someone is 14 after \"\nit already.\n\nTHE DEVELOPMENT OF THE\nTHEATRE by Dr. AUardyce Nicoll\nM. A., with 271 Illustrations. G. G.\nHarrap & Co. Price £ 2.2.0. net.\nHOW happy I should be to pos-\nsess Dr. Nicolli's talent for dealing\nwith Historical material in so skilful\na way.\nHe is never too ponderous nor is\nhe too light: considering he is not a\npractitioner in stage matters he often\ncomes very close to the right under-\nstanding of most facts relating to our\ncraft. And he is fair in his estimate\nof the different books which have ap-\npeared, and when in doubt he is cor-\nrect in his attitude. Only is he a\nlittle unfair on the well known work\nby Karl Mantzius. He finds it 44 lack-\ning in exact scholarship \" and at the\nsame time is too kind to 44 the ac-\ncurate account \" contained in Ferrari's\n44 La Scenografia \" which is a very\ninaccurate book.\nMantzius was not a born Histo-\nrian ; he was an actor, and a stage\nmanager of the Royal Theatre, Co-\npenhagen, and for some years was\neven director of that immense play-\nhouse. And for such a busy man to\nhave found the time and have called\nforth sufficient ability to produce the\nsix volumes we possess is not a little\nextraordinary. That he derived much\nfrom other books is clear, and he\nprobably inherited much material from\nhis Father ; how else could he have\nwritten such a work in his spare mo-\nments, a work which deals with the\nstage from earliest days in China\nand India and Greece to the middle\nof the 19th century in Europe ? For\nmy part, after some preliminary studies\nin the difficult task of Historical scho-\nlarship, I have come to the conclusion\nthat it is far more profitable to us all\nif, after having worked through the\nentire history of the stage, we seiect\nsome one or two misty points and\ndevote our whole time to clearing these\nup. That seems to me should be the\naim of 44 exact scholarship.\nAnd I would here put in a plea\nthat students of the history of the\nstage should devote time—much time\n— to producing a small but really ori-\nginal booklet or two of fifty or sixty\npages apiece, and no longer attempt to\ncover the whole field in a book of"}, {"page_pdf": 65, "page_imprimee": "175", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.65", "texte": "about three hundred pages. For it\ncannot be done quite well enough in\nthree hundred pages, whereas I sup-\npose you can barely fill fifty pages\nwith what you wiil be able to disco-\nver about Zan Polo the actor, Bal-\ndazzare Lancia the scenographer, Sancta\nStella the singer or the illusive Gaspare\nVigarani. *\nLet three or four daring students\nnow studying under Dr. Nicoll in\nLondon or Professor Baker in Yale take\nthese four names and search to find\nthe hidden facts about these fine artists\nand I\" for one will be extremely grateful\nto them. And, what is more, I shall\nbe astounded if they fill more than four\npages on the four people after a year's\nsearch.\nAll said and done, Dr. Niccli's\nbook is a rich treasury of facts about\nthe Theatre of Europe and quite the\nbest of its kind in existence.\n\nTECHNIQUE IN DRAMATIC\nART by Halii am Bosworth. Mac-\nmill an Co. Price / 0/6.\nTHE other day, having a garden\nand having after much trouble\nand some pain collected some hundred\nseeds from three large artichoke plants,\nI paused to think what it was 1\nought to do and when I ought to do\nit so as to have eighty or ninety tali\nartichokes by next June.... which is\nabout the month they flower.\nThe artichoke is a handsome power-\nful plant, and even if you cannot eat the\nchoke, the arti part of it is superb to\nlook at.\nSo I turned to my three books on\n\" Gardening in the twentieth Century\n\" Gardening for Idiots \" and a third\nwhose title escapes me—, and not\none of them troubled to explain when\n1 should sow the seed, or which month\nI could plant out and how I shouli\nset about it.\nThe writers of those books had\nforgotten that 1 was one of the igno-\nrant idiots they had set out to help ;\nthey seemed to me to be talking on\nand on about everything 1 didn't want\nto know.\nI then gave up the artichoke idea,\nI saw that I had wall-flower seed and\n\"love in the mist\" and carnations: these\nlatter I had much trouble to secure\nfrom the beds because 1 think worms,\ninsects or something had been eating\nthem.\nI turned to my three books: not a\nword about when and how to sow\nthe seeds of these three plants, not a\nwhisper about worms.\nSo much for Gardens: new for\nTheatre.\nMr. Bosworih's \" Technique in Dra-\nmatic Art \" is the equivalent of Pic-\nkering's \" Gardening for Idiots \" : yet\nthough I am just the idiotic young\nwould-be actor Mr. Bosworth is writing\nfor, I soon discover that he has quite\nforgotten how idiotic and how ignorant\nI am. He is far too difficult, and he\nmakes me feel quite anxious.\nHow ought I to come on to the\nstage first of all in any play, in every\nplay ? I would rather ask how am I to\nbring myself to fee! — for that is the\nfirst thing I need to discover — quite\nat ease?\nTrue, I find something about en-\ntrances and exits, but I fee! more ill\nat ease than when I sought for the\nhelp. This help has fallen on me,\nnot picked me up.\n1 tested several like attempts to\nhelp and 1 must say I was a wreck\nat the end. I couldn't carry a ban-\nner properly if I relied at all on Mr.\nBosworth. Yet he is clever and tho-\nroughly versed in the business of the\nstage. Only why doesn't he help?\nTo help us, all we need are two or\nthree words, from a man of twenty-\nfive years experience who cannot waste\nhis words.\nSo if you want help and if you\nare a beginner you had better go to\nthe masters who anyhow have a way\nof making all things seem less dif-\nficult.\n\nTHERE'S A MOON TONIGHT:\nA romantic comedy in three acts, a\nprologue and an epilogue, by Alfred\nKreymborg. Samuel French Ltd.\nPrice $ 1.25.\nACTORS,—though here right away\nI break down, for what I mean\nby actors is not what you mean— :\nI mean men who can act; you probably\nmean men socially charming, noble\nhumbugs, incapable of acting.\nHowever charming or noble, no\nman can play the fool as it's intended\nto be played. It needs concentrating\non—and sufficient contempt for your\npublic. Actors all over the world\ntoday mentally lick the boots of the\nPublics. Thats Garrickism : for, though\nwe all (all but Horace Walpole) must\nadmire our David Garrick, if only for the\nbig name he made for himself, we are\nbound to arrive at this conclusion at\nthe end of years of comparison of\nGarrick with ail the other actors and\nto find him a toady—a boot licker.\nI always have wished that men of\ngenius like Kean could and would be\norderly— then we should have had\nmore of his kind and even a Club\nnamed after him. We should have\nhad actors and it was to actors 1\nwas about to refer, ccnnecting them\nwith the plays of Alfred Kreymborg,\nwhen I recalled that the actors were\nso unfortunately full of Garrickism, and\nthat Garrick could have made nothing\nof these plays.\nThis play in the light of the moon\nis a charming thing made to be acted\n—it is more or less unreadable.\nIt is essentially a play for actors\n....actors as I pronounce the word :\nand so it is quite a silly thing to have\nbrought out the book bound hand-\nsomely and to have charged one and a\nquarter dollars for a copy. Twenty-\nfive cents should be the price—so that\nreal actors can get hold of it and cram\nit in their pockets. Thinner paper\nsmaller type, paper cover, and half\nthe size would have done the trick\nquite well. Samuel French once upon\na time issued all our plays; and 1 be-\nlieve they cost 6d.\nNo one bought a copy to read for\npleasure ; one bought copies when one\nhad to learn a role.\nSo should it be now.\nMr. T. R. Edwards, the managing\nDirector of French (Incorporated), pos-\nsibly has some foresight. He should\nget hold of the market again; he\nshould rob Benn Brothers and Black-\nwell of the power to issue better and\ncheaper plays. He should take a care-\nful look .at the I/- plays issued by\nthe Oxford University Press. The\nPlaywriters should to a man ail stand\nby French—for French is, it seems to\nme, the rightful heir to the idea of\nold Samuel French who hailed from\nNew York some time in 1854, bought\nup Lacy's business in London in 1872,\ntook No. 89 Strand as his office,\nand settled in London where he died\nin 1898. His list contained 2005\nplays, 1485 of which Lacy had pub-\nlished between 1848 and 1873.\nFrench by name, American by\nchance, English by choice, Samivel is\nthe man for my money. But he must\ngo back to his staid and shrewd old\nways—they are far more long-sighted,\nwiser than this present policy of is-\nsuing bound volumes in place of wor-\nking brochures.\nAnd it is all in the interests of the\nplaywriters to help towards getting\nthis done.\nI do not know what sums the wri-\nters of plays receive for such books\nbut 1 take it that French (Incorpora-"}, {"page_pdf": 66, "page_imprimee": "176", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.66", "texte": "tad) has to pay them more than he\ncan afford, so he has to charge more\nfor the books.\nIt is an utterly wrong plan to work on.\nAll the authors want—really want—\nis to get a play of theirs acted—is it\nnot so ?\nPublish the play then—but so cheaply\nand in so work-like a form—in bro-\nchure—that it is plainly seen to be a\nbooklet for workers, not a book for\nthe public.\nLet the author take 5 °/0 or 3 0 |0,\nbut then let him insist on plain cheap-\nly printed professional looking book-\nlets or brochures for stuffing in the\npocket.\nLet the author risk that. He may\nlose* £10 but he chances winning\nthousands if his play be good for acting,\nas is 44 There's a moon tonight\nThis Samuel French—to turn once\nmore to him. Would you believe it,\nbut I found no mention of him in the\nHistories of the American Sta ge. It\nwas not in 44 The Romance of the\nAmerican Theatre \" Crawford, i 923 :\n\" A History of the Theatre in Ame-\nrica Hornbiow, i9S9;or in \"A\nHistory of the American Drama \",\nQuinn, 1923.\n\nGLOSSARY OF STAGE LIGHTING\nby Stanley R. McCandless.\nTheatre Arts Inc. New York. Price\n35 cents.\nGordon Craig.\nTHE idea of this brochure is a\nhappy one ; the idea is to be of\nservice : to do a small thing well, to\nlake an atom of theatre work and\nperfect it. Instead of parade —instead\ncf showing how not to write on 41 The\nTheatre of the Universe\" as many\npeople are doing today, this young\nauthor gives us a little help. Bully\nfor him.\nUnfortunately, while it will be cer-\ntain to help any one who has to study\nhow to light an American stage, it\nwill not serve our European men quite\nso well, for it lacks too many of our\nterms. But then it's writ by an Ame-\nrican for Americans.\nit tells us simply what is an am-\npere and what a volt is. It defines the\nterms 44 plug \", M balcony spot spot-\nlight \" 44 foot lights \" and so forth.\nAnd scanning the brochure I thought\nonce more of an old project which\nlack of funds, time and collaborators\nhad made me lay aside. Which was\nthis:—to bring out a small dictionary\nof terms used in the Theatres of Eu-\nrope and America since the 17 th\ncentury. Besides having English terms\nI thought to include the American;\nbut besides these, and side by side, I\nintended to place their equivalents in\nFrench, Italian, German, Dutch, Scan-\ndinavian and Spanish.\nI still believe that there is a public\nlor such a book and that it consists\nof all the technicians, stage-managers and\nproducers in Europe and America. It\nwould be a book with a steady sale,\ntor not only would it help us all on\nthe modern stage but it would help\nstudents who perhaps do not know\nexactly what was a gar game in 1700,\nwhat a 44 telaio\" or what 44 Scene\nvedute in angolo \" may be.\nAs first-aid to anyone intending to\nfollow up this notion and carry the\nthing through I cannot do better than\nintroduce them to that little French\nbook 44 La Langue Th£atrale : voca-\nbulaire historique, descriptive et anec-\ndctique des Terrnes et des Choses du\nTheatre etc. by Alfred Bouchard,\nParis, 1878.\nThen there is the smaller Italian\nwork 44 Manuals della Lingua Tea-\ntrale *' by Papiol ; Socieia Editoriale\nMilanese. Milano 1909, and the large\n44 Dictionnaire du Theatre \" by Ar-\nthur Pougin; Firmin-Didot, Paris 1885,\nis of course to be consulted,\nBut with these three books you can\nonly make a beginning. You need\nthree or four more ; and I think you\nwill have to gather information from\nthe theatres themselves to make your\nbook complete.\nBut I am quite convinced of the\nvalue such a book would be to us\nail ; and I am ready to help in ma-\nking it, as 1 feel sure many professionals\nwould be, if someone would undertake\nto compile it with our assistance.\nThere are two groups of students\nwhich seem to me to be equally well\nequipt to undertake such a compila-\ntion : The Department of Drama, Yale\nUniversity, (of which Mr. McCand-\nless is an instructor) ; and Dr. Al-\nlardyce NicoU's group of students in\nthe University of London.\n\nTHE WOODCUT OF TODAY\nat Home and AbroadEdited by\nGeoffrey Holme. The Studio Ltd.\nPrice 7/6 net, in Wrapper. 10/6 net,\nin cloth.\nA volume, which adds one more to\nthat long series of fine picture\nbooks for which we are indebted to\nMr. Geoffrey Holme, his predecessors,\nand the Studio Press.\nThe book contains about two hun-\ndred illustrations, sixteen in colour,\nwith accompanying text by Malcolm\nC. Salaman relating to the Woodcr\nin Great Britain, France, Holland'\nItaly, Russia, Japan, the United States\nand other lands. *\nThose who have the good fortune#\nto possess 44 1he Modern Woodcut and\nLithograph \" issued by the Studio in\n1919 should not fail to secure this\nnew volume to set by its side.\n\nPRACTICALLY TRUE by Ernest\nThesiger. Heinemann. Price 8/6\nTHE THEA TRE IN LIFE by Nicho-\nlas Evreinoff. Harrap. Price 12/6 net.\nFORTY-SEVEN and forty-eight, these\nare the ages of Nicholas Evreinoff\nand Mr. Ernest Thesiger, both of\nthem theatre men. Evreinoff, the\nyounger by one year, is older in expe-\nrience. 44 Fie has been a circus per-\n44 former, an actor, a playwright and a\nil regisseur ; a flautist and a composer;\n44 a critic, a novelist and a historian ; a\n44 painter, a psychologist, a biologist, an\n44 archeologist and a philosopher ; a gra-\n44 ciuate in law, a government official, a\n\" teacher and a world traveller. And\n44 a tyro at none of these occupations \".\nThese are the words of Mr. Oliver\nSayler, who is helping to sell Russian\ngoods in America, i put it that way\nbecause that's the way it is. Keen\nabout Russian art Mr. Sayler may be,\nbut he is a good American : he does\nas he is told, and America tells its\nsons to do what they darn well like\nbut to make it pay anyhow.\nMr. Sayler, in his introduction of\nEvreinoff's book, cannot be accused of\nlaying it on thin : the author of 44 Gay\nDeath \" has to keep still while his\npublicity agent paints him an inch\nthick ail over; and what colour re-\nmains oyer in the pot is daubed on\nto the American people who have\n4< ad vanced incredibly in comprehen-\nsion and sympathy \" in the last ten\nyears. Glorious delusion ... for if any-\nthing the whole earth, as a people,\nhas retired gracefully further and fur-\nther, comprehending less and less and\nsympathising, thank heaven, not at all.\nSympathy ! !\nMr. i hesiger has no one to intro-\nduce him. He seems passionately fond\nof introducing himself, yet says not a\nword. As a rule : he says it in flo-\nwers. 44 I quickly bought a large\nbunch of violets....\" the 44 result of this\n44 small outlay (I have tried the same\n44 trick since with equal success) was\n44 a letter.... asking me to pay her a\n• • •»\nvisit\nSo I miss the bunch of violets on\nthe cover of this book which lacks"}, {"page_pdf": 67, "page_imprimee": "177", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.67", "texte": "oat. Introduction. But instead of this\n# have a dedication to E. P. T.,\nHje author's father.\nMr. Thesiger senior was (may be\nne stili is) C!erk Assistant in the House\nof Lords. 44 He knew nearly all the\nPeers of the Realm \"—44 knew practi-\ncally no one in what is called 4 The\nArtistic World ', and certainly no one\nwhose reputation was in the very\nleast shady\nWhich can only mean that he ne-\nver left his desk in the narrow little\nroom allotted to him in the Clerks*\nquarter of the House of Lords.\nThe notion of not knowing anyone\nin 44 The Artistic World \" seems to\nme a happy one. I am pretty exclu-\nsive myself—I will know no one else.\n1 make an exception in favour of those\nwhose reputations are shady rather\npreferring things in the round to\nquite a flatness; and when they are\ndamned outright by the intolerant I\ngreet them cordially. It seems to\nme to be almost a Hall mark.\nBut when I speak of 44 The Ar-\ntistic World \" I mean the artists and\nonly the artists. I do not mean the\nhangers-on — the artistic — the ama-\nteurs, ....those who have condescen-\nded to come over to us. Yes, but\nalas, to the flat, hail but farewell.\nMr. Ernest Thesiger is not flat, dull,\nand assuredly not unprofitable; and\nhis book is full of lively, kindly, char-\nming and cutting things.\nAfter having painted well for ten\nyears and sold successfully for two (he\nnetted £ 600 for sketches at two 44 one\nman shows \") Mr Thesiger became an\nactor at the age of thirty. And now\nat the age of forty-eight he gives us a\nvery readable book of recollections.\nHis passion seems to be to know\npeople—to be introduced—even to in-\ntroduce himself. Once people know\nhim a little, he feels sure that he can\nmake himself liked—and so it is. But\nhe also has an immense liking for the\nstage; on which, as you read his\nbook, you feel he is purposed to suc-\nceed.\nThe author of 44 Practically true\ngives his readers two or three portraits\nof himself, none of which looks more\nthan twenty to twenty-five years old.\nAnd as he also writes in the twenty-\nfive-year-old swing I get an impression\nof a very young man.\nHe seems to have known nearly\nall the people one has heard of in\nEngland. But though so closely in\ntouch with things and people some there\nare he never did get into touch with\nat all, notably the Shah of Persia, Val-\nliant, Cleo de Merode, Count Tolstoi\nor Giuseppe Verdi. On the other hand\nhe has known the Empress of Austria,\nQueen Alexandra, and several lesser\nroyalties and just missed having a little\nsupper or two with the Kaiser.\nAnd, as he explains in his book, he\nhas been an actor for eighteen years.\nI have always gathered that he is one\nof the very best actors on the English\nstage, even as 1 have always heard of\nSir Gerald du Maurier as one of our\ngreatest producers. Both are in any case,\nsocially, very much in the swim. Some\npeople there are in England who de-\ncry the age and who assert that the\nstandard in England, so far as the\narts and graces go, trails on the\nground.\nBut so long as such actors as Mr.\nThesiger and such producers as Sir\nGerald are on the spot to keep the\nflag flying, we can fee! assured that\nall is well with the British stage.\nWell, the book couldn't be more\nentertaining and often* is instructive;\nseldom fails to be amusing, and has\none line we can take quite seriously\nand which runs: 44 Really, actors\nought never to be knou)n, or even\nseen, off the stage \",\nLet us be glad that Mr. Thesiger\ndoesn't take himself seriously, for then\nwe should have missed a delightful\nbook.\nDelightful of course, and curious ;\nfor to me how queer it seems to\ncome across the only reference to Ir-\nving and find it missing fire— : All\nthat he says is 44 I remember thinking\nIrving very grotesque in it \", — in 44 The\nDead Heart \".\nSurely, ! say to myself, this first-\nclass actor saw the great actor more\nthan once ; but it would seem not.\nHis chapter on Mrs. Patrick Camp-\nbell is full of charm, all but the stcry\nabout Herbert Trench which merely\nreveals a glare of bad manners for\nwhich Mrs. Campbell is net noted,\nshe having the most charming man-\nners ; keeping no one waiting and\nsaying nothing unkind about anyone.\n1 wish 1 knew the author's motive\nfor repeating the story. It may be\ntaken to represent theatrical ways, yet\nit doesn't represent them; but it may\nalso be told to give pleasure to smart\nsociety whose manners may be just bad.\nI miss the point of it.\nApt is our author on Miss Thorn-\ndike's 44 iron constitution \" : on Mme.\nDelysia's generosity and loveableness:\nbut is he on Mr. Churchill's 44 fatuous\nremarks\"? Of Arnold Bennett he writes\n44 I couldn't bear anyone not to like\nArnold Bennett \" so I at once like\nArnold Bennett without knowing him.\nMr Thesiger is amusing: even his\npassion for knowing people is slyly\ncomic — is it at all grotesque ?\nWhat artist ever wanted or wants\nto know anyone ? Who is this same\nanyone, anyhow ? To be in the swim,\nwhat is that ? — to be in touch with\npeople in the swim ? To be in touch\nwith the sea — that I understand; but\nto bathe in it with two thousand five\nhundred otheis at the Lido or to dine\nwith one thousand four hundred others\nhardly strikes me as the ultimate, or even\nthe passing, ambition of the smallest\nartist.\nIt was Henry Irving's son, Harry\nIrving, who once delivered a lecture\nentitled 44 The Social Status of the\nActorWhat it was all about 1\nforget, and cannot refer to the subject,\nwhich was reprinted in his 44 Occasio-\nnal PapersBut it was a defence,\nand defences are always happy things:\nthe Irvings always defended the actors\nagainst the attacks, silent or voiced,\nmade upon them by the tolerant.\nIt was also a waste of time: for\nartists and actors have very happy lives\nand give a good deal of happiness to\nothers.\nBut I refer only to genuine artists\nborn to their trade. Now there is\nanother kind coming along — the ama-\nteur. All sorts of people are forsaking\ntheir old paths which one supposes led\nsomewhere and are trying a new one\n— a road which leads them nowhere.\nI disapprove, and for too many se-\nrious reasons to be gone into thoroughly\nhere. I like too well the idea of con-\ntinuity : as I like to see the crown pass\nfrom father to son, the titles, the estates,\nthe old traditions, too, so do I like to\nsee the palette, the pen, the mask and\nthe box of tricks of any trade passed\nfrom father to son — or from master\nto best apprentice.\nI like the secrets of the game to\nremain in families; and 1 am not at\nall partial to the vulgarization of even\na card trick so that after dinner every\nLord Pompsby can say 44 I' 11 show\nyou how Houdini did this\"; or Lady\nDot Andcarione can offer to give us\nher most perfect rendering in Dumb\nShow of the speech which begins 44 The\nquality of mercy.... \" to show how far\nlovelier was her voice than was that\nof Mary Anderson.\nThis vulgarization of something which\nis best left to the experts of the lower\nclasses is the work of England, of Ame-\nrica and of the Isle of Wight.\nIt is briefly a twopenny nuisance.\nBut when the upper classes insist —\nwhen they even offer their services\nprofessionally, when, in short, they"}, {"page_pdf": 68, "page_imprimee": "178", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.68", "texte": "become members of the lower classes,\n(for all artists are, as Mr. Thesiger\nsenior indicates, beneath, not level\nwith, the upper and middle, and I\nheartily praise God but humbly agree\nwith the clerk), then they should doff\ntheir old gold lace uniforms and their\ndarned side and be lost in the crowd\nof artists in the limelight.\nAnd another thing. — If the upper\nclasses of today are content to doff\ntheir uniforms or whatever it is makes them\nappear so awkwardly upper, to leave\ntheir old haunts and to descend to the far\ndifferent haunts of the artists, they should\nbe very careful to bring something with\nthem which the artists may at least need\nA finer set of manners, may be.\nI feel that Mr. Thesiger does try to\ndo that.\nMr. Thesiger was an amateur and\nis one no longer. He is essentially the\nprofessional: far more so than M. Evrei-\nnoff seems to be.\nBut 1 couldn't possibly say anything\nharsh about this Russian genius for there\nare plenty who will damn poor Evrei-\nnoff. Some have said the harshest\nthings possible : for example, that 44 his\nbook has been translated into the irri-\ntating conversational style made fashion-\nable by Mr. Craig \" : that his criticism is\n44 remarkably trivial \" ; that he is 44 in-\nsensitive \", his words mere 44 prattlings\".\nSuch critics have my sympathy. They\nstarted off in life so full of indepen-\ndence and I don't like to hear them\ntoday echoing what they have overheard\nin the lobby of the House of Lords.\n\nDESIGN IN THE THEATRE:\nSpecial Winter number of 44 The\nStudio \" 1927-28. Price, Wrappers\n7/6: Cloth 10/6.\nTHIS new Studio volume contains\nover 120 illustrations in colour and\nphotogravure, commentary by George\nSheringham and James Laver, and con-\nby Gordon Craig, Nigil Play-\nfair and Charles B. Cochran.\nMr. Gordon Craig has written a\ncharacteristic letter which is reproduced\nin facsimile and in which he tilts with\na touch of pleasant malice against the\nplaywright, at the same time indicating\nthe importance of the designer's function.\nThis Studio special number offers a\nrepresentative collection of drawings by\nthe leading English and Continental\ntheatre designers, as well as a number\nof designs by Irish and American artists.\nIt is a volume which will certainly\nbe welcome to the large public interested\nin the theatre.\n\nFOUR COMEDIES by CARLO\nGOLDONI, Edited by Clifford Rax.\nEdition limited to 500 copies. 12f 6\nnet. Postage 6d inland.\nHEROES OF THE PUPPET\nSTAGE by Madge Anderson. Publi-\nshed at 12/6 net; Some copies offered\n(new at 7/ 6, postage 9d inland.\nBoth obtainable from Foyle s, 119-125\nCharing Cross Road, London.\nGOLDONI is one of the most rea-\ndable as well as actable playwri-\nters. But you may not know Italian,\nand then you will need an English\nTranslation, and I realty cannot think\nyou will find a better one than this\nsold by Mr. Foyle.\nAll theatrical people will be delighted\nwith these 44 Four Comedies\" edited\nby Clifford Bax, especially that of 44 II\nl eatro Comico \" in which play all are\nactors, actresses, impresari, managers and\npatrons. And nowadays it is rather\nhard to get a picture of a Patron of\nthe Arts, especially a Patron of the\nTheatre Arts. Here we have him, —\nthe Otto Kahn of those days. True,\nhe is a Turk, but what would you :\nall patrons can't be white.\nMr Foyle's second special offer, the\n44 Heroes of the Puppet Stage \" is use-\nful and entertaining. It is a good book\nfor beginners and will not bore them.\n\nMAGAZINES.\n\nNOTES & QUERIES (Price 6d.)\ncontinues to be as refreshing as\nof old. A recent number containing an\narticle on Shakespeare's will ! by Wil-\nliam Poel, is of interest to all students\nof the Drama.\nTHE CALENDAR, in a new co-\nver, keeps lively and is as readable\nas ever. THE LIBRARY, edited by\nPaul Horgan, (New Mexico Military\nInstitute, Roswdl, New Mexico) consists\nof four brief but good pages spite of\nits long address. DRAMA, the jour-\nnal of the British Drama League\n(Price 6d.) and the THEATRE WORLD\n(price 6d.) run each other close, the\nlatter being better illustrated; and I\nsometimes find its letter-press more up\nto date and more lively than that of\nits elder brother ; but its advertisements\nleave something to be desired.\nTHE AMATEUR STAGE (price 6d.)\nis the best of the three in every way,\nand is a lesson to 44 Theatre World\"\nin what to advertise and what to\navoid advertising, it is a pleasure to\ncome across an article or two in its\npages by James M. Glover.\nTHE ARCHITECTURAL REVIEW\n(price 2/6 monthly) is the most mag-\nnificent magazine produced by Lon-\ndon for many a year, and it sets a\nstandard. It often contains illustrated\narticles of interest about the architecture\nof Theatres.\nTHE CURTAIN, (price 3d. monthly)\nis not as good as it should be, and\nTHE DRAMA, (American) combined\nwith 44 The Little Theatre Monthly \"\n(50 cents monthly) is far too full of\nthe kind of 44 news \" which is not\nparticularly bright.\n4 The Chicago Tribune ' and other\ndailies of America, all masterpieces of\nJournalism, should long ago have taught\n44 The Drama \" that, to tackle news,\nyou have to possess genius and unli-\nmited capital.\nSo that little papers, especially thea-\ntrical magazines, should modestly re-\nfrain from reporting the kind of things\nthey do report—and in small print,\ntoo and without headlines to awaken\nour interest and without a spark of\nstuff in them.\nThe news that 44 C. M. Patten will\nread\" The Little Poor Man \" at the\nMarch meeting at Los Angeles \" doesn't\nstrike us as any livelier than the fact\nreported that 44 a new circle was or-\nganized this winter at Ogden and that\nits president is Aionzo Morlay. Not\nonly do these people and facts mean\nnothing to us; the way the items are\nreported is shockingly dull.\nIf the Editor of 44 The Drama \"\nwould only scrap the lot he would\nsave some five or six pages which he\ncould fill up with something worth\nwhile. Why not ?\nThis that is so noticeable in the Ame-\nrican 44 Drama \" is only rather less\nnoticeable in our London 44 Drama\n44 Amateur Stage 44 The Curtain \"\nand 44 Theatre World That only\nwhich is really worth while should be\nreported and the rest put in the waste\npaper basket.\nWhen talent has made some mark,\nthat is time enough to report about it;\nbut when a couple of hundred expres-\nsionless facts are reported to us by the\ncolumn, then the whole of this Ama-\nteur activity or the Little Theatre\nMovement is not only rendered rather\nridiculous—but duller than it really is.\nAmong the well produced magazines\nof England, Messrs, Halton & Truscott\nSmith's 44 OLD FURNITURE \" seems\nto me to be especially good. Edited\nby E. F. Strange C. B. E.f it is\nnow in its second volume, and should\nbecome a famous success."}, {"page_pdf": 69, "page_imprimee": "179", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.69", "texte": "EDITORIAL NOTES\n\n& SHAKESPEARE\nTHE statement made by John Keats\nand reprinted by us on page 153\nis, after all, by John Keats.\nThat is why it seems to us to be\nworth the especial notice of our readers.\nIf it had been made by Lord B. or\nthe Bishop of C. it would, of course,\nhave carried rather more weight.\nThe reason why we do not care one\nfig for Shakespeare is that he is at\ntimes rather theatrical.\n\nNEXT DOOR TO SWINDLE.\nONCE upon a time, about the year\n1900, hardly any books were\nbeing published about the Theatre in\nLondon,\nThen came a change. Many books\nappeared. This went on for twenty\nyeafs. Now almost too many books\non the Theatre appear.\nToo many on Dramatic Theory,\ntoo many Dramas of today and on how\nto write them, too many on modern Sce-\nnic Innovations, and perhaps too many\non how to get up private Theatricals.\nThere is no more need for more\nbooks on these subjects except they\nbe by very first-class men ; and, alas,\nthey are still coming out signed by\njack, Tom and Harry.\nFor example, a book on Drama and\nhow to write plays by Bernard Shaw\nis still wanted. Dramatic Theory by\nGranville Barker would be welcome.\nAs for Scenery books, unless about\nthe Ancients, let us have no more of\nthem, for it is such a swindle as\na rule.\nSome bright lad who has once been\nan assistant to some well known artist,\nand who has probably been sacked or\nnever really made good, will have a\nnotion that he can put a book over\nanyway. He goes touting around and\ngets a hundred artists to promise to\nloan him two or three designs apiece.\nThe rights to produce these two or\nthree hundred designs he coolly sells to a\npublisher, getting pretty well paid for\nwhat isn't his property to sell. He\nwrites a bit about each design, perhaps\nten lines or less, comes out with a pre-\nface, and issues a bock not worth three\nshillings for about £ 2.\nThe book is for publication In Au-\nstria, let us say. Well and good.\nWe can appreciate the courtesy of\nany English artist who allows his work\nto be published there now and again\nfree of charge. But. what happens\nafter it has appeared there ? Sheets\nare hurried over to London to be pub-\nlished by Levi Brothers ; it goes off\nto America and is issued by Bunkum\n& Co : in fact the designs got for no-\nthing are traded around in a shameful\nmanner.\nTHAT IS THE KIND OF BOOK WE WARN\nEVERYONE AGAINST.\nArtists seem to like to give away\ntheir rights to men incompetent to\nwrite seriously about them, We can-\nnot think that in any case such things\nshould be given gratis. That the ar-\ntists are such fools that they never\nask for a penny in return merely\nmeans that they need to belong to the\nSociety of Authors and study awhile\nunder Professor Thring who would\nbegin by telling them never to give\ntheir work away.\nIf each artist asked a fee, as every\nman of sense would do, we should\nhave fewer such books — but the few\nwould stand a chance of being far better.\nThese 44 Editors \" write round to all\nthe artists begging for designs : if one\nprotests he receives a letter telling him\nin polite but decidedly chilly and poin-\nted phrases that he is the only one\nwho has even suggested such a thing\nas payment. If he replies that he\ndoesn't intend to allow his work to be\nused without payment he will receive\nfive or six letters arguing the ethics of\nthe point.\nSeldom do these nimble 44 editors \"\nbring out a book on the Theatre\nwork of one man: why is that ? He\nmight expect to receive some substan-\ntial payment.\nYet a book on the stage work of\nKlaus Richter, for example, is some-\nthing we should like to see and read.\nAnother on the sceneries of Karl\nWalser : a third on Emil Orlik's work,\nand a good big one on StenTs work.\nThere would be* some sense in such\nbooks IF the writer were not a cowboy\nor an engine-driver turned esthete,\nbut were a sound critic like Dr. Fis-\nchel or Dr. Greger or our old and\nlamented Cesare Levi.\nAmerica too has a few good men;\nSheldon Cheney and Barrett Clark are\namongst the best ; and such men should\nbe and can be iiusted to act towards\nartists properly or leave their work\nalone until they can make some kind\nof return for the use of it.™ Cowboys\nare not to be trusted; so no more\ncowboy editors, we beg.\n\nINCORRECT\n\"DAILY MAIL \" and\" DAILY\nEXPRESS\" PLEASE COPY.\nONCE more we earnestly beg some\nof the greatest journals of Lon-\ndon to revise their staff and indexes\nand the rest of their machinery in the\nsection Drama and Theatre.\nA while ago one of the million or\ntwo-million-copies-per day journals was\nreferring to Signora Duse as 44 the ce-\nlebrated operatic singer another was\nmixing up a well-known producer with\na well-known cinema manager; and\nrecently one of these refers to the\nburning of the Teatro Aifieri of Mi-\nlano when no such theatre exists there\nand the theatre burnt was in Torino.\nSuch errors are so easily avoided if\none's card index is in order; and, if\nit isn't, a card index can so easily be\nput in order and one's reference books\ncan so easily be referred to.\nWhy speak of Teatro Aifieri, Mi-\nlan when Teatro Aifieri, Turin is meant ?\n\nADDITIONAL NOTE TO \" A\nFORGOTTEN HARLEQUIN \"\nBY R. J. BROADBENT.\nO SEE \" THE MASK \" JULY I926. O\nI i. II.I.III«.I iMiinni immi ■'■mini n.i .its —i nimn imnmoma\nON December 27, 1836 the cele-\nbrated English Harlequin Ellar\nwas performing his old part at Co-\nvent Garden Theatre in Harlequin and\nGeorgey Barnwell or the London,\nPrentice to Clown of Mr. C. J. Smith\n(his first appearance in that character),\nColumbine, Mile. T. Schmidt, Pan-\ntaloon, Mr. Clarke.\nPresumably this was the same Tom\nEllar of whom Mr. R. J. Broadbent\nwrote in The Mask July 1926.\nOur information is from \" The Thea-\ntrical Observer and Daily Bills of the\nPlay \", No : 4689. Dec, 27, 1836."}, {"page_pdf": 70, "page_imprimee": "180", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.70", "texte": "LAST WORDS.\n\nASKING ALMS FOR SHAKESPEARE\nJ. S.\n£100,000 sent from America to the Strat-\nford Memorial Theatre is accepted\ncordially and makes everyone in England\ndelighted. It makes us bitterly miserable.\n£ 5,000,000 sent from America to\nbuild a dam is Egypt makes everyone in\nEngland furious : 44 Comes as Bombshell \"\n44 Grave View Taken\", 44 Very life of\nNation endangered\", 44 Violated Trea-\nties \", 44 Pact with Britain \" : Cables sent\nto Washington.\nEngland, in brief, is willing to sell\nShakespeare rights, unwilling to sell the\nrights to a bit of Egypt.\nIf you can afford to preserve the se-\ncond you can afford to preserve the first.\nAmerican headlines read : 44 Britain\nwill fight building Nile Dam no such\nheadlines appeared respecting the buil-\nding of the Shakespeare Theatre.\nYet whjr not ?\nWas the National Theatre in Ger-\nmany — that erected in Weimar to Goe-\nthe and Schiller, paid for by a friendly\nforeign power : or did Germany pay for\nit ?\nIt might be worth your while to as-\ncertain.\nWas the Comedie Francaise, — Mo-\nliere's Theatre in Paris, pai'd for by a fo-\nreign power or did France do it alone ?\nThe Abbey Theatre in Dublin, and\nthe Moscow Art Theatre, and the Scala\nin Milano, were these erected or re-erec-\nted by their nations after a begging party\nhad been arranged and did foreigners\npay for them ?\nWe think you will find it's not done.\nThen why did we do it ?\n\nOUR FRONTISPIECE\nO TWO DESIGNS FOR STAGE O\nO SCENES BY SALVIATI O\nTHE two designs for scenes by Fran-\ncesco Salviati (Rossi) 1510-1563,\n(Plate 18) are reproduced from drawings\nin sepia and wash\" in the British Museum,\nLondon.\nNothing about this important sceno-\ngrapher is to be found in 44 La Sceno-\ngrafia \" by -Ferrari, in \"Scenes and Ma-\nchines \" by Miss Lily Campbell, or in Dr.\nNicoll's recent work 44 The Development\nof the Theatre \".\nSalviati dates before Inigo Jones, the\nParigi family and Parigi's master Buon-\ntalenti, and is a contemporary of Lancia.\nVasari, Salviati's fellow-student un-\nder both Andrea del Sarto and Baccio\nBandinelli, gives us in his 44 Lives of the\nPainters \" the most information about\nhim, and his works for Cardinals, Popes\nand princes, iti Roma, in Firenze under\nthe Duke Cosimo I,, and in France at\nthe court of Francois I.\nFrancesco caine to be called 44 II\nCecchino del Salviati (1) or il Salviati \"\nor Cecchino Salviati, (2) or Francesco\nSalviati owing to the favour and protec-\ntion he received from Cardinal Salviati\nfor whom he executed various works.\nHe also worked for the Farnese family,\nand when Big. Pier Luigi Farnese, Lord\nof Nepi, was made Duke of Castro, Va-\nsari relates that not only 44 Francesco\ndevised a rich apparatus for his entry\ninto the city \", but 44 made some beau-\ntiful scenery for. a comedy \".\nFrancesco also worked in Firenze\nwhere he did much work for the Duke\nCosimo I., and ,4 one carnival year he did\nthe scenary for a comedy, judged supe-\nrior to any made in Firenze'up to that\ntime \" (1); and in France, where Francois\nI., had engaged some of the ablest 'ar-\ntists of Italy in the decoration of the Pa-\nlace of Fontainebleau ; but returned later\nto Roma.\nEmployed by Popes, Cardinals, and\nreigning princes, his versatility seems to\nhave been immense. 44 He studied and\nworked ceaselessly \" says Vasari, turn-\ning from portraits and great wall designs\nto make 44 a handsome design... to\nbe painted on a platter 44 as a present to\nhis wife and mother-in-law; \" or 44 a book\nof curious habits and dresses of men\nand horses for masques 44 for M. Jacopo\nSalviati ; and before his death 44 He had\nat the end practised mosaic, being a\nrestless man anxious to be accompli-\nshed in many things\". 44 Rich and co-\npious in invention and universal in every\nbranch of pictorial art, he would \" adds\nVasari, 44 have produced marvellous\nthings if he had found a prince to humour\nhim \".\nCompare the two scenic designs here\nreproduced with A. Parigi's setting for\n14 II Solimano \" (i62o) reproduced in Dr.\nNicoll's 44 Development of the Theatre\".\n(1) BRYAN'S* Dictionary of Painters\n& Engravers. 1903.\n(2) VASARI. Op. cit. y\n\no THE CRESSET PRESS o\nA newly established Press, 44 The\nCresset Press has chosen for its\nfirst venture this autumn a reprint of\nBacon's Essays, the main reason given\nfor the choice being that *4 no really\nworthy edition of the Essays has ever\nbeen produced since they were written\nOther announcements include a post-\nhumous translation, by Maurice Hew-\nlett, of the first twelve books of the\nIliad, to which Professor Lascelles Aber-\ncrombie is to write an introduction. The\nexistence of this work was known to but\na few intimate friends.\nThe programme also includes an il-\nlustrated collection of old English songs,\nwith the music, ranging from the 16th\nto the 19th century, which do not find a\nplace in most anthologies ; and reprints\nof two little old English treatises 011\nGardening and Fishing, the one, \" The\nNew Orchard and Garden \" and 44 The\nCountrie Housewife's Garden \" by Wil-\nliam Lawson ; the other \" Secrets of\nAngling \" by Gervase Markham and\n\" The Experienced Angler \" by Ro-\nbert Venables.\nIn short, the Cresset Press is making\na good beginning, and evidently purpo-\nses to render good service to book-\nlovers.\n(1) VASARI. Op, ctt.\n\no CONSTRUCTION. o\nO AFTER THE PRACTICE THE THEORY O\nthis matter of the merely\nmaterial, the building of theatres,\nthe scenical things, the preparation\nmade for the spectators, the mise en scene\nand the front of the house, it is curious\nto note that they who make light of\nthese things, who would somewhat con-\ntemptuously urge ns all to pass on over\nsuch triflings and 44 come to Hecuba \"\nthose who would open a theatre and\nring up the curtain without any proper\npreparation, have from the first avoided\nthe whole subject, shirking these trifles\nas though utterly worthless.\nWe must come back to this at every\nexamination of a dramatist's worth : —\nhow far did he learn the material side\nof the playhouse and its entertainment ?\nIt may be that they are possibly ve-\nry slight matters, but that they are ut-\nterly worthless and beneath the common-\nsense of the play writers who possess that\nrare commodity can hardly be supposed.\n\nG . P . HUNTLEY.\nA GENUINE ACTOR.\nm mini ■■Minn a . umjuiji\nTHE loss of G. P. Huntley is a real\n1 loss to the English Stage. He was\na personality — a genuine actor — and\na delightful fellow.\nWhy for the last six years he should\nhave been allowed to go to America one\nrealized when one read the obituary no-\ntices in the London dailies.\nAll they could think of to say to their\nMyriad of enlightened readers, wras, that\nhe owned race horses, had other hobbies,\nhad played inanities on the stage which\ndelighted; was popular, and an arch-\nmaster of 4 silly ass ' humour ; had a\njoke in his voice, and so on. Anything\nmore?.... they thought not.\nPoor Huntley.\nA fine artist, and an actor with a\ngenius all his own.\n...We will say that in our London\ndailies next time — next time we have a\nplainer and rather less enlightened public.\n\nA PRESENTATION PLATE TO\no 1927 SUBSCRIBERS. o\nWITH this number we issue to all\nsubscribers for 1927 a special Plate,\na design by Gordon Craig, dedicated to\nISADORA DUNCAN.\nTHE END\nO F\nVOLUME Xi 11\n\nAll Rights reserved. November 1927.\nDirettore responsabile Antonio Maraini.\nTipografia Giuntinay Firenze%"}, {"page_pdf": 71, "page_imprimee": "181", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.71", "texte": "The Incorporated Society\nof AUTHORS,\nPLAYWRIGHTS\n& COMPOSERS.\nn GOWER STREET.\nLONDON, W. C. i.\no\nTO NEW WRITERS.\nAdvice given on all matters\nconnected with the business\nside of Authorship, Serial\nRights, Dramatic Rights,\nStandingof Magazines, Agents,\nand Publishers.\nProspectus on application\nto the Secretary.\nO\n\nr\nCANTAGALLI\nARTISTIC MAJOLICAS\nARCHITECTURAL\nDECORATIONS\nREPRODUCTIONS OF\nWORKS OF\nDELLA ROBBIA\nO\nMAN UFA CTOR Y\nFLORENCE\n(PORTA ROMANA)\no\nBRA NCH EST A BLISHMENT\nROME\nVIA BABUINO 182.\n\nNOTES\nAND\nQUERIES\nA MEDIUM OF INTER-\nCOMMUNICATION FOR\nLITERARY MEN, GENE-\nRAL READERS, ETC.\nFOUNDED 1849.\n□\nWEEKLY.\nPRICE 6d. POST FREE 7d.\nANNUAL SUBSCRIPTION\n£ 1.15.4 post free.\n(Including two Indexes),\nU\nTHE MASK\n(Volume 9, 1923) says:\nu Notes <& Queries \" is published\nby the Bucks, Free Press, 20\nHigh Wycombe. Bucks. England,\nfrom whom you will order it if you\nwant to enjoy one of the few\nunspoiled magazines of the day.\n\nAMATEV^STAGE.\nPUBLISHED MONTHL Y PRICE SIXPENCE\nA magazine making a serious endeavour to serve the\nwide field of amateur stage activity in Great Britain.\nThere is much good work, creative and not imitative,\ntaking place on that stage, and it is reflected in this\nmagazine. In the space of one year THE AMATEUR\nSTAGE has taken its place as one of the indispensable\ntheatrical periodicals. Therefore it appeals to YOU.\nThe annual subscription is 8f-, or y/- for six months.\nO\nOrder through any bookseller, or direct from the Publisher,\nTHE AMATEUR STAGE, NEW SCALA THEATRE,\nCHARLOTTE STREET, LONDON, W. i.\nwin"}, {"page_pdf": 72, "page_imprimee": "182", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.72", "texte": "m\nSUBSCRIPTIONS\nIF YOU FIND ANY DIFFICULTY IN OBTAINING\nTHE MASK WRITE DIRECT TO THE MASK\nPUBLISHERS, BOX 444. FLORENCE, ITALY,\nAND WE WILL SUPPLY YOU IMMEDIATELY.\nSUBSCRIBE NOW FOR THE 1927 VOLUME.\nWHICH COMMENCES WITH THIS JANUARY NUMBER.\nANNUAL SUBSCRIPTION. POST FREE.\nPOPULAR EDITION.\nShillings. 10. Dollars. 2.50\nSPECIAL EDITION (WITH COVER FOR BINDING)\nShillings. 20.\nDollars. 5.00\nwwwuwwaa\nVOLUMES X (1924), XI (1925), AND XII (1926),\nARE NOW ON SALE. EACH VOLUME COSTS :\nPopular Edition. Four Quarterly parts 10/-: $ 2.50\nBound: 14/-: $ 3.50\nFine Paper Edition. Four Quarterly parts : 20/-: $ 5.00\nBound, half vellum: 25/-: $ 6.25\nPost free.\nI\nWm\n, jj\nf !:\n?\ntfSS\nsr\nJ;7\n11\n••T,\nml\nw\nw\n\"1\nA\nH\n1\n«\nr\n2SS\nTn\nranca\n<rFritellmo.\nFROM THE \" BALLI DI SFESSAN1A n BY JACQUES CALLOT.\nONE OF THE MANY DESIGNS REPRODUCED\nIN \" THE MASK \" IN 1923-1925.\n■M\nlifP\n■ \\m\nn\n*. 1\nn"}, {"page_pdf": 73, "page_imprimee": "183", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.73", "texte": "SOME BOOKSELLERS\nWHO WILL QUICKLY SUPPLY YOU WITH \" THE MASK\nLONDON GLASGOW. J- B. Neumann. Graphisches\n__ p, Messrs John Smith & Son Ltd. Kabinett. Luetzowstr 32.\nloaofiuly. 57 & 61 Vincent Si. MUNCHEN.\n3 Durham House Terrace. B. Neumann. Graphisches\nd a|/co cnr \\y/ flrVO i ilNuJ# Kabinett. Barerstrasse 46.\nK1 j V * Brooker & Savile. 16 Robertson St. \"\"\" — 1\nMessrs Jownt. —— — AMSTERDAM.\nBREAMS BUlLDINuS, E. C. 4. HULL Scheltema & Holkema.\nMessrs W. Dawson & Sons. 0 n , OI ' n 0 Rolcin 74-7A\nCannon House. Poetry Book Shop. 48 Pryme St. J7T' *' '\nCHARING CROSS ROAD. I IVFRPDfYI t u 5 D * zo\nMessrs Danielson, No. 64. ™ o J. H. De Bois. Kruisweg 68.\nMr. F. Henderson, No. 76. « M- Grant & Son ~—\nMr. C. W. Beaumont, No. 75. 8& 9 The Arcade. Lord St. AMERICA.\nMr. F. B. Neumeyer, No. 70. MANPHFSTPR NEW YORK,.\nCHARLES ST. HAYMARKET. m ru n h r , Brentano's. 1 West 47th St.\nMessrs Bickers & Son. R farber* Sunwise Turn. 51 East 44th St.\nEBURY ST. S W. Messrs Simps\" & Sckens. Gotham Book Mart.\nMessrs Scotter & Law. 59 Cross Street. w ,31' W\"1 47thDSt' ,\nF1NSBURY. —■ — ____ Washington Square Bookshop.\nMr E. Nelles. MO T FiiMr.M AlVl 27 West 8th St-\n14 Soulh St. E. C. 2. Kng's, Dram.BrokShop.23 West47thSt*\nPATERNOSTER ROW. J™ P'\nTessrs Hunter & Longhurst. No. 9. OXFORD i „ „\nMessrs Simpkin, Marshall. Ba.ilBI.ckw.il,' 35 Wwt 57th St. j\nPiCCADiLLY. 50 & 51 Broad Street. BOb TON.\nITatchards, 187, Piccadilly. — —— —- Smith & McCance.\nPORTUGAL STREET. R FT R O P FT 5 Ashburton Place-\nlessrs W. H. Smith & Son. * HJ Ye Olde Grey House\nStrand House. FLORENCE. Anderson St.at Myrtle, Beacon Hill.\nQUEEN SiREET. Seeber. 21 Via Tornabuoni. CHICAGO.\nMessrs Jones & Evans. Brentano's, Wabash near Adams.\nTRAFALGAR SQUARE. MILANO. The Walden Book Shop.\nessrs Stevens & Brown. No. 4. Treves. 64 Gaiieria Vitt. Eman. Michigan Avenue North; I\nWIG MORE ST. — —————' & 301 .Plymouth Court.\nMessrs Glaishers. ROMA. CLEVELAND, OHIO. 1 f\nt \\ 77 Libreria \" Modernissima \" Richard Laukhuff. 40 Taylor Arcade.\nBIRMINGHAM. Via delle Convertite. pun Ann DLJIA\nCornish Bros. 39 New St. Treves, Gaiieria di Piazza Colonna. r R i qj\n—— i-l • i L on\\j- t i • - Centaur Book Shop.\nBRISTOL. Libreria Liberma. 37 Via Ludovisi. 1234 Chanceller St.\nMessrs jama, Fawn & Son. PARIS. T373™Sp,««°t,?«OP' I\n!1I—Hi Brentano's. LOS ANGELES. I\nCAMBRIDGE. Avenue de 1 Op6ra. McManus & Morgan.\nMessrs Bowes & Bowes. Galignani's. 224 Rue de Rivoli. 712 Heliotrope Drive,\nF I jVT P.f Tf? Cy I Shakespeare & Company. SAN FRANCISCO.\nLDINBURGH. 12 Rue de L'Odeon. paul Elder & Co. 239 Post. St.\nDbert Grant & Son. 126 Princes St. — ———- ■\n—— BERLIN. [TORONTO (CANADA).\nrL.L1A 1 OWE. Gropius'sche Buchhandlung. The Don Quixote Book Shop.\nThe Broadway Book Shop. 90 Wilhelmstr. W. 66. | 47 Richmond West.\nmONDON REPRESENTATIVE FOR ADVERTISEMENTS & ORDERS. I\nj|lR. T. JOHN GLOVER. 61 CHANCERY LANE. LONDON.\ntfHE MASK PUBLISHERS, BOX\n-"}, {"page_pdf": 74, "page_imprimee": "184", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau192710-01.1.74", "texte": "ijj NOTEWORTHY MAGAZINES 11>\n|| THE ENGLISH LANGUAGE. I||\nff| AND A CREDIT TO\n>|J ENGLISH LETTERS. \\W\nI THE REVIEW OF\n,"}]}