The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1869-02-10

IL ia capable, ana 30 by degrees 70 bring back
10 the theatre that GLASS which has been alien
vulgarity, and extravaganza too frequently
presented on the stage. To second the efforts
Of such q manager we want a more indepsnd-
ent, intelligent, and exacting criticism in the
press. They must be backed, too, by atten-
tion to such material conditions "a
well-chosen hours Of performance, comfort
able sitting and hearing accommodation, aud
the absence Of petty exactions by boxkeepers
and 80 forth. In all such matters managers
have been content to go ON in the old grooves.
torgetful OF the changes at work outside the
theatre, such as the multiplication of rival
amusements, more culture, enhanced fas-
udiousness OF manners, and a higher notion
OF comfort, later hours Of meals, increased dis
tances, and difficulties Of access to the thea
ire. The influence of such manager as 1 am
desiderating is required in every detail Of the
theatre, behind as well as before the curtain
Even in matters of which the public know
nothing, as the ordering of the coulisSes, green
room, and dressing-rooms, so as to encourage
habits of self-respect and good breeding in the
actors and stan OF the theatre, there is great
room for his influence. At present, nothing
can be more depressing, or in the long run
degrading to all in theatre, than the inatten-
tlon to cleanliness politeness and the usages
OF civilized life generally, to be found behind
the scenes. Again, there is a wide field for
the influences Of such a manager in the con-
ductipg of rehearsals. He ought to be able to
second the directions Of the author, or to re-
place him, not only in guiding the
business Of the stage, but in seeing
that dialogue is correctly given, that
errors of emphasis, faults of pronunciation,
violations of manners and proprieties, are
checked and set right; in word, that the
authors work is done justice to by the actors.
Rehearsals at present are, as a rule, slovenly
and careless, insufficient in attention to the
necessary business of the play, while almost
always cruelty wasteful of time-harassing
and wearing to good and attentive actors,
though laxly indifferent to the faults and
blunders of bad ones. In a word, in this as in
other matters of theatrical government, there
is evidence OF want of respect alike for the
actor's craft and the public requirements. 1t
is evident that the manager has little sense of
any but a very low kind Of taste to be salts
fed, or of any public opinion to be faced
which is likely to be either exacting or out
spoken. place the want Of such a manager
as have shadowed forth in the very front of
the conditions of theatrical improvement.
Many will think my hope that the want may
yet be supplied visionary one.
However this may be, am unwilling to
abandon it. l believe nothing would tend
more to bring about its realization than the
application to the shortcomings of the stage
as it is Of a vigorous, honest, and practical
criticism-not the kind of criticism which
finds, either in contempt or good-nature, an
excuse for abandoning all attempt at disori-
minating praise or blame, or that which habi-
tually depreciates all existing stage art, in
plays or actors, because it is unlike the kind
Of acting and writing which the critic likes
better, and which is nothing, in fact, but the
application of inapplicabls standards-but
criticism which, if it processes to judge what is
set before it, will judge it honestly, closely, and
carefully; above all, never passing over instan-
ces Of gross improperly, disrespeot, or defiance
of the public, on the part of actors or man
ayers, and never, on the other hand, omitting
recognition of even the humblest merits. If
the critic critioizes at all, he is bound to do
as much as this: if he considers what Is before
him unworthy Of criticism, he should say 80,
and give his reasons for saying SO. l cannot
believe that such criticism would be useless,
and am certain it would not be superfuous,
At present there is far too close a connection
between critics, dramatists, managers, and
actors, for the former to pass judgment on
the latter with either impartiality or indepen-
dence.
To show that the hopes have expressed are
not beyond the range of possibility, would
point to the French stage, on which many of
them have found their iulfilment. 1t is true
that the condition of things in the French
theatre is not, at this particular moment, a
very favorable one. Long, snowy, and costly
spectacles, like the Biche du BoiS or CendrHiOR,
mere pretexts for the display of nudities i'm
modest dances, and snowy scenery, or pieces
in which music is made the vehicle of inde-
cent double. entendre, and the slang of the
demi monde, have recently occupied it, to the
exclusion Of better matter. Its comedy and
vaudeville turn more on the violation OF the
seventh commandment than is wholesome or
compatible with our notions of decency. It's
drame, like our own, deals too much with
coarse and repulsive forms of crime and law
less passion. But when allowance is made for
all this and much of it is temporary, the
French theatre still keeps abreast OF the times,
still enlists among its authors many of the
keenest and readiest wits of the age, can still
confer literary regulations and academic
chairs, is the most profitable as well as the
most popular form OF authorship, still furnishes
amusement to all classes, from the highest to
the humblest, GGd interests all orders of intel
ligence and refinement. Its actors are still
admirable for finished truth and good taste, its
theatrical administration and government pre-
sent contrast to our own for the regularity,
order, completeness, and fulness of rehear-
sails, and the subordinRton and discipline en-
forced in the theatre. In Paris, unlike Lon
don, may be seen q number OF companies,
each made up with view to a special order
of performances, and fitted to fill the east Of
these with completeness, from the humblest
part to the highest. Some Of these theatres
subsidized by the Government for that pur-
pose, devote themselves exclusively to the
highest class of performances, serious and
comic, and are associated with school for the
instruction of actors and actresses, whose
students compete annually for przes the
highest OF which carry with them the right 10
q a. On aIn ncfr