Morning journal and courier., 1881-07-26
French Puffing.
How the Press and the Theatres of Paris Preserve Peace.-
 CFrou he parisjau

From the Parisian.l
 As regards corruption in financial matters, it would, then, it appears, be hard to Smen- tion single French journal that is spotless and perfectly independent. But puffism is not confined to financial affairs, and for any one who wishes to compose complete guide manual of recItInne the French press would afford excellent material With cer- tain honorable exceptions, the Parisian press is invaded by puffs and reczdmes of all kinds inserted bodily and blatantly in all parts of the journal, with without address. The Figdr0, for instance, which is now apparent ly in 8 state of considerable tension in the editorial department, is full of puffs of the most diversified nature. But without citing particular journals, jet us take the columns devoted to the stage in the leading Parisian journals. The so-called boulevard" journals publish every day a column of the atrical notes, called for instance Courier des Theatres ;" a column of stage gossip, the
 ''Soiree Parisienne," and the day after the production of new piece long and ex- haustive account and criticism of 1t. In the more serious journals the 'Soiree Parlsienne' is suppressed and the dramatic critic holds forth only once week in the Monday fee6iGGetOn. But all the Parisian journals pub fish the programme of the theatres and cer- tain quantity of dramatic notes. We'll, these dramatic notes are mostly puffs sent in by the theatres, and inserted gratuitously to- | the journal exacts and receives for this ser vice is certain number of places at the first or second performance of a new piece, &C., cording to the importance of the journal. and boxes and stalls occasionally for friends and friends friends. There exists between the theatres and the press sort of treaty of reciprocal hospitality, in virtue of which the journal gives the theatre pub Gcite r0iso7onee once a week, and a DubHctte aoeug5e on the remaining six days. Fur thermore all kinds of understandings are arrived at between the managers and the critics of certain journals, between the writer of the ''Soiree .Theatrale," and the manager, the authors, the actresses. Where the corruption, direct and indirect begins and ends it would be hard to say. The success of a new piece is often obtained by much the same means as the success of & new stock company-by anticipatory and contemporaneous q'ecIGme, of which the fol- lowing are the stages: First of all, before the work is begun, the author is announced to be putting the finishing touches to comedy or drama for such and such theatre the piece is falsely announced to have been ac- cepted at half dozen different theatres suc- cessively (this is of no use to the author ex- cept that it causes his own name and the name of his piece to be printed ) the an- nouncement of the true acceptation of the piece the date at which it may be produced, the names of the actors engaged, the read
 
 cast gossip from the coulisses incidents from the rehearsals, troubles of the author &C., count of the censorship, list of the principal provincial theatres which have bought the right to play the piece, no places to be had for the premiere the dress rehearsal and it's emotions, description of the dressing room of the star" actress, her life and adven- lures, her charity, her poodle dog, her apart ment in the Rue de Moscou, or her hotel in the Rue de Monceau, &c., and then multi tude of potinS, letters from indignant rivals, newspaper polemic, the house full to suffo- cation, 6ons naots of the 'heureuD aatestr dc --, the comedy which is now having such unprecedented success at the Folles-Amour- euses,'' &c. This ever-rising tide of reclame makes the regular reading of the French journals sickening task And to think that the public takes it all in," and that M- Gogo is an immortal type!
 A Circus Boy.
 Here is a story for those little boys who have mind to run away with the circus. Garln vas nada A Oarformer in fha