The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1892-10-02
THE THEATEK.

Under the Combination SYSTEM" q
thing of comparatively recent growth, the
distant cities of the Pacific coast secure
far finer average of good dramatic and on
cratic education and entertainment than
was known. outside the great cities of the
East, twenty-five years ago. This comhi-
nation system began in 1867.
Mr.. Joseph Jefferson defends this new
departure, which has worked revolution
in theatrical matters and of which he was
one of the responsible pioneers. This sys-
tenn, he argues, has been an artistic and
commercial success. The stock companies
had to be limited to certain number Of
actors, who were compelled to perform in
a multitude Of plays to which no stock
company could do full justice, but under
the new regime the company Is selected
with special reference to the plays for
which they are required. Under this new
combination system the inhabitants Of
distant places having good opera houses
enjoy the same advantages of seeing the
same plays acted by the same companies
as those of larger cities. Thus every city,
like Seattle, that can afford to erect an
adequate theater is sure of as fine dra-
matte and operatic entertainment and
education as any of the great cities of tho
land.
We have called this dramatic and
operate exhibition an education. So it is,
for all decent recreation that includes an
artistic purpose or movement is most
valuable means of education, which has
been comprehensively defined by Hum
boldt as standing for everything that
helps to build up the finished man. The
history of the evolution Of the stage is
most interesting. as the history of the
stage reflects the history Of nation. In
the days of Queen Elizabeth the players
were worthy people. some of them, like
Shakespeare. having acquired wealth and
honor, but under the Stuarts the stage of
course reflected the gross frivolity and dis
solute manners Of the ruling forces Of pub
lie opinion-the king and the court. And
yet the English etage from Shakespeare
down to our own day was never without
some great actor whose worthy life was
an example to his time.
A very interesting fact in the history of
the French stage is that it owed its mod.
ern reformation to q woman. the cele-
brated Adrienne Lecouvreur, who was be-
loved by Marshal SAKE, the greatest SOL
der Of the day, and was eulogized by Vol
taire for her great intellectual accomplish
ments. As an actress she introduced that
natural and unaffected delivery which has
ever since taken the place of the tradi-
tional artificial and ranting style of decla.
nation. Up to the time of this great
actress who fourished in the reign of
Louis XIV. the dramatic profession in
France had been looked upon with con-
tempt by all classes.
In the early days of the English drama
actors were under the protection of the
monarch or the great mobiles, and an act
passed in 1s43 still controls the manage
ment of English theaters, but through the
three centuries in which the English
drama has tourished from Elizabeth to
Queen Victoria, public opinion has been
with the player and not with the law
whenever and wherever it hampered the
free exercise Of the players art, so that all
such enactments became speedily obsolete.
1t is an interesting fact that in England,
where the theater no longer rests, as it
once did, upon the protection and patron
age of the king and his nobility, it flour
ishes better than in France, Germany or
Russia, where there is state aid in shape
of subsidy. A great German actor once
said. Estate aid is good; subsidy is good,
but English freedom is worth them ALL"