Evening star. [volume] (Washington, D.C.) 1854-1972, 1895-11-29
PLAN TO IMPROVE THE STAGE.
Boston Wants to Start an Old-Fnsh-
inncI Stock COmnauN.

toned Stock Company.
A meeting was held in the Bijou Theater
in Boston the other day for the purpose of
publicly introducing a project looking to-
war1 the Improvement of the stage. The
presiding officer was Henry NJ. Rogers
who spoke at length upon the obi ects Of
the corporation which it is intended to
form. and, after reading letters from the
Rev. Leighton Parks and Henry Irving,
introduced Henry A. Clapp as the chief
speaker of the meeting. Mr.. Clapp dwelt
uron the present moral and intellectual
status of the stage and expressed the opin-
ion that something could be done to rectify
the so-called decadence of the English
drama.
Papers We're presented for signature en-
todying the scheme for the organization
of the Standard Company of Actors, and
the outcome will be made known when the
committee has canvassed the situation and
obtained the necessary financial encourage
nent.
Henry Irving's Letter.
Henry Irving's letter was as follows:
Il am sorry that 1 shall not be able to
attend the meeting with regard to the for
nation of the Few stock company. but 1
assure you that my sympathies and best
wishes are altogether with the undert TX
ing. Some such measure is necessary FOR
the fUrtherance of proper histrionic train
ing, and any country which Is without
state help in such training should look
gratefully on such public spirited enter
prise.
instance as the Coincide Franchise, cam
not be overrated, for not only can it pre-
| serve the subtleties of artistic work which
genius creates and tradition completes, but
it can keep ever before young workers
| those happy Inspirations of the moment
which count for much in an art which Is
ever in touch with tenlperament,a and which
continuously existing body can record
and transmute into living facts. Not that
enc temperament can reproduce the quail
ties of another, but to know and be able
to Judge Of the method and effect Of great
predecessors must in any art be of meal
culable advantage. Such advantage an
only be preserved by the transmfttance OF
example and to classical art traditions are
not mere clouds that come and go. With
great traditions may come great style, and
without great style there can be no great
acting. To see great actor is in itself,
for a younger one, something of an educa-
| ton, and to see the moods of great artists
| placed before the student must be of the
greatest advantage in any school of art.
Now, how are these traditions to be pre-
\ served? This is question which I have
often been asked In my own country.
| Money is spent On great variety Of phil
anthropic and educational objects; there
are handsome endowments for schools Of
| painting and colleges Of music, why not
have one subventioned theater in large
| center where the standard of the drama
| student may study the methods and tech
nique of his art? For with such theater
| there would be a dramatic school. In
| years to come it will scarcely be under
| stood how in our times so potent an instru-
| ment for good iii the stage was left
| entirely outside the sphere of public admin
| istration progress. In my young days there
| We're dramatic schools-old stock compa-
| MES, where an actor was compelled to
study many parts in many plays, and to
| know the difference of gesture and de-
| meanor between one romantic period and
| another. The present system of long runs
| gives an actor little chance. 1t is for the
| future of our stage that some are concern
| ed and the future of the young actor
should be earnestly thought over. Taeatcrs
are increasing and actors are increasing,
| and our sons and daughters are taking to
the stage and pining for the want of some
help and discipline. The theater is an inn
| portant factor in the life Of an ordered
community, and it becomes us to help 1t
| onward and upward.