The record-union. [volume] (Sacramento, Calif.) 1891-1903, 1898-02-20
not named after Robert Burns. Yes
replied Mantell, many years after

not named after Robert Burns. YES"
replied Mantell, many years after"
Detroit Free Press: Many things ap-
parently illogical must be done on the
stage to secure effect by inspiring the
imagination. Absolute realism would
be fatal. We cannot set our course in
strict accordance with probability That
would bring US down to the common
place level in a great hurry Under GER
tain conditions it is the necessity of
dramatic art to make tSe impossible
seem real "a.
As a result of the ordinance passed
by the Board of Aldermen of Boston
that whenever the patron of any theater
requested the manager to have a hat or
bonnet removed it must be done under
penalty or forfeiture of license, it was
announced on a recent night from the
stage of one of the leading vaudeville
theaters of that city that ION and after
to morrow every woman must remove
her hat or bonnet, either before taking
her seat, or Immediately thereafter"
= =
Georges Jubin, a French melodra-
matist, thus formulates the rules of
popular stagecraft:
F'lrst-The popular drama must be di-
rected rather to the sensibility of the
public than to its intelligence; it must
seek to stir the audience and not to
teach it. The public goes TO a theater
to listen TO play, not a sermon.
Second-The emotions must be va
r1ed, and the comic mixed with the
pathetic. Long continued terror or fun
is too great a strain for simple souls
abandoning themselves entirely to the
one or the other for the time being.
1t is good that laughter should stop
the flow of tears and better still, that a
tinge of sadness should point the way
to happiness.
Third-The play must have as simple
and as general a moral as possible,
and, having occupied the imagination
| by means of its dramatic intricacies,
must satisfy the conscience by the flaw
| less logic of its denouement
| Phil Branson played Petit Pierre over
| five hundred times with the Rice and
DiXey Pearl of Pekin Company
| The attitude toward the dramatic
stage of large number of persons who
are conspicuous in American letters,
| and that kind of social life which is
much more pretentious than influential.
| frequently startleS one who knows the
stage well and has an intelligent COM
prehension of its purposes and posi-
bilities. A star actor once gave a
| trial performance at a matinee in one
| of the New York theaters of a sketch,
| supposedly dramatic, written by a
youngster whose people" We're of some
social and literary note. This thing
was remarkable for it's lack of any
sort of dramatic quality, its cheap
sentimentality, and it's utter "impossi-
bility" as entertainment. Nevertheless,
as the curtain fell, representative of
the elect rose from one of the free
seats, remarking: 'As long as we can
produce this sort of thing, the theater
deserves support"
| Bronson Towards new society play,
the name of which is still undivulged
but in which Herbert Kelley and Effie
Shannon are soon to appear, will be
that dramatist's first work since
"Aristocracy."
The Bayreuth festivals have been
| planned as far ahead as 1901 There
will be no festival this year, and Wag-
nerites will be free to attend the fes-
| tival in London next summer, which
will certainly be elaborate, and will
| probably be the first adequate presen-
tation of Wagner that the English
| Capital has ever heard. The Bayreuth
festival will also be suspended in 1900,
when every one will be going to the
Paris Exposition, feature Of which
| will be great Wagner festival, con-
| Quoted by NJ. Lamoureux. In 1899
'Parsifal'' will be given as usual and
the Ring" will be repeated, and in
| addition to these die Meistersinger,.'
will be given on a splendid scale. In
1901 The Flying Dutchman' will be
heard at Bayreuth for the first time,
without cuts and with lavish scenery.
In that year Tristan and Isolde will
take the place of the Ring" but Par
sifal' will be given number Of pre-
sensations.