The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-04-08
actors from the stage and 60 the public from

as the lighter sense Of the word the aim
Of the New Theatre ia social. II any better
provision could be made for dramatic art as
related to the actor and to the we'll TO do
playgoer, l cannot conceive it. One prob
lem, however, ia not az yet solved, and that
is a means for bringing the classics of the
drama home TO the great public.
Cmriously enough, just this defect caused
no small part of the discomfort which led to
the abortion of the plan as announced last
November. Intending subscribers were re-
volted at its ~autocratic snobbery and its
absurd Inconsistency institution pro-
Tossing to be national and devoted to art
which proposed to submit to the social
censorship of a committee OF three gentle
women. Before the present agreement
was reached there was much discussion OF
the private as against the national idea,
the independent az against the popular.
Here is a statement made by one Of the
advocates Of the present plan, from which
the nature of that discussion may be in
ferred:
Tho TNovemberl scheme met with the
ridicule and the instant failure which its
many shortcomings deserved, [
believe that the theatre can be made an
agency for the elevation and the education
Of the people second to none in effective
ness. l believe that the deplorable con-
dition Of dramatic art in this country-re-
lieved though it undoubtedly is by many
cases of individual merits due, not to any
lack of talent or Of capacity for artistic
discrimination inherent in the people, but
mainly to the fact that, except for the few
a n1taiotAJ NTH EiroraaD fhaltrpE no
standard exists by which people can form
critical judgment as to the merits or de-
merits Of a performance. I believe that
a theatre dedicated solely to the cause
and the spirit Of art will add so valuable a
feature to the life Of the city as to amount
almost to a patriotic deed. But | am con-
WINGED that the attempt TO raise an endow-
ment fund by public subs 2ription would
meet with a piteous.y inadequate response.
To the vast majority Of our people the
theatre is a place for light amusement. lt
is not taken seriously enough land will not
be so taken until it is demonstrated what a
really serious theatre means to the COM
munityJ TO induce any large number of peo-
pie TO take an active part IN its establish
ment, as they would in that of a hospital.
or even a library or art museum. Attempts
have frequently been made, sometimes
under the best of auspices, both here and
in London. TO interest some Of the rich men
in the community ma plan for the establish
ment of an endowed theatre, but they have
invariably met with a negative response.
All previous experience has shown that the
plan of an endowed theatre, or Of a theatre
established by public subscription, even
.,,tL ~, r,V,taA ~ n Il nlA ref Tll
upon the investment, ia not feasible.
Even assuming, for the sake of argl-
ment, that the scheme Of public subscrip-
ton could be carried out, l am not at all
sure that it would achieve the best artistic
results. | fear that it would have g ten-
dency to become academic, bureaucratic,
red tapish,' fossilized-to be lacking in
what is vital to art, freedom and individ-
uality. The best theatres IN Germany
where, 1 think theatric art is at the present
time at it's heights not the theatre en-
dowed by the Government in the national
capital, but the private theatre which is
founded, owned and ged by art low
ing individuals. The Theatre Franfais is
what it is, not SO much | think because it is
a national theatre, as in spite OF it-be-
cause Of its splendid traditions, and
because for all practical purposes it Is
managed and run, not by a board Of high
officials, but by its own actors. The Odeon
and the Grand Opera in Paris-both sub
sidized by the Government n manag ed
by its a~ppointees-may, l think, fairly be
cited as instances of what | call fossilized
institutions.
Il believe the method to accomplish the
I..p,r-an NJ r,,rNpaa which VIC ha To in yiaW
is to establish and sta TT a theatre on a sound
business basis. q The. idea Of giving
two evenings of opera comiq,le every week
is largely a means TO an end. That is to
saw, It is believed that the earnings and the
social eciRt will go far toward producing
the funds and the initial prestige needed
to enable fulhlment of the real purpose
of the theatre. We ought to turn all
earnings beyond moderate return on the
investment back into it. n thus accu-
mulate a fund which will eventually make
it independent of passing tendencies aud
circumstances, adhering only to one
standard, that Of high art. " The
main requirement seems to me to be TO
educate the people to a truer conception
and appreciation Of dramatic art and
literature, and to provide a place where
there shall be found, in the midst of the
hard and strenuous life of New York, the
serene atmosphere and refining influence
Of art
Precisely what near are to he taken
in extending the influence Of the New
Theatre among the people has not yet been
determined. Certain of the founder ave
proposed to brow occasional performances
open TO the public free of charge. as is done
in some of the national theatres Of the
Continent, but it might prove hard TO
manage a mob of our countrymen evoked
by the chance to get something for nothing.
And at best the idea is %repugnant to our
traditions Of independence and self respect
People should, and probably would. resent
being asked TO make themselves pensioners
of a coterie Of the rich. For the children
Of the public schools it might be more
practicable and less obnoxious, especially
if the plays were the S~hakespeaHan master
pieces. Even here il would be better
to charge a nominal entrance fee. or at
least to make an arrangement by which
the public collectively should pay the fee
through the Board Of Education. As
for people of moderate means, an excellent
plan would be to sell seats for the season
or in perpetuity on the instalment plan.
IL is still too early to worry over any such
l.tail1 The ipopor+apt Doipt lie that al