New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-11-21
DRAMA AND STAGE
Modern Evolution and Tendon
cies-The New Stage.

THE CHANGING DRAMA. By Archibald
Henderson. limo, pp. XVI 81 Henry Holt
q Co.
TIE THEATRE OF TO-DAY. BY Hiram
Kelly Moierweu. with thrty-twO illustra-
tons and numerous line cuts In the text
limo ~. 81 John Lane Company.
Mr.. Henderson's book deserves the
serious attention Of all students Of the
modern drama. It is the first adequate
survey OF that dramas linked conscious
effort, the world over, 20 hold up the
mirror TO our new consciousness Of in
dividual freedom and Of collective So
, cial responsibility for injustice and evil.
The modern drama, as much as liter
allure, Of which the printed play is
again making II a part, is international.
What Shaw says to-day, Budapest hears
tomorrow; what Hauptmann depicts
New York reads in translation without
delay; the worlds drama is common
property the moment II appears. And,
since all the world is struggling with
very much the same problems and
toward the same ends, its drama, what
ever the country of its origin, is UNI
derstandable and may be Of service
TO all.
1t is from the evolutionary point of
view that Mr.. Henderson deals with his
vast subject, following the methods of
the scientists with ingenious, If on
occasion somewhat ponderous, use of
their Technology as well. lie finds the
Dutch botanist De Vrles's theory of
mutation most applicable, is fond OF
such words as Decentralization" and,
on the whole, succeeds by the use of
such terms in making his own subject
clearer and more interesting, since
they apply TO the process of dramatic
evolution with arresting accuracy. His
point of departure is, of course, lbsen;
his survey ranges across the Old
World 20 the New, neglecting neither
the Holland of Heijermans nor the
Denmark Of Hjalmar Bergstrom, the
Italy of Giacosa or the Spain of Eche-
garay, on the way from Tolstoy, Gorky
and Andreyyev 10 Brieux, Hervieu,
Shaw. Pinero, Baker, Galsworthy and
our own young dramatists with pur-
pose. 1t is of necessity largely drama
Of social pathology, new drama re-
curing new technique. The famous
unities went by the board long ago, but
Mr.. Henderson pays them the tribute
Of holding an inquest over them. That
+ this new drama calls for new criti-
cism is evident. What our author has
D
Of his book, full OF meat.
| One may not agree with him on the
subject Of the overwhelming infu-
ence which this new drama is des-
| tined 20 exert upon our individual and
collective evolution; there are many
arguments TO sustain the claim that
many high hopes are doomed to disap-
/ pointment; but as a study of dramatic
history in the making and its results
during the last sixty years the book is
of uncommon interest. 10 presents the
mature, well packed fruit OF an amaz-
ing amount of reading and reflection.
1t il not only the first book in its field;
| in the completeness of its scope, the
scholarly, well-balanced thOroughncss
of the treatment of its material, II is
likely 10 remain the standard work as
well for some time TO come II Is one
of the small number Of books on the
modern drama which the serious stu
dent cannot afford to leave unread
"Ten years ago" says Mr.. Moderwell,
any book would have been written
entirely about dramatic literature. AT
that time we thought of the institution
of the theatre as being a collection of
printed plays, together with few nee
essary buildings 10 present them IN.
Now all this is changed. From al in
stitution of one art, the theatre has
become, in the space Of less than ten
years, an institution of all the arts.
ii is with the service of all these arts
In the theatre that this book deals,
with the modern stage, its appliances
and conveniences, with color and light,
scenery and costume, music and the
plastic values of dancing. The work of
the innovators Is described and illus
trated, the work of Craig, Reinhardt,
Bakst, Appia, Fuchs and many others.
Il is the book of theatrical "produc-
ton as IL has come 10 be called.
This synthesis of all the arts in the
theatre renders it's greatest service of
course, TO the drama which, from Mr..
Henderson's point of view, is Of least
practical service elaborate produc-
tions Of the Greek classics, of Shake
speare and "Faust," Peer Gynt,"
"Chantecler" and grand opera. But Mr.
Moderwel's fundamental idea compile
ments Mr.. Hendersons. lie would de-
mocratize the theatre in order that the
characterization of the drama may
yield its greatest profit.
Hence an informing discussion Of the
economics Of the theatre. The Ameri-