New-York tribune., 1921-02-27

f# manner never before at
tempted on the stage, Arthur
Hopkins owns to a share of the emo
tion professed by ns~ critics. Only
his surprise is that the guardians of
what is vital and true in dramatic art
should criticize the'Iegitimacy of the
jopkins-Jones creation because It
cannot be easily squeezed into any
Of The molds heretofore chiseled for
Shakespeare.
For the benefit of those who seek
an exposition of the newest and most
taiked Of Macbeth" The Tribune has
asked Mr.. Hopkins for an expression
on the subject.
Il had much rather let the piece
speak fer itself" says the producer.
After all. the play itself is the ex-
preston CT what we have to say. OF
course, the expression is not complete.
Where in this life does one sind per-
feet harmony between purpose and
achievement. and where is the peace
that comes Of complete accord between
power and expression?
Nevertheless, the Macbeth as
presented at the Apollo Theater fairly
represents our true intent. As be-
tween the production and its critics,
however, the question seems TO be one
Of approaching the subject in dcly-
ing spirit or of greeting il with a
gesture Of dismissal .
For example, a body of scientists
assemble 10 receive a paper by another
nxpert on & new discovery in subject or
method. Naturally, the procedure
would be to accept the papers own
terms and definitions and discuss it
from the authors own viewpoint to ex-
anime ais consistency, and discover
It's points of contact with known truth.
II would be inconceivable that the con-
gress should rise with the prayer, Now
iettest thou thy servant depart in
peace. There's nothing in it,
1t seems to be q matter of per-
soual circumference. Our Macbeth
Is single production beyond the ra-
dius OF the familiar field. The ques-
ton is, Shall our circumference be
enlarged or shall anything outside
shat circle be dismissed? The latter
alternative assumes that fhe theater
aas already reached its ultimate de-
eelopment. In that case it is the only
humap institution to be credited with
tbat achievement.
We think we have done something
new in dramatic aesthetics, something
outside the accepted circumference.
There may be something in it, or there
may De nothing. Ali we ask is that
DC iudgcd aecordingto ITS own terms.
We cali it an experiment III new
fsld We do not pretend TO any hard
ana fast principles serving as Il foun-
eatloa for tue new practice, Vital art
srows out os independent experiment
Ae{ ~ allegiance to formulated rule.
And we feel that there is need OF q
a'ofe discriminating public If the thea
ter IS to be developed. rather than
stunted or trimmed TO fit the Procrus-
team bed Of convention.
AS to the vital content Of cur in
appreciation of Macbeth, have said
elsewhere that to cur minds the tragedy
: huS the series of incidental murders,
put rather that strong people can be
plcSed up By forces they do not I'M
aerstand, which they are helpless TO
combat aud by which they are
dashed tn 5,ksar ,{es5rur+fpn The
witches, we believe, are the age-old
symbol for these evil forces of life
mat have lowered about, for all time
With these postulates in mind we
aaFe endeavored to impart a dream
quality to the play. We conceive a
aeipisss Macbeth, q more pathetic fig
IRE than the ono WHO ingratiates him
seA with tbs audience and later falls