5
Liebelei
box 11/2
##. N. 4#. 17
27
lated by presentation and representation.
PLATS PROM THE CONTNENT.
The height of French acting, according to
a Parisian phrase, is “to get into the skin
of a part.“ When Teutonie realism is at
THE DUTch•600D HOPE' AND A#its best the actor becomes the part in
VIENNESE LOVE TRAGEDY.
every fibre. Both ideals are far beyond 1
the practice of the English stage, which is
to explolt the personality of the actor.
The Drama of Those Who Go Down Into the
The kind of acting for whlich Heijermanns
Sea—Ibsen and Hauptmann in Heijer¬
writes was shown to our astonished gaze
manns —Schnitzler’s Waltz by the Dan¬
last year when Henri De Vries produced
ube as Tragedy—Miss Farr“Lilts.“
his little masterpiece of realism and tender¬
ness, A Case of Arson,“ creating seven
It may be and doubtless has been ob¬
different characters from the bone outward.
jected to The Good Hope' of Hermann
That Miss Ellen Terry has attempted old
Heijermanns, which Miss Ellen Terry put on
Kniertie now, in the evening of her career,
for her last week with us, that itis not a play.
is evidence of her youthful openness of
In muchthe same manner the formalistsonce
mind and adaptability; and it is to be
said of the work of Kipling, It is clever,
credited to her intelligence and sincerity
but is it art?' The remark roused Kipling
that she made the effort to bend the most
to satire, and isn't made any more.
potent and poetio personality of her genera¬
In a similar vein Barrie once defendedthe
tion to the portrayal of this Dutch fishwife.
play that is not a play He would admit, he
But after all was said and done, Kniertie
said, that a play that really was a play had
remained Ellen Terry. Every peasant move¬
to be 23x42½. Tet he pleaded that it was
ment and gesture was instinct with an
not a criminal offence to write a piece that
ineffaccable charm. Rough calico gownand
was only 19x38. Du Barry' is a play.
hulking sabots became vestments of dis¬
Adrea“ is a great play. Well, let us admit
tinguished grace. Her anger had nothing
that“ The Good Hope“ is not a play.
of the virago. Dull suffering besame a
Heijermanns had something to show us;
sweet resignation, Lumpish, unsentient
and he has shown it clear and strong in the
heroism became a saintly exaltation. The
terms of the theatre.? It is not much of a
rank odors of life were expelled by the !
story hetells us; and though it is possibleta
fragrance of her inalienable personality.
find the structural web of dramatie struggle
There was no. such luck with—vile
beneath the woof of his fabric, that is not
phrasel—the actors of her support. Dome
what constitutes the dhief appeal of it all.
of them, as the strapping athlete who played
Alfred Capus, whose theatrical presenta¬
the craven younger son, were woefully¬
tions of Parisianlife are indisputably olever,
miscast. In the representation of the smack
and who is roundly accused of not being
orner the villainies of transpontine melo¬
bart, lately deolared that the drama of the
drama raged unchecked, and in that of
future (by which perhaps he meant his own
the elder son’s pregnant sweetheart thore
pieces of the present) would be chiefly con¬
was a carnival of shrieking sentimentality.
cerned not with the telling of stories, or
The greatest praise of the play is that, in
even with the propounding of social conun¬
spite of its actors, it scored a möderate
drums, but with creating the atmosphere of
success.
life. Heijermanns knows his Dutch fisher
folk and shows them to us with great truth
It is scarcely to be hoped that Arthur
and great skill—their ignorance and their
Schnitzler’s Liebelei.“ which was pro¬
fears, their dumb courage and loyalty, their
duced by private effort at the Berkeley
crude humor and their sodden despair.
Lyceum Theatre, will find its way tothe
Theatmosphereis all there. Morethan this
regular stage, but the piece is none the less
—or less than this, if we accept the dictum of
to be welcomed on general grounds as the
Capus—he has a fixed point of view with re¬
best work of the leader of the modern
gard to them andtothei relation to society
Austrian dramatists, and in particular
in general, and he makes us see them from
as bringing to us a perfume from the sen¬
that point of view. There is an idea in his
suous gayety of Vienna—a perfume that
play as well as atmosphere.
in the end becomes a pang.
It has been said that his idea is socialism..
A realist Schnitzler is, but with none of
That may be, though the matter is open to
the broad love of life of the modern school
question. The bourgeois smack owner ex¬
that centres in Berlin, none of the stark
ploits the proletariat fisher folk to his own
will that has given form to the Northern
gain andto their ruin. Ahot headed young
drama. True successor to Grillparzer and
fisherman, whose mind has been nourished
Bauernfeld, what interests him is the poetry
—or inflamed—by firebrand tracts, cries
and the humor of moods, the outward
out against it all in the set terms of social¬
texture of life, shot through like a change¬
ism, calling for the equal division of the
able silk with fine lights and soft shadows.
proceeds of labor. But there is also an old
Life is a waltz by the blue Danube—what¬
salt, inmate of the Sailors’ Home, whose
ever the end of that waltz.
doctrine is apparently that of individual¬
Always in Vienna there is a gay breath
ism andithe competitive struggle to survive.
of Paris—a breath that has taken on only
The smack owner lives by the death of the
a partial odor of the soil in the many genera¬
fishermen, he says, but the fishermen live
tions of Austrian culture. This old violinist
on the fish. His simple philosophy is at
of the theatre, whose sentimental tolerance
one with the philosophy of the biologist,
of the amorous pastimes of youth proved
of the evolutionist, and it is only the more
his daughter’s undoing, adds only a touch
clearly that because he contemplates this
of German dreaminess to the Gallic lust
world old tragedy of life feeding upon
of life. His misguided child might have
death with the mind of pity. For the in¬
spent a lifetime singing
stincts of love and charity lie at the heart of
Plaisir d’amour ne dure qu'un moment,
our competitive society side by side with
Chagrin d’amour dure toute la vie—.
the instinct of fight. Even as a ladthe eyes
except for a strain of the German passion
of the fish as he split and cleaned them
that leads to self-destruction.
seemed to look up with a mute appeal to
Hans Wehring is poor. In youth he was
him andto heaven.“ We pay dear forthe
too poor to give his sister a dowry, and in
fish, he says. We pay dear for the flsh!“
age he is in the same situation as regards
but the tragedies of wind and wave on the
his daughter. In youth he believed in vir¬
surface of the ocean are only a counterpart
tue, and guarded his sister down the joyless
of those of the life beneath it. The idea
path of her life to a dreary age and death.
that gives form to the play and color to its
The experience saddened him and made
atmosphere is not the narrow creed of a
him tender. He doubts the sterner morali¬
propagandist, but the large, the all embrac¬
ties. Youth comes but once. Why should
ing vision of a poet.
not Catherine taste of the natural joys of the
One of the scenes, that of the third of the
senses, indulge theatural promptings of
four acts, has a breadth and intensity of
her heart? When ##mptation comes he
effect which must have escaped those who
knows it, but pretends not to know. She
found the piece undramatic. The fishing
falls in love with a young student and gives
fleet is at sea, and a tempest has sprung up
1
Liebelei
box 11/2
##. N. 4#. 17
27
lated by presentation and representation.
PLATS PROM THE CONTNENT.
The height of French acting, according to
a Parisian phrase, is “to get into the skin
of a part.“ When Teutonie realism is at
THE DUTch•600D HOPE' AND A#its best the actor becomes the part in
VIENNESE LOVE TRAGEDY.
every fibre. Both ideals are far beyond 1
the practice of the English stage, which is
to explolt the personality of the actor.
The Drama of Those Who Go Down Into the
The kind of acting for whlich Heijermanns
Sea—Ibsen and Hauptmann in Heijer¬
writes was shown to our astonished gaze
manns —Schnitzler’s Waltz by the Dan¬
last year when Henri De Vries produced
ube as Tragedy—Miss Farr“Lilts.“
his little masterpiece of realism and tender¬
ness, A Case of Arson,“ creating seven
It may be and doubtless has been ob¬
different characters from the bone outward.
jected to The Good Hope' of Hermann
That Miss Ellen Terry has attempted old
Heijermanns, which Miss Ellen Terry put on
Kniertie now, in the evening of her career,
for her last week with us, that itis not a play.
is evidence of her youthful openness of
In muchthe same manner the formalistsonce
mind and adaptability; and it is to be
said of the work of Kipling, It is clever,
credited to her intelligence and sincerity
but is it art?' The remark roused Kipling
that she made the effort to bend the most
to satire, and isn't made any more.
potent and poetio personality of her genera¬
In a similar vein Barrie once defendedthe
tion to the portrayal of this Dutch fishwife.
play that is not a play He would admit, he
But after all was said and done, Kniertie
said, that a play that really was a play had
remained Ellen Terry. Every peasant move¬
to be 23x42½. Tet he pleaded that it was
ment and gesture was instinct with an
not a criminal offence to write a piece that
ineffaccable charm. Rough calico gownand
was only 19x38. Du Barry' is a play.
hulking sabots became vestments of dis¬
Adrea“ is a great play. Well, let us admit
tinguished grace. Her anger had nothing
that“ The Good Hope“ is not a play.
of the virago. Dull suffering besame a
Heijermanns had something to show us;
sweet resignation, Lumpish, unsentient
and he has shown it clear and strong in the
heroism became a saintly exaltation. The
terms of the theatre.? It is not much of a
rank odors of life were expelled by the !
story hetells us; and though it is possibleta
fragrance of her inalienable personality.
find the structural web of dramatie struggle
There was no. such luck with—vile
beneath the woof of his fabric, that is not
phrasel—the actors of her support. Dome
what constitutes the dhief appeal of it all.
of them, as the strapping athlete who played
Alfred Capus, whose theatrical presenta¬
the craven younger son, were woefully¬
tions of Parisianlife are indisputably olever,
miscast. In the representation of the smack
and who is roundly accused of not being
orner the villainies of transpontine melo¬
bart, lately deolared that the drama of the
drama raged unchecked, and in that of
future (by which perhaps he meant his own
the elder son’s pregnant sweetheart thore
pieces of the present) would be chiefly con¬
was a carnival of shrieking sentimentality.
cerned not with the telling of stories, or
The greatest praise of the play is that, in
even with the propounding of social conun¬
spite of its actors, it scored a möderate
drums, but with creating the atmosphere of
success.
life. Heijermanns knows his Dutch fisher
folk and shows them to us with great truth
It is scarcely to be hoped that Arthur
and great skill—their ignorance and their
Schnitzler’s Liebelei.“ which was pro¬
fears, their dumb courage and loyalty, their
duced by private effort at the Berkeley
crude humor and their sodden despair.
Lyceum Theatre, will find its way tothe
Theatmosphereis all there. Morethan this
regular stage, but the piece is none the less
—or less than this, if we accept the dictum of
to be welcomed on general grounds as the
Capus—he has a fixed point of view with re¬
best work of the leader of the modern
gard to them andtothei relation to society
Austrian dramatists, and in particular
in general, and he makes us see them from
as bringing to us a perfume from the sen¬
that point of view. There is an idea in his
suous gayety of Vienna—a perfume that
play as well as atmosphere.
in the end becomes a pang.
It has been said that his idea is socialism..
A realist Schnitzler is, but with none of
That may be, though the matter is open to
the broad love of life of the modern school
question. The bourgeois smack owner ex¬
that centres in Berlin, none of the stark
ploits the proletariat fisher folk to his own
will that has given form to the Northern
gain andto their ruin. Ahot headed young
drama. True successor to Grillparzer and
fisherman, whose mind has been nourished
Bauernfeld, what interests him is the poetry
—or inflamed—by firebrand tracts, cries
and the humor of moods, the outward
out against it all in the set terms of social¬
texture of life, shot through like a change¬
ism, calling for the equal division of the
able silk with fine lights and soft shadows.
proceeds of labor. But there is also an old
Life is a waltz by the blue Danube—what¬
salt, inmate of the Sailors’ Home, whose
ever the end of that waltz.
doctrine is apparently that of individual¬
Always in Vienna there is a gay breath
ism andithe competitive struggle to survive.
of Paris—a breath that has taken on only
The smack owner lives by the death of the
a partial odor of the soil in the many genera¬
fishermen, he says, but the fishermen live
tions of Austrian culture. This old violinist
on the fish. His simple philosophy is at
of the theatre, whose sentimental tolerance
one with the philosophy of the biologist,
of the amorous pastimes of youth proved
of the evolutionist, and it is only the more
his daughter’s undoing, adds only a touch
clearly that because he contemplates this
of German dreaminess to the Gallic lust
world old tragedy of life feeding upon
of life. His misguided child might have
death with the mind of pity. For the in¬
spent a lifetime singing
stincts of love and charity lie at the heart of
Plaisir d’amour ne dure qu'un moment,
our competitive society side by side with
Chagrin d’amour dure toute la vie—.
the instinct of fight. Even as a ladthe eyes
except for a strain of the German passion
of the fish as he split and cleaned them
that leads to self-destruction.
seemed to look up with a mute appeal to
Hans Wehring is poor. In youth he was
him andto heaven.“ We pay dear forthe
too poor to give his sister a dowry, and in
fish, he says. We pay dear for the flsh!“
age he is in the same situation as regards
but the tragedies of wind and wave on the
his daughter. In youth he believed in vir¬
surface of the ocean are only a counterpart
tue, and guarded his sister down the joyless
of those of the life beneath it. The idea
path of her life to a dreary age and death.
that gives form to the play and color to its
The experience saddened him and made
atmosphere is not the narrow creed of a
him tender. He doubts the sterner morali¬
propagandist, but the large, the all embrac¬
ties. Youth comes but once. Why should
ing vision of a poet.
not Catherine taste of the natural joys of the
One of the scenes, that of the third of the
senses, indulge theatural promptings of
four acts, has a breadth and intensity of
her heart? When ##mptation comes he
effect which must have escaped those who
knows it, but pretends not to know. She
found the piece undramatic. The fishing
falls in love with a young student and gives
fleet is at sea, and a tempest has sprung up
1