box 8/7
4.9. Anatol - Zyklus
Telephon 11.50.
)
OBSER
1. österr. beh. konz. Unternehmen für Zeitungs¬
Ausschnitte und Bibliographie.
Wien, I., Concordiaplatz 4.
Vertretungen
in Berlin, Brüssel, Budapest, Chicago, Cleveland, Christiania,
Genf, Kopenhagen, London, Madrid, Mailand, Minneapolis,
New-York, Paris, Rom, San Francisco, Stockholm, St. Peters¬
burg, Toronto.
(Quellenangabe ohne Gewähr.
Ausschnitt aus Le Temps, Paris
vom
7. B. 1911
PALACE THEATRE.
The seven sketches by Arthur Schnitzler, of which
Mr. Granville Barker, Mr. Nigel Playtair, and Miss
Gertrude Robins are playing the first this week,
concern the amorous adventures of one Anatol, a gay
bacher in the Vienna which we are so often assured
is gay. Gaiety on the stage has a way of being sad ;
it seems always to be gaiety as seen the morning
after. And so it is with most of these sketches by
Schnitzler including the first, Ask no Questions
Stories. We see Anatol at home.
He is rich and exquisite as we learn from his neckte,
which is large and stockish, his furniture, which he
buys of the Secession, and his pictures, which include
works by Post-impressionists. (Mr. Norman Wilkin-
son, of Four Oaks, shows a sense of humour besides a
sense of beauty in his designs for the scene.) But
Anatol is not happy. He is tormented by jealousy.
Is Hilda, his present mistress, true to him?
Impossible ! No woman is true. But he knows
nothing for certain. Well, says his matter of fact
friend Max, why not ask her? You can hypnotize
people; hypnotize Hilda and you will hear the truth
(and Max, as a purely side issue, will very likely hear
a good story to gloat over). The opportune arrival of
Hilda, and her still more opportune desire to be
hypnotized, push the shilling Anatol into action.
The girl (radiant in a Reville and Rossite gown) is
put to sleep, and Anatol begins. The first thing he
learns is that she is six years older than he thought
her; and this cold douche of truth increases his
dread of plunging into it. Suppose suppose suppose.
He goes on suffing, advancing to the attack under the
encouragement of Max, then shrinking back under
cover of excuse. He drives Max out of the room.
One more effort, and one final failure to ask the horrid
question, then he wakes her up. Better to be vaguely
jealous than to know the worst, better ignorance
and kisses than knowledge and none. And, after
all, as Max reminds him, women can lie when they
are asleep as easily as when they are awake.
We are not much cheered by the gaiety of Anatol.
But the sketch (though only intended to tell us some¬
thing about Anatol, and not nearly so broadly funny
as some of those that are to succeed it in subsequent
wecks is extremely deft, and it was more effective
in a variety theatre than we could have imagined
possible. This was chiefly owing to the acting of
Mr. Granville Barker and Mr. Nigel Playfair. Mr.
Parker hardly suggested the gay bachelor, but he
made all the points and managed all the details to
perfection, and Mr. Playfair stolidly made an excellent
soil. Mr. Barker's paraphrase) of the German
sounded like original English.
Other good things in the programme are the Palace
Girls in their black and white scene a slight sketch
by Claude; Mr. Albert Welan, and the bioscope
Voitures of yesterday a ceremony.
Telephon 12,301.
3
OBSERV
österr. beh. konz. Unternehmen für Zeitungs¬
Ausschnitte und Bibliographie.
Wien, I., Concordiaplatz 4.
Vertretungen
in Berlin, Brüssel, Budapest, Chicago, Cleveland, Christiania,
Genf, Kopenhagen, London, Madrid, Mailand, Minneapolis,
New-York, Paris, Rom, San Francisco, Stockholm, St. Peters¬
burg, Toronto.
(Quellenangabe ohne Gefahr.
Ausschnitt aus:
National Zeitung, Berlin
3. 1911
1.0
vom -
Schnitzler=Premiere in London.
In dem vornehmsten Londoner Variété-Theater, dem
Palace, wurde in dieser Woche zum ersten Male eine der Anatol¬
Skizzen von Arthur Schnitzler aufgeführt und zwar
die, in der Anatol versucht, von seiner Geliebten in der Hypnose
die Wahrheit zu erfahren, im letzten Augenblick aber vor der
entscheidenden Frage zurückschreckt. Die kleine Humoreske ist
nicht wörtlich übertragen, sondern von dem bekannten englischen
Schauspieler Granville Barker adaptiert worden und zwar recht
geschickt. Die Aufnahme war ungemein freundlich und die
Kritik mit wenigen Ausnahmen, welche sich auf den Standpunkt
der Prüderie stellten, sehr gut. Die Westminster Gazette, die
einen der besten Theaterkritiker Londons hat, schreibt: „Es kam
einem ziemlich überraschend, in dem „Palace" ein kleines Stück
von so delikatem Humor zu sehen wie „Anatol" und weiter war
es sehr angenehm zu finden, daß es im großen und ganzen eine
günstige Aufnahme fand und daß eine jede Pointe schnell und
mit Freude vom Publikum aufgenommen wurde.
4.9. Anatol - Zyklus
Telephon 11.50.
)
OBSER
1. österr. beh. konz. Unternehmen für Zeitungs¬
Ausschnitte und Bibliographie.
Wien, I., Concordiaplatz 4.
Vertretungen
in Berlin, Brüssel, Budapest, Chicago, Cleveland, Christiania,
Genf, Kopenhagen, London, Madrid, Mailand, Minneapolis,
New-York, Paris, Rom, San Francisco, Stockholm, St. Peters¬
burg, Toronto.
(Quellenangabe ohne Gewähr.
Ausschnitt aus Le Temps, Paris
vom
7. B. 1911
PALACE THEATRE.
The seven sketches by Arthur Schnitzler, of which
Mr. Granville Barker, Mr. Nigel Playtair, and Miss
Gertrude Robins are playing the first this week,
concern the amorous adventures of one Anatol, a gay
bacher in the Vienna which we are so often assured
is gay. Gaiety on the stage has a way of being sad ;
it seems always to be gaiety as seen the morning
after. And so it is with most of these sketches by
Schnitzler including the first, Ask no Questions
Stories. We see Anatol at home.
He is rich and exquisite as we learn from his neckte,
which is large and stockish, his furniture, which he
buys of the Secession, and his pictures, which include
works by Post-impressionists. (Mr. Norman Wilkin-
son, of Four Oaks, shows a sense of humour besides a
sense of beauty in his designs for the scene.) But
Anatol is not happy. He is tormented by jealousy.
Is Hilda, his present mistress, true to him?
Impossible ! No woman is true. But he knows
nothing for certain. Well, says his matter of fact
friend Max, why not ask her? You can hypnotize
people; hypnotize Hilda and you will hear the truth
(and Max, as a purely side issue, will very likely hear
a good story to gloat over). The opportune arrival of
Hilda, and her still more opportune desire to be
hypnotized, push the shilling Anatol into action.
The girl (radiant in a Reville and Rossite gown) is
put to sleep, and Anatol begins. The first thing he
learns is that she is six years older than he thought
her; and this cold douche of truth increases his
dread of plunging into it. Suppose suppose suppose.
He goes on suffing, advancing to the attack under the
encouragement of Max, then shrinking back under
cover of excuse. He drives Max out of the room.
One more effort, and one final failure to ask the horrid
question, then he wakes her up. Better to be vaguely
jealous than to know the worst, better ignorance
and kisses than knowledge and none. And, after
all, as Max reminds him, women can lie when they
are asleep as easily as when they are awake.
We are not much cheered by the gaiety of Anatol.
But the sketch (though only intended to tell us some¬
thing about Anatol, and not nearly so broadly funny
as some of those that are to succeed it in subsequent
wecks is extremely deft, and it was more effective
in a variety theatre than we could have imagined
possible. This was chiefly owing to the acting of
Mr. Granville Barker and Mr. Nigel Playfair. Mr.
Parker hardly suggested the gay bachelor, but he
made all the points and managed all the details to
perfection, and Mr. Playfair stolidly made an excellent
soil. Mr. Barker's paraphrase) of the German
sounded like original English.
Other good things in the programme are the Palace
Girls in their black and white scene a slight sketch
by Claude; Mr. Albert Welan, and the bioscope
Voitures of yesterday a ceremony.
Telephon 12,301.
3
OBSERV
österr. beh. konz. Unternehmen für Zeitungs¬
Ausschnitte und Bibliographie.
Wien, I., Concordiaplatz 4.
Vertretungen
in Berlin, Brüssel, Budapest, Chicago, Cleveland, Christiania,
Genf, Kopenhagen, London, Madrid, Mailand, Minneapolis,
New-York, Paris, Rom, San Francisco, Stockholm, St. Peters¬
burg, Toronto.
(Quellenangabe ohne Gefahr.
Ausschnitt aus:
National Zeitung, Berlin
3. 1911
1.0
vom -
Schnitzler=Premiere in London.
In dem vornehmsten Londoner Variété-Theater, dem
Palace, wurde in dieser Woche zum ersten Male eine der Anatol¬
Skizzen von Arthur Schnitzler aufgeführt und zwar
die, in der Anatol versucht, von seiner Geliebten in der Hypnose
die Wahrheit zu erfahren, im letzten Augenblick aber vor der
entscheidenden Frage zurückschreckt. Die kleine Humoreske ist
nicht wörtlich übertragen, sondern von dem bekannten englischen
Schauspieler Granville Barker adaptiert worden und zwar recht
geschickt. Die Aufnahme war ungemein freundlich und die
Kritik mit wenigen Ausnahmen, welche sich auf den Standpunkt
der Prüderie stellten, sehr gut. Die Westminster Gazette, die
einen der besten Theaterkritiker Londons hat, schreibt: „Es kam
einem ziemlich überraschend, in dem „Palace" ein kleines Stück
von so delikatem Humor zu sehen wie „Anatol" und weiter war
es sehr angenehm zu finden, daß es im großen und ganzen eine
günstige Aufnahme fand und daß eine jede Pointe schnell und
mit Freude vom Publikum aufgenommen wurde.