4.9. Anatol - Zyklus
box 9/1
-
92.
NEW-YORK TRIBU
LOVE LAURES AT ANATO
Schnitzlers Episodie Play Pre¬
sented at Little Theatre.
A MELLOW TRIELE
Doris Keane Makes Marked
Impression in the Char¬
acter of Mimi.
One of Anatole ladies of the heart, in
the episode which takes place before à
flower shop, calls him an Adler. To which
Anatol promptly replies that an der is the
last word in civilization. He goes about
sipping experiences and turning them to
gold in the crucible of his leisurely and
philosophie soul. Anatolis particular form
of experience seeking des along the path
of love.
Five times he le seen saying with de¬
lightful self-forgetfulness in the arms of
a passing fancy. In each case the woman
is of a different type. Anatol moves
along no restricted highway of love. He
finds pleasure behind the scenes at the
opera as he does in the conservatory of
fashion, in the secluded home or the
street.
In the five episodes the faut de pa¬
ful love is run. No hearts are forever
broken, although the wisttul and the wich¬
ful breathe their way into the scene
There is a haunt of memory about it all.
Love is a water lity that floats with sweet
fragrance on the surface of life. Some¬
times this dreamer who paddles among
the blossoms capsizes and suffers comi¬
traged thereby, but he never discovers
that the flowers have roots,
In the first scene the man loves a little
girl who has never lived before. He and
she and his best friend are playing at
hypnotism in Anatole rooms. The girl
falls in a trance, and the lover, prompted
by his friend, asks her questions. Does
she love him? Has she ever loved before?
The answers are more than satisfactory.
At the question suggested by his friend,
Has she been true to him? Anatol hero¬
cally rebels. He wakes her instead of
asking her, and she answers him, as she
put it herself, better awake than asleep.
Marguerite Clark played the girl in this
scene. She was simple and unawake a
Hilda was intended a delicate flower that
life would some day break.
The second episode takes place in the
friends (Maxis) rooms. Max is expect¬
ing a visit from Bianca, a little lady from
a travelling circus. Anatol and Max read
over Anatols past, for the perpetual lover
has brought a box of his lo letters to
bury with Max. One of the soul, uirs was
from a charning girl whom he found in
Bianca come. It is a
Bianca, formerly Anatos. Anatol greets
her with revived pleasure. She has for¬
gotten him. Gall Kane plays Blanca.
Miss Kane was wonderfully arrayed. She
might have represented a Chopin no¬
turno, but it would take more than imagi¬
nation, it would take brute force, to make
one realize that she belonged to the cir¬
cus. And Miss Kane has no force, not
even civilized force.
In the "Fareweil Supper episode,
where Anatol is seen parting from Mimi,
his love from the opera, Doris Keue
box 9/1
-
92.
NEW-YORK TRIBU
LOVE LAURES AT ANATO
Schnitzlers Episodie Play Pre¬
sented at Little Theatre.
A MELLOW TRIELE
Doris Keane Makes Marked
Impression in the Char¬
acter of Mimi.
One of Anatole ladies of the heart, in
the episode which takes place before à
flower shop, calls him an Adler. To which
Anatol promptly replies that an der is the
last word in civilization. He goes about
sipping experiences and turning them to
gold in the crucible of his leisurely and
philosophie soul. Anatolis particular form
of experience seeking des along the path
of love.
Five times he le seen saying with de¬
lightful self-forgetfulness in the arms of
a passing fancy. In each case the woman
is of a different type. Anatol moves
along no restricted highway of love. He
finds pleasure behind the scenes at the
opera as he does in the conservatory of
fashion, in the secluded home or the
street.
In the five episodes the faut de pa¬
ful love is run. No hearts are forever
broken, although the wisttul and the wich¬
ful breathe their way into the scene
There is a haunt of memory about it all.
Love is a water lity that floats with sweet
fragrance on the surface of life. Some¬
times this dreamer who paddles among
the blossoms capsizes and suffers comi¬
traged thereby, but he never discovers
that the flowers have roots,
In the first scene the man loves a little
girl who has never lived before. He and
she and his best friend are playing at
hypnotism in Anatole rooms. The girl
falls in a trance, and the lover, prompted
by his friend, asks her questions. Does
she love him? Has she ever loved before?
The answers are more than satisfactory.
At the question suggested by his friend,
Has she been true to him? Anatol hero¬
cally rebels. He wakes her instead of
asking her, and she answers him, as she
put it herself, better awake than asleep.
Marguerite Clark played the girl in this
scene. She was simple and unawake a
Hilda was intended a delicate flower that
life would some day break.
The second episode takes place in the
friends (Maxis) rooms. Max is expect¬
ing a visit from Bianca, a little lady from
a travelling circus. Anatol and Max read
over Anatols past, for the perpetual lover
has brought a box of his lo letters to
bury with Max. One of the soul, uirs was
from a charning girl whom he found in
Bianca come. It is a
Bianca, formerly Anatos. Anatol greets
her with revived pleasure. She has for¬
gotten him. Gall Kane plays Blanca.
Miss Kane was wonderfully arrayed. She
might have represented a Chopin no¬
turno, but it would take more than imagi¬
nation, it would take brute force, to make
one realize that she belonged to the cir¬
cus. And Miss Kane has no force, not
even civilized force.
In the "Fareweil Supper episode,
where Anatol is seen parting from Mimi,
his love from the opera, Doris Keue