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May 17, 1925 - Image 13

Resource type:
The Michigan Daily, 1925-05-17

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SUNDAY, MAY 17, 1125






4 q

I . ilS1C

and Drama



rfi .

is made up of real sentences, intend- temporary theatre should be lone than a dozen plays, and has given evi Sancho Panza; the creator, who saw - final ev
ed to be spoken naturally, emphasiz-away with and should be replaced by dence of a most remarkable original- thir nobility and pathos as well as the tit
ing the content, free from artificial the Theatre of Varieties (music halls,i . .their absurdity, was a humorist. Gior-B Henri S
transpositions, from recondite words, cafes--chantants cr equestrian cir- ity. Truly, the origality and novel- dano Bruno's motto, says Pirandello, Spring Brings The May Festival!Mario C
from effete poetic conventions. By cuses) with a notable exaggeration of ty of his productions compel us to be- is the very motto of humour itself; "Of th
devising and perfecting a verse form its extravagances and the multipli- lieve that to him drama must have a in tristit ia hilaris, in hilaritate tristis. to bal
which has almost the fluidity and cation of its improbabilities and ab- new meaning. We who have been ac- Whether or not with such humor - Giocond
B1exbility of English blank verse, surdities. The futurists, for instance, customed to think that the protagonist anidl such conception of the drama it (Continued from Page Nine) and of all arts music does this most extensiv
Benelli has done a great service to would oblige the singers to paint their will be possible for Pirandello to pro- and sin
Italian dramatic poetry, necks, arms and hair in all the colors of tragedy or of serious comedy was ce the masterpiece which Italy is "From his youth Verdi had cherish- completely. No composer has ever at La S
He is in addition a great artist who hitherto neglected as a means of fas- the humqn will at odds with fate, the expectaig is a matter which we do not ed the idea of writing a comic opera; equalled Beethoven in his power of has toa
has uccededIn cruinizng mo- ciatin-gren air vioet rms emotions, another human will, or the
has succeeded In scrutinizing a mod- ination-green hair, violet aims, soty; hat dare to predict. We are not even as he approached the vantage point a suggesting that which can never be the mos
ern soul i The Bookworm (1906), in azure breast, orange chignon, etc. canons of society; and that its o- ready to sustain that with the plays in the r
,rnel e pro ntelife of four score years can give, he expressed absolutely, and nowhere in i h
coloring theatrically an historical They would interrupt the singers, ject was to move us to the emotion .nelloanew periodinth was able to realize this ream. m his compositions do we find a work in "The
event dealing with Larenzaccio dei making them continue with revolu- of pity and fear, or of iron'c'laughter Iamiia i. beginning in Italy. It may, poyingahe textethis dremd Emto hichmallithenolet a eofkainhas so
Medici in The Mask of Brutus (1908), tionary or anarchistic discourse. find that our idea of the dramia does r ga'Ct, I just an episode which may ploying the text that his friend Bo to which all the noblest attributes of an of its pr
in creating a living character: Gian- "Sprinkle a romanza with insults and not agree at all with that of Piran- ass with the author's death. had arranged from the Shakespeare art so exalted as his more happily the mu
netto, in the Jest, the scene of which bad words. Make the spectators of dello. In his plays the protagonist comedy, 'The Merry Wives of Windsor, combine. No formal analysis dealing well-kn
is again the Florence of the Ron- the pit, the boxes, and the gallery seems to be one of the "persistent VI. Dialect Drama he created a work that is an enduring with the mere details of musical con- certed f
aissance, dominated by the presence take part in the action." problems of philosophy"-the problem This sketch of the contemporary monument to his already distinguished
presncestuctions can touch the real source served. t
of Lorenzo the Magnificent. In this Here are a few more practical sug- of reality, the problem of knowledge, Italian drama would not be complete career." of its power, nor can any interpreta- knownt
play in addition to reproducing artis- gestions: "Put stong glue on some of identity, of the nature and test of if we failed to mention several out- tion of philosopher or poet state with of the
tically the Florentine's love of jests, of the stalls, so that the spectator truth-and the object is to convey an standing dramatists who have written The two principal works of the Sat- n philooper y s hy
he shows himself a consumatdr- who remains glued down may arouse idea to the mind. Character, emotion and are writing plays not in the recog- urday afternoon program will be the a oe t u t co
matist, blending skilfully the grotes- wgeheral hilarity; sell the same lace and plot on his stage are not merely nized Italian language, but in Italian Beethoven Symphony, No. 5, C minor ws thove the soy of the cm- "'a
sais, ledigtkifulyth gots-gnealhiartyasllthctnis.actand the Tchaikowsky Concerto for Vo1 ,prression teuh teymusic makeson theim em bfi
que and the ludicrous with the ter- o ten different people; hence ob o iterpret a human situation anli dialects. hshm nar
rible, the tragic and the sublime. structions, arguments anal.alterca- r;In order to understand how it is lin and Orchestra, D major with Mis-~They may clothe in fitting words that tent to
Other very important plays by Beneli ions. Sprinkle the stalls with powder are at the same time acting out an that a drama in dialect can flourish in cha Elman as soloist, which we all feel more or less forci- t
Are The Love of the Three Kings which produce itching, sneezing, etc. abstract idea; the play is a kd of Italy, one must bear in mind that, Of the first the libretto says, "In bly. Possibly, were music so definite -tis m
(1910), which set to music by Monte- Systematically prostitute all clsicharade which we shall have to guess though the Peninsula has been a polit- the presence of a work like the C mi- that interpretations of absolute music m
mezzi has made the round of Europe art upon the stage, representing for at the fall of the curtain and even ical unit since 1860, spiritually it has or Symphony, one realizes the nade- were obvious, we should lose one of its cet
~nd America; The Mantle (i9i), an example all the Greek, French and then it is bard to do so. How many rermained a group of regions kept quacy of words to explain or describe greatest charms, for music, indefinite ploion
historical play, set in a background Italian tragedies condensed and comi- of those who saw his enry IV can apart by differences of speech, cus- all that it conveys to the soul. Artto the mass, becomes definite to the uently
of the academic life of the XVI cen- cally mixed up. Enliven the works of tell whether or not he was sane or toms and psychology. Each region is the shadowing forth of the infinite, individual when it is allowed to pass He s c
tury; Rosmunda (1913) based upon Beethoven, Wagner, et al by intro- han he endeofo's play The has its local interest, and though the the soul and give freedom of sugges- tion wh
the historic episode dealing with the ducing into them Neapolitan songs. like puzzles whichr cannot be plays ared stuly of Italian in schools is rapidlyof Mr. Travet, has become a proverb- tion." Iceived
revenge of Rosmunda upon her hus- Execute a Beethoven symphony back- ike pues whiche a t be le breaking down linguistic barriers, ial character. The tradition of Vene- Turning to the Concerto, the pro- the no
band, the Lombard king Alboin, who wards, beginning with the last note. is to be found in the fact that the each has its own language often un- tian comedy began with Goldoni has gram book comments, "As in the case play o
forced her to drink wine out of her Reduce Shakespeare to a single act." ut as no intelligible in another region, espec- been continued by Riccardo Selvatico, of Brahms, Mendelssohn and Beethov-I whicht
father's skull; The Marriage of the A typical futurist play is King Hub- ally is they are far apar. Not only and Giacinto Gallina. Carlo Bertolaz- en, a single concerto for violin is have e
Centaurs (1915), in which is person- ibub (1909) written by Marinetti him- .Notwithstandig the fast that prac- in language ,but in character and-in zi has done for Lombardy what Ber- Tchaikowsky's contribution to the lit
i;ied the Christian-barbaric conflict self, who also wrote several others.- tcally no one among those who saw spirit one region is different from an- sezio did for Piedmont. Augusto erature for violin virtuosi. Although
in the person of Setfania (Roe) It is, as it might be expected, a huge his enry IV in Ann Arbor was able other. This is why in the field of the Novelhi has enriched the Florentine completed in the spring of 1878 with The 1
and the Emperor Otho III. farce. The action tb ee place "at a to smile even once all during the per- novel we must read Grazia Deledda to stage with superficial but well de- the assistance of Ketek, a violinistpa, w
Other less bright luminaries of this vaguely medieval epoch ie theking- frmance, Pirandello is a humorist.i understand the Sardinians, Matilde signed humorous characters. GastoneI who was visiting the composer at the No
same school are: Ettore Moschino dom of the BBock-heads." ing Hub- ut his humor is that of a pessimist. iSerao to understand the Neapolitans, Monaldi has written some fine plays clarens, almost four years elapsed be- by Ln
ewith his "Tristan e Isolda", and bub is chosen king on account of his Humor, as he defines it. is a feeling Giovanni Verga to understand the for the Roman stage. Ernesto Murolo fore the work was given a public per- has bee
Caesar Borgia; Nino Berrini who also extraordinary corpulence, ie has no for contrasts, for opposites, which is Sicilians, etc. and Salvatore di Giacomo have done formance. The fact that the compost-
wrote a Francesca da Rimini ( ; other merit. Ina kingdom where the the fruit of a certain gift of reflection This will explain, then, why a re- as much for the Neapolitan stage, tion has made a literal 'triumphal pro- of the
Romualdo Pantinb who wrote Tiber- people should be oncerned only with n humorists. Merely to note a can gional drama written in dialect by whuile Luigi Capuana and Nino Mar- cession' since its appearance is signifi-rypha,
ins Graccus; Enrico Corradini with eating, we find that most of them are erat-as between an old woman and who know b)th their peop)e toglio have written very interesting cantpsrpublish
eatng w fid ha-mot f hemnt ;eproof.herwiofnd itso technicalwh kowbot tbrileplsliance is tcpublishliacy
his Charlotte Corday and Julius Caes- starved by the king and his immediater oueh , ande and the dialect they speak can exist llays in the Sicilian dialect.and basic lyric beauty." within
ar; Domenico Tumiati who wrote gosh spreservemtheir g to further than the comic: -tand flourish in Italy. It will be well The future of the Italian drama, Ponchielli's spectacular opera, "La
several plays dealing with the Ital-i obesity. Soon there comes the rumor when reflection suggests that the old to recall here that Carlo Goldoni, the however, will not depend on regional IGioconda, has been selected for the PATRO
in Risorgimento, and numerous of a rebellion. Frightened by the im- wonman's motive may be to keep the 1Moliere of Italy, and the greatest authors who will produce plays inI
others who wrote mediocre plays pending danger, liubbub gives over! dramatist which Italy has ever pro- dialect for the people of any one re-
rbased " "afectionas of a young husband, theen : ::"ar":..::. .::: ..::..
based on the "glorious past of Italy." Is government to four Marmitons the touch of pity, he very pos teof duced, wrote hi best lays in his own gion, but on those born dramatist.
whisetrMantrtitpaacnto1the uctoucht of pitylaa i hs thepinvery n hos bon raioatOt
JYoI (ial~ct--thie VcnGian dialect. who will write excellent plays for
IV. The Futuristic Drania, who retire to the palace to prepare laughter. makes it humor. If the
r a new broth called Universal Iappi- comic wmiter reflects, ho only laughs; Amntg the most histinguishe writ- fortY million Italians.
T-' futuristic drama, fittingly char-ness. While they are waiting, how- - -stito ag;h uosims -n * * *
acterized as the rapid transit drama, ee satirist grows angry; the humorist ors of plays in Tialect we must men-
came about in Italy as areactionepeexasperatedoking of hunger and the will feel compassion. The delusions hiOn ittorio ersezio, a Iiedmontese Ne(xt: Th English stage, by Prof'
camai bt in talas rean p xasperated still more by the of Don Quixote are merely comic to whose Mr. Trvet, from the Sorrows O. J. Campbell.
against those dramatists xwhose mania.Ioo wihcoe ro th.ktce,::.....________________________________ R LABL-..::
it was to turn to the "glorious past break into the palace, drink the broth RELIABL
of Italy" for dramatic subjects. from the Marmitons and since this
Futurism as a movement first came is not enough to satisfy their appe- You can depend on each a
~o public notice about 1908 when the tite they devour the cooks themselves. that you purchase
novel Mafarka the Futurist was sup In the find everybody dies and a baby ( S OUTHpUrN as
pressed and its author, F. T. Marin- vampire comes to feast over their1 SOUTH UNIV
etti, an Italian born in Egypt and edu- bodies.
cated in France, was prosecuted at! The future of the futurists is b)-n-s-
Milan for offending against the hind them. In Italy it was never a"I
morals of the community. Soon after strong movement, and although the
there appeared in the Paris Figaro the futurists have invaded nearly every
manifesto of the new school, from realm of art there, they have done :at the A rcade n Sunday
which one may find a summary of the very little harm ani have contributed
tenets of their school. According to nothing.
this manifesto Italy is to acquire an V. [mugi Piraundelloc.t
intellectual and moral boldness by
renouncing to her passive contem- The dramatists who attract the pub-
plation of the past and by assumnglic eye in Italy to-day are a legion
plto fth atadbyasmn DroNeodciAfeoTestonl,1 din er ca be c osen t a -
an active participation in the present. Sabatimo Lopez, Augusto Noveli
All her works of art, her museums, I os iSnieo o aut ai
her libraries must be sold in orderosso San Secondo, Fausto Maria
orde Daitini and numer'ous others have
that cannons, aeroplanes, dirigiblesi ns s
and readaugts ,ay b boght n rtten and re Still ;witing ine+r_
and dreadnaughts -may be bought in price that's amazingly low
their place. Rome, Venice and all - lays. But te Bernard Shaw of Italy
the other Italian cities which can to-day is Pirandello.
boast of an ancient tradition should Luigi Pirandello, a Sicilian educated -
he either cleansed of their ruins or in Germany, is famous in Italy for his
blown into atoms. Moralism, femin- numerous stories and novels. His en- _
ism, and all utilitarian cowardice trance into the dramatic field is rela-
should be attacked with youthful vigor tively recent, but in spite of this he
and energy. In short, the past with has (lone for the Italiami (rama much-
its sad history, its decrepitude, should more than many of his cop'tedmporarAesidCt
be buried forever to make room for have done, and can be expected to do
the present and the real; and above more. Indeed the eyes of a large Is t a irs,. N ic"ke l s A r c a d e -
all speed, speed in everything should pairt of educated Italy are fixed upon
be adopted to reach the heights which i Pirandello to-day, expecting from
the future has in store. him a masterpiece-perhaps several
For the rehabilitation of the drama of them.
the manifest suggests that the con-! Pirandello has already written more

ening with Frances Peralta in
e role and Kathryn Meisle,
Scott, Vincente Ballester, and
hamlee in prominent parts.
e composer's eleven operas and
lets," the libretto says, "'La
a' is the only one to be known
ely on this side of the Atlantic,
ce its first public performance
cala (Milan) April 8, 1876, it
ntained its position as one of
t elaborate and popular operas
large cast of six major artists
newhat limited the frequency
esentation, but the richness of
sical score, the six or more
own arias, the magnificent con-
Inales of the several acts have
to make portions of the music
to concert audiences deprived
privilege of a season of opera
mpany of first rank.
Gioconda' makes no pretense
g an evolutionary or revolu-
work. Ponchielli seems con-
allow his melodico-dramatic
to glorify the traditional oper-
thods of his generation. He
e orchestra with a keen per-
of its color values. He em-
leading motives' not as fre-
or consistently as did Wagner.
.onscious of the subtle distic-
ich separates a brilliantly con-
vocal passage that intensifies
d of the text from a mere dis-
f vocal pyrotechnics, against
the true operatic reformers
er enveighed."
imited edition of the Apochry-
hich is issued in England by
nesuch Press and in America
oln MacVeagh, The Dial Press,
n oversubscribed, and is now
print. A four volume edition
Bible uniform with the Apoc-
is to be issued by the same
ers, the first volume to appear
a few weeks.
- .
d every article
# a.
w #-
w #
M a.

Ii c
91 .






A S S 0 C I A T




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