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May 24, 1925 - Image 13

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Publication:
The Michigan Daily, 1925-05-24

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PAGE THIRTEEN

.. TiNflAY MAY 24.195

TTI MiCHICAN DAILY

4,1. 'k

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Jusic and Drama-

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The Theatre In Ferment
In Which Prof. Oscar J. Campbell
On The Modern English St

..
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ih a sense naturalistic. They reveal Iher betrothed, is on the verge of dis-
man as the victim of social meterniin-E covering his long-lost identity. Mang-
ism, a creature with only. illusory ham is sardonic and bitter in his
England
power5 of freedcnm.I hs ltetply laughter. He reveals social base-
such as "The Skin Grime" and "Loyal- ness and unmorality and its complete
ties," Gaisworthy continues to show1 compatibility with social success. He
hech of opposing social forcesseems disillusional as was Wicherly
setowever the results, though tragic or nd to have hidden a savage mal-
1LL~llE JtiJ i.7 Icomic, seem to lbe in the control of!1 content beneath his urbanity. A. A.
men, not in that of forces quite be- Milne represents the best traditions
yondl his control. of English laughter. His mirth is
ag e and A uthors:: That as:ect of naturalism w;l expansive and communicative, and
shows man, the civilized being 'at the'
mercy of his animal instts, has but very gently corrective i usually
comes not only with the requisite never received mlit incss, in performs his comic task within the
harp surpise but also with the men- English dm The te n dbps i frame of the stage. He is familiar
.al exhileration of a new insight. realism which is one of the n dI with its visual and auditory device
"Man is the hunter, woman is his tions of this sort of naturalism does the bizarre curtains which drag their'
game," has long been the flattering appear in Nasefield's "The Tragedy ofay uses themugh mr, itnss
dictum that the amorous male has Nan", in "John Ferguson" and "Jane gay trail through "Mr. Pim Passes
uttered for his delection. "Not at all," By," to be hung at thecloe s by
says Shaw in "Man and Superman.' ..George as a triumphant theatre sym-
Woman really persues and inevitably bol of the issue of the central drama
n Naptures tue sruggMi ina-erI m- ic ont-t

StIoriCs of the Stars Perhaps one of the best of these hap-
1 'pened as follows:
- -- One day last season while traveling
(Continued from Page Ten) abroad a train he strolled into the
casions, after Morgan had finished diner and took a seat opposite a
asigingsmerWelsh songs, Lloyd stranger who soon proved himself to
singing some Wsbe a traveling man by opening a con-
George turned to an American news- versation with the highly original
paper correspondent standing near question,
and said, "What's your line?"
"If I had a company of Rhys Mor- "I am a violinist", replied Elnan.
gans I could win the war without "Play in some orchestra or travel-
further bloodshed. I could send them ing show?", asked the salesman
to the front and have them sing to the brightly.
Huns. They would stop to listen, I
wrapped in wonder and admiration," "DNo, just alone with a pianist."
and then he added with a smile,"we "Dance?"
could send in a company of United "No, I give concerts."
States Marines and capture them "I should think that would be a
without firing a shot." pretty tough way to make a living.
As71asthecaselastyearwhenl lin

Modern English drama began in
1893 with the production of Pineros s
s 'The Second Mrs. Tanqueray".TThat. s tk
statement is substantially correct.
Clayton Hamilton's remark is perhaps
more accurate. He said that this was d
A the first play of any fresh and vitalu
greatness that had been produced in
England since 1777, the date on which V
Sheridan's "The School for Scandal" i
bad been nresented. For at least a >
hundred years English playwrights
a had been in bondage. They had de- /
'psnded abjectly, now upon the imper- n
bous tradition of Shakespeare, now up-b
on the merely theatrical production
+ f the Continent. The drama was thus '
divorced from any vital connection C4 XY
with the society from which it sprung.
1,L was largely material for pompous'
r~ declamation or "eye and ear enter-
tainment" a
br Pinero's tragedy changes all this.4
IThe artistic success of some of Ibsen s
plays presented as matinees by the u
Independent Theater Society con-rAx
-vinced him that the English publicM
Would accept plays of a similar sort.y
He believed that a drama written with
* - Ibsen's social intention and the tech- Sir ArlbuImr W ig inero (
nique of Dumas fils would be just whom Professor Ctmpbell discussest
x the sort that the English stage need- as the founder of the present renais-
rted. The success and influence of "The sance through the English theatre. '
_ Second Mrs. Tanqueray" proved himui
+right.-j mand to tell this story. In this playo
The tragedy is the story of a wo- as in those of Ibsen there is a strug-e
man with an immoral past, who tries gle in the mind of each character.--
to rehabilitate herself socially through that of the man with the priest, ine
p rarriage. She fals because the past Michael, that of the enchantress withf
refuses to be separated from her the true woman in Andrie. Jones't
-present. Having brought distress to drama is clearly the prototype of]
ier husband and her step-daughter, I "Rain." The latter play presents thes
she signalizes her other failure by same suggle transposed into sceneY
suicide. Like Ibsen, Pinero makes no more picturesque than that ofI
his play a denouncement of events Michael and the same mental battle.,
buried in the past; like Augier, he only told in the language of the latesti
treats his characters with mendant psychology.t
clarity of eye and of mind. The play A fresh influence from Ibsen camec
was of importance because it re- into English drama with Shaw. It1
established a connection between must 'be said that he misconceived
English drama and life, particularly the real nature of the Norweigan's
it opened a field of dramatic interest work He believed him to be primar-t
which had long been closed. It made ily a teacher of definite social doc-
it possible for English playwrights trines. Indeed Shaw is quite certaint
to treat the relations between the that Ibsen ought to have been a mem-
t sexes fully and realistically. Love ber of the Fabian Society. Whedn he
h longer had to, be regarded only began to write his plays like " Wid-
a sthe ultimate- felicity of two yodti wes tse" ndsMr. a rens
It could now be regarded as a prob- Profession", he considered them af
lem fraught with infinite possibilities part of his radical <conoic ropa-
t of both comedy and tragedy. This part of his l o oi fop
hasbee te sbjct f mstgretBanda. Ibsen was his atority forr
has been the subject of most great using the draia as an instrument ofI
,plays from the beginnings of drama. social instruction. If Ibsen hade
Moreover Pinero placed the crucial shown Nora breaking the convention-
-dramatic struggle within the mind of al bonds between hutband and wifet
$ his principal character. in the interest of her individuality,
i Pinero did not retain the dramatic Shaw dared smow \Uvie Warren for
technique of Ibsen for long. In his a similar reason cuttng herself off
next play "The Notorious Mrs. Ebb- from ber mother and her lover.
smith" he made rather a failure of it; Naturally Shaw did not continue
consequently he returned to the more long as Ibsen's pupil. lie said, "You
ample narrative methods traditional cannot write Ihree plays and then
in., English drama. "Iris", a play stop." And the English drama should
which moves about freely in time and thank God that lie never has. Al-
plae, is thoroughly characteristic of most every year it . is freshly his
his later work. He has reserved his debtor. Iis first plays had shown
intensity for the individual crises him his vein. Since then he has oc-
which he always treats with the hand cupied himselfi largely in revealing
of a master-craftsman. However, he the shams, conventional pretenes,
has, never lost his ideal of serious and s >lf-receptieins of individuals.
social intention, or his deep fidelity Ie has shown the humorous falsity
to life as he sees it. This spirit in of the moral formula. He has made
various forms has never been absent his comedy in the process of reveal-
from English plays since 1893. ing the truth of aparent paradoxes.
To be sure, Henry Arthur Jones, Comfortable illusions ;placidly held
whose name is inevitably associated for generations are neatly shown to
with that of Pinero, always insisted be ridiculously at variance with the
on casting even his most serious facts of human natnure. Ancient con-
plays in the most theatrical form he vention held that given a hoice he-
could imagine. Consider "Michael tween her lover and her husband, the
6 and His Lost Angel". It presents the wife would mentally (hoos the torm-
problem of woman with a past or the er, because a woman's greatest desire
temptress cast in a form most certain is fresh glory of new feeling. Shaw
to provoke thrilling scenes. A charm- in "Candid" shows that the doi-
ing woman . deliberately seduces a nan m in mwoman's oe (or i
nWant element in a. woman's" loe fora
stern clergyman. She has a mis- man is iaternal. Therefore when
chievous curiosity to see if she can- the choice between the boyish poet
nt arouse the oan in the priest and the pontifical husband comes, she
Jones uses all the contrasts and pic- naturally takes the one upon which
aI ovief's of the stare at his coin- Ishe can lavish the most maternal
care. The laughter in the denoument

It's the Cut of
that's I
PLAN
INowdays, style is the param,
Youneed a Wn .nfor

4

As was the case last year when
Charles Sikes appeared at the May

Why don't you get into a regular lie
of business and make some, real
Fsv ,a t rn i of i n Vmi nk ii pk .ri ht vo n

captures the struggling mnan-strug-;
gling because he wishes to be freel
for the good of his pure intelligence.
Incidentally this aspect of affairs
makes woman serenely and ridici4 -
lously inappreciative of any intellec-
tual activity of man which is not to
her purpose. Therefore Ann's last
remark to Tanner "Keep right on
talking, dear," is a deeper satire ofl
her than of the man.
Comedies like these and many morey
are those of ideas. They have been
developed through the action of
Shaw's extraordinary genius upon tie
methods and purposes of Ibsen as he
understood them. The result is one
of the most original products of Eng- I
lish dramatic genius. These plays
form a new comic genre and open
to human beings vast intellectual po-
tentialities for laughter.

Barrie stands by himself. In spirit
he is related to Milne. To both the
epithet "whimsical" almost automati-
cally adheres. However, he expresses
his feeling most adequately in phan-
tasy. He can reveal his truth best
by building up a dream world on the
other side of reality. He is continu-
ally asking "What would happen if
some strange change could be made
in reality? What if Time should
cease to beat for one person? What
if we should all be given one chance?
What if a Child's imagined creatures
should exist in flesh?" Recent ex-
perience with Barrie's plays on the
stage suggests that they are begin-
ning to "(late" just a little. There
seems something just a little Vic-
torian about them. Perhaps it is be-
cause the realistic fantasy of Expres-
,.,. - - yr r~rh onrorto mr

Fesivl, nohe naiv o Mihianmoney?: You ioo ize a grII y ug
graces the Ann Arbor concert stage fellow."
ach est efmne s. "Oh," said the master artist, "I
.make enough money, I don't have to
Charles Trowbridge Tittman, con- worry about that."
sidered one of the, foremost singers "That depends on what you call
of Bach music, was born in Detroit I enough," answered the self satisfied
and comes on his mother's side from drummer. "For instance, I make
some of Michigan's best known faim- about $4,000 a year, and next year I'll
ilies. His grandfather, Judge Ross be in for a raise."
Wilkins, was first Federal Judge of "My dear man", raid Elman a trifle
the orthwest Territory. His uncle bored, "you have my sympathy, $4,000
was the late Judge Charles T. Wil- a year! I earn that much every
kins of Detroit, a graduate of the l week."
University. "What $200,000 a yiear! You're
Besides his constant work to attain either crazy or a fiddler! Who are
prominence musically, Mr. Tittman !you anyway?"
has had a varied career. le is a I After giving his name, Elman
graduate of Princeton and of the Har- thought escape was at last at hand,
vard law school. During the war he but nothing like that occurred to the
saw service, reaching the rank of, salesman.
major. For a time he was also As- "You Mischa Elman?" cried the lat-
sistant Solicitor of the Department of ter, "Why I have a dozen of your
State. records. Say, put it there. , Let's talk
anou musc;"

!"° } a {: a 'sionismn seems so muen nearer to cur. - Mischa E±1nn ehpstebs
Shaw's interest in Ibsen also led rent dramatic and human interests. known of our naturalized 'American
to Tanoher sor o play, o es The great poetic force which has violinists, has had during his life as a
dramatic signflcance. Ibsen's long recently animated English drama has concert artist many amusing, and at
dialogues on subifets of current 'so- ()e from Ireland. In the rich times, extremely funny experiences. I
cial interest led Shaw to believe that peech of the Irish folk Synge and
ulays were essentially dramas of di George lBeranrd Maw Lady Gregory in particular have sort of play more native to English
cussion. English audiences, he in- who through his startling originality formed a dramatic idiom that is both ife will apucar is the most interest
f-rred. like those of Ibsen, oug tond ironic brilliance has done more figurative and racy of real life. In ling problem of the dramatic future.
e willing to overhear even a dan- than any other contemporary (drama- the folk-lore and superstition of the
do conversation on an iteresti Ist to re-vivil' the lnglish stage. same veople these authors have found
subject. This belief led to thme least ------ ---- - raater al for tragedy and comedy that
happy of Shaw's plays. "Getting Cegg." In a , 1l:v like "ihindle Wakes" at once reached down into the humb F
Marr'ed," "The Doctor's Dilimuma' there is in wdiition a suggestion of lest affairs of daily life and led out- ad/ MS a FoIIW
and "heartbreak Iouse," break down the naturalistic attitude toward sex. ward to the cosmic pity and terror
into a mere discussion of irrelevance The various phases of EInglish con- and laughter that only man against
to any recognizable dramatic purpose ely, besides that of Shaw, are best the background of the sky can evoke. I -
of the author. Some of Garnville- -_resentedby_11h workofscar If romance is to be acceptable on the
Barker's plays, notably "The Madras Wilde, Somernset M1%aughan and A. A. modern stage it must be of this sort.
House," suffer from the same rle- Milne. Wilde wrote the best modern it must be grounded in fact; it must
thora of mere talk. However, of late, eIvofalent of istoaion comedy (f scorn illusion and it must be brave
the unprenossessing drama of discus- Manners. His characters are ridicu- I with the vision that is founded only t
sion has developed in "Back to Ale- lus because they are human beings on the most rigorous acceptance of '
,thuselah" and "St. Joan" into a new I insisting on acting as though they fact.
type of dramatic entertainment. 1nweremmerasocial. r
1 wee mi-csoca pc pt 5. Algermom The achievements of English dramma
.ne a biological theory of human in in "The Importance of Being Earnest" since 1893 have been immense. At
velonmen is presented in bold terms is much more concerned with keep- the present moment it suffers a kind' CONN Saxophon
of human phantasy. and in the other, lI
ing butter off his cuffs than with the of nause. The immediate stir is in A
from some points of view, his great- apparent loss of his sweetheart. Germany, in Italy, yes, in America.jazz istruments.
est achievement. he gives us in terms Gwandolen feels theproriety a Whether these foreign movements will ,
of life vividly conceived and 1ym- witty remark much more intensely produce in England new characteris-
pathetically apprehended the drama than that of an emotion when Jack tically natural plays, or whether some standing by themsel
of a whole epoch of thought andnat p o h mandig b themsl
action. Incidentally Shaw believes _actly withacareful]
this to be a turning point in the hi.,-r: The world's greati
tory of man, one that brings himt per- get
ceptibly nearer to the form of exist- demand the best
ence which he desires for him. Tee choose CONNS.
original achievements in widely dif-
ferenit forms of his art mako ;Shaw -

about music.".;-
Poor over worked artists!
Read the Want Ads

zz" 'Instruments

es are more than
They not only pas:
equally capable of
ves or matching ex-
ly blended ensemble.
est artists naturally
and they invariably

the most important force in English
drama. One comprehends and aip-
plauds the intention of the Theatre
Guild to present Shaw's various
dramas for 24 consecutive months at
"The Garrick Theatre."

EXAM SUPPLIES
Bluebooks, Pens, Erasers, Ink-in fact every supply
necessary for a Final.

Shcet Music and Accessories

j
1
i
i
I
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Significant plays of different social 111 SOUTH UNIVERSITY
intention are also a part of modern -
English drama. Galsworthl is the
best author of what the Freuncch ...,l. .-
"Drames Sociales." NC reprkSemtOts
man in his struggles with institutic I
of various sorts. In his first play he I.C)
definitely preached a social moral. In1 -
"The Silver Box." foir example, lieA E
proved that there was one law for the1,
rich. another for the poor. Tl' he A
began to envisage his social pioblemn RSsERS WEDOA
more as an artist. He displayed the K NlS AL
individual rendered helpless mnd 1"' 1 ff3R A '' ) KNDIND'
tile by his institutions. They were DE6LIVE8RFne ,I
always the villains of the piece. in
"Justice," the processes of the law
utterly destroy pr o ineffectual Fald -___________
er, so impersonally and inexorably do
they move. In "Strife" two string- -7
men, the leaders of both the capital-
ists and the laborers, are similarly P onII7C
crushed and thrown wastefully aide
by the self-propelled machinery of the ;. STEIN - PROPRIETOR
capitalistic system. These plays are ------ -.. ---- - _ - - ;mi;...-... ..
_ _ _ _ _ _ _ _ _ _ _ _ __E

CONN

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__________ _______________ -- - II

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m'portant!
nount thing-especially for the

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People in Detroit
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