PACE - MDR
T H E MICHIGAN
DAILY
FRIAY, MAY 9 ,1130
3
,. _
314t £irhijan Ba9ttg
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MANAGING EDITOR
ELLIS B. MERRY
Vditorial Chairman........George C. Tllley
City, Editor..............Pierce Rosenberg
News Editor............Donald J. Kline
Sports Editor......Edwar' L. Warner, Jr.
Women's Editor.. ,.........Marjorie Polmer
Telegraph Editor ........ Cassarn A. Wilson
Music and D)rama....... William J. Gorman
LiteraryEditor.........Lawrence R. Klein
Assistant City Editor.... Robert J Feldman
Night Editors-Editorial Board Members
Frank 4. Cooper Henry J. Merry
William C. Gentry Robert L. Sloss
Charles K. Kaiifman Valiter W. Wild
Gurney Williams
Reporters
Morris Alexander. Bruce J Manley
Bertram Askwith Lester May
Helen Barc Margaret Mix
Maxwell Bauer David M. Nichol
Mary L. Behymer William Page
Allan H. Berkman Howard H. Peckham
Arthur J. Bernstein Victor abinowit
S. BeachMCongery Vohn . Rindel
Tbornas M. Cooley Jeannie Roberts
Helen Domine Joseph A. Russell
Margaret Eckels Joseph Ruawitch
Catherine Ferrin Ralph R. Sachs
Carl F4. Forsythe Cecelia Shriver
Sheldon C. Fullerton Charles R. Sprowl
Ruth Gallmeyer Adsit Stewart
Ruth G~eddes S. Cad well Swangog
Ginevra'Ginn JaneThayer
Jack Goldsmith Margaret Thompsona
Emily Grimes Richard L. Tobin
Morris Crovemasi Robert Townsend
Margaret Harris Elizabeth Valentino
fus. Cullen Kennedy Harold 0. Warren, Jr.
ean Levy G. Lionel Willens
sel o E. McCracken Barbara Wright
Dorothy Magee Vivian Zimtij
.T
bility of nominating to the Supreme
Court a genuinely intelligent and]
liberal jurist.
-0-
FATHERS AND SONS.
The ties existing between fathers
and sons are among the most inti-
mate of human relationships. When ,
the tottering infant first walks
across the room to Papa, when the
short-trousered youngster plays
baseball with Dad, when the near-j
adult son smokes and talks with,
Gov'nor, and when the middle-aged
son pays visits to his old father,
there is a certain closeness of in-
terests and affection which is not
easy to duplicate elsewhere.
If anything happens to break
the intimate tie between a father
and his son, it is tragic. Whateverl
influences that tend to loosen the
ties are to be combated.
Such a view of the matter speaks
its own commendation of the
Father and Son week-end which is
being held here today and tomor-
row. College students are for four
years deprived of the intimate con-
tact with their fathers, which has
existed before college days. As the
sons acquire the new interests,
there is an ever-present danger,
I
i
.1
Iii
IL ArnwI%
II
Ivi usic' 4and .DiramaI
IRISH PLAYS, PLAYWRIGHTS, AND PRODUCERS
(1". Note: T/ he following article is a smartnn ry aul/ine of lr. Robinson's
lec iire- ves! crdav' aJ/,rnoon )
There were conflicting aspirations in the minds of William Butler
Yeats, Edward Martyn, and George Moore, the founders of the Irish
Literary Theatre, that made it impossible for the Abbey Theatre to,
completely fulfill their ideals. = Yeats was primarily interested in a
renascence of poetic drama. Martyn, a devoted Ibsenite, planned a
continuation of the tradition of psychological drama begun by Ibsen.
George Moore was primarily interested in repeating in Ireland the
Antoine experiments in technique of production he had seen in Paris.
Because each ideal seemed impossible in the commercial theatre of
London, they formed the Irish Literary Society.
The Abbey Theatre, which grew out of that movement some years
later, has given an outlet to the poetic plays of Yeats and Synge,
sponsored a long realistic tradition in the drama with its foundations
firm in the Irish situation, and developed a theory and technique of
acting that fitted its drama "like skin does a hand."
Yeas i to ap tobeThe Dramatists
Yeats is too apt to be Tgarded as a remarkable poet but a poor
dramatist. His early work in poetic drama was entirely successful.
When the trend in drama turned away from the type of work he was
capable of, he generously stepped aside and sponsored the new traditions.
Mr. Robinson has it that "Mr. Yeats put the first nail in his
own coffin when he discovered Synge in Paris and induced him to come
back to Ireland." For it was Synge that successfully realized the
poetic possibilities of some of the Irish dialects and, as Montague has
it, "disengaged the essence, the differentiating virtue of the native
t
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Hfortense Gooding
I'
FRIDAY, MAY 9, 1930 #
Night Editor-JOHN D. REINDEL.
LIBERALISM AND THE BENCH.
By its rejection of Judge Parker's
nomination for the Supreme Court,
the Senate has taken a commend-
able, if somewhat belated, stride in
the direction of strongly opposing
a political appointee to the highest
bench and resisting the President's
efforts to entrench the Court with
hide-bound conservatives. Despite
the furor which attended Chief
Justice Hughes' nomination, his
preeminence as a jurist abated the
Senate's irritation. In the present
case, however, Judge Parker has
much less sanctified ground upon
which to rest his case, with the re-
sult that the fight against imbedded
conservatism in the Court drew its
first vital blood.I
The objection to Parker was not
on legal ground, though his legal
learning and intellectual distinc-
tion have both been frankly ques-
tioned. In the storm of protest
which prevailed after his selection
had" been announced, two issues
were stressed as principal objec-
tions-the Negro objection based on
Parker's anti-Negro utterances, and
the labor objection due to 'his ac-
tion in upholding the so-called
"yellow dog".contracts, under which
workers pledge themselves not to
join a union. The defense and coun-
ter-defense of these questioned
phases in Judge Parker's career
produced so much flaying of the
air and the display of such a mass1
of evidence on both sides, as to1
render the issues entirely mooted,
even to the most intelligent ob-
server. It is sufficient to point out,l
however, that the salient stand
which the Senate made against the
stupid and reactionary position
Parker took on the Negro question
and the Labor question evinces that
body's indietment of anti-social
practices in judicial review.
It may be, therefore, that the
QA-aa in -nnina nrkrpr fn
that their warm intimacy with their imagination in Irish country folk." With a sensitive, sure ear and a
fathers will cool. The visit of the striking selective imagination, Synge took the plums from the conversa-
fathers at the annual Father and tion of Irish folk and forged a marvellously rhythmic speech, the
Son weekend should overcome thiI despair of imitators.
tendency. Robinson hazarded the opinion that this achievement of Synge's
Moreover, the occasion of the should have some pertinence to American drama. It was his argument
visit will enable fathers to see the that in the numerous portions of America where an undigested foreign
work their sons are doing and the element has corrupted the English language into an interesting and
environment in which they live, fantastic wildness, an American Synge should rise who would poetically
Such familiarity will enable them recreate the exuberant remains.
to appreciate the problem their Yeats' second nail, according to Robinson, was the discovery of Lady
sons are forced to meet, and should Gregory's genius-an amazingly original comic genius. She writes,
serve to increase the father-and said Robinson, "very, very high comedy," building a marvelous
construction of fanciful absurdities with great skill and great delicious-
on Intimacy. ness. She writes of fraudulent, lying cheats that she may the more
on sponsoring this eventevividly indulge her kindly attitude. There is another aspect to her
work-a feeling for the defeated hero that has been responsible for some
o fine historical plays. Throughout the theatre's history Lady Gregory
0 0 has gone on writing finely, sensitively and nobly.
Editorial Comment Robinson said that sometimes he thinks it unfortunate that so
o early in its history the Abbey Theatre should have discovered two
geniuses. For, he said, the surpassing, quality of Synge's non-realistic,
TO SURVEY THE NEWSPAPERS poetic, peasant plays has made imitation of that genre seem futile
to younger dramatists and they were driven, among them himself, into
(From the Christian Science the establishment of a realistic, "merciless" tradition.
Monitor). This tradition, headed he said by T. C. Murray, by himself all
In view of the great part played other critics say, flourished from 1910 to 1920. It made . the Abbey
by the newspaper press in shaping Theatre more definitely a national theatrey grounding its plays deeply
and directing public opinion in the in Irish incident, Irish locale and Irish politics.
United States, it is perhaps re- Sean O'Casey, who began writing abbut 1920, he takes to be truly
markables that so little really sci- a genius. Up to his time the Abbey had never had a play about
entific attention has been given to Dublin slum life. The poor people in Dublin, he explained,;'live in
the methods and ideals of Ameri- physical misery but seem to delight in it. Their lives have an Elizabethan
can journalism. Many universities, exuberance, excitement and glory. O'Casy was born into that life,
it is true, maintain schools or de- received little or. no schooling, and became a bricklayer's hodman.
partments of journalism. These in About 1920 he began sending up plays to Mr. Robinson at the theatre-
the main, however, are intended to bad plays in which all workingmen were noble and all employers were
fit young men for embarking upon cruel and vindictive.
the newspaper business and do not Because of the few gleams of genius in thes bad plays, the
concern themselves with scientific Theatre encouraged O'Casey. Finally, Yeats wrote him a furious tirade
surveys of what might readily be telling him to stop writing propaganda *nd write about the life he
conceded to be the most important knew. Taking his advice, O'Casey produceb\ three great dramas in a
factor in the formation of public short space of time--The Shadow of a Gunman, Juno and the Paycock,
opinion. and The Plough and the Stars. Robinson is confident of his genius and
Paul Block, well known as the sees in O'Casey an affinity with Synge in "his fine ear for a rich
owner of several newspapers, has, exuberant tang in speech and his delight in the fine, full-blooded phrase.
therefore, done an admirable thing Method of Playing and Production.
in giving to Yale University $100- The Abbey's theory of acting arose essentially by a reaction to
000 tonbetexpended in research the current English acting which was a 'ass of stage convention.
work in connection with journal- It took, he said, a hint from the Comedie Francaise and developed an
ism Dr James R. Angell, presi- economy of movement and' gesture in the direction of the natural
dent of Yale, says that "the pur- rather than the theatric. As C. E. Montague puts it: "More than
pose of the studies will be to per- others, the Irish players leave undone the things that ought not to
mit an understanding of the press be done. Without infantilism they contrive to reach back past most
mas anudersfatordinfhmanressof the futilities and inexpressive apparatus of expression to take a
as a powerful factor in human a- fresh, clear, economical hold on their craft."
terprise." The extent to which these Mr. Robinson was extremely revealing on the question of the
two activities can be harmonized relation of the director to the actor. It is the belief in the Abbey Theatre
without detriment either to the that the creation of an actor is a slow process, going on for years. The
business success or the useful pub- director there is working with actors and atresses he completely
lic influence of a newspaper will comprehends from years of intimacy. He conceives the actor as not
make an important and interesting of marked individuality or brilliance. Personality he takes to be a
field of special investigationnd particularly bad asset for the actor. He is rather more plastic than
1aman with personality could be. The director's task becomes merely
It Is an interesting essay in edu- that of awakening instincts, of evoking units in that flexibility, of
cation which might well be far stimulating comprehension, and then keeping movements simple.
I more heavily financed than Mr. In closing Mr. Robinson made it quite clear that the Abbey Theatre
Block has thus far found practi- has no intention of remaining hidebound by its past traditions. 'They
cable. Particularly is there room; have added a Drama League which acquaints Dublin with continental
for painstaking activity in research drama, an experimental theatre which the younger playwrights are
into newspaper methods and ideals. allowed to use as an Arena; and perhaps more important, they are
When the president of Yale has de-~ eagerly following Yeats' recent experiments in a synthetic art of the
scribed the newspaper as a major theatre, which should combine music, poetry, and the dance.
commercial enterprise, does he_ _
mean by it that, as in any other BACH ON THE ORGAN
commercial enterprise, the element A Comment by Dalies Frantz
of profit should be the one wholly Last Wednesday afternoon Palmer Christian played a recital of
or chiefly regarded in manage- organ music in Hill Auditorium continuing his series of Twilight
ment? To what extent is the own- Concerts. His program consisted of unfamiliar works by Weber, Stamitz,
er of a newspaper, who regards his and Franck, and familiar ones by Handel, Schmitt, and Bach; there
property as merely commercial in! were also others, less important. The piece by Bach was the now
its nature, justified in arrogating well-known Passacaglia in C minor.
to himself at the same time that! The recital was well played, Mr. Christian being the organist that
he takes his profits the right to he is; except for the Passacaglia-that was superbly played. This
advise, direct, or even coerce his work was originally written for a two-manual clavicembalo with pedals,
readers on subjects of public im- but was later arranged for organ by the composer. In this form it has
portance? How far are newspaper been played none too often, chiefly because of its really great difficulty,
editors justified in subordinating its complexity of design, and a lack of adetuate organs for its
to their very proper and creditable performance, and apt organists to play it. Recently Leopold Stokowsky
zest for news, consideration of the transcribed the work for orchestra and in this form it has become
part which unrestricted publication familiar; more recently Frederick Stock orchestrated the opus anew-
of legitimate news may play in af- because of his dislike, I hear, of Stokowsky's work-and in the latter
fecting the success of some great form it will be played in the May Festival.
national or international enter- It was more interesting yesterday to hear the Passacaglia on the
prise, as, for example, a conference organ as Bach wrote it. Ann Arbor is fortunate in having both the
on the limitation of arms? The old adequate organ and apt organist, and so Wednesday's performance left
partisan newspaper has in the most of the audience wholly satisfied and some of us almost upset by
main disappeared. How interesting this rendition which was a thrilling musical experience.
I m ei hao tho revilt of an inmirvO ne nunality which makes Stokowsky's arrangement interesting and