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4, w rT" tt i "" --- a , jT'tT"-'; . - -' --;' a iv-a &. .i J .- 3 f - . - - The Prophet : pf m Stagecraft Seeks Disciple in Kate -Uarew tj M' i. ,r J v t V 41 m '-' Simplicity .AtsBSBBBSBsaA - . bbbbbsbbbbbbbbsV .SHjk LbbbbbbbbbbbbbbbbbbV bBBBBBBBBbTbUSBBBBBt m wve M avl m BBBBBBBBBBBBBBBBBBBBSBBB T. Jk if jfiff s jIPvt! MfiEjmjxifflBffiH!jffi ItTbbi I HE WAS DEEP IN HIS PAPERS WHEN ENTERED. BY KATE CABEtV. Paris, October 13. I DON'T believe that Paris quite real izes she is harboring in her midst an earnest and zealous Reformer. But she is. And one of the real, high brow. Idealistic, not-to-be-crushed-by-the-Phlllstine kind. Did you mention that reforming Paris Is a large order? Of course it is, but ou're quite off the track. This Reformer Isn't going to try bis hand on Paris in particular, or cities In general. His mission Is to reform the stage not its morals, but Its scenic ef fects, its lighting. Its costuming, and, in cidentally, eien the style of Its plays. He Insists upon a return to simplicity In stagecraft. Edward Gordon Craig is one of those t prophets not without honor save In his own country. In Russia, they hall him as a rare genius. Germany steals his ideas and applauds him. Italy regards him with favor, and France may lose her im pressionable bead over him when she grasps his why and wherefore. ut Eng land, his birthplace, says coldly: THE USUAL HISTORY. "Show me some more you can do. Get a little approbation from elsewhere, and then perhaps one fine morning I may lis up and proclaim you great." Not that Craig, the Reformer, really carea at all. He Just goes on his way, apparently Indifferent as to whether the v.orld applauds or condemns his Ideas. He lles whore fancy dictates, and at present he la working out a schema In Parts. At first he flatly and absolutely refused to be Interviewed, but I employed a policy of gentle persistence and I Anally got a. note from him which ran tbusly: "Dear Miss Carew: I still don't believe there's anything I could say to an Ameri can paper that would be acceptable to Its editor, or to more than ten thousand of Its readers, but. of course, you go by the majority, don't youT And the majority la always right In spite of Ibsen and the others that Is to say, when the majority cornea round to the Individual. "I shall be In Tuesday afternoon and shall be glad to show you some of my models and pictures. These can be easily understood without any further explana tion by those who understand something about life. Nowadays people think rush Is life, whereas It Is Just the reverse of life, but as American think rush la life, what Is the good of talking about art or about my work? I am sure when people take time, they can understand most things If they apply themselves diligently, and If they won't take time, they will understand nothing. However. I win, see you at 1 o'clock on Tuesday." Whew! Whatever was he. driving atT I felt like saying: 'Excuse us for living!" But then I reflected "very probably his bark la much worse than his bite." so. pulling my scattered wits together. I was there on the mat as the clock ..struck . I never take any risks with the caprices of the elect, and I was extra glad I didn't this time, for I'm stirs that as toon as Gordon Crabx sent that not Jtt promptly want and forget my vary exist ence. I Just happened to catch him In bis studio. He had his hat and coat on. ready to go out. but at the last moment appar ently, some papers needed looking' over. and he was deep in the' when r n tered. .J It was a fascinating studio, with thea tre models in wood and plaster, pictures and sketches, scattered about In artistic confusion. It was a workshop children would adore, for there were more de lightful playthings In it than are dreamed of In the most alluring nursery. The theatre models wen all toy size and had tiny figures placed on them. Kings and queens, princelings and knights in armor, fairies and beautiful women In trailing gowns and queer headdresses, looking delightfully ununderstandable and medlseial. Mr. Craig looked up at me In surprise. "Well, what Is It?" he asked, not sharp ly, but Just a trifle Impatiently. I don't mind telling you flight was In my mind, but I stood my ground. -I'm Kate Carew." I said doggedly. "and you wrote me to come and see-you to-day." "Oh, yes, yes, of course," said the He former, kindly: "I'm so sorry, I'd for gotten for the moment. Please sit down and ni finish these papers In a few sec onds." So there was I a-waltin on a Reformer and incidentally marvelling at this young old Prophet with his sliver hair, burning blue eyes and eager, questioning face of a child, no longer Edward "Gorgon" Craig, a fearsome creature, but Craig the exotic, with -the real artist lndlssolubly stamped on every feature and In every movement of hla nervous hands. LIKE HI8 FAM6U8 MOTHER. In fact, he distinctly favors his beauti ful and gifted mother, Ellen Terry. He has her regular features, her broad brow and mobile mouth with the corners a lit tle turned up In whimsical fashion. His eyes are semi-obscured by old-fashioned wide-brimmed glasses. The funny part of It Is that they don't really make him look a bit older. His face Is stamped with that same Indelible Impression of youth which mirks his mather's. His hair he wears brushed straight back from his forehead, and It falls down well over his collar. It think It Is this ton aortal arrangement that makes him look like Liszt because he does remind one of the composer without doubt. Then he has the tiniest teeth I've ever seen. I quaes he probably had them when he was a baby, and he's, kept them as mementos of bygone nurserydom. His clothes were rather assorted, for be wore a stlff-bosomed shirt and a, low waistcoat, with gray trousers, a turn' down collar and a loose bow tie. Over all this was a gray overcoat, and the hat he removed on my entrance was on Hammersteln would have envied. It was a round, high, soft felt with a wide brim, a style still favored by some artists. I be lieve, and It certainly used to be worn by our great -grauaiamers on a one Sunday morning. Well. I hats to confess It. you know, but I'm afraid Mr. Craig really forgot all about me again, or else the papers need ed mors study than ho thought they would. Anyway, he worked 'over them seme time longer, then ho glanced up and caught sight of your patient but deter mined auntie. ."Blesa'mr souir hs erolshpsd. in m. ulna contrition. "This Is disgraceful of roe," and hla blue eyes biased penitently at me from the large yeg1ss a. "Now, please com and ait down over here, and I'll show you the models and drawings for Hamlet'" Ho gtaosd asvtmftnrsi Xarow o Mwai Gpt Cra Ifc Many Lawk, Shows His Museum of .Odd Mod and Masks Designed to " Hasten the Dawn of a Theatrical To-morrow, and; Qualifies as a Heretic by a Verbal Assault Upon tha Well For tified Position Held by the Dramatist Ibsen. - theatres, the stages of. which were set with screens and small figures. "Tou can get wonderful effects with these screens." explained Mr. Craig. attr the -manner of a showman. 'Tbey are folding ones, you see, and will stand by themselves. They needn't be fastened to the stage, to ropes, rollers or beams In the flies. They can be mad of any alls required, and three men lr. three minutes can remove a whole scene." He paused tor breath and to shake back a Usst lock which had penetrated too far down on his brow. "Don't you use any stag propertiesT" "Oh, yes," and he showed roe a scene for "Macbeth." Just bare stone walls and a stone staircase,' running the length of the stage, for Lady Macbeth to come walking down in her great scene. "But for the most part the screens provide all the necessary scenery, of course, aided by light effects, which unfortunately I cannot show you here." Then with his skilful, artistic fingers ha shifted the tiny screens this way and that, making street scenes, court scenes, an Elizabethan drawing room and a for est, which I have no doubt whatever would all be excellent when proper lights and shadows could be obtained, and which were vary Interesting anyhow. "The stag should bo like a woman's face," murmured Mr. Craig, dreamily, as h toyed with a "Hamlet" scene "always the same, but with no two expressions alike. To my mind, the simple arrange ment and rearrangement of these screens, which are practically In monochrome. Is next best to a return to the old Greek Idea of no scenery at all." "Ifs really remarkably Interesting." I said, appreciatively. "But what about using them In a modern realistic play?" Mr. Craig's pleasant face darkened. REALI8M FORGETFUL OF ART. "In a certain kind of modern play, most assuredly," he replied. "With the so called realistic theatre and realistic plays I have no dealings. The realistic the atre seems to me to be forgetful of all the laws of art. It sets out to reflect the times and merely drags back a curtain and exposes to our view an agitated cari cature of man and hla life, a figure gross in Its attitude and hideous to look upon. It helps to stir up In people that restless ness which Is the enemy, of all things. It Is a daring and dangerous revolt against the laws of the art of the theatre, daring because to reproduce nature is an Impos sibility: dangerous because It Is a threat against the well ordered life of the citi zen. The divine essence, the spirit, the beauty of life. Is left oat." Truly ha was oa bis aMttVa. (lowed with the oattmslasss of aa -venter, as hla lmacinatiem ptctsred tb Dawn of a Theatrical To-saerrow. I walked about looking at sots of tba Pictures atudlssi far iharsntsrs most of them. Her "Clytemneatra." bar "Ophelia here again a "Harlaaula and tonr a",. here a "Pink giant for a paatoasftna, and there a "Pear Orai." "Menus." "a dancer." "a blind man" and "Challapto in the Barber of stavtUe." "Why do you paint so many of your figures with masks on their baadaT "Ah. that interests you." beamed Mr. Craig approvingly. -That's an idea I aa working out I'm Inclined to believe In the mask sometimes. Tou sea, Try often actors' heads are not suited to the part they are to take. They ara too broad, too flat, too pinched or too narrow. I found that out whan I was working out Hamlet In Moscow. Let's cover them In clay or marble when the work of aa artist Is to be enshrined in them." Girls, can you see popular Broadway favorites consenting to this? I looked piercingly at the Reformer ts see if he were laughing at me, but he was as unconscious aa a little child and not even thinking of me. I am sur. THE HAILBT" MASKS. Then he showed m mora masks for the Ghost In "Hamlet." for the Player King, and a weird and wonderful one for the Fool in "The Hour Glass." At last, when w had gone the round of the room, he threw himself down In in easy attitude In the depths of an arm chair with the air of one who has don his duty and needs a reel. I sat down also, and fervently hoped that he wouldn't cut short any further conversation by finding something be must attend to at once. "Who is the worst enemy to the ideals of the theatre to-day r' I asked. "All the managers." said the Reformer, with a pleasant smile, "and certainly most of the actors are enemies to Ideal Ism. I am sorry to say. The actor-manager or producer starts In with high Ideals and he lasts about seven years; then he topples over, gets distracted and wanders round In search of some mors. But he can't get them. There's no place for him to take his wounded dramatic eoul to be healed. That's why I'm going to start my school." "Your school?" I repeated, trying to picture this wild, free soul hitching his Pegasus to school rules and regulations. Oh. not an ordinary school." laughed ntuM far tka new Meals aad idea far tb theatre can be obtained.' "X see," I chirped. "Tou'r gomg to be a sort of universal provider for the be reft of Ideals.' "That's It." chuckled Mr. Craig: "Actors and managers can both corn and be pro- VKien.-- Tnoo, Decoming more serious, oe aid: "As the Zngllsh-I should say, tb Londoners havs already hall-marked say school In their own particular manner; I ban In all probability open my flrst branch in Paris; then later in America and England." IDEALS PRESERVED. Now, hare's your chance, all ye of no ideals! Come and get patched up to go through the rest of your lives. Ob, no; I forgot. Tou'r only eligible If it's stage Ideals you're seeking. But why not have schools for Jaded Journalists and worn writers and aimless artists, also? What, bol There's a bright Idea front your auntie) Of course, aa Mr. Craig takes no In terest in those other struggling souls, I didn't divulge this dazzling scheme to him. I merely inquired: "What first Influenced you to take up this sort, of work? He passed on long white hand through hla locks. "I don t understand why you say whst. Why don't you say 'who'? Be cause, of course, my mother and father did. madam. I waa on the stage fur about eight years also, and that helped me to see what was needed." "Were you. Indeed V I said. In some surprise. Mr. Craig didn't eeera to mind my not having heard of him In that capacity at alt. He Just nodded lmperturbably and continued: "My mother said I was a good actor." Can't you Just Imagine dear Ellen Terry always encouraging her one ewe lamb and putting aside her own art for the sake of his? "I don't think I was, though." added the Reformer reflectively. "Anyway. I cam to the conclusion that unless you have a very forcible personality on the stag you have no chance: besides, I had many Ideas I waa anxious to work out. No opportunity for doing that In Eng land, so I went abroad, and In Moscow I found my friend Constantln Stanlslows ky. of the Moscow Theatre, and he gave me affectionate and loyal support at a time when all other celebrated theatres found my work Incomprehensible. I took the reformer. Joyously; "Just a sort oft three years over 'Hamlet.' which was gmmmmmmmmmm nsisjimn. iissswsjssjawsjpasss,MSsssjssjMs r S aBflHeis3eBI&flfll0SBBBBBBEeSflREKeBSJoYsBBBBW BBBJBRrzflBaeiBDSBKTflUA 3 RKftSSeBSaBasWaBBBBBBBBBBvJMSKLall asataTcsSSflflLwBMZ&iB i 4SBBBSaiSSBBBBBBRyHaBBBBSKlBBBBBBBBW UVfe. " JbBBBBbRSiBBBBiV BMJfflSBBBBBsKVlBKOliSaiiBBBBBBBBM 'R SSBBBBBBBBBBBsl SBBBBBBsnxlHslBSsBHaBBBBBBBBBBBBBBBBBBBS U iSBV S - ( Jt ISSF" sllHn9iBna9sllllllllwa ssawaw V vi th? m sssWBLssssBPBBWlff JB flrjf TMrrsj? 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Mr. Craig Informed me In a boyish burst of confi dence. "Why. do you know, twelve years ago I couldn't draw at all and eight years ago I couldn't express myself In writing. I remember I went to my mother In de spair and told her I'd never achieve what I wished, because I'd never ba able to demonstrate to people the efficacy of my schemes." "Tou must: you must!" Insisted my mother, dismissing the subject with firm ness. I guess he drew more encouragement from the maternal fount, for he has two books to his credit and a third on the nay. and his drawings and models show more than ordinary technical skill and draftsmanship. "You spoke of the Greek drama. Mr. Craig." said I. 'would you advise a return to It?" "Oh, no: not cltogether. It's no use to us now. The Greeks were quite different from us. They had other Ideas, were dif ferent In build. In voice and throat. Why should we return to their efforts? What I mentioned was approval of their lack of scenery. But we must have a school of our own. Let It be an heroic one by all means, but our own. Their open-air thea tre Idea appeals to me. If I were a mill ionaire I'd build a hundred open-air thea tres in Europe and Uke my cue from the sun what dramas to play In them. Whilst we're under the Influence of artificial light how can nature tolerate the stage? All that can hear the test of the open air and the sun Is good to belong to our art. All that cannot roust go. Rouge and powder are out of date." A DIFFICULT MEMORY. He had forgotten me again and his face wore a mystic look. I hated to Jerk him back to cold realities. But. of course. I had to for he might never have come of hla own accord. "Why Isn't Shakespeare as successful In Franca as In Germany?" I asked In my catechism voles. The Reformer looked at roe reproach fully. He Just loathed leaving his open air theatres, but he pulled himself togeth er with a fairly good grace. "Why. Germans are great thinkers and workers you know and they produce Shakespeare wonderfully, and the French. well, perhaps the French are engrossed in their own drama." And he smiled aa If he could say more, but wouldn't. "Did you see the Maeterlinck version of Macbeth' that waa given down at Ab baye do Bt- Mandrills?" Mr. Craig gave another of his Joyous ringing laughs which ended In a Jolly little chuikle. "I should think not Indeed," he replied. "I haven't time to run up hills and down again, following Lady Macbeth from pil lar to poet and chasing Macbeth tor a bird's-eye Tiaw of his grim deeds." "Well, as It was dons In the open air." I retorted. "I should hive thought It would have pleased you. It was a decided union of art and nature." "Not a practical one." answered Mr. Craig. "They should have given the play In one part of the grounds, not all over them." "What do you think of Herr Bernhardt as a producer of Shakespeare?" "Rrtnhardt Isn't a producer. He's a fine organizer. He has the faculty of getting the right man to work for him. Ha se cures a clever artist, a gifted musician, a master electrician and people say a fine Bernhardt production. He isn't a pro dnotr, really, any mora than Ttohaaam u." o of I "Is It true that he has stolen jour ideas?" "N'ot Relnhardt himself. Assuredly not, i because, as I've said, ha Is not a pro-' ducer; but they may have been stolen for1 him." "What do you think of to drama of the North?" "The Russian drama Is remarkably fine-1 I am afraid I am not well enough In- I formed about the Scandinavian drama to discuss It. I feel, though, that some of ' their writers were not always big In truth Ibsen, for Instance." "Ifs heresy to criticise Ibsen." I re sponded severely. "I'm a heretic." laughed Mr. Craig, then he added dreamily: "We must all be big In truth If we want to achieve. We must have Ideals ' and express them In the best and highest way. The minute we cheapen our Ideals we are lost. Now. take this great Morris dance movement. A young man Inter ested himself In It from the highest mo tives, to try and preserve the charm and beauty of these pagan dances. He went from village to village all over England and hunted up the men and women who could dance them, and then he got them together and encouraged them to continue and to show the art to others, as It had been shown to them. Now. when he wants to give a special performance he can lay his hand on an Oxford don. a laborer, a working woman, etc. who are Morris dancers from love of It. Then along comes a woman who says. "Oh. let's make this thing pay! And she trains a lot of young men and women and children In Morris dancing and lets them go and perform at different thea tresJust now at the Savoy In the "Win ter's Tale.' It Isn't the real thing, you see." "Tea. I see." I said, and I thought to myself that I had never encountered any one so sublimely Indifferent to the coin of the realm aa this Reformer. In hla code. If you pay for a thing It ceases to be of value. AN IDEAL REALIZED. Then there bounded Into the room an eight-year-old Gordon Craig who Is tho most beautiful young person I'v aver seen In my life. Talk about jour Greek gods! You Just wslt till this one Is full grown size, and then If he develops Terry talent and goes on the stage there'll be slaugh ter among the matinee girls. He didn't speak to me. H simply nestled up to his father and surveyed ma disapprovingly from great blue eyes un der a mass of curling dark hair. "My son." said Mr. Craig casually. "Yes." I responded. "He's somewhat like you. He thinks I'm taking up a good deal or your time. I can see that." The Reformer smiled and dug the young Adonis familiarly In tho ribs. And I said: "Before I go I do want to ask you what you think of Sir Herbert Tree as a producer?" remembering as I spoke an old story to the effect that Sir Herbert once talked with Mr. Craig in regard to a production, and then calmly helped him self to the Reformer's Ideas. "Eh? Oh. I don't think of him at all," answered Mr. Crsig cheerfully. "Three years ago I was bitter. I must admit but that's all over. Tree's a great producer, or was once, but he'e sold his birthright He's a fln man personally. I've always liked him. and he really has dono a great deal for the English stag. Fairly magnanimous, wasn't It? And. Z nodded, approval. "How; do you stand on the question of the censor in England r Mr. Craig laughed as he said: "Oh. Pra !n favor of him for Wngi.- Rather! I should 'think so! W zteod him. We're an awfully immoral lot, yo know. Wa can't have any unusual situa tions presented to us. We'd gloat ovs wen! uw muco. -i wouia D Daei for-v iwrns- ! . 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