| Show Is is Our Artistic Conscience nce Dead na author manager A TUB TX T Devid sIs rath in e hilI 1111 v VY V true thie In II i nt Interview With tile the Hew Me ew York Herald W la In your ur advice to l I the thu tit girl who t ta f ii to on the stager a the theMy Ih i My II W Dont Dt n meld M 1 iv Ito H HI lemon I TX Of rout that maks ikU her IlIr h my In far r life hr hut but r No Nil Noone l lone one but bet the few hll realize the ito th I heart 1 Wf of It H the year yar A f t toll flit slav lav lavery ery Cr and an than thea t UH the result Mich is b often tI n failure talha Do 10 y ys realise he that hat of Mao 10 stage Il struck person parsons nl I about I one ev r achieve Mure Think of or the thA I awful l to I 1 What hard hani hardened ened nl g woI accept rrt tt and anil nt play on nn such uch a baals And vet 1 there are a women roen and aDd men fl without number who not only accept Lbs theae fearful odds odie od but stake everything upon u on them Ihm home comfort ev even n human lire life Hr It is I Ihl this which I me inc that Ih 1 the bets the 1 1 no school bool today In ln wh to r ar r our l lone young ones one there I no nu ens ne n to teach the young Idea how to shoot dramatically no one to show them the UIO way wa to In legitimate legitimate mate mat art I tic au There Th l I III left ht In this thle country no reverence for and no 0 t x hr r of or tradition In the III Id 11 d when don actor wets w rarer but better It If lh itt stan r of ot a I theater did not hive ha hath th in I Knowledge Of ut hi him rat h tie turned his hla h art affair affairs vi v i I rt t one who did diet know them and wile who mn sit tI v to 10 Infuse Into the th rising net or the I hI t I It idea Id of or dramatic right rl ht and IUd wrong 80 do Io the th artistic end of the tha Ih th theater thelt at r was waa kept k pt apart part from Porn the box ohio oft end and th the result wa we thaI thet the th men and aDd women who trod the board beards and were Wre fired with reel real lamn Im for tn their work were wera w able to 10 learn from one on who knew and who could teach them hem It was waa even so 10 In the days day of ot Au AuIt Aug g It In Daly and L LeIter ter nac cor col Mr Ir Then an actor or oran oran an RII WOUld attend to tho the duties of ot the prOfession Ion a one O cli IMI who attends attens the school ot of life They know that from these men there were werf thing hinge to tobt toh bt hi h learned 1 and nd they thy learned d them wit wil willingly II and nd enthusiastically If another manager made them an sitar otter they would usually scorn morn the bide convinced that th the schooling under thee theae tb great men anon wile wax worth Infinitely snot mot than the th nat list natI I of from other theatrical titan man managers tIger agers for tor from Crom Daly and Walloon they th were getting whit what money mony could Out not buy hu Ho lie they pulI d the tho th offers and anti loved their master out and their work MONEY IONIn NOT NO ART AnT 1118 TIlE TUB Dot nul now nolO continued Mr 1 Belasco o that I is a u vision Ilon of ot th lit thin JUHt rules ruin the stage 1 0 today There rh I no n reverence for tradition or for teaching The Tb manager who of ot offers term fers the Ih gatt nt salary alar gets get the great greatest greatt est eat t Art ha ba has given Riven wo w way J to money iI encouragement l III Ia there In my any discovering new star and training them litem when I know that the morning after one on of ot my tn has haa made a 1 success RUCe h he or Mh she hf would be approached liy ly h managers manager mana er who j II offer life lifelong lifelong long and treble the amount ot of f any soul uin I can elUl pay I tell you ou It II is I money and not art that rules ruin the Ih stag Magi today you U regard the possibility of or such mch ax as a a R national theater and anJa anda an ana a national drama dram as am a Improbable Im at t asked aked the th reporter Absolutely hopeless hopel declared Mr How can cn n there thre bo bt such euch a It athing athing thing R as u a national theater when the only way wa of ot keeping together a company of ot good rood l actors actor a Is III by b paying 11 then morn more than any an other rival men man management Is willing to I pay let 11 them It If money rules and nd so long as us it rules rule You nU may mw depend upon It that art will willIt It go n begging bagging ln and will lit keep kP In hiding Money Mony will buy an artists service nI but It II will iII not lure lur from him the best that thattie tie he b hs b has to give There must muM be bt some ame something om thing better fUer and deeper to bring thin Ihl out you can ean appeal to Ic his hll bruins l II ty y way of ot your our pur nursa e but bul you cannot ap at appeal peal to tn ma his hla heart by b the same lame route rout rOil 1 and you nu appeal to an so n artists heart hert mid cud draw Ira from It the message mp which ho ht ha has to deliver to tn his hIm hi world I of audiences unless you do that 1 I lety 11 you do not flOt get et the tho artistic art bc best t from tro I him You can play with nature and an you may mock mO k at It but you cannot defy It u and nd still It III enjoy enJo the sunshine of ot life Bo So It Is 15 I with an actor lie He must be In love lovo with pith hi hll his a and I consider the art of acting the mot most difficult of till all arts else he I is trifling with himself and with hIs hla public and great art rt does not lie He along those thomi paths WITHOUT AUTISTIC CONSCIENCE Then what do you consider the root of the evil of the Ute present situation In matter maten pertaining to tile the stage tage of this country countr The absolute lack of at artistic con cnn conscience On science retorted Mr Ir frankly anti and the answer came cam like Uke a I stone tone hot shot by a catapult The manager has haa no artistic conscience the actor Is la lack lackIng k kIng Ing log In It and te t e public I is also al o without it I venture to my y that this thie nation t I is without It And M so long HB lIa It re me remain remain main without It you ou may be I sure ur that there th l is II no hope bo l here for tor a national theater or for foi a national drama |
