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Show BEAUREGARD PRAISES ' ELEKTR A Under the auspices of the Ogden Teachers association the great tragedy trag-edy Elektra of Sopokles will be presented pre-sented at tho Ogden theatre Ftlday right, by Mr. Raymond Runcan and his company of players who come direct from the Royal theatre at Athens. Ath-ens. This will be the most classic and attractive ' combination of music dance, and tragedy tbat the pePlci of Ogden will meet during the winter. In fact it will represent the highest Ideal o the theatre. Every dance, song, movement and phrase have been studied for years by .Mr. Duncan and tho result is au exact reproduction reproduc-tion of what the Ancient Greek theatre thea-tre was In its prJde. In an interview Mr. IJeauregard, president of the Ogden Og-den Teachers' as3ociution, made the folK.wIn? statement: Ancient Greek Theatre. "In ancient Greece the theatre was one of the most Important parts of the educational structure. It was ltFed as a means of keeping the people peo-ple In touch with natural, religious moral and human emotions, and theJr 1 normal manner of expression. The public was paid to come to the theatre, thea-tre, and the coat of the productions, and other expenses, was defrayed In the same spirit as is the cost of public pub-lic i-chools and churches today. In fart, the Greeks considered that everything ev-erything that was educational was rc-llrci.us. rc-llrci.us. The theatre itself was a temple of worship, and was In the charge of priests who devoted themselves them-selves to the- means of giving culture of the artists are . the result or Iheir application to a common system of rythmic zymnastlcs. The entire production pro-duction Is not the result of selection nor taste or even judgment on the part of the stage director, but of the system which he and the other artists are following. They are working with a principle of harmon'c movement and design just as the symphony arche?-tra arche?-tra works with a system of harmonic tones. ''The success of this production will prove the truth of the principle upon which it is based. "The company are devoting themselves them-selves and their faith and enthusiasm 10 this work,, not with the object of proving themselves great artists, but to prove the truth of a great principle. prin-ciple. "It must not be thought that we are to bear morals preached from the stage; that is the sphere of the pulpit. pul-pit. The art of the theatre and Its methods of teaching must be something some-thing that could not be accomplished in any other way. Today we have plays that try to usurp the pulpit, and others that undertake the work of the political speaKer, or the reformer. re-former. That may be all ery well, j but that has nothing to do with the I art of the theatre itself. That is unique. It Is the art of expressing in action of bringing out the most ideal human movement, tones, pos-Ings, pos-Ings, and proupings, and of causing dramatic emotions to pass to the public pub-lic through the sequences and harmonies har-monies of those tones and movements. "The Greek tragedy Is not only the most beautiful and Ideal form of play, but it is the most powerful and dramatic dra-matic force that man has yet discovered discov-ered for the emotional influence of the public The Elektra has the elements ele-ments of the greatest dramat'c emotions emo-tions and the most beautiful stage forms and movements; It Is owing to Its marvelous combination t vioth that it holds the place of one of the greatest plays that man has ever pro duced." to the public through the theatre. "Today the theatre is conducted f-olely for money making purposes, except ex-cept In a few cases, and unfortunately these exceptions for lack of other examples, ex-amples, are following close to the methods of the money-making theatre enterprises, and naturally arrive at somewhat similar results. "Today we send our children to schools aud universities that they inny become refined and cultured. We send them to churches that the may become moral and re!l?ioy. and at the same time we support The modern mod-ern theatres where these same children chil-dren will have the refinement and culture, the morality and rcl'gion, taken tak-en away from them. "We spend vast sums of money hi the support of the schools and churches, church-es, we spend great energy and thought on; planning and improving forms tf education The brightest minds of our day devote themselves to this ' Finely. "Hut the theatre we do not. think about. We utterly neglect to study it. and we leave the guidance and choice of actors and plays in the hands of men that we would not trust in the education ol our ch'ldren for a siDgle hour. Theatre an Educator. 'Our children go to school for ten years or fifteen years, as the case may be bul they will go to the theatre thea-tre all their lives. They may go to church once a week and to the theatre thea-tre tlce a week. Ttrey niay learn ; good precepts in church, and scho 1, but they will come in intimate touch with bad examples in the theatres. "The theatre is a great force, for the education or corruption of both grown folk and children. It Is the school of the gcneial public. It needs the same amount of study and care, the same amount of devotion of human hu-man energy, as the school or church. The force working for evil U great enough to contend with and overcome without the inclusion of the theatre. l,ot the church, the school and the theatre be allies, working for the same alms, the same ideals of culture cul-ture and morality. "This Is tho lesson that Greece teaches us, and it is well worth consideration. con-sideration. "The theatre was founded in Greece for this ideal and purpose, and It is as great a crime to prostitute it to other purposes as it would to be to use the church for other than a religious pur-1 pur-1 pose. ) Great Greek Classic. ' "The theatre of Se.phe.kles Is llng ; preeeuted today as a first step to- ; ward the renaissance of the art and j purpose of the Ancient theatre. Today I the whole world is awakening to the 1 depth and truth of the different lew- i fori4 handed down to us from Greece. ; Already the dance has been reviewed aud is now- being looked upon by the highest cultured circles as a means of teaching beauty and refinement. t It is now the turn of the drama, which is no other than a symphonic dance 'The production is the result of twelve year.? of study and research. It is not merely a play that will he , presented to you, but a finished sys tem of dramatic expression and human hu-man moverneut. The designing and rythmls arrangement of every scene, and the movement of every character ; are evolved in one hamionlous manner j fr.-m their common parent, the central I idea. The movements and iosiug.- 1 |