“A school of what? you will ask. A school of life, of aspiration, of progress, of civilization. It can be all these things if it becomes the People’s Theatre. Therefore, as Minister of Public Education, I propose to confiscate the Theatres and turn them over to the People.
“But again, when I speak of ‘The Theatre,’ I do not mean merely the buildings in which plays are given. I mean all those arts which are part of communal creativity. I propose to unite them all in communal festivals of human progress. I do not propose that we shall begin by holding classes in the Hippodrome—though that will come. I propose to begin with solemn and magnificent national holiday pageants similar to those which were so frequently and gorgeously celebrated during the days of the great French Revolution—”
At this moment a policeman approaches the stage.
“I wish to warn the speaker that everything he says is being taken down in shorthand by one of our men, and if he wants to finish his speech the less he says about Revolution the better. That’s all.”
The Artist. “Thank you! I should have said, during the days of a certain great political and social upheaval which laid the foundations of modern life in general, and of our gallant ally, the French Republic, in particular. The historic festivals of which I speak were in charge of the great artists and composers of the nation, and their art and music were used to express the common emotion and purpose of the People. So it will be with ours. Our artists will unite to express the new ideals of mankind, and together with each other and with the People, will lay the foundations of a new and democratic art.
“It is here that the theatres, which will already be in charge of the guilds of artists, will come into play. For the new art must have a solid basis in popular emotions such as only the theatre can give. They will therefore present plays which criticize the old slave-system, satirize its manners, its traditional heroes, its ideals; plays which invest with tragic dignity the age-long struggle of the People against oppressive institutions and customs; plays which creatively foreshadow a new popular culture and morality; and plays which celebrate the final victory of the People in their revolutionary strug—”
Another policeman:
“Are ye making an address on education, or trying to incite to riot? L’ave that word Revolution alone.—This is the second time we’re warning ye.”
The Artist. “I’m sorry. I had hoped to show the influence of the national aspirations of a great Celtic people upon their artistic life, and the final flowering of their dreams in a certain political and social upheaval—”
The Policeman. “Oh, ye mean the Irish Revolution? That’s different! Ye’re all right. Go on!”