XLI
To be effective, acting must interpret not so much the playwright’s work as the audience’s silent criticism of that work.
XLII
... It is to be remarked that the New Movement in the theater, about which we hear so much, what with its scenery, lighting, stage architecture and what not, seems to concern everything but drama.
XLIII
The moving pictures will never supplant the spoken drama, contend a thousand and one critics. Well, anyway, not so long as the drama is being spoken as it is to-day in the majority of our Broadway theaters.
XLIV
Madame Karsavina of the Russian Ballet seeks in her chorographic pantomimes to interpret drama with the body. The Boston censors commanded that Madame Karsavina, who in her chorographic pantomimes seeks to interpret drama with the body, completely conceal her body in heavy draperies. The Boston censors may be expected next to command Mimi Aguglia, of the Sicilian Players, who seeks to interpret the body in terms of drama, to undress.
XLV
Comedy is but tragedy, cunningly disguised and popularized for the multitude.