The Art Theater: Its Character as Differentiated from the Commercial Theater; Its Ideals and Organization; and a Record of Certain European and American Examples

The Art Theater: Its Character as Differentiated from the Commercial Theater; Its Ideals and Organization; and a Record of Certain European and American Examples

The Art Theater: Its Character as Differentiated from the Commercial Theater; Its Ideals and Organization; and a Record of Certain European and American Examples

The Art Theater: Its Character as Differentiated from the Commercial Theater; Its Ideals and Organization; and a Record of Certain European and American Examples

Excerpt

As I sit down to the rewriting of this book, on a day in mid-April, 1925, Spring is breaking about me. I am pleased to read into the circumstance an omen and a metaphor. The world of the American art theater is at the Spring. One may discern little green shoots in bewildering number, and there is the rosy promise of blossom-buds swelling, and the smell of fertile earth newly turned.

In this metaphorical theatrical garden, to be sure, not a few of the sprouted projects are very tender and tentative, and some will succumb to the first frost. One that only recently sprang up, insufficiently rooted and under the imposing title Art Theater of New York, has but this week withered and died untimely. But signs of life, birth, growth, desire, new beauty, are everywhere. Even in the rigorous climate of New York one may detect several surprising examples of hardihood and persistence and recurrent flowing of sap. And under the more kindly circumstances of life in California, I am led to believe, the seasonal little theaters not only have taken deeper root than ever before, but Burbanklike, have come to flourish unashamedly as evergreens of the first order.

It was almost exactly ten years ago, in that same California, that I began the writing of this book about . . .

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