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action activity actors adults Æschylus Anglo-Saxon artistic auditorium BLICK cast Cedric Errol character child children and young Children's Educational Theatre Children's Theatre costumes Daniel Frohman demand desire developed dience directors dramatic instinct dramatic talent dress East Broadway Educational Alliance effect endowment English entertainment experience expression festival Forest Ring girls give given Greek drama human ideal impulse interest intimate Jakie lads lesson literature Little Lord Fauntleroy Little Princess living Lyceum Theatre matinée means ment method mind Miss Herts moral movement mystery plays nature neighborhood never obliged orchestra class parents Pauper Percy MacKaye performance plays of Shakespeare present production realize recreation rehearsal rôle Sam Franko scene scenery season Shakespeare's Snowwhite social song Sophocles soul stage stimulated story suitable Sunday teachers Tempest thought tion to-day Tom Canty tradition uncon vaudeville woman women youth
Page 136 - Zeus who gave them forth, Nor justice, dwelling with the gods below, Who traced these laws for all the sons of men ; Nor did I deem thy edicts strong enough, That thou, a mortal man, should'st overpass The unwritten laws of God that know no change. They are not of to-day nor yesterday, But live forever, nor can man assign - When first they sprang to being.
Page 77 - The chariest maid is prodigal enough, If she unmask her beauty to the moon: Virtue itself scapes not calumnious strokes: The canker galls the infants of the spring, Too oft before their buttons be disclos'd; And in the morn and liquid dew of youth Contagious blastments are most imminent.
Page 64 - Like the play is fortune given, Sometimes "odd" and sometimes "even". Our lives should be like the day, growing more beautiful toward the evening. On the broad highway of action Friends of worth are far and few, So when one...
Page 124 - ... the modern drama ? Poetry itself comes out of the heart of humanity through the imaginations of men. Poetry in the drama comes, therefore, originally out of the audiences. The Elizabethan drama, the Greek drama, were products of the nature of Elizabethan and Greek audiences.
Page 64 - ... the opportunity to act out an impulse. Give the boy of fifteen his chance to play a thief or a murderer on a stage in the costume and environment of the part, he will usually experience all he wants of stealing and killing. It may be highly dramatic to be one of the street gang, and it sets you up in the eyes of the other fellows, but it is just as picturesque if you can do it on the stage, and, besides, you have a better audience.
Page 24 - ... vivacity and humour. In Audrey and Corin the passion of Orlando and Rosalind is gently parodied ; in Touchstone the melancholy humour of Jaques is set out in more effective relief. There are threatenings of tragedy in the beginning of the play, but they are dissolved in an air in which purity and truth and health serve to resolve the baser designs of men into harmless fantasies., In Jaques, however, there appears for the first time the student of his kind who has pierced the illusions of place...
Page 6 - ... Educational Theatre, and by the House of Play in Washington. In her talk on the Children's Educational Theatre, Mrs. Minnie Herts-Heniger gave a graphic and interesting account of the beginnings of this work with children, and of its great success in lower New York, confessing: "I learned my lesson that the dramatic instinct is a primitive impulse so deeply rooted that its fostering in the right direction may be organized in any and every educational result.