The circumstance may be accounted for in various ways.
It is best explained by the fact that England is the only country in
Europe in which theatrical enterprise is wholly and exclusively
organised on a capitalist basis. No theatre in England is worked
to-day on any but the capitalist principle. Artistic aspiration may be
well alive in the theatrical profession, but the custom and
circumstance of capital, the calls of the counting-house, hamper the
theatrical artist's freedom of action. The methods imposed are
dictated too exclusively by the mercantile spirit.
Many illustrations could be given of the unceasing conflict which
capitalist methods wage with artistic methods. One is sufficient. The
commercially capitalised theatre is bound hand and foot to the system
of long runs. In no theatres of the first class outside London and New
York is the system known, and even here and in New York it is of
comparatively recent origin. But Londoners have grown so accustomed to
the system that they overlook the havoc which it works on the theatre
as a home of art. Both actor and playgoer suffer signal injury from
its effects. It limits the range of drama which is available at our
great theatres to the rank and file of mankind.
Pages:
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180