COLLEGE DRAMATICS). In many elementary schools in Europe and the United States, his tory, geography and language are being taught through the dramatic method; and in nearly all schools it is becoming the custom to early in stil a feeling for literature and the higher morality by the aid of selected drama. Pro ducing societies — some of them bringing pro nounced individuality to work, with the shrewdest skill and artistic wit—have sprung up everywhere. And, despite the almost in evitable crudeness in some directions, and not a little audacity, valuable contributions are be ing made to the future of the professional theatre. Artists of many phases outside the direct lines of the theatre are practising the technique of the theatre as an adjunct to their own, and as an impetus to development. Social, civic and rural officials are doing likewise. The Neighborhood Theatre of Grand Street on the east side of New York city, founded and financed by the Misses Lewisohn, introduced mechanical features new to the American stage, and has struck an individual note. The Provincetown Players, founded by writers and printers of Washington Square district of New York, have been accorded highest praise by professional critics in reviews of the sea son's work. The Hull House Players, under the enthusiasm of Miss Addams, prompt to note the power that lay in the cultivation of the dramatic instinct, received much attention from the whole continent, widened the scope of the Settlement, and were recently enabled to take a trip to Europe on the proceeds of spe cial performances. The Little Theatre of Chi cago, sustained by a wealthy social set, and famous for its simple staging; Mrs. Gale's Toy Theatre of Boston (which introduced a scenic artist of rare gift to the professional stage); the Forest Lake Players under Mr. and Mrs. Aldis; the Wisconsin Players (who have given a season in New York); the Carnegie School of Applied Design in Pittsburgh, directed by Prof. T. Ward Stevens (himself an artist and dramat ist), the experimental theatres of Phila delphia and Milwaukee, have all been distin guished by the striking taste and originality of their productions. "The Bohemian Jinks° of the Bohemian Club of San Francisco (some what more serious performances than the title would imply), played among the redwood pines, have slowly evolved since the seventies, and are characteristic of open-air experiments conducted by men of distinguished parts to i whom the theatre is an avocation. The com munity theatres, including festivals and page ants, rural theatres and children's theatres, are all signs of the times and are treated at length under special headings.
Not the least important side to amateur acting is the opportunity it gives the aspirant for receiving the basis of his art education. It also enables him to try his wings preparatory to undergoing the severer discipline of the pro fessional stage, under directors with firm pre conceptions in regard to parts. And the actor is jealous of his individuality. It is the glory of the actor, both professional and amateur, that he is the medium for re-creating, in the most vivid and popular art form, the spirit of all literature as expressed by dramatists dur ing all ages. And it is his fortune, that in the
space of a few years, since the beginning of the 19th century, the market has become stocked with a choice of excellent plays of all kinds, excepting the poetic.
The labors of the actor are in themselves a liberal education. First, the pursuit of such graces as elocution, gesticulation, deportment music, dancing, fencing, with the best possible teachers; then practice, practice and again practice. Given earnestness, the capacity for taking pains, the student will not be discour aged if nature has not endowed him with all the gifts for all the arts within the art No artist ever lived who possessed all the advan tages appointed to fit out the youthful paragon who abides in most handbooks to amateur theatricals— and nowhere else. For those who live in the big cities, schools like Madame Al berti's, the American Academy of Dramatic Art, in New York, and institutions of the credit of the School of Expression, Cincinnati, offer sound training in technique. But the young actor, warding off the danger of becom ing merely mechanical that haunts every artist, must break away from all teachers and familiar counsellors to experiment with all manner of parts — preferably before the responsive audi ences to be met in social and recreative cen tres. Then, as a necessity of his existence, he should cultivate the observation of the world around for all that is characteristic. A knowl edge of physiognomy will be of incalculable help in the study of human character; and no better beginning could be made in this direction than with one of the works of Dr. Katharine Black ford, the industrial employment adviser, co author of