antagonizes. It is better to say that the view presented in this
book is one that wishes to make the playhouse innocently pleasant,
rational, and sound as art. If by "elevate" we mean these things, well
and good. But there is no reason why to elevate the stage should be to
depress the box office--except a lack of understanding between the two.
Uniting in the correct view, the two should rise and fall together. In
fact, touching audience, actors, playwrights, producers, and the
society that is behind them all, intelligent cooeperation is the open
sesame. With that for a banner cry, mountains may be moved.

NOTES:

[A] A fact humorously yet keenly suggested in Bernard Shaw's clever
piece, _The Dark Lady of the Sonnets_.

[B] When our theater has become thoroughly artistic, plays will not, as
at present, be stretched out beyond the natural size, but will be
confined to a shorter playing time and the evening filled out with a
curtain raiser or after piece, as is now so common abroad.

[C] For a good discussion of this, see "The Genesis of Hamlet," by
Charlton M. Lewis (Houghton, Mifflin & Company).

[D] Gordon Craig's book on _The Art of The Theatre_ may be consulted for
further light upon a movement that is very significant and likely to be
far-reaching in time, in its influence upon future stage and dramatic
conditions.

* * * * *

etext transcriber's note:

The following typographical errors have been corrected ...

departure from theme follow => departure from theme follows

it is well if the intermediate act do not => it is well if the
intermediate act does not

dedelivered his curtain speech => delivered his curtain speech

leigitimate => legitimate

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