The Daily Worker Newspaper, November 29, 1924, Page 7

theatres have been working up to full swing, and there is more of in- terest than one can possibly hear and see. The grand opera first with its fine conventional presentation of standard operas——a large proportion of them old Russian tales set by Russian composers. The familiar ones are done in a particularly spectacular way —more impressive in this particular respect than I have ever seen them given. Around the corner, under the same direction, the more modern and more original presentation of the same operas. And then still more modern and original the setting of both opera and drama at the three Moscow Art Theatres or “studios.” For instance, in contrast to the splendid conventional “Carmen” at the was the setting at the Art. Theatre— “Carmen” restored to its original form and rhythms, and freed from. its tawdriness, with an entirely modern idea of setting, the chorus a mere used thruout, some trifling addition of detail and a different diffusion or con- centration of lights giving the required change of scene and atmosphere. The same treatment is given to “Boris Godonov,” whose composer, Mousorg- ski, was so far ahead of his time that so good an artist as Rimski-Korsakov thought it necessary to reduce him to conventional standards. Now this opera is to be restored to the com- poser’s own expression of the crude barbaric early Russian spirit. At-the Meyerhold Theatre m the In this fashion was given the ter- pine the first of September, the|ribly impressive revolutionary play from the French of “La Nuit.” Motor cycles dashes up the theatre aisle, and the fallen revolutionary hero was car- ried down it under a red pall past my elbow, to the strains of the revotn- tionary funeral march, “As Martyrs Ye Perished.” Royalty and diplomacy were satirized beyond limits, and in the spirit-of the mother of the fallen martyr, symbolized as a young woman, one felt the very tragedy of the revo- lution and its hope. On another night was given a fantastic conception, called “Let’s Take Europe,” which was described on the program as episodic material for a play. That, too, was satirical and revolutionary. Revolutionary after another fashion was an evening of dance by Isadora Duncan and her pupils—The Interna- Bolshoi, or Grand Opera House, ‘there tiowal, the Marseillaise, the Spirit of 1905——-most beautifully given to a noisily. demonstrative audience. Ex- cept for these direct interpretations, there does not seem to be anything very revolutionary in her art—not such as we find in the Russian dra- matic art at the time of its introduc- tion, it was a revolutionary change from the old ballet. A young musician tells me there is A VIEW OF MOSCOW. etters From Moscow - Soldiers. We Are All Soldiers of the Red Army.” Some effective and beau- tiful excerpts from Pushkin filled out the interesting program. At the Moscow Art Theatre we have had Stanislavski fresh from his Ameri- can trip. ‘Some of the classic plays in new artistic presentations, and Aris- tophanes’ comedy, “Lysistrata,” with the feminist anti-war strike, which brought the soldiers out of the trenches to dance with their colorfully draped women, in a Greek frieze ef- fect, about some grouped temple columns, on a revolving stage. A Moscow art setting altogether charm- ing and original was the “Princess THE WORLD'S you taste it. Take a wine glass below. | Street and No. GREATEST TONIC for lowered vitality makes your bleed tingle with joy the full. of pro health In a few days. Order a bottle by coupon LIPSEY PRODUCTS CO., Dept. 31, 1133 Foster Ave., Chicago, mh. Gentlemen: byt ie oe (1) Ia bottle of Send me in Nain Aye x postman $1.88 on ate i not satisfied ng a glasses, ges oe unused portion and you will refund my aD en DR rcsidieeneecictinmcsinlil Money Back Guarantee By Anna Porter Turandot,“ and at the Summer Hermi- tage, with its beautiful gardens to stroll in between acts, a morbidly in- teresting mystic Jewish play, “Be- tween Two Walls,” which had been seen by my companion at the Yiddish Theatre in New York. This was staged by the same artists as the “Princess Turandot,” and in as grim a key as the other was gay and bright. I am afraid to look at the theatre lists. ahead because of all I simply cannot miss, and yet must in leaving Moscow. For it has come to that—I am leaving Moscow, and already I have stayed too long, long enough to make leaving an unhappy wrench. ra . —s -