Cinematographic annual : 1931 (1931)

18 CINEMATOGRAPHIC ANNUAL drifting out from the Cathedral, is doubly impressive as one looks up at the great Rose Window; where else could a heavenly choir be so appropriately concealed? And whence could come the thundering voice of God so convincingly, so nobly? The actors, too— these are no mere mummers, coming from and returning to empty space behind canvas flats; these are the servants of God appearing from and returning to His House. And do they not speak His Word? How then doubt that this is one of the noblest theatres of the world?" "But even the Cathedral theatre can be desecrated. This time it is the church itself that turns wild and matches the impressive use of the drama at the altar with ribald revelry and profane mockery at other moments." Then followed the feast of the fools, at Christmas and New Year's time, when all sorts of profanity, revelry and mockery were indulged; when rubber and old shoes were burnt instead of incense; inspiring hymns gave place to vulgar songs; when such beautiful episodes of Biblical drama as the flight into Egypt were parodied, carrying a real donkey to the altar rail — the Alleluia was brayed and the congregation responded with hee-haws.* Again, we must refer to "The Restoration," further along the years, because it is so typical of our present problems. At that time the art was employed as the voice of opposition — opposition to political measures, protests against social conventions, insurrection against religious doctrines, renunciation of age-old traditions. So bold were those innovations, in all departments of sociology, that the few remaining conservatives were soon up in arms. The result was Puritanism, an antagonism against the theatre that has lasted, in more or less degrees, to the present time. Censorship was again inaugurated, and prosecuted with such zeal, for a time, that the theatre had little patronage outside of the aristocracy and the court circles. We can readily imagine the abandon displayed by this peculiarly independent society. The playwrights followed the age-old slogan of "giving them what they wanted." "They bent their sails to the breeze." "For a debauched society headed by a debauched king, the playwrights shaped their entertainment. Nothing could then be in worse taste than a show of human feeling, a suggestion of moral concern, an honest heartiness." Now, extreme impudence, audacity and utter disregard for conventions always result in a powerful reaction. There are influential minds that look on complacently, for a while, at such opposing forces, i.e., license and censorship, and only shake their heads disapprovingly, as if watching two ill natured children quarreling; but when it appears that the combatants are going to injure themselves and cause real grief to others, the strong arm of wisdom and order intervenes and in a manner that carries conviction. Some one raises a cry that all respect. The results are a sudden rally to his support, a concerted, organized campaign. Then comes Prohibition. Witness the closing of the theatres following those above mentioned extravagancies. Witness some of our own blue law communities— our own dear historic Prohibition. Such conditions im Cheney's "The Theatre.