The theatre of science; a volume of progress and achievement in the motion picture industry (1914)

Record Details:

Title:
The theatre of science; a volume of progress and achievement in the motion picture industry
Date:
1914
Publisher:
New York, London [etc.] Broadway publishing company
Volume:
The theatre of science; a volume of progress and achievement in the motion picture industry
Leaf #:
000293
Language:
English
Collection:
Books
Format:
Books
Contributor:
Cornell University Library
Sponsor:
MSN
Coordinator:
Media History Digital Library
Description:
"Edition of 3000 copies ... Autographed edition."
Date Added:
July 19, 2022
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164 Cl)e Ci)catre pal recreation in reading, the theatre and automobiling. Mr. Taylor was born in the West and prior to coming to New York had the audacity to think that Chicago was the center of the universe. Paul Panzer was born in Wurzburg, Bavaria, the well-known university town. He studied at the University of Wurzburg and also took a course in vocal music at the Conservatory of Wurzburg. He served in the army and when he left the country was lieutenant of the artillery in reserves. He left Germany to take a position as administrator of a coffee plantation in Sao Paulo, Brazil. After three and one-half years spent there he came to this country twelve years ago. Inasmuch as he has been a leading spirit in club theatricals in Germany, he naturally drifted into the dramatic profession and secured an engagement with Augustin Daly. He played in "San Toy," "The Geisha," "The Country Girl" and "Singalee." He became stage manager for Mr. Daly. About five years ago he became interested in moving pictures and for a while was an independent producer and director. Receiving, however, a flattering offer from Pathe Freres, he joined their stock company in Jersey City, where he has been now for three and a half years, playing leading parts. Mr. Panzer has varied his work by lecture tours on the vaudeville stages in houses where they show moving pictures and has achieved great popularity in his lectures. Close observers have regarded it as a strange tendency, that of comic opera and musical comedy artists scoring as photoplayers ; almost every recruit from the