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volume, of their splicing and coexisting, and all that lin the process of real motion.
In this respect the stereoscopic film is superior even to architecture where the majestic symphony of interplaying massifs and spatial outlines, whose dynamics and succession depend on the tempo and order of the spectator's progress through the architectural whole, can lend dynamics to it only through his own motion.
. . . Since the stereoscopic cinema is an entertainment art, it must be recognized not only as a direct outcome of the inventions oi Edison and Lumiere but also as an off-shoot of the theatre, of which it constitutes, in its present form, the newest and latest evolutionary phase.
The secret of the effectiveness of the stereoscopic film principle (if it does possess it) must be sought for in one of thevmain trends present in almost all the periods of the history of the theatre.
. . . But of all the various problems of the theatre the one I am most interested in is that of relations between and interdependence of the spectacle and the spectator.
...And the curious thing is that almost immediately after the splitting into the spectator and the performer there appeared an urge to reunite these two divorced halves.
This urge has appeared not only in the works of conscious authors who prosper in the epoch when individualism has reached its apogee, not only in numberless practical experiments characteristic of our days — that is, in the attempts to realize this tendency towards the re-establishment of the original "common nature" of performances, but throughout the history of the theatre whose countless examples of past stage techniques, for centuries, everywhere, reveal the invariable striving for the realization of this one and the same sharp tendency towards the bridging of the "chasm" separating the actor from the spectator.
These attempts range from the "coarse and material" external methods of planning the place of action and the place allotted to the spectators, and the stage behaviour of the actors, to the most refined "symbolic" realization of this dream of the union of the spectator and the actor.
The tendency to go over to the spectator and the tendency to draw the spectator onto the stage have invariably existed side by side,
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