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140 PLAN FOR CINEMA
and continually changing orientation of viewpoint on his part — as if, in fact, the auditorium itself were moving.
Another large modern musical work which would be admirable for treatment in such a medium is Walton's Belshazzar's Feast. This powerful and vigorous oratorio on the biblical theme has again those qualities, although musically unlike La Mer, which stimulate the choreographer.
So far we have considered nothing that is extraballetesque by reason of the huge resources of the new medium, except the absolute synthesis of decor and choreography in a possible La Mer.
The line of development most likely would seem to be a form neither pure ballet, music-drama, nor poeticdrama, but a synthesis of all three.
You might say, with some justification, such a form would be a hybrid of unlovely proportions. Any such thing on a proscenium stage, in dialectic film or a film theatre, most decidedly would. But in this solid cinema theatre where 'naturalism,' c realism,' and so forth, are finally banished, and the medium, moreover, is capable of doing well just those things which the other forms can only attempt, the scope now for synchronization of the visual and aural, in all its potential multitudinous complexity, is immediately obvious.
To quote again an example we have used before, the sailors hauling, in Act I of Tristan, is, as it were, a short mimetic interlude.
With this as cue, one can easily imagine a form in which the recurrence of such interludes of mime and