The new spirit in drama & art . peringat the audience, and making strange noises in their where you will, to Paris, Frankfurt, Rome, Berlin,Constantinople, even to the Coliseum at the North Pole, andthere you will find the inseparable six. And they all dothe same thing, and the Frictionists love it and clamourfor more. A further frictional feature is contained in the spirit ofcamaraderie existing between the turns and the the performance the former continually stop inthe midst of their songs or patter for a few minutes privateconversation with the conductor or au
The new spirit in drama & art . peringat the audience, and making strange noises in their where you will, to Paris, Frankfurt, Rome, Berlin,Constantinople, even to the Coliseum at the North Pole, andthere you will find the inseparable six. And they all dothe same thing, and the Frictionists love it and clamourfor more. A further frictional feature is contained in the spirit ofcamaraderie existing between the turns and the the performance the former continually stop inthe midst of their songs or patter for a few minutes privateconversation with the conductor or audience. Sometimes thetalk takes the form of a discussion, and for the moment it isalmost impossible to decide whether one is in a Hungariantheatre or taking part in one of the Stage Societys receptionsheld between the acts, when everybody receives everybodyelse and the noise resembles that of feeding-time at the origin of the custom of encouraging the turns toconverse with the audience is not clear. Probably it is meant. STUDY BYALFRE DWOLMARK AMA ^^ The tendency of the refreshments to follov, v. .ment and to join in the various demonstrations of miiutears docs not allow one to follow the programme, which three-fourths boredom, or to see whos who on theFriction variety stage. In fact, one is obliged to see withones ears, with the result that one makes many strange dis- overies. One discovers, for instance, that all the voices aref T, ian, but that some of them have travelled from ^ Old Kent Road in company with the six the u ii aaU for )>::l. A .C:H- .; ., . ..^.... w. i _ • c the former continually stop in <\ of their songs or patter for a few minutes private .ersation with the conductor or audience. Sometimes the ?^dSk^^d\e form of a discussion, and for the moment it is (jlgpi^tqijji^ossible to decide whether one is in a Hungarian XilAMJOVfaking part in one of the Stage Societys receptions hem oetween the acts, when everybody receives
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Keywords: ., bookcentury1900, bookdecade1910, booksubjecttheater, bookyear1912
