. The art theatre; a discussion of its ideals . agement I havetried to make clear the reservation that this doesnot necessarily mean complete efficiency means merely elimination ofwaste, and when one has it, one may still need tolean upon a subsidy. It is certain that a theatresearching for the highest ideal must have aid inthe beginning; and even in its maturity an en-dowment is likely to make it a real art institutioninstead of a compromise. In Europe the best theatres are seldom expectedto succeed as speculative business ventures. Themost important theatres in France a
. The art theatre; a discussion of its ideals . agement I havetried to make clear the reservation that this doesnot necessarily mean complete efficiency means merely elimination ofwaste, and when one has it, one may still need tolean upon a subsidy. It is certain that a theatresearching for the highest ideal must have aid inthe beginning; and even in its maturity an en-dowment is likely to make it a real art institutioninstead of a compromise. In Europe the best theatres are seldom expectedto succeed as speculative business ventures. Themost important theatres in France and Germany,with a few exceptions, are to be found in the listof those receiving state, municipal, or private sub-sidies. When one thinks of the playhouses inwhich greatest progress has been made toward thenew synthetic ideal of production, one remembersthat the Moscow Art Theatre, now a profitableaffair, was able to get through its early years onlyby the generosity of a wealthy amateur; and theIrish Players survived their early struggles by212. Organization and Management grace of Miss Hornimans subsidy. In thiscountry the Arts and Crafts Theatre is endowedto the extent of being freed from the rent burden,and the Neighborhood Playhouse in New Yorkoperates under the same advantage. The Chi-cago Little Theatre, on the other hand, staggeredfor years under the rent charge. But it recentlycreated for itself a sort of endowment after-the-fact by going through bankruptcy America has yet to see a properly subsidizedplayhouse. When a writer or artist says that he wants en-dowed theatres, people begin to talk about theNew Theatre, or others made in its image. Ihave already pointed out that that institution wasnot really endowed; and even if it had been, itwould have had to go through many radicalchanges to become a true art theatre. We do notwant institutions of that sort, and we especiallydo not want theatres similarly unrelated to theircommunities. What I wish to see is
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