False Theory and the Theatre
A THEATRICAL manager recently insisted on introducing Chinese labour into the theatrical profession. He insisted on having real Chinamen to take the part of Chinese servants; and some actors seem to have resented it—as I think, very reasonably. A distinguished actress, who is clever enough to know better, defended it on the ground that nothing must interfere with the perfection of a work of art. I dispute the moral thesis in any case; and Nero would no doubt have urged it in defence of having real deaths in the amphitheatre. I do not admit in any case that the artist can be entirely indifferent to hunger and unemployment, any more than to lions or boiling oil. But, as a matter of fact, there is no need to raise the moral question, because the case is equally strong in relation to the artistic question. I do not think that a Chinese character being represented by a Chinese actor is the finishing touch to the perfection of a work of art. I think it is the last and lowest phase of the vulgarity that is called realism. It is in the same style and taste as the triumphs on which, I believe, some actor-managers have prided themselves: the triumphs of having real silver for goblets or real jewels for crowns. That is not the spirit of
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