deteriorate." But Stanislavsky himself was too much the creative artist to stagnate. He sought other forms of interpretation. His newest venture was an attempt to bring singing and dramatic acting into coöperative harmony. I attended a dress rehearsal of such a performance and found it very impressive. The effect of the voice was greatly enhanced by the realistic finesse which Stanislavsky achieved in dramatic art. But these efforts were entirely the work of himself and his little circle of art students; they had nothing to do with the Bolsheviki of the Proletcult.
There are some other innovations, begun long before the advent of the Bolsheviki and permitted by them to continue because they have no bearing on the Russian actuality. The Kamerney Theatre registers its revolt against the imposition of the play upon the acting, against the limitation of expression involved in the orthodox interpretation of dramatic art. It achieves noteworthy results by the new mode of acting, complemented by original scenery and music, but mostly in plays of a lighter genre.
Another unique attempt is essayed by the Semperante Theatre. It is based on the conception that the written drama checks the
