the ancient mystery, and requires that in the theatre of the future the audience shall collaborate with those on the stage, the foot-lights shall be disenchanted, there shall be mystical dancing and singing and horror and exaltation—this is the Eastern notion.
The latter seems at first glance far removed from possible realisation in the present, a dream of the impractical even romantic and absurd. But when we remember that church and theatre were once one and the same, all plays being holy, and that our Mass or Communion Service was in a sense a survival of the Holy Mystery wherein not only the actors, i.e. the priests and those who serve at the altar, took part but also the people themselves, then it is seen to be not quite so remote.
The Shaw plays are remarkable examples of the developed Punch and Judy show, where various bizarre dolls with funny faces reel off amusing speeches, all of which are just audibly prompted by the man who holds the strings. He tries to create the illusion that the dolls are flesh and blood—for that reason he sometimes will have even a doll-representation of himself on the stage, as in the case of Mr. Tanner in Man and Superman. And if we are deceived for a moment or an hour and the illusion succeeds and we discuss the acts of Punch and Judy, and Judy's mother, and the Counsel for the Prosecution, and Toby, and the Judge, as if they were real people, yet when we get home we
