Excerpt from The New Spirit in Drama Art
It cannot be denied that the theatre and drama in England are in a transition state. Between the theatre and drama of the nineteenth and those of the twentieth century a long period of transformation will be necessary. The question for students is whether this transformation is to give us a great theatre and a great drama or only a weak imitation of bygone and obsolete forms. At the outset we are faced by the fact that England can no longer be regarded as insular in the matter of ideas. Ideas know no boundaries, and those of the reform of the European theatre and drama are at our doors. This involves us in the necessity of opening our stage to what may be called European influences: influences which we have to employ for our own purposes in the erection of a truly national theatre.
In the following pages I have been at pains to examine the ideas now being experimented upon in the chief art centres of Europe. It must be understood that I collected them during a brief tour through Europe last autumn; that I visited only the cities and towns dealt with; that the book does not exhaust the subjects of which it treats, but is intended to be an outline survey of Continental influences in drama and art that are beginning to make themselves felt in this country; and that in no instance do I feel bound to any one of the Continental ideas I herein expound. But they are all to be taken into serious account.
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