THEATRE - Charles DULLIN(1885-1949, actor and director, he w - Lot 370

Lot 370
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THEATRE - Charles DULLIN(1885-1949, actor and director, he w - Lot 370
THEATRE - Charles DULLIN(1885-1949, actor and director, he was one of the renovators of French Theater) / Autograph manuscript signed with erasures and corrections, 2 pages in-4 (20 x 30 and 20 x 35 cm), with cut-outs and reassemblies for printing; Superb manifesto for a true popular theatrical art written around 1935: "I believe that while encouraging good will, we should be wary of "opportunists", "upstarts", "pawns", but also of sincere theorists who sneak us "collectives" of pleasure and "rigolades" by fours. It seems to me that the best way to promote this organization would be to provide every neighborhood with stadiums for those with a passion for sports, libraries for those with a taste for reading, cinemas, theaters and a radio program. This factor of human nature must be taken into account: that grain of contradiction which is particularly evident in the face of pleasure [...] When we speak of "Popular Art", a confusion is created between "Popular Art", i.e. that which comes from the people, that which is made by the people (in their own way, the Arts have always been popular - archaic art, folklore, naive but refined art) and Art made for the people, which is in short only low Art, created to seduce, to flatter their inclinations in what is low, demagogic stew, the "Dufayel" bronze department [n.b.: forerunner of Galeries Lafayette], popular film productions, little quarter hours cooked up in the TSF machines, peddling a progressive dumbing-down through the airwaves. There is no such thing as Art for the "People" and Art for the "Others" in the theater: every time we've tried to make popular theater, we've made bad, dirty theater [...] For 15 years I've always been supported and comforted at L'Atelier by a popular audience. Some will object that this audience, which comes to l'Atelier of its own accord, in preference to boulevard theaters or fashionable shows, is already an evolved popular audience. But to what do they owe this training, if not to my insistence on never making any concessions to please them? If we are content to build vast halls to stage shows whose artistic appeal and interest are measured by the number of extras and personnel involved, the public will soon have had enough.... If we commit the dreadful silliness of using theater as a means of political and electoral propaganda, all true artists will spit on it. It's through the Example of Beauty that the People must be educated, starting at school. A great Théâtre Populaire should be in the vanguard of every dramatic movement, not trailing behind the outdated forms that have turned the masses away from the theater".
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