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tisemeiit to be done as there a
no more business, the president
announced the program.
A paper on the Russian
Drama was read by Dorothy
Siewers, who discussed in brief
the origin and history of the
Russian drama, mentioning
some of the most famous
Russian dramatists, and show
ing the influence which the
German, French and Italian
playwrights had on the develop
ment of a national drama of
Russia.
As an example of Russian
dramatization, and playwriting,
Doris Walston read Chekkov’
“The Bull”. The play was rather
difficult to read, but Miss
Walston interpreted th
characters well, and deserves
much credit for making the play
enjoyable and entertaining. The
plot was rather humorous, and
not characteristic of most of the
popular and b e 11 e r-k n o
Russian plays.
Mrs. Popov buries herself i
large castle, and laments and be
moans the death of her husband.
She is considering entering a
convent to relieve her suffering,
when her sad lamentations are
interrupted by Smiriov, an ar
tillery officer.
Smirnov, who was a friend of
Mr. Popov, comes seeking some
money which his dead friend
owed him. Mrs. Popov refuses
to pay, saying that she cannot
give Smirnov any money until
her manager returns from the
city. Smirnov becomes
raged. He tears up the furni
ture, and sits down, determined
to remain until the manager re
turns if it be three days. Mrs.
Popov’s kindness, and perpetual
politeness irritates and
asperates him. They decide to
fight a duel—Mrs. Popov goes to
get the guns. Upon her return,
she begs Smirnov to teach her
to shoot, and they decide to go to
the garden, where they may
practice.
Here Smirnov finds that he
cannot bring himself to shoot
Mrs. Popov—he finds her charm
ing, alluring. He proposes, and
after a stormy session of re
fusals, Mrs. Popov accepts.
The text of Miss Siewers’
paper in part is as follows:
“Russia has been somewhat
slower in developing a national
drama than the other European
countries. Dramatic represen
tations of a sort were begun at
an early period, but regular
plays were not performed before
the middle of the eighteenth
century.
In the middle ages although
theatrical performances
prohibited in Russia because
they savored of paganism,
Russia was not entirely devoid
of dramatic representations.
Bands of singers and actors, who
were belated representatives of
the French “jongleurs”, romed
the country, giving rough farces,
when not engaged in pillaging
expeditions and in the seven
teenth century the troops of
buffons kept by the magnates
swelled the ranks of these
vagrant jongleum. In Kiev,
which was under Pohsh influence
the scholars of the church
academy gave elaborate puppet
shows at Christmas, such
have survived until the present
day throughout Russia.
The beginning of the Russian
Theatre is due to the efl'orts of
Johann Gregory, a pastor of the
German colony of Moscow.
Matuyeev had built a theatre for
Czar Alexis in a suburb of
Moscow and in this comedy
palace, Gregory, on October 17,
1672 gave, by the order of the
Tsar, a performance of his own,
“Comedy About Easter.” Here
it is interesting to note that
Russia as in England, t
theatre was started in t
church and by churchmen. This
performance was a success and
the following year Gregory
ordered to establish a school for
actors and soon he was able to
present his “Judith” and
“Tobias”; these were chiefly
translations of German plays.
At the death of the Tsar, how
ever, the comedy palace was
closed and Matuyeev, accused of
herself, was sent into exile.
In 1703 Peter the Great built
at the Red Square the Comedy
House, the first public theatre
in Russia, in which the German
Kunst and later Furst gave
German and Russian
formances. It is interesting
again to note just here that
Russian drama had always to be
favored by the Tsar before it
was popular. The nobility and
the Tsar were interested
drama and it was necessai-y to
have their co-operation and sup
port before a performance could
success. We see through
out the history of the Russian
drama that it was influenced by
the royal house, either one way
or another and what they
thought and did about a play
either made or killed it.
After Peter the Great died the
Russian theatre fell into disuse.
Anna maintained
German and Italian troopes and
the ballet but many of the plays
performed were no more than
poor rifacimenti by some actor.
Then we see another influence
eeping in during the reign of
Empress Elizabeth. This in-
was the French classical
In her time ballets gave'
way to the dramas of Moliere,
Corneillle, Racine and Voltaire.
This formed the transitory
period. The Russian Theatre
had been influenced first by
German drama, then by German
and Italian, then by French.
Now it was time for true
Russian drama to arise.
Sumarolsov who was born in
1718 and died in 1777 was the
first real Russian dramatist. He]
The Mathematics Cluh
Accepts Constitution
The Mathematips Club held
meeting last Friday, February
the twelfth, and adopted the
Constitution which had been
drawn up by a committee ap
pointed at a previous meeting.
The Constitution was as
follows:
■ ARTflCLE I
Name and Purpose
Section 1. The name of this
wrote tragedies in imitation of
Racine and Voltaire and trans
lated Hamlet into Russian; his
comedies, however, did more for
the evolution of the Russian
drama. In these, while his
characters are feebly developed
his satirical purpose leads him
to touch upon native foibles and
he paved the way for Fonuizin
the dramatist of manners of the
next generation.
During the reign of Catherine
the Great, the Russian theatre
made memorable progress. In
1779 Catherine established the
theatrical school and in 1783 the
Large Theatre, which still ex
ists in its original location.
Catherine enriched the Russian
ama by her own contributions
the way of comedies. The best
of these is “0 Tempora”, a satire
1 superstition and hjrpociisy.
Toward the end of the eigh
teenth century there was an
'-increasing number of
dramatists who based their
plays on incidents in Russian
society. We see an increasing
amount of local plots, that
plots dealing with Russian
characters and situations and
3s imitative of foreign drama.
Napoleon’s triumphan
marches through Europe pro
voked in Russia a suspicion of
the French which found expres-
the drama in constant
attacks on the French education
then prevalent in Russia.
Krylov, who later confined him
self exclusively to the fable,
1805 wrote a comedy, “Lessons
to Girls,” which was followed by
“The Fashion Shop.” In both
of these he ridiculed the infatua
tion for everything French.
The war of 1812 at first ar
rested all dramatic activity. The
Moscow theatre was burned and
not until 1814 that
Pozdnyakov opened a private
play-house. Naturally there ’
clamor for patriotic plays.
In the nineteenth century
Gagolis’ comedy “The Inspector”
created quite a sensation and
Pushkin’s “Boris Godunoff’
shows the change from French
to Shakespearean influence.
jme than to moder
Russian drama and the Bolshe
vik influence. Just as the novels
of a nation are influenced by its
history so is the type of drama
determined by the conditions of
the times. Just as novels reflect
life of the period, so the
drama reflects the customs. All
influence the drama, and
the Bolshiviki are destined to
make their contrbution to the
Russian stage. What their in
fluence will be cannot yet be de
termined. All the theatres have
been taken over by the Soviet
government and the whole at
tempt at government plays has
fen a failure.
What was needed was a new,
revolutionary theatre, and there
such were formed in Moscow.
But now it is rumored that all
the theatres are soon to lose the
support of the government; thus
the decadent dramatic art in
receives its coup de
grace.
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irolled
organization shall be the Mathe
matics Club of Salem College.
Section 2. Purpose;
ARTICLE II
Membership
Section 1. All students
in the Mathematics Department'
and others who are especially
interested in this subject may
become members of this club.
ARTICLE III
Meetings
Section 1. There shall be nc
stated meetings of this organiza
tion but it shall come together at
dates decided upon by the Presi
dent, especially at such times
instructive and interesting
program can best be arranged.
ARTICLE IV
Officers
Section 1. The officers of the
club shall consist of a President,
Vice-President, Secretary and
Treasurer.
ARTICLE V
Duties of Officers
Section 1. It shall be the duty
of the President to appoint the
time of meetings, to preside at
all meetings of the club, to ap
point all committees and their
chairman and to perform other
duties incident to the office.
Section 2. It shall be the duty of
the Vice-President to perform
the duties of the President
of inability of the latter to
perform such duties.
Section 3. It shall be the duty of
the Secretary to prepare and
read the minutes of each meet
ing and to keep an accurate
count of the proceedings of the
Winston Hi Players
Give Three Plays
Salem students who saw
Winston Hi Players in the three
one-act plays which they pre
sented last Friday night, Feb
ruary the twelfth,
pleasantly surprised at the skill
of the young actors.
Of the three plays “The
Valliant” was decidedly the best,
showing better training, deeper
understanding and more sympa
thetic interpretation. “Riders
to the Sea” comes in for its
share of praise, particularly in
the matter of the dialect, where
the memters of the cast secured
the desired efl'ect without being
unintelligible. “Society Notes”
the type of play suggested
by the name, witty without
being particularly clever, well
done but not brilliant.
“The Valiant” was the only
possible choice for the winner in
the contest, and although two
of the main characters, Fritz
Firey and Dwight Lin-ville had
important parts ,in “Fixin’s”
this play seems decidedly to sur
pass last year’s success.
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club.
Section 4. It shall be the duty of
the Treasurer to collect all fines
and dues, and to render an an
nual report at the end of her
term of office.
ARTICLE VI
Qualifications of Officers
Section 1. The President shall
be a Senior or a member of the
highest class represented in the
club. The Vice-President, Sec-
•etary and Treasurer shall be
from either of the remaining
;es.
ARTICLE VII
Amendments
Section 1. This constitution shall
be amended, canceled or super
seded by another, if the motion
comes from a member of the
club and is carried by a two-
thirds majority of the piembers
present.
FOUND: Post office key,
number seventeen. Ruth
Perkins.