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same costumes and scenery in the second theater will further reduce the expenses." These theaters are to be organized not only throughout Paris, but in every province of France. "We wish to cover France with theaters." The theaters would be so closely allied that actors, costumes, and scenery would be common property, under the administration of a central committee and its representative, the director. The State would have nothing to do—except to lend its aid in collecting the subscriptions, and its influence to insure the carrying out of the principles laid down by the founders. It is asked for no endowment, and no guarantees. The People's Theaters are to be independent, and the State is only to stand by and see that they are well run.[1]

  1. It is interesting to compare this with the organization of the Schiller-Theater of Berlin. This theater is based on the subscription plan. Subscriptions are payable quarterly and cost five marks; one ticket entitles the bearer to five seats (including program, cloak-room fees, etc.). There is no State endowment. The capital is supplied by stockholders, who are the trustees, the president of whom is the director. His salary is 10,000 marks a year. If the profits exceed 5 per cent on the capital, they are given not to the stockholders, but to the actors and employees who are most deserving. The director, Herr Loewenfeld, guarantees his company—in December, 1899, there were twenty-two men and twelve women—salaries not exceeding 8,000 marks, one month's vacation a year, and costumes for the actresses. I have already stated that at the end of the first year Herr Loewenfeld had 6,000 subscribers. The Schiller-Theater gave 380 performances in eleven months: 319 evenings, 49 matinees, and 12 performances for students; 37 plays were produced, of which two were new; 25 evenings were devoted