first edition of Le Théâtre du Peuple concludes with these words: "Do you want a people's art? Then begin by having a people!" France is in many ways an aristocratic country with an aristocratic art; it is but natural, therefore, that all reform should be slower than in younger countries; and M. Rolland in his impatience attempted the impossible. In trying to avoid what was conventional in the French drama, he restricted himself to a more or less formless medium, and the people who saw his plays missed what they were accustomed to see: a well-defined story.
What success would have attended his innovations in another country it is hard to say; what success will attend him if he perseveres, seems easier to predict. The past five years have witnessed a profound change in French thought and art, and perhaps Romain Rolland will once more find his faith justified in a new France where the people shall have a theater of their own. Meantime, his ideas have spread to other lands and there borne the fruit he had hoped would flourish in his own beloved France.
