DRAMA IS RETURNING TO ANCIENT GREEK IDEALS

In his speech last night at the Union, Basil Dean, the visiting English theatrical producer, touched briefly on the constantly recurring cycles of the drama; he explained the new movement, especially that of Soviet Russia; and closed by a review of the defects and merits of the present theatre organization, both here and in England.

Under the title of "Theatres, Ancient and Modern," Mr. Dean showed how the drama had gone through a clearly marked cycle from the drama of the Greeks down to the present day. Mr. Dean found that we are at present returning to the Greek ideals in both the mechanical and artistic sides.

Under the Soviet regime, the drama in Russia takes the form of travelling companies who perform at industrial plants during the hours of recreation. Amateurs, in the form of local workers supplement the efforts of the actors, and though this form of drama probably has little literary significance, it is said to be immensely emotional and very effective.

The chief obstacles to progress of the theatre in England, Mr. Dean remarked, was apathy, both official and unofficial. "There is no consistent support, and we even have trouble in putting on Galsworthy. The other source of apathy, that of the official is caused by a most amiable man called the Lord Chamberlain. Officially he is a danger to the State." Mr. Dean went on to explain that the Lord Chamberlain was the official censor, and proved even less capable of judging plays than his prototype here in America.

"I feel very strongly that the future of the English-speaking stage lies here. It is vital, and it is young," said Basil Dean in turung from the problems of England to those of this country. Eugene O'Neil, he considered America's first great author. The Little Theatre, an American movement spreading rapidly over England and the Continent, he declared valuable because it tends to keep the professional stage in touch with the world at large.

The obstacles in the way of progress here, Mr. Dean opined were "too much cinema, too much control over theatrical destinies by commercial producers, and a constant hurry that works against all art.