Early Years: Sakuntala, The Ab-Intra Studio

Prior to the formation of The Ab-Intra Studio, Alan Harkness worked with the Live
Art Society in their 1928 production of Sakuntala, the Indian classic by Kalidasa



Sakuntala review, title:
														THE LIVE ART SOCIETY
THE impressive prodyction of the Great Indian
"Sakuntala," is the effective trans-
lation made by Laurence Binyon, and the three Trish plays from the Abbey Theatre, at the Playhouse last week was an effort that deserved much bigger support than was given, for it was a very high artistic achievement, and something much above the average in at tainment.
The Irish plays were well done, and were most interesting; but we have seen works of the same writers staged, previously.
was in "Sakuntala" that the big interest
lay, for this was a stupendous effort for society of young people, even though directed by
artistic insight and experience
like Mr. Howard Eadie.
First of all, the fine
translation of the sixteen-hundred-years-old work of Kalidasa by Laurence Binyon was a fine achievement.
Then the saturation of the per-
formers and the young musician, Stewart Bur-ton, in the spirit and atmosphere of the story and the beliefs of the time, to such an extent that they were enabled to positively live the characters, and, in the case of Mr.
to interpret the spirit in musical composition, was remarkable.
Never has more sincere, unaffected acting been seen in Melbourne than was given by every member of the cast in "Sakuntala,"
even to
the little child.
There was no attempt at
individual effect, each one was intent only to give the spirit of the character, and in every case the delivery of the beautiful lines was impressive in its earnestness and absolute natural-ness, and the enunciation was beautifully clear.
Stewart Dudley had so those who have lived in India declare by some miracle caught the spirit of India in his music, in which he had used the Indian graduation of scale, which are three times as many as we employ.
Wagner, he has a leading motif for
Like each
character running through, and the vocal solos introduced are weirdly quaint and thrilling-while naturally with such notation some of the music strikes the ear with unusual and strange dissonances.
there are parts of it that are
warmly rich and beautiful in tone.
Just as the music was composed to supplement the atmosphere of the play, so the tumes
and the color combinations had been designed by Alan Harkness to express the spirit of the story and the music.
He has evidently
made a study of the Oceult belief in color influences for he had followed their teachings as to symbolic colors, and the effect was very striking and beautiful.
Daring combinations
were used with the happiest result, and the moods were well interpreted not only colors, but the form of the costumes.
by the
The biggest and culminating triumph
achieved by the luminous yellow of the Celestial charioteer's wonderful costume, which seemed almost dazzling in its luminosity. The stage settings were kept indeterminate and subdued;
but were effective.
The whole production has left an ineffaceable impression upon those who were fortunate enough to see it. could be
That such really wonderful effects attained by young aspirants without the aid of proper stage lighting effects, and with few stage conveniences and accessories is a notable attainment that arouses wonder in those who
can realise the difficulties sur.

Sakuntala - Review, text:
														The Live Art Society
TE, is gratifying to discover in a ma-
terial age that there are still people willing to listen to a tale of
idyllic love.
Last week there were one or two perceytibly touched by the Live Art Society's production at the Playhouse of "Sakuntala," the Indian play which contains no gross thought. no epigram, and never a hint of the
The Malvern Symphony Orchestra, under the direction of Wii. liam J. Mallinson, supplied the music which added considerably to the at mosphere of the play, which was fur- ther benefited by the acting of Alan Harkness as Dushyanta and Beatrice
Touzeau as Sakuntala.
Harkness's stage settings also contributed to the
happiness of the aesthetes in the front. During its week at the Playhouse the Live Art Society also did a bracket
of Irish playlets,
"The Travelling Man" and "Spreading the News" by Lady Gregory, and The Hour Glass" and "Cathleen ni Houlihan" from the
pen of W. B. Yeats.
All of these of. forts are familiar to observers of the operations of the Abbey Theatre, Dub- lin, and there is nothing about them that can be canvassed critically in a
short paragraph.
In contrast to the
comparative knockabout of
ing the News,'
" which has been a fami- ilar Repertory piece in various parts of the world, there were the fantasy
and fairy-tale sweetness of
"The Travelling Man," the poetic wonder. ment of "The Hour Glass," and the
simple Yeatsian Irishness of "Cathleen
Ani. Houlihan." They were all passably well acted
and presented, the party allotted for "Spreading the News" showing signs of allowable elation over the oppor tunities offered. Francis D. Wilson was especially good as Bartley Fall lon and Margaret Marshall also did well as Mrs Fallon, Some of tha
others laid on the brogue rather -thickly, quite in the old Bouctcaultion
special word may be spared for Patricia Edie, the smali daughter of the Live Art's Director, Howard @die, who was the least stage conscious . the trio exhibited jambe
Travelling Man. C. R. Bradish.

Sakuntala - Program, text:
														FROM MONDAY, 30тн APRIL TO
SATURDAY, 5th MAY. 1928
Reserved 5/5

Sakuntala Program: Inside front cover, text:
Production by
in co-operation with
Director: Howard Edie
Composer: Stewart Burton
Designer: Alan Harkness
Conductor of Orchestra
William J. Mallinson
Leader of Orchestra
Connie Ziebell
Organising Secretary
Beatrice Touzeau
Stage Manager
Assistant Stage Managers
..E. P. de Drago
Louise Agnew and Murielle Mudge
Crafts Executive
Mr. White The thanks of the Society are tendered to the many friends who have aided in diverse ways, and
especially to Mr. A. D.
Colguhoun, to Mr. Thos. Brentnall, to Bradshaw's Business College, includ- ing Miss McLean's dressmaking department, and to
the Malvern Symphony Orchestra.

Sakuntala - Cast list, text:
															Proso outs
Written about 1600 years ago by Kalidasa In this translation by Laurence Binyon, fidelity to what is universal in Kalidasa has been sought for, rather
than the reproduction of exotic beauties.
(In the order of their appearance)
Dushyanta, King of India
} Hermits
Sakuntala, Foster Child of Kanwa
? Companions of Sakuntala
Mathanya. King's Jester
Karabhaka, Palace Messenger
Gautami, Matron of Hermitage
MAVIS MURPHY Durvasa, A Sage Kanwa, Chief of Hermits
Queen Hansuati
Dancing Girls
Matali, Celestial Charioteer
? Nurses
Baharata, Son of Dushyanta
PATRICIA EDIE NOTE. Sakuntala is in seven parts, with a prelude to part four. The parts will follow each other with no longer interval than two minutes; except where there are orchestral interludes and preludes, and between parts four and five, and six and seven, where there will be an interval of eight

Sakuntala - Program, text:
														The two peculiar principles of India are the beneficent tie of home life on the one hand, and the liberty of the soul abstracted from the world on the other. In the world India is variously connected with many races and many creeds: she cannot reject any of them. But on the altar of devotion (tapaysa) India sits alone. Kalidasa has shown, both in Sakuntala and Kumara Sambhava, that there is a harmony between these two prin- ciples. an easy transition from the one to the other. In his hermitage a human boy plays with lion cubs, and the hermit
spirit is reconciled with the spirit of the householder.
Sir Rabindranath Tagore In this production the Live Art Society is making its first attempt at the synthesis of the arts which make the art of the theatre. The director, composer and designer have worked in close unity to achieve this end, and it is hoped, with more time, more experience, and more funds, to do significant work
in this direction. With the necessarily limited material at the designer's disposal, an attempt has been made to provide simple expressive mis-en-
scene which will help, and not hinder, play and actor. The development of the drama has been kept in mind in the designing of the costumes, and a use of themes, similar to the
music, will be quite noticeable.

Sakuntala - Program, text:
														The music, though very interesting in itself, is to be judged
as part of the whole production.
Uner The overture opens with the King's love singing theme. given
first in the low register of the orchestra.
This is continued by the higher strings and wood wind to a climax, with a first hint of the curse motive. A bridge passage for strings and
wood wind leads to Sakuntala's love singing theme played by the violins: this works up to a repeat of same given in the higher octave by the flutes and oboes. A tremolo passage for strings, with a further hint of the curse motive, is followed by the development of the King's theme, working to a full climax of both the King's and Sakuntala's themes leading straight to
the curse motive at full orchestral strength
A quiet passage for strings, ending with a cadenza for the oboe, is followed by the golden peak theme given by the flute in its highest

Sakuntala Program: Inside back cover, text:
														GREAT DRAMA
Would'st thou the young year's blossoms and the
fruits of its decline,
And all by which the soul is charmed, enraptured,
Would'st thou the Earth and Heaven itself in one
sole name combine?
I name thee, O Sakuntalal and all at once is said.
GoETHE Goethe, the master post of Europe, has summed up his criticism of Sakuntala in a single quatrain; he has not taken the poem to pieces. This quatrain seems to be a small thing like the flame of a candle, but it lights up the whole drama in an instant, and
reveals its inner nature.

Sakuntala, text:
															SMHE wonderful poetical quality of
the Indian play,
«Sakuntala," is
made manifest
the present production by the Live Art Soci- ety at the Playhouse. The mount- ing and setting enhance its subtle
charm, for the effort to
ex- press in color the sentiments of the play has beer done by Alan Hark- ness, with almost Oriental prescience, for color tones and influences have always been a cult with the Occultism of the East. Howard Edie has coached his forces well, and the result is striking performance which has some- how become impregnated with the mystic atmosphere of India, and its
Eastern peoples.
The production of the group of little Irish plays on Thursday night, is looked forward to with interest, as, being so different in character and quality, there is keen. ness to see whether Mr Edie has been as successful in getting the performers to feel the characters, and the story, as they have done in the strong, mys- tic "Sakuntala," with its Indian back-
ground and atmosphere.

Sakuntala - Live Arts Theatre, text:
														Page 7 Alan Harkness (Dushyanta) and Beatrice Touzeau (Sakuntala) in a scene from "'Sakuntala," an Indian play, which will be produced by
the Live Art Society next Monday.
Miss Touzeau was one of the
finalists in the Table
Talk actress quest.
Broothorn photo.

Sakuntala, text:
(Continued from Page 18).
Alan Harkness
THE costumes and stage settings of
"Sakuntala" and the Abbey Theatre plays which are being presented at the Playhouse this week are the
work of
Alan Harkness, who is also
playing parts in four of the productions. Harkness is a young painter of consid- erable enterprise and promise, and comes from Perth, where his father is manager of the Western Australian

Sakuntala review, text:
Idyll of Old India With Music. Readers of English have long had oppose tunities to be acquainted, in one translation or another, with Kalidasa's "Sakuntala, la classic play of India; and in recent years the idyllic drama has been staged in Eng land. It provided unusual entertainment at the Playhouse last night, when it was produced in an adaptation from Laurence Bieyon's version by the Live Art Society, in co-operation with the Malvern Syn-
phony Orchestra.
The music by Mr. Stewart Burton - an overture, interludes, and prelides - was well in accord with the spirit of the play, and was skilfully treated by the orchestra under the direc- tion of Mr. William J. Mallinson, Sym- bolic use was made of the stage settings, designed by Mr. Alan Harkness, and of the lighting. The stors was followed with much interest, from the early scenes in the saered grove through the time of melancholy to the reunion of the lovers. Sakuntala (Mies
Beatrice Tonzean) and Dushyanta (Mr. Harkness). These parts were well taken, and there was sifable work by Alma
Marshail, Lennos Brewer, Mavis Murphy, Norman Herman-
son. Lio Chase, and a number of others.
The production, which was directed by Mr.
Howard Edie.
will be repeated on the nights of Tuesday, Thursday, and Satur days id on Saturday afternoon. On Wed-
resday and Friday evenings there will
oE fom
Trish plays.


Ab Intra first night, text:
															Ab Intra Studio's
First Night
Oriental gongs sounded; and voices of unseen people floated across a darkened room at the first night of the Ab Intra Studio season
last night. Correct atmosphere is one of the essen- tials in this experimental theatre. and it was maintained from start to finish of
the 80-minute programme. Ab Intra means "From within," and the Ab Intra plavers seek to portray drama. poetry, and other art from within them
The studio is not 12 months old yet, but its members have already at-
tracted much inteest in Adelaide. Duing her visit here Dame Sybil Thorn- dike saw some of their work at the studio, which is a lage upstairs room in King
William street south. The first half of the programme was de voted mainly to "The Sisters," a little- known play by Gordon Bottomly, an Eng-
lish poet and dramatist. Effective interpretations of several of Kester Baruch's strikingly original poems were given by Alan Harkness in the
second" half.
Two of the poems were
represented in shadow zraphs.

"...decidedly intriguing", text:
															AT THE INTRA STUDIO
Sincere Theatre Work Absorbingly interesting and ex- tremely fascinating is the work being done to bring a new atmos- phere, a more honest (to put it crudely) point of view into the theatre, a movement of Youth, leaders of which are Kester
Baruch and Alan Harkness. They have founded the Ab Intra studio in King William street, and it it gratifying that the list of members
is growing steadily. At the "studio" evening on Tuesday, which took on the real club spirit with delicious coftee served in the interval, one enjoyed something most unusual,
and a great deal of it very satisfying. The interior is decidedly intriguing; just a large room with a mask of Old
Japan hanging on the wall.
An an- tique plaque and a wonderful bit of
old brocace.
Then chairs or cushions
to sit on as you please..
All else is dark curtains: behind these is the stage, which is also the floor, for all is on level with the audience. To the right of the stage is a small reading desk, and beside it a gong which is beaten for lowering the lights, or be-
ginning a new item. Until the interval the lights are kept very dim, and whether this has some psychological effect on the audience or not one cannot tell, but truth it is that never have I made one of such an
interested audience.
The silence in which the whole thing was enjoyed was so still it was almost tense. There was no applause until the end.
is decidedly
"atmosphere" of a most
artistic kind about it all. It is extraordinarily wonderful, the big effects that were produced merely
by lighting or curtains.

Review: The Robe of Yama

Review: The Robe of Yama, text:
A Classical Performance
and tomorrow night are the last two performances
"The Robe of Yama"
• at the Ab-Intra Studio, and the cur- tains will softly close on one of the most beautiful and interest ing presentations of refined and intellectual art it would be pos-
sible to produce. These performances, according to a
pamphlet from the studio,
"are quite the most ambitious production we shall
be doing for some time."
yes; but not beyond the powers of Japan," embodied experiments stylised gesture and costume,
phonal vocalisation, symbolical
Вісто но на на а о рола о на tings, and significant lighting. flutes, gongs, bells, and drums, cially written by Spruhan Kennedy."
has been
much enjoyed audiences at the three performances
already given. From the moment the old priest lights the first candle, the audiences settle down to rapt enjoyment of a most unusual performance. The mel- low old yellow of the priest's robe pre- pares them for the feast of color
throughout each "phase."
And the
Deep lines and cunning color patches change Australian lined- ments into the strange, impassive faces
of Japan.
Lovely was the picture of O. Haru praying to the marriage god. the in- cense burning, and the rhythmic beat of a gong tuning in. She wore a robe with a long train in pale "mysterious" Cowing to the wonderful lighting ef-
fects) grey-blue, with vivid
colored tassels at the wrists and neck. At her waist a broad obi of a won- derful old- tissue, in pink green, and
rose colors.
licorice, hung a sliver
comb, swaying from it two strings of great
beads, one gold, one white
Effective Staging The folk drama, which for stage- setting had no more than a set of screens, in and out of which the drama
took place, again showed unusual
color feasts in costume
The man in long silver-grey cloak, with great wide sleeves, over a robe of dark and light blue brocade. The sister, in pale grey- blue, with a narrow edging of rose and
black over a white robe
chrysanthemum at the side of her
black hair.
The acting was excellent, and the illusion given of mounting a horse and cantering off was quite
wonderful. Each "phase" had some unusual and
extremely attractive setting.
In the Three Cradle Songs the staging con- sisted of a background of rice-paper windows against which a few bamboos were swaying. and the light behind the windows was a gorgeous green with
blue or yellow suns in the centre. Every "phase" was distinct in char- acter from each other and particularly beautiful was Ritual of Sleep and Awakening the stage effects being very fine, an autumn tree from- which the bright, leaves detached themselves and floated to the floor was a marvel of stagecraft. and so also were the lights that flickered in and out on the robe
of the central figure. Space will not permit of describing all the quaint and lovelv costumes that
appeared in each "phase."
One cannot finish without referring to the marvel-
lous posturing in the Japanese farce,
"The Demon's Mask." Most clever! But throughout the performance so beautifully done the gestures and pos-
tures were remarkable. The atmosphere from first to last was consistently right, and one almost felt one was not looking on at old
Japan but in it.
This illusion was heightened in the interval when china tea in cups without handles, little nut cakes and candied orange and citron
peel were served to the audience. It was an entirely satisfying per- formance. classically done, such as we do not have the opportunity of enjoy- ing except under rare circumstances
such as this and we owe a debt of give us these "phases of old Japan" so
beautifully done. The Robe of Yama was produced by Alan Harkness. the literary arrange- ment is by Kester Baruch, and the
music by Spruhan Kennedy.
The players in order of appearance were Kester Baruch, Thelma Thomas, Alan harkness. Peggy Brown, Walter Das- borough, Rex Wood and Alan Francis. for the music the Ist flute was played by Constange Pether; 2nd flute, George
Davies; drums,
Homburg *otage manager. Margaret Day; electri-
clan, Kent Willlams.

The Robe of Yama - photo, text:

photo of ab-intra studio performance, text:
														. Alan Harkness, of Ab Intra studio, in the Japanese mask play which he pro-
duced before the Alliance Francaise this week.
The second of the series of Modernist camera studies by Colin Ballantyne.

Review - Poetry Program, text: 
														The Appreciation Of Poetry Kester Baruch, at the reading desk, read a papsr on "The Appreciation of Poetry." which was quite beautiful and
most illuminating.
Behind a curtain poems were given (no, not "recited."
thank neaven.
by Alan Harkness. Poems illustrated in silhouette were most charming. Just a white screen, with the light behind it and the
character or characters acting in front.
The effect was marvellous.
Kester Baruch gave one of these poems while
the acting was going on.
Kester Baruch's gift for poetry is a play or beautiful imagination woven into form
by colorful words
His description of a drive near Port Augusta, where he received, his inspiration to write "San-
dalwood Tree," was charming.
One could see it all--the red-hot dust swirled by "willy-willies," like a red ribbon up to the hard blue sky, and
the bare, gnarled sandalwood The tremendous suffering of them and the tremendous sweetness of their per- fume was the theme of his poem, and his aim was that the audience should
be left with the idea,
"what sweet-
ness." The second part of the evening was
filled with a play called
"The Two
Sisters." by Gordon Bottomley.
Just two women in it (Phyllis Drummond
and Thelma Thomas).
A bed with a blue coverlet, a screen, and a shaft of light across the faces of the two
players. was the sole setting. which focussed the attention of the audience oul the players alone, showing only their play of faclal expression,
was quite wonderful,
When it began;
one shrank a little with the thought.
"Oh! THAT sort of thing!"
But as the play beautifully unfolded, one found it was by no means "that sort of thing." but a little play of sheer beauty and exceedingly well done by
the two players. One soon realised that what these young people are alming at is the simple, sineere, and natural in the world of the theatre. and one found
at the Ab Intra there decidedly
"atmosphere." a high Ideal,
and an
enormous sincerity.
Good luck to
them. In the audience one saw Mr. and Mrs. R. H. Harris. Mr. and Mrs. Bar-
ton Foster. Mrs. Alan Greeniees, Miss. F. Thomson, Miss Dora Morris, Miss Gertle Dunn, Miss Shirley Scholefield,
Mrs. Angus. Miss Lorraine Angus, Mr.
F. R. Barton, Mr. Hume.

Adelaide Mail article, 1932, text: 
Regular Features
COM IN 00 16 7
nitro ployers belleve that neting and
People sometimes ask as whs. closely nilled. The anelent Japnness.
dey, rellgion, and dancing in their asclent on produciag maasual plass." be continued.
answer is slople. Thls Interest fu something different It te on thin theors that the players are. is the result of profoand dissatistaction with the
These four principels. assisted by
work usuallg seen In the theatre.
Some of it is longhby and Me. Alno Francis, rehearsed wonderfal, bat mid on December 23, 1931. the ancient inner content is not released, and that there is go
was given in Artelaide for the hrst time.
living over on the part of the actors. Stage titel
of well know Adelaide folk, Including
• the South Australlan Repertory Theatre.
und counterfelt emotions are apparent erersthere
Added to this is in aralanche of scenfe effects poorly
At the foish of the piag the nudionce.
designed and clipsily bandled.
which is a form that allows of n more direct expres
It is primitire In origio and like tost folk lore, Is a simple statement of the life of the people with whom it is involved. still another reason is that mueb of the dramn of the Bast is so benatiful that the West should take an
attempt to share It.
The Trish poet-dramatist Yates drow much of bin Inspiration from the Japanese, and It is dearis
evident in his plays for dancers
Unfortunatels the I and grotesque musics used in this play work of Mr. Harkness. A clay moutd is then enretuily ofted. A mulch of sodden ured Into the mould, and left to harden. nould is remored, the paper mache mask lete. This is painted and decornted. isful wan Mr. Harknems at this practice epertory Theatre recently. borrowed bie. make n mask for their myatical plas
«os a Holiday. of thefr limited Anances the players are
to follow the modernist school of simple
Binek drapen, clever ligbting.
The camera catches Mr. Alan Harkness at work on some of the grotesque faces that play it part in productions of the Ab-Intra
players. "No" plays are ns full of toplent allustonk as ch
Gilbert and Sallivan operas, and therefore much dialogue loses Its meaning toWesterneri..mi
versed in the literature and lore of the Eastern con

Adelaide Mail article, text:
															he walls.
There are cushions on the floor, and low,
were he work o a . 0016403s.mo
omfortable chnirs.
Books are everywhere, stacked first made, then caretully olled. A mulch of sodden n the pookense, toppling from the littered desk, paper is poured Into the mould, and left to harden.
cattered about the floor. Plays by Eugene O'Niell;
When the mould is removed, the paper mache mask tnge setting manals by Norman Bel Geddes and is left complete. This is painted and decornted.
fordon Craig.:
Japanese poems by Yone Nojuchi.
So successful was Mr. Harkness at this practice
Wilde lies carelessly on top of Pirandello,
that the Repertory Theatre recently, borrowed his
›inero and Ihsen stand shoulder to shoulder in the services to make a mask for their mystical play
"Death Takes a Hollday." Yet these people are by no means unapproachable sighbrows. 'Two are well-known dancers, one is pro- ersional netor and scene designer, and the other n
turnalist. Because of their lImited Anances the players are
endeavoring to follow the modernist school of simple
stage settinga.
Rlnck drapes, clever llghting.
end FIRST and foremost is Mr. Alan Harkness, with his fine speuking volce and wide knowledge of the
theatre. Mr.
anasterammensint bis short years a world of esperience. has studied painting, ean speak French
a native, and has studied modern
under the Australlan artist
Colguhonn. Mr. Harkness was assisting in the thentre production of the Live Art Society of Melbourne when his acting and scene de- signing came under the notice
of Alan Wilkie.
WAS 80
Impressed by his talents that he offered the young man a position In his
He came to
lalde and met Mr.
Baruch, an
Adelaide Journalist
terested in the theatre. Together these men talked the Idea of a little thentre move- ment, which would produce plays that the ordinary thentre wonid not touch, beenuse of their lack
of appenl to the average per-
Little ancient Japanese "No" plays,
for Instance, those sweet stories of old Japan. They rented a studio, they yare French lessons to ndd to their funds, thay and borrowed crosser maKerare
In the Idea. And gradually I gr
Then Miss Mina Bauer and Mr
Waiter Das- borough, well-known Adelaide dancing couple, be.
came Interested.
Mites Bauer had but recently returned from America, where she made a film of interpretative dancing dediented to the life of Miss
Isodora Duncan. She and Mr. Dasborough were 80 Impressed by the Idea that they readily gave their
&me and talents to help the new cause. Mina Bauer And Mr. Waiter Dashorough, The Ab-Intra Players believe that dancing and acting are closely allied and are pres- enting the dance as an important part of
their programme. significant grouping- -these are the things that count in the real theatre. "After all," sald Mr. Hackness
are not producing musical comedies. THE JAPANESE priest lights
the sacred candle.
Mr. Kester Baruch in costume for a part
in a Japanese "No" plav. THE HOLS FOREST in "Parsifal" as sketched by Ludwig Sievert a distingu
man designer of scenery for a modern production of Wagner The trees are sol

Ab Intra program, text:
														THE AB-INTRA STUDIO
For Dec. 21. 22. 23, 25. 26.
(I) Judgement Day
Stare Ma
Leading Lady
Young Man
The Woman with the Remackable Hat
The Woman with the Remarkable Gown
Kerter Baruch
The mosthoma
Phyllis Drummond
The Audience
(2) The Aspen Tree
Winifred Shaw
Aspen Tree
St. John
Cypress Tree
Thelma Thomas
Alan Harkness
John Baker
IN TER V A L Coffee servel in the Lounge.
(3) Aria da Capo
Edna St. Vincent Millay
Thelma Thomas
Frank Bailey
Cothurnus, Masque of Tragedy
Kester Baruch
Alan Harkness
(4) The Yellow Cloak
Roland - Alan Harkneas
Onversakester Barach
Winifred Shaw.
The Witch. Iis Thome:
The Owl
(5) An Old Carol Retold
Story Tellers:
Alan Harkness
Pattie Davis
Peasy Brown
Iris Thomas
Phyllis Drummond
Olive A botomely
Lorraine Aozar
Mary - Thelma Thomas
Joreph • Rester Baruch.
Music arranged by Eric NicLougHlin.
See Man ers. R LBrown Dousle Loon. & D M
Brown At the Switchboard - May Weeke
angements. Mrs. Ella Angus
Notes:. ' he Yelow Conk and ' the Aspen Tree
ious successand batthey combine wed gah therheatre
phantasies here given.
"The Aria da Capo by its till: indicates that it is to be repeated after another section. a play of a 'tertiary form as a musician would termit.
thus asir appcars to us. illustrating a bitter truth
Edna St. Vincent Millay, an American poetess el
note.has oven usto this oryapicture or de concis
on which led uo to the nte war andits sitermath
Superficially. 'Judgement Day
is a mere lest but one can trace vein of seriousness runnins throggh it
sit bounds in points of whimsically bur an interest The Cherry Tree one or the oldest carols. and
peobedly of Scandinavian

Ab Intra program, text:
														" THE CURIOUS HERBAL "
Dr. Rand Mrs. Blackwell
Mr. Miller
A Chelsea Herb Garden
(By Kester Baruch)
The Old Player
The Girl
The Old Gentkman
The Past President . BRUNO MUTZELFELD
The Archway Voices
The Leader of the Conspiracy
Members of the Conspiracy
The Donkey
Stage Manager-_LANCE BROWN
Assistant Stage Manager -JOAN KINMONT. is. therefore, the result of the particular circumstanc
under which this programme is being given. In a frankly theatrical way, "ARCHWAY MOTIF" irmps to present an idea. Now, ideas, especially wh dealing with abstractions, are particularly difficult convey to others. However. the key to understandi the play is in the Archway itself. As will be read ..en. an Archway is composed of two sides in oppositic to rach other. Here is a symbol of the age-old confi the opposites. good and evil, wisdom and folly, et
a question which has occupied thinkers of all time let an Archway is something more than two sides rposition. It is something of still splendour and poise majesty. It is with the fuller application of this then
that the play mainly deals.

Ab Intra cast list infoAb Intra cast list info, text:
														The Ab-atra Studio
Christmas Production
Night af Pulfilment,
(a) The Crow of st. Felice
Kester Baruch
St. Felice
Thelma Thomas
The Youth
Max Afford
The Widow
Mrs, J.R. Helpman
P. Sladen Smith
The Maiden
Judith Vanzullicom
The Bishop
H. B. Aldridge
The Jeweler Michael Arno
Paogy Bravn
Heaven and earth as suggested by an eazly missal painting
Will Members please retire to the lounge, where Sley may smoke and where an aced drink of sorts wihce
Do not smoke during the programme.
(b) The Second Powneley Shepherds
(about 14th. Century)
Kent Williams
Alan Harkness
Arthur Sheard
Tris Thomas
90k 30198
G. Morrell In Medieval Englati, the aifferent guklds gave religious plays at
the church festivals.
Thus the water farriers presented with
Fred conn sonnely Shepherd Play was given.
of Noah and the Deluge.
Play was given by the shepherds of the
Norti Country.
As a revelation of morals and manners, it stands
out as a masuer plece
of its time, end it is interesting to note
that it 19 the earliest known example of a farcical sub-plot.
(0) Night of Fulfilment
Kester Baruch
Phyllis Drummond
The Shepherd
Kester Baruch
Alan Harkness
Three Princes:---Jack Thomas
Robert Brewster Jones and John
Baker respectively.
"Her trouble 1s in the very caress of the mysterious child, whose
gaze is always far from ner.
water taser
(a) Tao Poems of Fulfilment
J. Krishnamurti
Interpreted by Alan Harkness
(e) The Flight into Egypt
Thornton Wilder
Mrs. J.R.Helpman
Judes, Egypt and The Inn.
Phyllis Drummond
Kester Baruch
Stage Manager, Robert Brewster Jones;
Electrician, Fred. Hall. Assist. Stage,Manager Mtchael
The Studio 1s indebted to A,G. Healing Ltd. for the loan of a Golden Voice reproducer, and to those
who have assisted with the preparations, notably Mrs. Mellis Napier
for her supervasion of the cos cumesa
"The Night of Fulfilment" terminates the first half of The
Ab-intra Studio Season.
Visitors who feel they would like to mäter-
ially encourage our experiments, may become members fof the remainder
0gone seasons
or avail themseives of the Donation Box
15, 21,32,23,24,25,26

Ab Intra cast list info, text:
The Asiatra
A Kerry Death
Pierrot frank bailey
The Doctor
Alan Harkness
Death Joanne Priest Keater Baruch
Thelma Thones
A New Minutes about Ivrdinor and Strindbers
Alan linrkness
(o) Tho Stranzar.
1188 Y
Ira Thomas
Mrs. X, Thelma Thomas
Coffee serred in Lounge
(a) Dha Man ith A Blaner in Ha Henth
The Man
Alan Harkness
The Quetoner Kester Baruch
A Yew Minutes about Pirandello and Susan Ulaspell
Kester Barker
Shaan. Glaanell.
Sunrassad Daatras
Iris Thomas
Thelem "homas
Alan Barkness
The Muaso for A Merry Death was espeolally witten by David
Assisting him in the portormanes are Arthur Brewster Jones and Gordon Bowen (Musioinne.) and Jean Illinsworth and
Marjorie Hartley (Vocalists.
Sound effecto for others plays.
mupplled by Mrs. W,7, Salth
Perkine and Fred Weeks.
Stage Manegers:--- M, I. Brown und d
Phoaas, sasioted by May
As the Siritenboards-=-John Baker Thanka to all who have helped ue and spoolati
hapman of Allans, Mra, Hussell Booth,
• Wood.
Sept. 28, Oot. 1. 3, 3,6,7,8 (1933).

Reviews 1932

Town Topics, text:
														TOWN TOPICS, July 8, 1932 THIS week saw the opening programme of Adelaide's interesting theatre
movement, the Ab-Intra Studio. Much of the programme was devoted
to allied arts, poctry holdings large place.
bme even in this here was a clever presentation oftwo poems in a definitely Thestrical manner, the
lines being spoken to the accompaniment of a silliottette actio. In "The Tragedy of K* a poem by wester Baruch, the setting and stylised acting added considerably to the effect of the poem itsell, and the
result was an interesung experiment in preschasion,
was followed in
"alre damb-show stihouette licite most impressive.
The main production of the evening was Gordon Bomonless
Bottomley is a little-anown kagisk.drantanist. who incines to
ideas which arossomosohatmorthodox.
"The Sisters*
was cortsiny went
conceived, but my own men is that the dramatic form was not quite suited
I do not mean to surgest that it did not liceced. das mierely that anoller fong--maybe prose or sprosc-poetry..
wontOnove-succecuedbetter. But the acting of it by Phyllis Neummond and Thelma Thomas was
entirely satisfactory, Widin both phrasing and gesture these two young Indies performed this difficult play in a very brillient manner. Miss Thomas
in particular, carried her part through with a depth and intensity which
were remarkable
So many of our younger people are too mclinco
play"a part. thereby fating when they meet a role
must sane
Thomas acted admirably, and the able assistance from Miss Drummond gave
not have had.
"The Sisters" an air of reaity which it otherwise would
@amed 39n
Wughen phyf 440
Abintra Club Night
- 7932
A CARTICULEIY interesting series of productions constituted the Club night performance of the Ab-Intra Studio this week. The open-
ing presentation was "The Stained Glass Window,'
-postures arranged by Robert Helpian, the well-known
delaide dancer.
was performed by Mr. Helpman and Miss Thelma Thomas, and its performance was aided considerable bu the costuming and
artistic lighting. This was followed by three little Thornton Wider plays, produced by
Iris Thomas,
"Vascuntur Poctae.* "The Penny That Beauty Spent and
"The Sea Shall Give Up Its Dead."
These were performed with an in- fensity which carried every fraction of the spirit behind them, the cassan pearing being Alan Harkness, Iris Thomas, Phyllis Drummond: Lorna Dawson, Jack Thomas, and Leon Fay; and Phyllis Drummond, Jack
Thomas and Anthony Young.
Another interesting feature was Robert Helpman's short play.
War Is Over."
This is a tense little scene set in a trench during the war. and sir.orciminan has never before bcenseen in adelaidecm
embas proved that he sa good an actor as he has Alan Harkness delivered a particularly strom little salk on the aims of the Ab-Intra Thcatre in stage production, and this was followed by
afiother production by lris. Thomas.
óne adDay wenethe actress every opportunity or diever acumsaana spersonalion, this was very capably performed by
Iris Thomas, Anthony Young.
Tie dramatisation of a poci,
Aspen Tree,'
followed as the
Acted by Thelma
Robert Helpman, and Alan Harkness,
i was very diverse in both aresenta.
hot and acting
The programane will be presented
Into Ezypt UThornton
GOno by MYs.
Sunday night and the booking
Phyllis Drummond
restor Baruch
members is at John
worth Terraco
Town topics 3014|32, tirms, was seated on the ass.
siban, whose conversation with.
head of the ass was a wonderful bit
but not entirely true to life,
maconseen extression
Motoring home alon
GArmEnas mornintzone
Deem prcsontoRt
At The Ab-Intra Stadio
It was most unusual. P dis. tinctly intriguing to start off at the hour one usually retires to rest, for a midnight performance
at The Ab-Intro Studio on Christ.
mass eve.
But the yuletide pro- duction of these clever young people tho run the studio
well worth keeping awake for
Conkessing that
not predict where thesandosten in
DiAoe SI
live in
delightful present minions the lesses of ancodebook
with vellum pages andSanding on ener
the avenum
ahtrully prevlous stuft.
unaris not so
someone sald.
that che
The odd thing la
no nura Diayers have gone
Dack to the pascewhere simolicity
world stare atmosonere
anting off he moss subtle and modera
14th Century Play
Secondl Townley Shep-
14th century)
played by
wifted one right out
into an
Binglish setting, "The dialect of the
con (Kent willams), dib
to tOllow but that crowd
cleverness of it,
Eave a vivid plece of
Morrell as the
Git epiondor m aconic o giver
mellow blue robe and at
Tense savor
the back cape of grey and
mou gold wings
ny cetain
www have been length, finished this won-
costume, But the
on the
Macontoe потн
his produetion
knownorahis leading
Harkness), three
Brew- Jones and John Baker,
Charmingly Done The Orown of St. Felice (F. Saden'
Smith) was a delight.
as suggestel by an
Arty misca
Baruch looking hair and beard and wearing a
ibis saint an gonderful make-up,
winegrey and line yellow.
Thomas in a gown
much he same
This dashions were difforont
wey cameo sessientnines andOres.co
wonder us
Peter--because "he was
And baturaby, at Jastia the cast were the Youth (Max Afford).
tae. Widow (rs. J. M. Hel
the Ain Harkness wearing з carony
stilly yellow cloth
accurano match. cave two Poems o
mishnamurdo vera boats

Review - Strindberg, Chekhov, Dante Gabriel Rossetti
Strindberg/Pirandello, text:
														Ab Intra Studio
Performance The first performance of members of the Abintra Studio was presented last
night and scored a distinct success. The programme consisted of a collec- tion of the best plays the Studio has done with the addition of a Russian
"The Bear"
(Tcherkov), a farce
done in the Russian "grand
manner" with vodka, pistols, and vivid tempers convincingly played by, Iris Thomas,
Alan Harkness, and Kester Baruch.
In Strindberg's unusual play
Dobson played
the role of the woman
who talked all the time, and Iris Thomas
that of the woman who said nothing. They presented It with a skill above
the average amateur performance Pirandella's The Man With a Flower in His Mouth," gave scope for a finely restrained dramatic performance by
Alan Harkness, with
Kester Baruch
effectively playing the listener.
These two talented young players also ap.
peared in.
"The Demon's
Japanese farce.
Delightful was the presentation of "Sister Helen" by Dante Gabriel Ros- setti, in which the players were all women_-Iris Thomas, Marjorie Fran- cis, Peggy Brown, Janet Cleland, and Lorraine Angus- -who gave a striking
Thornton Wilder's "The Flight Into Egypt," done by Agnes Dobson, Lucy willoughby, and Kester Baruch, was
excellently played. The staging and lighting effects were something quite out of the ordinary and added greatly to the effectiveness
of the whole. The performances will be given again tonight, on Saturday, and
Christmas night.

Review: Jacques Copeau play

Jacques Copeau play review

Ab Intra - Farewell Performance
Ab Intra Farewell Performance, text:
At "St. Corantyn" An extremely successful meeting was held in the banqueting room at the Town Hall on Tuesday, convened by Mrs. J. Lavington Bonython, to discuss arrangements for the farewell performances of The Ab Intra studio and its founders, Messrs. Alan Harkness and Kesten Baruch, for which Mrs. Bonython has lent her dance room at "St. Corantyn," East ter-
race, for March Ist and 2nd. So much enthusiasm was evinced at the meeting by members present that all tickets for the two perfor- mances were sold out, and it is likely
other performances will follow on.
The object of these norforman
2 farOWCiA and Kester Baruch, who are planning to leave for England in March, to gain experience in acting and stage produc-
Present Plans They will leave by an Italan ship, disembark at Crenod, and on bicycles make for France; follow the course of the Rhone, have a look at Paris, go
to Havre and land at Southampton. They hope then to get some experience at the Dartington school at Totness in Devonshire, under Kurt Joold, who has been highly written of by Jacques
Copeau in Paris.
This is what they are aiming at, but, of course, is liable
to alteration. Mrs. Bonython addressed the meet- ing, and touched on the fact that these exceptionally brilliant young
men" needed a wider experience,
"Ade- laide being a back-water in theatrical affairs. There is nothing here to learn
from." Alan Harkness followed on and out- lined their plans as far as they knew
them at present.
Practical Gratitude
Mrs. Charles Todd, one of their practical and sympathetic supporters,
asked to speak by
Mrs. Bonython,
sald she was glad to do
I sO.
She said, "We owe these young artists a great
debt of gratitude for what they?
With little in the way of any professional performances to attend in Adelaide, they have given us some;
thing very good
Their perfoirmance of
Sullvan and the Eagle stands alone. In London I saw Martine with Vic- toria Hopper giving a beautiful per- formance, but Martine, as done by The Ab Intra Studio, compares most fav-
orably. I hope we will make this farewell benefit a great success, this
is the best form of gratitude.
Todd suggested that people should be asked to contribute curios,
something quaint or interesting. to
be sold at the petrormances.
Among them will be the masks made by Alan
Harkness and used in their plays.
Curios, Sc.
can be sent to Mrs.
Lavington Bonython,
East terrace, or to Mrs. Oharles Todd,
118. Park terrace, Wayville. The plays to be given at these per-
"Suilvan and the which includes in the cast Alan Harkness, Kester Baruch, David
Dawson. Iris Thomas,
wick. The cast for
The Mists." about
seven Of eight, is not yet settled.
The second play
called uThe Curlous Herbal," and is like a dainty from the repertoire of the Green- leaf players in London, and the scene set in front of a hawthorn tree. The players will be Alan Harkness, Kester Baruch, and Brenda Kekwick, The whole thing should be a delight-
ful evening's entertainment.
If the
warm there is
Mrs. Bonython's charming garden to wan-
der in during the interval,
WELL, at last it seems as if Alan Harkness and Kester Baruch are on the move towards fresh flelds
and new faces.
You know, they have been threatening to leave us ever since they Arrived, so their projected depar- ture is not exnctly a shock, and we are bravely bearing up to losing two very nice lads whose sheer existence
appears to be art for arl's sake. Mrs.
Lay. Bonython has
Bigays been frightfully Interested In their work, as you know, and she certainly put it to practical use when she loaned her ball- room to Kester and Alan to put their final Ab Intra performance, The plays were frightfully highbrow, as you can guess. but apart from that they
were, oh, go.
VERY social, for
knowing Mrs. the
Lay. stipulated that ad- mission to the tow do's was by sub- scription, and sub- scriptions were not to be less than a mere five bob, and knowing the social
aspirations. of our folk, you calcastess That the lads played crowded houses all
three nights.
for entree to St. Coran-
tyns is well worth nice donation,
The Lost Poet
He was born to stir the spirit of his race
to tears and langhter. He was born to be the writer and the
singer of his age,
For he had the gift in keeping. and the
generations after Should have held his name, the
Deathless, as a glorious heritage. His the gift of Dream and Wonder, his
to see with clearer vision, Through the old pretence and fashion to the heart of Hidden Things, But his people stood before him, and
they marred the gift's fruition As they spoke to him of madness,
that such dreaming ever brings. They had words to crush the yearning of the high, ambitious spirits, And they held this spirit downward as
it struggled to the light.
And they whispered to each other, wris
the madness he inherits From the father and the mother; let
us suide his steps aright!" Then he woke as if from slumber, but the starry path was hidden, And the spirit world was shrouded,
and he sought its light in vain.
And the gift of song went from him. as
it came to him unbidden, He had turned to meaner worship, and
he might not sing aeain
So he wandered forth, a rover, and the
dark and silent spaces
Never knew the sound of singing, by
its magic lay uncrossed; But the wrong went ap to Heaven, and the angels bowed their faces, And the stars were veiled and hidden,
for the poet that was lost.
-Nellie A. Evans.

Departure for England

En route to London, text: 
														A Traveller's Diary
Tells About Italy
1935 The many friends of Kester Baruch and Alan Harkness, founders of the Ab Intra studio, the performances of which have been sadly missed during the winter season, will be interested to read the follow. ing extracts from Kester Baruch's diary taking in the earlier part of
their travels. They are now in London.
After leaving Adelaide, nothing very peal to them at all.
Some of them eventful happened until we reached
triumphantly brandished Australian
Hours before the city itself passports, because they had become
was in sight, we were delighted with
naturalised Australians
the pale green of the water, and the
No Clear Idea native ships, with their one tall mast
and big sail, that dotted the sea on all
It was difficult both then and later, to
get any idea of what the average Italian But when we actually arrived in thought Mussolini's
Colombo itself and stepped out on the
objective was in
From several sources we quay there, our breath was taken away gathered that many regarded it as a by the bursts of color and the theatri-
cality of the tropical setting.
Buddhist vast colonisation scheme, and chat as
well as sending men to
Abyssinia, priests, walking in groups of twos and number of women were also being sent.
three, draped in saffron, and carrying.
Through the Red
Sea, ships.
with great saffron umbrellas to match. Men troops were passing us constantly. and and boys, naked and bronze to the waist, our own ship was to be commissioned and then tightly swathed downwards for that purpose, immediately
in silks of purple and tomato, the two riving in Genoa.
On aT-
colors being used together, and many closely to Soyasinia Itsels, pass judging
other beautiful color effects.
by what we could see from the dick,
was the kind of
Bad News
place where cer-
tainly no one would ever want to live Not long after leaving Colombo, news great nude maintains, scorched and was recelved aboard that Italy had de- brown, looking as if no rain had fallen
clared war on Abyssinia.
The effect on
our Italian ship was electric.
The on them since the Red Sea had gone
back to let Moses pass through. Italian passengers were called together,
and the captain addressed them. What
A Hive Of Industry Do said of course we do not know; but I heard that one dear old lady who was
Next came Italy Itself- -a hive of in-
to Italy alter spending many dustry,, re-organisation, officialism, and years in Austrelia, fainted, because she everywhere showing signs of
had lost two sons in the last
speed progress--roads
Various Italians on the boat immedi-
and bridges,
railways, viaducts,
electric considered the prospect of re- schemes, everywhere were in the pro-
turning to Australia.
their opinion, cess of being made, and one could not there was no place as good as Aus-
tralia! They were only reining to help admiring the terrific energy be-
ing devoted to these things.
Italy to visit their old parents as to get
where also was the picture of Musso- wives, and the idea of being snapped lini, even in the little villages, and
up on arrival for Abyssinia did not ay.
there is no doubt that he permeates
the warp and woof of everything
Italian today. In many ways, foreigners in Italy can be grateful to Mussolini, Under his regime, every albergo inn or hos- tel) has affixed to the doors of the in- dividual rooms, how much customers. are to be charged, and how many people are to be accommodated in that room. There is a tendency among some Italian landlords. hotel proprietors, &c., to take all kinds of mean advan- tages of the foreign visitors, but Mus-
solini, realising
tourists are great asset to Italy, has put a stop to
a great deal of that
Over The Mountains On leaving Genoa we walked the first few miles instead of biking as we intended, because the traffic was so
We had to keep to the right
instead of the left, as in Australia. On we went, up steep roads that lead through those mountains surrounding Genoa, until at nightfall we came to a part that reminded us of a painted
backdrop in a theatre.
There were
handsome villas, with
"wedding cake"
Romeo and Juliet balconies, all painted on in perspective. We have since come to the conclusion that that
is typical of a good deal in Italy.

Chosen by Chekov, text:
														Chosen by Chekhov_ The many mem- bers who so loyally supported Kester Baruch and Alan Harkness in their ideal of the Ab-intra Studio, will be delighted to hear that these two clever Adelaide young men have been chosen by Michael Chekhoy to join the group he intends to train for three years at the Chekhov Theatre Studio, and then bring them before the world, backed by the seemingly unlimited resources of the marvellous Dartington Hall Estate in Totness, Devon, England. Michael Chekhov, a nephew of the great drama. tist, Anton Chekhov, is considered by
many to be one of the greatest lights
come out of Russia.
He received his training under Stanislovsky, of the Moscow Art Theatre, and later filled a very important administrative position
in the history of that famous theatre. His school is one that is being trained in an ethical background, and in pure technique, as in the time of the Greeks He works in the way that Kester Baruch and Alan Harkness felt was the only way when they called their studio Ab.
Chekhov works from within. and in his training makes it clear that the externalising that an actor is called upon to do is inseparable from an in- ner attitude, that is, if it is to be crea-
tive and convincing. Two Australians. Needless to say Kester Baruch and Alan Harkness felt it an unique honor to be the only two Australians to be chosen by Chekhov to work in his studio, There are one New Zealander, one or two Canadians, one German, one Norwegian, several Ame. ricans. and among the men only two Englishmen. Before being selected they had to undergo a test lasting over four
hours. Fortunately, they found some of the things they had to do quite easy. because of their own experiments in the same direction, and also because
of the work they did with Heather Gell. They are now in surroundings of sheer beauty; their studios and their bed. rooms opening on to wonderful gar-
dens, are beautiful.
Even so are the food and the manner in which it is served. Chekhov tells them that they must neved forget for one moment that they are artists, that they are young, strong and beautiful. They may not be so outside. but that is not nearly so important as being so inside, and that must be their attitude to all they do even the simplest things, such as shifting a chair, drawing the curtains,
or closing a door.
All must be done

Working with Chekhov, text: 
варимі дояртв
Up hoo-2/ 1936
At Chekhov's Studio Writing from the Chek- hov Theatre Studio, Ren-
worth House, Totness, Devon, England, Kester Baruch sends news that one feels sure will be much en- joyed by all members of the Ab-Intra studio which he
and Alan Harkness created. The letter begins with a trip to Vienna because, as he explains:-"I
haye just returned
strometere while writing this am going back in my mind to the glorious sunny days I had in that charming city. I knew that on October 2 I was to come down here to work with Chekhov. and so de- cided to leave "Lady Precious Stream"
a little earlier than was actually neces- salv and have an interlude of
in Austria's famous The feeling the train hurried across Germany was one of tension. at
least so it seemed to most British folk.
changed suddenly as the train crossed the border. The Austrian countryside was smiling and jovous. In the fields men. stripped to the waist
and golden brown with the sun.
were bending over their work, and with them
were women and girls in gay beasant
comes simiorw
Danube Not Blue
The Danube, a narrow.
stream at this point. scurried
giona between cliffs and boulders. and as we drew nearer we sighted it several times again, and I remarked that. though it
was now wider, it was still not blue! Despite the bad times that Vienna has gone through. and despite the pre- sent uncertainty in regard to trade and commerce. Vienna strikes ones as still
being a happy, smiling city.
There is much leisure for certan people. ways few
and little make.up.
beggars, tasteful dressing.
From the cares
filled with people sitting idly in
sun reading the newspapers. the
drift mixed odors of coffee, cigars. foods sea-
soned with garlic, and wonderful cakes. When I, too. had sat for hours in a
cafe. or wandered the streets. or sat basking in the sun in one of the many beautifully kept gardens. I would return quiet cream and white room in
which somehow was nearly always faintly fragrant with
could only surmise that the hausfrau had a penchant for
baked apples.
Air Raid Practice Time went all too quickly, and the day of my departure was at hand. That
night, as
train again hurried across Germany. we travelled in com-
piete darkness.
An order had been issued that all lights were to be tinguished, all the curtains to the win.
cows arawa.
I. who had not seen a
nevspaper for several days.
was some.
drawn from all corners of the world- what perturbed and wondered
could have happened.
Had all the
two Australlans (Kester and Alan),
and excitement at last
Zealander, one or two Canadians,
one German, one Norwegian, several
Was Germany at war with
Americans, and among the men only
But no.
it was merely air two Englishmen. raid practise and the evil day that
everybody dreaded had not arrived.
Surrounded By Beauty
Interesting, and most satisfactory to
So there they are embarked on. a all those who loyally supported career that may make history in the
Kester Baruch and Alan Harkness and world of the theatre.
Kester writes.
their Ab Intra Studio will be the news
"We are surrounded by beauty, work- that they have been selected out
many applicants to be two of a com- ing in beautiful studios, sleepingin
beautiful rooms, opening on to beauti- pany that Chekhov intends to train for ful gardens, fed with beautiful food
three years and then bring them
served in a beautiful manner. Chekhov
fore the public, backed by the seemingly
SaYS that while we are here we must unlimited financial resources of the
marvellous Dartington Hall Estate
not forget for one moment that we are
Totness. Devon. artists, that we are young, strong, and
We may not be so outside,
The Inner Attitude
but that is not nearly so important as
Chekhov works in
Delhe SO
the way that
inside. for that must beour
Kester Baruch and Alan Harkness felt
attitude to all we do even the simplest
was the only way when they
thing. such as shifting a chair, draw-
named ing the curtains, or even closing the their studio Ab-intra. He works from door.
the within and in his training makes
"Needless to say." says Kester
it clear that all the
an actor is called upon to do
on to a dong that
and I feel uniquely honored to be the
separable from an Inner attitude, that
two Australians selected from the many
if it is to be creative and convincing. form the initial group, which will,
it all goes well, make
The persons in the groun have been tory. theatrical his-

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