13 The Leagues Program, A Community Drama Program, The League 1919-1920, Three Points for 2223 28 24 26 THE DRAMA A MONTHLY REVIEW. Editor, THEODORE BALLOU HINCKLEY Published monthly and copyrighted in the United States of America by The Drama League of America, Headquarters Riggs Building, Washington, YEARLY SUBSCRIPTION, TWO DOLLARS IN ADVANCE All matter for publication should be sent to 306 Riggs Building, Washington, D. C. W EDITORIAL ITH this number THE DRAMA becomes a monthly of radically different format from that of the quarterly. This departure has not been effected by the editors without regret which they know will be shared by the many subscribers who have come to feel that the quarterly occupies a unique position in their reading. However, the step has long been in contemplation. Three years ago almost completed plans for a similar monthly were disrupted by the war. The reasons for the change are sound. Too much valuable material and effort have been confined to what in the magazine world is considered a small circulation. A larger sale of a quarterly at seventy-five cents cannot be counted on; the general public is unwilling, even if it is able, to pay so high a price for a magazine, no matter what it contains; and the infrequency of appearance of a quarterly withholds it from intimate association with one's routine-during the three months between numbers the subscriber so far forgets the magazine that its advent is a surprise. The great reason for the change is, however, the persistent need of a monthly magazine within the reach of all, a magazine which will sincerely and attractively cover the great mass of drama material with which almost everyone in the country has some connection. THE DRAMA is now, therefore, a monthly magazine published at two dollars a year and twenty-five cents a copy. A new board of editors, each of whom represents the highest achievement in a specific field of drama endeavor, especially those who are actually working in the theatre, is being enlisted. The aims of the magazine are, more specifically: 1. To publish articles of a serious, highly interpretative nature as is now done, but to select only those of a style more brief, crisp and popular than that pervading the somewhat academic quarterly; 2. To illustrate the magazine widely with pictures of really significant costumes, settings, theatre buildings, and stages; 3. While in no way decreasing the publication of great foreign plays, and of criticism of developments in foreign drama centers, to give emphasis to new movements, new plays, and new artists in America, not only in New York, but in Chicago, the south, and the far west, where so much great work that seldom receives wide attention or credit is being carried on; 4. To establish special departments to meet the needs of women's clubs, schools, amateur and little theatre groups, pageant and festival producers, and public recreational institutions; 5. To make the magazine an authoritative drama review for all workers in the theatre as well as for the laity; 6. To establish a definite department devoted to the activities of the Drama League of America with professional writers covering the field of each major league activity in brief articles of general interest. The Playgoing Department will review the drama season in each center in the United States and will contribute discussions of the policies of managers in their choice of plays, and of their service to the smaller towns and the like. The Organization Department will cover such significant developments in the fifty or more centers of the League as the building of hero memorial theatres, or the establishment of art theatres. The Education Department will contribute articles on the many interesting phases of dramatic activity in the schools, the women's clubs, the factories, the libraries, and among children. While receiving the full aid of The Drama League of America, the new DRAMA is in no way a mere League organ. It is a magazine devoted to all the interests of the theatre. It will emphasize the good points of the professional theatre because that is where the great public gets its dramatic experience, but it will also give space to the valuable experiments of the little theatres and amateur groups, and will aid every effort to promote the study of drama or to make it in the hearts of the entire public our greatest recreational art. * |