" THE BOLSHEVIK THEATRE."
[To the Editor of the SPECTATOR.] SIR,—As the review by "Tarn" of my book, The New Theatre and Cinema of Soviet Russia, contains two passages which misrepresent what I have in my mind and what I have done with regard to Soviet Russia and its new theatre, and which may, therefore, be harmful to me and my book, I trust you will find space for the following correction. The two passages are as follows :—(1) " He " (Mr. Carter), " of course, will never willingly speak ill of anything Communist." (2) " Par- tisan though his enthusiasm " (for the Russian theatre) " partly is in origin."
The first suggests that I am a Communist, and moreover an unreasoning one inasmuch as I am willing to approve even the worst excesses of Communist policy. The second suggests that I am biassed in favour of a party (presumably the Communist Party). Both suggestions are positively incorrect. Russian Communism is bound up with politics. I have nothing to do with politics, Communistic or other. I detest present-day politics as Satan is said to detest Resur- rection pie. Hence I do not advocate political policy, neither does my book. This is fully borne out -by the following extract from the New Statesman review of my book. Says the reviewer,- " One cannot help admiring the detached way in which. Mr. Carter throughout the whole book has avoided the least political prejudice." Again, a reviewer remarks in a Moscow " Left Front " paper that, " Iluntly Carter's book is characterized by very great impartiality." If I were biassed in favour of Communism this Moscow paper would have reason and freedom to say so.
I may say that my sole object in writing the book was to record a remarkable experiment in modern theatre-making,
and to reproduce as nearly as possible the atmosphere (to use a theatrical term) of this undertaking. " Tam " has had the advantage, which I fear other English critics do not share, of seeing one section, the Moscow Kamerny Theatre, of the new Russian theatre at work. It may be owing to this fact that she expresses certain opinions with which I
fully agree. I think that the theatrical renaissance in Russia is a religious one, that is, using religion in the sense of faith.
The change of industrial and social life has bred a faith in the people which is of equal value to the theatre to that of the democratic faith of the early Greeks and the patriotic faith of the Elizabethans. Out of the present faith will come " the motive force for a great dramatic movement " (to quote " Tarn ") for which the theatres of the Western Worlp are waiting. I do not say it is a faith "in the ideals of Com- munism." In my experience it is doubtful whether the Russian workers know what " the ideals of Communism " suffered in subjection see some glimmerings of light, some teachings from the release from restraint that has come to them.
In Russia as in certain other countries the development of electrical power is going to have a powerful effect in changing the conditions of life and of men's outlook. The Russian industrial workers are aware of this. They are already glanc- ing towards the great electrical empires. They have been taught to believe that Power is the road that leads to emanci- pation, and that in Russia reconstructed on a Power basis they shall find their paradise. And they conceive of the theatre, which they take as seriously as they take their daily food, as the temple in which they may see themselves dramatically unfolding under the touch of the new Power. Probably the function of the theatre is to exhibit man bound and unbound. At any rate the theatre of each great dramatic age has had its liberation motive. To-day the motive is contained in the mastery of the forces which are revolutionizing the economic condition of the world. World Power and World Trade are the modem liberators.—I am, Sir, &c.,
HuicrLy CARTER.
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