In modern psychological dramas, where the subtlest movements of the soul are to be reflected on the face rather than by gestures and noise, it would probably be well to experiment with strong sidelight on a small stage, and with unpainted faces, or at least with a minimum of make-up.
If, in addition, we might escape the visible orchestra, with its disturbing lamps and its faces turned toward the public; if we could have the seats on the main floor (the orchestra or the pit) raised so that the eyes of the spectators would be above the knees of the actors; if we could get rid of the boxes with their tittering parties of diners; if we could also have the auditorium completely darkened during the performance; and if, first and last, we could have a small stage and a small house: then a new dramatic art might rise, and the theatre might at least become an institution for the entertainment of people with culture.
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