The color
was lacking, the real depth of the objective stage was missing, and
above all the spoken word had been silenced. The few interspersed
descriptive texts, the so-called "leaders," had to hint at that which
in the real drama the speeches of the actors explain and elaborate. It
was thus surely only the shadow of a true theater, different not only as
a photograph is compared with a painting, but different as a photograph
is compared with the original man. And yet, however meager and
shadowlike the moving picture play appeared compared with the
performance of living actors, the advantage of the cheap multiplication
was so great that the ambition of the producers was natural, to go
forward from the little playlets to great dramas which held the
attention for hours. The kinematographic theater soon had its
Shakespeare repertoire; Ibsen has been played and the dramatized novels
on the screen became legion. Victor Hugo and Dickens scored new
triumphs. In a few years the way from the silly trite practical joke to
Hamlet and Peer Gynt was covered with such thoroughness that the
possibility of giving a photographic rendering of any thinkable theater
performance was proven for all time.
But while this movement to reproduce stage performances went on,
elements were superadded which the technique of the camera allowed but
which would hardly be possible in a theater.
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