The International Weekly Miscellany, Volume I. No. 8 | Page 5

That fact is that out of Paris the ballet is nowhere so splendid as in the great theater at Warsaw, not even at St. Petersburg, for the reason that the Russian is inferior to the Pole in physical beauty and grace. Heretofore the corps of the St. Petersburg ballet has twice been composed of Poles, but this arrangement has been abandoned as derogatory to the national honor. The sensual attractions of the ballet render it the most important thing in the theater. A great school for dancers has been established, where pupils may be found from three to eighteen years old. It is painful to see the little creatures, hardly weaned from their mothers' breasts--twisted and tortured for the purposes of so doubtful an occupation as dancing. The school contains about two hundred pupils, all of whom occasionally appear together on the boards, in the ballet of Charis and Flora, for instance, when they receive a trifling compensation. For the rest the whole ballet corps are bound to daily practice.
The taste of the Russians has made prominent in the ballet exactly those peculiarities which are least to its credit. It must be pronounced exaggerated and lascivious. Aside from these faults, which may be overlooked as the custom of the country, we must admit that the dancing is uncommonly good.
The greater the care of the management for the ballet, the more injurious is its treatment of the drama. This is melancholy for the artists and especially those who have come to the imperial theater from the provinces, who are truly respectable and are equally good in comedy and tragedy. The former has been less shackled than the latter for the reason that it turns upon domestic life. But tragedy is most frightfully treated by the political censorship, so that a Polish poet can hardly expect to see his pieces performed on the stage of his native country. Hundreds of words and phrases such as freedom, avenging sword, slave, oppression, father-land, cannot be permitted and are stricken out. Accordingly nothing but the trumpery of mere penny-a-liners is brought forward, though this sometimes assumes an appearance of originality. These abortions remain on the stage only through the talent of the artists, the habit of the public to expect nothing beyond dullness and stupidity in the drama, and finally, the severe regulation which forbids any mark of disapprobation under pain of imprisonment. The best plays are translated from the French, but they are never the best of their kind. To please the Russians only those founded on civic life are chosen, and historical subjects are excluded. Princely personages are not allowed to be introduced on the stage, nor even high officers of state, such as ministers and generals. In former times the Emperor of China was once allowed to pass, but more recently the Bey of Tunis was struck out and converted into an African nobleman. A tragedy is inadmissible in any case, and should one be found with nothing objectionable but its name, it is called drama.
In such circumstances we would suppose that the actors would lose all interest in their profession. But this is not the case. At least the cultivated portion of the public at Warsaw never go to the theater to see a poetic work of art, but only to see and enjoy the skill of the performers. Of course there is no such thing as theatrical criticism at Warsaw; but everybody rejoices when the actors succeed in causing the wretchedness of the piece to be forgotten. The universal regret for the wretched little theater on the Krasinski place, where Suczkowska, afterward Mad. Halpert, founded her reputation in the character of the Maid of Orleans, is the best criticism on the present state of the drama.
The Russians take great delight in the most trivial pieces. Even Prince Paskiewich sometimes stays till the close of the last act. To judge by the direction of his opera-glass, which is never out of his hand, he has the fortune to discover poetry elsewhere than on the stage. In truth the Warsaw boxes are adorned by beautiful faces. Even the young princess Jablonowska is not the most lovely.
The arrangements of the Warsaw theaters are exactly like those of the Russian theater at St. Petersburg, but almost without exception, the pupils of the dramatic school, of whom seventeen have come upon the boards, have proved mere journeymen, and have been crowded aside by performers from the provincial cities. None of the eminent artists of late years have enjoyed the advantages of the school. The position of the actors at Warsaw is just the same as at St. Petersburg. The day after their first appearance they are regularly taken into duty as imperial officials, take an oath never to meddle with political affairs, nor join in