100 The International jew

everything has been deliberately and systematically squeezed out of the

American Theater except its most undesirable elements, a~d these

undesirable elements have been exalted to the highest place of all. The

Great Age of the American Theater is past, the Great Actors have passed,

and they have left no successors . A Hebrew hand fell on the stage, and

the natural genius of the stage was not welcome. A new form of worship

was to be established.

"Shakespeare spells ruin,"" was the utterance of a Jewish manager.

"High-brow stuff" (meaning anything not salacious) is also a Jewish

expression. These iwo sayings, one appealing to the managerial end, the

other to the public end of the Theater, have formed the epitaph of the

classic era.

The present-day average intelligence appealed to in the Theater does

not rise above 13 to 18 years. "The tired business man" stuff (another

Jewish expression) has treate~ the theater-going public as if it were

composed of morons. The appeal is frankly to a juvenile type of mind

which . can easily be molded ·to the ideas of $e Hebraic theatrical

monopoly. . '

Clean, · wholesome, constructive plays-the .few that remairi-are

supported mainly by the .rapidly vanishing race of theate~ goers who

survive from an earlier day, and by those younger people whose minds

have been shielded by these survivors from the contamination of the

Jewish theater.

The great majority of the present generation has been educated to

support plays of an entirely different type. Tragedy is taboo; the play of

character, with a deeper significance than woul,d delight the mind of a

child, is out of favor; the comic opera has degenerated into a flash of

color and m.ovement-a combination of salacious farce and jazz music,

supplied by a Jewish songwriter (the great purveyors of jazz) and the rage

is for extravaganza and burlesque. The bedro'om farce has been exalted

into the first place, the historical drama has giveri way to fleshly

spectaCles set off with overpowering scenic effects, the principal

component of which is an army of girls whose drapery does' not ~xceed

five ounces in weight.

Frivolity, sensuality, indecency, appalling illiteracy arid endless

platitude a~ the marks of the degenerate American Theater u~der Jewish

control.

Jewish Supremacy in the Theater and Cinema 101

That, of course, is the real beginning of all the "Little Theater"

movements which have begun in so many cities and towns in the United

States. The art of the drama, having been driven out of the theater by the

Jews, is finding a home in thousands of study circles throughout the

country. The people cannot see real plays; therefore, they read them. The

plays that are acted could not be read at all, for the mo st part, any more

than the words of the jazz songs can be read; they don't mean anything.

The people who want to see real plays and cannot, because Jewish

managers won't produce them, are forming little dramatic clubs of their

own, in barns and churches and schools. The drama fled from exploiters

and has found a home with its friends.

MECHANICS AND FAKE "STARS"

The major changes which tl;e Jews have made in the theater are four

in number. Frrst, they have elaborated the mechanical side, making

human talent and genius less necessary. They have made the stage

realistic instead of interpretative. Great actors needed very little

machinery; the men and women on the payrolls of the Jewish managers

are helpless without machinery. The outstanding fact about the v~st

majority of present day performances of any pretension is that the

mechanical part dwarfs and obscures the acting; and this is the

reason-knowing that the Jewish policy is death to talent, the Jewish

producer prefers to put his faith and his money in wood, canvas, paint,

cloth and tinsel. Wood and paint never show contempt for his sordid

ideals and his betrayal of his trust. Thus we have in the theater today

dazzling effects of lights and motion-but no ideas. A great many stage

employees, but no actors, drills and dances without end, but no drama.

The Jew has put in the glitter but he has taken out the profounder ideas.

Second, the Jews have introduced Oriental sensuality to the stage.

The mark of the filthy tide has risen until it has engulfed the whole

theater. In New York, where Jewish managers are thicker than they ever

will be in Jerusalem, the limit of theatrical adventures into the realm of

the forbidden is being pushed further and further. The sale of narcotics

is illegal, but the instilling of moral poison is not. The whole atmosphere

of "cabaret" and "midnight frolic" entertainments is of Jewish origin and

importation. Montmarte has nothing at all in the nature of lascivious ·