What Is Art? by Leo Tolstoy (english readers .txt) 📕

published of how such and such an actress or actor played this or that role in such and such a drama, comedy, or opera; and of the merits of the performance, as well as of the contents of the new drama, comedy, or opera, with its defects and merits. With as much care and detail, or even more, we are told how such and such an artist has sung a certain piece, or has played it on the piano or violin, and what were the merits and defects of the piece and of the performance. In every large town there is sure to be at least one, if not more than one, exhibition of new pictures, the merits and defects of which are discussed in the utmost detail by critics and connoisseurs.

New novels and poems, in separate volumes or in the magazines, appear almost every day, and the newspapers consider it their duty to give their readers detailed accounts of these artistic productions.

For the support of art in Russia (where for the education of the people only a hundredth part is spent of what would be required to give everyone the opportunity of instruction) the Government grants millions of roubles in subsidies to academies, conservatoires and theatres. In France twenty million francs are assigned for art, and similar grants are made in Germany and England.

In every large town enormous buildings are erected for museums, academies, conservatoires, dramatic schools, and for performances and concerts. Hundreds of thousands of workmen⁠—carpenters, masons, painters, joiners, paperhangers, tailors, hairdressers, jewellers, moulders, typesetters⁠—spend their whole lives in hard labour to satisfy the demands of art, so that hardly any other department of human activity, except the military, consumes so much energy as this.

Not only is enormous labour spent on this activity, but in it, as in war, the very lives of men are sacrificed. Hundreds of thousands of people devote their lives from childhood to learning to twirl their legs rapidly (dancers), or to touch notes and strings very rapidly (musicians), or to draw with paint and represent what they see (artists), or to turn every phrase inside out and find a rhyme to every word. And these people, often very kind and clever, and capable of all sorts of useful labour, grow savage over their specialised and stupefying occupations, and become one-sided and self-complacent specialists, dull to all the serious phenomena of life, and skilful only at rapidly twisting their legs, their tongues, or their fingers.

But even this stunting of human life is not the worst. I remember being once at the rehearsal of one of the most ordinary of the new operas which are produced at all the opera houses of Europe and America.

I arrived when the first act had already commenced. To reach the auditorium I had to pass through the stage entrance. By dark entrances and passages, I was led through the vaults of an enormous building past immense machines for changing the scenery and for illuminating; and there in the gloom and dust I saw workmen busily engaged. One of these men, pale, haggard, in a dirty blouse, with dirty, work-worn hands and cramped fingers, evidently tired and out of humour, went past me, angrily scolding another man. Ascending by a dark stair, I came out on the boards behind the scenes. Amid various poles and rings and scattered scenery, decorations and curtains, stood and moved dozens, if not hundreds, of painted and dressed-up men, in costumes fitting tight to their thighs and calves, and also women, as usual, as nearly nude as might be. These were all singers, or members of the chorus, or ballet-dancers, awaiting their turns. My guide led me across the stage and, by means of a bridge of boards, across the orchestra (in which perhaps a hundred musicians of all kinds, from kettledrum to flute and harp, were seated), to the dark pit-stalls.

On an elevation, between two lamps with reflectors, and in an armchair placed before a music-stand, sat the director of the musical part, baton in hand, managing the orchestra and singers, and, in general, the production of the whole opera.

The performance had already commenced, and on the stage a procession of Indians who had brought home a bride was being represented. Besides men and women in costume, two other men in ordinary clothes bustled and ran about on the stage; one was the director of the dramatic part, and the other, who stepped about in soft shoes and ran from place to place with unusual agility, was the dancing-master, whose salary per month exceeded what ten labourers earn in a year.

These three directors arranged the singing, the orchestra, and the procession. The procession, as usual, was enacted by couples, with tinfoil halberds on their shoulders. They all came from one place, and walked round and round again, and then stopped. The procession took a long time to arrange: first the Indians with halberds came on too late; then too soon; then at the right time, but crowded together at the exit; then they did not crowd, but arranged themselves badly at the sides of the stage; and each time the whole performance was stopped and recommenced from the beginning. The procession was introduced by a recitative, delivered by a man dressed up like some variety of Turk, who, opening his mouth in a curious way, sang, “Home I bring the bri-i-ide.” He sings and waves his arm (which is of course bare) from under his mantle. The procession commences, but here the French horn, in the accompaniment of the recitative, does something wrong; and the director, with a shudder as if some catastrophe had occurred, raps with his stick on the stand. All is stopped, and the director, turning to the orchestra, attacks the French horn, scolding him in the rudest terms, as cabmen abuse each other, for taking the wrong note. And again the whole thing recommences. The Indians with their halberds again come on, treading softly in their extraordinary boots; again the