MAIL

(Ed. Note--The Crimson does not necessarily endorse opinions expressed in printed communications. No attention will be paid to anonymous letters and only under special conditions, at the request of the writer, will names be withheld. Only letters under 400 words can be printed because of space limitations.)

To the Editor of the Crimson:

On behalf of the Harvard Dramatic Club and all students concerned with the theatre as a living instrument used to entertain and to stimulate living people, I want to thank you for your splendid editorial in the November 27th Crimson.

Too many citizens of our community are willing to accept the specious interpretation of Harvard's by now traditionally official cold shoulder to matters theatrical. The University Policy may, I suppose, be considered a hangover from the picturesque bigotries of Jeremy Collier.

Even with the current "hand to mouth" existence led by dramatics in Cambridge, a bustling activity survives in spite of official indifference.... Evidence of this may be seen from the fact that seventy members of the class of 1943 have already shown an interest in Dramatics.

....The Harvard Dramtic Club thoroughly endorses the views of the Crimson that the only way to test a would-be playwright's lines is to see them produced physically and are even now rehearsing a student written play to be produced in two week's time. However, the theatre situation in Boston and the facilities in Cambridge are such that, unless the attitude of the University changes in the very near future, all this experimental work will have to cease. During the next two weeks the joint creative efforts of many organizations will be on view. I feel certain that, if the attitude of the University was any thing but one of indifference, this vast store of creative energy could be directed along more useful channels than a 'severance of University connections.'

....It must be admitted that the theatre is one of our major arts; for the past decade it has been the theatre of America that has been responsible for any vital developments, experimental work, new ideas or new techniques in this art. Unfortunately nothing can be expected of the European theatre until the chaos there has cleared while certain unfortunate developments of unionization at the moment existing in the American theatre preclude any further development here. Harvard, presumably the most famous seat of learning on this side of the Atlantic, could be and should be the obvious guiding hand ensuring the continuance and development of the Arts. Yet already it has, on three occasions, shirked its responsibility. L. John Profit,   President,   The Harvard Dramatic Club