I was also much taken by an investigator who had made a highly diverting play simply with scenery, and a few mutes who now and again varied their place. It was his view that we had always been astray in making people the centre of our dramas: it was their surroundings that mattered――for who, he said, given the choice of seeing Brown eat his dinner, or a thunderstorm on Mount Everest, would not prefer to look at Mount Everest? A modern producer could not help laughing at the remark of Aristotle, if he ever read it, that ‘the spectacle was the least artistic part of a drama.’ A comely staircase, he averred, or even a rickety ladder, if it was tall enough, had more significance than a tale of hopeless love; and he was about to design a series of scenes in a logical order of forms and colours, green following pink, which would make a spectator sadder than even a play by Sophocles. This I could well believe: but I found it hard to understand how it was right to allude to pink as though it were a premiss, for after all, nobody dreams of calling a rainbow a syllogism, any more than they do of saying ‘paradox’ when they mean a hill. On another day I was taken to see a fairfusser at work on an old-fashioned play which was to be ‘acted,’ in our sense of the word, by students. He made his actors rehearse a scene; and then all sat down on chairs and took up stereoscopic glasses. Immediately, at the other end of the room, two coloured films appeared, exactly reproducing the movements of the actors, while at the same time a gramophone repeated the words they had uttered, in such a manner as to seem to come from the mouth of each actor who spoke. With the glasses the illusion was complete, and I could hardly believe I was not re-dreaming the scene I had just witnessed, except that the producer could stop the play at will, or even go back to a phrase or gesture to point out the errors of voice or movement of which the actors had been guilty. He could also show how a gesture would be more effective if performed at a greater or less speed; and how admirable this method was I could judge from the looks of pleasure or mortification on the actors’ faces as they saw themselves displayed.