546 
THE AMERIC AN-SC AN DIN A VI AN REVIEW 
throughout the season, hut 
divided their time between 
the camera, occasional per¬ 
formances in the provinces, 
and shorter guest roles in 
certain star productions in 
some of the large European 
cities. The impression one 
receives from the last decade 
is consequently many-col¬ 
ored and unharmonious, and 
this is so much more empha¬ 
sized by the various star per¬ 
formances of Reinhardt’s 
German companies, by the 
classic productions of 
French actors, and by Mos¬ 
cow’s remarkably well 
trained company, all of 
whom in their way added in¬ 
teresting, but to our own 
actors most confusing 
phases to this complex sit¬ 
uation. 
In 1910 Tor Hedberg 
was chosen director of the 
foremost theatre in Sweden, 
Kungliga Dramatiska teatern which two years before had moved into 
a new, but in regard to stage technique already old-fashioned building. 
Fie tried to maintain an artistic repertoire, but was not able to keep 
the right talent with the theatre, and owing to the difficult economic 
situation which obtained, he could not hold the reins with sufficient 
firmness during the following years. As several plays last fall, even 
from an artistic point of view, were complete failures, and the financial 
loss threatened to be enormous, Hedberg was compelled to resign. 
At the beginning of the present year the above mentioned actor, 
Tore Svennberg was appointed by the government director of Drama¬ 
tiska teatern which had amalgamated with Mindre Dramatiska teatern 
(the latter having been a privately owned theatre) under the name 
Intima teatern. It was hoped that this highly experienced actor who 
had already proven himself an able and versatile, if not pioneering 
manager in the provinces, would be able to lift the national theatres 
out of their inertia. The prospects are that he will succeed, for his 
most dangerous competitor as regards securing the best talents, the 
film, has already outplayed its part as an economic power. Svennberg 
Tore Svennberg 
