INTELLECTUAL FREEDOM IN POLAND

Grey River Argus, 17 June 1933, Page 6

INTELLECTUAL FREEDOM IN POLAND

Orilv Bernard Shaw could really be involved in a paradox of thinking. His latest pacifist play, the content of which is nnn-li too to become reality. found an enthusiasti<- reception in a country whose ‘‘pacifist’’ disposition is well known to everybody. shn-w’s latest comedy, Too Good to Be True,’’ lashes the policy of imperialist States with merciless a tin*. At tin* “first night” in War'saw the Polish Government were pre--ent. together with members r»f the diplomatic corps. They expressed their thanks to the players in frenzied applause. But on the day after the performance the enthusiasm of the members of tin* Government had already flown. I'ep resen ta t ions \\er<* made in ‘‘high places’’ to have certain passages in the play censored. Two days later the plav emerged from the censor’s office horribly mutilated ami robbed of its most witty sallies. The intervention of the censor had still other consequences. All artistic productions which were unpleasant to the ideologv ol tin* present regime were prohibited. Tin 1 a rch-rear I ionary organ * ‘ 111 ust mva ny Ku rier < <»«I - I zieiinv” incited openly to an atta«d< on all writers wliq refused to participate in the war-propaganda campaign. Leon Schiller, tin* lessee of the City I Theatre in Lemberg, ventured to produce one of Tretyakov’s plays. The production was a great success, but onlv among the public. T»nt the police authorities showed that they were not less zealous for the honour of Poland than their colleagues in Warsaw. The play was not only banned but the producer was arrested. Romain Lolland ami Henri BarbussP have drawn up manifesto against imperialistic war. Stwonty-eight Polish intellectuals —authors, painters, actors ami .journalists —eame to the unfortunate resolution to sign this manifesto. The whole of the seventyeight were arrested and now sit behind prison walls. — William Craik.