Henry Ford

“ It is not by accident that in Russia, where they now have scarcely anything else, they still have the Theater, specially revived, stimulated and supported by Jewish-Bolshevists because they believe in the Theater just as they believe in the Press; it is one of the two great means of molding popular opinion.
Everybody has assumed offhand that the Theater is Jew-controlled. Few, if put to the test, could prove it, but all believe it. The reason they believe it is not so much what they see as what they feel; the American feel has gone out of the Theater ”

“ It is not important that managers are now Jews whereas managers were formerly Gentiles. That is not important. The importance begins with the fact that with the change of managers there came also a decline in the art and morals of the stage, and that this decline has become accelerated as the Jewish control became widened. What Jewish control means is this: that everything has been deliberately and systematically squeezed out of the American Theater except its most undesirable elements, and these undesirable elements have been exalted to the highest place of all. ”

“ Tragedy is taboo; the play of character, with a deeper significance than would delight the mind of a child, is out of favor; the comic opera has degenerated into a flash of color and movement—a combination of salacious farce and jazz music, usually supplied by a Jewish song-writer (the great purveyors of jazz!) ”

“ The Theater is Jewish not only on its managerial side, but also on its literary and professional side. More and more plays are appearing whose author, producer, star and cast are entirely Jewish. They are not great plays, they do not remain long. This is natural enough, since the Jewish theatrical interests are not seeking artistic triumphs, they are not seeking the glory of the American stage, nor are they striving to develop great actors to take the place of the old line of worthies. Not at all. Their interest is financial and racial—getting the Gentiles’ money and Judaizing the Theater. ”

“ Every night hundreds of thousands of people give from two to three hours to the Theater, every day literal millions of people give up from 30 minutes to two hours to the Movies; and this simply means that millions of Americans every day place themselves voluntarily within range of Jewish ideas of life, love and labor; within range of Jewish propaganda, sometimes cleverly, sometimes clumsily concealed. This gives the Jewish masseur of the public mind all the opportunity he desires ”

“ Men in breech-clouts, leopard skins and buckskins, women in flimsy gowns of gossamer texture, slashed to the hips, with very little besides, made a bewildering pageant whose capstone was the unveiling of a perfectly nude girl whose body had been painted to resemble marble. ”

“ The present-day average of intelligence appealed to in the American Theater does not rise above 13 to 18 years. “The tired business man” stuff (another Jewish expression) has treated the theatergoing public as if it were composed of morons. The appeal is frankly to a juvenile type of mind which can be easily molded to the ideals of the Hebraic theatrical monopoly. Clean, wholesome plays—the few that remain—are supported mainly by the rapidly vanishing race of theatergoers who survive from an earlier day ”

“ Frivolity, sensuality, indecency, appalling illiteracy and endless platitude are the marks of the American Stage as it approaches its degeneracy under Jewish control.
That, of course, is the real meaning of all the “Little Theater” movements which have begun in so many cities and towns in the United States. The art of the drama, having been driven out of the Theater by the Jews, is finding a home in thousands of study circles throughout the United States. The people cannot see the real plays ”

“ Where have the actors of tragic or comic talent a chance in such productions? It is the age of the chorus girl, a creature whose mental caliber has nothing to do with the matter, and whose stage life cannot in the very nature of things be a career. ”

“ Gentile attendants on the Theater are frequently insulted to their faces, and never know it. Recently one of the best known Jewish entertainers on the stage indulged in vulgar and sacrilegious references to Jesus Christ, whereat the Semitic portions of his audience went into loud laughter, while the Gentiles sat blank-faced—because the remarks were in Yiddish asides! ”

“ In brief, whereas in normal times the public made the “star” by their acclaim, nowadays the Jewish managers determine by their advertisements who the star shall be. The “New York stamp,” which frequently means nothing at all, is the one imperial sign of favor, according to the Jewish theatrical hierarchy. It is just this “New York stamp” that the rest of the country protests against; and the “little theater” movement throughout the West and Central West is a significant protest. ”

“ The people who want to see the real plays and cannot, because Jewish producers won’t produce them, are forming little dramatic clubs of their own, in barns and churches, in schools and neighborhood halls. ”

“ The drama fled from its exploiters and has found a home with its friends.
The changes which the Jews have made in the theater, and which any half-observant theatergoer can verify with his own eyes, are four in number.
First, they have elaborated the mechanical side, making human talent and genius less necessary. They have made the stage “realistic” instead of interpretative. The great actors needed very little machinery; the men and women on the pay rolls of the Jewish managers are helpless without the machinery. ”

“ The trick is a department store trick. It is sheer advertising strategy. The “stars” of yesterday, who did not even survive yesterday were either the personal favorites of managers, or goods taken off the shelf and heaped into the window for the sake of giving the appearance of a new stock. ”