The Summing Up (14 page)

But if a play is naturally ephemeral why, the dramatist may ask, should he not look upon himself as a journalist, a journalist of the better class who writes for the sixpenny weeklies, and produce plays on the current topics, political and social, of the day? His ideas will be neither more nor less original than those of the serious young men who write in these journals. There is no reason why they should be less interesting; and if by the time the play has run its course they are out of date, what of it? The play is dead anyway. Now to this question the answer is that there is no reason at all, if he can get away with it and if he thinks it worth while. But he must be warned that he will get little thanks from the critics. For though they clamour for the play of ideas, when he presents it to them they sniff at it if the ideas are familiar to them, thinking modestly that what they know already is commonplace, and if the ideas are unfamiliar to them, they think them perfect nonsense and come down on him like a thousand of bricks. Even the licensed Shaw has not escaped the horns of this dilemma.

Societies have been founded in order to produce plays that people may go to who disdain the commercial theatre. They languish. The intelligentsia cannot be persuaded to patronise these performances, and if they do, want to go without paying. There are a number of dramatists who spend their whole careers writing plays which are only produced by these societies. They are trying to do something for which the drama is unsuited; once they have got a number of persons into the playhouse, these become an audience, and then, even though their average mentality is higher than the ordinary, they are subject to the reactions by which an audience is governed. They are swayed by emotion rather than by reasoning. They demand action rather than debate. (By action of course I do not mean merely physical action: from the standpoint of the theatre a character who says, I have a headache, performs an action as much as one who falls off a steeple.) When the plays these authors write fail, they claim it is because audiences have not the sense to appreciate them. I do not think they are right. Their plays fail because they have no dramatic value. Let no one think that commercial plays succeed because they are bad plays. The story they tell may be hackneyed, the dialogue commonplace and the characterisation ordinary, they succeed notwithstanding because they have the essential, though doubtless trivial, merit of holding their audiences by the specific appeal of drama. But that this need not be the only merit of the commercial play is shown by those of Lope de Vega, Shakespeare and Molière.

38

I
F
I have thus enlarged on the play of ideas, it is because I think the demand for it is responsible for the lamentable decadence of our theatre. The critics clamour for them. Now, the critics are of necessity the worst judges of plays. For consider, the play appeals to the audience as a unity, the current that passes infectiously from one person to another is essential to the dramatist; he wants to excite a contagion; he must take people out of themselves so that they become an instrument for him to play on, and what they give back, the resonance, the tone, the emotion, is part of his play. But the critic is there not to feel but to judge. He must hold aloof from the contagion that has captured the group and keep his self-possession. He must not allow his heart to carry him away; his head must remain well screwed on his shoulders. He must take care not to become part of the audience. He is not there to play his part in the play, but to watch it from the outside. The result is that he does not see the play they see because he has not, as they have, acted in it. It is natural enough then that he should ask for different things in a play from those the audience asks for. There is no reason why he should get it. Plays are not written for critics. Or at least, they should not be. But playwrights are sensitive creatures, and when they are told that the plays they write are an insult to the adult intelligence, they are distressed. They would like to do better, and so the young aspiring ones, still trailing clouds of glory, sit down to write plays of ideas. That it can be done, and bring fame and fortune, the example of Bernard Shaw is there to show them.

The influence of Shaw on the English stage of to-day has been devastating. The public have not always liked his plays, any more than they liked Ibsen's, but after seeing them they have liked those written according to the old conventions even less. Disciples arose who sought to follow in his steps, but the event has proved that it was impossible to do so without his great gifts. The most talented of these was Granville Barker. As many scenes in his plays show, Granville Barker had it in him to be a very good playwright; he had a dramatic gift, facility for writing easy, natural and amusing dialogue, and an eye for theatrically effective character. The influence of Shaw led him to attach importance to ideas that were somewhat commonplace and to suppose that the natural discursiveness of his mind was a virtue. If he had not been persuaded that the public were fools, who must be bullied rather than cajoled, he would by the usual method of trial and error have learnt to correct his faults, and then might have added to the drama of this country a number of popular plays of great excellence. The lesser followers of Bernard Shaw have only copied his defects. Shaw has succeeded on the stage not because he is a dramatist of ideas, but because he is a dramatist. But he is inimitable. He owes his originality to an idiosyncrasy, not of course peculiar to himself, that had never before found expression on the stage. The English, whatever they were in the Elizabethan era, are not an amorous race. Love with them is more sentimental than passionate. They are of course sufficiently sexual for the purpose of reproducing their species, but they cannot control the instinctive feeling that the sexual act is disgusting. They are more inclined to look upon love as affection or benevolence than as passion. They regard with approval its sublimations which dons describe in scholarly books, and with repulsion or with ridicule its frank expression. English is the only modern language in which it has been found necessary to borrow from the Latin a word with a depreciatory meaning, the word uxorious, for a man's devoted love for his wife. That love should absorb a man has seemed to them unworthy. In France a man who has ruined himself for women is generally regarded with sympathy and admiration; there is a feeling that it was worth while, and the man who has done it feels even a certain pride in the fact; in England he will be thought and will think himself a damned fool. That is why Antony and Cleopatra has always been the least popular of Shakespeare's greater plays. Audiences have felt that it was contemptible to throw away an empire for a woman's sake. Indeed if it were not founded on an accepted legend they would be unanimous in asserting that such a thing was incredible.

To audiences who had been forced to sit through plays in which love was the motive of the intrigue, but who had an instinctive feeling that love, though all very well in its way, was not really quite so important as the dramatists pretended, for after all there were politics, golf, getting on with one's job and all sorts of other things, it was a welcome relief to come upon a dramatist for whom love was a tiresome, secondary business, a quick gratification of a momentary impulse whose consequences were generally awkward. Though put as things must be put on the stage in an exaggerated way (and it should never be forgotten that Shaw is an extremely skilful dramatist) there was enough truth in this attitude to impress. It responded to the deep-seated puritanism of the Anglo-Saxon race. But, if not amorous, the English are sentimental and emotional, and they felt that it was not the whole truth. When other dramatists repeated it, not because it was, as with Shaw, a natural expression of a personality, but because it was striking and effective, its one-sidedness became tediously apparent. The author describes for you his private world, and if it interests you, you will give him your attention. There is no reason why you should trouble yourself with a description of it at second hand. It is inept to say again what Shaw has said so well.

39

To my mind, the drama took a wrong turning when the demand for realism led it to abandon the ornament of verse. Verse has a specific dramatic value as anyone can see by observing in himself the thrilling effect of a tirade in one of Racine's plays or of any of Shakespeare's great set pieces; and this is independent of the sense; it is due to the emotional power of rhythmical speech. But more than that: verse forces on the matter a conventional form that heightens the aesthetic effect. It enables the drama to achieve a beauty that is out of the question in a prose play. However much you may admire The Wild Duck, The Importance of Being Earnest or Man and Superman, you cannot without abuse of the word claim that they are beautiful. But the chief value of verse is that it delivers a play from sober reality. It puts it on another level, at one remove from life, and so makes it easier for the audience to attune themselves to that state of feeling in which they are most susceptible to the drama's specific appeal. In that artificial medium life is not presented in a word-for-word translation, but in a free rendering, and thus the dramatist has ample scope for the effects of which his art is capable. For the drama is make-believe. It does not deal with truth but with effect. That willing suspension of disbelief of which Coleridge wrote is essential to it. The importance of truth to the dramatist is that it adds to interest, but to the dramatist truth is only verisimilitude. It is what he can persuade his audience to accept. If they will believe that a man can doubt his wife's fidelity because someone tells him he has found her handkerchief in somebody else's possession, well and good, that is sufficient motive for his jealousy; if they will believe that a six-course dinner can be eaten in ten minutes, well and good again, the dramatist can get on with his play. But when a greater and greater realism, both in motive and in action, is demanded of him and he is asked not to embroider gaily or romantically upon life but to copy it, he is robbed of great part of his resources. He is forced to forgo asides because people do not naturally talk to themselves out loud; he may not telescope events, by which he was able to accelerate his action, but must cause them to occur as deliberately as in real life; he must eschew accident and chance, for we know (in the theatre) that things do not happen like that. The result has shown that realism too often can only produce plays that are drab and dull.

When the movies learnt to talk the prose play was powerless to defend itself. The movies could represent action much more effectively, and action is the essence of drama. The screen gave that artificiality which verse had once given to drama, so that a different standard of verisimilitude was set and improbability was acceptable if only it gave rise to situation. It gave the opportunity for all manner of novel, picturesque and dramatic effects that stimulated and excited the public. The dramatist of ideas had to swallow the bitter pill that the intelligentsia for which he wrote would have nothing to do with his plays, but roared with laughter at the farce and wallowed in the thrills and spectacle of the moving pictures. The fact was of course that they had succumbed to the atmosphere the stage-play has taken pains to lose and were delivered to the sway of make-believe that had held the audiences who first saw the plays of Lope de Vega and William Shakespeare.

I have always eschewed the prophetic rôle and have left to others the reformation of my fellows, but I cannot but state my belief that the prose drama to which I have given so much of my life will soon be dead. The minor arts, which depend on the manners and customs of the time rather than on deep-seated human necessities, come and go. The madrigal, which was once a popular form of musical entertainment, exciting composers to write for it and producing an elaborate school of performers, succumbed when musical instruments were invented that produced more beautifully the peculiar effects it sought; and there is no reason why prose drama should not suffer the same fate. It may be said that the screen can never give exactly the sympathetic thrill you feel when you see living persons in flesh and blood before you. It might very well have been said that strings and wood could never make up for the intimate quality of the human voice. The event has proved that they could.

One thing seems certain, and that is that if the stage play has any chance at all of survival, it is not by trying to do any longer what the pictures can do better. Those dramatists have followed a false trail who by a multitude of little scenes have tried to reproduce the rapid action and varied setting of the cinematograph. It has occurred to me that possibly the dramatist would be wise now to go back to the origins of modern drama and call to his aid verse, dancing, music and pageantry so that he might appeal to all possible sources of entertainment; but I am conscious that here again the cinema with its great resources can do better whatever the spoken theatre can do; and of course a play of this kind would need a dramatist who was also a poet. Perhaps the best chance the realistic dramatist has to-day is to occupy himself with what, till now at all events, the screen has not succeeded very well in presenting—the drama in which the action is inner rather than outer and the comedy of wit. The screen demands physical action. Emotion which cannot be translated into this, and the humour whose appeal is mental, have little value for it. It may be that, for some time at all events, such plays would have their appeal.

But so far as comedy is concerned, it should be recognized that the demand for realism is unjustified. Comedy is an artificial thing and so only the appearance, not the reality, of naturalism is in place. The laugh must be sought for its own sake. The playwright's aim is not now to represent life as it is (a tragic business) but to comment on it satirically and amusingly. The audience should not be allowed to ask, do such things happen? They should be content to laugh. In comedy more than ever must the playwright exact a willing suspension of disbelief. So the critics are wrong when they complain that a comedy now and then ‘degenerates' into farce. It has been found in practice that it is impossible to hold the attention of an audience through three acts of pure comedy. For comedy appeals to the collective mind of the audience and this grows fatigued; while farce appeals to a more robust organ, its collective belly. The great writers of comedy, Shakespeare, Molière and Bernard Shaw, have never jibbed at the farcical. It is the life blood that makes the body of comedy viable.