Again, with disadvantages in mind, it might be asserted that the stage story suffers in that some of the happenings involved in the plot must perforce transpire off stage; and when this is so there is an inevitable loss of effect, inasmuch as it is of the nature of drama, as has been noted, to show events, and the indirect narrative method is to be avoided as undramatic. Tyros in play-writing fail to make this distinction; and as a generalization it may be stated that whenever possible a play should show a thing, rather that state it. "Seeing is believing," to repeat the axiom. Yet a qualifier may here be made, for in certain kinds of drama or when a certain effect is striven for the indirect method may be powerfully effective. The murder in Macbeth gains rather than loses because it takes place outside the scene; Maeterlinck in his earlier Plays for Marionettes, so called, secured remarkable effects of suspense and tension by systematically using the principle of indirection; as where in The Seven Princesses the princesses who are the particular exciting cause of the play are not seen at all by the audience; the impression they make, a great one, comes through their effect upon certain characters on the stage and this heightens immensely the dramatic value of the unseen figures. We may point to the Greeks, too, in illustration, who in their great folk dramas of legend regularly made use of the principle of indirect narration when the aim was to put before the vast audiences the terrible occurrences of the fable, not coram populo, as Horace has it, not in the presence of the audience, but rather off stage. Nevertheless, these exceptions can be explained without violating the general principle that in a stage story it is always dangerous not to exhibit any action that is vital to the play. And this compulsion, it will be evident, is a restriction which may at times cripple the scope of the dramatist, while yet it stimulates his skill to overcome the difficulty.
Summarizing the differences which go to make drama distinctive as a story-telling form and distinguish it from other story molds: a play in contrast with fiction tells its tale by word, act and scene in a rising scale of importance, and within briefer time limits, necessitating a far more careful selection of material, and a greater emphasis upon salient moments in the handling of plot; and because of the device of act divisions, with certain moments of heightened interest culminating in a central scene and thus gaining in tension and intensity by this enforced method of compression and stress; while losing the opportunity to amplify and more carefully to delineate character. It gains as well because the story comes by the double receipt of the eye and ear to a theater audience some of whom at least, through illiteracy, might be unable to appreciate the story printed in a book. The play thus is the most democratic and popular form of story telling, and at the same time is capable of embodying, indeed has embodied, the greatest creative literature of various nations. And for a generation now, increasingly, in the European countries and in English-speaking lands, the play has begun to come into its own as an art form with unique advantages in the way of wide appeal and cultural possibilities.
CHAPTER II
THE PLAY, A CULTURAL OPPORTUNITY
CERTAIN remarks at the close of the preceding chapter hint at what is in mind in giving a title to the present one. The play, this democratic mode of story telling, attracting vast numbers of hearers and universally popular because man is ever avid of amusement and turns hungrily to such a medium as the theater to satisfy a deeply implanted instinct for pleasure, can be made an experience to the auditor properly to be included in what he would call his cultural opportunity. That is to say, it can take its place among those civilizing agencies furnished by the arts and letters, travel and the higher aspects of social life. A drama, as this book seeks to show, is in its finest estate a work of art comparable with such other works of art as pictures, statuary, musical compositions and the achievements of the book world. I shall endeavor later to show a little more in detail wherein lie the artistic requirements and successes of the play; and a suggestion of this has been already made in chapter one.
But this thought of the play as a work of art has hardly been in the minds of folk of our race and speech until the recent awakening of an enlightened interest in things dramatic; a movement so brief as to be embraced by the present generation. The theater has been regarded carelessly, thoughtlessly, merely as a place of idle amusement, or worse; ignorant prejudice against it has been rife, with a natural reaction for the worse upon the institution itself. The play has neither been associated with a serious treatment of life nor with the refined pleasure derivable from contact with art. Nor, although the personality of actors has always been acclaimed, and an infinite amount of silly chatter about their private lives been constant, have theater-goers as a class realized the distinguished skill of the dramatist in the handling of a very difficult and delicate art, nor done justice to the art which the actor represents, nor to his own artistry in it. But now a change has come, happily. The English-speaking lands have begun at least to get into line with other enlightened countries, to comprehend the educational value of the playhouse, and the consequent importance of the play. The rapid growth to-day in what may be called social consciousness has quickened our sense of the social significance of an institution that, whatever its esthetic and intellectual status, is an enormous influence in the daily life of the multitude. Gradually those who think have come to see that the theater, this people's pleasure, should offer drama that is rational, wholesome amusement; that society in general has a vital stake in the nature of an entertainment so widely diffused, so imperatively demanded and so surely effective in shaping the ideals of the people at large. The final chapter will enlarge upon this suggestion.
And this idea has grown along with the now very evident re-birth of a drama which, while practical stage material, has taken on the literary graces and makes so strong an appeal as literature that much of our best in letters is now in dramatic form: the play being the most notable contribution, after the novel, of our time. Leading writers everywhere are practical dramatists; men of letters, yet also men of the theater, who write plays not only to be read but to be acted, and who have conquered the difficult technic of the drama so as to kill two birds with the one stone.
The student of historical drama will perceive that this welcome change is but a return to earlier and better conditions when the mighty play-makers of the past – Calderón, Molière, Shakespeare and their compeers – were also makers of literature which we still read with delight. And, without referring to the past, a glance at foreign lands will reveal the fact that other countries, if not our own, have always recognized this cultural value of the stage and hence given the theater importance in the civic or national life, often spending public moneys for its maintenance and using it (often in close association with music) as a central factor in national culture. The traveler to-day in Germany, France, Russia and the Scandinavian lands cannot but be impressed with this fact, and will bring home to America some suggestive lessons for patriotic native appreciation. In the modern educational scheme, then, room should be made for some training in intelligent play-going. So far from there being anything Quixotic in the notion, all the signs are in its favor. The feeling is spreading fast that school and college must include theater culture in the curriculum and people at large are seeking to know something of the significance of the theater in its long evolution from its birth to the present, of the history of the drama itself, of the nature of a play regarded as a work of art; of the specific values, too, of the related art of the actor who alone makes the drama vital; and of the relative excellencies, in the actual playhouses of our time, of plays, players and playwrights; together with some idea of the rapidly changing present-day conditions. Such changes include the coming of the one-act play, the startling development of the moving picture, the growth of the Little Theater, the rise of the masque and pageant, and so on with other manifestations yet. Surely, some knowledge in a field so broad and humanly appealing, both for legitimate enjoyment of the individual and in view of his obligations to fellow man, is of equal moment to a knowledge of the chemical effect of hydrochloric acid upon marble, or of the working of a table of logarithms. These last are less involved in the living of a normal human being.
Here are signs of the time, which mark a revolution in thought. In the light of such facts, it is curious to reflect upon the neglect of the theater hitherto for centuries as an institution and the refusal to think of the play as worthy until it was offered upon the printed page. The very fact that it was exhibited on the stage seemed to stamp it as below serious consideration. And that, too, when the very word play implies that it