MUSIC AND DRAMA

Evening Post, Volume CXVII, Issue 103, 3 May 1934, Page 6

MUSIC AND DRAMA

SPIRITUAL EXPRESSION

THE ROLE OF THE AUDIENCE

"That drama is before all else the art of tho uno.xprossecl" was a statement mad by Hiss Elizabeth Blake at the concluding lecturo-reeital in the series on "Musio and the Drama," on Monday, night. Tho wholo gamut of human experience and emotion was expressed through tho diania, thus enlarging, vivifyiug, and enriching our own indiricluul experience, and it was often ih tho atmosphere, the silence, or the significant gesturo lather than in the spoken word, that the inspiration was revealed. In cons,ideiing tho audience and its most important functions, Miss Blako pointed out that the success or failuro of every performance depended laigcly upon, tho attitude of tho audience, and she thought that tho average British audience could be much more l'osponsivo and vital than it was. Every player and artist gained inspiration and help from a sympathetic and intelligent audience .and was Jiblo to roveal new beauties in the themo treated when this co-operation was given. Tho widespread popularity of tho cinema had definitely increased the nnrespoiiHivcnessof the average audience, which had acquired tho habit of accepting stupendous performances quite passively. This was one of the regrettable by-products of modern Civilisation which, should be guarded against, and. the speaker, urged hoi- listeners to notice their reactions at future performances, to consider the value of tho subject presented, the treatment and development of the plot, and tlie literary and artistic worth of the play. In this way they would help to. create tho right atmosphere for the pcrfoimers and would also gain the greatest enjoyment out of the production. Every individual who -went to either music or drama ready to co-1 operate with tll» performers was making a positive contribution to the:rccrejitinc1 of groat art.

An illustration of the religious element in folk drama was given in an admirable reading of the story of Abraham's sacrifice' of Isaac, taken from the Chester Pageant of tho fourteenth century; and this was followed by a reading fiom Laurence Ilousman's "Littlo Plays of St. Francis," to show the religious feeling that is so evident in some, forms of modern drama.

Turning to the moro objective side of modern drama, where man-made laws wore tho motive power in action, Miss Blako dealt with Somerset Maugham's remarkable play, "The Constant Wife," giving an outline of the plot and roading tho final episode to illustrate- an unusual handling of a very hackneyed situation. Maugham views the domestic problem of the "eternal triangle" moie dispassionately than most playwrights, find states the case without false sentiment and with tho genuine' urge to create, so that his audience or reader's can foim their own judgment of a social probtcm with better undeistandiug. Such 7)lays clarify and enlighten the mind and have a definite value.

Miss Blnlco concluded an interesting and informative lecture lw leferring to Hie masterly power of Shakespeave to depict tho great emotions of tho spirit—despair, ecstasy, and passion— and illustrated' each point with readings from "Maebpih," "The Tempest," and "Komoo ftrid.-Jnliet.V