THE MODERN DRAMA.

Manawatu Standard, Volume XLIV, Issue 847, 26 October 1923, Page 7

THE MODERN DRAMA.

ITS REVIVAL IN EUROPE. LECTURE BY PROFESSOR SHELLEY. The Municipal Halt was Well filled 'list night when Professor Shelley, of Canterbury College, lectured on "The Revival of the Drama of Europe.” The lecture was given tinder the auspices of the Borough Council and the Mayor (Mr F. J. Nathan) presided. ,i The chairman, in introducing Professor Shelley, made reference to the great educational value of the lectures and to tho support accorded them by tho public of Palmerston North, which’, he trusted, would continue to Increase. The lecturer, who is a forceful speaker and an orator of considerable ability, stated that his subject was one on which he was very keen, and in regard to which it was very difficult for, tho populace of N ew Zealand as a whole to reach the same degree of enthusiasm as himself, owing to the lack of facilities here for the presentation of good plays. It was difficult, he stated, to attract from Europe any plays of great dramatic value, unless it was a certainty that they would,, be commercial successes. One of tho greatest of dramas was Drinkwater’s "Abraham Lincoln,” which, in addition to having a long run in England, had another successful season in the United States. It was still being played in the provincial towns. As a whole, stated this speaker, it was risky to bring plays of dramatic value alone to New Zealand. It was very much easier to present some showy production, such' as “Chu Chin Chow,” and the box office returns would then be assured. Good dramas if brought out would probably prove commercial failures. The Now Zealander should make up for the deficiency by reading the dramas - in the book form. It was a new habit one would have to get into, for it was not similar to novel reading. The playwright had to rely ( on the stage presentation of the actors in order to obtain for his work the full merit it deserved. REVIVAL NO LIGHT ONE. The revival of tho drama in Europe and the United States was no light one. The standard of drama now being produced in England had not been equalled since the time of Shakespeare. The revival was not only characteristic of England, but also of other countries of Europe, including Germany. Dealing with the characteristics of tho revival, the speaker conducted his auditors through some of the works of the modern authors, the first of whom touched upon was Henrik Ibsen, the Nofwegian. This writer, stated Professor Shelley, had really established the condition of jthe modern drama, raising the standard of ordinary prose and story to that of a high art. The beauty of Shakespeare, did not depend on dramatical value, but on the lyrical. This famous author was better when writing lyrically than, when writing dramatically. The power of his lyric utterances was characteristic of his various plays. They depended on their word value rather than their dramatic. 'Shakespeare had established high tragedy and nigh comedy. His were not dramas in the pure sense. IBSEN’S GENIUS. Ibsen’s plays, on the other hand, possessed pure dramatical values. His early writings had incorporated romantic themes. Then later he had developed a poetic taste. Finally, at the age of 40 years, he developed into a writer of social plays and his analysis of life and human nature had made him famous, His works at this stage of his life were very far remote from the ‘‘pretty tale” dramas in Which everything was a bed of roses for the hero, whose chief occupation was rescuing fair damsels in distress. These dramas belonged to the 19th century and were the sheerest romantic nonsense, life was .not as in those tales, which were only useful in sending one to sleep. They were not even artistic interpretations of life and the trite ending—"and they lived happily ever after”— usually accompanied them. Ibsen, on the other hand, developed his stories to a different conclusion. , Referring to “A Doll’s House,” one of Ibsen’s best known plays, Professor Shelley stated that it had been brought to New Zealand about 30 years ago. This was the only opportunity New Zealanders had had of seeing Ibsen enacted. The popularity of his plays on the Continent was of a nigh order and in Berlin on one occasion simultaneous presentations were being fade in four theatres. The theme of “A Doll’s House” was then briefly explained by Professor Shelley, who showed how the author had striven' for the effect of real life. Ibsen had been asked whether the wife, who loft her husband at the conclusion of the play, had ever returned and his answer had been to ■ the effect that ho did not know. In JThe Lady from the Sea," highly real analyses of life were presented, the various psychological problems being dealt with in a masterly way. “Ghosts” was next written and it had raised a storm of criticism against what was considered an unorthodox handling of social problems. Many strong epithets had been used, and as a reply Ibsen wrote “An Enemy of the People.” It had often been said that Dr. Stockman, the central figure, was more or less himself. The-theme and the forceful satire of this drama were vividly explained by tho speaker, who showed in a convincing manner the way in which the doctor, who was regarded us an enemy of the people, was pilloried by his fellowtownsmen for bis outspoken criticisms. A fine reading of tho doctor’s address to his townsmen was given at this stage. OTHER PLAYWRIGHTS. Ibsen’s plays had given rise to great literary activity throughout Europe, stated Professor Shelley, who passed on to comments of the works of other playwrights. Bernard Shaw was tho first one touched on. Ho, stated tho speaker, was by_ no means as great as some other dramatists. He had used the stage to convey intellectual ideals. Into his plays he nad infused snatches of wit, which had been tho means of raising them to the level of commercial successes. At the present time his works were being enacted all over the world. They depended more on their wit for their value than upon their dramatic interpretation, having commented upon several specimens of Bernard Shaw’s wit, the lecturer said that the author w r as a moralist in his writings. Excerpts from “Major Barbara” were read-by the Professor, who showed how this play dealt with the subject of poverty. Most of Galsworthy plays were _ extracts from sociological text books, which very few persona would read. Produced upon the stage the plays were of engrossing Interest. Galsworthy was one ( of the greatest playwrights still turning out dramas of an intellectual type, and his plays should bo brought to the Dominion. All his works dealt with some social problem and his first effort concerned the question of administering tho law equally to the rich and the poor. “Strife,” another play, dealt with strikes, presenting the two sides in an impartial manner. ; Tho plays of Masefield were then dealt with, the speaker stating that they were chiefly of a poetic nature. Masefield was better known for his poetry, but, however, had written some fine plays. ONE ACT PLAY, The one act play next occupied the speaker’s attention. Before the last 20 years this type had boon regarded as only suitable for curtain-raisers and as sheer “knock-about” farces. The average duration of the presentation of these was in tho neighbourhood of one-half orthree-quaiters of an hour, and they contained quite as high a standard of drama as the longer play. After dealing with the works of several ono-act play authors and tho historical drama, the speaker concluded with a spirited reading of a 30 minute ono-act play, prolonged applause greeting the finish. In moving a hearty vote of thanks to Professor Shelley, the chairman expressed the hope that next year Palmerston North would again have the privilege of hearing him on a similar subject.