THEATRE FOR EVERYBODY.

Timaru Herald, Volume XCIV, Issue 14353, 27 January 1911, Page 2

THEATRE FOR EVERYBODY.

AN -AID TO EDUCATION. AN AMEKICA.M SCHEME. (By Marjiucrito Morington. Tljo functions of Everybody's Tbcal.-i, ns I soo it, aro to presont model p--i----foromnocs of standard plays ior cnaclreu, for students, and for neighbourhoods. will] a view ultimately of caUuif, or. those threw groups of audiences lor help, under proper regulation, m tno active presentation of the plays. True, performances on thoso lines ai c often. given, but- owing to their sporadic nature a groat dual or good time and energy are wasted; moreover, from lack of necessary preparation; lno i M >st residt® cannot bo obtained. L.gwev«r the present project is lmt to interfere with anybody. Its policy \s wholly constructive. It aims to u?.o for tho general good one of the greatrsfc forces inherent in human nature, one that at present is largely unuevclop-d —tho dramatic, story-tolling instinct, tlm passion for tho stage. Tho Children's Theatre, as ono pliiu* of this universal theatre may he called, ■would present the fairy-tale play, the fantasv. the parable, and simple forms of pageantry. At the imaginative ago great truths and every-day facts are best brought home to head and heart through the portals of make-believe. Whether as individuals we approve of it or not, drama is going on about us in the city streets —the city children's nursery. " Why not recognize it as we recognize the need of drinkingfountains to quench a good thirst and counteract a bad one? Why not utilize it to supplement the class-room work of book aiid precept in teaching spoken language, in enlarging and pumfying tho vocabulary, in pointing the moral through the adornment of the talc, and ail in the name of entertainment? THE STUDENTS' THEATRE. : The Students' Theatre the second phase —would present the classical drama and authorised dramatisations of classic- works, which students aro required to study in their school and college courses. Whenever there is a Shakespearian matinee in town, one may see it crowded with enthusiastic srtudents and teachers. -Looking on, it has often struck me with wonder that such an audience (which should be a model audience) is not nearly so ideal as the gallery-gods. With their noses glued to their books as they try in the dim shadows to follow the text, with only a casual eye for the et-age, they neither get their full enjoyment nor the'r money's worth, as do the newsboys. with their lofty disdain for dis•puted passages, to whom "the play's the thing." A Students* Theatre per. formance would require proper preparation from "both sides of the footdghts, the stage being used to visualise, to clothe in bodily form what has been studied in the printed word. Elaborate

IVM f„ rill a lire: 31(1 In: i ul 1110 irn--plan. tin.:,. 8.-vi..,', wilt liaidl/ l«. availMbio, rxccpt- when sown groat uccor gitiiHrou-ily "ivc* an object Tlt.i'N-1-eMio'nrM..'Ml Tlieatro tho ihird ph.-is.' w\miil jir. si-nl. dramatio inast<T|ui'.'. s in io''i.'-'li!ioiirlioouo reinoi'o fr.nn tlicnlics wiu .c jjii-'h oi.cas:oually winv il- Wi.i. i.ot U.s lake L-iio ant of -riTo Hiui! iiird." Tli.l Xuw Tlieatre, in .Vow Vorl;, in a spirit of truo n-.'i^tiliourliii,:ss, is <,Kcr>na an oppotiun'tv to tlw poorer class of thoatrc- ;; :orr. U) performances at prices V,it.lnn tlic.il- nieaiia. Now l-ho neighbourhood theatre would not luvvo -thus io 'iisjri 1 iti 1 ■ .J'.o. It n-oulrl n:>t have to bring the mountain to Mohammed: Mohammed, in simpler oarb, woukl co> to the uuiuniain. A full reproduetiolL of the Now Theatr.VK rcprewntatioii of "The Blue Bird" would bo at once too cumbersome and costly to carry iibout town. But, in these day.-, v/ciiders can bo worked with atorsopticon viows, phonograplipio repro<liictioii3 of the human voice, and other kinds of modern wizardry. Add to such devices a good reader, a trained speaker, a boru story-taller; add also a small band of actors to pi'-c-Sonl, if need he without, eccnory. tho salient scenes—, and tho resuit would not shama Maeterlinck's beautiful conception. The Thentro Universal as yet no building or buildings. It is as yet but. an idea —nn idea that, through this word of mine is making, its appeal for a. hearing, for intelligent criticism, and for sympathy. Tt may become a national'movement, or it may be taken up by cities. It will need an organisation. headquarters, and a head. Its purpose' is to carry r out the idea that the theatre, as such, shall be incorporated into education- —education being used in its broadest souse as concerning itself with the enlightened amusement of tho people. By charging moderate prices for its performances when these assume a public character, the Everybody's Theatre should contribute to its own support. And if its worth to the state is demonstrated beyond 11 doubt, tho state beyond a doubt will contribute to its maintenance, as : in tho case of museums, libraries, and all specialised good things that make for tho general good. EDUCATIONAL VALUE. Just; as tlie kindergarten idea met With opposition becauso it introduced tho element of play as a constructive factor into tlie class-room, -it is possible that t-li-s very mime of theatre may make enemies for the present plan. But my faith is strong that iu these days of advancing thought its enemies wilt bo far outnumbered by its friends. Some years ago 1 had the honour of addressing a largo audience in tho Chautauqua auditorium, my subject being the drama. I was warned in advance that the subject might be unpopular with many of my hearers, since these were largely drawn from the rural strongholds of conservatism to which any tiling that savours of the footlights is anathema. I was to bo used, they frankly and smilingly informed me, as a feeler, an entering wedge, a, forerunner. But to-day that same Chautauqua fearlessly invites actors and actresses to l>e its honoured guests. Let me here say with emphasis that it is no part of the plan to train or to encourage children to be trained for tho stage. I regard it as no more the duty of the state to prepare children tobe actors than to be shoemakers, typists, or architects. But Ido regard the stage, rightly as part of a broad, general training. To language it is invaluable and what trade is there, what calling in which language is not a tool? How- . many ministers there are who preach good sermons. And how few who-preach good sermons well. Their most telling simple, plain, good speech—tliev have never thought it worth their while to cultivate. And I am heretic enough to think that there are actors—aye, and good ones —who would be still better actors had they had the proper training. LEARNING FROM GREEKS. The theatre was part of the national life of the Greeks in their civilisation's heyday—and there are matters in which we have yet to outstrip the wisdom of the Greeks. Educationally,' the duty of the state as I oonceive it, is to train children ill such wiso as best to fit them generally to earn their living and to become good citizens, bringing the highest ideals to both responsibilities. And to that great end I be-lieve that what is hero described as the Everybody's Theatre will in its place and relative proportion he an efficient aid-"World's Wcrk."