THE AUDIENCE

Wanganui Chronicle, Volume 77, Issue 35, 10 February 1934, Page 11

THE AUDIENCE

ITS RELATION TO DRAMA. ADDRESS TO SUMMER SCHOOL. “The Audience; Its Function,” was the subject of an address given at the Summer School of Drama at Timaru by Miss Elizabeth Blake last month. “In very early times, the audience was so identified with the performance as to be part of it,” said Miss Blake. “Processions consisted of both performers and audience, and only after thousands of years a body was found distinct from those who took an active part in the performance.” In the sixth century, with the advent of Christianity, the performers drifted into two parties, the larger group singing the refrain and the small groups telling the stories. Later camo the division between actor and audience. The playcn performed in any scenes, going from street to street and the people were distinct from players. For one thing, the play was prepared and there were rehearsals. The audience became a true audience. First National AudT:n'»\ The first truly national audience in the history of the Empire was Shakespeare’s, continued the speaker. Shakespearo wrote plays to earn his living. Sometimes ho wrote for small, select audiences, but more often for the great, rough, perpetually-moving audiences recruited from all branches of the people—to the primitive, the illiterate, a good melodrama, to the educated a revelation of the human soul. He wrote, for the whole of his audience, and the whole responded according to their sox oral abilities. With the death of Elizabeth, the theatre underwent another change. Puritans closed the theatres, and Charles opened them again. With the reopening new methods were tried. Private playhouses used scenery for the first time, and the audience was a smaller one. Then the chronicle history play disappeared, and a cult of literary construction began to be observed. Satire, horror, tragedy, supersonsual, and sentimental plays had their day. Tn the eighteenth century another change took place. Neither Anne nor the first Georges cared for the theatre; consequently actors turned once more to the people and produced various plays in turn, to find what the great public wanted. Dvxfline in Acting. In the nineteenth century larger theatres were built, and acting necessarily became coarser and less subtle, and the audience bad mannered. Xcvertlieless. in spite of poor taste and bad behaviour, the representative audience from the beginning of the nineteenth century was finding its wav back to the theatre. In 1843 an Act was passed which destroyed monopoly, and smaller theatres were built. The corrupt behaviour of the past went out of fashion. Queen Victoria had beaten the loose livers and decentminded people could again visit the theatre without being disgusted. The acting improved. The English stage was now waiting for someone to inspire it with new life. That touch was supplied by Hendrick Ibsen, who, the lecturer said, was undoubtedly the gieatest influence the theatre had known since Shakespearse. Through Ibsen’s genius, the members of the audience were enabled to see their own lives and problems revealed bv a master hand, and with this There came also the beginnings of s-ientilic criticism, the audience becoming vital and important also. Three GJ'.at Factors. Three great factors controlled the present, position: (1) The Factory Act. which gave the people more lime for daily recreation; (2) the World War; (3) the creation and devclbpment of the cinema. The second factor created the “eat. drink and be merry’’ attitude. The third attracted n larger and more frequent audience than any other form of entertainment. 'This last cinema-trained audience was harder to play to than the drama-trained one. because it had the art of response, and somehow it had to be made responsive again, 'rhe amateur audience had a strong personal interest, but there was a number of “know all” critics. Generally, however, the amateur audience was enthusiastic, tolerant. and patient. “I hope you will agree with me that this business of reeducating the living audience is worth all the attention we <an give it.” said Miss Blake. “The good audience is the responsive audience, vital, appreciative, critical, and sympathetic. By such, the drama will grow and thrive ami become the fully alive and compelling force it can bo in the life of the community.’’ Old-time Pugilists. Those who remember the old-time pugilists will recognise “Pueblo Jim” Flynn and Frank Moran in “The Bowcry,” new 20th, centurv picture of New York’s wicked old East Side. Flynn and Moran appear in support of its three stars—Wallace Beery. George Raft and Jackie Cooper. It will be remembered that “Pueblo Jim” Flynn knocked out Jack Dempsey when the latter was a ring beginner, while Jess Willed, when he was world champion took a powerful pounding from Moran. A score of other ring stars also appears in “The Bowery,’.’ a United Artists’ release. “Springtime for Henry.” the farce by Bonn W. Levy produced in London a year ago, is to bo filmed by Jesse L. Lasky, with Nigel Bruce in his original stage part and Leslie Banks. Charles Farrell is to appear on the screen again with Janet Gaynor, renewing the most famous film partnerehp ever known. They first appeared together in “Seventh Heaven.” Mr. Farrell left the Fox Film Company of his own accord some months ago because he felt he was getting in r rut and was dissatisfied with the parts given him. Now be is going back to the same firm. As soon as Wallace Beery has completed “Viva Villa” for Metro-Gold-wyn-Mayer, ho will join Twentjbth Century “on loan” to play the tilerole in “The Great Barnum,” a story of the famous American showman.