Play-Making: A Manual of Craftsmanship. Archer William
the traditional "dramatic" is a wholly mistaken movement. It is a valuable corrective of conventional theatricalism; and it has, at some points, positively enlarged the domain of dramatic art. Any movement is good which helps to free art from the tyranny of a code of rules and definitions. The only really valid definition of the dramatic is: Any representation of imaginary personages which is capable of interesting an average audience assembled in a theatre. We must say "representation of imaginary personages" in order to exclude a lecture or a prize-fight; and we must say "an average audience" (or something to that effect) in order to exclude a dialogue of Plato or of Landor, the recitation of which might interest a specially selected public. Any further attempt to limit the content of the term "dramatic" is simply the expression of an opinion that such-and-such forms of representation will not be found to interest an audience; and this opinion may always be rebutted by experiment. In all that I have said, then, as to the dramatic and the non-dramatic, I must be taken as meaning: "Such-and-such forms and methods have been found to please, and will probably please again. They are, so to speak, safer and easier than other forms and methods. But it is the part of original genius to override the dictates of experience, and nothing in these pages is designed to discourage original genius from making the attempt." We have already seen, indeed, that in a certain type of play--the broad picture of a social phenomenon or environment--it is preferable that no attempt should be made to depict a marked crisis. There should be just enough story to afford a plausible excuse for raising and for lowering the curtain.[20]
Let us not, however, seem to grant too much to the innovators and the quietists. To say that a drama should be, or tends to be, the presentation of a crisis in the life of certain characters, is by no means to insist on a mere arbitrary convention. It is to make at once an induction from the overwhelming majority of existing dramas, and a deduction from the nature and inherent conditions of theatrical presentation. The fact that theatrical conditions often encourage a violent exaggeration of the characteristically dramatic elements in life does not make these elements any the less real or any the less characteristically dramatic. It is true that crispness of handling may easily degenerate into the pursuit of mere picture-poster situation; but that is no reason why the artist should not seek to achieve crispness within the bounds prescribed by nature and common sense. There is a drama--I have myself seen it--in which the heroine, fleeing from the villain, is stopped by a yawning chasm. The pursuer is at her heels, and it seems as though she has no resource but to hurl herself into the abyss. But she is accompanied by three Indian servants, who happen, by the mercy of Providence, to be accomplished acrobats. The second climbs on the shoulders of the first, the third on the shoulders of the second; and then the whole trio falls forward across the chasm, the top one grasping some bush or creeper on the other side; so that a living bridge is formed, on which the heroine (herself, it would seem, something of an acrobat) can cross the dizzy gulf and bid defiance to the baffled villain. This is clearly a dramatic crisis within our definition; but, no less clearly, it is not a piece of rational or commendable drama. To say that such-and-such a factor is necessary, or highly desirable, in a dramatic scene, is by no means to imply that every scene which contains this factor is good drama. Let us take the case of another heroine--Nina in Sir Arthur Pinero's His House in Order. The second wife of Filmer Jesson, she is continually being offered up as a sacrifice on the altar dedicated to the memory of his adored first wife. Not only her husband, but the relatives of the sainted Annabel, make her life a burden to her. Then it comes to her knowledge--she obtains absolute proof--that Annabel was anything but the saint she was believed to be. By a single word she can overturn the altar of her martyrdom, and shatter the dearest illusion of her persecutors. Shall she speak that word, or shall she not? Here is a crisis which comes within our definition just as clearly as the other;[21] only it happens to be entirely natural and probable, and eminently illustrative of character. Ought we, then, to despise it because of the element it has in common with the picture-poster situation of preposterous melodrama? Surely not. Let those who have the art--the extremely delicate and difficult art--of making drama without the characteristically dramatic ingredients, do so by all means; but let them not seek to lay an embargo on the judicious use of these ingredients as they present themselves in life.
CHAPTER IV
THE ROUTINE OF COMPOSITION
As no two people, probably, ever did, or ever will, pursue the same routine in play-making, it is manifestly impossible to lay down any general rules on the subject. There are one or two considerations, however, which it may not be wholly superfluous to suggest to beginners.
An invaluable insight into the methods of a master is provided by the scenarios and drafts of plays published in Henrik Ibsen's Efterladte Skrifter. The most important of these "fore-works," as he used to call them, have now been translated under the title of From Ibsen's Workshop (Scribner), and may be studied with the greatest profit. Not that the student should mechanically imitate even Ibsen's routine of composition, which, indeed, varied considerably from play to play. The great lesson to be learnt from Ibsen's practice is that the play should be kept fluid or plastic as long as possible, and not suffered to become immutably fixed, either in the author's mind or on paper, before it has had time to grow and ripen. Many, if not most, of Ibsen's greatest individual inspirations came to him as afterthoughts, after the play had reached a point of development at which many authors would have held the process of gestation ended, and the work of art ripe for birth. Among these inspired afterthoughts may be reckoned Nora's great line, "Millions of women have done that"--the most crushing repartee in literature--Hedvig's threatened blindness, with all that ensues from it, and Little Eyolf's crutch, used to such purpose as we have already seen.
This is not to say that the drawing-up of a tentative scenario ought not to be one of the playwright's first proceedings. Indeed, if he is able to dispense with a scenario on paper, it can only be because his mind is so clear, and so retentive of its own ideas, as to enable him to carry in his head, always ready for reference, a more or less detailed scheme. Go-as-you-please composition may be possible for the novelist, perhaps even for the writer of a one-act play, a mere piece of dialogue; but in a dramatic structure of any considerable extent, proportion, balance, and the interconnection of parts are so essential that a scenario is almost as indispensable to a dramatist as a set of plans to an architect. There is one dramatist of note whom one suspects of sometimes working without any definite scenario, and inventing as he goes along. That dramatist, I need scarcely say, is Mr. Bernard Shaw. I have no absolute knowledge of his method; but if he schemed out any scenario for Getting Married or Misalliance, he has sedulously concealed the fact--to the detriment of the plays.[22]
The scenario or skeleton is so manifestly the natural ground-work of a dramatic performance that the playwrights of the Italian commedia dell' arte wrote nothing more than a scheme of scenes, and left the actors to do the rest. The same practice prevailed in early Elizabethan days, as one or two MS. "Plats," designed to be hung up in the wings, are extant to testify. The transition from extempore acting regulated by a scenario to the formal learning of parts falls within the historical period of the German stage. It seems probable that the romantic playwrights of the sixteenth and seventeenth centuries, both in England and in Spain, may have adopted a method not unlike that of the drama of improvisation, that is to say, they may have drawn out a scheme of entrances and exits, and then let their characters discourse (on paper) as their fancy prompted. So, at least, the copious fluency of their dialogue seems to suggest. But the typical modern play is a much more close-knit organism, in which every word has to be weighed far more carefully than it was by playwrights who stood near to the days of improvisation, and could indulge in "the large utterance of the early gods." Consequently it would seem that, until a play has been thought out very clearly and in great detail, any scheme of entrances and exits ought to be merely provisional and subject to indefinite modification. A modern play is not a framework of story loosely draped in a more or less gorgeous robe of language. There is, or ought to be, a close interdependence between action, character and dialogue, which forbids a playwright to tie his hands very far in advance.
As a rule, then, it would seem to be an unfavourable