MODERN DRAMA

Evening Post, Volume CXVII, Issue 74, 28 March 1934, Page 16

MODERN DRAMA

LINK TO LITERATURE

PLAYWRIGHTS AND IDEAS

TOLLEK LECTURES

Recently Mr- Ernst Toller, now a refugee; in, England, lectured in.tho Manchester TJniversity ou'lho modern German, theatre. He leueivcd a very cordial welcome to which, several considerations contributed: the inteiest and importance of his subject,, his engaging personality, anil the sympathy we all feel with this famous writer and his comrades who are condemned "to exile by a stupid tyranny, writes Allan.Monkhouso ia the "Manchester Guardian." Manchester is very much in need of stimulation in theatrical politics and Mr. Toller's address was opportune.'lt was both historically interesting and suggestive, and I think that many of his auditors felt that they should know more of his work. To somo of us he has been primarily the author of '' The Machine-Wreckers," which Mr. Ashley Dukes translated; now, happily, there is to, boa chance for English readers to add to their knowledge.. An autobiographical work by Mr. Toller, is at the point of publication, and presently there is to bo a volume of plays. Wo might hope that something in these would commend itself to our Repertory Theatre, one of its functions beiug to keep us abreast —or as near as may be • —of modern European drama. It is the drama which makes literature that we are after. We may bo willing that, our repertory theatres should make money by popular middlingness on condition that they arc ready to squander it on masterpieces or promising experiments. A . play that is not worth printing may be quite amusing and meritorious in performance though it has nothing to do with dramatic*. literature. This has been one of our national glories and now it seems to be in danger of attenuation or starvation. The repertory' theatres cannot be saved.by rapid laughter or enticing spectacle; they must arouse interest, excite discussion, make converts. THE OUTCOME. It is admirable for the University to bring,,-Mr. Toller " here, but we may wonder sometimes whether it has CDy vital relation- with .the theatre of today. One.does not doubt that excellent and essential work is done in the classrooms, but it does occur to one that an outcome of a study of dfama should be drama; that experiments might even be- pursued -. in modern forms. Ido not know whether there is now; in existence a, -Manchester University dramatic society; if there is it must keep very, modestly in the background. Yet one can recall some achievements in the past. During one ambitious-period there were performances of Milton's "Comas" and Ibsen's "Brand"; and Mi-. Masefield has" come to Manchester to see his own plays. ■■■■'-.. Perhaps it may be said that Manchester undergraduates are serious persons closely an object—or even a career—and that they may not, like those of more- leisured universities, waste time over the arts at the expense of the sciences. Manchester has nothing to correspond with the O.U.D.S. or, the Cambridge Festival Theatre;' ybt we do not live by bread alone, and. one could forgive occasional failures to obtain ...a B.Sc. if they : were, mitigated by the''production "of a few dramatic masterpieces. But how, it may tie asked, is repertory to be saved by the encouragement of competitors? / Possibly it finds dts warmest supporters in niembers of the University. I don't know. We want widespread interest, incitement, rivalry in comradeship. ' IDEA AND INDIVIDTJAL. Mr. Toller, in his exposition of 'expressionism in German drama, raised the. question, ever to be debated, of the relation of the' idea to tho individual.. The idea, in his view, is related to the fundamental problems of society • in drama : that is worthy of critical consideration. And so the expressionist play, initiated by the ardent youth !of Germany, .became political and anticapitalistic. Perhaps its scope was narrow, and Mr. Toller draws a distinction between political literature and political propaganda. Later developments, with which he is in practical -sympathy, have done something to restore the im.portance of the individual. One recalls the pronouncement of the American propagandist: "Reject the homely image of the individual man, and, for your propaganda purposes, obsess the; piiblic mind with nightmares of subhuman monsters who are bred by Capital." Mr. Toller and those who are "With him have got, further than /this, though it might have some relevance to '' The Machine-Wreckers.'' ■'•;■■ we are to have in Manchester av'draina'tised version of tho novel "liove on the Dole," and. we may^be sure that .the authors of this will deal;with, men' and women rather than-'demonstrating monsters. , 'I: On© of the besetting dangers in German drama during its more recent phases is, Mr. Toller believesj'the dominance of the producer who does, not recognise the written play as a completed work of art but rather as the. raw material . for "Ma constructive genius. .-' BOOM'FOR ALL. * Under/the Hitler Tule, too, the objection has been raised to "cultured. Bolshevism," which is apt to usurp the place of a hearty Nationalism. . The German problems are not precisely, our own, but there is something in common., Social changes must have their effect upon art, but fashions in play-writing seem to have a large infusion of .the arbitrary. We hear that realism is dead or that romanticism is outmoded.There is room for all. v The Elizabethans wrote five-act tragedies and comedies in blank verse and they made a success of it; possibly some of them would have done better if they had worked in another form. You may lag behind in fashion or anticipate it: all ways are good. There was a tinie when we had a "Manchester school" of painting and, about a-generation later, a feeble attempt was mad© to identify us with a Manchester school of drama which you could always count upon to supply something dismal. It was an unjust aspersion and there never was such a school. You may have too much of a good thing. Ono recalls Browning's "Pictor Ignotus" for an example of the narrow life: My heart sinks, as' monotonous I paint These endowsjjoisters and eternal aisles With the same series. Virgin, Babe, and Saint. It is not half a life but a full one .that we would have the theatre represent. We want the' passing show and the deep reality, mood, and permanence, anything that is good of its kind if it dbea not exclude something better. It is for the dramatist^to follow his bent, not a fashion. .