CAN "AMATEUR STANDARD" BE EXCUSED?

Hawke's Bay Herald-Tribune, Volume 81, Issue 37, 6 November 1937, Page 11

CAN "AMATEUR STANDARD" BE EXCUSED?

Quite often after a weak amateur performance in extenuation^ the cry goes up, "But, after all, they were amateurs." The producer and tho players, instead of taking this as a most offensive remarky. smile and murmur that they did their best. This is ' probably a foolish untruth born of complacency and ignorance; it is extremely unlikely that any of them had studied their subject sufiiciently even to attempt a "best."' If must be realised that, the moment an nmateur player demands money from an. indulgent public for admissiou to his performance, he ranges himself beside the professional. In effect, he says, "I am going to put on an interesting play for you. If you want to see it you must pay my price for admission. The acting will be sufiiciently good to create for you the illusion intended by the author. " It would be in the interests of most amateur producing organisations to look over these three points and malce certain that they apply to themselves^ rather than attempt a re.urguard. actiou behind the screen of ' ' amateur standard. ' ' "Amateur standard" has probably doae more Earm to the good name cf amateur acting than any other folly committed in the name of Thespis. It was a phrase coined to excuse t.he incompetent. But, like many labour. unions created to help indifferent workmen, it has had the effect of drawing down the competent to the common level. The phrase became synonymous with inefficiency, boredom and charity concerts. This was particularly the case before the introduction of the taikies. . Then and Now. In those days, around the period of 1925, the jtage was a flourishing business. l^e good old "kam" strutted and boomed. The music halls were full, as were most of the theatres. The public were in a mood to tolerate very indifferent porfonnances, and the incompetent dmateur was in his element. He liked best to pliy in farce-*-"Charley's Aunt" or '"The Private Secretary" for preference — in which,. transformed by a vast nest of eyebrows and wniskers and an intimidat.ing set of false teeth, he would prepare jto "set the house in a roar." If fortune favoured him — but not his audience — and he chanced to noti.ce a tea-eosy by the way, he would cram that on his head as an added inducement to hilarity. But where are the snows of yesteryear? "Those were the days," cry fheso indefatigable humourists, and we can only repfy^ "Oh, yeah?" These good people quite forget that the clown is far more than his cloth.es. It is so easy to be ridiculous and so terribly difiicult to be really fulnny. One has only to notice the music-hall comedians who appear in ludicrous cl-othes and so often fail dismally to be amusing, while Charles Chaplin, wifth the streak of genius in his composition, rises above his self-ereated fetters of/ shabby bowler, large bopts and baggy trousers. These remain as a backgrounfl, but what we remember are the wistful eyes, the deprecating smilq and shrug and the amazing agile "hands. The Inperitance. With the coming of the taikies much of ivhe dead wood of the old theatre vanished. Much of talent and possibly a little of genius, alas, vanished also, but the general effect was all to the good. People who had not known good acting before suddenly became aware of it as a tremendous vehiele for selfexpression. With the dwindling of the supply of travelling professional coninames, these nerw, enthusiastic amateurs came into their own. They filled the- want of a certain section of the public: a want for flesh and blood in' place of shadows." But— they inherited that ; crushing ! mill-stone," . - "amateur standard" from their predecessors. It is absolutely ' essential- .that "this: intolerable burden ; should be cast qff. It is nnfairf and, underseved by tho' great ma jority, and it only persists because bad performances persist. Ama-" teur players must arise in' their WTath and insist that' quality is 'the'' first 'es-' sential for their production. , The good. Lord gave them brains and a desire to act: - well,- let them learn- something cf the business. Read good plays- and, notice, how tlhey are. made. Forget all about the taikies (the two .techniques are entirely dissimilar), but remember h-ow the actors use' their "voices. Let them* try to visualise a" scene as they r ead it,' and work it up until its drama- ' tie content is apparent. Arid then let them -turn on the producers and organisers of bad performances and' tell ,them -to go elsewhere and , learn also. - It is only thus that "amateur standard". can rightly be shelved -in the dusty spot to which it belongs, and the great entertainment provided . by , moders. amateur enthusia6m placed in its' proper light." The onus is on .all sefious amateurs. ' Go to it. « Jeremy Collier, Junior. .