FUTURE OF THEATRE.

Waikato Times, Volume 121, Issue 20268, 10 August 1937, Page 9

FUTURE OF THEATRE.

REVERSION FROM REALISM NEED FOR POETRY IN DRAMA. ADDRESS BY PROFESSOR SEWELL. The future of the theatre and the part It appears destined to play in society formed the subject of la-st evening’s university extension lecture, given In Hamilton by Professor W. A. Sewell, professor of English at Auckland University College. The Dean of Hamilton, the Very Rev. T. P. Weatherhog, presided. Professor Sewell began by tracing the evolution of the modern realistic or naturalistic drama from Its beginnings In the middle of the nineteenth century, in 1840, he said, there were only two theatres in London —Drury Lane and the Haymarket—where | legitimate drama might be produced. No other theatre might produce a play > unless it was accompanied by music. This monopoly, and the faot that both these theatres were huge, barn-like * places, prevented the earlier appearance of the intimate, realistic atmosphere which characterised most modern dramatic plays. In these old theatres acting was declamatory, and the players had to bawl their lines to be heard. The Rise of Realism. ». The monopoly was broken, however, in 1849, after which the smaller theatres, where flamboyant spectacle and ranting were unnecessary, came into their own. If this were an evolutionary development within the theatre, a most important influence outside It, oontlnued Professor Sewell, was the democratic development of the age. From 1840 onward oould be marked the rise of middle-class self-examina-tion and Introspection. “These people saw on the ■stage,” he oontlnued, “their own problems, their own lives exhibited and dissected, and thi6 all resulted In an artform or style of drama —realism or naturalism —that has held the field until the present day.” In the drama of realism the actors were natural and behaved as ordinary men and women behave, the soenery was photographically faithful, characteristics which refle-cted the scientific or “truth” movement of the times. Strength and Impetus were given to the naturalistic school by the work of the Russians, Chekhov and Stanislavsky, author and producer respectively. , •The Stage l» Unique.** ItealFsm, however, the speaker oontlnued, as portrayed on the stage had served its purpose. It was at best a Bontradiotory philosophy, for the business of the artist was to make music and meaning out of life. “The stage Is unique,” he went on, “in that it alone appeals to eye and ear at the same time, and further than that, its appeal to the eye is a moving appeal.” The possibilities of orderly movement (dancing) and significant movement (gesture) had never yet been properly explored, yet it seemed that in that direction lay, in part, at least, the future of the theatre. “Nothing has been done In this direction yet,” said Professor Sewell, “since the work of the Russian ballet oan be excluded as too preolous, too dlvoroed from reality, too meaningless. “We know only little things about the art of the theatre, and we cannot guess what will be aohleved In the future by the use of shapes and colours. I believe that the drama will be the communal art of the future.” Bringing Baok Poetry. Professor Sewell said that he did not agree with the view of the producer Cordon Craig that the spoken word would pass from the theatre. More, ha felt that poetry should again be introduced into drama. “Until we have again the rhythms of poetlo speech and the crowding Images of Shakespeare’s time, tho theatre will remain clouded over with the sickly pallor which marks not only Noel Coward’s cheeks but also his plays. What he Is doing with the English language Is deserving of capital punishment. In his plays you see the complete annihilation of beauty; there is no social meaning in [ them, nothing but a titivation of what is nastiest in people: A tickling by a witty tongue of Itching palates.” Under the Influence of true dramatlo art the mind of man was oapable of rising to great heights of appreciative feeling, and the conception that the drama might In time become a serious oelebratlon of what was most worthwhile In men and women was not altogether fantastlo. At the conclusion of his address Professor Sewell showed a series of lantern slides illustrative of the latest trends in dramatic production, with special reference to the usefulness of “unit” theutres, where the supply of settings was restricted. A vote of thanks to Professor Sewell, proposed by Mr F. A. de la Mare, was carried by acclamation.