Roman Drama—An Abyss of License

Radio Record, Volume VIII, Issue 16, 26 October 1934, Page 18

Roman Drama—An Abyss of License

Drama under the Wrong Conditions can be a Most Potent Instrument of Degradation--Early Plays in En gland-Professor Shelley’s Work for the Repertory Movement in Christchurch.

NE of the main features of social life during the last twenty years has been the great development of organised adult education. This is due to a great extent to the wide range of interests that has characterised the individual during the period. The Great War shook the structures of sdecial life to its foundations, while economic ‘forces changed the relation of social classes. These changes encouraged the spirit of inquiry so that ‘ ctuses could be discovered. But later this interest turned to Literature and ' Drama, and now these two subjects are the most popular in the courses organised by adult education movements. O one has pérformed a greater work for the appreciation of Drama in New Zealand than Professor J. Shelley, the Director of the Canterbury W.E.A. As soon as he arrived in New Zealand in the year 1920, q class for the study of Drama was organised for him. This class commenced with a membership of 50. but in subsequent years the mémbership increased to over 200. The organisation of Summer Schools wits coimmenced in the same year, and in these schools Professor Shelley again led the study of Drama and inspired his students to . undertake -further study. . 0 ‘AS the result of this work there were now sufficient’ persons intérested in Drama to form the nucleus of a Repertory Society. Therefore, Professor Shelley undertook the task of organising a Repertory Society for Christchurch. The success of the Society in producing first-class plays for the citizens of Christchurch is now known from one end of New Zealand to the other. Through the instrnmenta}ity of the W.H.A. the interest in Drama spread to Auckland and the other districts of the Dominion, until at the present time there is sufficient interest in the Drama to guarantee the success of Dramatic Festivals organised by the local branches of the British Dramu League. Sir BARRY JACKSON, of the Birmingham Repertory Thentre, writes :-The Drana is a vithl form of art which follows human civilisation in every form, from the most civilised races to those of the lowest known intelligence. The history of the Drama in England takes its origin from the representation of sacred dramas — fl-

lustrating the truths of the Bible, and, as in most countries, this particular form is almost immediately cast aside for representations of existing conditions from a very Wide angle of view. The main idea underlying the progress

of the Drama through the ages is a vivid representation of* ideal life. It teaches humanity quite directly to what it should aspire and what it should cast aside as base and worthless. Dramg cannot be called a pure art: it is of composite form gathering together to one end, poet, painter, musitian and dancer. Of all arts it is the

most immediately vital, in that it de pends on the association for a few hours of a great number of people Whose mental énergies are all coreentrated in the same direction. As an instrument of education, Drama,. alWays supposing that education means & knowledge of leading a life best calew lated to help the community, stands alone without rival.. It knows every phase of life. It brings the whole of ‘man’s life into compass of two and a half hours; it throws a light on’ the fundamentals of life through mimic action ; it shows the infinite significance of small actions on human affairs,. and thtis enables a man to weigh up his actions and to sort out his moral ideas," N Greece, Drama had grown rapidly out of. primitive ritual until it reached its full development in the fifth century B.C., at Athens, when some of the world’s greatest masterpieces, both in tragedy and in comedy, were produced. The conditions under which. the dramatists worked tweré most fav~ ourable, and such as no dramatist has been so fortunate as to erjoy since. Greek Drama had both a really intims. ate connection with national religion, and the full support of the Athenian State. Greece, in fact. illustrates most forcibly our conclusion that the Drami cin be, under right conditions,-a great instrument of progress. Rome. on the other hand, ilinstrates our conclusion that, under wrong conditiors, Drama can be a most potent instrument of degradation, At best it twas borrowed from Greece and was dilettante in character, At its worst it descended into an abyss of licerse and brutality, cu!iinating in the actual burning in the arena of a criminal in the last act of Hureules Furens,. : TT’HE influence of the plays presented urder the auspices of, the Church, and later taken over by the Guilds, was direct and far-reaching in Eng land. It was not only that every towtt of any importance had its plays, but these plays were acted by amateurs. The carpetters produced their play of Noah building the Ark; the shepherds their Nativity play; and while payment was made to the performers for loss of time, there was no idea of professionalism. The plays were performed first in the Parish Church and later in the street. The populace crowded round the movable stage, and when a mes senger pushed his way through them to the stage, or Herod descended and raged among the people, they must have felt that they Were more than spectators. °