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How to See a Play. Richard Burton
Читать онлайн.Название How to See a Play
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isbn http://www.gutenberg.org/ebooks/32433
Автор произведения Richard Burton
Издательство Public Domain
Aside from all technicalities, and stripped of much of moment to the specialist, we have in this origin and early development a blend of amusement and instruction; a religious purpose linked with a frank recognition of the fact that if you make worship attractive you strengthen its hold upon mankind – a truth sadly lost sight of by the later Puritans. The church was wise, indeed, to unite these elements of life, to seize upon the psychology of the show and to use it for the purpose of saving souls. It was not until the sixteenth century and the immediate predecessors of Shakespeare that the play, under the influence of renaissance culture and the inevitable secularization of the theater in antagonism to the Puritan view of amusement, waxed worldly, and little by little lost the ear-marks of its holy birth and upbringing.
The day when the priests, still the actors of the play, walked down the nave and issued from the great western door of the cathedral, to continue the dramatic representations under the open sky, was truly a memorable one in dramatic history. The first instinct was not that of secularization, but rather the desire for freer opportunity to enact the sacred stories; a larger stage, more scope for dramatic action. Yet, although for generations the play remained religious in subject-matter and intent, it was inevitable that in time it should come to realize that its function was to body forth human life, unbounded by Bible themes: all that can happen to human beings on earth and between heaven and hell and beyond them, being fit material for treatment, since all the world's a stage, and flesh and blood of more vital interest to humanity at large than aught else. The rapid humanization of the religious material can be easily traced in the coarse satire and broad humor introduced into the Bible narratives: a free and easy handling of sacred scene and character natural to a more naïve time and by no means implying irreverence. Thus, in the Noah story, Mrs. Noah becomes a stout shrew whose unwillingness to come in out of the wet and bestow herself in dry quarters in the Ark must have been hugely enjoyed by the fifteenth century populace. And the Vice of the morality play degenerates into the clown of the performance, while even the Devil himself is made a cause for laughter.
Another significant step in the advance of the drama was made when the crafts took over the representations; for it democratized the show, without cheapening it or losing sight of its instructional nature. When the booths, or pageants as they were called, drew up at the crossing of the ways and performed their part in some story of didactic purport and broadly human, hearty, English atmosphere, with an outdoor flavor and decorative features of masque and pageantry, the spectators saw the prototype of the historic pageants which just now are coming again into favor. The drama of the future was shaping in a matrix which was the best possible to assure a long life, under popular, natural conditions. These conditions were to be modified and distorted by other, later additions from the cultural influence of the past and under the domination of literary traditions; but here was the original mold.
The method of presentation, too, had its sure effect upon the theater which was to follow this popular folk beginning. The movable van, set upon wheels, with its space beneath where behind a curtain the actors changed their costumes, suggests in form and upfitting the first primitive stages of the playhouses erected in the second half of the sixteenth century. Since but one episode or act of the play was to be given, there was no need of a change of scene, and the stage could be simple accordingly. Contemporary cuts show us the limited dimensions, the shallow depth and the bareness of accessories typical of this earliest of the housings of the drama, for such it might fairly be called. Obviously, on such a stage, the manner and method of portrayal are strictly defined: done out of doors, before a shifting multitude of all classes, with no close cohesion or unity, since another part of the story was told in another spot, the play, to get across – not the footlights, for there were none – but the intervening space which separated actors and audience, must be conveyed in broad simple outline and in graphic episodes, the very attributes which to-day, despite all subtleties and finesse, can be relied upon to bring response from the spectators in a theater. It must have been a great event when, in some quiet English town upon a day significant in church annals, the players' booths began their cycle, and the motley crowd gathered to hear the Bible narratives familiar to each and all, even as the Greek myths which are the stock material of the Greek drama were known to the vast concourse in the hillside theater of that day. In effect the circus had come to town, and we may be sure every urchin knew it and could be found open-mouthed in the front row of spectators. No possibility here of subtlety and less of psychologic morbidity. The beat of the announcing drum, the eager murmur of the multitude, the gay costumes and colorful booth, all ministered to the natural delight of the populace in show and story. The fun relieved the serious matter, and the serious matter made the fun acceptable. With no shift of scenery, the broadest liberty, not to say license, in the particulars of time and place were practiced; the classic unities were for a later and more sophisticate drama. There was no curtain and therefore no entr'act to interrupt the two hours' traffic of the stage; the play was continuous in a sense other than the modern.
As a result of these early conditions, the English play was to show through its history a fluidity, a plastic adaptation of material to end, in sharp contrast with other nations, the French, for one, whose first drama was enacted in a tennis court of fixed location, deep perspective and static scenery.
On the holy days which, as the etymology shows, were also holidays from the point of view of the crowd, drama was vigorously purveyed which made the primitive appeals of pathos, melodrama, farce and comedy. The actors became secular, but for long they must have been inspired with a sense of moral obligation in their work; a beautiful survival of which is to be seen at Oberammergau to-day. And the play itself remained religious in content and intention for generations after it had walked out of the church door. The church took alarm at last, aware that an instrument of mighty potency had been taken out of its hands. It is not surprising to find various popes passing edicts against this new and growingly influential form of public entertainment. It seemed to be on the way to become a rival. This may well have had its effect in the rapid taking over of the drama by the guilds, as later it was adopted by still more worldly organizations.
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