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THE UNSPEAKABLE VISITORS AT HOTELS
TERROR AND LOVE LIMITATIONS -OF-THE-MODERN STAGE.
Dr. & Mrs Loevy Mr R. F. Mattingl Mr Word: MoCadferty MrA. C. McCullough Mr T. J. Metcalfe Miss Middleharsh Mr & Mrs Milliard. 3. childrens à & maid Mr Holland Mr C. H. Montage- Dr J. Morrison Mr G. Laders de Mr. Mrs C. G. E. Mr P. I. Nowa
MS Horexons HOTEL, "MrR T. D. Aitken Mr P E Beeston [BY A CORRESPONDENT IN THE TIMES Mrn F. B. Baliliona Mr & Mm W. H. Bell The theatre's peculiar powers and Me Mr G. Bidwell limitations, distinct from the power and G.BY. Bidwell limitations of continuous prese, are no- Mr A. M. Hirohall where better illustrated than in the crear H. G. Bishop tion of terror. Prore writes so far apart Mrs E-Blackbarn as Poe and Henry James have this in Mr A. Blower common-that they approach torror with deliberate delays, drawing you towards it with apparent gentleness. They prac tise elaborate deceptions so that you may be tempted away from your world to theirs-not, indeed the little writer's deceptions of side-plot and blind-alley, which serve only to disperse the imagi: native atmosphere, but the deceptions of style.
James and Poe and De Quincey, and a hundred others who have, at one time
W. K. O. Besta
Q W. Boere Mr & Mrs © Mr S. Bowen Mr&Mr W. T. Bowen
Noraina W Mr
Barler Mr Brodie
Negre
Nelson
Mr & Mrs A. Broste daje J.SMAL
Madam Clact
Mr N. Cook MFR. K. B. Crawford Mr R. T. Crowe
or another, set out to stir the imaginar W. A.
A. Caddy tion to terror, use continually the device Sir Hugh Dixon
Donovan MW, A R. Douglas Miss E. Ellery MFR. M.E
Faler
of long suspension, which cannot be used Mr & Mrs A. F.: upon the stage. I do not mean ins pense." suspense of plot, for that is an aid to all narrative, whether on the stage ar in the library, I mena the suspensions, of phrase and sentence in continuous Mr E. D. Fleming prose: the effect, which good prose has Mr. C. For sometimes, of being a gigantic wave, still Mr La Freeman drawing bubbles to itself from the under Capt. F. C. Gambrill
Gardner MrG.F. suck, still gathering force and weight: Mrs F. W. Geisler still increasing in height and menace, but
Dr R. E. Gill.. poised, held in an exquisite and perilous Mr MJ. Gould
Mrs J. Gray equilibrium the failure of which thought dares not contemplate You read or K. E. Bacaler
breathlessly." they say; but you are. W. TH
W. T. Holdick breathless, not because you want to know Capt. T. P. Hall what will happen, but because you do Mr. Hampe know. The wave will break Though Trfohn Bentt Harston
BA you have read the story a dozen times Mr W. and know every twist of it the waiter. D. Hopeon Isherwood ing of the wave, the slow darketing of Mr your sky by its bulk inspires always Mrs A. Jenkins
BLE. Jones the same terror. Poe creates it by a balancing of his sentences which is de Mile Estrodd liberately exact to the point of lulling monotony James by a delicate tapping upon the nerve of fear, effective because it is irregular: De Quincey by a with drawn music. like the music of an im mense and remote choir, which give to the reader a sense of sharing his horror with a throng of invisible spectators. Excitement the plain desire to know what will happen-can be manufactured by the skilful Arrangement of events, but terror, which is a movement of the spirit, originates in style..
D THRILLING PLAYS..
Mr & Mr G. Kearney
child
Mr. Keating Mrs. A. Kirk Mr A. Kirk. Мг Н. Копаг Mr A. Korwin Mrs Lane child Mr & Mrs Langton
C. Lauritsen Mr. E. Leach Mrs. A. 8. Leathes Miss D. S. Ioathes MrJ. Levy Miss H. Lillia
Nieuwenhuys
Mr J. W. Oliver Mr C., Paget
JR. Payden Pattle Pearce
Mr G.
Mr T. Pearson
Mr. S. Perry
Mr T, Peiris Mr R. Frescott.. Sr John & Lady
Randles
Mr & Mrs J. Rishard-
BOD Mr & Mrs C. K, van
Riper Mr. D. Russell Mr J. Schindler Mr L. Schipper Mr & Mrs Schmidt. Mr & Mrs H. L
Schnitz NrE Schweninger Mini C. R. Blooper Mr & Mrs A. F. Smity Mr F. Boane
Mrs W. H. Sparke Capt. W. H. Sparke He W. vander Step Mr I. Svendsen
Mrs Thornett & maid Mr. R. HL Topkins
Mr D. J. S. Tsaint Mr J. W. Townley Mr H. E. Townley Miss Turner Mr.A. D Tyler: Miss F. Ulbrick Mira & Miss Ulmer
Mr A. G. Vanderpoel MrW.3. Vernor Mr B. J. Womchkol Mr W. T. Whalen Mr A. Wilkinso Mr & Mrs H. L.
Wilson Mr EL A. Yagle.
Katuran Bay BoraL
Mr&Mrs. E. Lund Me & Mew Miskin Mr & Mrs Parker Mr & Mrs W. E. Plant Mr L A. Pollock Mr J. Relaton
Shink
Valentin MrJ. M. Welker Mr & Mrs Wemyss Air & Mr. B. Wi.cu Mr G. Tator
PALACE HOTEL
Mr D. E. Sherman
Mr D. C. Sinclair Mr H. Smith..
Mrs C. Stinger
MrP. T. Timall Mr Bana Vras Mrs E. &. Wyre
A failure to realize this is, I think, an explanation of the badness of many plays of which the purpose is to thrill. Mr & Mrs Childe. It is also, by a side wind, an explana Mr & Mrs Craig tion of the fact that modern dramatists Mr FM. Crawford so often fail, as poetic dramatists did not C. J. Cocker fail, to come to grips with the passion M. Fetterley
MrJ. E Edwards of love. The thrilling" plays either Mr Mrs A.0. leave us unmoved or produce a physical
Finney reaction a tightening of fingers or a Ch
Mian Glearo sudden intaking of breath of which the Mr & Mr. L H. GeaTE H.Goare dramatist had no cause to be prouds They Mr & Mra Harris cause horror with revulsion, not terror Mr & Mrs Hutcidson with beauty. Thrilled or not thrilled, Mr & Miss Lowder we come away from them knowing that MrG. A Lynost they are ugly things; and this not at all because they contain violence or torture or fear, which have been subjects of the greatest plays, but because the physical W. Bernett *MEJ.T. Mainiz reaction to them is isolated and is not a Ma Mira D. Anna Mr B.d.de B. Moor part of a spiritual reaction of terror. Caldwell They have not the language; their C. O. Dance
Modern | Mr H. Eximioar Failure is a failure of style. plays that touch upon love fail for the Mr J. Jank same reason to come to grips with it. Mr & Mrs E. Kala Quite clearly the style of a writer of Mr.J. Lynch continuous prose, which enables him to Mr & Mrs Don G. create an atmosphere of passion-whe ther it be love or terror by the long- drawn cumulative magic of words is not applicable to the modern stage Drani- atists who accept the convention of veini- militude and design their dialogue to produce the effect of conversation connot use the absolute music which exists in words indendarlently of their outward meaning. They cannot lull you with a consistent smoothness, or spür' you with an irregularity, or awaken and calighten you with a rhythmic change. Their con centration is capable of expressing many things with a new cogency and vividness, but it has as. Tet found no substitute for the depth, the suddenness, the concentra tion of attack which enabled Shake- speare in "Antony and Cleopatra" or Shelly in "The Cenci" to strike directly to spiritual sources. Naturalistic drama, like narrative prose, approaces terror circuitously, but, unlike prose, it has not the music of language to quicken and conceal its approach. It is always self- conscious, asking itself: Does this sound like Millicent speaking And if with Millicent it is a question of pas onate love or passionate terror, the nn- swer is alwaya: No, it doesn't, because in the circumstances Millicent wouldn't zpeak at all. The treatment is appro priate to many themes, but it stands paralysed before tempestuous emotions
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It is not conceivable that contemporary dialogue, intended to be photographic, and Ibsen, in work as widely different should reach on the stage the heights as "Ghosts" and "The Master Builder," and depths of love and terror. It checks has raised his comment to a creative this side of fantasy; it withers 'unler level. Even in these instances, however, any considerable extravagance Eat, love he has not attempted the impact of and terror are wildly fantastic and terror which poetry made possible, pre wildly extravagnat. In life they are, in ferring rather to freeze the heart thunn their supreme moment, inarticulate, for to stab it. His terror is negative and the good reason that ordinary language static. It lacks that final impctus of the will not suffice for them. But nothing on poetic form which naturalistio diolague | Ille stage can be inarticulate, you must has nowhere been able to supply. There go on talking. It is the first problem was, it will be said truly, autheptio of dramatists-solved, once by the poetic terror in B.UR, but that play wa convention and now for us to solve again, effective less because it initiated terror If naturalistic dialogue is ridiculous or than because it reminded its audiences inadequate, if you feel that men in top of a topical terror the terror of civic hate and women with cigarettes must not litation-which happened to be already speak verse, you must either shirk the near the surface of their minds. It pro passionate issues or you must discover vided an accidental rather than a general an, alternative: idiom.
solution to the main problem left us by the decay of poetic drama. There is THE DRAMA IN CHAINS....
nerhaps a suggestion for its solution in There must be an alternative. Until Hassan, though Flecker cast his ecent we discover it, the drama gora in in a remote East. Ho has, independ chains. Shaw and Ibsen hare gone in ently of the poetic convention, attempted them neither has given life, in contem to set the heights of passion and terror porary prose dialogue, to the highest on the stage. His play stands xlóne, ecstatics of love and terror, though they and, so far as may be judged from the have objectively commented upon, both written word, points a way of advance
(Continued at foot of next column,) But even he needed the lyric.
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