The Author's Craft - Arnold Bennett (knowledgeable books to read TXT) 📗

the theatre as a situation. It may amble on--and it will still be a play, and it may succeed in pleasing either the fastidious hundreds or the unfastidious hundreds of thousands, according to the talent of the author. Without doubt mandarins will continue for about a century yet to excommunicate certain plays from the category of plays. But nobody will be any the worse. And dramatists will go on proving that whatever else divides a play from a book, "dramatic quality" does not. Some arch-Mandarin may launch at me one of those mandarinic epigrammatic questions which are supposed to overthrow the adversary at one dart. "Do you seriously mean to argue, sir, that drama need not be dramatic?" I do, if the word dramatic is to be used in the mandarinic signification. I mean to state that some of the finest plays of the modern age differ from a psychological novel in nothing but the superficial form of telling. Example, Henri Becque's _La Parisienne_, than which there is no better. If I am asked to give my own definition of the adjective "dramatic," I would say that that story is dramatic which is told in dialogue imagined to be spoken by actors and actresses on the stage, and that any narrower definition is bound to exclude some genuine plays universally accepted as such--even by mandarins. For be it noted that the mandarin is never consistent.

My definition brings me to the sole technical difference between a play and a novel--in the play the story is told by means of a dialogue. It is a difference less important than it seems, and not invariably even a sure point of distinction between the two kinds of narrative. For a novel may consist exclusively of dialogue. And plays may contain other matter than dialogue. The classic chorus is not dialogue. But nowadays we should consider the device of the chorus to be clumsy, as, nowadays, it indeed would be. We have grown very ingenious and clever at the trickery of making characters talk to the audience and explain themselves and their past history while seemingly innocent of any such intention. And here, I admit, the dramatist has to face a difficulty special to himself, which the novelist can avoid. I believe it to be the sole difficulty which is peculiar to the drama, and that it is not acute is proved by the ease with which third-rate dramatists have generally vanquished it. Mandarins are wont to assert that the dramatist is also handicapped by the necessity for rigid economy in the use of material. This is not so. Rigid economy in the use of material is equally advisable in every form of art. If it is a necessity, it is a necessity which all artists flout from time to time, and occasionally with gorgeous results, and the successful dramatist has hitherto not been less guilty of flouting it than the novelist or any other artist.


V


And now, having shown that some alleged differences between the play and the novel are illusory, and that a certain technical difference, though possibly real, is superficial and slight, I come to the fundamental difference between them--a difference which the laity does not suspect, which is seldom insisted upon and never sufficiently, but which nobody who is well versed in the making of both plays and novels can fail to feel profoundly. The emotional strain of writing a play is not merely less prolonged than that of writing a novel, it is less severe even while it lasts, lower in degree and of a less purely creative character. And herein is the chief of all the reasons why a play is easier to write than a novel. The drama does not belong exclusively to literature, because its effect depends on something more than the composition of words. The dramatist is the sole author of a play, but he is not the sole creator of it. Without him nothing can be done, but, on the other hand, he cannot do everything himself. He begins the work of creation, which is finished either by creative interpreters on the stage, or by the creative imagination of the reader in the study. It is as if he carried an immense weight to the landing at the turn of a flight of stairs, and that thence upward the lifting had to be done by other people. Consider the affair as a pyramidal structure, and the dramatist is the base--but he is not the apex. A play is a collaboration of creative faculties. The egotism of the dramatist resents this uncomfortable fact, but the fact exists. And further, the creative faculties are not only those of the author, the stage-director ("producer") and the actors--the audience itself is unconsciously part of the collaboration.

Hence a dramatist who attempts to do the whole work of creation before the acting begins is an inartistic usurper of the functions of others, and will fail of proper accomplishment at the end. The dramatist must deliberately, in performing his share of the work, leave scope for a multitude of alien faculties whose operations he can neither precisely foresee nor completely control. The point is not that in the writing of a play there are various sorts of matters--as we have already seen---which the dramatist must ignore; the point is that even in the region proper to him he must not push the creative act to its final limit. He must ever remember those who are to come after him. For instance, though he must visualise a scene as he writes it, he should not visualise it completely, as a novelist should. The novelist may perceive vividly the faces of his personages, but if the playwright insists on seeing faces, either he will see the faces of real actors and hamper himself by moulding the scene to suit such real actors, or he will perceive imaginary faces, and the ultimate interpretation will perforce falsify his work and nullify his intentions. This aspect of the subject might well be much amplified, but only for a public of practising dramatists.


VI


When the play is "finished," the processes of collaboration have yet to begin. The serious work of the dramatist is over, but the most desolating part of his toil awaits him. I do not refer to the business of arranging with a theatrical manager for the production of the play. For, though that generally partakes of the nature of tragedy, it also partakes of the nature of amusing burlesque, owing to the fact that theatrical managers are--no doubt inevitably--theatrical. Nevertheless, even the theatrical manager, while disclaiming the slightest interest in anything more vital to the stage than the box-office, is himself in some degree a collaborator, and is the first to show to the dramatist that a play is not a play till it is performed. The manager reads the play, and, to the dramatist's astonishment, reads quite a different play from that which the dramatist imagines he wrote. In particular the manager reads a play which can scarcely hope to succeed--indeed, a play against whose chances of success ten thousand powerful reasons can be adduced. It is remarkable that a manager nearly always foresees failure in a manuscript, and very seldom success. The manager's profoundest instinct--self-preservation again!--is to refuse a play; if he accepts, it is against the grain, against his judgment--and out of a mad spirit of adventure. Some of the most glittering successes have been rehearsed in an atmosphere of settled despair. The dramatist naturally feels an immense contempt for the opinions artistic and otherwise of the manager, and he is therein justified. The manager's vocation is not to write plays, nor (let us hope) to act in them, nor to direct the rehearsals of them, and even his knowledge of the vagaries of his own box-office has often proved to be pitiably delusive. The manager's true and only vocation is to refrain from producing plays. Despite all this, however, the manager has already collaborated in the play. The dramatist sees it differently now. All sorts of new considerations have been presented to him. Not a word has been altered; but it is noticeably another play. Which is merely to say that the creative work on it which still remains to be done has been more accurately envisaged. This strange experience could not happen to a novel, because when a novel is written it is finished.

And when the director of rehearsals, or producer, has been chosen, and this priceless and mysterious person has his first serious confabulation with the author, then at once the play begins to assume new shapes--contours undreamt of by the author till that startling moment. And even if the author has the temerity to conduct his own rehearsals, similar disconcerting phenomena will occur; for the author as a producer is a different fellow from the author as author. The producer is up against realities. He, first, renders the play concrete, gradually condenses its filmy vapours into a solid element.... He suggests the casting. "What do you think of X. for the old man?" asks the producer. The author is staggered. Is it conceivable that so renowned a producer can have so misread and misunderstood the play? X. would be preposterous as the old man. But the producer goes on talking. And suddenly the author sees possibilities in X. But at the same time he sees a different play from what he wrote. And quite probably he sees a more glorious play. Quite probably he had not suspected how great a dramatist he is.... Before the first rehearsal is called, the play, still without a word altered, has gone through astounding creative transmutations; the author recognises in it some likeness to his beloved child, but it is the likeness of a first cousin.

At the first rehearsal, and for many rehearsals, to an extent perhaps increasing, perhaps decreasing, the dramatist is forced into an apologetic and self-conscious mood; and his mien is something between that of a criminal who has committed a horrid offence and that of a father over the crude body of a new-born child. Now in truth he deeply realises that the play is a collaboration. In extreme cases he may be brought to see that he himself is one of the less important factors in the collaboration. The first preoccupation of the interpreters is not with his play at all, but--quite rightly--with their own careers; if they were not honestly convinced that their own careers were the chief genuine excuse for the existence of the theatre and the play they would not act very well. But, more than that, they do not regard his play as a sufficient vehicle for the furtherance of their careers. At the most favourable, what they secretly think is that if they are permitted to exercise their talents on his play there is a chance that they may be able to turn it into a sufficient vehicle for the furtherance of their careers. The attitude of every actor towards his part is: "My part is not much of a part as it stands, but if my individuality is allowed to get into free contact with it, I may make something brilliant out of it." Which attitude is a proper attitude, and an attitude in my opinion justified by the facts of the case. The actor's phrase is that he _creates_ a part, and he is right. He completes the labour of creation begun by the author and continued by the producer, and if reasonable liberty is not accorded to him--if either the author or the producer attempts to do too much of the creative work--the result cannot be satisfactory.

As the rehearsals proceed the play changes from day to day. However autocratic the producer, however obstinate the dramatist, the play will vary at each rehearsal like a large cloud in a gentle