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CONTENTS
7. BIBLIOGRAPHY
Ioana Mohor-Ivan The Theory and Practice of Modern British Drama 3
DRAMA: a play written in prose or verse that tells a story through dialogue
front from which a curtain often hangs. The arch frames the
concrete performance
discomfitures, the audience feels confident that they will overcome their ill-
the good characters (completely virtuous) are rewarded and the bad
SETTING: the time and place in which the action occurs; the backdrop and
set onstage that suggest to the audience the surrounding in which a play’s
characters.
Ioana Mohor-Ivan The Theory and Practice of Modern British Drama 5
2. REALISM/NATURALISM
AND THE BRITISH STAGE
Émile Zola (1840-1902): French novelist and critic, the founder of the
Naturalist movement in literature. Zola redefined Naturalism as
"Nature seen through a temperament." Among Zola's most important
works is his famous Rougon-Macquart cycle (1871-1893), which
included such novels as L'ASSOMMOIR (1877), about the suffering
of the Parisian working-class, NANA (1880), dealing with
prostitution, and GERMINAL (1885), depicting the mining industry.
In his theatre criticism he outlined the following:
• Theatre should be the “honest soldier of truth”, serving the
inquiring mind by analysing and reporting on man and society.
• Characters: ordinary people in their natural setting;
• Stage scenery: vivid background and environment;
• Setting, costumes, dialogue: life-like (appropriate to the given
situation and the character’s individuality)
Nina, the fading leading lady Irina Arkadina, her son, the
experimental playwright Konstantin Treplyov, and a
famous middle-aged story-writer Trigorin.
o Uncle Vanya (1900): a melancholic story of Sonia, her
3. Realism in Britain:
o Caste (1867),
o Play (1868),
o School (1869),
o M.P. (1870),
o War (1871).
Characteristics:
• Theatre had become a fashionable and respectable institution.
• Main audience: upper-middle class.
• The commercial stage: dominated by actor-managers.
• It aimed at projecting an idealised vision of upper-middle class
decorum, suavity, respectability
Society drama:
• A type of play whose subject-matter was socially restricted to the
lives of the upper middle-class.
• It demonstrated and endorsed a non-objectionable subject-matter
and morality.
Ioana Mohor-Ivan The Theory and Practice of Modern British Drama 14
d) Shavian Influences:
The links with Shaw’s drama of ideas is most obvious in the work of
contemporaries like Harley Granville-Barker and John Galsworthy,
but it also serves as a reference point for the plays written by John
Osborne in the second half of the twentieth-century. The political cast
of his theatre, seen as having a direct social function, may be seen to
reverberate in the realistic emphasis of “kitchen-sink” playwrights like
D.H. Lawrence or Arnold Wesker, intent on reforming society by
depicting its evils in naturalistic detail.
Expressionism
son’, etc, while the dialogue is poetic and febrile, in order to break the
sympathetic feeling directly.
The expressionist movement within the theatre was first associated
with the mood gripping the German drama in the 1910s and 1920s. German
expressionism began as a drama of protest, reacting against the pre-war
authority of the family and community, the rigid lines of social order. It was
a drama of violent conflicts like those established between youth and old
age, freedom and authority, and it followed Nietsche in glorifying the
individual and idealizing the creative personality. With the advent of Freud
and Jung, German expressionism undertook the challenge to disclose and
reproduce the hidden states of mind, and in so doing it boldly treated taboo
subjects, such as incest and paricide. For example, Walter Hasenclaver’s
The Son (1914), which is considered the first representative expressionist
play, is an ecstatic drama in which the Son desires freedom from a
domineering burgher Father, bringing thus very close the father-dominated
world of Freud. Arnolt Bronnen’s Vatermord (1915) is another rather crude
dramatization of Freudian theory: the protagonist of the play is a young man
who makes love to his mother and stabs his father. Reinhard Sorge’s The
Beggar (1917) is also protesting against the dominance of the family. In an
act of symbolic liberation, the son poisons both his mother (who obsessively
loves him) and his father (who has a mad obsession woth the planet Mars) to
be then wedded to a new person, a ‘vital force’ towards which he reaches
out.
and hastened the introduction of a more sophisticated concern for man and
society (often reacting against the industrialization of society and the
mechanization of life), while the skills of Georg Kaiser and Ernst Toller
brought more discipline to the movement.
fore. While The Machine Wreckers (1922) is a historical parable about the
Luddites which attacks the processes of capitalism, Hoppla Wir Leben
(Hurray, We Live) (1927) portrays the gap between idealism and political
reality through the fate of its protagonist, a revolutionary who, released after
several years in prison, cannot stand the discrepancy between the grotesque
reality and the ideals he suffered for and commits suicide.
British Expressionism
In Britain, Expressionism was felt over a period of time within the work of
individual and very different artists, especially those of European structure.
Thus, in D.H. Lawrence’s later novels one can detect a move towards the
exploration of extreme states, the deeper, rawer realms of the psyche. For
example, in Women in Love (1920) the landscapes, without losing their
naturalism , reflect the intense psychological states of his characters. But
Lawrence, expressionist in his painting and to a certain extent in his fiction,
never became an expressionist in his drama. The second British author, one
might include here is T. S. Eliot, whose long poem, The Waste Land (1921)
employed fragmented semi-dramatic techniques to convey states of personal
and social breakdown. Though his early attempt at drama, Sweeney
Agonistes: A Fragment of an Agon, also displays an expressionistic
grotesqueness, a preoccupation with murder and violence, and typological
characterization, this style is faintly recognizable in his later plays, which
move towards symbolism and myth.
Thus, inter-war British playwrights whose work may be accurately
labeled as Expressionistic in character are Sean O’Casey, W.H. Auden and
Christopher Isherwood.
Ioana Mohor-Ivan The Theory and Practice of Modern British Drama 31
freeing the plays from the physical limitations of the stage and the crudity of
visual symbolism.
Clear links to Auden and Isherwood’s drama are discernable both in Louis
Mac Niece’s Christopher Colombus (1944) – which is the inverse story of
the explorer, with solo-voices representing abstract qualities -, and The Dark
Tower (1946) – which, like The Dog Beneath the Skin, employs a quest-
theme, with a naïve hero being seduced in his search through the
phantasmagorical wasteland of society- and Dylan Thomas’s Under
Milkwood (1953). The structure of Under Milkwood, a “play for voices”, is
given by the progress of one day, from pre-dawn darkness to dusk again,
while its main character, Blind Captain Cat, shares the narration with two
other voices, who describe the town, alternating the change of viewpoint, or
simply varying the voice trimble or giving “stage directions”. It is a static
narrative, in which the descriptive passages are not supplementing the main
action, but rather supplement the narrative with vocal illustration, while the
dialogue caries from extended passages to the mosaic of short speeches from
different characters, briefly introduced by the narrators (as they dream, in the
morning, in the afternoon, or as they settle for night.)
These plays, written for broadcasting, can thus be seen to make full
use of the freedom of the new medium, where the scene changes and other
verbal effects automatically create the “stream-of-conciousness” which
subordinates analysis to synthesis and appeals to more primitive elements in
the listeners.
Ioana Mohor-Ivan The Theory and Practice of Modern British Drama 36
Epic theatre
The period between the wars saw a number of adaptations and developments
of earlier forms. If earlier reactions against naturalist theatre included the
expressionist movement and the verse drama, another reaction arouse out of
a rapidly growing technology which had created the new medium of the
cinema as a formidable challenge for the theatre, and was directed against
expressionism’s focus on emotion, wishing the stage to embrace the larger
social context of the epic. Epic theatre emerged thus in the post World War
I Weimar Germany out of the work of two of the most ambitious and
innovative directors of the century, Erwin Piscator and Bertold Brecht,
though it was the latter’s work to become part of the classic repertoire of
world theatre and exert the most powerful influence on contemporary
writing and production.
Erwin Piscator (1893-1966) was a left-wing radical for whom the
theatre was an important public medium, which could tell political truths and
effect political change. His dramatic aims were utilitarian: to influence
voters, or to clarify Communist policy, and the standards of authenticity and
contemporaneity carried over in his productions for the Proletarian Theatre,
which he founded in 1920. There he developed a form of agit-prop (i.e.
theatre pieces devised to ferment political action/agitation and propaganda)1
suitable for the German context. Apart from choosing subjects of
contemporary relevance, Piscator also made radical use of the new medium
of documentary film, whose realism he strove to incorporate into his multi-
1
Agit-prop theatre originated in the aftermath of the Russian revolution as a substitute for newsprint. Its
aim was to spread information and the party line through a widely dispersed and illiterate population. The
typical form of this type of theatre were the short sketches which illustrated political commentary.
Ioana Mohor-Ivan The Theory and Practice of Modern British Drama 37
media productions. Thus he incorporated cinema screens into the set, using
old film footage and new documentary to accompany the action, in an
attempt to reveal the historical processes behind the public events. He use
slide projections of newspaper clippings and captions were projected
between scenes. For example, in the historical revue Despite All (1925),
which presented a political panorama of events between the outbreak of war
in 1914 and the deaths of Karl Liebknecht and Rosa Luxemburg in 1918, he
employed a simultaneous montage of authentic speeches, news-extracts,
photographs and film-sequences. Another striking innovation was his use of
stage structures of great imaginative complexity. Toller’s Hurrah, We Live
(1927) was performed on a four-storey structure, a multiple stage on which
the various levels of society could be seen in ironic juxtaposition. This
technological staging was extended to the fullest in the production of Alexei
Tolstoi’s Rasputin (1927), which used a revolving hemisphere –
symbolizing both the globe and mechanization – with scenes played within
its opening segments, film and photographs integrated with the action, and
texts or dates projected on screens flanking the stage. One element could
comment on another, gaining an effect of objectivity or linking cause and
effect. In Hasek’s The Adventures of the Good Soldier Schweik (1928) he
notoriously employed two treadmill stages, using animated cartoons as a
backdrop to actors and scenery moving across the stage as if on a moving
carpet. Although the technology was too ambitious to be financially viable,
Piscator’s productions provided a model of epic theatre that influenced
Brecht, who collaborated on both Rasputin and Schweik, as well as
containing all the techniques of the modern documentary drama.
Ioana Mohor-Ivan The Theory and Practice of Modern British Drama 38
pit, building thus a bridge between stage and audience and creating a forum
where statements could be made. Moreover, the forestage became a place
where the characters could gather to dance, sing and, like the Greek chorus,
respond verbally and gesturally to the series of tragic and appalling events
enacted on the main stage. To avoid the emotional intensity of romantic
opera, Brecht organized collisions between music, story and setting. For
example, songs could be used to provide an ironic commentary on the
action, or reading a projected title could interrupt the tendency of plot or
music to flood the mind with feeling, Like in the Elizabethan theatre, the
actors addressed the audience directly, doing away with the fourth-wall
convention and calling thus attention to the obvious aritificiality of the stage
action. At the same time, a new style of acting was evolved in which the
performers demonstrated the actions of their characters instead of identifying
with them.
It was in the essays written at this time that Brecht formulated the
principles of his “non-Aristotelian” drama. If the Greek critic had declared
tragedy a higher form of art than epic partly because of its economy and
concentration (a brief crisis, centring on a single place and time), Brecht’s
alternative theory considered that epic theatre should present an episodic
narrative, covering a broad historical sweep (in the manner of Elizabethan
history play) and often involving a journey. Later Brecht was to modify
these principles into a theory of “dialectal theatre”, expecting his audience to
observe critically, draw conclusions and participate in an intellectual
argument with the work at hand. In order to achieve this confrontational
relationship between drama and audience, the political issues raised by the
plays had to be abstracted and presented in historically or geographically
Ioana Mohor-Ivan The Theory and Practice of Modern British Drama 40
to pull her wagon across field after field, learning how to survive, she also
loses her children, one by one, to the war. One son, Eilif, is seduced into
joining the army by a recruitment officer, and is led into battle thinking that
war is a heroic adventure. The other son, Swiss Cheese, opts for a
paymaster’s uniform, but he also perishes in the war that offers no
protection. The daughter, Katrin, is likewise a victim of the violence of war.
One Swedish officer rapes her, and Katrin becomes mute, another violent
treatment leaves a terrible scar on her face, which leaves the young woman
unmarriageable. Eventually she too looses her life while sounding an alarm
to war the sleeping town of an imminent attack. The end of the play shows
Mother Courage, left alone, picking up her wagon and finding that she can
maneuver it herself. The curtain drops as she circles the stage, with
everything around her consumed by war. As Brecht intended his character,
Mother Courage should be seen as a reflection of society’s wrong values:
she conducts business on the battle field, paying no attention to the moral
question of war and ultimately failing to see that it is the war that causes her
anguish. Nevertheless, audiences and critics alike have tended to treat her as
a survivor, almost a biblical figure, a model for one who endures all the
terrors of war and yet remains a testament for the resilience of humankind.
Ioana Mohor-Ivan The Theory and Practice of Modern British Drama 42
Although Brecht’s plays had first appeared on the English stage in the 1930s
in private club productions, in was only in the 1950s that his plays and
theories made a powerful impact, following the outstanding visit that the
“Berliner Ensemble” (the acting company founded by the German director
in 1948) paid to London in 1956, the same year with Osborne’s premiere of
Look Back in Anger.
Vividly contrasting with the naturalistic approach that had dominated
the British stage since Shaw, the productions of Brechtian plays like Mother
Courage or The Caucasian Circle offered an anti-illusionistic model that
proved a revelation for audiences, critics and playwrights themselves.
Nevertheless, since his theoretical writing were not available in translation,
the politics of Brecht’s theatre was obscured, his subsequent influence on the
British stage remaining to a great extent restricted to production values and
ways of acting, i.e. the purely stylistic aspect of the epic theatre.
Thus, a wide range of superficially Brechtian drama appeared on the
English stage in the 1960s and 1970s. This tended to severe epic techniques
from Brecht’s political analysis that the plays were designed to express, and
its effects may be best seen in the directorial output of the time.
For example, Peter Brook (1925 - ) borrowed Brecht’s methods in his
production of King Lear (1962), which displayed a stark and severe set, with
rusted metallic sheets flanking a bare stage, otherwise uniformly lit with a
harsh white light in the characteristic style. The costumes were of heavy,
worn leather, in imitation of Brecht’s production of Coriolanus, and the
props were few and simple: one great stone throne for Lear was all that
Ioana Mohor-Ivan The Theory and Practice of Modern British Drama 43
supplied the opening scene. Moreoever, the king’s part was played by Paul
Scofield with cold detachment, all colour drained from his lines.
Other British directors like George Devine (1910-65), John Dexter
(1925-), or William Gaskill (1930 -) were also attracted to Brecht, with
Joan Littlewood (1914-) setting the pace.
One of the most influential post-war British directors and producers,
Littlewood had been associated before the Second World War with the
Workers’ Theatre Movement, a left-wing touring company which was to
become a pioneering example for the fringe companies of the 1960s due to
its use of agit-prop techniques borrowed from the German theatre. In 1953,
after years of road playing in village halls and community centres,
Littlewood settled her company, renamed as Theatre Workshop, at the
Theatre Royal, Stratford in East London, where the director was to put into
practice her most ambitious programmes, combining contemporary
documentary drama with classic productions of little known plays,
encouraging new playwrights like Brendan Behan and Shelagh Delaney and
staging what were to become seminal plays. Until 1973, the year of her last
Stratford production, the company managed to retain many characteristics
marking it off from the West End, i.e. commercial, theatre. One of the most
important features was that the company remained an ensemble, forged over
many years since the 1930s, where decisions were arrived at collectively
after discussion and no stars existed, the roles were swapped around and
training was continuous. Another characteristic was that the text was never
regarded as a sacred, inviolable object, nor was the writer put on a pedestal:
during rehearsals, the company improvised and altered the text, seeking to
increase the directness and immediacy of the production. A further
Ioana Mohor-Ivan The Theory and Practice of Modern British Drama 44
injustice, distancing the horror with oriental masks – show Bond adopting
Brechtian techniques. Nevertheless, like Arden, Bond’s theatre may also be
considered as a cross between the epic model and a more mainstream British
naturalism, for his plays are more realistic, less caricatural and comic, and
they do not employ song and commentary. One constant theme which runs
through them is related to the subject of violence, which, in the playwright’s
opinion, characterizes the contemporary society. While plays like Saved,
Early Morning, Narrow Road to the Deep North, Lear (1971) and The Sea
(1973) set to examine its causes, show its psychological effects and suggest
radical pacifism as the sole way of breaking out of its vicious circle, later
ones like Bingo (1974), The Fool (1976) or The Woman (1978) question the
function of drama and the role of the dramatist in inspiring constructive
action to change things. This theme provides intellectual consistency to a
work which otherwise might look eclectic, ranging from realism to
Brechtian parables, Restoration parody, or Shakespearean revisionism.
Lear, for example, is a cunning and effective reinterpretation of the
Shakespearean prototype. According to Bond, Shakespeare’s King Lear is an
anatomy of human values which ultimately teaches us how to survive in a
corrupt world. In opposition to this, Bond’s play aims to show people how to
act responsible in order to change it. The Shakespearean paradigm is
observed in what concerns Lear’s movement to sanity from madness, vision
through blindness, self-knowledge through suffering, as well as in the play
revitalizing certain patterns of imagery and in the metaphorical language
used by the main character. Nevertheless, Bond constructs wholly new
social contexts for Lear’s actions, which are replete with anachronisms,
relating thus the narrative to contemporary issues, because the playwright is
Ioana Mohor-Ivan The Theory and Practice of Modern British Drama 49
Symbolism
Symbolism in the theatre is probably as old as theatre itself, but as a
technical and critical term it came into specialized use during the last
decades of the 19th century, associated with the French symbolist movement
which emerged in reaction against the descriptive precision and objectivity
of realism and the scientific determinism of naturalism. In the manifesto of
the movement published in September 1886 in an article in Le Figaro, Jean
Moréas decreed that symbolic poetry ‘cherche à vêtir l’idée d’une forme
sensible’, while Stéphane Mallarmé, in Oeuvres complete (1891) explained
symbolism as ‘the art of choosing an object and extracting from it an état
d’âme’. The progenitors of the movement, such as Baudelaire, Verlaine,
Rimbaud, or Valéry, sought in their turn to discover ‘the secret of poetry’,
building their ideas upon a latter-day theory of the mystical and the occult,
the irrational and the world of fantasy and dream.
It was also Mallarmé who urged the creation of a new drama that
would reflect the mental or spiritual life, rather than the crude world of the
senses. Thus, for the theatre, at the time when naturalism was at its peak in
Europe, symbolism provided an alternative in a powerful and unpredictable
mode of playwriting which sought a justification in myth and ritual in order
to achieve the visionary quality missed in realism. Aiming to convey the
yearnings of human life freed from its material conditions, symbolist
playwrights would often try to fuse the arts of poetry, painting, music and
dance, taking their lead from an outstanding man of the theatre, Richard
Ioana Mohor-Ivan The Theory and Practice of Modern British Drama 51
Wagner, and a philosopher (of the theatre, among other matters), Friedrich
Nietzsche.
Wagner’s parallel interests in both music and drama had resulted not
only in the production of his major operas such as Tristan and Isolde (1865)
or Der Ring des Nibelungen (1876), but also in an impressive body of
theoretical writings - The Art Work of the Future (1849), Opera and Drama
(1851), and The Purpose of the Opera (1871) -on the form and nature of
what he considered to be the performing art of the future, the so-called
“music-drama”, where language could be extended by sound in order to
create a fuller emotional statement. This Gesamtkunswerk (or “total art
form”) was to give a vital expression of the instinctive life, drawing upon
archetype and myth, dream and the supernatural.
In his turn, Nietzsche had justified Wagner’s ideas in his own account
on The Birth of Tragedy from the Spirit of Music (1872), where the origins
of Greek tragedy were identified with the moment in which the ritual
celebrations of Dionysus (representing all that was emotional and irrational
in man) expressed into the song of the dithyramb2, had found the
embodiment of dance which had imposed an Apollinian form upon them
(characterized by lucidity, reasonableness and harmony.) Thus, the duality
and tension between the instinctive and the rational, music and dance, which
had led to the birth of tragedy, could only be recuperated in Wagner’s
“music-drama”, which Nietszche considered to exercise a Dionysian
influence in the modern rational world.
Such theories were to be further developed by Adolphe Appia (1862-
1928), the Swiss theorist and designer who renovated theatrical and operatic
2
Form of hymn or choral lyric in which Dionysus was honoured.
Ioana Mohor-Ivan The Theory and Practice of Modern British Drama 52
literary elements of drama as well as realism. Like the Swiss, Craig also
believed in the need to create a production as a whole, with all its parts,
including the actor, subordinated to the vision of a single man, the director,
who, like a composer, worked to achieve harmony of the various theatre
languages. With light and rhythmic movement seen as the basis of the new
drama, Craig pursued the notion of a flexible stage by means of which an
endless variation of architectural shapes could be created during a
performance. In attempting to realize this, he invented movable screens to
substitute for scenery and attacked conventional acting, apparently
demanding the elimination of the personality – ego- of the human actor,
substituted with his Über-Marionette (i.e. a super-puppet), a masked
performer submitted to his place in the overall shape, whose perfect stillness
of body and gravity of expression was capable of symbolizing, indicating or
demonstrating a truth.
The contemporary dramatist with whom both Appia and Craig shared
most was the Belgian symbolist, Maurice Maeterlinck (1862-1949).
Maeterlinck was fascinated by dimensions that make life elusive, such as
mysterious forces and blindness. Only though contemplation, absolute
silence and inactivity could these be made visible. As such, his plays are
characterized by their lack of action, or conflict, and by their suggestive
force. His early plays, like Les Aveugles (1890) or L’Intruse (1891), are
one-act dramas of silences, shadowy characters, and an immovable scene,
where the disconnected, allusive and repetitive prose dialogue is broken by
long pauses. Pelléas and Mélisande (1893) is typical of his next series of
actors, between two and six in number, wear masks and elaborate costumes, entering and leaving on a long
slanting walk from stage left. There is little or no scenery except for the framework with the roof and three
symbolic trees in front of the slanting walk, representing heaven, earth and humanity.
Ioana Mohor-Ivan The Theory and Practice of Modern British Drama 54
made so merry with the values that the plays purport to uphold that the
saving of a marriage has, by the time it is achieved, little more significance
than the saving of a cigarette card. Nevertheless in these plays the stagey
contrivances are a constraint and Wilde gives no indication of relishing the
mechanical plotting of his well-made plays. It is quite otherwise with his
masterpiece, The Importance of Being Earnest (1895), where a stylized plot
matches the verbal epigrams of the play. By the doubling of characters,
mirror situations, multiplying revelations, the play becomes a parody
pastiche of contemporary melodrama, with its plot elements exaggerated
into absurdity, while the contrariness of the title – i.e. the importance of not
being earnest – is sustained throughout the play. With the sensational trial in
1895 and the playwright’s subsequent imprisonment in Reading Gaol,
Wilde’s dramatic career came to an end, though Salomé (1892), an one-act
play on a biblical theme, written in French the same year with Lady
Windermere’s Fan and banned from production by the Chamberlain’s Office
because of its use of scriptural characters, was finally staged in Paris in
1896 by Lugné-Poe.
Salomé not only represents the counterpart to Wilde’s social
comedies, explicitely rejecting the morality that the society reflected in them
represented, but it also ranks as the earliest and most complete British
example of symbolist drama. The legend of the beautiful Jewish princess
and her destructive love for John the Baptist, which recurs in the writings of
French symbolists like Mallarmé, Massnettet, and is employed by
Maeterlinck himself in La Princess Maligne (1889), is reworked by Wilde in
a play which becomes the antithesis of naturalist theatre, replacing plot and
characterization by the aesthetic values of colour, musical rhythm and dance.
Ioana Mohor-Ivan The Theory and Practice of Modern British Drama 57
All characters seem to move in a dream, in which their desire and fatal
yearning lead to the inevitable denoumént. Salomé seduces the imagination
of the Young Syrian, then of Herod – the Tetrach of Judea and her
stepfather, while she, herself, is hypnotized by Jokanaan, the prophet, who
repulses her. As the horrified Syrian kills himself at her feet, the Princess
swears that she will kiss Jokanaan’s lips. The climax of the play is
represented by Salomé’s dance of the seven veils. Herod offers her three
inducements to dance, but the reward Salomé wants is the Prophet’s head.
Again, Herod offers her three bribes to give up her demand, but the Princess
cannot be persuaded and is finally offered the head on a silver salver. But
this victory is also her defeat. Kissing the mouth, she discovers that “love
hath a bitter taste”, while Herod’s desire turns into disgust and orders his
soldiers to crush Salomé with their shields. As such, Salomé’s dance and her
killing (which represents a significant change from the Biblical source)
becomes a celebration of the destruction of the social establishment
represented by Herod, literally breaking the succession to his authoritarian
rule.
The overt artifice of stylized speech and simplified action, the
recurring motifs and repetitive patterns make the play overtly symbolic.
Thus it becomes the expression of a purely subjective reality patterned by
leit-motifs of colour and symbol, built up musically with incantatory
repetitions, alternating shouts and whispers, while its strongest moments are
powerfully ritualistic.
provides the cover under which the actors take their positions at the
beginning of the play, and exit at the end. The inner play is equally austere:
Cuchulain, the vigorous and aspiring man of action, arrives at the well
whose waters are said to give immortality. There he meets the old man who,
though has watched it for more than fifty years, has missed each of its
upsurgings of magic water, being enchanted into sleep by the Guardian’s
dance. The Guardian herself is possessed by the hawk spirit of the Woman
of the Sidhe, whom Cuchulain has already met and antagonized. Then the
action of the play shows the process that the Old Man has described: the
Guardian’s premonition of possession presage the arrival of the water of life;
she rises and dances, her dance lulling the old man to sleep and luring
Cuchulain away off stage. Afterwards, his disappointment is realized to the
sound of the warrior women of Aoife, roused by the goddess to religious war
against the intruder. While the Old Man appeals to him to remain by the well
and wait for another upsurge of water, Cuchulain leaves, choosing a
wandering combative life and embracing thus his heroic destiny.
educated. As he wrote in The Use of Poetry and the Use of Criticism, “in a
play by Shakespeare you get several levels of significance. For the simplest
auditor, there is the plot, for the more thoughtful – the character and conflict
of character; for the more literary the words and phrasing, for the more
musically sensitive, the rhythm; and for auditors of greater sensitiveness and
understanding, a meaning which reveals itself gradually.” (Styan) Thus
Eliot’s solution was to incorporate in his plays a multiplicity of levels of
appreciation in order to pursue his goal of writing a successful poetic drama
for the 20th-century audience. As such Eliot adapted the popular forms of
drama of his time (the detective play, or the drawing-room comedy format)
in order to render his serious, spiritual themes.
Murder in the Cathedral (1935), a play commission by The Religious
Drama Society fir the 1935 Canterbury Festival and Eliot’s first dramatic
success, treated a Christian martyrdom as if it was a murder, so that, despite
its static form and medieval subject, it was subsequently transferred on the
commercial stage. The structure of the play builds up the story of Thomas
Becket, the 12th century martyr, through Chorus, priests, Tempters and
Thomas himself. Divided in two parts, it starts with Becket’s arrival at his
Cathedral from France, determined to resist the submission of Church to
State (which Henry demands.) Four Tempters appear to test Henry’s
decision, and the last of them is the most difficult to resist, insinuating that
pride is motivating the Archbishop. But the Chorus of the women of
Canterbury (who express the related anguish of the whole community)
enable Thomas, through their pleads, to overcome the paralysis of will
induced by the last Tempter. In the second part, the four knights, intent to
punish Thomas, arrive at the Cathedral, and their physical threat implicates
Ioana Mohor-Ivan The Theory and Practice of Modern British Drama 62
the audience in the brutality and political expedience of the murder. The play
ends on the Chorus’s concluding thanksgiving to Thomas’s testimony
through martyrdom. Thus, Becket’s death is presented as an imitation of
Christ’s own martyrdom, for Becket becomes the Christian subject who
renounces his own free will in order to subject to the pattern designed for
him by God’s will. The imagery and rhythms of the Choral verse are
designed to carry the audience through the same spiritual progression as
Thomas himself, while the use of colloquial prose in the Knights’ direct
address to the public reinforces the identification between the two by
breaking through the temporal distance and implying thus that the 20th-
century loss of faith is no less guilty of Becket’s death than the historical
characters themselves.
In his next plays, Eliot rejected the overtly religious drama (as
preaching to the already converted) and turned, instead, to secular topics in
order to “allow a Christian mentality to permeate the theatre, to affect it, and
to influence audiences who might be obdurate to plays of direct religious
appeal” (Lemming). As such, Eliot’s social (or drawing-room) comedies,
while continuing to experiment with the choral form, turn to Greek myth in
order to establish a parallel to the surface action, in order to achieve “a
doubleness in the action, as if it took place on two planes at once” (Innes), a
metaphoric quality which is the characteristic of poetic/symbolist drama.
The Family Reunion (1938) is paralleled by the events and characters
of Aeschylus’s The Orestia. Clytemnestra finds an equivalent in Amy the
dominant mother, while Harry parallels Orestes, the returning son
responsible for his mother’s death. The plays borrows a misleading detective
frame, with a confession of murder (the hero, who returns home to attend his
Ioana Mohor-Ivan The Theory and Practice of Modern British Drama 63
Yet, even with the shifts of consciousness in the play, the coexistence
of two such different dimensions of reality proved incongruous on the stage,
so that, with his next play, The Cocktail Party ( 1949), Eliot resolved this
“failure of adjustment between the Greek story and the modern situation”
(Innes) by concealing the plot’s mythical origins.
The preliminary basis for the play was Euripides’s Alcestis. But here
the Eumenides are disguised as a psychiatrist, colonial envoy , and
interfering unofficial aunt, interacting with the social group they manipulate.
This concealed mythical level is replaced by an external shaping of
experience through the imposition of a geometrical symmetry on the surface
plot. Not only the missing wife has a lover, but the latter one is in love with
the mistress of the husband, whom he selects as a confidant, forming thus a
quadrilateral equation. In addition, the action is circular, beginning with the
end of one party, and ending with the preparations for another.
The Confidential Clerk (1953) takes this to an extreme. The model is
Euripides’s Ions, but the plot follows it in that Eliot has three dubiously
parented young people in the play (a husband and a wife each have a
misplaced illegitimate child, and both recognize him in the tile figure; he, in
turn, is revealed to have lost his real father, and chooses his clerical
predecessor, whose own child was lost in the war, as his true spiritual
parent.) Where the original myth had a single child – the son of Apollo,
believed dead by his mother who tries to kill him when adopted by her
husband – Eliot adds an illegitimate daughter and a second unacknowledged
son, accentuating thus the parallelism to a farcical level, the automatic
association being not with a classical archetype, but rather with Wilde’s The
Importance of Being Earnest.
Ioana Mohor-Ivan The Theory and Practice of Modern British Drama 65
integration of poetic mood and action correspond with his thematic aim to
infuse life with spirituality. But his extravagant language and imagery lead
to an artificial heightening of the dramatic context, undermining individual
characterization. This made his work seem dated as soon as Osborne and
Wesker introduced new standards of authenticity in the late 1950s.
Ioana Mohor-Ivan The Theory and Practice of Modern British Drama 67
Tanqueray”
Holroyd.
10. The British Brecht: John Arden and “Sg Musgrave’s Dance”
BIBLIOGRAPHY
11. ELSOM, JOHN (1976) Post-War British Theatre, London, Henley and Boston: Routledge
and Kegan Paul.
13. HARTNOLL, PHYLLIS (1968) A Concise History of the Theatre, London: Thames and
Hudson.
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B.T.Batsford.
Ioana Mohor-Ivan The Theory and Practice of Modern British Drama 69
18. INNES, CHRISTOPHER (1992) Modern British Drama, Cambridge: Cambridge U.P.
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