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THESE ideas floating vaguely in my mind had little by little made me increasingly dissatisfied with the theatre and at last I decided to have done with it. I have never taken very comfortably to collaboration, and as I have pointed out, a play is more than any other artistic product a matter of collective effort. I found it more and more difficult to work in harmony with my collaborators.
It is often said that good actors can get out of a play more than the author has put into it. That is not true. A good actor, bringing to a part his own talent, often gives it a value that the layman on reading the play had not seen in it, but at the utmost he can do no more than reach the ideal that the author has seen in his mind’s eye. He has to be an actor of address to do this; for the most part the author has to be satisfied with an approximation to the performance he visualized. In all my plays I have been fortunate enough to have some of the parts acted as I wanted; but in none have I had all the parts so acted. This is obviously inevitable, for the actor who is suited to a certain rôle may very well be engaged and you have to put up with the second or the third best, because there is no help for it. In recent years, as everyone knows who has had to do with the casting of plays, the competition of New York and of the pictures both in England and America has made it more than ever difficult to get the right person for a certain part; and over and over again a manager finds himself obliged to engage an actor who he knows is mediocre because no one else can be got. Another difficulty is that of salaries. A small part often wants clever playing and so an actor of experience, but from the standpoint of the management it will only stand a certain salary and it is impracticable to engage for it the proper person. The part then is inadequately acted and the balance of the play jeopardized; a scene that has a definite value is thrown away because it is improperly played. It often happens also that the perfect actor for a part will not play it because it is too small or too unsympathetic.
In saying all this, I have no intention of minimizing my obligation to the distinguished actors and actresses to whom is due so much of the success many of my plays have had. My debt to them is great. The list of those who fulfilled all my hopes is so long that it would be tedious to give it, but there is one actor whom, since he has never reached the rank of a star and so has hardly received the recognition that he deserves, I should like to mention. This is C. V. France. He has acted in several of my plays. He has never played a part in which he has not been admirable. He has represented to the smallest particular the character that I had in my mind’s eye. It would be difficult to find on the English stage a more competent, intelligent and versatile actor. On the other hand, I have had plays produced in which I was conscious that the audience were not seeing anything like what I wanted them to see. Errors of casting, especially when they occur with actors of reputation, can often not be rectified, and then the author has the mortification of being judged by something that is merely a misrepresentation of his intent. There is no such thing as an actor-proof part. There are effective parts, and parts, often very important ones, that are the reverse, but however effective a part is, it is only fully realized when it is perfectly played. The funniest line in the world is only funny if it is said in the right way; however tender a scene is it will go for nothing if it is played without tenderness. Another pitfall that the actors prepare for the dramatist is one that is not often realized. The system of choosing actors to play themselves makes it very difficult to avoid. An author devises a character, then an actor is chosen because he has the traits the author has indicated; but the addition of his idiosyncrasies to those the author has already given his character results in an absurd exaggeration; the person of the author’s invention, who was plausible and natural, is in this way turned into a grotesque. I have often sought to cast an actor contrary to his type, but I do not know that the notion has proved successful; it needs a greater adaptability than modern actors have. Probably the dramatist’s best way to cope with this difficulty is to underwrite his parts, lightly sketching the characters and counting on the actors to fill them in with their own individualities. But then he must be certain of getting actors who can do this.
Exaggeration of this kind, wrong casting, inevitable sometimes, already sufficiently distort the author’s intention, and this is too often further distorted by the director. When I first began to write for the stage, directors took a more modest view of their functions than they have lately done. Then they confined themselves to cutting where the author had been long-winded and disguising by their ingenuity his errors of construction; they arranged the positions of the actors and helped them to get the best out of their parts. I think it must have been Reinhardt who first exacted for the director a preponderating share in the collaboration. His example was followed by directors who lacked his talent, and more than once since the preposterous claim has been made that the author’s script is to be looked upon merely as a vehicle for the director to express his own ideas. Instances have been known of directors who imagined that they were playwrights. Gerald du Maurier, a very good director, told me himself that he took no interest in directing a play that he could not partly rewrite. This was an extreme case. But it has certainly become very hard to find a director who is content to interpret his author’s play; he has too often come to look upon it as an opportunity for an original creation of his own. The public would be surprised if they knew how often an author’s purport is misrepresented by the director’s stupid obstinacy and how much vulgarity and silliness for which they blame him is due to the director. The director is a man of ideas, but of few, and that is a disastrous thing. To conceive ideas is exhilarating, but it is only safe when you conceive so many that you ascribe no undue consequence to them and can take them for what they are worth. People who conceive few find it very difficult not to regard them with inordinate respect. A director who thinks of a scrap of dialogue, a bit of business or a scenic effect, will attach so much importance to it that he will cheerfully hang up the action of the play or distort its meaning in order to introduce it. Too often the director is vain, self-opinionated and unimaginative; he is sometimes so autocratic that he will force the cast to reproduce his own intonations and his own mannerisms; the actors, dependent on his good word to get parts and on their docility to gain his favour, can but slavishly do as they are told, thus taking all spontaneity from their performance. The best director is the one who does least. I have been lucky enough now and then to be given directors who were honestly anxious to do their best by the play and who have tried to fulfil my wishes; but it is very difficult to enter into somebody else’s mind, and the most sympathetic director can hardly do more than give an adumbration of the author’s intention. I think he often gives the audience something that they like more than they would have liked what the author meant. But that is not to the author’s purpose.
The remedy of course is for the author to direct his own play. Few can but those who have themselves been actors. It is not enough to be able to tell an actor that an intonation or a gesture is wrong, you must be able to show him by word and deed what is right. This is more than ever necessary now that the players of minor parts have an inadequate technique. Gerald du Maurier used often to do this by the mortifying, but efficacious, expedient of caricaturing the manner in which an actor had done something and then showing him how it should be done. He could do this only because he was a very good mimic and a very good actor. But this is a small matter. Direction is a complicated affair. It is a business, or if you like an art, of its own that has to be acquired with pains. The director deals with the mechanics of the play, the entrances and exits, the positions assigned to various characters so that their grouping may be seemly and that they may be so placed that at the proper time the attention of the audience is easily turned on them; he takes into consideration the peculiarities of individual actors and when one is asked to do something that is not within his powers by subterfuge gets over the difficulty; he is mindful also of the peculiarities of actors in general, s
uch as that no English player can now say a speech of more than twenty lines without feeling self-conscious, and devises means of overcoming their diffidence; he directs the audience’s interest to the main points of the play and lures them by ingenuity to support the necessarily dull passages of exposition and the joins, the introductions to dramatic episodes, that no play can avoid; he takes account of the facility with which their attention wanders and by the invention of ‘business’ holds it at dangerous points; he considers the susceptibilities, the jealousy and vanity of actors and takes care that natural egoism does not disturb the balance of the play; he sees that every part is given its appropriate value and that no actor to make his own more important encroaches on somebody else’s. He decides when to go quick and when to go slow; when to emphasize, when to slur; when to play up and when to play down. He deals with the sets and sees that they are suitable and practicable to the action; he chooses the clothes to fit the parts and keeps a close watch on the actresses who would sooner be beautifully than aptly dressed; he concerns himself with lighting. Direction is a business, or an art, that needs technical knowledge of an elaborate order. It needs moreover tact, patience, good humour, firmness and pliability. For myself, I have been well aware that I possessed none of the knowledge and few of the qualities that are needed to direct a play. I was hampered besides by my stammer and by the unfortunate accident that after I had written a play and finally corrected the typescript I could no longer take any great interest in it. I was curious to see how it would act, but when once I had given it over to others, like a bitch who takes no more concern in her puppies when others have handled them, I could no longer look upon it any more as intimately my own. I have been blamed often for yielding too easily to directors and accepting their opinions when they were contrary to my own; the fact is that I have always been inclined to think that others knew better than I; I have never liked rows unless I was in a temper and I am seldom in a temper, and lastly, I did not very much care. What added to my growing distaste for the theatre was not that directors were sometimes incompetent, but that they were necessary at all.
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AND now the audience. It must seem ungracious that I should express anything but gratitude to the public that has given me, if not fame, at least notoriety, and a fortune that has enabled me to live in the same style as my father lived in before me. I have travelled; I live in a house with a view of the sea, silent and apart from other habitations, in the middle of a garden, with spacious rooms. I have always thought life too short to do anything for oneself that one can pay others to do for one, and I have been rich enough to afford myself the luxury of only doing for myself what I alone can do. I have been able to entertain my friends and to help people whom I wanted to help. All this I owe to the favour of the public. I found myself, notwithstanding, growing more and more impatient with that section of it that makes up the theatrical audience. I have mentioned the fact that from the first I felt a singular embarrassment at witnessing one of my own plays, and this, instead of growing less with each play I produced, as I might have expected, grew greater. The feeling that a mass of people were seeing my plays became a sort of horror of distaste, so that I found myself going out of my way to avoid the street in which the theatre was situated where they were acting one of my plays.
I had long come to the conclusion that there was not much point in a play that was not successful, and I thought I knew exactly how to write a successful play. I knew, that is to say, what I could expect from an audience. Without their collaboration I could do nothing, and I knew how far their collaboration could go. I found myself increasingly dissatisfied with this. The dramatist must share the prepossessions of his audience, the example of Lope de Vega and Shakespeare is there to prove it, and at his boldest he can do no more than put into words what they from cowardice or laziness have been contented only to feel and not to express. I was tired of giving half a truth because that was all they were prepared to take. I grew tired of the absurdity that admits in conversation all manner of facts that must be denied on the stage. I wearied of the necessity of fitting my theme into a certain compass, drawing it out to an unnecessary length or unduly constricting it because a play to attract had to be of a definite length. I grew bored with trying never to be boring. In fact, I did not want to conform any longer to the necessary conventions of the drama. I suspected that I was out of touch with the taste of the public and to decide the matter went to a number of plays that were drawing the town. I found them tedious. I could not laugh at the jokes that amused the delighted audience and the scenes that moved them to tears left me stone cold. That settled it.
I sighed for the liberty of fiction, and I thought with pleasure of the lonely reader who was willing to listen to all I had to say and with whom I could effect an intimacy that I could never hope for in the garish publicity of the theatre. I had known too many dramatists who had survived their popularity. I had seen them pitifully writing their own plays over and over again without an inkling that the times had changed; I had seen others desperately attempting to capture the modern spirit and dismayed when their efforts were treated with derision. I had seen famous authors treated with contumely when they offered a play to managers who had once pestered them with contracts. I had heard actors’ scornful comments on them. I had seen the bewilderment, the consternation, the bitterness with which they realized at last that the public was finished with them. I had heard Arthur Pinero and Henry Arthur Jones, both celebrated in their day, say to me identically the same words, one with a grim, sardonic humour, the other with a puzzled exasperation; the words were: ‘They don’t want me any more.’ I thought I would go while the going was good.
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BUT I had several plays still in my head. Two or three of these were little more than vague schemes and I was willing enough to let them go, but there were four that were lying pigeon-holed in my fancy all ready to be written, and I knew myself well enough to be aware that they would continue to pester me till I wrote them. I had been thinking of them all for a good many years; I had done nothing about them because I did not think they would please. I have always had a dislike to managers losing money over me, owing, I suppose, to my bourgeois instincts, and on the whole they have not. It is generally accepted that it is four to one against a play being profitable to a management; I do not think I am exaggerating when I say that the event has proved that with me it has been four to one on. I wrote my last plays in the order in which I expected them to be increasingly unsuccessful. I did not want to destroy my reputation with the public till I was definitely finished with it. The first two surprised me by having a considerable success. The last two had as little as I expected. I will speak but of one of them The Sacred Flame, and of this only because in it I tried an experiment that some readers of this book may think interesting enough to merit a few minutes’ consideration. I tried in this play to write a more formal dialogue than I had been in the habit of using. I wrote my first full-length play in 1898, my last in 1933. In that time I have seen dialogue change from the turgid, pedantic speech of Pinero, from the elegant artificiality of Oscar Wilde, to the extreme colloquialism of the present day. The demand for realism has inveigled dramatists into a naturalism ever greater and greater, a style that has been cultivated to its utmost limit, as we know, by Noel Coward. Not only is the ‘literary’ avoided, but actuality has been so much sought after that grammar is eschewed, sentences are broken, for it is said that in ordinary life people speak ungrammatically and in short or unfinished sentences, and a vocabulary has been employed in which only the simplest and most ordinary words are allowed. This dialogue is eked out with shrugs, waves of the hand and grimaces. In thus yielding to the fashion it seems to me that dramatists have gravely handicapped themselves. For this slangy, clipped, broken speech they reproduce is only the speech of a class, the speech of the young, ill-educated well-to-do, who are described in the papers as the smart set. They are the persons who figure in the gossip columns and in the pages of illust
rated weeklies. It may be a fact that the English are tongue-tied, but I do not think they are so tongue-tied as we are now asked to believe. There are a great many people, members of the various professions and cultured women, who clothe their thoughts in grammatical, well-chosen language and can say what they want to in the right words, put in the right order, with distinction. The present mode, which forces a judge or an eminent physician to express himself as inadequately as a bar-lounger, grossly misrepresents the truth. It has narrowed the range of character that the dramatist can deal with, for he can only show this by speech, and it is impossible to portray people of any subtlety of mind or intricacy of emotion when his dialogue is but a sort of spoken hieroglyph. He is insensibly led to choose as his characters persons who talk naturally in the way his audience have come to think natural, and these inevitably are very simple and obvious. It has restricted his themes, since it is hard to deal with the fundamental issues of human life, it is impossible to analyse the complexities of human nature (dramatic subjects both) when you confine yourself to a naturalistic dialogue. It has killed comedy, which depends on verbal wit, which in turn depends on the well-turned phrase. It has thus knocked another nail in the coffin of prose drama.
I thought then that in The Sacred Flame I would try to make my characters speak not the words they would actually have spoken, but in a more formal manner, using the phrases they would have used if they had been able to prepare them beforehand and had known how to put what they wanted to say in exact and well-chosen language. It may be that I did not manage it very well. During rehearsals I found that the actors, no longer used to speeches of this sort, had an uncomfortable feeling that they were delivering a recitation and I had to simplify and break up my sentences. I left enough to give the critics grounds for animadversion, and my dialogue was, in some quarters, blamed because it was ‘literary.’ I was told that people did not speak like that. I never thought they did. But I did not insist. I was in the position of a man in a rented house, whose lease is expiring; it is not worth his while to make structural alterations. In my last two plays I reverted to the naturalistic dialogue I had hitherto used.
The Summing Up Page 12
