The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1883-12-01
THE STAGE AND THE DRAMA.

dramatic criticism. As a matter of fact,
there is so little criticism of the stage that
should properly be called by the name, that,
like the cook who is admonshed to first
catch her hare, the disputants may reasona-
bly, be advised to first prove the existence of
the object OF controversy. There are two
reasons for this lack of true criticism; first.
the friendly relations commonly existing be-
tween the alleged critics and the actors,
which forbid an unprecedented setting forth
OF their faults; second, painful absence of
actual drama itself. There is, it is true
vast deal of gossip and twaddle set aaoat
concerning players, their personal appear
ance, their domestic and anti-domestic rela-
tions, their morals, their manners and, Incl
dentally, their qualifications for the stage
So much space is given to this by many met
ropolitan journals that inexperienced read
ers may be excused for holding a belief that
these communities are Accordingly interested
in such matters, and revolve around the the
ater as a social center.
1t is safe to say, however, that the pub
lic'' which cares to hear of the petty jeal
ousies of third-rate actors, of whether this
actress has three husbands or five, or that
one is physically charming, consists chiefly of
members of the profession and the immature
men of all ages who occupy front seats dur
ing the ballet and infest the Hobbies between
acts. The better class of theater-goers are
much less interested in the moral character
OF the players or in hearing their fulsome
praise than in the nature of the dramatic
representations themselves, and it is not too
much to say that, as a rule, these are bad
both in an artistic and moral sense. AS be-
fore remarked there is an absence of true
drama, which largely explains the faults
mentioned. Drama is defined as repre-
sentation of human life. OF the long pro-
cession of plays which move over the stage
in a season, who shall say that one in ten
correctly pictures aught in heaven above or
the earth beneath? In literary and artistic
merit these plays are precisely on a par
with the dime novel" and the
astonishing fiction found in the
cheap weekly story papers-all alike being
the unhealthy productions of feeble brains.
Yet these namby-pamby compositions ere
put upon the stage and dignified with the
name of DRAMA they are presented by art
lists" and stars" whose artistic talents con-
sist of shapely figures, agile heels and gor-
geous costumes, and the intelligent public is
called upon to admire. That such plays are
at all successful lies in the fact that people
must have amusement and recreation, and
not being able to secure what they would,
take the best which is available as an unsatis-
factory substitute
Nothing that is said here is intended to re-
fleet upon the theater as an institution. The
stage is a factor Of social life whose influence
is only less than that of the press and pulpit;
it is not of itself to be condemned but to be
encouraged and raised to higher standard.
There is a dramatic instinct in humanity
which should be gratifed, and nowhere can
this be done as in theatrical representations.
There is undoubtedly however, a growing
feeling of dissatisfaction with the character
of the prevailing entertainments. Managers
deny this, and say that they supply
what the popular taste demands. Is
not this a mistaken For weeks in
succession theater-goers are offered series
of plays, each consisting of hodgepodge of
songs, dances, and other specialties, and not
to he distinguished from any other of the
series except by one who should devote his
mind to the subject These shows are
they do not have crowded houses People
lire Of them because they do not represent
the poetry, the passion, or any real emotion
Of life, and little burlesque goes a long
way. Noe that comedy is not desired. Com
ody is demanded, perhaps, more than any
other form Of dramatic art; but it must also
I've true to nature or it will not please. After
u season of this variety business, let an actor
come worthy of the name, and the theater
is filled to the last seat in the galleries. The
audience is not made up only OF the intel
lectual and educated, but largely of the
same class of persons~who have patronized
he inferior performance, II does not re-
uuire that a man should be educated in order
II recognize the emotions common to
humanity, or to recognize the abii-
ity vi the one who represents them.