Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1889-12-29
HOW PLATSARE MADE
Robert Buchanan, the Popular En-
glish Playwright, DiscIOses
THE SECRETS OF his PROFESSION.
Five Important Points to be Considered
by the Author.
way SOME PLAYS sCORE 4 SUCCESS
rwEIrrrr ron TIM D1srArcH.l j

| VIII SVME IuAlC COVhA - DuOSHDE
WRITTEN TOR THE DIsPArcH.1
have been asked to explain to the gen
eral playgoing public how plays are made
that is as understand the question, how
modern dramatists proceed from the frs
moment of conceiving dramatic 'idea'' t
the grand moment when the idea becomes I
triumphant certainty, or Gas the case may
be) dismal failure. If could inform thI
reader, or if knew myself by what pro
cess to make a successful play, 1 should b.
inclined rather to patent" the discovery
than to publish it to the world; butsince al
can say must be purely technical and an
ecdotal, being merely descriptive Of the mo
dus operandi of q dramatic workman,
may fearlessly utter what little know. The
chemistry which some people call genius
and others trick" or cunning" must al
ways be mysterious-unless we choose to
adopt the self-deception of the author OF the
Raven, or the authors of innumerable pref
aces to works with motive, and, crying back
wards, invent theories Of composition to ex.
plain the natural miracles of so-called in
spiration.
Unfortunately, many modern plays are
made simply in the carpenters shop and
built up on long-familiar models; nor do ]
presume to say that my own works are 50
brilliant as to be invariably outside this cat
egory. An ordinary Adelphi drama of the
old school, for example, may be constructed
by any expert workman without much diff
Guilty: A lover and his lass, villain who
interferes with their happiness, an old gen.
tleman who is murdered, q false suspicion
cast by the villain on the honest lover, con-
ventional characters, varied with the ex-
travagancies OF soubrette and a low
comedian, grouped in tWoS or three snowy
tableaux, and finally in tableau of general
happiness and reconciliation, are about all
the materials necessary to please the goods. "
But even such play as this, to be success
full, must be done by an expert, master of
his trade. 1t is no more to be done by any
novice than boat building, or house build
ing, or scientific gardening, or horse riding.
The man must serve his apprenticeship to
his work, as every successful dramatlst,
from Shakespeare downward, has invariably
done.
FIVE IMPORTANT POINTS.
For, in preparing play for public repre-
sentation, dramatist has to think of many
things; for example:
First-The audiences to which his play is to
appeal
to play the parts.
Third-The temper Of the times, especially as
regards social questions
Fourth-The possibility of inding manager
who will approve the subject
Fifth-The probability, if he Is thinking of
play in verse, of having his dialogue mutilated
and perverted, ETC., etc.
And, firstly, as regards audiences They
differ so widely that what is excellent for
one is simply caviare to another. One gen.
eral principle, nevertheless, may be ad-
vanced-that all audiences come to the
theater to be entertained, and even with the
best of them ediication is a secondary mat
ter. As a rule, the primitive passions
love, passion, hate, revenge-move them far
more than mere psychology or even fine
character-drawing; as a rule. also, good
dialogue is less wanted than thrilling situa-
tions. 1t is not because Shakespeare is so
excellent a writer, but because he is q
master of situation, that he is still the most
popular of dramatists. The Murder
Scene" in Macbeth" may be taken as
either the noblest achievement of genius or
the highest achievement of practical in
genuity; effect piled upon effect, situation
browning situation, in q way to turn
even an Adelphi dramatist green with
envy. Those other plays which ex-
hIbit Shakespeare as merely divine poet.
plays such as Gas You Like IT, and "Much
Ado" have never achieved any abiding
popularity; and it may be said, in general
way, that the greatest of dramatists is most
triumphant precisely where he is most con-
ventional and melo-dramatic. It is not its
philosophy that makes Hamlet" peren-
nially attractive, and indeed distinguished
German critic has contended that there is
'svery little philosophy about it;S' it is its
mastery sequence, its cumulative and
often commonplace interest of surprise and
situation.
To return, however, to our modern DRAM
atist His first thought. putting aside his
personal instinct and sympathy, must be of
his audience. 1t is, I contend, sheer cant
to contend that an author is to waste no
thought on the public for whom be is writ
ing; all authors who produce masterpieces
invariably do, and Carlyle, for example,
who protested much against s'writing
down." took enormous pains to manu-
facture vocabulary which would attract
vulgar attention.
MUST SUIT THE AUDIENCE.
II HcIC oSAcCbluB . plCCc 1Ot du duuleuC6
of philosophers, 1 should prefer 'eThe
Clouds" of Aristophanes even to Hamlet" "
If were catering for an audience OF poets I
would fearlessly put up Shelley's sProme-
theus" But if, on the other hand, wanted
TO please general audience, should prefer
''Arrah ma Pogue" q masterpiece in its way)
to the "Antigone Reduced to practical
common sense, pleasing general audience
means telling a good story, introducing
bright characters, epitomizing the dialogue,
and generally getting along" Here again
comes in all the technique of the craft
having selected your materials, how to
utilize and work them. No odramatist, how
ever great, can escape the necessity for this
technique.
Next, the dramatist has to think of the
performers available, and this is an endless
difficulty. Good plays innumerable have
been ruined by being badly "cast;" many
baddish plays have succeeded through first
class Interpretation.
Thirdly, as to the temper Of the times.
Certain themes, dramatist soon learns, will
not be tolerated; certain subjects, notably
those affecting the social relation ofthe sexes,
are tabooed. Several superstitions survive,
though some, such as the happy ending
superstition, are dying out. Generally
speaking, however, audiences decline to
listen 10 sermons, and like to leave the the
ater in happy frame Of mind-which is
secured usually BY the punishment of vice
and the triumph OF virtue. This feeling, of
course if rigidlv insisted upon. Would pre-