Deseret evening news. [volume] (Great Salt Lake City [Utah]) 1867-1920, 1891-08-19
Realism In Theatrical Productions.


AfNNnhfIltu AfuNfFsl
Realism on the stage IL not confined
10 the mounting Of play, although
that Is the popular definition OF IL. Real
water, genuine old clothing and u vefll-
nble steam launch are not the only
requisites for q realistic production,
Notwithstanding some managers; mo-
lions Of the thing. Charles Icade
once astoulshCt "a respectable audience
by permitting dying sailor In one Of
his plays 10 use the most approved anu
picturesque OnthH. That was realism
with vengeancel Strange n the asser.
ton may appear, the realistic settings
and coutrlvances OF today were antlol.
pated In tho early times u the drama,
10 certain extent. The ovolution h cnsy
10 follow, and Ia a most interesting
study. The main reason for realism
In theatrical productions, when they
were In their babyhOOd, was neees-
sity. The scene painter, M he Ia now
known, Of course did not exist, neither
did that marvellous Jack-of.all.trades,
tho property man. So, when tree
was wanted, the platform on which
performances were given was placed
under real tres, Tor the plays were
all given out Of dOors, and all without
charge, as they were Intended for the
| conversion OF sinners. IL u uuucccs.
sary hers 10 10 into an explanation Of
tbs "Alyslorics," az those church plays
are called. 10 IL sufficient for the pur.
pose TO say that they were generally In
| one act and several scenes, and thu
characters spoke In verse, which, by
the way, was not particularly fine verse,
either. They were the earliest forms Ot
modern dramatic art, and they WERE
very successful with the p0pulRco Of
the country towns, were sermons were
unnvRillng. Possibly tho most start.
ling piece VI realism related u those
times II that told IN Parfait's "Hialory
OF the French Theatre" 10 appears,
according 10 this authority, that In the
| wear iST, nj the town OF Metz, while
/ the mystery u "fhe Passion" was
being given, the man who was imper
sonRting the Savior nearly died on thu
cross, owing 10 the bungllng manner
In which he was attached. Just how
this Incident happened Ia not known
but, as tho players were In blissfu
Ignorance Of theatrical arts, II Is not u
DO wondered ut. The unfortunate
player mentioned was IAN old gentle
man named Mr.. Nicholas Neufchatol
| OF rOuraine, ourate Of Saint Victory o
| M,tz.D "AIr. Nicholas" however
did not perish, being 'timely assisted
but he dwas ~ enteeblod that II wal
agreed that another priest should b,
1 placed on the cross the next day 10 tin
Nsh,ihe representation OF the person cru
Gifted, which was done" He was ablt
4 10 appear Ia nrhs Resurrection, ,
| for ID must bo known these play
were given In series, and days wer
occupied In their production. In THU
other play, the historian says, "whiol
being less difficult task, he did 4
admirably we'll" Oitheso early timo
there are many other equally strnng
tales. The mystery Of "rho Creation
was one OF tho Coventry plays, pro
duced In that English town durinl
the fourteenth century, and In IL
representation II y said that Adam AM
Eve appeared as they are described h
the third chapter Of Genesis. How
ever, Il appears that this sensationa
tradition was founded upon the line
In tho play. II 10 extremely improb
able that they ever appeared In INA
manner, and the strongest reason thai
may bo advanced FOR this statement f
the fact that women did not appear OF
the stage until NJ least two centurie
later, and In England not until th'
Restoration during the reign o
ChaFlea III.