The daily morning journal and courier. [volume] (New Haven, Conn.) 1894-1907, 1898-01-25
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u The SympdLnleS OF lne human MIMI,
especially as regards the master pas
sion-love. Secondly, it must have
strong and novel situations, brought
about in natural and simple ways.
Thirdly, the plot shouldn't require deep
or difficult analysis, by which the audi
ence may be wearied or puzzled with
thinking, thereby losing the thread of
the story. Fourthly, the language of
the characters should be plain, direct,
and easy to understand, and the Incl
dents, whether comic or tragic should
drop in as nearly as possible as they
might happen in real life. A perfect
play is condensed reality"
How do you write your plays-do
you dictate them or use pen?"
Those parts of my play" responded
Mr.. Belasco, (which require study, such
as reference to science, music or art,
write myself But when I get to the
more human side-when the villain and
| the heroine and the hero, and perhaps
the subrette, are hard at work making
dramatic history, then I prefer
to dictate. My thoughts travel fast
then-I become the character am Gre
ating, act the part from beginning to
end-I feel every emotion-I swear-I
curse--I cry and laugh by turns. And
all this time | am debating as fast as
the stenographer can take my words.
OF course have my spells of work,
| when can do no more work in three
! days than I can manage at another
time in month"
/ Then I made him sit bolt upright by
/ firing the following question at him:
who in your opinion is the best
| American dramatic writer of serious
/ parts?" After a few moments thought
he regained his composure and replied
you have asked me question which
would be extremely difficult to answer
without hurting somebody's feelings
The accepted leaders of the American
| drama are all men of education and tai
ent, or they could not be accepted as
leaders. They write as experts, not as
apprentices, and each has his own pc
culiar manner Of treatment You can
not make comparison among Bronson
| Howard, William Gillette, Augustus
| Thomas, Paul Potter, Franklin Fyles
and various others, including oul
women playwrights. Writing a pray
is far more difficult than any one mag
ines, and the playwright has to master
HIS lTdu6, just DIS uOeS LIE SllOeIidhel
and the carpenter
Wherein do American playwright.
differ from English, French, and Ger,
man authors?"
"They differ little from their British
brethren save in being untrammelled BY
dramatic censorship. The public i!
their censor, and sufficiently severe
one The fact that American plays arr
transferred unaltered to the Londol
stage, and are there received as to the
manner born, proves their family kind
ness The Germans differ from tn
Americans by looking less to the event
than to the theories-to action than tt
disquistion-to reality than to idealism
also in treating of political and socia
questions in a didactie style, which tn
Americans more patient brain woult
not endure. The American playwright
differs from the French in the loosenes
of NEUTRALITY-SUSPICIOUS. in dialogue
especially in the length and diffusive
ness Of speeches and in the reticenc
due to the distaste of the public TO
suggestive illusions foreign to tn
temper of the American people, which
the Puritan element still continues t
influence. In my opinion dramati
writing has gained in simplicity and ,di
rectness, but lost in purely literar
quality. When people want to enjo
fine writing they seek it nowadays il
books, not in plays"
What is the best ingredient of
good play?"
"Of the hundred ingredients that G
to make up perfect play ninety-nin
are love-stage pictures make the hun
| dredth. DAILY Telegranh