New-York tribune., 1911-04-23
THE STAGE AND REALISM.

delivered al oxford University and received
with great favor. made some remarks
concerning realism on the stage that de-
serve consideration. He appears 10 have
rather vague ideas as 10 the term real
ism. and this is not surprising. our loei-
ca neighbors across the Channel possess
the gift for classification: such terms as
realistic naturaliste. romantque, cassique,
symboiiste. impressionste, etc, when APP
piled 10 drama really have a meaning. and
are used by them with fair amount of
correctness. while in such matters we eX-
hibit an independence that leads 10 mGch
confusion Realistic used 10 be applied
10 Drury Lane. in reference TO tue real
fire engine. real hanson cab. and so on.
IN fact the term for long time was con
fined 10 scenery and accessories. In this
sense the realists nowadays are the fash
ionable managers who are realistic 10
rulnous degree. and in their efforts 10
make their accessories look real and sold
spend large sums OF money with a return
of less than penny in the pound. Inc
sooner the mania for this kind OF realism
disappears the sooner We shall nave real
progress on the stage Apparently HOW
ever. Mr. Bourchier was not using the
term 'real!st' in this sense. IN one pas
sage. and afterward employed II mHch
more correctly in relation TO the style VI
plays and presumably 10 the styie thaI he
does not like. though he has given US
taste Of il ere now.
Let me- quote passage or TWO. we may
say. / think that the modern drama i
realistic ! do not mean by that that IL IS
coarse and brutal We are likely lo pu'
the adjective grim before realism. Out
life is not so bad. / hope, that realism on
t,, stage must be- offensive. That II some
times is must be attributable 10 the author
who chooses a subject that cannot be made
pleasant or 10 the actor who misunder-
stands what is asked Of him" The last
twelve words rather seem to refer 20 such
matters as the acting Of the Sicillan play
ers of certain matters that have gone out
of date. such as the horrible death scenes
n, poison that were in vogue about twenty
five years ago. when famous players uSeu
IN visit hospitals in order TO learn how 10
be horrible. even repulsive. III death upon
the stage Perhaps. TOO. Mr.. Bourcher j.
having a dig at the painful scene IN Ihe
ReUs" ANYHOW IT may be said that these
words relate 10 realism IN acting. whlch
has nothing 20 do with realism III drama
but has often been associated with entire
Il, non-reaIistic PLAYS. He continues after
a massage that may be skipped: Realism
without taste is almost worse than aru-
fciality: and the man who WISHES 10 pre-
sent real life on the stage should De very
careful what subjects he chooses Ihat
realism has the bad name n has IS because
the realist mas an idea that he does best
wnen treating unpleasant subjects. surely
the man with the power or reconSiructlng
life upon the stage should not b" less abIe
10 deal with the pleasant than with the un-
nleasant Above all things. let the realist
remember that IL was not the absence OF
cIothes hut the presence OF innocence, that
gave its charm 20 the GARDEN oi
Eden" Here we have a definite charge
against realists yet. should perhaps say
an indefinite charge: indeed II is a pity
NJ Rourchier is not more circumstanudI.
10 refers 10 realism" as the presentation
Of real life upon the stag. and then says
that realism" has bad name. has IL
n so among whom has IL bad name
There can be no doubt that the tendency
of modern drama is toward presenting real
ne upon the stage; but. except in the case
Of the works Of Sir Arthur Pinero. the ef-
chars third use Of the name-as rule are
banisbed from the theatres which MI
Arthur Bourchier honors with his presence
II will be seen that the popular actor paheS
tvo charges against the realist-one tha'
he prefers treating unpleasant 10 pleaSan'
snb,ects the other in the Duzzling epigram'
IT yas not the absence OF clothes but '"e
presence OF innocence, that gave l's ciiai III
20 the Garden Of Eden" confess 'ha'
DO not quite appreciate the point oi me
epigran but ! imagine that II u lhteh"eu
70 suggest that the realists sin In the ui-
rection OF immodesty or indelicacy. haPPE
realis,s' They sin in company WIN inc
sbakesneare whom Mr.. Bourchier w0rshlps.
t.or there are plenty Of irimodest ana IN
deiicate psssages i'm his plays which are
opoitted more or less completely III oui
davs when his dramas are acted but' III
fact, are known very we'll by us 10 be tnefe'
II seems bold thing In the champion
nj, the conventional theatre 10 cast sue"
r.proaches: for when the realists manure
trruodest or indelicate matters-take' ioi
instance such extreme cases az N""'~
or Les Avaries do 80 aite' ~.
fashion OF the surgeon. who cannot shirh
.cperations on point of mohesty "
ds,lcacv The conventional theatre IL 10
,rue avoids such themes partly Al ie"s'
,ocause its self-given mission If 10 chah'
:, Kind Of HYMN " sex almost conuhuHhy'
the difference between ine
rsaJ,..a and IN. eonventionaiists-the latter