The Salt Lake tribune. [volume] (Salt Lake City, Utah) 1890-current, 1912-04-07

nc IU'oW''t9 eSod9 o'f JIG
Psychology of TAeater Audi
rs, vzs read BY William
Brnayd. stage director Of the
Gsrck Theaser. before the Dra-
kftic Section of the Ladies Lit
|Fayy Club:
mHE drama is tho only art, ex-
III cepting oratory and certain
III forms of music. that is designed
10 appeal TO crowd instead
\ 10 an individual.
| 10 writer is really Jramatlst un-
II be recognizes this distinction of
Epnl; aud if an author is not accus-
|ntd 10 writing for the crowd, he can
|rdly hope 10 make satisfying play.
|hnyson. the perfect poet; Browning,
u MASTER OF the human mind; steven
ID the teller Of enchanting tales =
Rh OF them failed when ne tried to
hse drama, because the conditions
bis proper art had schooled him,
pa. in writing for the individual in
Fad of for the crowd. A literary
Psi who writes for the individual
~ produce great work of literature
ht is east in the dramatic form; but
~ WORK will not be, in tho practical
&c, play.
ssnson, Faust. Peer Gyut, and the
rs ream.dramas of Maurice Maeter-
-. are something else thau plays.
|sy are not devised to be presented
actors on a stage before AN audi
e. IS work OF literature, y
~ In the 'Scutchcon is imneasur'
EF greater than "The Two Or
ans; hut as a play, il is immeas'
ably less. For even though, in this
neuar piece, Browning did try to
ne for the thcater CAT the snggcs'
a OF Macready), he employed the
ne inlrlcateIv, intellectual method of
naeter anal ysis, that has made many
Ills poems the most solitude-compel'
OF modern literary works. Prob
IL 10 appreciate his piece. yon must
sone, lust az YOU must be alone 10
Woman S Last Word. IT Is
Written for a crowd; 1.-The Two
paans, y less wcighty III wisdom, ls'
second is "A play.
s% m,ghticst masters Of the drama
sophoclcs, Shakespeare. and Mol,ero
'c recognized the popular char
~ OF its appeal and written frankly
me multitude, The crowd, there
- has exercised potent influence
Tue dramatist in every era OF IN.
r One person the lyric poet has
y'ease,-himselt; TO a single person
% All unlimited succession of SIN
PARSONS, does the novelist address
-n, and he may choose the sort of
."n he will write for; but the dram
must always please the many. HIS
-. his thoughts, his emotions, are
aseribed BY the limits of popular
'eation, He writes less freely
any other author; for ne cannot
aIs auditors. Mr.. Henry James
~ ne choose, write novels for the
elvillzcd; but a crowd is never
TrElhzed, aud therefore charac
hse those OF Mr.. James could
De successfully presented IN the
,u Treasure Island'' is book
voss, both young and old; but 2
thenter crowd is composed
Ey OF women. and the theme oi
story could scarcely be success
sa tho stage.
order. therefore. to understand
aial'ations Of the drama as an art
"arlv TO define It's scope, II IL
ar TO inquire into tie psyeh"
aater audiences, This subject
two phases 10 the student
theatcr audience exhibits Ger
genealogical traits that are com
|sBy al crowds, OF whatever kind
Ihnucs' convention. the spectators a
stame, or church congregation
ampie. Second. it exhibits ce-
s.her traits which DISTINGUISH I
slncr kinds of crowds These. IL
~ WI he considered at the presen
~s word "crowd.' RS | use Y
9iscnssion. mean Il multitude
,ppie whose ideas and feeling
@@n set, in certain single di