Alexandria gazette. [volume] (Alexandria, D.C.) 1834-1974, 1922-03-28
National Council
Episcopal Church

One way TO reform Iile 'nees, :,
to make it an adjunct OF the Cnurcn
is the view of Margaret Swain Pratt'
who is arranging the production OF
religious play, with the assistance OF
we'll known professional people, to De
produced in Portland, Oregon, next
October in connection with the zen,
eral Convention of the Episcopal
Church. Mrs. Pratt disclaims any oe-
sire to become involved in the penang
controversy over plays pleasant ana
unpleasant; but she suggests that pro
bablv those who would reform the
theatre are going the wrong way
about it in demanding an almost IN
Simultaneous change III what neces-
sarily involves a process oil educa-
ton.
"Of course" says Mrs. Pratt, 1T
is absolutely true that no tneatrlcal
production would last a week II the
public didn't support it. Whatever
else may be said about them, theatre
cal managers are not fools, and they
do not produce plays for their health.
The kind of play they produce IS
largely governed by the iastcs>2t the
people who support them. Reforming
the theatre, therefore, IS largely
matter of educating the people TO
what is best in dramatic art: and that
takes time. Here, think Dr.. STRAIT
ton and others will agree with me, IS
where the Churches may make their
influence felt.
"By the Episcopal Church the thea
ter and play-acting are recognized as
great potential agents for clarifying
and sublimating modern thought. we
do not Join in any hue and cry against
thc theatre as an institution, nor
against actors and actresses as a
class The theatre and the temple
site. the drama and the religious 1'lt-
ual were one and the same TO inc
Greeks. In fact, the roots OF inc
dramatic art reach down into rcllg-
ious soil;i was in the Church that
dramatic production had its begin
ming.
According to a we'll known critic
of the drama our American Theatre
of Tomorrow will house religious
drama. This may seem like an eX-
IRENE view, and this authority him.
self does not use the word religious;
but according to his description the
drama of tomorrow Will be essentiail!
that. 1t will be a more colortul, sig
nifciant and spiritual type OF drama
implying new relation OF audience
and play, where illusion IS not so mn
portant as emotional intimacy, d.
rcctness and clarity. Now the at
tainment of this ideal condition may
be a long while in coming; but the
question is, shall this new type OF
play, which already has a foothoId
on our stage, continue to be evolved
entirely apart from the Church, OF
will the Church add to its own
strength by helping to develop with
intelligent interest this ancient means
of spiritual revelation? 1t IS obvious
10 those who are familiar with the
present tendencies Of the drama that
the Church must either make an ally
of the theatre, or eventually rccoS-
nzc the new theatre OF truth, hc2ut!
and inspiration as powerful rival.
"rhe essence OF this new drama
has long existed in the beautiful dra
matte liturgies Of the Church; but re
Gently these liturgies have been sup
plementcd By the new dramatic OH
ces for the celebration of special oc
casioas-ChriStmaS and Easter eSpcc
tally. Plays have been used Tor, ms
siona:y education, and hundreds 0
missionary plays and nlorta!lties nay
been given in the chancels OF tn
Churches. The activity along thes
lines has become so great that to II
fiuence its trend the Episcopal Churc
has organized a National Commlsaic
on Church Pagcantry and Dram
And here is the point | would Ike
emphasize; pending the attainmel
of this ideal theatre; and, IN TACT
help it along, education can Go mus
to bring about Il Igradual reform
the whole tone OF the present ia
theatre. Please understand that
am not predicting or urging Who'll
religious drama; but rather dram
which will deal wholesomely and hel
fully with the pressing problems
civilization. In these Church produ
tions which the Episcopal Commissi
is promoting, the children arc cSpe
iallv encouraged to take part, to'ma
their own costumes, properties a
scenery, ard to sing in the chorus
Thus we are going forward educ;
inr the rising generation Of theat,
goers to what is clean and pure a
most beautiful in dramatic prodI
ton. Out of this activity if prope'
conducted, will emerge an lntell!st
generation of theatre-goerS, oema!