Dramatic Technique by George Pierce baker

By George Pierce baker

This ebook is the results of virtually day-by-day dialogue for a few years with periods of the information contained in it, yet in that dialogue there has been an opportunity to regard with each one person the various exceptions, obvious or genuine, which he may bring up to any precept enunciated. Such complete dialogue is very unlikely in a publication the dimensions of this one. consequently i have to appear to want an guideline way more dogmatic than my scholars understand from me. No textbook can cast off the price of right lecture room paintings. The perform of the earlier offers passable ideas for college kids of standard endowment. anyone of lengthy adventure or strangely endowed, despite the fact that, after greedy those rules, needs to every now and then holiday from them if he's to do his most sensible paintings. the school room allows a instructor such variations of current utilization. Such exact wishes no textbook can ward off. This ebook, then, is intended, to not substitute clever school room guideline, yet to complement it or to provide what it will possibly while such guide is very unlikely.

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Col. New laid — I mean, fresh from the country — fresh from London, or — yes — I — (Dora sits on music stool at piano. This scene is played with great constraint on both sides. ) Going to play any of it now? Dora. No. I m ust practise it first. I can’t play at sight. CoL Can’t you really? Don’t you believe in — music — a t first sight? (Dora drops a music book. Colonel picks it up, Dora tries to pick it up. They knock their heads together; mutual confusion. ) Dora, I t ’s nothing. Col. Nothing, quite so.

If so, he will develop a technique which will create in his public a satisfaction equal to that which the so-called undramatic story, char­ acter, or idea could give in story form. Of course he will treat it differently in many respects because he is writing not to be read but to be heard, and to affect the emotions, not of the individual, but of a large group taken as a group. H e will prove that till careful analysis has shown in a given story, character, or idea, no possibility of arousing the same or dissimilar emotions in an audience, we cannot say that this or that is dramatic or undramatic, but only : “ This material will require totally different presentation if it is to be dra­ matic on the stage, and only a person of acumen, experi­ ence with audiences, and inventive technique can present it effectively/’ The misapprehension just analyzed rests not only on the misconception that action rather than emotion is the essen­ tial in drama, but also largely on a careless use of the word dramatic.

Point of departure for the play. Whether the source was an observed or an imagined figure, a character from history or fiction, the problem of the dramatist was like that of Sardou in Rabagas, — to find the story which will best illustrate the facets of character of the leading figure. 1 Mr. William Archer points out that Strife “ arose in Mr. Galsworthy’s mind from his actually having seen in conflict the two men who were the prototypes of Anthony and Roberts, and thus noted the waste and inefficacy arising from the clash of strong characters unaccompanied by bal­ ance.

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