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The Shaw-Court Primer This thesis/project/dissertation has been reviewed for 508 compliance. To request enhancements, please email [email protected]. THE SHAW-COURTPRIMER by Richard Rudisill B. A. (Sacramento State College) 1952 THESIS Submitted partial in satisfaction of the requirements the fordegree of MASTER ARTS OF .A.T' THE SACRAMENTOSTATE COLLEGE Approved: Irving McKee, Chair Clyde A. Enroth Date •U. tt.rl o/ 7 7 TABLE OF CONTENTS CHAPTER PAGE I. INTRODUCTION • • • • • • • • • • • • • • • • • • • 1 II. THE SETTING. • • • • • • • • • • • • • • • • • • • 2 III. WHAT THE ROYAL COURT THEATRE WAS • • • • • • • • • 3 IV. WHAT THE COURT DID • • • • • • • • • • • • • • • • 14 v. WHAT IT ALL MEANT. • • • • • • • • • • • • • • • • 42 BIBLIOGRAPHY • • • • • • • • • • • • • • • • • • • • • • 49 APPENDIX •• • • • • • • • • • • • • • • • • • • • • • • 52 caPTERI INTRODUCTION This paper proposes to collect in one convenient location those elementary matters which chronicle the mutually advantageous work of Bernard Shaw and the Royal Court Theatre. Since Shaw as company writer exerted the greatest single influence on the Vedrenne-Barker experiment in intellectual theatre, he has served as a central figure round which the story may be told of the Court 1 s aims, actions, and results. Certain limitations have been imposed to prevent wandering: so much has been written about Shaw that the paper presumes readers will come equipped with awareness of Shaw and the nineteenth century British drama. Despite the large amount of material already published on Shaw, there exists nowhere a clear statement or his con­ nections with the Court Theatre. Critics, biographers, and historians of the drama all tell part of the story, but no one has told all of the story in one place. As a result, this paper is the first to offer a reasonably complete pic­ ture or this theatrical revolution as it took place. Enough writers have noted the value or the Court's accomplishments, proolaiming them the most revisionary forces in drama in centuries, that a gathering of these details is necessary to understand the cause or much in modem theatre. _, CHAPTERII THE SETTING They were pleasant days when the upper classes of England were disportive in the reign of Edward VII. The vogue was life as one might find it in a time or relative prosperity and certain enough peace, and the statement of the age was frequently made by its theatres. The day was cluttered with ornament, sentimental in outlook, and indefi­ nite in the intellect, and theatre followed the pattern. As one looks back upon the extent and variety of entertainment offered to the theatre-goer in the early days of the century the prospect appears fair enough. Every taste seems to have been catered for and to an ample extent. The theatre could boast or ••• active popular playwrights; many others of promise were coming along; ••• frequent homage was done to Shakespeare and the lighter stage provided no end of musical comedy •••• l'he7 leading actor-managers ••• were at the height of their powers, all providing the kind or play that ­ suited the wide tastes of the general public. Problem plays, ••• witty comedies; ••• amusing farces; ••• handsome displays of gallantry and heroics; •• • melo­ drama; ••• musical comedies; ••• spectacular pieces of scenic splendour--everything, it seemed, was there to satisfy the popular taste •••• 1 But every age eventually aspires to produce a nmnber of its members with a desire for something better than the popular taste. It ls with such an aspiration that this primer is concerned. 1 Albert F.d.wardWilson, Edwardian Theatre (London: Arthur Barker Ltd., 1951}, p. 163. •' CHAPTERIII WHATTHE ROYALCOURT THEATRE WAS Physically, of course, the Royal Court Theatre was merely a playhouse, a small London playhouse, built next door to the Sloane Square Municipal Railway Station, with a frequent potential business in timetables and train tickets for misdirected riders. The house was built in 1888 to succeed an earlier theatre or the same name. The building seated 602--206 stalls, 64 pit, 113 dress circle, 65 upper 2 circle, 150 gallery, and 4 private boxes --to make a theatre large enough to deserve good productions and still inti.mate enough to sustain delicate effects. All told, a modest hall several miles outside the commerical theatre area of the city. In ways beyond the physical, the Court, as it came to be called, was something again: the Royal Court Theatre as a venture in daring theatrical management was a surprise that grew straight out of dissatisfaction. London's commercial theatres of the West End were specialty houses. Each more or less tended to make its own presentations of a particular type, putting great effort and 2 C. B. Purdom, Harle! Granville Barker: Man of the Theatre, Dramatist and Scho ar (Cambridge, Massachusetts:" Harvard University ~ress, 1956), p. 27. 4 cost toward a series of similar productions. Several houses were managed by noted actors as showplaces for their particular abilities--such as the Lyceum, occupied by Sir Henry Irving and his company. With brilliant and erratic actors driving large theatres into the competition of specialty with specialty for public favor, the natural effort was to bend all the theatre's resources toward large, striking effects. Audiences were treated to tremendous spectacles, elaborate scenery, and stories of matters grander th.an life. The basic order of the time was Be Impressive. However, to be impressive on such a scale cost a large sum of money. Producers seldom ventured beyond dramatic types that were safe investments, and most plays were mounted for long runs, in hope they would outlast their initial cost, followed by long tours to create a pro~it. A new Pinero wonc or an Irving revival of Shakespeare was expected to go at least a year even to make its own expenses: the public had to be impressed. There was the situation; there too was the reaction: There was an under-current of feeling that all was not well with the British stage, that it was not intellectually as good as it should be, that it had not kept pace with the progress o~ thought ••• since the ini'luence o~ Ibsen had begun •••• There were those who thought the organisation of the theatre ••• was all wrong. The actor-q.nager system and long runs were held to be detrimental., 3 Wilson, 2£• cit., p. 163. 5 Despite the popular success of London's theatres, there grew many voices sounding complaint as to the ills of the day. Some critics were well-meaning, some silly, but few were lost for words: "The regular stage within itself is crippled by its intractable methods.• ••• "It has sacrificed itself to the long run and the long tour, and it is paying the penalty today in its lack of plays and its impoverished acting powers •••• There must be a simpler means, with greater attention to sound acting and altogether less reliance on meretricious adornment."4 When the various views on the problems of Edwardian theatre were collected and studied, four matters stood out for correction: 1) The vicious circle was present in the expensive productions. A play had to go well for months to break even, but expenses were increased by long runs and tours. This situation also tended to concentrate acting into the control of a limited group of players established enough to command long run contracts. The new actor had poor opportunities, and the old actor played to the public for survival. 2) The actor-manager system slanted production toward those plays adaptable for "star" performances. So long as a play gave ground for brilliance by the leading player, it mattered no whit how trite its lines, how hackneyed its story, how vacant its thought, nor how slovenly its sentimentality. 4 The Stage, 1906, quoted in Wilson, .2.E.•cit., p. 164. 6 Plots were frequently predictable, and star turns were inevi­ table. Success could generally be forecast, with each new production closely emulating the one before it. Even Shakes­ peare was further respected for his brilliantly playable characters than for any other quality. In practice almost anything could do well so long as the leading role took remarkable doing. 3) '!he frivolity and stupidity or the public was bruited about .by every force of criticism. - Near unanimous agreement berated the trash-worship of popular taste. Now this might have been quite as unjust as it may have been in every other era that thinking people have scorned the average populace tor trying to enjoy life cheaply without mental tax, but such was the battle cry. It can be admitted that many of the plays popular at the time were spectacular, romantic, clever, even witty, but few of them reached a notable l'evel of concern with real life. 4) There was some reasonable dislike for the dis­ parity between lavish efforts to create grand stage design and the indifference given to training and preparing or actors. Clearly problems such as these were a lengthy develop­ ment, and large reforms were called for to amend them. Lec­ turing in America, Henry Arthur Jones recommended that British drama look to the excellence of French craft, also 7 urgi:cg English writers to make definite statements on morality.5 Ibsen• s translator William Archer commended more direct improve­ ments such as foundation of a national school of acting and a National Theatre which could function without recourse to the long-run star system. In the period from 1890 to 1905 much was said of theatre, and some little was done for it. Two experiments made before the nineteenth century ended are noteworthy examples of the devotion of a few people among the many. Enough live spirits did exist in London to create a theatre of sorts to challenge their own attention. In short, early efforts were made less for the well-being or drama in general than for personal satisfaction of a small audience.
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