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Plays and the Theatre In the ext Issue: ril 1948 olume ' I N Ap . V II, No. 3 i l Li e and the Dr eam b Mar 1 . The Irish Rev va : f , y y Colum l f he orth's : The Ha ri s ner b Moni a Dic en 2 . Tria s o t N ppy P o , y c k s h e s ur Dr a b Ar hemif 's Go 2 . Woman of C arm : Gw U O e m, y t e ertz 1 900 : Lin den on the aar ue ranch b Elliot aul 1 . Boston Suburb S g B , y P i wr h B or ias : rince o Foxes b Samue She la ar er 1 . Sk ll Out ts t e g P f , y l l b g mer cans A ro d The a ller b oh Hor B n 2. A i a : n ne ur b G y, y J s CHAPTER VIII . OUR O CCUPATION POLICY 1 . A un h at Broad a : The axon harm b rede ic Wa e a P c w y S C , y F r k k m n ’ 1 . A S ientist s uandar : N othin o a e m i c ' y g S S tr ng , b y J a es H lton Warner Brace THE UNIVERSITY O F NO RTH CAROLINA LIBRARY E' T ENSIO N PUBLICATIO N 13 U 4 8 N O . 2 VO L. JAN ARY 19 PLAYS AND THE THEAT RE KAI JU RG E NSE N Assistant Professor of Dramatic Art Pub lished six times a ear ctober Januar A ri M a e nd Jul y , O , y, p l, y, Jun , a y, b the Universit o N orth arolin P - y y f C a ress. Entered as second clan ma tter ebruar 5 1 92 6 unde F y , , r the a ct of August 24, 1 91 2 . ha el H l C p il , N . C . T able of C ontents A E CHAPTER I . PLAY XTEMPORE ? 1 h h Theat re . W y DO We GO to t e 2 Lo f Dra Ar I an n stinct . ve o matic t s I T nn i een Li an d the Theatre 3 . he Co ect on betw fe ’ L CHAPTER II . THE DRAMA S AWS 1 T 4 ” . heatrical Production 2 Dr m i A i . a at c ct on A, h I 3 . W at s a Play? ’ 4 L ri . et s W te a Play T I T CHAPTER III . SOME MORAL LE T EACH 1 . Primitive Drama 2 E ar e . ly R ligious Plays 3 . The B ook Of Job T RA I CHAPTER IV . HE T C C MUSE ~ 1 . The Greek Theatre h r 2 . T e G eek Pl aywright s 3 Emotiona i . l ' ual ty Of the G reek Plays ’ O B CHAPTER V . GOD S PR PHETS OF THE EAUTIFUL tories b ehi h re la s 1 . S nd t e G ek P y 2 A m h . g a emn on ( Aesc ylus ) edi us R ex o h es 3 . O p ( S p ocl ) 4 M edea E i i . ( ur p des ) 5 Th Fr s r s . e og ( A i t ophan es ) CHAPTER VI . WEDDED TO CALAMITY 1 h I ‘ . W at s a T ragedy ? 2 I . s Tragedy Etern al ? THE M - H CHAPTER VII . ANY EADED MONSTER ( The Roman ) 1 . The Roman Theatre 2 . The Roman Pl aywrights 3 . The Roman Plays C L HAPTER VIII . OOK HERE AND YONDER 1 Th M e Th . e dieval eat re The M 2 . edieval Pl aywrights h M 3 . T e ediev al Plays F L C HAPTER IX . AIR AND OF C HIVALRY 1 . Th e Renaissance 2 . The Renaissance Theatre 3 Th R n i n . e e a ssa ce Plays C THE AGE i iam h a es eare HAPTER X . SOUL OF THE ( W ll S k p ) ’ 1 h a es ea re s Times an d Theatre . S k p 2 h a es e re h a ri ht . S k p a , t e Pl yw g ’ 3 ha es ea re s a s . S k p Pl y A MEN French a ssicism CHAPTER XI . SUCCESSION OF SPLENDID ( Cl ) 1 Fr n T . e ch Cl a ssic heatre 2 Th Fren h a ssic ri hts . e c Cl Pl ayw g 3 Th Fre h a ssi a . e nc Cl c Pl ys T HE D MAN B e r h Fren CHAPTER XII . ISCONTENT OF ( fo e t e ch “ 1 Th G a e H . e t way t o ell The P re- Re o i n i 2 . v lut o ary Pl aywr ght s 3 . Pl ays O f the Eighteenth Century B IBLIOGRAPHY DIRECTORY OF PUBLISHERS 48-49 UNIVERSITY OF NORTH CAROLINA LIBRARY EXTENSION DEPARTMENT STUDY OUTLINES 51 - 54 CHAPTER I A PLAY E' TEMPORE (What is the Theatre ?) ' Host ess a to the doors at h ni h m o l , cl p ; w c t o g t , p ray t o orr w . Ga ant s a ds o s hea rt s Of o d ll th e i l f ood e o shi l , l , b y , g l , a t t es O g f ll w p ome t o ou ' h t sha w b m r ? h w h a a c y W a , ll e e e ry S all e ave pl y ” ex em ore ? — h Henr I P t t a es eare ar 1 . p S k p , y V, Of all the arts, that Of the theatre is probab ly the cl osest to us o s who n o s n rdinary human play in trument , wield o b rush , no b oo s We e o o o . W s . and write k all act . act alm t c ntinu usly The only difference b etween us and the professional actor is that he is o s m re kilful at it , and we all love to watch him exercise his i S . s f kill Acting an imitation O an acti on , long since learned . It is o Of o s o s is a repetiti n w rd , l ng ince memorized . It to pretend ou so o that y are mething which you really are not , or that y u are “ so s If o e . ou so ou o o s s HOW me ne el y live in ciety , y act . S me ne ay , ” “ ” o ? Yo a F are y u u s y, ine , but you have a dreadful headache . You s ou o a ou are acting . Perhap y w uld rather s y that y are exercising social conventions but they are nothing but pretense b e t end se from ginning o and , con quently acting . hI so ia l a ctin It would be hard to tell j u st when t S c g began . ’ Undoub tedly it developed side by side with peoples habit Of living in communities ; in the b eginning it was merely pantomime o n Of o Of one kind r another , made up o the spur the m ment . the Of s f Hence title thi chapter . Eventually the art O the theatre passed from extemporaneous pantomine to planned entertain oe f actors. ment, written by a p t and per ormed by specially trained We e a e e the e e is s o s The liv in an g wh n th atr taken eri u ly . the atrical age in which We li ve was founded b y the great and sol emn e e r w O roblem la s— s lat ninet enth centu y riters f p p y Henrik Ib en , st B x Gerhart Hauptmann , Augu Strindberg, Eugene rieu , and o ss o r o s us esso c untle the s . They wr te play in order to teach a l n b o o s s or b o a ut ur elve a ut the society in which we live . Hardly b o o s t s e b s of o any dy g e o e their plays today . Great num er pe ple o to see C ran o B er e a e o or g y de g r c, or Haml t, or The Scho l f Scan da l or O edi us Rex It r o , p . would b e worth ou while to w nder why . r s i o stor The prima y rea on s contained within a single w rd : y. Old Any , wandering Irish story teller can tell you what people 6 PLAYS AND THE THEATRE to x f like to hear . They like hear e citing tales o love and hate , ’ Of war and heroism, of fear and the victory over fear, of man s s s is f l truggle again t nature . That the kind O stories the O d man s is f s oo s F tell . That the kind o storie g d play tell . or plays are o o - merely an ther f rm Of story telling, and the better and the o s o i s m re exciting the t ry s, the b etter the play .
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