No More Learning

Then, too, one must be content to have long quiet moments, long
grey spaces, long level reaches, as it were--the leisure that is in all
fine life--for what we may call the business-will in a high state of
activity is not everything, although contemporary drama knows of little
else.

_Third. _ We must have a new kind of scenic art. I have been the
advocate of the poetry as against the actor, but I am the advocate of
the actor as against the scenery. Ever since the last remnant of the
old platform disappeared, and the proscenium grew into the frame of a
picture, the actors have been turned into a picturesque group in the
foreground of a meretricious landscape-painting. The background should
be of as little importance as the background of a portrait-group, and
it should, when possible, be of one colour or of one tint, that the
persons on the stage, wherever they stand, may harmonise with it or
contrast with it and preoccupy our attention. Their outline should be
clear and not broken up into the outline of windows and wainscotting,
or lost into the edges of colours. In a play which copies the surface
of life in its dialogue one may, with this reservation, represent
anything that can be represented successfully--a room, for instance--but
a landscape painted in the ordinary way will always be meretricious
and vulgar. It will always be an attempt to do something which cannot
be done successfully except in easel painting, and the moment an actor
stands near to your mountain, or your forest, one will perceive that he
is standing against a flat surface. Illusion, therefore, is impossible,
and should not be attempted. One should be content to suggest a scene
upon a canvas, whose vertical flatness one accepts and uses, as the
decorator of pottery accepts the roundness of a bowl or a jug. Having
chosen the distance from naturalism, which will keep one's composition
from competing with the illusion created by the actor, who belongs to
a world with depth as well as height and breadth, one must keep this
distance without flinching. The distance will vary according to the
distance the playwright has chosen, and especially in poetry, which
is more remote and idealistic than prose, one will insist on schemes
of colour and simplicity of form, for every sign of deliberate order
gives remoteness and ideality. But, whatever the distance be, one's
treatment will always be more or less decorative. We can only find out
the right decoration for the different types of play by experiment,
but it will probably range between, on the one hand, woodlands made
out of recurring pattern, or painted like old religious pictures
upon gold background, and upon the other the comparative realism of
a Japanese print.
This decoration will not only give us a scenic art
that will be a true art because peculiar to the stage, but it will give
the imagination liberty, and without returning to the bareness of the
Elizabethan stage. The poet cannot evoke a picture to the mind's eye if
a second-rate painter has set his imagination of it before the bodily
eye; but decoration and suggestion will accompany our moods, and turn
our minds to meditation, and yet never become obtrusive or wearisome.
The actor and the words put into his mouth are always the one thing
that matters, and the scene should never be complete of itself, should
never mean anything to the imagination until the actor is in front of
it.

If one remembers that the movement of the actor, and the graduation and
the colour of the lighting, are the two elements that distinguish the
stage picture from an easel painting, one will not find it difficult to
create an art of the stage ranking as a true fine art. Mr. Gordon Craig
has done wonderful things with the lighting, but he is not greatly
interested in the actor, and his streams of coloured direct light,
beautiful as they are, will always seem, apart from certain exceptional
moments, a new externality. One should rather desire, for all but
exceptional moments, an even, shadowless light, like that of noon, and
it may be that a light reflected out of mirrors will give us what we
need.

M. Appia and M. Fortuni are making experiments in the staging of
Wagner for a private theatre in Paris, but I cannot understand what M.
Appia is doing, from the little I have seen of his writing, excepting
that the floor of the stage will be uneven like the ground, and that
at moments the lights and shadows of green boughs will fall over the
player that the stage may show a man wandering through a wood, and
not a wood with a man in the middle of it. One agrees with all the
destructive part of his criticism, but it looks as if he himself is
seeking, not convention, but a more perfect realism. I cannot persuade
myself that the movement of life is flowing that way, for life moves
by a throbbing as of a pulse, by reaction and action. The hour of
convention and decoration and ceremony is coming again.

The experiments of the Irish National Theatre Society will have of
necessity to be for a long time few and timid, and we must often,
having no money and not a great deal of leisure, accept for a while
compromises, and much even that we know to be irredeemably bad. One
can only perfect an art very gradually; and good playwriting, good
speaking, and good acting are the first necessity.