PAGE THIRTEEN .. TiNflAY MAY 24.195 TTI MiCHICAN DAILY 4,1. 'k L "ir tt Jusic and Drama- -a a l The Theatre In Ferment In Which Prof. Oscar J. Campbell On The Modern English St .. .( ih a sense naturalistic. They reveal Iher betrothed, is on the verge of dis- man as the victim of social meterniin-E covering his long-lost identity. Mang- ism, a creature with only. illusory ham is sardonic and bitter in his England power5 of freedcnm.I hs ltetply laughter. He reveals social base- such as "The Skin Grime" and "Loyal- ness and unmorality and its complete ties," Gaisworthy continues to show1 compatibility with social success. He hech of opposing social forcesseems disillusional as was Wicherly setowever the results, though tragic or nd to have hidden a savage mal- 1LL~llE JtiJ i.7 Icomic, seem to lbe in the control of!1 content beneath his urbanity. A. A. men, not in that of forces quite be- Milne represents the best traditions yondl his control. of English laughter. His mirth is ag e and A uthors:: That as:ect of naturalism w;l expansive and communicative, and shows man, the civilized being 'at the' mercy of his animal instts, has but very gently corrective i usually comes not only with the requisite never received mlit incss, in performs his comic task within the harp surpise but also with the men- English dm The te n dbps i frame of the stage. He is familiar .al exhileration of a new insight. realism which is one of the n dI with its visual and auditory device "Man is the hunter, woman is his tions of this sort of naturalism does the bizarre curtains which drag their' game," has long been the flattering appear in Nasefield's "The Tragedy ofay uses themugh mr, itnss dictum that the amorous male has Nan", in "John Ferguson" and "Jane gay trail through "Mr. Pim Passes uttered for his delection. "Not at all," By," to be hung at thecloe s by says Shaw in "Man and Superman.' ..George as a triumphant theatre sym- Woman really persues and inevitably bol of the issue of the central drama n Naptures tue sruggMi ina-erI m- ic ont-t StIoriCs of the Stars Perhaps one of the best of these hap- 1 'pened as follows: - -- One day last season while traveling (Continued from Page Ten) abroad a train he strolled into the casions, after Morgan had finished diner and took a seat opposite a asigingsmerWelsh songs, Lloyd stranger who soon proved himself to singing some Wsbe a traveling man by opening a con- George turned to an American news- versation with the highly original paper correspondent standing near question, and said, "What's your line?" "If I had a company of Rhys Mor- "I am a violinist", replied Elnan. gans I could win the war without "Play in some orchestra or travel- further bloodshed. I could send them ing show?", asked the salesman to the front and have them sing to the brightly. Huns. They would stop to listen, I wrapped in wonder and admiration," "DNo, just alone with a pianist." and then he added with a smile,"we "Dance?" could send in a company of United "No, I give concerts." States Marines and capture them "I should think that would be a without firing a shot." pretty tough way to make a living. As71asthecaselastyearwhenl lin Modern English drama began in 1893 with the production of Pineros s s 'The Second Mrs. Tanqueray".TThat. s tk statement is substantially correct. Clayton Hamilton's remark is perhaps more accurate. He said that this was d A the first play of any fresh and vitalu greatness that had been produced in England since 1777, the date on which V Sheridan's "The School for Scandal" i bad been nresented. For at least a > hundred years English playwrights a had been in bondage. They had de- / 'psnded abjectly, now upon the imper- n bous tradition of Shakespeare, now up-b on the merely theatrical production + f the Continent. The drama was thus ' divorced from any vital connection C4 XY with the society from which it sprung. 1,L was largely material for pompous' r~ declamation or "eye and ear enter- tainment" a br Pinero's tragedy changes all this.4 IThe artistic success of some of Ibsen s plays presented as matinees by the u Independent Theater Society con-rAx -vinced him that the English publicM Would accept plays of a similar sort.y He believed that a drama written with * - Ibsen's social intention and the tech- Sir ArlbuImr W ig inero ( nique of Dumas fils would be just whom Professor Ctmpbell discussest x the sort that the English stage need- as the founder of the present renais- rted. The success and influence of "The sance through the English theatre. ' _ Second Mrs. Tanqueray" proved himui +right.-j mand to tell this story. In this playo The tragedy is the story of a wo- as in those of Ibsen there is a strug-e man with an immoral past, who tries gle in the mind of each character.-- to rehabilitate herself socially through that of the man with the priest, ine p rarriage. She fals because the past Michael, that of the enchantress withf refuses to be separated from her the true woman in Andrie. Jones't -present. Having brought distress to drama is clearly the prototype of] ier husband and her step-daughter, I "Rain." The latter play presents thes she signalizes her other failure by same suggle transposed into sceneY suicide. Like Ibsen, Pinero makes no more picturesque than that ofI his play a denouncement of events Michael and the same mental battle., buried in the past; like Augier, he only told in the language of the latesti treats his characters with mendant psychology.t clarity of eye and of mind. The play A fresh influence from Ibsen camec was of importance because it re- into English drama with Shaw. It1 established a connection between must 'be said that he misconceived English drama and life, particularly the real nature of the Norweigan's it opened a field of dramatic interest work He believed him to be primar-t which had long been closed. It made ily a teacher of definite social doc- it possible for English playwrights trines. Indeed Shaw is quite certaint to treat the relations between the that Ibsen ought to have been a mem- t sexes fully and realistically. Love ber of the Fabian Society. Whedn he h longer had to, be regarded only began to write his plays like " Wid- a sthe ultimate- felicity of two yodti wes tse" ndsMr. a rens It could now be regarded as a prob- Profession", he considered them af lem fraught with infinite possibilities part of his radical lf-receptieins of individuals. social intention, or his deep fidelity Ie has shown the humorous falsity to life as he sees it. This spirit in of the moral formula. He has made various forms has never been absent his comedy in the process of reveal- from English plays since 1893. ing the truth of aparent paradoxes. To be sure, Henry Arthur Jones, Comfortable illusions ;placidly held whose name is inevitably associated for generations are neatly shown to with that of Pinero, always insisted be ridiculously at variance with the on casting even his most serious facts of human natnure. Ancient con- plays in the most theatrical form he vention held that given a hoice he- could imagine. Consider "Michael tween her lover and her husband, the 6 and His Lost Angel". It presents the wife would mentally (hoos the torm- problem of woman with a past or the er, because a woman's greatest desire temptress cast in a form most certain is fresh glory of new feeling. Shaw to provoke thrilling scenes. A charm- in "Candid" shows that the doi- ing woman . deliberately seduces a nan m in mwoman's oe (or i nWant element in a. woman's" loe fora stern clergyman. She has a mis- man is iaternal. Therefore when chievous curiosity to see if she can- the choice between the boyish poet nt arouse the oan in the priest and the pontifical husband comes, she Jones uses all the contrasts and pic- naturally takes the one upon which aI ovief's of the stare at his coin- Ishe can lavish the most maternal care. The laughter in the denoument It's the Cut of that's I PLAN INowdays, style is the param, Youneed a Wn .nfor 4 As was the case last year when Charles Sikes appeared at the May Why don't you get into a regular lie of business and make some, real Fsv ,a t rn i of i n Vmi nk ii pk .ri ht vo n captures the struggling mnan-strug-; gling because he wishes to be freel for the good of his pure intelligence. Incidentally this aspect of affairs makes woman serenely and ridici4 - lously inappreciative of any intellec- tual activity of man which is not to her purpose. Therefore Ann's last remark to Tanner "Keep right on talking, dear," is a deeper satire ofl her than of the man. Comedies like these and many morey are those of ideas. They have been developed through the action of Shaw's extraordinary genius upon tie methods and purposes of Ibsen as he understood them. The result is one of the most original products of Eng- I lish dramatic genius. These plays form a new comic genre and open to human beings vast intellectual po- tentialities for laughter. Barrie stands by himself. In spirit he is related to Milne. To both the epithet "whimsical" almost automati- cally adheres. However, he expresses his feeling most adequately in phan- tasy. He can reveal his truth best by building up a dream world on the other side of reality. He is continu- ally asking "What would happen if some strange change could be made in reality? What if Time should cease to beat for one person? What if we should all be given one chance? What if a Child's imagined creatures should exist in flesh?" Recent ex- perience with Barrie's plays on the stage suggests that they are begin- ning to "(late" just a little. There seems something just a little Vic- torian about them. Perhaps it is be- cause the realistic fantasy of Expres- ,.,. - - yr r~rh onrorto mr Fesivl, nohe naiv o Mihianmoney?: You ioo ize a grII y ug graces the Ann Arbor concert stage fellow." ach est efmne s. "Oh," said the master artist, "I .make enough money, I don't have to Charles Trowbridge Tittman, con- worry about that." sidered one of the, foremost singers "That depends on what you call of Bach music, was born in Detroit I enough," answered the self satisfied and comes on his mother's side from drummer. "For instance, I make some of Michigan's best known faim- about $4,000 a year, and next year I'll ilies. His grandfather, Judge Ross be in for a raise." Wilkins, was first Federal Judge of "My dear man", raid Elman a trifle the orthwest Territory. His uncle bored, "you have my sympathy, $4,000 was the late Judge Charles T. Wil- a year! I earn that much every kins of Detroit, a graduate of the l week." University. "What $200,000 a yiear! You're Besides his constant work to attain either crazy or a fiddler! Who are prominence musically, Mr. Tittman !you anyway?" has had a varied career. le is a I After giving his name, Elman graduate of Princeton and of the Har- thought escape was at last at hand, vard law school. During the war he but nothing like that occurred to the saw service, reaching the rank of, salesman. major. For a time he was also As- "You Mischa Elman?" cried the lat- sistant Solicitor of the Department of ter, "Why I have a dozen of your State. records. Say, put it there. , Let's talk anou musc;" !"° } a {: a 'sionismn seems so muen nearer to cur. - Mischa E±1nn ehpstebs Shaw's interest in Ibsen also led rent dramatic and human interests. known of our naturalized 'American to Tanoher sor o play, o es The great poetic force which has violinists, has had during his life as a dramatic signflcance. Ibsen's long recently animated English drama has concert artist many amusing, and at dialogues on subifets of current 'so- ()e from Ireland. In the rich times, extremely funny experiences. I cial interest led Shaw to believe that peech of the Irish folk Synge and ulays were essentially dramas of di George lBeranrd Maw Lady Gregory in particular have sort of play more native to English cussion. English audiences, he in- who through his startling originality formed a dramatic idiom that is both ife will apucar is the most interest f-rred. like those of Ibsen, oug tond ironic brilliance has done more figurative and racy of real life. In ling problem of the dramatic future. e willing to overhear even a dan- than any other contemporary (drama- the folk-lore and superstition of the do conversation on an iteresti Ist to re-vivil' the lnglish stage. same veople these authors have found subject. This belief led to thme least ------ ---- - raater al for tragedy and comedy that happy of Shaw's plays. "Getting Cegg." In a , 1l:v like "ihindle Wakes" at once reached down into the humb F Marr'ed," "The Doctor's Dilimuma' there is in wdiition a suggestion of lest affairs of daily life and led out- ad/ MS a FoIIW and "heartbreak Iouse," break down the naturalistic attitude toward sex. ward to the cosmic pity and terror into a mere discussion of irrelevance The various phases of EInglish con- and laughter that only man against to any recognizable dramatic purpose ely, besides that of Shaw, are best the background of the sky can evoke. I - of the author. Some of Garnville- -_resentedby_11h workofscar If romance is to be acceptable on the Barker's plays, notably "The Madras Wilde, Somernset M1%aughan and A. A. modern stage it must be of this sort. House," suffer from the same rle- Milne. Wilde wrote the best modern it must be grounded in fact; it must thora of mere talk. However, of late, eIvofalent of istoaion comedy (f scorn illusion and it must be brave the unprenossessing drama of discus- Manners. His characters are ridicu- I with the vision that is founded only t sion has developed in "Back to Ale- lus because they are human beings on the most rigorous acceptance of ' ,thuselah" and "St. Joan" into a new I insisting on acting as though they fact. type of dramatic entertainment. 1nweremmerasocial. r 1 wee mi-csoca pc pt 5. Algermom The achievements of English dramma .ne a biological theory of human in in "The Importance of Being Earnest" since 1893 have been immense. At velonmen is presented in bold terms is much more concerned with keep- the present moment it suffers a kind' CONN Saxophon of human phantasy. and in the other, lI ing butter off his cuffs than with the of nause. The immediate stir is in A from some points of view, his great- apparent loss of his sweetheart. Germany, in Italy, yes, in America.jazz istruments. est achievement. he gives us in terms Gwandolen feels theproriety a Whether these foreign movements will , of life vividly conceived and 1ym- witty remark much more intensely produce in England new characteris- pathetically apprehended the drama than that of an emotion when Jack tically natural plays, or whether some standing by themsel of a whole epoch of thought andnat p o h mandig b themsl action. Incidentally Shaw believes _actly withacareful] this to be a turning point in the hi.,-r: The world's greati tory of man, one that brings himt per- get ceptibly nearer to the form of exist- demand the best ence which he desires for him. Tee choose CONNS. original achievements in widely dif- ferenit forms of his art mako ;Shaw - about music.".;- Poor over worked artists! Read the Want Ads zz" 'Instruments es are more than They not only pas: equally capable of ves or matching ex- ly blended ensemble. est artists naturally and they invariably the most important force in English drama. One comprehends and aip- plauds the intention of the Theatre Guild to present Shaw's various dramas for 24 consecutive months at "The Garrick Theatre." EXAM SUPPLIES Bluebooks, Pens, Erasers, Ink-in fact every supply necessary for a Final. Shcet Music and Accessories j 1 i i I I, Significant plays of different social 111 SOUTH UNIVERSITY intention are also a part of modern - English drama. Galsworthl is the best author of what the Freuncch ...,l. .- "Drames Sociales." NC reprkSemtOts man in his struggles with institutic I of various sorts. In his first play he I.C) definitely preached a social moral. In1 - "The Silver Box." foir example, lieA E proved that there was one law for the1, rich. another for the poor. Tl' he A began to envisage his social pioblemn RSsERS WEDOA more as an artist. He displayed the K NlS AL individual rendered helpless mnd 1"' 1 ff3R A '' ) KNDIND' tile by his institutions. They were DE6LIVE8RFne ,I always the villains of the piece. in "Justice," the processes of the law utterly destroy pr o ineffectual Fald -___________ er, so impersonally and inexorably do they move. In "Strife" two string- -7 men, the leaders of both the capital- ists and the laborers, are similarly P onII7C crushed and thrown wastefully aide by the self-propelled machinery of the ;. STEIN - PROPRIETOR capitalistic system. 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