Contemporary One-Act Plays Part 1

Contemporary One-Act Plays.

by Various.

PREFACE

This collection of one-act plays appears because of an increasingly large demand for such a volume. The plays have been selected and the Introduction prepared to meet the need of the student or teacher who desires to acquaint himself with the one-act play as a specific dramatic form.

The plays included have been selected with this need in mind.

Accordingly, emphasis has been placed upon the wholesome and uplifting rather than upon the sordid and the ultra-realistic. The unduly sentimental, the strikingly melodramatic, and the play of questionable moral problems, has been consciously avoided. Comedies, tragedies, farces, and melodramas have been included; but the chief concern has been that each play should be good, dramatic art.

The _Dramatic a.n.a.lysis and Construction of the One-Act Play_, which appears in the Introduction, also has been prepared for the student or teacher. This outline-a.n.a.lysis and the plays in this volume are sufficient material, if carefully studied, for an understanding and appreciation of the one-act play.

B. ROLAND LEWIS.

INTRODUCTION

THE ONE-ACT PLAY AS A SPECIFIC DRAMATIC TYPE

The one-act play is with us and is asking for consideration. It is challenging our attention whether we will or no. In both Europe and America it is one of the conspicuous factors in present-day dramatic activity. Theatre managers, stage designers, actors, playwrights, and professors in universities recognize its presence as a vital force.

Professional theatre folk and amateurs especially are devoting zestful energy both to the writing and to the producing of this shorter form of drama.

The one-act play is claiming recognition as a specific dramatic type. It may be said that, as an art form, it has achieved that distinction. The short story, as every one knows, was once an embryo and an experiment; but few nowadays would care to hold that it has not developed into a specific and worthy literary form. This shorter form of prose fiction was once apologetic, and that not so many years ago; but it has come into its own and now is recognized as a distinct type of prose narrative. The one-act play, like the short story, also has come into its own. No longer is it wholly an experiment. Indeed, it is succeeding in high places. The one-act play is taking its place among the significant types of dramatic and literary expression.

Artistically and technically considered, the one-act play is quite as much a distinctive dramatic problem as the longer play. In writing either, the playwright aims so to handle his material that he will get his central intent to his audience and will provoke their interest and emotional response thereto. Both aim at a singleness of impression and dramatic effect; both aim to be a high order of art. Yet since the one is shorter and more condensed, it follows that the dramaturgy of the one is somewhat different from that of the other, just as the technic of the cameo is different from the technic of the full-sized statue. The one-act play must, as it were, be presented at a "single setting": it must start quickly at the beginning with certain definite dramatic elements and pa.s.s rapidly and effectively to a crucial movement without halt or digression. A careful a.n.a.lysis of any one of the plays in this volume, like Anton Tchekov's _The Boor_, or like Oscar M. Wolff's _Where But in America_, will reveal this fact. The shorter form of drama, like the short story, has a technical method characteristically its own.

It is a truth that the one-act play is well made or it is nothing at all. A careful a.n.a.lysis of Sir James M. Barrie's _The Twelve-Pound Look_, Paul Hervieu's _Modesty_, Althea Thurston's _The Exchange_, will reveal that these representative one-act plays are well made and are real bits of dramatic art. A good one-act play is not a mere cheap mechanical _tour de force_; mechanics and artistry it has, of course, but it is also a high order of art product. A delicately finished cameo is quite as much a work of art as is the larger statue; both have mechanics and design in their structure, but those of the cameo are more deft and more highly specialized than those of the statue, because the work of the former is done under far more restricted conditions. The one-act play at its best is cunningly wrought.

Naturally, the material of the one-act play is a bit episodical. It deals with but a single situation. A study of the plays in this volume will reveal that no whole life's story can be treated adequately in the short play, and that no complexity of plot can be employed. Unlike the longer play, the shorter form of drama shows not the whole man--except by pa.s.sing hint--but a significant moment or experience, a significant character-trait. However vividly this chosen moment may be interpreted--and the one-act play must be vivid--much will still be left to the imagination. It is the aim of the one-act form to trace the causal relations of but _one_ circ.u.mstance so that the circ.u.mstance may be intensified. The writer of the one-act play deliberately isolates so that he may throw the strong flashlight more searchingly on some one significant event, on some fundamental element of character, on some moving emotion. He presents in a vigorous, compressed, and suggestive way a simplification and idealization of a particular part or aspect of life. Often he opens but a momentary little vista of life, but it is so clear-cut and so significant that a whole life is often revealed thereby.

The student must not think that because the one-act play deals with but one crisis or but one simplified situation, it is therefore weak and inconsequential. On the contrary, since only one event or situation can be emphasized, it follows that the writer is obliged to choose the one determining crisis which makes or mars the supreme struggle of a soul, the one great change or turning-point or end of a life history. Often such moments are the really vital material for drama; nothing affords so much opportunity for striking a.n.a.lysis, for emotional stress, for the suggestion of a whole character sketched in the act of meeting its test.

The one-act play is a vital literary product. To segregate a bit of significant experience and to present a finished picture of its aspects and effects; to dissect a motive so searchingly and skilfully that its very roots are laid bare; to detach a single figure from a dramatic sequence and portray the essence of its character; to bring a series of actions into the clear light of day in a sudden and brief human crisis; to tell a significant story briefly and with suggestion; to portray the humor of a person or an incident, or in a trice to reveal the touch of tragedy resting like the finger of fate on an experience or on a character--these are some of the possibilities of the one-act play when bandied by a master dramatist.

THE PROPER APPROACH TO THE STUDY OF THE ONE-ACT PLAY

To read a one-act play merely to get its story is not in itself an exercise of any extraordinary value. This sort of approach to any form of literature does not require much appreciation of literary art nor much intelligence. Almost any normal-minded person can read a play for its story with but little expenditure of mental effort. Proper appreciation of a one-act play requires more than a casual reading whose chief aim is no more than getting the plot.

If the shorter form of drama is to be appreciated properly as a real literary form, it must be approached from the point of view of its artistry and technic. This means that the student should understand its organic construction and technic, just as he should understand the organic construction and technic of a short story, a ballad, or a perfect sonnet, if he is to appreciate them properly.

The student should know _what_ the dramatist intends to get across the footlights to his audience, and should be able to detect _how_ he accomplishes the desired result.

It must not be thought that the author urges a study of construction at the expense of the human values in a play. On the contrary, such a study is but the means whereby the human values are made the more manifest.

Surely no one would argue that the less one knows about the technic of music the better able is one to appreciate music. Indeed, it is not too much to say that, within reasonable limits, no one can really appreciate a one-act play if one does not know at least the fundamentals of its dramatic organization.

In fact, students of the one-act play recognize in its constructive regularity not a hindrance to its beauty but a genuine power. This but lends to it the charm of perfection. The sonnet and the cameo are admirable, if for no other reason than their superior workmans.h.i.+p. The one-act play does not lose by any reason of its technical requirements; indeed, this is one of its greatest a.s.sets. And the student who will take the pains to familiarize himself with the organic construction of a typical one-act play will have gone a long way in arriving at a proper appreciation of this shorter form of drama.

DRAMATIC a.n.a.lYSIS AND CONSTRUCTION OF THE ONE-ACT PLAY

I. THE THEME OF THE ONE-ACT PLAY

The one-act play, like the short story, is a work of literary art, and must be approached as such. Just like a painting or a poem or a fine public building, the one-act play aims at making a _singleness of effect_ upon the reader or observer. One does not judge a statue, or a poem, or any other work of art, by the appearance of any isolated part of it, but by the sum-total effect of the whole. The fundamental aim of a one-act play is that it shall so present a singleness of effect to the reader or to the a.s.sembled group who have gathered to witness a performance of it, that the reader or observer will be provoked to emotional response thereto.

Thus, when a student reads a play like George Middleton's _Tradition_, he is made to see and feel that the life of a daughter has been handicapped and the longings of a mother smothered because of the conventional narrowness of an otherwise loving father. This is the singleness of effect of the play; this is its theme. This is precisely what the author of the play wished his reader or observer to see and feel. When one reads Bosworth Crocker's _The Last Straw_, one feels that a reasonably good and worthy man, because of his sensitiveness to criticism, has been driven to despair and to a tragic end by the malicious gossip of neighbors. One's sense of pity at his misfortune is aroused. This is what the author intended to do. This idea and effect is the theme of the play. And when the student reads Paul Hervieu's _Modesty_, he feels that a woman, even though she may lead herself into thinking she prefers brutal frankness, instinctively likes affection and even flattery. This is the effect produced by the play; this is its intent; this is its theme.

In approaching a one-act play, then, the very first consideration should be to determine what the purpose and intent of the play is--to determine its theme. This demands that the play be read through complete at one sitting and that no premature conclusions be drawn. Once the play is read, it is well to subject the play to certain leading questions. What has the author intended that his reader or hearer shall understand, think, or feel? What is the play about? What is its object and purpose?

Is it a precept or an observation found in life, or is it a bit of fancy? Is it artificially didactic and moralizing? With what fundamental element in human nature does it have to do: Love? Patriotism? Fear?

Egotism and self-centredness? Sacrifice? Faithfulness? Or what?

A word of warning should be given. The student should not get the idea that by theme is meant the moral of the play. A good play may be thoroughly moral without its descending to commonplace moralizing. Good plays concern themselves with the presentation of the fundamentals of life rather than a creed of morals, theories, and propagandas. Art concerns itself with larger things than didactic and argumentative moralizing.

II. THE TECHNIC OF THE ONE-ACT PLAY

Once the student satisfies himself as to the singleness of effect or theme of the play, he will do well to set himself to the task of seeing just how the dramatist has achieved this effect. He should keep in mind that the playwright is a skilled workman; that he has predetermined for himself just what he wishes his audience to think, feel, or understand, and has marshalled all his materials to that end. The way by which he accomplishes that end is his technic. Technic is but the practical method by which an artist can most effectively convey his message to his public. In a play the materials that the dramatist uses to this end are character, plot, dialogue, and stage direction. If he is skilled he will use these elements in such a way that the result will be an artistic whole, a singleness of effect, an organized unit that will exemplify and express his theme.

_A._ THE CHARACTERS IN THE ONE-ACT PLAY.--Generally speaking, drama grows out of character. Farce, melodrama, and extravaganza usually consist of situation rather than of character. In any event, the student should avail himself of every means to understand the characters in the play under discussion. His real appreciation of the play will be in direct ratio almost to his understanding of the persons in the drama.

Any attention given to this end will be energy well spent. The student should get into the very heart of the characters, as it were.

Thus, ADONIJAH, in Beulah Bornstead's _The Diabolical Circle_, is a narrow, self-centred, Puritan egotist who has little about his personality to appeal to the romantic and vivacious BETTY. LADY SIMS, in Sir James M. Barrie's _The Twelve-Pound Look_, is a woman who really is pathetic in her longing for some human independence in the presence of her self-centred husband, "SIR" HARRY SIMS. And MANIKIN and MINIKIN, in Alfred Kreymborg's _Manikin and Minikin_, are conventionalized puppets representing the light yet half-serious bickerings, jealousies, and quarrellings of human nature.

The student will do well to characterize the _dramatis personae_ deliberately and specifically. He should not now value himself for working fast; for things done in a hurry usually lack depth. He must not be content with vague and thin generalities. In a.n.a.lyzing a character it might be well to apply some specific questions similar to the following: Just what is the elemental human quality in the character? Loving?

Trusting? Egotistic? Superst.i.tious? Revengeful? Treacherous? Selfish?

Discontented? Optimistic? Romantic? Or what? How does the dramatist characterize them: By action? By dialogue? By spirit of likes and dislikes? By racial trait? By religion? By peculiarity of manner, speech, appearance? Are the characters really dramatic: are they impelled to strong emotional reaction upon each other and upon situation? Do they provoke one's dramatic sympathy? Do they make one feel their own point of view and their own motives for conduct?

_B._ THE PLOT OF THE ONE-ACT PLAY.--Plot and character are integrally interlinked. Plot is not merely story taken from every-day life, where seldom do events occur in a series of closely following minor crucial moments leading to a climax. The dramatist so constructs his material that there is a sequential and causal interplay of dramatic forces, ending in some major crisis or crucial moment. Plot may be said to be the framework and constructed story by which a dramatist exemplifies his theme. It does not exist for its own end, but is one of the fundamental means whereby the playwright gets his singleness of effect, or theme, to his reader or hearer. From the story material at his disposal the playwright constructs his plot to this very end.

Careful attention should be given to the plot. The student should question it carefully. Do the plot materials seem to have been taken from actual life? Or do they seem to be invented? Is the plot well suited to exemplifying the theme? Reconstruct the story out of which the plot may have been built. Since the plot of a one-act play is highly simplified, determine whether there are any complexities, any irrelevancies, any digressions. Does the plot have a well-defined beginning, middle, and end?

1. _The Beginning of the One-Act Play._--Having but a relatively short time at its disposal, usually about thirty minutes and seldom more than forty-five minutes, the beginning of a one-act play is very short. It is characterized by condensation, compactness, and brevity. Seldom is the beginning more than a half-page in length; often the play is got under way in two or three speeches. The student will do well to practise to the end that he will recognize instantly when the dramatic background of a one-act play has been laid.

Whatever else may characterize the beginning, it must be dramatically effective. Instantly it must catch the powers of perception by making them aware of the initial situation out of which the subsequent dramatic action will develop. A good beginning makes one _feel_ that suddenly he has come face to face with a situation which cannot be solved without an interplay of dramatic forces to a given final result.

Thus, when one reads Althea Thurston's _The Exchange_, one is made suddenly to feel that human beings are discontent with their shortcomings and possessed qualities, and that they always feel that they would be happier if they possessed something other than what they have. The JUDGE, who handles the cases as they come in for exchange, is disgusted with the vanities of humankind, and is ready to clear his hands of the whole matter. Here is a situation; it is the beginning of the play. In the beginning of Lady Gregory's _Hyacinth Halvey_ one is brought suddenly to the realization that HYACINTH HALVEY instinctively rebels against the highly colored and artificially created good name that has been unwittingly superimposed upon him. This situation, suddenly presented, is the beginning of the play. Out of this initial situation the subsequent dramatic action evolves.

Is the beginning too short? Too long? Does it make the initial dramatic situation clear? How has the playwright made it clear and effective?

Just where is the end of the beginning? Although the beginning and the subsequent plot development are well blended together, so that there is no halting where the beginning ends, usually one can detect where the one ends and the other begins. It is a good idea, for the purpose of developing a sense of the organic structure of the one-act play, to draw a line across the page of the play, just where the one ends and the other begins.

The _setting_ of the play is a part of the beginning. Is the setting realistic? Romantic? Fantastic or bizarre? Are the details of stage design, properties, and especially the atmosphere and color scheme in harmony with the tone of the play itself? Is the setting really an organic part of the play or is it something apart from it? Note that the setting is usually written in the third person, present tense, and in italics.