How To Write A Play Part 3

edouard Pailleron.

IX.

From Victorien Sardou.

My dear friend:

It's not so easy to answer you as you think. ...There is no one necessary way of writing a play for the theater. Everyone has his own, according to his temperament, his type of intellect, and his habits of work. If you ask me for mine, I should tell you that it is not so easy to formulate as the recipe for duck _a la rouennaise_ or spring chicken _au gros sel_. Not fifty lines are needed, but two or three hundred, and even then I should have told you only my way of working, which has no general significance and makes no pretense to being the best. It's natural with _me_, that's all. Besides, you will find it indicated in part in the preface to 'La Haine' and in a letter which I wrote to La Pommeraye about 'Fedora.'

In brief, my dear friend, tho there are rules, and rules that are invariable, precise, and eternal for the dramatic art, rules which only the impotent, the ignorant, blockheads, and fools misunderstand, and from which only they wish to be freed, yet there is only one true method for the conception and parturition of a play--which is, to know quite exactly where you are going and to take the best road that leads there.

However, some walk, others ride in a carriage, some go by train, X hobbles along, Hugo sails in a balloon. Some drop behind on the way, others run past the goal. This one rolls in the ditch, that one wanders along a cross-road.

In short, that one goes straight to the mark who has the most common sense. It is the gift which I wish for you--and myself also.

Victorien Sardou.

X.

From emile Zola.

My dear Comrade:

You ask how I write my plays. Alas! I should rather tell you how I do not write them.

Have you noticed the small number of new writers who take their chances in the theater? The explanation is that in reality, for our generation of free artists, the theater is repugnant, with its cookery, its hobbles, its demand for immediate and brutal success, its army of collaborators, to which one must submit, from the imposing leading man down to the prompter. How much more independent are we in the novel! And that's why, when the glamor of the footlights makes the blood dance, we prefer to exercise it by keeping aloof and to remain the absolute masters of our works. In the theater we are asked to submit to too much.

Let me add that in my own case I have harnessed myself to a group of novels which will take twenty-five years of my life. The theater is a dissipation which I shall doubtless not permit myself until I am very old.

After all, if I could indulge in the theater. I should try to _make_ plays much less than is the custom. In literature truth is always in inverse proportion to the construction. I mean this: The comedies of Moliere are sometimes of a structure hardly adequate, while those of Scribe are often Parisian articles of marvellous manufacture.

Very cordially yours,

emile Zola.

NOTES

ABRAHAM DREYFUS (1847-) was the author of half a dozen ingenious little plays, mostly confined to a single act. One of them, 'Un Crane sans un Tempete,' adapted into English as the 'Silent System,' was acted in New York by Coquelin and Agnes Booth. Dreyfus was also the author of two volumes of lively sketches lightly satirizing different aspects of the French stage,--'Scenes de la vie de theatre' (1880) and 'L'Incendie des Folies-Plastiques' (1886).

In the Spring of 1884 he delivered an address on the art of playmaking before the Cercle Artistique et Litteraire of Brussels. This lecture was ent.i.tled 'Comment se fait une piece de theatre;' and it was printed privately in an edition limited to fifty copies, (Paris: A. Quantin, 1884). In the course of this address he read letters received by him from ten or twelve of the most distinguisht dramatists of France in response to his request for information as to their methods of composition. It was to these letters that the lecture owed its interest and its value. What M. Dreyfus contributed himself was little more than a running commentary on the correspondence that he had collected. This commentary was characteristically clever, brisk, bright and amusing; but its interest was partly personal, partly local, and partly contemporary.

The interest of the letters themselves is permanent; and this is the reason why it has seemed advisable to select the most significant of them and to present them here uninc.u.mbered by the less useful remarks of the lecturer.

emile Augier (1820-1889) disputes with Alexandre Dumas the foremost place among the French dramatists of the second half of the nineteenth century. The 'Gendre de M. Poirier' (which he wrote in collaboration with Jules Sandeau) is the masterpiece of modern comedy, a worthy successor to the 'Tartuffe' of Moliere and the 'Marriage of Figaro' of Beaumarchais.

Theodore de Banville (1823-1891) was a poet rather than a playwright.

Altho he composed half-a-dozen little pieces in verse, the only one of his dramatic efforts which really succeeded in establis.h.i.+ng itself on the stage, was 'Gringoire,' a one-act comedy in prose; and this met with a more fortunate fate than its more fantastic companions only because Banville revised and strengthened his plot in accordance with the skilful suggestions of Coquelin, who "created" the part of the starving poet.

Adolphe Dennery (1811-1899) was the most adroit and fertile of melodramatists in the midyears of the nineteenth century. Perhaps his best play was 'Don Cesar de Bazan'; and perhaps his most popular play was the 'Two Orphans.'

Alexandre Dumas _fils_ (1824-1895) was the son of the author of the 'Three Guardsmen'; and he inherited from his father the native gift of playmaking, which he declared in this letter to be the indispensable qualification of the successful dramatist. His 'Dame aux Camelias' has held the stage for more than sixty years and has been performed hundreds of times in every modern language.

Edmond Gondinet (1828-1888) was the author of a host of pleasant pieces, mostly comedies in from one to three acts, and mostly written in collaboration. He believed that he preferred to write alone and that only his good nature kept tempting him into working with others. It was probably to warn away those who wanted to bring him their ma.n.u.scripts for expert revision that led him to a.s.sert in this letter that he was "a detestable collaborator."

Ernest Legouve (1807-1903) was the collaborator of Scribe in the composition of 'Bataille de Dames' and 'Adrienne Lecouvreur.' In his delightful recollections, 'Soixante Ans de Souvenirs' he has a chapter on Scribe in which he describes the methods of that master-craftsman in dramatic construction; and in one of his 'Conferences Parisiennes' he sets forth the successive steps by which another dramatist, Bouilly, was able to compound his pathetic piece, the 'Abbe de l'Epee';--two papers which deserve careful study by all who wish to apprehend the principles of playmaking.

Eugene Lab.i.+.c.he (1815-1888) was the most prolific of the comic dramatists of France in the nineteenth century and the most richly endowed with comic force. Most of his pieces are frankly farcical, but not a few of them rise to the level of true comedy. The solid merit of his best work is cordially recognized in the luminous preface written by Augier for the complete collection of Lab.i.+.c.he's comedies.

edouard Pailleron (1834-1899) was a comic dramatist of more aspiration than inspiration; and yet he succeeded in writing one of the most popular pieces of his time;--the 'Monde ou l'on s'ennuie.'

Victorien Sardou (1831-1908) was probably the French playwright who was most widely known outside of France. In the course of fifty years he was successful in almost every kind of playwriting, from lively farce to historic drama. His first indisputable triumph was with 'Pattes de Mouche,' known in English as the 'Sc.r.a.p of Paper' and as widely popular in our language as in the original.

emile Zola (1840-1902) was a novelist who repeatedly sought for success as a dramatist, attaining it only in the adaptations of his stories made by professional playwrights. Yet one of his earlier pieces, 'Therese Raquin' is evidence that he might have mastered the art of the playwright, if he had not allowed himself to be misled by his own unfortunate theory of the theatre as set forth in his severe studies of 'Nos Auteurs Dramatiques' (1881).

In the 'Annee Psychologique' for 1894 the distinguisht physiological psychologist, the late Alfred Binet,--to whom we are indebted for the useful Binet tests--publisht a series of papers dealing with the psychology of the playwright, in the preparation of which he was aided by M.J. Pa.s.sy. The two investigators had a series of interviews with Sardou, Dumas _fils_, Pailleron, Meilhac, Daudet, and Edmond de Goncourt. Altho Daudet and Goncourt had written plays they were essentially novelists with no instinctive understanding of the drama as a specific art. Nor did either Pailleron and Meilhac make any contribution of importance. But Dumas and Sardou were both of them born playwrights of keen intelligence, having a definite understanding of the principles of playmaking; and what they said to M. Binet and his a.s.sociate was interesting and significant.

Dumas declared that he made no notes for any of his plays and that he never composed a detailed scenario. He thought of only one piece at a time, brooding over it for long months sometimes, and then throwing it on paper almost at white heat, if it dealt with pa.s.sion. If, on the other hand, it was a comedy of character, a study of social conditions, the actual composition was necessarily more leisurely and protracted. He had carried in mind for six or seven years the theme of 'Monsieur Alphonse;' and he had actually put it on paper in seventeen days. He had written the 'Princesse Georges' in three weeks and the 'Etrangere' in a month; and the second act of the 'Dame aux Camelias' had been penned in a single session of four hours. But he had toiled seven or eight hours a day for eleven months over the 'Demi-Monde,' the second act alone costing him two months labor. He rarely modified what he had written by minor corrections; but sometimes, when his play was completed, he discovered that it was weak in its structure or inadequate in its motivation, in which case he reconstructed one or more acts, or even the whole play, writing it all over again.

M. Dumas admitted that he took little interest in the setting of his plays or in the manifold details of stage-management. He indicated summarily the kind of room that he desired; and he put down in his ma.n.u.script only the absolutely necessary movements of his characters.

The rest he left to the manager and the stage-manager.

Here--as indeed everywhere,--Dumas revealed himself in the sharpest contrast with Sardou, who designed his sets himself and placed his furniture precisely where he needed it for the action of his play, sometimes finding that a given scene seemed to him to lose half its effect if it was acted on the left side of the stage instead of the right. He was a constant note-taker, putting down suggestions for single scenes or for striking suggestions, as these might occur to him; and as a result of this incessant cerebral activity he had always on hand more or less complete plots for at least fifty plays. When he decided to write one of these pieces, he a.s.sembled his scattered notes, set them in order, amplified and strengthened them; and when at last he saw his way clear he made out an elaborate and detailed scenario, containing the whole story, with ample indication of all the changes of feeling which might take place in any of the characters in any scene.

Then when he felt himself in the right mood, he feverishly improvized the play, laughing over the jokes, weeping over the pathetic moments and objurgating the evil deeds of the more despicable characters. But this was only a first draft of the play; and it had to be gone over three or four times, altered, condensed, sharpened, tightened in effect. The first version was always too long; and the successive revisions reduced it to scarcely more than a half of its original length. Sometimes he was able to compact into a single pregnant phrase the substance of a speech of many lines. And as the play slowly took on its final form Sardou not only heard every word which every character had to speak, he also saw every one of the movements which would animate the action. M. Binet reminded him that when Scribe and Legouve were collaborating on 'Adrienne Lecouvreur,' Scribe a.s.serted that he visualized all that the actors would do, while Legouve heard all that they would say; and Sardou then claimed that he was fortunate in possessing the double faculty of both seeing and hearing.

Of course, Sardou stage-managed his plays himself, teaching the performers carefully, and going upon the stage, if need be, to act the scene as he wanted it to be acted, indicating the expression, the intonation and the gesture which he felt to be demanded by the situation.

He was equally meticulous in designing the scenery and the costumes; and he was inexorable in insisting on the carrying out of his wishes. He had a lively interest in painting, in sculpture and in architecture; and, in fact, he confest, that if he had not been a playwright he would like to have been an architect. This, it may be noted, is conformation of the statement that there is a strong similarity between the art of architecture and the art of the drama, due to the fact that both arts are under the necessity of providing a solid structure to sustain the fabric and to support the decoration.

B.M.