Plays, Acting and Music Part 1

Plays, Acting and Music.

by Arthur Symons.

PREFACE

When this book was first published it contained a large amount of material which is now taken out of it; additions have been made, besides many corrections and changes; and the whole form of the book has been remodelled. It is now more what it ought to have been from the first; what I saw, from the moment of its publication, that it ought to have been: a book of theory. The rather formal announcement of my intentions which I made in my preface is reprinted here, because, at all events, the programme was carried out.

This book, I said then, is intended to form part of a series, on which I have been engaged for many years. I am gradually working my way towards the concrete expression of a theory, or system of aesthetics, of all the arts.

In my book on "The Symbolist Movement in Literature" I made a first attempt to deal in this way with literature; other volumes, now in preparation, are to follow. The present volume deals mainly with the stage, and, secondarily, with music; it is to be followed by a volume called "Studies in Seven Arts," in which music will be dealt with in greater detail, side by side with painting, sculpture, architecture, handicraft, dancing, and the various arts of the stage. And, as life too is a form of art, and the visible world the chief storehouse of beauty, I try to indulge my curiosity by the study of places and of people. A book on "Cities" is now in the press, and a book of "imaginary portraits" is to follow, under the t.i.tle of "Spiritual Adventures." Side by side with these studies in the arts I have my own art, that of verse, which is, after all, my chief concern.

In all my critical and theoretical writing I wish to be as little abstract as possible, and to study first principles, not so much as they exist in the brain of the theorist, but as they may be discovered, alive and in effective action, in every achieved form of art. I do not understand the limitation by which so many writers on aesthetics choose to confine themselves to the study of artistic principles as they are seen in this or that separate form of art. Each art has its own laws, its own capacities, its own limits; these it is the business of the critic jealously to distinguish. Yet in the study of art as art, it should be his endeavour to master the universal science of beauty.

1903, 1907.

INTRODUCTION

AN APOLOGY FOR PUPPETS

After seeing a ballet, a farce, and the fragment of an opera performed by the marionettes at the Costanzi Theatre in Rome, I am inclined to ask myself why we require the intervention of any less perfect medium between the meaning of a piece, as the author conceived it, and that other meaning which it derives from our reception of it. The living actor, even when he condescends to subordinate himself to the requirements of pantomime, has always what he is proud to call his temperament; in other words, so much personal caprice, which for the most part means wilful misunderstanding; and in seeing his acting you have to consider this intrusive little personality of his as well as the author's. The marionette may be relied upon. He will respond to an indication without reserve or revolt; an error on his part (we are all human) will certainly be the fault of the author; he can be trained to perfection. As he is painted, so will he smile; as the wires lift or lower his hands, so will his gestures be; and he will dance when his legs are set in motion.

Seen at a distance, the puppets cease to be an amusing piece of mechanism, imitating real people; there is no difference. I protest that the Knight who came in with his plumed hat, his shining sword, and flung back his long cloak with so fine a sweep of the arm, was exactly the same to me as if he had been a living actor, dressed in the same clothes, and imitating the gesture of a knight; and that the contrast of what was real, as we say, under the fiction appears to me less ironical in the former than in the latter. We have to allow, you will admit, at least as much to the beneficent heightening of travesty, if we have ever seen the living actor in the morning, not yet shaved, standing at the bar, his hat on one side, his mouth spreading in that abandonment to laughter which has become from the necessity of his profession, a natural trick; oh, much more, I think, than if we merely come upon an always decorative, never an obtrusive, costumed figure, leaning against the wall, nonchalantly enough, in a corner of the coulisses.

To sharpen our sense of what is illusive in the illusion of the puppets, let us sit not too far from the stage. Choosing our place carefully, we shall have the satisfaction of always seeing the wires at their work, while I think we shall lose nothing of what is most savoury in the feast of the illusion. There is not indeed the appeal to the senses of the first row of the stalls at a ballet of living dancers. But is not that a trifle too obvious sentiment for the true artist in artificial things?

Why leave the ball-room? It is not nature that one looks for on the stage in this kind of spectacle, and our excitement in watching it should remain purely intellectual. If you prefer that other kind of illusion, go a little further away, and, I a.s.sure you, you will find it quite easy to fall in love with a marionette. I have seen the most adorable heads, with real hair too, among the wooden dancers of a theatre of puppets; faces which might easily, with but a little of that good-will which goes to all falling in love, seem the answer to a particular dream, making all other faces in the world but spoilt copies of this inspired piece of painted wood.

But the illusion, to a more scrupulous taste, will consist simply in that complication of view which allows us to see wood and wire imitating an imitation, and which delights us less when seen at what is called the proper distance, where the two are indistinguishable, than when seen from just the point where all that is crudely mechanical hides the comedy of what is, absolutely, a deception. Losing, as we do, something of the particularity of these painted faces, we are able to enjoy all the better what it is certainly important we should appreciate, if we are truly to appreciate our puppets. This is nothing less than a fantastic, yet a direct, return to the masks of the Greeks: that learned artifice by which tragedy and comedy were a.s.sisted in speaking to the world with the universal voice, by this deliberate generalising of emotion. It will be a lesson to some of our modern notions; and it may be instructive for us to consider that we could not give a play of Ibsen's to marionettes, but that we could give them the "Agamemnon."

Above all, for we need it above all, let the marionettes remind us that the art of the theatre should be beautiful first, and then indeed what you will afterwards. Gesture on the stage is the equivalent of rhythm in verse, and it can convey, as a perfect rhythm should, not a little of the inner meaning of words, a meaning perhaps more latent in things.

Does not gesture indeed make emotion, more certainly and more immediately than emotion makes gesture? You may feel that you may suppress emotion; but a.s.sume a smile, lifted eyebrows, a clenched fist, and it is impossible for you not to a.s.sume along with the gesture, if but for a moment, the emotion to which that gesture corresponds. In our marionettes, then, we get personified gesture, and the gesture, like all other forms of emotion, generalised. The appeal in what seems to you these childish manoeuvres is to a finer, because to a more intimately poetic, sense of things than the merely rationalistic appeal of very modern plays. If at times we laugh, it is with wonder at seeing humanity so gay, heroic, and untiring. There is the romantic suggestion of magic in this beauty.

Maeterlinck wrote on the t.i.tle-page of one of his volumes "Drames pour marionettes," no doubt to intimate his sense of the symbolic value, in the interpretation of a profound inner meaning of that external nullity which the marionette by its very nature emphasises. And so I find my puppets, where the extremes meet, ready to interpret not only the "Agamemnon," but "La Mort de Tintagiles"; for the soul, which is to make, we may suppose, the drama of the future, is content with as simple a mouthpiece as Fate and the great pa.s.sions, which were the cla.s.sic drama.

PLAYS AND ACTING

NIETZSCHE ON TRAGEDY

I have been reading Nietzsche on the Origin of Tragedy with the delight of one who discovers a new world, which he has seen already in a dream.

I never take up Nietzsche without the surprise of finding something familiar. Sometimes it is the answer to a question which I have only asked; sometimes it seems to me that I have guessed at the answer. And, in his restless energy, his hallucinatory, vision, the agility of this climbing mind of the mountains, I find that invigoration which only a "tragic philosopher" can give. "A sort of mystic soul," as he says of himself, "almost the soul of a Maenad, who, troubled, capricious, and half irresolute whether to cede or fly, stammers out something in a foreign tongue."

The book is a study in the origin of tragedy among the Greeks, as it arose out of music through the medium of the chorus. We are apt to look on the chorus in Greek plays as almost a negligible part of the structure; as, in fact, hardly more than the comments of that "ideal spectator" whom Schlegel called up out of the depths of the German consciousness. We know, however, that the chorus was the original nucleus of the play, that the action on which it seems only to comment is no more than a development of the chorus. Here is the problem to which Nietzsche endeavours to find an answer. He finds it, unlike the learned persons who study Greek texts, among the roots of things, in the very making of the universe. Art arises, he tells us, from the conflict of the two creative spirits, symbolised by the Greeks in the two G.o.ds, Apollo and Dionysus; and he names the one the Apollonian spirit, which we see in plastic art, and the other the Dionysiac spirit, which we see in music. Apollo is the G.o.d of dreams, Dionysus the G.o.d of intoxication; the one represents for us the world of appearances, the other is, as it were, the voice of things in themselves. The chorus, then, which arose out of the hymns to Dionysus, is the "lyric cry," the vital ecstasy; the drama is the projection into vision, into a picture, of the exterior, temporary world of forms. "We now see that the stage and the action are conceived only as vision: that the sole 'reality' is precisely the chorus, which itself produces the vision, and expresses it by the aid of the whole symbolism of dance, sound, and word." In the admirable phrase of Schiller, the chorus is "a living rampart against reality," against that false reality of daily life which is a mere drapery of civilisation, and has nothing to do with the primitive reality of nature. The realistic drama begins with Euripides; and Euripides, the casuist, the friend of Socrates (whom Nietzsche qualifies as the true decadent, an "instrument of decomposition," the slayer of art, the father of modern science), brings tragedy to an end, as he subst.i.tutes pathos for action, thought for contemplation, and pa.s.sionate sentiments for the primitive ecstasy. "Armed with the scourge of its syllogisms, an optimist dialectic drives the music out of tragedy: that is to say, destroys the very essence of tragedy, an essence which can be interpreted only as a manifestation and objectivation of Dionysiac states, as a visible symbol of music, as the dream-world of a Dionysiac intoxication." There are many pages, scattered throughout his work, in which Pater has dealt with some of the Greek problems very much in the spirit of Nietzsche; with that problem, for instance, of the "blitheness and serenity" of the Greek spirit, and of the gulf of horror over which it seems to rest, suspended as on the wings of the condor. That myth of Dionysus Zagreus, "a Bacchus who had been in h.e.l.l," which is the foundation of the marvellous new myth of "Denys l'Auxerrois," seems always to be in the mind of Nietzsche, though indeed he refers to it but once, and pa.s.singly. Pater has shown, as Nietzsche shows in greater detail and with a more rigorous logic, that this "serenity" was but an accepted illusion, and all Olympus itself but "intermediary," an escape, through the aesthetics of religion, from the trouble at the heart of things; art, with its tragic illusions of life, being another form of escape. To Nietzsche the world and existence justify themselves only as an aesthetic phenomenon, the work of a G.o.d wholly the artist; "and in this sense the object of the tragic myth is precisely to convince us that even the horrible and the monstrous are no more than an aesthetic game played with itself by the Will in the eternal plenitude of its joy." "The Will" is Schopenhauer's "Will," the vital principle. "If it were possible," says Nietzsche, in one of his astonishing figures of speech, "to imagine a dissonance becoming a human being (and what is man but that?), in order to endure life, this dissonance would need some admirable illusion to hide from itself its true nature, under a veil of beauty." This is the aim of art, as it calls up pictures of the visible world and of the little temporary actions of men on its surface. The hoofed satyr of Dionysus, as he leaps into the midst of these gracious appearances, drunk with the young wine of nature, surly with the old wisdom of Silenus, brings the real, excessive, disturbing truth of things suddenly into the illusion; and is gone again, with a shrill laugh, without forcing on us more of his presence than we can bear.

I have but touched on a few points in an argument which has itself the ecstatic quality of which it speaks. A good deal of the book is concerned with the latest development of music, and especially with Wagner. Nietzsche, after his change of sides, tells us not to take this part too seriously: "what I fancied I heard in the Wagnerian music has nothing to do with Wagner." Few better things have been said about music than these pages; some of them might be quoted against the "programme"

music which has been written since that time, and against the false theory on which musicians have attempted to harness music in the shafts of literature. The whole book is awakening; in Nietzsche's own words, "a prodigious hope speaks in it."

SARAH BERNHARDT

I am not sure that the best moment to study an artist is not the moment of what is called decadence. The first energy of inspiration is gone; what remains is the method, the mechanism, and it is that which alone one can study, as one can study the mechanism of the body, not the principle of life itself. What is done mechanically, after the heat of the blood has cooled, and the divine accidents have ceased to happen, is precisely all that was consciously skilful in the performance of an art.

To see all this mechanism left bare, as the form of the skeleton is left bare when age thins the flesh upon it, is to learn more easily all that is to be learnt of structure, the art which not art but nature has. .h.i.therto concealed with its merciful covering.

The art of Sarah Bernhardt has always been a very conscious art, but it spoke to us, once, with so electrical a shock, as if nerve touched nerve, or the mere "contour subtil" of the voice were laid tinglingly on one's spinal cord, that it was difficult to a.n.a.lyse it coldly. She was Phedre or Marguerite Gautier, she was Adrienne Lecouvreur, Fedora, La Tosca, the actual woman, and she was also that other actual woman, Sarah Bernhardt. Two magics met and united, in the artist and the woman, each alone of its kind. There was an excitement in going to the theatre; one's pulses beat feverishly before the curtain had risen; there was almost a kind of obscure sensation of peril, such as one feels when the lioness leaps into the cage, on the other side of the bars. And the acting was like a pa.s.sionate declaration, offered to some one unknown; it was as if the whole nervous force of the audience were sucked out of it and flung back, intensified, upon itself, as it encountered the single, insatiable, indomitable nervous force of the woman. And so, in its way, this very artificial acting seemed the mere instinctive, irresistible expression of a temperament; it mesmerised one, awakening the senses and sending the intelligence to sleep.

After all, though Rejane skins emotions alive, and Duse serves them up to you on golden dishes, it is Sarah Bernhardt who prepares the supreme feast. In "La Dame aux Camelias," still, she shows herself, as an actress, the greatest actress in the world. It is all sheer acting; there is no suggestion, as with Duse, there is no canaille attractiveness, as with Rejane; the thing is plastic, a modelling of emotion before you, with every vein visible; she leaves nothing to the imagination, gives you every motion, all the physical signs of death, all the fierce abandonment to every mood, to grief, to delight, to la.s.situde. When she suffers, in the scene, for instance, where Armand insults her, she is like a trapped wild beast which some one is torturing, and she wakes just that harrowing pity. One's whole flesh suffers with her flesh; her voice caresses and excites like a touch; it has a throbbing, monotonous music, which breaks deliciously, which pauses suspended, and then resolves itself in a perfect chord. Her voice is like a thing detachable from herself, a thing which she takes in her hands like a musical instrument, playing on the stops cunningly with her fingers. Prose, when she speaks it, becomes a kind of verse, with all the rhythms, the vocal harmonies, of a kind of human poetry.

Her whisper is heard across the whole theatre, every syllable distinct, and yet it is really a whisper. She comes on the stage like a miraculous painted idol, all nerves; she runs through the gamut of the s.e.x, and ends a child, when the approach of death brings Marguerite back to that deep infantile part of woman. She plays the part now with the accustomed ease of one who puts on and off an old shoe. It is almost a part of her; she knows it through all her senses. And she moved me as much last night as she moved me when I first saw her play the part eleven or twelve years ago. To me, sitting where I was not too near the stage, she might have been five-and-twenty. I saw none of the mechanism of the art, as I saw it in "L'Aiglon"; here art still concealed art. Her vitality was equal to the vitality of Rejane; it is differently expressed, that is all. With Rejane the vitality is direct; it is the appeal of Gavroche, the sharp, impudent urchin of the streets; Sarah Bernhardt's vitality is electrical, and shoots its currents through all manner of winding ways.

In form it belongs to an earlier period, just as the writing of Dumas fils belongs to an earlier period than the writing of Meilhac. It comes to us with the tradition to which it has given life; it does not spring into our midst, unruly as nature.

But it is in "Phedre" that Sarah Bernhardt must be seen, if we are to realise all that her art is capable of. In writing "Phedre," Racine antic.i.p.ated Sarah Bernhardt. If the part had been made for her by a poet of our own days, it could not have been brought more perfectly within her limits, nor could it have more perfectly filled those limits to their utmost edge. It is one of the greatest parts in poetical drama, and it is written with a sense of the stage not less sure than its sense of dramatic poetry. There was a time when Racine was looked upon as old-fashioned, as conventional, as frigid. It is realised nowadays that his verse has cadences like the cadences of Verlaine, that his language is as simple and direct as prose, and that he is one of the most pa.s.sionate of poets. Of the character of Phedre Racine tells us that it is "ce que j'ai peut-etre mis de plus raisonnable sur le theatre." The word strikes oddly on our ears, but every stage of the pa.s.sion of Phedre is indeed reasonable, logical, as only a French poet, since the Greeks themselves, could make it. The pa.s.sion itself is an abnormal, an insane thing, and that pa.s.sion comes to us with all its force and all its perversity; but the words in which it is expressed are never extravagant, they are always clear, simple, temperate, perfectly precise and explicit. The art is an art exquisitely balanced between the conventional and the realistic, and the art of Sarah Bernhardt, when she plays the part, is balanced with just the same unerring skill. She seems to abandon herself wholly, at times, to her "fureurs"; she tears the words with her teeth, and spits them out of her mouth, like a wild beast ravening upon prey; but there is always dignity, restraint, a certain remoteness of soul, and there is always the verse, and her miraculous rendering of the verse, to keep Racine in the right atmosphere. Of what we call acting there is little, little change in the expression of the face. The part is a part for the voice, and it is only in "Phedre" that one can hear that orchestra, her voice, in all its variety of beauty. In her modern plays, plays in prose, she is condemned to use only a few of the instruments of the orchestra: an actress must, in such parts, be conversational, and for how much beauty or variety is there room in modern conversation? But here she has Racine's verse, along with Racine's psychology, and the language has nothing more to offer the voice of a tragic actress. She seems to speak her words, her lines, with a kind of joyful satisfaction; all the artist in her delights in the task. Her nerves are in it, as well as her intelligence; but everything is coloured by the poetry, everything is subordinate to beauty.

Well, and she seems still to be the same Phedre that she was eleven or twelve years ago, as she is the same "Dame aux Camelias." Is it reality, is it illusion? Illusion, perhaps, but an illusion which makes itself into a very effectual kind of reality. She has played these pieces until she has got them, not only by heart, but by every nerve and by every vein, and now the ghost of the real thing is so like the real thing that there is hardly any telling the one from the other. It is the living on of a mastery once absolutely achieved, without so much as the need of a new effort. The test of the artist, the test which decides how far the artist is still living, as more than a force of memory, lies in the power to create a new part, to bring new material to life. Last year, in "L'Aiglon," it seemed to me that Sarah Bernhardt showed how little she still possessed that power, and this year I see the same failure in "Francesca da Rimini."

The play, it must be admitted, is hopelessly poor, common, melodramatic, without atmosphere, without n.o.bility, subtlety, or pa.s.sion; it degrades the story which we owe to Dante and not to history (for, in itself, the story is a quite ordinary story of adultery: Dante and the flames of his h.e.l.l purged it), it degrades it almost out of all recognition. These middle-aged people, who wrangle shrewishly behind the just turned back of the husband and almost in the hearing of the child, are people in whom it is impossible to be interested, apart from any fine meanings put into them in the acting. And yet, since M. de Max has made hardly less than a creation out of the part of Giovanni, filling it, as he has, with his own nervous force and pa.s.sionately restrained art, might it not have been possible once for Sarah Bernhardt to have thrilled us even as this Francesca of Mr. Marion Crawford? I think so; she has taken bad plays as willingly as good plays, to turn them to her own purpose, and she has been as triumphant, if not as fine, in bad plays as in good ones. Now her Francesca is lifeless, a melodious image, making meaningless music. She says over the words, cooingly, chantingly, or frantically, as the expression marks, to which she seems to act, demand. The interest is in following her expression-marks.

The first thing one notices in her acting, when one is free to watch it coolly, is the way in which she subordinates effects to effect. She has her crescendos, of course, and it is these which people are most apt to remember, but the extraordinary force of these crescendos comes from the smooth and level manner in which the main part of the speaking is done.

She is not anxious to make points at every moment, to put all the possible emphasis into every separate phrase; I have heard her glide over really significant phrases which, taken by themselves, would seem to deserve more consideration, but which she has wisely subordinated to an overpowering effect of ensemble. Sarah Bernhardt's acting always reminds me of a musical performance. Her voice is itself an instrument of music, and she plays upon it as a conductor plays upon an orchestra.

One seems to see the expression marks: piano, pianissimo, largamente, and just where the tempo rubato comes in. She never forgets that art is not nature, and that when one is speaking verse one is not talking prose. She speaks with a liquid articulation of every syllable, like one who loves the savour of words on the tongue, giving them a beauty and an expressiveness often not in them themselves. Her face changes less than you might expect; it is not over-possessed by detail, it gives always the synthesis. The smile of the artist, a wonderful smile which has never aged with her, pierces through the pa.s.sion or languor of the part.

It is often accompanied by a suave, voluptuous tossing of the head, and is like the smile of one who inhales some delicious perfume, with half-closed eyes. All through the level perfection of her acting there are little sharp snaps of the nerves; and these are but one indication of that perfect mechanism which her art really is. Her finger is always upon the spring; it touches or releases it, and the effect follows instantaneously. The movements of her body, her gestures, the expression of her face, are all harmonious, are all parts of a single harmony. It is not reality which she aims at giving us, it is reality transposed into another atmosphere, as if seen in a mirror, in which all its outlines become more gracious. The pleasure which we get from seeing her as Francesca or as Marguerite Gautier is doubled by that other pleasure, never completely out of our minds, that she is also Sarah Bernhardt. One sometimes forgets that Rejane is acting at all; it is the real woman of the part, Sapho, or Zaza, or Yanetta, who lives before us. Also one sometimes forgets that Duse is acting, that she is even pretending to be Magda or Silvia; it is Duse herself who lives there, on the stage. But Sarah Bernhardt is always the actress as well as the part; when she is at her best, she is both equally, and our consciousness of the one does not disturb our possession by the other. When she is not at her best, we see only the actress, the incomparable craftswoman openly labouring at her work.

COQUELIN AND MOLIeRE: SOME ASPECTS

To see Coquelin in Moliere is to see the greatest of comic actors at his best, and to realise that here is not a temperament, or a student, or anything apart from the art of the actor. His art may be compared with that of Sarah Bernhardt for its infinite care in the training of nature.

They have an equal perfection, but it may be said that Coquelin, with his ripe, mellow art, his pa.s.sion of humour, his touching vehemence, makes himself seem less a divine machine, more a delightfully faulty person. His voice is firm, sonorous, flexible, a human, expressive, amusing voice, not the elaborate musical instrument of Sarah, which seems to go by itself, caline, cooing, lamenting, raging, or in that wonderful swift chatter which she uses with such instant and deliberate effect. And, unlike her, his face is the face of his part, always a disguise, never a revelation.

I have been seeing the three Coquelins and their company at the Garrick Theatre. They did "Tartuffe," "L'Avare," "Le Bourgeois Gentilhomme,"

"Les Precieuses Ridicules," and a condensed version of "Le Depit Amoureux," in which the four acts of the original were cut down into two. Of these five plays only two are in verse, "Tartuffe" and "Le Depit Amoureux," and I could not help wishing that the fashion of Moliere's day had allowed him to write all his plays in prose. Moliere was not a poet, and he knew that he was not a poet. When he ventured to write the most Shakespearean of his comedies, "L'Avare," in prose, "le meme prejuge," Voltaire tells us, "qui avait fait tomber 'le Festin de Pierre,' parce qu'il etait en prose, nuisit au succes de 'l'Avare.'

Cependant le public qui, a la longue, se rend toujours au bon, finit par donner a cet ouvrage les applaudiss.e.m.e.nts qu'il merite. On comprit alors qu'il peut y avoir de fort bonnes comedies en prose." How infinitely finer, as prose, is the prose of "L'Avare" than the verse of "Tartuffe"

as verse! In "Tartuffe" all the art of the actor is required to carry you over the artificial jangle of the alexandrines without allowing you to perceive too clearly that this man, who is certainly not speaking poetry, is speaking in rhyme. Moliere was a great prose writer, but I do not remember a line of poetry in the whole of his work in verse. The temper of his mind was the temper of mind of the prose-writer. His worldly wisdom, his active philosophy, the very mainspring of his plots, are found, characteristically, in his valets and his servant-maids. He satirises the miser, the hypocrite, the bas-bleu, but he chuckles over Frosine and Gros-Rene; he loves them for their freedom of speech and their elastic minds, ready in words or deeds. They are his chorus, if the chorus might be imagined as directing the action.

But Moliere has a weakness, too, for the bourgeois, and he has made M.

Jourdain immortally delightful. There is not a really cruel touch in the whole character; we laugh at him so freely because Moliere lets us laugh with such kindliness. M. Jourdain has a robust joy in life; he carries off his absurdities by the simple good faith which he puts into them. When I speak of M. Jourdain I hardly know whether I am speaking of the character of Moliere or of the character of Coquelin. Probably there is no difference. We get Moliere's vast, succulent farce of the intellect rendered with an art like his own. If this, in every detail, is not what Moliere meant, then so much the worse for Moliere.