And so the naturalistic drama was forced to introduce elements
of narrative and exposition usually held alien to the _genre_. Briefly,
it has dealt largely and powerfully with atmosphere, environment and
gesture; it has expanded and refined the stage-direction beyond all
precedent and made of it an important element in dramatic art.
The playwrights of the middle of the last century who made an effort to
lead the drama back to reality, knew nothing of this element. Augier
does not even suspect its existence; in Robertson it is a matter of
"properties" and "business." Any appearance of this kind Hauptmann
avoids. The play is not to remind us of the stage, but of life. A
difference in vision and method difficult to estimate divides Robertson's
direction: "Sam. (astonished L. corner)" from Hauptmann's "Mrs. John
rises mechanically and cuts a slice from a loaf of bread, as though under
the influence of suggestion." Robertson indicates the conventionalised
gesture of life; Hauptmann its moral and spiritual density.
The descriptive stage direction, effectively used by Ibsen, is further
expanded by Hauptmann. But it remains impersonal and never becomes direct
comment or even argument as in Shaw.
Pages:
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36