The Drama To-Day

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Indeed, realism can never achieve the largest measure of success until it adopts those principles of selection, proportion, and emphasis which other schools of dramatic writing have so long ago tried and proved.
94 THE AMERICANS It will be seen that the achievements of the American theatre thus far noted are principally in the direction of that most facile of the dramatic categories, the reahstic melodrama. Everywhere the quest is for novelty, for striking situations, for that natural son of "y
...ellow journahsm," the "punch," and for mere slavish photography.
Perhaps, after aU, the most typical exponent of such national drama as America thus far boasts is Mr. David Belasco. This "wizard of the stage" triumphs through an actual subordination of the dramatic to the merely pictorial, and so is always laboring to establish a false standard of art.
Naturally, he is the playwright of the ephemeral.
He attains his "effects" through a most sedulous attention to details. He carries this policy to the extreme, — ^for instance, of accurately labelling the nursery stock shown in the setting of The Return of Peter Grimm, not for the benefit of the audience, since the labels are much too small to be read across the footlights, but "for the reaction such faithful accuracy wiU have upon the players themselves." In other words, Mr.


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