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Que les poÃ¨tes morts laissent la place aux autres. Et nous pourrions tout de mÃªme voir que c'est notre vÃ©nÃ©ration devant ce qui a Ã©tÃ© dÃ©j? fait, si beau et si valable que ce soit, qui nous pÃ©trifie, qui nous stabilise et nous empÃªche de prendre contact avec la force qui est dessous, que l'on appelle l'Ã©nergie pensante, la force vitale, le dÃ©terminisme des Ã©changes, les menstrues de la lune ou tout ce qu'on voudra.
By whatever means it is accomplished, the prime business of a play is to arouse the passions of its audience so that by the route of passion may be opened up new relationships between a man and men, and between men and Man. Drama is akin to the other inventions of man in that it ought to help us to know more, and not merely to spend our feelings.
It is in the irony of things that the theatre should be the most dangerous place for the actor. But, then, after all, the world is the worst possible place, the most corrupting place, for the human soul. And just as there is no escape from the world, which follows us into the very heart of the desert, so the actor cannot escape the theatre. And the actor who is a dreamer need not. All of us can only strive to remain uncontaminated. In the world we must be unworldly, in the theatre the actor must be untheatrical.
The drama's altar isn't on the stage: it is candle-sticked and flowered in the box office. There is the gold, though there be no frankincense or myrrh; and the gospel for the day always The Play will Run for a Year. The Dove of Inspiration, of the desire for inspiration, has flown away from it; and on it's roof, now, the commonplace crow caws candidly.