We are at present in the midst of a bewildering quantity of
play-publication and production. The one-act play in particular,
chiefly represented in this volume, appears to be taking the
place of that rather squeezed sponge, the short story, in the
favor of the reading public. Of course, this tendency has its
reaction in schoolrooms. One even hears of high-school classes
which attempt to keep up with the entire output of such dramas in
English readings. If this is not merely an apologue, it is
certainly a horrible example. The bulk of current drama, as of
published matter generally, is not worthy the time of the English
class. Only what is measurably of rank, in truth and fineness,
with the literature which has endured from past times can be
defended for use there. And we have too much that is both well
fitted to young people's keen interest and enjoyment, and
beautifully worthy as well, for time to be wasted upon the third-
and fourth-rate.
Obviously, much of the best in modern play-writing has not been
included in this volume. Because of copyright complications the
works of Mr. Masefield, Mr. Shaw, Mr. Drinkwater, and Sir James
Barrie are not here represented. The plays by these writers that
seem best fitted to use by teachers and pupils in high schools,
together with a large number of other dramas for this purpose,
are listed and annotated at the back of the book. Suggestions as
to desirable inclusions and omissions will be welcomed by the
editor and the publishers.
Following in their own way the lead of the Théâtre Libre in Paris
and the Freie Bühne in Germany, and of the Independent and the
Repertory theatres in Great Britain, numerous "little theatres"
and drama associations in this country are giving impulsion and
direction to the movement for finer drama and more excellent
presentation. The Harvard dramatic societies, the Morningside
Players at Columbia, Mr. Alex Drummond's Community Theatre at the
State Fair in Ithaca, the Little Country Theatre at Fargo, South
Dakota, and similar groups at the University of California and
elsewhere, illustrate the leadership of the colleges. In many
high schools, as at South Bend, Indiana, more or less complete
Little Theatres are active. The Chicago Little Theatre, the
Wisconsin Dramatic Society, the Provincetown Players, the
Neighborhood Playhouse, in New York, and others of that ilk, are
well known and influential. They are extending the tradition of
the best European theatres in their attempts to cultivate
excellent and individual expression in drama. They realize that
plays must be tested by actual performance,--though not
necessarily by the unnatural demands of success in competition
with Broadway revues and farce-melodramas,--and thus developed
toward a genuine artistic embodiment of the vast and varied life,
the manifold and deep idealism of this country.