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exploiting words able to control its natural functions or eager to talk about their

bowels. The difference lies not in the dramatists objectives but in the nature oftheir subject matter. The impact of that relatively innocuous bloody was fargreater than the entire mass of shock effects

PUBLIC

In the 1900 the playgoing public was an extensive one and the theatres in the

provinces were flourishing today (in those days)The metrpolis having expanded and now attracting hundreds of visitors from

the outside.

Yet the playgoing public has materially declined and inspite of the activities of

the repertory playhouses there have been a marked falling of interest in the

theatres though out of the provinces. Two things are responsible before 1914

the silent pictures were beginning to attract the public away from the stage.

During the thirties the sound films carne into their own and whithin the past ten

or fifteen years televisin has swept over the country.

The rival attractions have much to do with the difficulties which many theatresencounter in gathering audiences sufficient to cover their costs.

At the same time it may have suggested that the element of revolt within the drama of the period has been partly responsible.

From the cise of Victoria's reign until now playwrights have shown themselves

intereted into the intructional element. Indeed writing these instructional

elements have been presented not in an implied or suggested way but clearlystated. ...... As a result the quality o entertaiment has declined.Playgoers now goto the theatre in order to be entertained

TASTES

Spectators prepares genuinely for tragic effect, to be caught up by an absorbing

plot to be charmed, by dialogue, to have their laughter aroused by comic

concepts

What motivates them is dullness and cermonizing.

The trouble with the stage during the modern period has been that the cleavage

has developedbetween entertainment and instruction,leading to two kinds of

performances almost akinto legitmate and ilegitimateproductions of the 19 .e.

those which devoid of the deeper significance aim only at the thrill of vacuous

laughter. And those which subordnate the giving of pleasure to an intellectualand often political end. In view of this it is perhaps not surprising that the

audience have declined.

The thoughtless entertainement can be obtained more easily and nore cheaplyfrom the offeruing of the cinema and the televisin. And the more serious playslack intensity and excitement. The crisis in the theatre during the six decades in

question depend upon whithin as well as from externa! conditions.

The Realistic Social Drama

The perplexing variety of styles and influenees make very difficult the groupingof the numerous playwrights who has made significant contribution to the stage

During the opening decades of the century the social drama takes the firstplace. In 1906 John Galsworthy immediately established himself as forc. We