“I suppose, then, you have historical or at least political plays?”
“Historical plays are mostly performed in the juvenile theatres,” he said. “I have very little to do with them. They fall under Section A, and, as you know, I am the Sub-Controller of Section B,” replied Dodderer. “But,” he continued, “we have a certain number of more advanced historical plays for adults. For instance, The Evolution of Society, with its sequel, The Triumph of Meccania, are excellent historical plays. Political plays have become almost obsolete, but there are still a few produced occasionally. The Principle of Monarchy is still quite a classic in its way, and The Futility of Democracy is one of the most brilliant pieces of Meccanian satire. Obedience is another classic.”
“It seems to me a very remarkable fact that your Sixth and Seventh Classes should be able to appreciate such plays as those you have been describing,” I said, “especially in parts of the country which cannot be so far advanced as the capital.”
“I do not say that they appreciate the drama in the same degree as the more educated classes; but you must remember they have gone through a long course of training. You perhaps now appreciate our wisdom in making attendance compulsory. Without regularity in attendance we could not arrange for a proper sequence of plays. Also, I must admit that on the days when the Sixth and Seventh Classes are due to attend, we put on the less advanced plays as a rule.”
“What happens,” I asked, “to the old plays which were written, say, a hundred years ago; are they never performed?”
“Oh dear, yes,” replied Dr. Dodderer; “the performance of such plays forms a regular part of the literature course at all our Universities and Colleges. We also utilise quite a number of them in the courses of plays for the Fifth, Sixth and Seventh Classes; but the form in which they are written is so simple and childish, such a contrast to the ripe perfection of the fully developed Meccanian drama.”
“It must be a difficult matter,” I remarked, “to arrange for progressive courses of plays for so many people as you have in Mecco.”
“On the contrary, the larger the city the easier it is. Members of the Third Class and, of course, of higher classes, are considered capable of appreciating all kinds of plays. Class Four consists of four grades, and the two higher grades, all the members of which are over thirty, are likewise eligible to attend any plays. We have a very simple plan of classifying all the others. At the age of eighteen they are all at liberty to attend plays which are classed as Stage I.; then after six months any one is at liberty to apply for a certificate entitling him to attend plays in Stage II. After another year they can obtain a certificate for Stage III.; and so on. We seldom refuse an application, and in fact we rather encourage our people to advance, otherwise many people would be content to remain in Stage II., or Stage III., all their lives. Then, at the beginning of each season, we know how many to provide for in each class, and at each stage; and the greater the number of theatres the easier it is to arrange the plays accordingly.”
“What about the actors?” I asked. “In most countries the leading actors are very much sought after, and can make large fortunes. I should imagine your system does not allow of that kind of career for a successful actor.”
“All our actors,” replied Dr. Dodderer, “are trained in the Imperial Meccanian Dramatic College. The lower grades belong to the Fifth Class, the higher grades to the Fourth. The technique of acting has been brought to such perfection that the ‘star’ as he used to be called, has entirely disappeared. There is no room for him in our system. The ‘star’ was a mere product of popular enthusiasm.”