The student should know what the dramatist intends to get across the footlights to his audience, and should be able to detect how he accomplishes the desired result.
It must not be thought that the author urges a study of construction at the expense of the human values in a play. On the contrary, such a study is but the means whereby the human values are made the more manifest. Surely no one would argue that the less one knows about the technic of music the better able is one to appreciate music. Indeed, it is not too much to say that, within reasonable limits, no one can really appreciate a one-act play if one does not know at least the fundamentals of its dramatic organization.
In fact, students of the one-act play recognize in its constructive regularity not a hindrance to its beauty but a genuine power. This but lends to it the charm of perfection. The sonnet and the cameo are admirable, if for no other reason than their superior workmanship. The one-act play does not lose by any reason of its technical requirements; indeed, this is one of its greatest assets. And the student who will take the pains to familiarize himself with the organic construction of a typical one-act play will have gone a long way in arriving at a proper appreciation of this shorter form of drama.
DRAMATIC ANALYSIS AND CONSTRUCTION OF THE ONE-ACT PLAY
I. The Theme of the One-Act Play
The one-act play, like the short story, is a work of literary art, and must be approached as such. Just like a painting or a poem or a fine public building, the one-act play aims at making a singleness of effect upon the reader or observer. One does not judge a statue, or a poem, or any other work of art, by the appearance of any isolated part of it, but by the sum-total effect of the whole. The fundamental aim of a one-act play is that it shall so present a singleness of effect to the reader or to the assembled group who have gathered to witness a performance of it, that the reader or observer will be provoked to emotional response thereto.
Thus, when a student reads a play like George Middleton's Tradition, he is made to see and feel that the life of a daughter has been handicapped and the longings of a mother smothered because of the conventional narrowness of an otherwise loving father. This is the singleness of effect of the play; this is its theme. This is precisely what the author of the play wished his reader or observer to see and feel. When one reads Bosworth Crocker's The Last Straw, one feels that a reasonably good and worthy man, because of his sensitiveness to criticism, has been driven to despair and to a tragic end by the malicious gossip of neighbors. One's sense of pity at his misfortune is aroused. This is what the author intended to do. This idea and effect is the theme of the play. And when the student reads Paul Hervieu's Modesty, he feels that a woman, even though she may lead herself into thinking she prefers brutal frankness, instinctively likes affection and even flattery. This is the effect produced by the play; this is its intent; this is its theme.
In approaching a one-act play, then, the very first consideration should be to determine what the purpose and intent of the play is—to determine its theme. This demands that the play be read through complete at one sitting and that no premature conclusions be drawn. Once the play is read, it is well to subject the play to certain leading questions. What has the author intended that his reader or hearer shall understand, think, or feel? What is the play about? What is its object and purpose? Is it a precept or an observation found in life, or is it a bit of fancy? Is it artificially didactic and moralizing? With what fundamental element in human nature does it have to do: Love? Patriotism? Fear? Egotism and self-centredness? Sacrifice? Faithfulness? Or what?
A word of warning should be given. The student should not get the idea that by theme is meant the moral of the play. A good play may be thoroughly moral without its descending to commonplace moralizing. Good plays concern themselves with the presentation of the fundamentals of life rather than a creed of morals, theories, and propagandas. Art concerns itself with larger things than didactic and argumentative moralizing.