The pleasure received from exceptionally good acting is, of course, a different matter. I assume that the acting is merely competent enough to pass muster without irritating us, and so distracting our attention.
I myself expressed it in slightly different terms nearly ten years ago. "Curiosity," I said, "is the accidental relish of a single night; whereas the essential and abiding pleasure of the theatre lies in foreknowledge. In relation to the characters in the drama, the audience are as gods looking before and after. Sitting in the theatre, we taste, for a moment, the glory of omniscience. With vision unsealed, we watch the gropings of purblind mortals after happiness, and smile at their stumblings, their blunders, their futile quests, their misplaced exultations, their groundless panics. To keep a secret from us is to reduce us to their level, and deprive us of our clairvoyant aloofness. There may be a pleasure in that too; we may join with zest in the game of blind-man's-buff; but the theatre is in its essence a place where we are privileged to take off the bandage we wear in daily life, and to contemplate, with laughter or with tears, the blindfold gambols of our neighbours."
Here an acute critic writes: "On the whole I agree; but I do think there is dramatic interest to be had out of curiosity, through the identification, so to speak, of the audience with the discovering persons on the stage. It is an interest of sympathy, not to be despised, rather than an interest of actual curiosity."
That great story-teller, Alexandra Dumas pere, those a straightforward way of carrying forward the interest at the end of the first act of Henri III et sa Cour. The Due de Guise, insulted by Saint-Mégrin, beckons to his henchman and says, as the curtain falls, "Qu'on me cherche les mèmes hommes qui ont assassiné Dugast!"
There are limits to the validity of this rule, as applied to minor incidents. For example, it may sometimes be a point of art to lead the audience to expect the appearance of one person, when in fact another is about to enter. But it is exceedingly dangerous to baffle the carefully fostered anticipation of an important scene. See Chapters XVII and XXI.