The tag of Mr. Gus Elen's old song, "'E dunno where 'e are," very aptly describes the condition of the regular theatre-goer to-day. What would the old laddies of the Bodega-cheese days have thought, had any prophesied1 that at one swift step the Oxford2 and the Pavilion would simultaneously3 move into the ranks of the "legitimate4;" that His Majesty's Theatre would be running a pantomime; that smoking would be allowed in the Lyceum, the Comedy, the Vaudeville5, and the Garrick? Many people have lost their individuality by being merged6 into one or other war-movement since 1914; many streets have entirely7 lost those distinctive8 features which enable us to recognize them at one glance or by[Pg 83] sound or smell; but nowhere has the war more completely smashed personality than in theatre-land.
In the old days (one must use that pathetic phrase in speaking of ante-1914), the visitor to London knew precisely9 the type of entertainment and the type of audience he would find at any given establishment. To-day, one figures his bewilderment—verily, 'e dunno where 'e are. Formerly10, he could be sure that at the Garrick he would find Mr. Bourchier playing a Bourchieresque part. At His Majesty's he would find just what he wanted—or would want what he found—for going to His Majesty's was not a matter of dropping in: it was a pious11 function. At the Alhambra or the Empire he would be sure of finding excellent ballet at about ten o'clock, when he could sip12 his drink, stroll round the promenade13, and leave when he felt like it. At the time I write he finds Mr. Bourchier playing low comedy at a transformed music-hall, and at the Alhambra or the Empire he finds a suburban15 crowd, neatly16 seated in rows—father, mother and flappers—watching a quite innocuous entertainment.
Managers were long wont17 to classify in their[Pg 84] minds the "Garrick" audience, the "Daly" audience, the "Adelphi" audience, the "Haymarket" audience; and plays would be refused by a manager on the ground that "our audience wouldn't stand it; try the Lyric18." To-day they are all in the melting-pot, and the poor habitué of the So-and-so Theatre has to take what is given him, and be mighty19 thankful for it.
At one time I loved a show, however cheap its kind; but in these days, after visiting a war-time show and suffering the feeling of assisting at some forbidden rite14, I always wish I had wasted the evening in some other manner. Since 1914 the theatres have not produced one show that any sober man would pay two pence to see. The stuff that has been produced has paid its way because the bulk of the public is drunk—with war or overwork. The story of the stage since 1914 may be given in one word—"Punk." Knowing that we are all too preoccupied20 with solemn affairs to examine very closely our money's-worth, and knowing that the boys on leave are not likely to be too hypercritical, the theatrical21 money-lords—with one noble exception—have taken advantage of the situation to fub us off with any old store-room rubbish. We have dozens of genuine[Pg 85] music-hall comedians22 on the stage to-day, but they are all slacking. Some of them get absorbed by West End shows, and at once, when they appear on the gigantic American stages of some of our modern theatres, surrounded by crowds of elephantine women, they lose whatever character and spontaneity they had. Others give the bulk of their time and brains to earning cheap notoriety by raising funds for charities or cultivating allotments—both commendable23 activities, but not compatible with the serious business of cheering the public. Gradually, the individual is being frozen out, and the stages are loaded with crowds of horsey, child-aping women, called by courtesy a beauty chorus; the show being called, also by courtesy, a revue. These shows resemble a revue as much as the short stories of popular magazines resemble a conte. They dazzle the eye and blast the ear, and, instead of entertaining, exhaust.
The artists have, allowing for human nature, done their best under trying circumstances; but playing to an audience of overseas khaki and tired working-people, who applaud their most maladroit24 japes, has had the effect of wearing them down. They no longer work. They take the easiest way, knowing that any remark about the[Pg 86] Kaiser, Old Bill, meat-cards, or the Better 'Ole is sure of a laugh.
One solitary25 example of money's-worth in war-time I found—but that is outside the lists of vaudeville or drama. I mean Sir Thomas Beecham's operative enterprise. Beginning, in 1915, to develop his previous tentative experiments—fighting against indifference26, prejudice, often against active opposition—he went steadily27 on; and it is he whom our men must thank if, on returning, they find in England something besides factories and barracks. There is no man who, amid this welter of blood and hate, has performed work of higher national importance. While every effort was made to stifle28 or stultify29 every movement that made towards sanity30 and vision, he went doggedly31 forward, striving to save from the wreckage32 some trifle of sweetness and loveliness for those who have ears to hear. Had certain good people had their way, he, his ideals, his singers, his orchestra and his band instruments would have been flung into the general cesspool, to lie there and rot. But he won through; and I think only that enemy of civilization, the screaming, flag-wagging patriot33, will disagree with a famous Major-General who, in full [Pg 87]war-paint, stood at my side in the theatre bar between the acts of Tristan, and, turning upon a querulous civilian34 who had snorted against Wagner, cried angrily:—
"Nonsense, sir, nonsense. War is war. And music is music."
After years of struggling, Beecham has made it possible for an English singer to sing to English audiences under his English name, and has proved what theatrical and music-hall managers never attempt to prove: that England can produce her own native talent in music and drama, without taking the fourth-rate and fifth-rate, as well as the first-rate, material of America and the Continent. He has shown himself at once a philanthropist and a patriot. In none of his productions do we find signs of that cheap philosophy that "anything will do for war-time." Before the arrival of his company, opera in London was a mere35 social function which (except from the point of view of the galleryite) had little to do with music. People went to Covent Garden not to listen to music, but to be seen; just as they went to the Savoy or to the Carlton to be seen, not to procure36 nourishment37. The Beecham opera is first and last a matter of music.
[Pg 88]
So, Sir Thomas, a few thousand of us take off our hats to you. I think we should all like to send you every morning a little bunch of violets, or something equally valueless, but symbolic38 of the fine things you have given us, of the silver lining39 you have disclosed to us in these overclouded days.
点击收听单词发音
1 prophesied | |
v.预告,预言( prophesy的过去式和过去分词 ) | |
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2 Oxford | |
n.牛津(英国城市) | |
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3 simultaneously | |
adv.同时发生地,同时进行地 | |
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4 legitimate | |
adj.合法的,合理的,合乎逻辑的;v.使合法 | |
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5 vaudeville | |
n.歌舞杂耍表演 | |
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6 merged | |
(使)混合( merge的过去式和过去分词 ); 相融; 融入; 渐渐消失在某物中 | |
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7 entirely | |
ad.全部地,完整地;完全地,彻底地 | |
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8 distinctive | |
adj.特别的,有特色的,与众不同的 | |
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9 precisely | |
adv.恰好,正好,精确地,细致地 | |
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10 formerly | |
adv.从前,以前 | |
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11 pious | |
adj.虔诚的;道貌岸然的 | |
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12 sip | |
v.小口地喝,抿,呷;n.一小口的量 | |
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13 promenade | |
n./v.散步 | |
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14 rite | |
n.典礼,惯例,习俗 | |
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15 suburban | |
adj.城郊的,在郊区的 | |
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16 neatly | |
adv.整洁地,干净地,灵巧地,熟练地 | |
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17 wont | |
adj.习惯于;v.习惯;n.习惯 | |
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18 lyric | |
n.抒情诗,歌词;adj.抒情的 | |
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19 mighty | |
adj.强有力的;巨大的 | |
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20 preoccupied | |
adj.全神贯注的,入神的;被抢先占有的;心事重重的v.占据(某人)思想,使对…全神贯注,使专心于( preoccupy的过去式) | |
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21 theatrical | |
adj.剧场的,演戏的;做戏似的,做作的 | |
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22 comedians | |
n.喜剧演员,丑角( comedian的名词复数 ) | |
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23 commendable | |
adj.值得称赞的 | |
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24 maladroit | |
adj.笨拙的 | |
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25 solitary | |
adj.孤独的,独立的,荒凉的;n.隐士 | |
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26 indifference | |
n.不感兴趣,不关心,冷淡,不在乎 | |
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27 steadily | |
adv.稳定地;不变地;持续地 | |
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28 stifle | |
vt.使窒息;闷死;扼杀;抑止,阻止 | |
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29 stultify | |
v.愚弄;使呆滞 | |
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30 sanity | |
n.心智健全,神智正常,判断正确 | |
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31 doggedly | |
adv.顽强地,固执地 | |
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32 wreckage | |
n.(失事飞机等的)残骸,破坏,毁坏 | |
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33 patriot | |
n.爱国者,爱国主义者 | |
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34 civilian | |
adj.平民的,民用的,民众的 | |
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35 mere | |
adj.纯粹的;仅仅,只不过 | |
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36 procure | |
vt.获得,取得,促成;vi.拉皮条 | |
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37 nourishment | |
n.食物,营养品;营养情况 | |
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38 symbolic | |
adj.象征性的,符号的,象征主义的 | |
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39 lining | |
n.衬里,衬料 | |
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