CHILDREN’S DRAMA

At a season of the year when children invade both the stage and the auditorium¹ of many theatres in unwonted numbers it would be at least topical to speculate as to the philosophy of pantomime and the artistic² merits and defects of child actors and actresses.  But while juvenile³ mimicry⁴ of adult conceptions of drama is entertaining enough, it is more to our purpose to consider the dramatic spirit as it is actually present in children themselves.  Pantomimes certainly do not reflect this spirit, and, in spite of the sentimental⁵, but hardly more childish influence of fairy-plays, are still aimed exclusively at adult audiences who grant themselves no other opportunity of appreciating the humours of the music-halls.  Probably the ideal children’s play would have the colour of pantomime, the atmosphere of p. 218“Peter Pan,” the poetry of the “Blue Bird,” and, most important of all, a downright melodramatic plot.  It is this last that is invariably lacking in entertainments nominally⁶ provided for children; it is the first consideration in the entertainments they provide for themselves.

If grown-up people were in the habit, which unfortunately they are not, of meeting together in moments of relaxation⁷ and acting⁸ little extemporary plays, these plays would surely give a first-hand indication of the dramatic situations that interested them.  Yet this is what children are always doing, and in terms of play every little boy is a dashing and manly⁹ actor and every little girl a beautiful and accomplished¹⁰ actress.  From the first glad hour when little brother cries to little sister, “You be Red Riding Hood¹¹, and I’ll be the wolf and eat you!” the dramatic aspect of life is never absent from the mind of imaginative youth.

In one respect, at all events, these play-dramas of children should meet with the approval of modern dramatic critics.  No one can accuse them of losing sight of the p. 219motive of their drama in elaboration of scenery or stage effects.  A chair will serve for a beleaguered¹² castle, a pirate ship, or Cinderella’s coach in turn, and the costumes imitate this Elizabethan simplicity¹³.  Nevertheless, it cannot be said that their stage is entirely¹⁴ free from the tyranny of those pernicious conventions that place obstacles in the way of art.  The law of primogeniture, always rigidly¹⁵ enforced in nurseries, as Mr. Kenneth Grahame has observed, makes the eldest¹⁶ brother as much of a nuisance as the actor-manager.  According to his nature, and the character of the play, he always insists on being either hero or villain¹⁷, and in the absence of limelight contrives¹⁸ to give himself an exaggerated share both of the action and of the dialogue.  Sisters are placid¹⁹ creatures and do not very much mind whether they have anything to do or not as long as they can all be princesses; but it is hard on a younger brother to be compelled to walk the plank²⁰, although he has the heart of a pirate chief.  And the fact that whatever part he may play the eldest brother must triumph at the end of the last act tends p. 220to stereotype²¹ the lines along which the drama develops.

As for the plays themselves, it must be owned that they cover an extraordinary extent of ground, and display a variety that no other repertory theatre can hope to equal.  The present writer has seen five children in one afternoon give spirited performances of Aladdin, David and Goliath, an unnamed drama of pirates, and the famous comedy of teacher and naughty pupils.  This last is the standard performance of Elementary School girls all over London, and to the discerning critic displays just those faults of sophistication and over-elaboration to which long runs at our theatres have made us accustomed.  The teacher is always too monotonously²² ill-tempered, the pupils are ill-behaved beyond all discretion²³; Ibsen, one feels, would have expressed this eternal warfare²⁴ between youth and authority in subtler terms.  Sometimes, however, London children achieve a really startling realism in their games; and the looker-on may derive²⁵ a considerable knowledge of the mothers from watching the children perform p. 221in some such drama of life as the ever-popular “Shopping on Saturday Night.”  It may be noted²⁶ here that children’s rhapsodies over dolls and kittens, or, indeed, over anything, are always clever pieces of character-acting.  Naturally, children do not rhapsodise, but they soon learn the secret of the art from observation of their elders.

But though in large towns the poorer children may not have escaped the spirit of the age, so that their art hardly raises them from the grey levels of their lives, children in general are eager to find the artistic symbol for their dreams, and allow realism but an accidental share in the expression of their romantic ideals.  They do not seek the materials for their dramas in the little comedies and tragedies of nursery or schoolroom life; they prefer to forget that ordinary everyday happenings have ever wooed them to tributary²⁷ laughters or tears, and fulfil their destiny as pirates or highwaymen, fairies or forlorn princesses.

Probably the nearest approach to children’s drama that we have on the modern stage is the so-called cloak-and-sword drama.  p. 222Children’s plays are full of action; speeches are short and emphatic²⁸, and attempts at character-acting are desultory²⁹ and provocative³⁰ of laughter in the other members of the company.  The fights are always carried out with spirit and enthusiasm.  To have seen Captain Shark, that incarnadined pirate, wiping his sword on his pinafore is to have realised that beauty of violence for which Mr. Chesterton pleads so eloquently³¹ in the “Napoleon of Notting Hill.”

Bearing in mind the nature of the dramas that children play to please themselves, it should be possible to lay down certain rules as to the composition of plays for their entertainment.  Working by light of Stevenson’s lantern, Mr. Barrie has done good work in “Peter Pan,” but he has made tremendous mistakes.  The scene on the pirate ship is perfect, a model of what such a scene should be, with plenty of fighting and no burdensome excess of talk.  But in a play that is essentially³² a boys’ play Wendy is a mistake.  There was no Wendy on Stevenson’s island of treasure, and her continual intrusion into the story would not be tolerated p. 223in any nursery.  In real life she would either have had to discard her sex and become a member of the band, or else have adopted the honorary r?le of princess and stayed tactfully in the background.  The Pirate Chief is very good—so good, in fact, that it looks very like an eldest brother’s part, in which case he would have beaten Peter and made him walk the plank.  The end, though pleasing to adult minds, is impossible from a childish point of view.  The boys would never have left their fun of their own free will.  The gong ought to have sounded for tea, or perhaps Mr. Darling could have returned from the City with some mysterious parcels for the children to open.  That is how things really happen.  To our mind, as we have said above, the greatest fault a play for children can have is the lack of a straightforward³³ plot that allows of plenty of stirring and adventurous³⁴ action.  Children love stories, whether they be make-up stories of their own or real stories told them by some one else.  The hero of the play should be the biggest boy acting it; the female characters should have no greater share of p. 224the action than the most rudimentary sense of politeness would allow them, but they may sit in the background, mute but beautiful princesses, as much as they like, and they are permitted to comment on the courage of the hero when occasion offers.  Successful scenes should be repeated three or four times till their possibilities had been exhausted³⁵.  Every now and then, if realism is desired, nurse or governess should look through the door and say, “Children, don’t be rough,” to which the whole company must reply, “We’re only playing!”  Once at least in the course of the play one of the smaller members of the company should be smitten³⁶ into tears, to be comforted by the princesses.  The actors should quarrel freely among themselves and throw up their parts every half-hour, but, on the whole, they should all enjoy themselves enormously.

Such an entertainment, we admit, would be intolerable to the sentimental adult; but the criticisms of the children in the audience would be worth hearing.

1 auditorium   

n.观众席，听众席；会堂，礼堂

参考例句：

• The teacher gathered all the pupils in the auditorium.老师把全体同学集合在礼堂内。
• The stage is thrust forward into the auditorium.舞台向前突出，伸入观众席。

2 artistic   

adj.艺术(家)的，美术(家)的；善于艺术创作的

参考例句：

• The picture on this screen is a good artistic work.这屏风上的画是件很好的艺术品。
• These artistic handicrafts are very popular with foreign friends.外国朋友很喜欢这些美术工艺品。

3 juvenile   

n.青少年，少年读物；adj.青少年的，幼稚的

参考例句：

• For a grown man he acted in a very juvenile manner.身为成年人，他的行为举止显得十分幼稚。
• Juvenile crime is increasing at a terrifying rate.青少年犯罪正在以惊人的速度增长。

4 mimicry   

n.（生物）拟态，模仿

参考例句：

• One of his few strengths was his skill at mimicry.他为数不多的强项之一就是善于模仿。
• Language learning usually necessitates conscious mimicry.一般地说，学习语言就要进行有意识的摹仿。

5 sentimental   

adj.多愁善感的，感伤的

参考例句：

• She's a sentimental woman who believes marriage comes by destiny.她是多愁善感的人，她相信姻缘命中注定。
• We were deeply touched by the sentimental movie.我们深深被那感伤的电影所感动。

6 nominally   

在名义上，表面地； 应名儿

参考例句：

• Dad, nominally a Methodist, entered Churches only for weddings and funerals. 爸名义上是卫理公会教徒，可只去教堂参加婚礼和葬礼。
• The company could not indicate a person even nominally responsible for staff training. 该公司甚至不能指出一个名义上负责职员培训的人。

7 relaxation   

n.松弛，放松；休息；消遣；娱乐

参考例句：

• The minister has consistently opposed any relaxation in the law.部长一向反对法律上的任何放宽。
• She listens to classical music for relaxation.她听古典音乐放松。

8 acting   

n.演戏，行为，假装；adj.代理的，临时的，演出用的

参考例句：

• Ignore her,she's just acting.别理她，她只是假装的。
• During the seventies,her acting career was in eclipse.在七十年代，她的表演生涯黯然失色。

9 manly   

adj.有男子气概的；adv.男子般地，果断地

参考例句：

• The boy walked with a confident manly stride.这男孩以自信的男人步伐行走。
• He set himself manly tasks and expected others to follow his example.他给自己定下了男子汉的任务，并希望别人效之。

10 accomplished   

adj.有才艺的；有造诣的；达到了的

参考例句：

• Thanks to your help,we accomplished the task ahead of schedule.亏得你们帮忙,我们才提前完成了任务。
• Removal of excess heat is accomplished by means of a radiator.通过散热器完成多余热量的排出。

11 hood   

n.头巾，兜帽，覆盖；v.罩上，以头巾覆盖

参考例句：

• She is wearing a red cloak with a hood.她穿着一件红色带兜帽的披风。
• The car hood was dented in.汽车的发动机罩已凹了进去。

12 beleaguered   

adj.受到围困[围攻]的；包围的v.围攻( beleaguer的过去式和过去分词)；困扰；骚扰

参考例句：

• The beleaguered party leader was forced to resign. 那位饱受指责的政党领导人被迫辞职。
• We are beleaguered by problems. 我们被许多困难所困扰。 来自《简明英汉词典》

13 simplicity   

n.简单，简易；朴素；直率，单纯

参考例句：

• She dressed with elegant simplicity.她穿着朴素高雅。
• The beauty of this plan is its simplicity.简明扼要是这个计划的一大特点。

14 entirely   

ad.全部地，完整地；完全地，彻底地

参考例句：

• The fire was entirely caused by their neglect of duty. 那场火灾完全是由于他们失职而引起的。
• His life was entirely given up to the educational work. 他的一生统统献给了教育工作。

15 rigidly   

adv.刻板地，僵化地

参考例句：

• Life today is rigidly compartmentalized into work and leisure. 当今的生活被严格划分为工作和休闲两部分。
• The curriculum is rigidly prescribed from an early age. 自儿童时起即已开始有严格的课程设置。

16 eldest   

adj.最年长的，最年老的

参考例句：

• The King's eldest son is the heir to the throne.国王的长子是王位的继承人。
• The castle and the land are entailed on the eldest son.城堡和土地限定由长子继承。

17 villain   

n.反派演员，反面人物；恶棍；问题的起因

参考例句：

• He was cast as the villain in the play.他在戏里扮演反面角色。
• The man who played the villain acted very well.扮演恶棍的那个男演员演得很好。

18 contrives   

（不顾困难地）促成某事( contrive的第三人称单数 )； 巧妙地策划，精巧地制造（如机器）； 设法做到

参考例句：

• The striver contrives to derive that privacy can't be deprived. 奋斗者想方设法推导得出隐私（权）不可剥夺。
• Chance contrives better than we ourselves. 机遇往往出人意料；人算不如天算。

19 placid   

adj.安静的，平和的

参考例句：

• He had been leading a placid life for the past eight years.八年来他一直过着平静的生活。
• You should be in a placid mood and have a heart-to- heart talk with her.你应该心平气和的好好和她谈谈心。

20 plank   

n.板条，木板，政策要点，政纲条目

参考例句：

• The plank was set against the wall.木板靠着墙壁。
• They intend to win the next election on the plank of developing trade.他们想以发展贸易的纲领来赢得下次选举。

21 stereotype   

n.固定的形象，陈规，老套，旧框框

参考例句：

• He's my stereotype of a schoolteacher.他是我心目中的典型教师。
• There's always been a stereotype about successful businessmen.人们对于成功商人一直都有一种固定印象。

22 monotonously   

adv.单调地，无变化地

参考例句：

• The lecturer phrased monotonously. 这位讲师用词单调。 来自《简明英汉词典》
• The maid, still in tears, sniffed monotonously. 侍女还在哭，发出单调的抽泣声。 来自辞典例句

23 discretion   

n.谨慎；随意处理

参考例句：

• You must show discretion in choosing your friend.你择友时必须慎重。
• Please use your best discretion to handle the matter.请慎重处理此事。

24 warfare   

n.战争(状态)；斗争；冲突

参考例句：

• He addressed the audience on the subject of atomic warfare.他向听众演讲有关原子战争的问题。
• Their struggle consists mainly in peasant guerrilla warfare.他们的斗争主要是农民游击战。

25 derive   

v.取得；导出；引申；来自；源自；出自

参考例句：

• We derive our sustenance from the land.我们从土地获取食物。
• We shall derive much benefit from reading good novels.我们将从优秀小说中获得很大好处。

26 noted   

adj.著名的，知名的

参考例句：

• The local hotel is noted for its good table.当地的那家酒店以餐食精美而著称。
• Jim is noted for arriving late for work.吉姆上班迟到出了名。

27 tributary   

n.支流；纳贡国；adj.附庸的；辅助的；支流的

参考例句：

• There was a tributary road near the end of the village.村的尽头有条岔道。
• As the largest tributary of Jinsha river,Yalong river is abundant in hydropower resources.雅砻江是金沙江的最大支流，水力资源十分丰富。

28 emphatic   

adj.强调的，着重的；无可置疑的，明显的

参考例句：

• Their reply was too emphatic for anyone to doubt them.他们的回答很坚决，不容有任何人怀疑。
• He was emphatic about the importance of being punctual.他强调严守时间的重要性。

29 desultory   

adj.散漫的，无方法的

参考例句：

• Do not let the discussion fragment into a desultory conversation with no clear direction.不要让讨论变得支离破碎，成为没有明确方向的漫谈。
• The constables made a desultory attempt to keep them away from the barn.警察漫不经心地拦着不让他们靠近谷仓。

30 provocative   

adj.挑衅的，煽动的，刺激的，挑逗的

参考例句：

• She wore a very provocative dress.她穿了一件非常性感的裙子。
• His provocative words only fueled the argument further.他的挑衅性讲话只能使争论进一步激化。

31 eloquently   

adv. 雄辩地(有口才地, 富于表情地)

参考例句：

• I was toasted by him most eloquently at the dinner. 进餐时他口若悬河地向我祝酒。
• The poet eloquently expresses the sense of lost innocence. 诗人动人地表达了失去天真的感觉。

32 essentially   

adv.本质上，实质上，基本上

参考例句：

• Really great men are essentially modest.真正的伟人大都很谦虚。
• She is an essentially selfish person.她本质上是个自私自利的人。

33 straightforward   

adj.正直的，坦率的；易懂的，简单的

参考例句：

• A straightforward talk is better than a flowery speech.巧言不如直说。
• I must insist on your giving me a straightforward answer.我一定要你给我一个直截了当的回答。

34 adventurous   

adj.爱冒险的；惊心动魄的，惊险的，刺激的　

参考例句：

• I was filled with envy at their adventurous lifestyle.我很羨慕他们敢于冒险的生活方式。
• He was predestined to lead an adventurous life.他注定要过冒险的生活。

35 exhausted   

adj.极其疲惫的，精疲力尽的

参考例句：

• It was a long haul home and we arrived exhausted.搬运回家的这段路程特别长，到家时我们已筋疲力尽。
• Jenny was exhausted by the hustle of city life.珍妮被城市生活的忙乱弄得筋疲力尽。

36 smitten   

猛打，重击，打击( smite的过去分词 )

参考例句：

• From the moment they met, he was completely smitten by her. 从一见面的那一刻起，他就完全被她迷住了。
• It was easy to see why she was smitten with him. 她很容易看出为何她为他倾倒。