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The stranglehold which realism has on the modern theatre is leading to the deterioration of drama, acting, and imagination, John Burrell told a scant audience at New Lecture Hall yesterday.
Burrell, this year's Theodore Spencer lecturer, added, "In all the great periods of acting, the scenery side has only been lightly emphasized. The actor should be, though I don't want to glorify him too much, a little demagogue. The reason that people give for the theatre dying is that it is too expensive. This is only an alibi: naturalism is costly; imagination doesn't cost very much."
Develop Versatility
Although speaking on "Imagination in the Theatre," Burrell called for the formation of a repertory company with an accompanying drama school in an area like Boston as the best way to strengthen the legitimate theatre in this country. Such a theatre, he said, is the best way to develop the versatility in an actor which is necessary for imaginative performances.
"I think the public has got a bit fed up with naturalism," Burrell continued, pointing to the success of musicals, opera, and ballet, as well as bare-stage productions like "Don Juan in Hell" and "John Brown's Body."
In outlining the problems and rewards of a repertory theatre, Burrell traced the history of the Old Vic since the second war. Not only was an acting school added, but also a children's theatre (the Young Vic), and a branch of the company at Bristol where top young actors can develop before their London debuts.
Surging Spirit Necessary
"It is not a question of elaborate facilities," Burrell said. "The Old Vic started on $200. Get the vital, surging spirit of man acting on this thing. The great comedians are tremendously vital people--Duraute, Hope, and the rest--a good actor is as vital as that. The really talented actor needs hardly any training. He needs mostly the chance which Englands offers: the opportunity to keep acting in many parts, becoming more versatile and imaginative."
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