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Only college theatre can save the contemporary American stage from lethargy and stagnation, a group of distinguished panelists agreed Tuesday. By trying out new plays, by "pushing the boundaries of theatre farther out," and by "shocking" people, undergraduate drama will add vigor to modern theatre, a vigor currently lacking.
Robert Chapman, Director of the Loeb Drama Center, emphasized the "impact" necessary for drama. "College drama must undertake the effort to jolt theatre out of its complacency," he stated. Although the other two speakers did not follow Chapman's semi-militant tone, they agreed with his suggestion in principle.
The director of the Tufts University Theatre, Marston Balch, emphasized the "desperate need to help playwrights." College drama makes a particular contribution by trying out new plays, for only with staging can a writer gain experience.
Elliot Norton, drama critic of the Boston American and third member of the panel, outlined a special role for school productions. "The college theatre must give the community the kind of drama commercial theatre can't--and doesn't--produce." This would include revivals, greater use of modern foreign plays, and presentation of stage classics.
Relation With Education
The panelists split on the question of the proper relation between college education and dramatic endeavor. Chapman flatly asserted, "Theatre at a university is an anomaly," while Balch assured, "There is no great difficulty in the co-habitation of the liberal arts and drama."
This dichotomy largely reflected the theatrical arrangements at the two schools. Harvard does not allow academic credit for dramatic work, while Tufts has a major in Theatre Arts. Balch spent a large part of his speech outlining the large-scale dramatic program at Tufts.
Owing to a last-minute change in schedule, the panel was sparsely attended. Fewer than 90 people joined the Burr B crowd, which questioned the three participants for nearly 30 minutes at the conclusion of the talks.
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