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We do not kill the drama, we do not really limit its appeal by failing to encourage the best in it; but we do thereby foster the weakest and poorest elements.
George P Baker
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There is no essential difference between the material of comedy and tragedy. All depends on the point of view of the dramatist, which, by clever emphasis, he tries to make the point of view of his audience.
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The instinct to impersonate produces the actor; the desire to provide pleasure by impersonations produces the playwright; the desire to provide this pleasure with adequate characterization and dialogue memorable in itself produces dramatic literature.
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The drama is a great revealer of life.
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Sensitive, responsive, eagerly welcomed everywhere, the drama, holding the mirror up to nature, by laughter and by tears reveals to mankind the world of men.
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Rare is the human being, immature or mature, who has never felt an impulse to pretend he is some one or something else.
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Out of the past come the standards for judging the present; standards in turn to be shaped by the practice of present-day dramatists into broader standards for the next generation.
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No drama, however great, is entirely independent of the stage on which it is given.
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In the best farce to-day we start with some absurd premise as to character or situation, but if the premises be once granted we move logically enough to the ending.
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In reading plays, however, it should always be remembered that any play, however great, loses much when not seen in action.
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In all the great periods of the drama perfect freedom of choice and subject, perfect freedom of individual treatment, and an audience eager to give itself to sympathetic listening, even if instruction be involved, have brought the great results.
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Farce treats the improbable as probable, the impossible as possible.
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