How to Write a Play | Page 9

his severe studies of 'Nos Auteurs Dramatiques' (1881).
In the 'Ann��e Psychologique' for 1894 the distinguisht physiological psychologist, the late Alfred Binet,--to whom we are indebted for the useful Binet tests--publisht a series of papers dealing with the psychology of the playwright, in the preparation of which he was aided by M.J. Passy. The two investigators had a series of interviews with Sardou, Dumas fils, Pailleron, Meilhac, Daudet, and Edmond de Goncourt. Altho Daudet and Goncourt had written plays they were essentially novelists with no instinctive understanding of the drama as a specific art. Nor did either Pailleron and Meilhac make any contribution of importance. But Dumas and Sardou were both of them born playwrights of keen intelligence, having a definite understanding of the principles of playmaking; and what they said to M. Binet and his associate was interesting and significant.
Dumas declared that he made no notes for any of his plays and that he never composed a detailed scenario. He thought of only one piece at a time, brooding over it for long months sometimes, and then throwing it on paper almost at white heat, if it dealt with passion. If, on the other hand, it was a comedy of character, a study of social conditions, the actual composition was necessarily more leisurely and protracted. He had carried in mind for six or seven years the theme of 'Monsieur Alphonse;' and he had actually put it on paper in seventeen days. He had written the 'Princesse Georges' in three weeks and the 'Etrang��re' in a month; and the second act of the 'Dame aux Cam��lias' had been penned in a single session of four hours. But he had toiled seven or eight hours a day for eleven months over the 'Demi-Monde,' the second act alone costing him two months labor. He rarely modified what he had written by minor corrections; but sometimes, when his play was completed, he discovered that it was weak in its structure or inadequate in its motivation, in which case he reconstructed one or more acts, or even the whole play, writing it all over again.
M. Dumas admitted that he took little interest in the setting of his plays or in the manifold details of stage-management. He indicated summarily the kind of room that he desired; and he put down in his manuscript only the absolutely necessary movements of his characters. The rest he left to the manager and the stage-manager.
Here--as indeed everywhere,--Dumas revealed himself in the sharpest contrast with Sardou, who designed his sets himself and placed his furniture precisely where he needed it for the action of his play, sometimes finding that a given scene seemed to him to lose half its effect if it was acted on the left side of the stage instead of the right. He was a constant note-taker, putting down suggestions for single scenes or for striking suggestions, as these might occur to him; and as a result of this incessant cerebral activity he had always on hand more or less complete plots for at least fifty plays. When he decided to write one of these pieces, he assembled his scattered notes, set them in order, amplified and strengthened them; and when at last he saw his way clear he made out an elaborate and detailed scenario, containing the whole story, with ample indication of all the changes of feeling which might take place in any of the characters in any scene.
Then when he felt himself in the right mood, he feverishly improvized the play, laughing over the jokes, weeping over the pathetic moments and objurgating the evil deeds of the more despicable characters. But this was only a first draft of the play; and it had to be gone over three or four times, altered, condensed, sharpened, tightened in effect. The first version was always too long; and the successive revisions reduced it to scarcely more than a half of its original length. Sometimes he was able to compact into a single pregnant phrase the substance of a speech of many lines. And as the play slowly took on its final form Sardou not only heard every word which every character had to speak, he also saw every one of the movements which would animate the action. M. Binet reminded him that when Scribe and Legouv�� were collaborating on 'Adrienne Lecouvreur,' Scribe asserted that he visualized all that the actors would do, while Legouv�� heard all that they would say; and Sardou then claimed that he was fortunate in possessing the double faculty of both seeing and hearing.
Of course, Sardou stage-managed his plays himself, teaching the performers carefully, and going upon the stage, if need be, to act the scene as he wanted it to be acted, indicating the expression, the intonation and the gesture which he felt