How to Write a Popular Play by George Bernard Shaw

How to Write a Popular Play

by George Bernard Shaw

George Bernard Shaw, near the time of Pymalion's publication

George Bernard Shaw, near the time of Pymalion’s publication

This essay was originally published by George Bernard Shaw in his Preface to Three Plays by Brieux (New York: Brentano’s, 1911), pp. xxii-xxvii [which explains the references to the writer Brieux throughout the essay].

1: THE METHOD
The formula for the well made play is so easy that I give it for the benefit of any reader who feels tempted to try his hand at making the fortune that awaits all manufacturers in this line. First, you “have an idea” for a dramatic situation. If it strikes you as a splendidly original idea, whilst it is in fact as old as the hills, so much the better. For instance, the situation of an innocent person convicted by circumstances of a crime may always be depended on. If the person is a woman, she must be convicted of adultery. If a young officer, he must be convicted of selling information to the enemy, though it is really a fascinating female spy who has ensnared him and stolen the incriminating document. If the innocent wife, banished from her home, suffers agonies through her separation from her children, and, when one of them is dying (of any disease the dramatist chooses to inflict), disguises herself as a nurse and attends it through its dying convulsion until the doctor, who should be a serio-comic character, and if possible a faithful old admirer of the lady’s, simultaneously announces the recovery of the child and the discovery of the wife’s innocence, the success of the play may be regarded as assured if the writer has any sort of knack for his work. Comedy is more difficult, because it requires a sense of humor and a good deal of vivacity; but the process is essentially the same: it is the manufacture of a misunderstanding. Having manufactured it, you place its culmination at the end of the last act but one, which is the point at which the manufacture of the play begins. Then you make your first act out of the necessary introduction of the characters to the audience, after elaborate explanations, mostly conducted by servants, solicitors, and other low life personages (the principals must all be dukes and colonels and millionaires), of how the misunderstanding is going to come about. Your last act consists, of course, of clearing up the misunderstanding, and generally getting the audience out of the theatre as best you can.

Now please do not misunderstand me as pretending that this process is so mechanical that it offers no opportunity for the exercise of talent. On the contrary, it is so mechanical that without very conspicuous talent nobody can make much reputation by doing it, though some can and do make a living at it. And this often leads the cultivated classes to suppose that all plays are written by authors of talent. As a matter of fact the majority of those who in France and England make a living by writing plays are unknown and, as to education, all but illiterate. Their names are not worth putting on the playbill, because their audiences neither know nor care who the author is, and often believe that the actors improvise the whole piece, just as they in fact do sometimes improvise the dialogue. To rise out of this obscurity you must be a Scribe or a Sardou, doing essentially the same thing, it is true, but doing it wittily and ingeniously, at moments almost poetically, and giving the persons of the drama some touches of real observed character . . .

2: WHY THE CRITICS ARE ALWAYS WRONG
Now it is these strokes of talent that set the critics wrong. For the talent, being all expended on the formula, at least consecrates the formula in the eyes of the critics. Nay, they become so accustomed to the formula that at last they cannot relish or understand a play that has grown naturally, just as they cannot admire the Venus of Milo because she has neither a corset nor high heeled shoes. They are like the peasants who are so accustomed to food reeking with garlic that when food is served to them without it they declare that it has no taste and is not food at all.

This is the explanation of the refusal of the critics of all nations to accept great original dramatists like Ibsen and Brieux as real dramatists, or their plays as real plays. No writer of the first order needs the formula any more than a sound man needs a crutch. In his simplist mood, when he is only seeking to amuse, he does not manufacture a plot: he tells a story. He finds no difficulty in setting people on the stage to talk and act in an amusing, exciting or touching way. His characters have adventures and ideas which are interesting in themselves, and need not be fitted into the Chinese puzzle of a plot.

3: THE INTERPRETER OF LIFE
But the great dramatist has something better to do than to amuse either himself or his audience. He has to interpret life. This sounds a mere pious phrase of literary criticism; but a moment’s consideration will discover its meaning and its exactitude. Life as it appears to us in our daily experience is an unintelligible chaos of happenings. You pass Othello in the bazaar in Aleppo, Iago on the jetty in Cyprus, and Desdemona in the nave of St. Mark’s in Venice without the slightest clue to their relations to one another. The man you see stepping into a chemist’s shop to buy the means of committing murder or suicide, may, for all you know, want nothing but a liver pill or a toothbrush. The statesman who has no other object than to make you vote for his party at the next election, may be starting you on an incline at the foot of which lies war, or revolution, or a smallpox epidemic or five years off your lifetime. The horrible murder of a whole family by the father who finishes by killing himself, or the driving of a young girl on to the streets, my be the result of your discharging an employee in a fit of temper a month before. To attempt to understand life from merely looking on at it as it happens in the streets is as hopeless as trying to understand public questions by studying snapshots of public demonstrations. If we possessed a series of cinematographs of all the executions during the Reign of Terror, they might be exhibited a thousand times without enlightening the audiences in the least as to the meaning of the Revolution: Robespierre would perish as “un monsieur” and Marie Antoinette as “une femme.” Life as it occurs is senseless: a policeman may watch it and work in it for thirty years in the streets and courts of Paris without learning as much of it or from it as a child or a nun may learn from a single play by Brieux. For it is the business of Brieux to pick out the significant incidents from the chaos of daily happenings and arrange them so that their relation to one another becomes significant, thus changing us from bewildered spectators of a monstrous confusion to men intelligently conscious of the world and its destinies. This is the highest function that man can perform—the greatest work he can set his hand to; and this is why the great dramatists of the world, from Euripides and Aristophanes to Shakespeare and Molière , and from them to Ibsen and Brieux, take that majestic and pontifical rank which seems so strangely above all the reasonable pretensions of mere strolling actors and theatrical authors.

4: HOW THE GREAT DRAMATISTS TORTURE THE PUBLIC
Now if the critics are wrong in supposing that the formula of the well made play is not only an indispensable factor in playwriting, but is actually the essence of the play itself—if their delusion is rebuked and confuted by the practice of every great dramatist, even when he is only amusing himself by story telling, what must happen to their poor formula when it impertinently offers its services to a playwright who has taken on his supreme function as the Interpreter of Life? Not only has he no use for it, but he must attack and destroy it; for one of the very first lessons he has to teach to a play-ridden public is that the romantic conventions on which the formula proceeds are all false, and are doing incalculable harm in these days when everybody reads romances and goes to the theatre. Just as the historian can teach no real history until he has cured his readers of the romantic delusion that the greatness of a queen consists in her being a pretty woman and having her head cut off, so the playwright of the first order can do nothing with his audiences until he has cured them of looking at the stage through a keyhole, and sniffing round the theatre as prurient people sniff round the divorce court. The cure is not a popular one. The public suffers from it exactly as a drunkard or a snuff taker suffers from an attempt to conquer the habit. The critics especially, who are forced by their profession to indulge immoderately in plays adulterated with falsehood and vice, suffer so acutely when deprived of them for a whole evening that they hurl disparagements and even abuse and insult at the merciless dramatist who is torturing them. To a bad play of the kind they are accustomed to they can be cruel through superciliousness, irony, impatience, contempt, or even a Rouchefoucauldian pleasure in a friend’s misfortune. But the hatred provoked by deliberately inflicted pain, the frantic denials as of a prisoner at the bar accused of a disgraceful crime, the clamor for vengeance thinly disguised as artistic justice, the suspicion that the dramatist is using private information and making a personal attack: all these are to be found only when the playwright is no mere marchand de plaisir, but, like Brieux, a ruthless revealer of hidden truth and a mighty destroyer of idols.

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