細節
SHAW, George Bernard (1856-1950). Autograph replies signed, on a typewritten 'Questionnaire Interview' on 'The Presentation of Shakespeare in Modern Dress with a View to Presenting the Plays to a New and Wider Audience', n.p. [Ayot St Lawrence], 12 November 1940, ten replies, approximately 32 lines in autograph written in red ink between the typewritten questions, signed and dated at the foot on the second page, on 2 leaves, 240 x 185mm. (slight discolouration, small splits at centre folds repaired with tape on verso).
Sharp and amusing replies to one of the questionnaire interviews which Shaw in his later years used to complete for the press, in which his carefully thought out and written down words give the impression of spontaneous wisdom. Proposing in the opening line to 'leave Shakespeare out of the question', he considers the three possibilities for theatrical dress, deals smartly with a suggestion that 'period dress' detracts from attention to language and thought, 'on the contrary incongruity in costume or scenery violently distracts the attention of the audience until they get used to it' and dismisses the idea that period dress leads to bad acting, 'Modern dress does not cure bad acting any more than costume causes it'. He recalls the artificial and illusory nature of the theatre, and his own wishes, 'I want artistic dress no matter what its period or non-period', and in his brief and succinct ripostes generally demolishes the advantages claimed for modern dress productions.
Sharp and amusing replies to one of the questionnaire interviews which Shaw in his later years used to complete for the press, in which his carefully thought out and written down words give the impression of spontaneous wisdom. Proposing in the opening line to 'leave Shakespeare out of the question', he considers the three possibilities for theatrical dress, deals smartly with a suggestion that 'period dress' detracts from attention to language and thought, 'on the contrary incongruity in costume or scenery violently distracts the attention of the audience until they get used to it' and dismisses the idea that period dress leads to bad acting, 'Modern dress does not cure bad acting any more than costume causes it'. He recalls the artificial and illusory nature of the theatre, and his own wishes, 'I want artistic dress no matter what its period or non-period', and in his brief and succinct ripostes generally demolishes the advantages claimed for modern dress productions.