Monday, February 13

Anyone who watches the real successes as they appear each year, will see a very curious phenomenon. We expect the so-called hit to be livelier, faster, brighter than the flop — but this is not always the case. Almost every season in most theatre-loving towns, there is one great success that defies these rules; one play that succeeds not despite but because of dullness. After all, one associates culture with a certain sense of duty, historical costumes and long speeches with the sensation of being bored: so, conversely, just the right degree of boringness is a reassuring guarantee of a worthwhile event. Of course, the dosage is so subtle that it is impossible to establish the exact formula — too much and the audience is driven out of their seats, too little and it may find the theme too disagreeably intense. However, mediocre authors seem to feel their way unerringly to the perfect mixture — and they perpetuate the Deadly Theatre with dull successes, universally praised. Audiences crave for something in the theatre that they can term 'better' than life and for this reason are open to confuse culture, or the trappings of culture, with something they do not know, but sense obscurely could exist — so, tragically, in elevating something bad into a success they are only cheating themselves.
— Peter Brook, The Empty Space

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