"The theatre is supremely fitted to say: 'Behold! These things are.' Yet most dramatists employ it to say: 'This moral truth can be learned from beholding this action.'"
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Wilder is taking a neat knife to the sermon tucked inside so much “serious” drama. Theatre, he argues, is at its most honest when it’s doing the simplest, hardest thing: staging existence without handing the audience a laminated takeaway. “Behold! These things are.” is a credo of presence. It treats the stage as a place where human behavior can be observed in real time, with all its contradiction, boredom, tenderness, and pointless cruelty intact. The point isn’t to solve life; it’s to render it.
His second sentence skewers the common habit of smuggling morality in through plot. That “most dramatists employ it” clause is less a scold than a diagnosis: playwrights reach for lessons because lessons feel like value. If a story “means” something in a clean, extractable way, then it can justify itself. Wilder suspects that impulse is both artistically timid and philosophically dishonest, because it reduces characters to examples and scenes to demonstrations.
The subtext is a defense of ambiguity as a higher form of respect. Audiences don’t need to be led by the hand; they can sit with what they’ve seen and do the moral work themselves. Context matters here: Wilder’s own theatre (think Our Town) famously interrupts illusion, strips down scenery, and courts the ordinary. Those choices aren’t quirks; they’re a method for forcing attention onto the fact of living. He’s pushing drama away from the courtroom and back toward the telescope.
His second sentence skewers the common habit of smuggling morality in through plot. That “most dramatists employ it” clause is less a scold than a diagnosis: playwrights reach for lessons because lessons feel like value. If a story “means” something in a clean, extractable way, then it can justify itself. Wilder suspects that impulse is both artistically timid and philosophically dishonest, because it reduces characters to examples and scenes to demonstrations.
The subtext is a defense of ambiguity as a higher form of respect. Audiences don’t need to be led by the hand; they can sit with what they’ve seen and do the moral work themselves. Context matters here: Wilder’s own theatre (think Our Town) famously interrupts illusion, strips down scenery, and courts the ordinary. Those choices aren’t quirks; they’re a method for forcing attention onto the fact of living. He’s pushing drama away from the courtroom and back toward the telescope.
Quote Details
| Topic | Art |
|---|---|
| Source | Help us find the source |
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