Editing Maurice Maeterlinck (section)

==Static drama==
[[File:Portrait of Maurice Maeterlinck.jpg|thumb|upright|Maeterlinck, before 1905]]
Maeterlinck's posthumous reputation depends entirely{{dubious|date=April 2022}} on his early plays (published between 1889 and 1894), which created a new style of dialogue, extremely lean and spare, where what is suggested is more important than what is said. The characters have no foresight, and only a limited understanding of themselves or the world around them. That the characters stumble into tragedy without realizing where they are going may suggest that Maeterlinck thought of man as powerless against the forces of fate, but the kinship is not with ancient Greek tragedy but with modern dramatists such as Beckett and Pinter who bring out human vulnerability in a world beyond our comprehension.

Maeterlinck believed that any actor, due to the hindrance of physical mannerisms and expressions, would inadequately portray the [[Symbolism (arts)|symbolic]] figures of his plays. He concluded that [[marionette]]s were an excellent alternative. Guided by strings operated by a puppeteer, Maeterlinck considered marionettes an excellent representation of fate's complete control over man. He wrote ''[[Interior (play)|Interior]]'', ''[[The Death of Tintagiles]]'', and ''Alladine and Palomides'' for marionette theatre.<ref>Knapp, 77–78.</ref>

From this, he gradually developed his notion of the "static drama." He felt that it was the artist's responsibility to create something that did not express human emotions but rather the external forces that compel people.<ref>Knapp, 78.</ref> Maeterlinck once wrote that "the stage is a place where works of art are extinguished. ... Poems die when living people get into them."<ref>"Drama—Static and Anarchistic", ''The New York Times'', 27 December 1903.</ref>

He explained his ideas on the static drama in his essay "The Tragic in Daily Life" (1896), which appeared in ''[[The Treasure of the Humble]]''. The actors were to speak and move as if pushed and pulled by an external force, fate as puppeteer. They were not to allow the stress of their inner emotions to compel their movements. Maeterlinck would often continue to refer to his cast of characters as "marionettes."<ref>Peter Laki, ''Bartók and His World'', Princeton University Press, 1995, pp. 130–31.</ref>

Maeterlinck's conception of modern [[tragedy]] rejects the intrigue and vivid external action of traditional drama in favour of a dramatisation of different aspects of life:
{{blockquote|[[Othello]] is admirably jealous. But is it not perhaps an ancient error to imagine that it is at the moments when this passion, or others of equal violence, possesses us, that we live our truest lives? I have grown to believe that an old man, seated in his armchair, waiting patiently, with his lamp beside him; giving unconscious ear to all the eternal laws that reign about his house, interpreting, without comprehending, the silence of doors and windows and the quivering voice of the light, submitting with bent head to the presence of his soul and his destiny—an old man, who conceives not that all the powers of this world, like so many heedful servants, are mingling and keeping vigil in his room, who suspects not that the very sun itself is supporting in space the little table against which he leans, or that every star in heaven and every fiber of the soul are directly concerned in the movement of an eyelid that closes, or a thought that springs to birth—I have grown to believe that he, motionless as he is, does yet live in reality a deeper, more human, and more universal life than the lover who strangles his mistress, the captain who conquers in battle, or "the husband who avenges his honor."<ref>Cole 1960, 30–31.{{Incomplete short citation|date=June 2022}}</ref>}}
He cites a number of [[Theatre of ancient Greece|classical Athenian tragedies]]—which, he argues, are almost motionless and which diminish psychological action to pursue an interest in "the individual, face to face with the universe"—as precedents for his conception of static drama; these include most of the works of [[Aeschylus]] and [[Sophocles]]' ''[[Ajax (Sophocles)|Ajax]]'', ''[[Antigone (Sophocles)|Antigone]]'', ''[[Oedipus at Colonus]]'', and ''[[Philoctetes (Sophocles)|Philoctetes]]''.<ref>Cole 1960, pp. 31–32.{{Incomplete short citation|date=June 2022}}</ref> With these plays, he claims:
{{blockquote|It is no longer a violent, exceptional moment of life that passes before our eyes—it is life itself. Thousands and thousands of laws there are, mightier and more venerable than those of passion; but these laws are silent, and discreet, and slow-moving; and hence it is only in the twilight that they can be seen and heard, in the meditation that comes to us at the tranquil moments of life.<ref>Cole 1960, 32.{{Incomplete short citation|date=June 2022}}</ref>}}