The Developement of Amateur Theatre
January 2006 Meeting Report
Guest Speaker - Roy Ainscough
Roy Ainscough is a member of The Keyworth & District Local History Society, but is also well-known to many of us as an active member of The Keyworth Dramatic Society and as President of The Nottingham & Nottinghamshire Drama Association.
Roy began by considering the meanings of the key terms in his title. "Amateur" may suggest to the unwary "poorly done", (as indicated by the word amateurish); but as we may deduce from the Latin origin of the word (amare, to love) an amateur actor performs for the love of it, as opposed to a professional who is paid. The first recorded amateur thespian, in fact, was a Greek, some centuries B.C.! The word theatre is used not only of a place designed for dramatic performances: we speak of a theatre of war, and an operating theatre in a hospital. [Interesting, too, that we speak of a surgeon performing an operation?]
The earliest origins of theatre were religious, presenting the actions of the gods and their dealings with humans. In addition to being essentially religious, the plays of the ancient Greeks were important community events. English theatre, too, had religious origins. In the Middle Ages the earliest plays "taught" the stories of the Bible to a largely illiterate public. These "miracle plays" were performed by amateurs, (that is, non-professional actors), who were members of craft guilds.
The Church has played an important part in the developement of both professional and amateur theatre. Although the miracle plays began in church, as drama became more secular the Church often took a negative interest in it. In the time of Shakespeare draconian blasphemy laws restricted religious references - use of the word God on stage was forbidden, for example; and during Cromwell's Commonwealth dramatic performances were (officially) banned altogether. However, when Charles II returned to the throne, theatres were once again in business, and "Restoration Drama" enjoyed the freedom of that relatively licentious age.
The urge to perform is reflected in 19th century novels; but the novels made it clear that an ambivalent attitude to drama persisted. In Jane Austen's Mansfield Park, the preparations for family theatricals go ahead enthusiastically (though without thought of performing in front of an audience) until Sir Thomas's unexpected return and anticipated disapproval causes consternation. "What will become of us?" The attitude of the Church too, continued to be ambivalent through the 19th & 20th centuries. many devout Christians disapproved of plays and players; but on the other hand churches often became centres of amateur performance - ranging from charades enacted in social gatherings, through concert parties, to fully-fledged amateur dramatic societies.
Another organisation which played an important role in the developement of amateur theatre, both nationally and here in Keyworth, was the Women's Institute. There are a number of Keyworth thespians who still remember performing in the late-lamented W.I. hut at the top of Dale Road. Some of our audience clearly remembered several of the local actors of the late 1940's, and in particular Miss Orange, whose dramatic activities and elocution training are something of a local legend.
Keyworth's present Dramatic Society was established in 1969 and, although it doesn't have it' own theatre - it has performed in South Wolds School, our village hall, Stanford Hall Theatre and currently Grange Hall in Radcliffe-on-Trent - it continues as a vigorous and popular dimension of Keyworth community life today.