ALTHOUGH both preceding and succeeding chapters treat many
approaches to what is often described as "advanced" or "experi-
mental" production, it may be helpful to take a formal inventory of
them. But first it must be understood that they are, by themselves,
neither good nor bad. Everything depends upon how and when they
are employed, and upon the manner in which they are combined with
the other aspects of a production in order to ensure relevance to the
play, dynamic interpretation, and design.

In the days immediately preceding the triumph of realism in Europe
and America, progressive production meant a realistic or naturalistic
(illusionistic) mode of presentation such as Antoine gave at the
Théâtre Libre, Brahm at the Freie Buehne, and Stanislavsky at the
Moscow Art Theatre. In our own realistically oriented theatre, con-
versely, progressivism frequently refers to non-illusionistic, presenta-
tional staging. Progressive staging is relative to a particular age. In our
own, it means departing from a literal reproduction of reality in order
to achieve greater dramatic illumination and force. It involves the
application of creative imagination, illusionistic or non-illusionistic.

Coleridge's distinction between fancy and imagination should be
borne in mind. Except for purposes of travesty or extravaganza (for
instance, in a revue skit), any departure from realism must be appro-
priate to the play, and this can be determined by a study of the con-
tent, purpose, structure, mood, and style of the text. ¹ Moreover, one