Poetry and drama - New Zealand literature

Poetry

The forties and fifties were favourable times for poets and poetry, and lively communities of poets sprang up in the main centres, particularly Wellington and Auckland. Debate about the nature of poetry led to some heated exchanges.

Allen Curnow's anthology, A book of New Zealand verse 1923–45, provoked a reaction from emerging poets such as James K. Baxter, Louis Johnson and Kendrick Smithyman, who objected to what they saw as Curnow's insistence on a nationalist agenda for poetry. They argued that New Zealand poets, now secure in their identity, should express themselves on universal themes in an international context. A related viewpoint was that New Zealand poetry should move on from expressing alienation and isolation and develop a more confident vision of nationhood, inclusive of Maori. Underlying the positions was a tension between modernist and romantic approaches to poetry.

The debate was advanced by a passionate speech at the 1951 Writers Conference in Christchurch by James K. Baxter, who claimed pre-eminence for the Wellington group of poets, which included himself, Alistair Campbell, W.H. Oliver, Louis Johnson and Hubert Witheford. Sparring continued throughout the fifties.

Publication opportunities for poets were plentiful: the Year Book of the Arts in New Zealand series began in 1945, continuing until 1951 when it was succeeded by New Zealand Poetry Yearbook. The 1956 Anthology of New Zealand Verse, compiled by Robert Chapman and Jonathan Bennett, published many of the younger poets whom Curnow had overlooked in his 1945 anthology, including some new women poets, for instance Mary Stanley. However others such as Ruth France (who used the pen name Paul Henderson), found it difficult to make their voices heard in a male-dominated literary milieu.

Drama

The depression and advent of 'talkies' in the late 1920s brought an end to the regular tours of New Zealand by British and American professional theatre companies, and thereafter a thriving local amateur dramatic movement emerged. Isabella Andrews was one of a number of playwrights who achieved success during the 1930s and 40s through the original play competitions of the New Zealand branch of the British Drama League. In the same period, the rise of left theatre groups provided opportunities for writers with radical political sympathies.

Although prominent figures such as Charles Brasch, James K. Baxter and Frank Sargeson wrote plays, the best-known playwright of the fifties was Bruce Mason. He addressed the question of cultural identity by exploring Maori themes and the disintegration of traditional values. In an era when professional theatre was tentative, Mason pioneered the solo performance and also contributed to the development of radio drama in New Zealand.