I stumbled across this article at David Thompson’s blog, where he notes that the article’s author, Jay Rayner, is pondering “…the whereabouts of dramatic radicalism in an age of state subsidy”:

The actor Julian Fellowes, who wrote the script for the Oscar-winning country house whodunit Gosford Park and the book for the stage musical of Mary Poppins, is a good place to start. He’s professionally posh. He has a son called Peregrine. His wife is a lady-in-waiting to Princess Michael of Kent and a descendant of Lord Kitchener. He is, unsurprisingly, a Conservative Party supporter, and like all good Conservatives he takes the long view. ‘Very simply put,’ he says, ‘after the Second World War the avant garde became the establishment. That meant that no one was poking fun at the establishment any more because they approved of it.’

So is it a conspiracy? ‘Absolutely not. I don’t want to give the impression that there’s some plot going on. It’s just e impossible not to be a socialist within the munity these days.‘ He recalls emerging from drama school in the Seventies and realising he didn’t fit in. ‘Suddenly being young meant being left-wing, because if you were to the right you were a boring old fart.’ And that, he says, has not changed despite changes in government. The problem, he says, isn’t too much theatre from the left: it’s a simple lack of it from the right. ‘There’s something profoundly non-intellectual about it. Any reasonably free society must allow for a range of views, and we don’t have that.’

Interesting stuff. And reminiscent of an article penned earlier this year by David Michael Phelps for Religion and Liberty:

But here we reach a very crucial point, the point where we see that handing ideas to the Artist is not the same as handing them to the Propagandist. For the Propagandist, the message is the focus, the party line is towed without falter, and as a result, the Propagandist seldom produces Art of lasting persuasive power. For the Artist, the vehicle of the message – that is, the Art itself – is the focus, and this is precisely why Artists are so much more convincing in their work than Propagandists: Propagandists so concentrate on the water that they attend less to the holes in the bucket. Artists concentrate on making great buckets, often concerning themselves less with the contents.

Likewise, conservatives may be more apt to produce propaganda when they attempt to create Art because their ideas are often more sound than the liberal (in the modern sense) alternative and they have less need for – and therefore less incentive to learn – Story. Liberals can indulge themselves in shoddy Syllogism, because they make up for the lack with good Storytelling. But this doesn’t excuse conservatives from falling off the other side of the horse.

There a popular saying that suggests “If you are a liberal when you are young, you have no heart. If you aren’t a conservative when you are old, you have no head.” But I see no reason why must we lack one to have the other. We should have, and municate with, both. We must add Story to our Syllogism, adding emotional punch to our reason. After all, Socrates taught with syllogisms, and Jesus with parables.