The poem has been produced using multiple voices in lots of different ways.
It is a popular way to present it.
Quoting Chokh Raj <[log in to unmask]>:
> All the same, Rick, that to me is the overwhelming impression of reading TWL.
> I'm only suggesting TWL as a reading play. And for that I guess one may
> depend on the ingenuities of the human brain, of the reading mind -- a well
> equipped and informed mind. In a flash the imagination conjures things
> suggested by the composition, discerns patterns, assigns voices,
> and experiences the highs and lows of dramatic moods that unfold with each
> passing scene. In the first place, however, it's the creative intensity of
> the composition that holds a sensitive reader in its grip, and doesn't let go
> off till the convolutions of the whole drama register, slowly but surely.
> As for the element of "confusion" -- I call it complexity -- a clear
> overall pattern is discernible in spite of it.
> From: Rickard A. Parker <[log in to unmask]>
> To: [log in to unmask]
> Sent: Tuesday, September 6, 2011 9:06 PM
> Subject: Re: TS Eliot and Poetic Drama
> On 9/6/2011 12:01 PM, Chokh Raj wrote:
> > I wonder if it would be a stretch to claim for
> > 'The Waste Land' the status of a five-act play, albeit unconventional,
> > that reads exceedingly well as a verse play. I visualize the
> > conventional Chorus as a major character here.
> I've long pictured TWL as a film. Add some background music (some from
> Wagner of course) and some popular song. Use one style of fades for
> changes in scene, another for flashbacks, color for scenes of the old
> days and sepia for the modern times, etc. The problem is that it will
> still be missing the unifying theme and be just as confusing as the
> print version.
> > I visualize the conventional Chorus as a major character here.
> Where? I'm wondering what lines you might use a chorus on. I can see
> the whole of Part IV done in a chorus fashion. Where else would you
> use it?
> Rick Parker